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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.
An early Chinese blue & white porcelain miniature lobed vase with standing figures & tall flowers, the neck probably reduced, now forming a scent bottle with Dutch silver mounts, 3”; a 19thC clear cut-glass acorn-form vinaigrette with gilt-metal mounts & hinged cover; an 18thC English enamel round patch box, the hinged lid inscribed “Love Me and Happy Be”; a Wm IV silver small snuff box, Bm 1832 by W.P.; & another similar patch-box lid.
A Coalport squat round green-ground vase & cover with painted landscape by E. Ball, 3½” (hairline crack); a ditto claret-ground ovoid vase & cover with jewelled floral decoration, 5¾”; a ditto cruciform box with painted flowers to the cover, 2¾” (hairline crack); a Davenport porcelain Imari square tapered vase, 3¼”; a Royal Crown Derby squat round ribbed vase of deep blue ground with raised gilt foliate decoration, 3½”; a ditto miniature jug & bowl painted with pink roses & trellis-work; a ditto oval tray painted with chinoiserie figure scene, signed on reverse “Annie Spencer” & “T.M. Hayward, Aug 26th 1884”, 8½”; a ditto Imari pattern 1¼” vase; & a Spode Copeland Imari ewer vase, 4” (hairline crack).
ROYAL DOULTON FIGURINES (6) - 'Fair Lady' HN2832, 'Soiree' HN2312, 'Elegance' HN2264, 'Paisley Shawl' HN1988, 'Janet' HN1537 and 'Autumn Breeze', HN1934, a ceramic vase with grape and vine leaf encrusted decorations, 28cms H and a stoneware jug with moulded decoration, 31cms H
DECORATIVE MODERN CHINESE CERAMICS - to include an octagonal teapot and cover decorated with birds and flowers, with brass handle, 21cms H, a lidded tankard decorated with exotic birds, dragons and flowers, 15cms H, various rice bowls, small celadon baluster vase, 10cms H, a papier mache three compartment box of sarcophagus form with blue and white ceramic panel inset to cover, 20cms H, enamelled copper rectangular tray, 17.5 x 23cms, ETC
GLASS TWO HANDLED CELERY VASES, A PAIR - the bodies engraved with swans and ferns on pedestal bases, 25.5cms H, a Polish glass decanter and stopper of plain tapered circular form, 24cms H, moulded glass vase with flared rim, 16cms H and moulded glass oval two-handled bowl, 32 x 17cms and an Art Deco style glass figure of a lady holding grapes, 49cms H
SUNDERLAND LUSTRE JUGS (6) - Late 19th Century, 'A Sailor's Life's the Life' with a view of the cast iron bridge of Sunderland, 21cms H, 'A Sailor's Farewell', 19cms H, 'Let Reason be your Pilot' with coat of arms, 12cms H, 'God Moves in a Mysterious Way', 12cms H and 'Ladies all I Pray Make Free', 7cms H, with a Sunderland lustre vase 'The Sailor's Farewell' with the ship 'Great Republic', 13cms H and two saucers
AYNSLEY PEMBROKE PATTERN TABLE LAMP, 30cms H, lidded vase, 20cms H, circular plate, 27cms diameter, circular shaped dish, 21cms diameter, Wedgwood Jasperware, a pair of candlesticks, 16cms H, mantel clock, 11.5cms H, Sadler biscuit barrel decorated with hunting scene, 16cms H and various collector's plates
SPODE ITALIAN DESIGN CHINA - a pair of candlesticks with baluster columns and square stepped bases, 32.5cms H, circular toilet bowl, 36.5cms diameter, a shaped rectangular jardiniere with flared base, 13cms H, 5.5cms W, 17.5cms D, baluster vase, 18.5cms H, a pair of leaf shaped dishes, 17.5 x 12.5cms, circular shaped shallow dish, 17cms diameter and a Spode 'The Blue Room Collection' Sunflower pattern circular shallow dish, 17cms diameter
AUGUSTUS REX 19TH CENTURY PEDESTAL VASE - with gilded swags and goat head handles with figures in landscape, blue monogrammed backstamp, 18cms H (amended description height) with a Bohemian green glass chalice, 19th century, with white overlay and gilding with panels of enamelled flowers on a flared circular base, 20cms H
HALLMARKED SILVER - 3 items to include a 13cms H goblet, Chester 1913, Maker Barker Brothers, 15cms H loaded base vase, Birmingham 1901, Makers Cornelius Saunders and Francis (Frank) Shepherd and a 15.5cms diameter lobed bowl, Birmingham 1987, Maker Barker Brothers Silver Ltd, 8.2ozt weighable
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653833 item(s)/page