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Click here to subscribeAn Indian white metal ewer, 19th century, the body decorated with scrolling vines and seated figures, 44cm high, together with a white metal inlaid copper vase, 25.5cm high (2)The ewer is heavily tarnished with dents around the foot, and sits off-centre, both items with general surface wear.
A brass ewer, 20th century, with incised foliate decoration to the whole, the cover detached from the handle, stamped 'INDIA' to the underside, 30.5cm high, together with a brass high shoulder vase chased with figurative scenes and geometric motifs to the exterior, 18.3cm high (2)Please refer to department for condition report
A French gilt-bronze mounted porcelain clock garniture, late 19th century, the case and garniture each in the form of a cobalt blue porcelain vase, the case housing a gilt brass clock dial with enamel Roman hours and enamel nameplate for Richmond, 77 Rue de Montmartre, the eight day movement stamped H & F Paris and numbered 377, striking on a bell, the clock and garniture each with zoomorphic handles and socle bases atop four feet, each garniture with five lights, 49cm high (3)Please note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece offered for sale. The case with wear to include: loose gilt mounts to top and chips to porcelain below, the mounts with heavy wear and discolouration, the lion mask handles are loose and with marks, heavy loss of gilding, the bezel is loose and the ribbon rotates when moved, as does the whole dial, which needs re-attaching to case. The enamel numerals with wear and scratches, ten is very loose, three is loose, the door to reverse is almost detached from case, discolouration and scratches. The porcelain has a large repaired crack from front to back of the right side of the body, and chips to rim around the reverse door. The body sits slightly loose on the base, and the base with heavy discolouration and loss of gilt. The garniture with wear, tarnishing and loss to gilt on mounts, branches loose, handles slightly loose, some scratching to the porcelain bodies. Tarnishing and wear to backplate and bell.
A small group of silver plate, to include: a small Mappin & Webb wine coaster, of pierced cylindrical form, 11.2cm high; two Mappin & Webb Prince's Plate circular dishes, 18.7cm dia.; a footed bon bon dish with cover with knopped finial and interior glass liner, 15.5cm high; a twin handled vase with pierced scrolling foliate decoration, 12.5cm high; a corkscrew; and coasters of varying size and form, largest approx. 15.3cm dia., (15)Please refer to department for condition report
Property from the estate of the late David Cornwell, best-known as the author John Le Carré A set of three George III mahogany dining chairs, circa 1800, vase shape splats, drop in seats, raised on chamfered supports (3)all three with scratches and knocks to wood, one with split to back rest, the same chair with minor splits,
A silver plated banker's sack vase with rope detail, by Almazan, circa 1960, together with another similar silver plated vase by Jobjarr, Almazon vase stamped 'Almazon, Made in Spain, Almazon vase: 25cm high; Jobjarr vase: 21cm high Please refer to department for condition report
Late C19th/early C20th blue and white Chinese baluster vase, 44cm high, decorated scenes of foliage and Chinese elders, 4 character KANG XI marks in underglaze blue to base, this has a hairline crack visible only under UV. very possibly a small area of restoration, but needs expert examination.
Vase. China, Qing Dynasty, 1664- 1911.Monochrome ceramic.Measurements: 45 x 18 cm (diameter).Vase made of monochrome ceramic with an intense cyan blue finish. The sobriety of the lines and the elegance of this piece come from the simplification of the ornamentation, reducing it to precise shapes and the expressiveness of the colour. The Ching or Qing Dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in present-day northeastern China by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, while maintaining the capital at Beijing. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry for books, pamphlets, etc., truly prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were often outstanding artists (especially in painting), the best work was done by scholars and the urban elite in calligraphy and painting, both areas of great interest to the court. Even cuisine was elevated as a source of cultural pride in this period, taking elements from the past and working on them to reach new heights.
Chizou-style vase. China, 20th century.In stoneware.Measurements: 22 x 15 cm.The vase has a circular base, with an oval belly that tends towards the sphere, wider towards the shoulders. The neck is short and circular. It is ornamented with a combination of earth tones on a black background, following the chizou style, with a bird perched on a branch on its front.
Imari vase; Japan, early 20th century.Polychrome porcelain.Measurements: 33 x 17 x 17 cm.Imari vase with a periform body and a lid decorated with a small squirrel as a knob. It is completely enamelled with a profusion of plant, floral and fruit motifs: the corollas wave gracefully over stylised bouquets in cerulean and earthy tones on white. The Imari style is mainly characterised by the use of cobalt-blue glaze under the glaze, combined with other colours over the glaze, the most common being iron-red and gold. Peonies, carnations, roses and chrysanthemums acquire in Asian iconography rich symbolism related to purity, wisdom and vital harmony.
Satsuma vase. Japan, Meiji period (1864-1911).Glazed and gilded ceramic.Signed on the back of the base.Measurements: 38 cm (height); 18 cm (largest diameter).The vase is decorated with Buddhist monks (Kannon and Rakan) surrounded by a dragon, all highlighted in gilding.The ornamentation of this vase defines it as being in the Satsuma style, which was produced from the early 18th century on the island of Kyushu. In the second half of the 18th century it became so popular in Japan that the production centre was moved to Awata, near Kyoto. In the 19th century Satsuma production became known to the West and a large number of pieces were made for export. This is when vases and plates decorated with scenes of geisha or samurai became popular, as until then floral and zoomorphic decoration had predominated. The paste may be porcelain or, more often, a very light, porous, light terracotta. The glaze is feldspathic, mixed with wood ash. The most characteristic feature of Satsuma ware is its decorative richness, sometimes even exaggerated. The motifs are usually painted in gold glaze, a novelty compared to earlier styles. The ornamentation is completed with a wide variety of polychrome glazes: green, red, white, turquoise, pink and, above all, gosu blue, the most sought-after of all, which is very dark and typical of the best Satsuma ware of the 19th century. They are also very thick glazes, sometimes even in relief.
Vase. China, 20th century.Enamelled porcelain.With seal on the base.Measurements: 65 cm (height) x 25 cm (diameter).The vase has a circular base with an oval belly and a neck with a trumpet-shaped mouth. It is ornamented with a combination of blue and white whose design is based on ornamentation of an intricate foral character.Porcelain known for its chromaticism as 'cobalt blue' or 'blue-on-white' was highly prized in Europe from its early importation. Indeed, it was so much appreciated by other cultures such as Islam that it was very often works destined for this market that influenced European ceramic production, which aspired to resemble as closely as possible this export production created in large quantities in China. It was not until around the middle of the 17th century that production began in this oriental country, blue and white porcelain being among the first to arrive directly in Europe in large quantities.
Vase; China, 19th century.Enamelled and polychrome porcelain. Green family.Measurements: 56 x 21 x 21 cm.The piece has a polygonal structure with a square base, rectangular body and square mouth. The term Green Family is the Western name for a style of Chinese polychrome porcelain derived from wucai (literally, 'five colours'). Wucai was created during the Ming dynasty, and has been widely used in China ever since. It is characterised by only some of the motifs being executed in cobalt-blue underglaze, while the rest of the decoration is applied already on the glaze. In addition, black glaze is added for the outlines, in the early days covered with a translucent green glaze to fix it. The Green Family style is a type of wucai called yingcai ("solid colours"), which is characterised by the predominance of copper oxide green. The name yingcai refers to the quality of the glazes, which are crystalline because they are mostly applied to the glaze.
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