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Lot 155
A LARGE CARLTON WARE TWIN HANDLED LUSTRE VASE of trumpet form with ribbed lower body, decorated with blossoming trees and butterflies, 29cm high Condition Report : extensive crazing but no chips Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 162
A CHINESE VASE OF OVOID FORM enamelled decoration depicting a scholar on horseback with attendant figures, bearing four character Qianlong mark to base, 16.5cm high Condition Report : good condition, no chips or cracks Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 163
A SMALL CHINESE BALUSTER SHAPED VASE decorated with figures in a coastal landscape, four character mark to base, 13cm high, together with another small vase and a ginger jar (3) Condition Report : both vases with vertical hairlines to neck Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 164
A CHINESE BALUSTER SHAPED VASE decorated with figures in a garden setting, 25cm high, together with a pair of lidded ginger jars (3) Condition Report : one ginger jar has a rim chip, otherwise good Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 166
A GARNITURE OF FIVE CHINESE BAMBOO BRUSH POTS relief carved with scholars and buildings in a forest landscape, the largest vase 32cm high Condition Report : signs of age, generally good condition Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 193
A VICTORIAN BURR WALNUT AND MAHOGANY CARD TABLE on vase shaped octagonal support, 84.5cm wide Condition Report : very wobbly, pillar needs tightening, otherwise a little tatty, but original, good colour. nice to see original patterned baize inside. some water damage to top Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 2220
A pair of early 18th century style walnut and boxwood inlaid vase back side chairs, the drop-in seats raised on cabriole legs, height 107cm, width 54cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2013
A Queen Anne walnut vase back side chair, the top rail carved with a scallop shell and flowerheads, raised on cabriole legs, height 99cm, width 61cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2656
A 20th century Chinese brass vase of archaistic form, the angular body with engraved decoration, height 32cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 40
PHOENICIAN OR EGYPTIAN TORPEDO VASE NEAR EAST, 1000 - 500 B.C. obsidian and gold, the long body curving to a rounded base, with dual lugs below the shoulders overlaid with gold foil, the shoulders horizontal to the body and topped with the dic rim, also overlaid with thin gold sheet, presented on a bespoke mount(13cm tall)Reputedly from Byblos, found during the French mandate period. Previously by repute in the Pharaon collection, Beirut, acquired circa 1930. With Ur Nina Antiques Gallery, Beirut, originally acquired on 14th April 1969 (accompanied by a copy of the original 1969 invoice). Private collection, Lebanon. French art market. With Charles Ede Ltd, London, June 2014 - March 2015 (accompanied by French cultural passport 154576). With Ariadne Gallery, 2015, purchased from Charles Ede Ltd. at TEFAT Maastricht, March 2015. Royal Private collection, acquired from the above in 2015. Exhibited: TEFAF Maastricht, 12th - 22nd March 2015 with Charles Ede Ltd TEFAF Maastricht, 10th - 20th March 2016. Published: Catalogue 190, Charles Ede Ltd, 2015, No. 3.Note: For a similar example please see; Christie's, Antiquities, New York, 10th June 2010, lot 38, sold for $92,500 inc. premium.
Lot 100
A fine late 17th Century Ebony veneered 'Phase III' table clockJoseph Knibb, London The archetypal case with facetted tied-bud handle in plain pommels on circular bosses over a low cushion moulded caddy applied with pierced floral mounts to the front and sides, the flat-topped cornice with moulded underside over rectangular glazed sides below silk-backed pierced sound frets, the front door with similar long sound fret and cherub's head escutcheons, on a moulded base. The 6.25inch square brass dial signed in flowing script along the lower edge Joseph Knibb, London, the silvered chapter ring with Arabic five minutes within the band, Roman hours and an inner quarter hour track interrupted by fleur de lys half-hour markers, the pierced blued steel hands reading against the finely matted centre with delicate chamfered date aperture below XII, all framed by winged cherubs head spandrels. Secured to the movement via four latched dial feet. The twin gut fusee movement united by five vase shaped latched and finned pillars, knife edge verge escapement, outside numbered countwheel striking on the bell, the backplate richly engraved with a symmetrical pattern of tulips, anemones and bulbous buds above and below the copperplate signature set in a slight upward arc Joseph Knibb, Londini Fecit. Secured in the case via a pair of rotating collars mounted on the rear of the dial plate. Ticking and striking, together with two case keys, one of which opens both front and back doors. 35cms (13.5ins) highFootnotes:Another clock by Joseph Knibb with a similar backplate is featured in Dzik, S. (2019) Engraving on English Table Clocks: Art on a Canvas of Brass 1660-1800, Wild Boar Publications, pg. 405 (K1-3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 34
A mid-nineteenth century engraved brass carriage timepiece depicting Windsor and Balmoral CastlesDent, London, No. 1036The gilt brass Anglaise riche-style case with frilled eels handle over a bevelled glass inspection panel within an elaborate pattern of engraved foliate scrolls on an engine turned ground, framed by four turned finials over reeded columns to a plinth base on three turned feet, the rear door depicting the Royal Castle at Windsor, the right-hand side showing a vase of flowers, the left showing Balmoral castle, all within elaborate borders, The 2-inch gilt rectangular Roman dial with delicate fleur de lys hands within a grapevine border. The single chain fusee movement with jewelled English Lever escapement, substantial monometallic brass balance and Harrison's maintaining power, the signed and numbered back plate with integral hand-setting knob. Ticking, together with a winding key. 19 cms (7 ins) highFootnotes:The 'House of Dent' began in 1840 as 'E.I. Dent' in reference to the founder, Edward John Dent, who had previously been in a ten-year business partnership with John Arnold. In 1841, he was awarded a Royal appointment, which lasted until his death in 1853. After this point, the business was taken over by his stepchildren who ended up splitting the business into two competing firms; Frederick William Dent inherited 61 Strand and 34 & 35 Royal Exchange shops, whereas his brother, Richard Edward Dent inherited 33 Cockspur Street. In 1854, Frederick William took over the contract to build a clock for the Houses of Parliament that his stepfather had agreed to undertake in 1852; the clock eventually being installed in 1859, along with its bell, Big Ben. Richard Edward Dent died in 1856, at which point the shop was run by his widow, Marianna Frederica, who also renamed the firm 'M. F. Dent'. Frederick William Dent died in 1860, at which point the two shops in his ownership were renamed 'E. Dent & Co.' by his sister and brother-in-law, who also took over the business. Until 1858, both firms used the name 'Dent, London'; in 1858, at the coercion of 'E. Dent & Co', 'M. F. Dent' clarified on all the products they produced that they were a separate entity to 'E. Dent & Co.' and all the accomplishments of 'E. Dent & Co.' were quite separate to those of 'M. F. Dent'. In 1921 the separated firms re-joined and continued until finally closing their doors in 1976.The clock for this lot is signed 'Dent London 1036' which complicates assigning it a definitive maker. However, it has been noted that 'M. F. Dent' seem to have started numbering both their clocks and watches at 12000, whereas 'E. Dent & Co.' began numbering their clocks from 1. This would suggest the latter company was responsible for this clock. One of their carriage clocks, numbered 693, has been dated to 1845, while another numbered 1302 is dated to 1850. If their carriage clocks were numbered sequential, which is not confirmed, it would make sense for this clock to date to around 1848. Interestingly, one of the scenes engraved on the case is of Balmoral Castle. In 1857, Frederick William Dent made a turret clock for Balmoral Castle; it might be that this clock was made to highlight that achievement, though this is purely speculative.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 44
A good early 19th century ormolu-mounted marble and slate mantel timepiece with Royal provenance. First sold to the Duke of Clarence, later King William IV, on 19th January 1808.Vulliamy, London, Number 405The case surmounted by a gilt urn on a plinth over the reeded drum, set on a pair of carved scrolls set on a double stepped slate plinth with ormolu beaded border and recessed panels to the front and sides, the whole raised on turned toupie feet. The drum flanked by a pair of recumbent lions, each facing outward and holding a gilt ball. The 3.5 inch restored white enamel Roman dial with pierced and engraved gilt fancy hands, each numeral picked out in gold and with a dotted gilt minute border framing the whole. Set within a beaded concave bezel. The single wire fusee movement with four slender tapered pillars, suspension spring regulation and half deadbeat escapement, the back plate engraved Vulliamy London No 405. Protected by a turned brass push-on cover. Ticking with a winding key and matching numbered pendulum. With sincere thanks to Roger Smith for his help in researching the early history of this clock. 29 cms (11 ins) highFootnotes:Provenance:From the late Sir Ernest and Lady Caroline Oppenheimer Collection and hence by descent.The firm of Vulliamy & Son were the most fashionable clockmakers in late Georgian London. Their shop at 74 (later 68) Pall Mall was situated close to St James's Palace, and although Benjamin Vulliamy (1747-1811) did not become head of the firm until 1797, he had been Clockmaker to King George III since 1772. His grandfather Benjamin Gray had been Watchmaker to George II, while his father, the Swiss immigrant Justin Vulliamy, was clockmaker to Queen Charlotte until his death in 1797 (for an example of his work, see lot 110 in this sale). The official warrant as Royal Clockmaker later passed to Benjamin's son, Benjamin Lewis Vulliamy (1780-1854). [1] In the 1780s, Benjamin Vulliamy decided to challenge the dominance of imported Parisian clocks in the homes of wealthy Britons by making clocks that were not only of the highest quality but also in the latest taste. His first range of ornamental clocks appealed to the fashion for neo-classicism, with white marble cases, sometimes in the form of a broken column, flanked by Classical Greek figures made of Derby biscuit porcelain. [2] However, by the late 1790s Vulliamy's customers were tiring of the restrained elegance of these sculptural clocks and demanding the richer 'Empire' style that was becoming fashionable in France. This encouraged Vulliamy to produce a new range of clocks in a variety of coloured marble cases ornamented with pairs of 'Roman' lions (or sometimes sphinxes), and vase or eagle surmounts, cast in ormolu or bronze. Although inspired by French originals, the overall design of these clocks was created by Vulliamy himself, who then organised their production through a network of independent suppliers and outworkers based mainly in London. However, he also maintained some contact with Continental Europe in spite of the long years of war which followed the French Revolution and the rise of Napoleon Bonaparte. Among his foreign contacts was the leading French bronzier Jean-Baptiste-Maximilien Delafontaine (1750-1820), former syndic of the Corporation des Fondeurs-Doreurs-Graveurs in Paris, who stayed with the Vulliamy family in London during the Revolutionary summer of 1789. He subsequently returned to Paris, where he lived in the faubourg St Honoré. Delafontaine kept in touch with Vulliamy, and a few years later sent him two pairs of lions which were subsequently used as patterns for Vulliamy's first lion clocks. These lions, which were in (approximate) mirror-pairs, were described by Vulliamy as 'after the antique', and may have been inspired by the famous Medici lions in Florence, though the lions on the clocks are lying down rather than standing. While the two pairs supplied by Delafontaine were of related design, they were in two sizes, the smaller being available by 1798 while the larger model first appeared in 1801. It is the larger model that features on clock No. 405 in the current sale. [3]Thanks to the survival of the relevant Clock Book in the collection of the British Horological Institute, there is detailed information on the craftsmen and suppliers employed by Vulliamy to make this clock and what they were paid. [4] The largest individual payment was £6-18s to Mr Day for the marble case, while Jackson received £5-10s for the timepiece movement with Vulliamy's characteristic half-deadbeat escapement. Basic casts of the two lions (from Delafontaine's models) were supplied by the brassfounder Barnett for a modest £1-2s-6d, but Houle charged £5 for chasing them. Seagrave was paid a total of £3 for gilding various elements, while several other craftsmen received smaller sums. [5] The clock was finished by 19 January 1808 when it was sold to the Duke of Clarence, younger son of George III and later King William IV, for 42 guineas (£44-2s), including a stand and glass shade. However, it was soon returned by the duke and sold again (at the same price) to R. Pole Carew Esq. on 30 March 1809. [6] The buyer was presumably Reginald Pole Carew (1753-1835), then Member of Parliament for Fowey in Cornwall, who had inherited an estate at Antony in Cornwall, near Plymouth. Following the death of his first wife, he had married again in May 1808, to Caroline, daughter of Lord Lyttelton, and it is possible that the purchase of the clock was part of a refurbishment of his large country house at Antony. [7]It should be noted that the records of sale for this clock in both 1808 and 1809 describe it as having a black marble case with gilt ornaments but bronze lions, rather than black and white marble and gilt lions as now seen. That might suggest later alterations, but an earlier clock of this pattern, No. 389, is also described as having a black case, although it is black and white like No. 405. On the other hand, its lions are bronzed in conformity with the description, and there is consequently no reference to gilding in its Clock Book entry. The fact that the corresponding entry for No. 405 shows a significant payment for gilding to Seagrave confirms that any changes from the original specification for No. 405 were carried out during manufacture and not subsequently. [8] Notes1. For a brief history of the Vulliamy watch and clock makers, see entry in The Oxford Dictionary of National Biography (2004).2. A full account of the production of these sculptural clocks is A. P. Ledger and Roger Smith, Benjamin Vulliamy and the Derby Porcelain Manufactory, 1784–1795(Derby: Museums and Art Gallery, 2007).3. For a detailed account of the design and production of Vulliamy's lion clocks, see Roger Smith, 'Vulliamy Lions: their designers and modellers', Furniture History, vol. LVI (2020), pp. 69-82.4. British Horological Institute, Vulliamy Records, Clock Book vol. 1 (1797-1809).5. Day, Jackson and Houle are listed in the Vulliamy Watch Day Books as Mr Day, statuary etc, Brewers Row, Westminster; Mr Jackson, clock maker, 11 Chapel Row, Spa Fields; Arthur Hoole (sic), 1 Middle New Street, Fetter Lane. (The National Archives, C104/58/2, extracts published in Francis Wadsworth, 'Some early 19th Century Workmen', Antiquarian Horology, Summer 1991, pp. 401-12.) 6. The National Archives, C104/58/2, Day Book 32, 19 January 1808; Day Book 33, 30 March 1809.7. Antony house is now in the care of the National Trust. For brief biographical details of Reginald Pole Carew MP, see his Member Biography in The History of Parliament (online).8. No. 389 was sold by Bonhams 11 J... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 7
A rare mid-19th century French carriage clock with jewelled chaff cutter escapement and hour repeatDent, Paris, numbered 2437The one-piece case surmounted by an elegantly turned handle on vase-shaped uprights over a large rectangular escapement observation window, three bevelled glazed panels and a solid rear door with hinged shutter to reveal the winding and hand-setting arbors, on a moulded base. The white enamel Roman dial with light blue minute ring framing the dark blue Roman numerals and blued steel trefoil hands, signed below VI Dent a Paris. The twin barrel movement with jewelled chaff cutter escapement, three arm gilt balance and extremely delicate arbors throughout. The frontplate numbered 2297, the backplate signed Dent a Paris and numbered 2437, the base repeat numbered. Ticking, striking, and repeating on a bell, together with a double-ended winding key. 16cms (6ins) highThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 38
Carved as a landscape scene with a pagoda in the upper left hand corner the central image of the scene depicts a large elephant together with an attendant. Covered wearing a tasseled saddle the elephant is supporting a treasure vase (baoping). The stone is of white tone and mounted as the lid in a gilt-copper box engraved with flowers.
Lot 37
The lion dog is shown seated on its hind legs, neatly tucked beneath its stomach with its scrolling tail and curling brows, positioned next to an archaic Gu-form vase. The vase of flattened rectangular form with flared mouth is carved to the centre with an imposing elaborate taotie mask motif, surrounded by carved key fret design. The zitan wood stand heavily carved with openwork and lingzhi fungus reaching continuously up to surround the feet of the dog and levelled in a flat support under the vase. Provenienza: - C.C. TIH Gallery Princes Building Hong Kong 1973 - Private American Collection Note Compare with the jade group carved with a lion and a Gu vase on a wooden stand in The National Palace Museum in Taipei, accession number ??002792N000000000.
Lot 110
Beautifully shaped rising from a high foot, with a globular body, long neck and flared rim, it is marvelously painted with Qianjiang enamels depicting the hundred antiquities, on the back it bears inscriptions including the signature of the artist Xu Pinheng (? ??) and the cyclic date ji chou (??) corresponding to 1889; On the neck it has two beautiful elephant-head handles; in the centre of the base is the impressed apocryphal seal mark of Emperor Tongzhi in red. Provenance: -Private collection, Italy Catalogue notes: Xu Pinheng was an artist registered in the Imperial Kilns during the reign of Guangxu, considered a Master of the Qianjiang style on porcelain. His painting speciality in the Qianjiang style was undoubtedly antiquities. The present vase is an extraordinary example of his painting style, made even more incisive by its powerful shape and large size. See in particular the vase of the same year (1889), with a similar stylistic rendering, illustrated in the book 'Qianjiang Ware in the Late Qing Period', editor in chief Xu Jinfan and Cheng Bing, Shanghai 2011, pp. 204-205 no. 81. See in the same book also p. 203 no. 80, p. 206-208 no. 82, 83 and 84 and p. 210 no. 86.
Lot 123
Archaic in form, with a circular mouth and tapering neck decorated with a fine band with floral motifs in iron red, the square body is well painted on each face with polychrome enamels with a character and with inscriptions in iron red; the low ring-shaped foot is decorated with a Greek also in iron red. The centre of the base bears an eleven-character mark in iron red that reads 'Respectfully Painted by the Art Porcelain Factory for the Revolutionary Committee' (???????????). Provenance: -Private collection, Europe. Catalogue notes: The word 'Cong' is an archaic term and refers to a rectangular jade ritual vase with a round mouth, this form is one of the most famous in Chinese culture and has been taken up by almost all dynasties up to the present day. This vase is noteworthy for its extraordinary pictorial quality on a porcelain from the People's Republic of China period; the characters depicted are taken from works extolling Chinese Communist Propaganda in the second half of the 20th century; each work taken up is part of the 'Eight Model Works' approved by the Communist Party, as well as the 'Red Classics': 1-"Ode to Longjiang" (Longjiangsong, ???), 2-"On the Quays" (Haigang, ??) 3-"Fighting on the Plain" (Pingyuanzuozhan ,?? ??) 4-"The Taking of Tiger Mountain" (Zhiqu Weihushan , ?? ???) Among the top ten porcelain factories in Jingdezhen, the Art Porcelain Factory is one of the best known names in the city, having operated in the market since 1958, the year of its foundation, exerting considerable influence until 1998, when it closed for renovation. As porcelain manufacture was managed by the state, official rules were established for the production of each company, each of which had its own role. The Art Porcelain Factory concentrated on exhibition porcelain and coloured handmade porcelain. It was commissioned various works by the Party and the Revolutionary Committee, an indication of the prestige it enjoyed in the second half of the 20th century.
Lot 36
The vase is naturally carved to represent a blossoming magnolia flower with buds rising from below towards its large curling petals. Provenance: -John Sparks LTD, 128 Mount Street London, according to the label. Catalogue notes: For a related magnolia form jade vase see, Sotheby’s, sale number L14210, Fine Chinese Ceramics & Works Of Art ,14th of May 2014, London, lot. 5
Lot 39
Carved as an elephant standing on all fours with its head turned towards its right, the ears are foliate and almost lotus leaf-like in appearance. The elephant is covered wearing a tasselled saddle rug depicting a bat amidst scrolling clouds and waves. On top of the elephant two boys are shown holding a treasure vase (baoping), in their other hand one holds on to a ruyi sceptre and the other a lotus blossom. Provenance: From a distinguished family. Note di catalogo: For a related white jade elephant group carving see the example in the Palace Museum in Beijing from the Qing Court Collection illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Hong Kong, 2008, pag. 178, pl. 137. See also the example in the same book again from the Qing Court Collection, pag. 179, pl. 138. Elephants (xiang) were a popular motif in the Qing court for their auspicious associations with peace, prosperity and good fortune. The motif of children carrying a pot on the back of an elephant evokes the rebus tai ping jing xiang ('peace on earth' or 'peace and prosperous future'). See the piece sold by Sotheby’s, sale number HK0517, Fine Chinese Ceramics And Works Of Art, Hong Kong, 8 April 2014, lot. 3064.
Lot 113
* Only room or telephone bids are accepted for this lot. Rectangular in shape, it is extraordinarily painted on the orange-peel surface in light shades of green, blue, ochre and grisaille, typical of the Qianjiang style, where a sinuous river landscape is depicted beneath hills dotted with groves. At the top of the inscription is the signature of the artist Cheng Men (??) and the cyclic date gui wei (??) corresponding to 1883. Provenance: Private collection, Italy. Catalogue notes: Qianjiang literally means "pale umber" and originates from a genre of painting on paper that arose during the Yuan dynasty (1279-1368) in China and was aimed at the literati class. The term Qianjiang, as far as porcelain is concerned, refers to a style that emerged at the end of the 19th century, probably during the reign of Emperor Tongzhi (1861-1875), which interested many artists of the time, some even being part of the Imperial Kilns. This style of decoration on porcelain is closely related to the landscape paintings on paper and silk by master Huang Gongwang (1269-1354). Cheng Men (1833-1908), considered to be one of the three Great Masters of Qianjiang on porcelain together with Jing Pinqing and Wang Shaowei, is assumed to have been the father of this particular style, of which he is certainly the pioneer and most important exponent. An expert in calligraphy and painting, he worked for the Jingdezheng Imperial Kilns and became extremely well-known throughout China during the reigns of Xienfeng and Tongzhi. He was strongly influenced by the great masters from the Tang dynasty to the Qing dynasty. His works are always characterised by light colours for the areas and dark ink for the outlines, following the styles of the famous artists Huang Gongwang and Mi Yuanzhang. His paintings covered a wide variety of themes, among which we particularly find landscapes, but also figures, flowers, fish, insects, birds and beasts. Compare this plaque with Cheng Men's works illustrated in the book 'Qianjiang Ware in the Late Qing Period', editor in chief Xu Jinfan and Cheng Bing, Shanghai 2011, pp. 106-147, in particular pl. 2, 5, 8, 9, 10, 15 (15-1, 15-2, 15-3). Compare also the landscape vase in the Muwentang Collection illustrated in "Chinese Porcelain of the Republic Period", Simon Kwan, Hong Kong 2008, p. 62, pl. 2. * Only room or telephone bids are accepted for this lot.
Lot 44
Carved in the form of a 'Gu' vase it is decorated in scrolling archaistic designs and protruding flanges. At the centre portion a taotie mask is mirror on either side.? Provenance: -Private Collection, Germany. Catalogue notes: Interestingly this vase has been carved and assembled in two portions.
Lot 115
With an unusual squared shape rising from a trapezoidal foot, tapering body and flared neck, it is masterfully painted on each side with a different subject, typical of the Qianjiang style a landscape, a bird among leaves, a man in a garden and antique objects; on the side with the character in the top left-hand corner it bears an inscription with the signature of the artist Ren Huanzhang (???). On HIS wooden base. Provenance Private collection, Italy Catalogue notes: Ren Huanzhang is a renowned artist of the late Qing dynasty and is considered a master of the Qianjiang style on porcelain. Registered at the Imperial Kilns during the reign of Emperor Guangxu, he was active from 1874 to 1902. He boasts a unique painting style and is good at a variety of themes, including landscapes, human figures, flowers and birds. His character paintings are characterised by carefully defined outlines of human figures through small brush strokes. His depictions of birds and flowers follow the style of Hua Yan, characterised by a lively and refreshing, but not reserved atmosphere. The landscapes, on the other hand, follow the style of the great Tang Yin and boast a wide range of scenes. He was also good at writing various scripts. See The Illustrated Works in 'Qianjiang Ware in the Late Qing Period', editor in chief Xu Jinfan and Cheng Bing, Shanghai 2011, pp. 175-184, no. 53-62. This vase is very rare not only because of its shape and size, but especially because of the variety of subjects depicted on each face, including antiquities, very rarely depicted by Ren Huanzhang.
Lot 93
* Only room or telephone bids are accepted for this lot. Beautifully shaped with a narrow neck in the centre and a broad shoulder that gradually narrows to the foot, it is finely painted on the body and neck with lotus flowers in famille rose shades, which stand out against the lime green background. The large central flower is supported by tendrils of waving leaves held by bats with outstretched wings, beneath which appear the Two Golden Fishes and the Infinite Knot. Shou characters, peaches and Buddha's hands enrich the scene; a band of ruyi and classical greek encircles the shoulders and a band of petals tightens around the base. The inside of the vase is covered with a light turquoise glaze from below the gilded, iron-red rim; in the centre of the base, also turquoise, is the six-character seal mark in iron-red of the Jiaqing Emperor. Provenance: -Monique Mardellis, London - according to the label. -Private collection, Spain. Catalogue Notes: Haitangping is the Chinese term for this particular silhouette, meaning 'begonia-shaped'. See the Jiaqing mark and period vase of the same form and similar decoration, but painted in gold on a coral red ground, see Christie's, live auction 2861; The Imperial Sale; 01 June 2011, Hong Kong; lot. 3654. The decoration on a lime green ground with famille rose enamels is typical of the Jiaqing period, in direct continuity with the imperial style prevalent during the previous Qianlong reign. This rare vase is rich of auspicious symbols such as Shou characters, peaches and Buddha's Hands, emblems of health, happiness and long life. The Two Golden Fishes and the Infinite Knot are two of the eight bajixiang, the eight auspicious symbols of Buddhism. For a Jiaqing mark and period piece, famille rose on a lime green ground, decorated with lotus flowers amidst auspicious characters and auspicious symbols, see the vase from the Qing Court Collection at the Palace Museum in Beijing illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p. 195, pl. 172. See also the vase, also from the Qing Court Collection, at the Palace Museum in Beijing illustrated in the same book on p. 196, pl. 173. See also the two famille rose vases on a lime green ground in the collection of the National Palace Museum in Taipei, object number ??004090N0000000 and object number ??004091N0000000. See also the lime green and pink family wall vases with auspicious symbols also in the collection of the National Palace Museum in Taipei, object number ??000615N0000000, image code C1B000615N0000000PAB; object number ??000616N0000000 and object number ??000617N0000000. See also the vase sold by Christie's, live auction 3220; The Yiqingge Collection of Chinese Ceramics; 29 May 2013, Hong Kong; lot. 2026. For a marked example from the Qianlong period, in the Famille Rose style on a lime green ground, see the vase in the Palace Museum, Beijing illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p. 141, pl.123. * Only room or telephone bids are accepted for this lot.
Lot 71
A group of six miniature piecesQing Dynasty, 19th centuryComprising of a blue glazed seal-paste box and five miniature vases; one with tea dust glaze, one black glazed, one blue glazed, one powder-blue glazed, and one with gilt decoration over a powder-blue glaze(the powder-blue vase with a minor chip to rim)Hight: 15 cm (larger)
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653685 item(s)/page