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Lot 107
CARNELIAN AGATE 'PHOENIX AND PEACH' VASE QING DYNASTY, 19TH CENTURY 清 瑪瑙雕靈芝紋瓶 the receptacle gnarled tree trunk cleverly carved from the white part of the agate, beside a lingzhi fungus growing as a smaller receptacle, the peaches and other lingzhi fungus branching from the carnelian stone, a large phoenix perching on the trunk(12.5cm wide)
Lot 113
WHITE JADE 'BOY AND RUYI' WATER POT QING DYNASTY, 18TH CENTURY 清 白玉雕平安如意童子水丞 carved as an oval vase with a ruyi cloud mouth rim, flanked and carved in high relief on one side with a joyous seated boy holding a lingzhi sprig, the opposite with a chi dragon crawling upwards, further incised with a ruyi cloud pattern on both sides, the stone of creamy white colour with light russet patches(7.5cm wide )
Lot 152
OX-BLOOD-GLAZED LANGYAO MEIPING VASE QING DYNASTY, 18TH-19TH CENTURY 清 紅釉郎窯小梅瓶 the high shouldered baluster body rising from a spreading foot to a waisted neck and terminating to a flared rim, covered overall with a rich red glaze thinning on the mouth, the foot suffused with hints of blue and lavender colours, a network of fine crackle throughout, the base with an ivory white glaze with a fine network of crackle, with a carved wooden lid(13cm high)Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018) Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996. The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain. Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents. Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army. When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax. The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at our saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022.Note: a slightly larger (17.8 cm high) red-glazed vase similar in the Meiping shape and ox-blood colour, dated to the Kangxi period, is in the collection of the Metropolitan Museum of Art, New York, accession number: 14.40.70
Lot 153
TURQUOISE-GLAZED HANDLED VASE QING DYNASTY, 19TH CENTURY 清 孔雀綠釉獸耳瓶 rising from a short foot to globular body, waisted neck and wide flared mouth, two makara heads with water emerging from mouth flanking the neck forming a pair of loop handles, covered overall and save for the base with a translucent bright turquoise crackled glaze, the base covered in a thin layer of transparent glaze and revealing the greyish-white body(28cm high)Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018) Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996. The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain. Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents. Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army. When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax. The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at our saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022.Note: a comparable handled vase, dated to the Kangxi period, was sold at Christie's South Kensington, 5 May 2014, lot 615
Lot 154
SANG-DE-BOEUF BOTTLE VASE QING DYNASTY, 18TH-19TH CENTURY 清 紅釉天球瓶 sturdily potted from a recessed foot rising to a bulbous body and straight long neck, applied overall with a thick red glaze thinning on the mouth rim revealing the creamy body, the base covered in an ivory white glaze with a network of fine crackle(39cm high)Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018) Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996. The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain. Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents. Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army. When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax. The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at our saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022.
Lot 155
BLUE AND WHITE AND UNDERGLAZED-RED BOTTLE VASE 20TH CENTURY 二十世紀 青花釉裏紅三多紋膽瓶 the globular body supported on a slightly flared foot, rising to a long straight neck, painted with fruits borne on foliage underneath bands of ruyi, key-fret, and plantain leaves on the neck(37cm high)Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018) Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996. The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain. Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents. Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army. When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax. The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at our saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022.
Lot 172
LONGQUAN CELADON-GLAZED VASE SOUTHERN SONG DYNASTY 南宋 龍泉青釉瓶 the pear-shaped body supported on a slightly tapered foot and rising to a tall cylindrical neck and galleried rim, covered overall in an even blue-green glaze save for the foot ring(15.6cm high)Provenance: Private Canadian collection
Lot 173
LONGQUAN CELADON YUHUCHUN VASE EARLY MING DYNASTY 明早期 龍泉窯青釉劃花花卉紋玉壺春瓶 the elegantly proportioned pear-shaped body rising from a slightly splayed foot, sweeping up to a tall waisted neck and an everted lipped rim, the body boldly carved with large flowers borne on an undulating stem also issuing furled leaves, above a broad lotus lappet band enclosing ruyi heads, with a key-fret border at the foot, the shoulder encircled by a pendent ruyi-head border, with classic scroll, key-fret and upright lappet bands at the neck, applied overall with an even olive-green glaze save for the foot ring(31.5cm high)Provenance: Private Canadian collection; formerly in a private Hongkongese collection, the late collector acquired it from Hong Kong before migrating to CanadaNote: five comparable Longquan celadon-glazed yuhuchun bottle vases incised with flower motifs and dated to the Ming dynasty are in the collection of the National Palace Museum, Taipei, museum number: 故瓷9976, 11899, 14574 and 中瓷1404, 3978; another Ming dynasty example of similar shape and colour of the glaze is in the Summer Palace collection. A further comparable example dated to Ming dynasty, Hongwu period, was sold at Sotheby's New York, 20 March 2019, lot 607.
Lot 185
BLUE AND WHITE RECTANGULAR VASE QING DYNASTY, KANGXI MARK BUT 19TH CENTURY 清 康熙款 青花花卉人物紋方瓶 of four-sectioned baluster form with an everted mouth rim, one wider side of the exterior painted with three figures in a garden setting, the other three sides painted with different blossoming flowers on rocks, the neck similarly decorated, the base inscribed with a six-character apocryphal Kangxi mark in underglaze blue(30cm high)Provenance: formerly in a private English collection
Lot 186
BLUE AND WHITE 'IMMORTALS' GU VASE MING DYNASTY, CHONGZHEN PERIOD 明崇禎 青花雙仙圖花觚 of trumpeted beaker form, animatedly painted around the body with the Daoist immortal Liu Haichan teasing his three-legged toad with the help of Han Xiangzi buoyantly playing music with a flute, all within two incised bands near the foot and mouth(39cm high)Provenance: Private European collectionNote: Compare to a blue and white gu vase, painted in the same theme, slightly shorter (36.3cm), dated to Ming dynasty Chongzhen period, sold at Johan's Beijing, 15 April 2018, lot 22
Lot 199
LARGE BLUE AND WHITE VASE WANG XILIANG (1922-), DATED 1991AD 一九九一年 王錫良款 青花奇峰蒼松圖撇口大瓶 painted on the ovoid body with a continuous landscape with pine trees and dramatic peaks from afar, inscribed on one side with a poem, signed 'Wang Xiliang', sealed, and dated to the year of Xin Mo, corresponding to 1991AD(62cm high)
Lot 205
COPPER-RED-GLAZED VASE QING DYNASTY, 18TH-19TH CENTURY 清 郎窯紅釉尊 sturdily potted with a deep bulbous body, waisted neck and everted rim, covered overall with a deep red glaze thinning on the mouth and neck with white streaks, suffused with fine craquelure throughout, the base covered with a ge-type glaze(37.8cm high)Provenance: Private Scottish collection, has been in the family for over three generations
Lot 206
FLAMBÉ-GLAZED BOTTLE VASE QING DYNASTY, 18TH-19TH CENTURY 清 窯變釉天球瓶 heavily potted with globular body rising to a long cylindrical neck, covered overall with an uneven red glaze suffused with lavender and blue streaks, the glaze thinning on the mouth revealing a yellowish-brown coloured body, the thick glaze pooling and forming the foot, the unglazed base revealing the brownish buff body(37.3cm high)Provenance: Private Scottish collection, has been in the family for over three generations. The base with a handwritten label 'Alloa House Sale Earl of Mar & Kellie 1957'
Lot 207
APPLE-GREEN CRACKLE-GLAZED VASE QING DYNASTY, QIANLONG PERIOD 清乾隆 綠釉仿金屬器形雙龍耳瓷瓶 the lobed globular body supported on an octagonal foot, the rectangular neck surmounted on two oval steps and terminating into a foliate everted rim, flanked by two dragon-headed loop handles, covered overall with an apple-green glaze suffused with a fine network of russet colour(21.5cm high)Provenance: formerly in a private French collection
Lot 210
TEADUST-GLAZED OLIVE-FORM VASE QINALONG SIX-CHARACTER MARK AND POSSIBLY OF THE PERIOD 乾隆款或到代 茶葉末釉橄欖瓶 of ovoid form, with gently swelling sides rising to a subtly tapered opening, covered overall in a rich golden olive-green glaze speckled with yellow and brown and thinning to a deep caramel tone at the mouth, with the foot rim dressed in a dark brown wash, the recessed base impressed with a six-character Qianlong mark(13.5cm high)Provenance: formerly in a private English collection, acquired from Hong Kong in the early 1990s; the base is inscribed with '1.742' in a red-paint.Note: Teadust-glazed vases of this ovoid form are extremely rare. Other examples of teadust-glazed vases of this form include one exhibited at the Arts Club of Chicago, Chinese Art from the Collection of James W. and Marilynn Alsdorf, 1970, no. c73, and subsequently sold at Christie’s Hong Kong, 23 March 1993, lot 741; and another sold at Sotheby's London, 12 June 1990, lot 283. Another example exhibited at Christie’s London, An Exhibition of Important Chinese Ceramics from the Robert Chang Collection, 2-14 June 1993, Catalogue no. 52, and subsequently sold at Christie's New York, 25 Mar 2022, lot 1049
Lot 211
GE-TYPE CRACKLE-GLAZED VASE QING DYNASTY, 18TH-19TH CENTURY 清 仿哥釉瓶 of spindle shape, the high shouldered body rising smoothly to a waisted neck and terminating to a flared rim, the exterior covered in a thick layer of light greyish glaze with greenish tinge suffused with a network of russet crackle, the sunken base applied with white glaze(27.5cm high)
Lot 213
CELADON-GLAZED 'MAKARA' HANDLED VASE QING DYNASTY, YONGZHENG MARK BUT 19TH CENTURY 清 雍正款 粉青釉雙獸耳瓶 the bulbous body supported on a splayed foot and terminating to the wide mouth, the neck applied with makara (dragon fish) handles, covered overall with a celadon glaze, leaving the foot ring unglazed revealing the fine porcelain body, the base inscribed with a six-character apocryphal Yongzheng mark in underglaze blue(26cm high)Provenance: Private English collection, SurreyNote: a paper label on the base "no.1863"
Lot 220
GE-TYPE CRACKLE-GLAZED SQUARE VASE 仿哥釉饕餮耳方壺 of hu form with squared sections, raised from a splayed foot and terminating in a flared mouth, the foot, the shoulder flanked with two taotie masks and ring handles on two sides, the vessel covered overall in a thick layer of glaze with black crackles, the foot ring painted in brown, the base with a six-character reign mark in underglaze blue but drilled through(32.5cm high)
Lot 223
GROUP OF THREE WUCAI WARES QING DYNASTY, 19TH CENTURY 清 各式五彩花鳥樹紋瓶、碗及水丞（共三件） comprising: one small bottle vase decorated with birds and chrysanthemums; one bowl with pine trees and plum blossoms, the base inscribed with a square mark in underglaze blue; and one water pot with three birds flying amidst plum blossoms(the vase: 15.5cm high; the bowl: 11.5cm diameter; the jar: 10.5cm wide)
Lot 224
WUCAI OVOID VASE QING DYNASTY, 19TH CENTURY 清 五彩西廂記人物故事圖橢圓形瓶 of flattened form, the four-lobed body finely painted in cartouches with scenes in the Romance of the Western Chamber, where the female protagonist Cui Yinyin, accompanied by her servant girl Hong Niang, visiting her lover Zhang Sheng studying in a pavilion in a garden setting, the narrower lobes painted with merchants and officers in stylised roundels, the neck similarly decorated, all against a flower-and-butterfly ground(42.5cm high)
Lot 226
WUCAI FOUR-SECTIONED 'WARRIORS' VASE QING DYNASTY, 19TH CENTURY 清 五彩武士圖菱形瓶 sturdily potted, supported on a splayed foot, the four-sectioned, diamond-shape vase with straight sides, topped with a short curvy neck and terminated to an everted rim, each side of the body finely painted with a different warrior, all below a band of plantain leaves(48.5cm high)Provenance: Private English collection, Surrey; acquired from a private Scottish collection
Lot 227
WUCAI 'ZHONG KUI AND SISTER' VASE QING DYNASTY, 19TH CENTURY 清 五彩鍾馗嫁妹圖瓶 the exterior finely decorated with the legendary "demon queller" Zhong Kui leading his sister to her new home accompanied by an escort of demons, all below a band of Daoist attributes around the shoulder, the neck painted with meandering red clouds(31.5cm high)Provenance: Private English collection, Surrey
Lot 235
FAMILLE ROSE 'CRANES AND PHEASANTS' VASE QIANLONG MARK BUT REPUBLIC PERIOD 民國 乾隆款 琺瑯彩開光松鶴雉鷄紋螭耳瓶 with two cartouches on each side of the body painted with cranes and pheasants, reserved on a red-enamelled ground depicting flower heads borne on tendrils, set with a pair of moulded chi-dragon as handles on the shoulders, the base inscribed with a four-character Qianlong mark within double squares in blue(19cm high)
Lot 239
FAMILLE ROSE SGRAFFITO-GROUND 'FRUITS' VASE, YUHUCHUNPING QING DYNASTY, QIANLONG MARK, 18TH-19TH 清 乾隆款 白釉軋道粉彩過枝桃及佛手紋玉壺春瓶 delicately potted from a short flared foot rising to a bulbous body, waisted neck and everted mouth, painted on one side with a branch bearing peaches, leaves and flowers, reverse similarly decorated but with Buddha's Hands, all against a white sgraffito ground incised with swirling hachured lines, the base inscribed with a six-character Qianlong mark in underglaze blue(28cm high)Provenance: Private European collection
Lot 241
LARGE FAMILLE ROSE 'FOREIGN TRIBUTE BEARERS' VASE QING DYNASTY, QIANLONG MARK, 18TH-19TH CENTURY 清 乾隆款 粉彩胭脂紫地通景進寶圖螭龍耳大賞瓶 the tapered cylindrical body below a waisted neck and flaring rim with stylised flowerheads amongst scrolling foliage on a ruby ground, flanked with two pale blue chi-dragon handles, the central band painted with a continuous scene of foreigners on horses, extraordinary animals, and foot traveling through a dramatic shanshui landscape, they hold in their hands precious produce and objects, including vases with ruyi, coral, jewels, fruits and many others, further loaded with valuable gifts in carrying poles and wheeled carts as tributes, the base inscribed with a six-character Qianlong mark in iron-red on a turquoise ground(76.2cm high)Provenance: Private European collectionNote: Compare to a pair of similarly themed vases, but in yellow ground and slightly smaller (68cm high each), Jiaqing mark and period, sold at Christie's London, 15 May 2012, lot 318
Lot 250
WUCAI 'DRAGON' SLEEVE VASE QING DYNASTY, 18TH CENTURY 清 五彩龍紋筒瓶 the elongated body extending towards a short neck and terminating into an everted mouth rim, the exterior painted with two sinuous four-clawed dragons in green and red, all below a mountain-and-wave decoration around the neck(43.5cm high)Provenance: Private London collection
Lot 260
FAMILLE ROSE 'PRUNUS AND BAMBOO' VASE QIANLONG MARK BUT REPUBLIC PERIOD 民國 乾隆款 粉彩梅竹雙清瓶 of baluster form, delicately painted to one side with blossoming prunus amidst bamboo sprigs, the reverse inscribed with a poem, the base inscribed with a four-character Qianlong mark in iron-red(20.2cm high)
Lot 265
QIANJIANG ENAMELLED BALUSTER VASE 20TH CENTURY 二十世紀 畢伯濤款 ‘南昌程興盛製’底款 淺絳彩‘東風舞燕斜’瓶 painted with a magpie in a windy sky amongst swaying wisteria, the reverse titled, dated to the Bing Zi year, corresponding to 1936AD, signed Bi Botao (1886-1961) and sealed, the base further inscribed with a six-character studio mark 'Nanchang Cheng Xingsheng zhi (made by Cheng Xingsheng in Nanchang)'(23.5cm high)
Lot 266
FAMILLE ROSE 'WATERFALL' VASE 20TH CENTURY 二十世紀 汪桂英款 平山草堂底款 粉彩松雲觀瀑圖賞瓶 the bulbous body supported on a splayed foot and terminating into an everted rim, the exterior painted on one side with a waterfall and large pine trees in a mountainous landscape, the other side with small figures on sampans on the river, inscribed with the title and the year of Xin Chou, corresponding to 1991AD, and signed Wang Gui Ying (1931-2012), the waisted shoulder flanked by two moulded bats, the base inscribed with a four-character 'Ping Shan Cao Tang' mark in square in iron-red(40.5cm high)
Lot 273
FAMILLE ROSE 'BUFFALO AND BOY' VASE 20TH CENTURY 二十世紀 菊亭款 粉彩童子騎牛賞瓶 thinly potted, the exterior finely painted with a herdboy riding a buffalo in a paddy field, all under a large tree, the top right inscribed and including the year of Bing Zi, corresponding to 1936, the base inscribed with a two-character mark 'Ju Ting' in a square in iron-red(12.1cm high)
Lot 278
PATINATED BRONZE VASE WITH MIXED METAL ACCENTS MEIJI PERIOD 明治 禽鳥花卉紋嵌銅花瓶 of baluster form, the exterior decorated with a continuous scene of draping branches bearing blossoming flowers, one side with a tree perched by a bird, all applied in silver shakudo and gold takazogan mixed-metals, all against a finely chiselled ground, the neck further adorned with two moths with flowers in tendrils, the base unmarked(24.1cm high; 1.98kg)Provenance: Private Scottish collection
Lot 284
LARGE BRONZE USUBATA VASE EDO PERIOD 江戶 整珉鑄款 龍紋銅薄端 constructed in three parts comprising a base, main body and rim, the stepped circular base set with four adorned elephant heads as feet further supporting a ring stand, the body of baluster form flanked by large pairs of elephant heads with sinuous trunks as handles, each side decorated with a winged-dragon in relief, the namesake 'thin-rim' with openwork swastikas around the edge, the upper surface plain, lower with a band of auspicious clouds in relief, all decorations reserved on a geometric ground, underside of the main body marked 'Seimin ju' (cast by Seimin)(50.4cm; 8kg)
Lot 42
CLOISONNÉ ENAMEL 'LOTUS' VASE LATE QING DYNASTY-REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 老天利製刻款 銅胎掐絲琺瑯纏枝蓮紋賞瓶 the lobed globular body supported on a splayed foot, the slender neck terminating into an inward mouth rim, each lobe of the body finely decorated with a lotus in tendrils, the neck similarly adorned, the ridged neck and the base with gilt highlights, the base incised with a four-character workshop mark 'Lao Tian Li Zhi (Made by Laotianli)'(9.7cm high; 104g)
Lot 56
GROUP OF THREE SILVER AND GILT COPPER ALLOY FIGURES OF BUDDHIST MASTERS QING DYNASTY, 19TH CENTURY 清 銀質銅鎏金密勒日巴、第三世噶瑪巴讓烱多傑、及喇嘛座像（一組三件） comprising: a figural group of Milarepa flanked by a deer and a dog, all seated on lotus thrones issuing from a domed circular lotus podium; a seated figure depicting the Third Karmapa, Rangjung Dorje (1284–1339), he wears a Karmapa hat and rests both hands on his knees; and a seated lama with right hand in bhumisparsha mudra, left holding a long-life vase before his abdomen, all bases sealed with plaques carved with crossed vajra(largest: 14.7cm high; 1119g)Provenance: Private collection, London; formerly in a private Italian collection
Lot 122
A George III Silver Caster, Maker's Mark WC, London, 1795, vase-shaped and on square base, the sides and shoulder fluted, the detachable pierced cover with wrythen knop finial, 21cm high, 8oz 10dwt, 264grFully marked on foot. The cover marked with maker's mark and lion passant only. There is surface scratching and wear, consistent with age and use. There are some hammer marks on the foot, possibly due to an erasure.
Lot 216
A Royal Worcester Hadley Ware Vase, circa 1905, of twin-handled pear shape, painted with fruiting and blossoming branches within a green and gilt border, printed mark in green, 9cm high; A Similar Ovoid Vase, 1922, printed with roses, printed mark in puce, 10cm high; and A Royal Worcester Style Porcelain Coffee Service, early 20th century, painted by G Delaney with still lifes of fruit on a mossy bank, comprising six coffee cups, saucers and tea plates, painted marks (one tray)Some typical minor surface wear.
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