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Lot 479
A Chinese porcelain famille verte powder blue vase, late 18th century, of baluster form and decorated with two shaped reserves of seated figures playing a xiangqi, powder blue ground, concentric circles to underside, 26cm high with a selection of further Chinese porcelain to include a pair of blue and white baluster vases and cover, an 18th century blue and white saucer dish, a prunus patter ginger jar and cover and pair of stoneware ginger jars (7)For condition information please view this lot on our website HERE
Lot 480
A Chinese porcelain famille verte vase, Jiaqing mark but later, of baluster form decorated with a continuous scene depicting a lady in a wheeled chair with a attendee following a warrior on horse back before two figures each supporting a processional lantern, six character Jiaqing kaishu script mark, recessed base, 30.5cmFor condition information please view this lot on our website HERE
Lot 494
A pair of Japanese bronze vases, Meiji period (1868-1912), each of compressed globular form raised on a pedestal foot and decorated in relief with birds and prunus branches, signed to the undersides, 9cm high with a Chinese bronze archaic style vase, 8.5cm high, a further Chinese bronze vase, 8.5cm high and a Japanese crane candlestick, 18cm high (5)
Lot 496
A selection of Asian objects of virtue to include a pair of Chinese carved sages, 15.5cm high, a Chinese Cloisonne box and cover, a Japanese carved ivory bangle, Meiji period, a Chinese cloisonne vase, 10cm high, a pair of carved stone Indian Bodhisattva's, a Japanese bronze grass hopper and four smaller bronze models and a Cinnabar lacquered box and cover (12) Please note: Trevanion & Dean does not ship items containing ivory outside the EU.The government have proposed legislation to create a UK law to ban the sale of all ivory which sources suggest will come into effect by the end of 2019. Please note this means that this lot is legal to sell now but may not be in the future.
Lot 505
A Chinese porcelain flambe glazed vase bearing Qianlong seal mark, the vase glazed in high fired tones of sang de boeuf, purple and blue hues, the vase of waisted cylindrical form rising from a cafe au lait glazed recessed base with unglazed foot rim to the central banded waist terminating with a tapered neck flanked by two ruyi shaped lugs, 21.5cm highFor condition information please view this lot on our website HERE
Lot 550
An early 19th century Coalport campana form vase, painted with panels of blooms on a gilt and cobalt blue ground, applied with two gilt loop handles, 19cm high, a second 19th century vase of tapering form, with floral panels on a cobalt blue ground, 16cm high (at fault), a pair of Coalport landscape dishes, with scroll border and two other Victorian plates (6)For condition information please view this lot on our website HERE
Lot 554
Four limited edition Royal Worcester figurines from ?The Jewels of Cleopatra? series, comprising: Cleopatra, a seated attendant, a vase of gold and a leopard, all numbered 437 of 500, the tallest 22cm high, freestanding on oval ebonised plinth base (5)For condition information please view this lot on our website HERE
Lot 568
A 19th century continental tea service, the pink service with a white border embellished with gilt, 39 pieces, four Austrian floral pattern ribbon plates, two conforming oval bowls, a Royal Worcester blush ivory posy vase with overhead handle, a second Royal Worcester fruit pattern vase, three Coalport Indian Tree cups and saucers, two Copeland cups and saucers, cobalt blue and a Chinese blue and white plate (Qty)
Lot 583
A Stuart crystal epergne, late 20th century, the central cone shaped cut glass vase embraced by three smaller examples within a silver plated mount and a circular bowl, 30cm high, along with an oval silver plated ice bucket with twin knob handles, 19cm high and an early 20th century silver plated lidded hot water jug, with angular horn handle, 23cm (3)
Lot 627
A selection of 19th century and later pewter wares, to include a Shrewsbury School Athletics presentation tankard dated 1871, a pair of Round Head pewter mugs, both with crest and monogram, two tankards with glass bases, a vase, of baluster form with tapered neck, stamped 'Selangor Pewter', 27.5cm high, a further mug, with a white metal plated cockerel and pheasant (at fault) (9)
Lot 414
A Royal Worcester three opening handkerchief bowl with ribbon design to top and puce mark to base, together with a Royal Worcester two opening vase with bamboo handle with green mark to base and a Royal Worcester urn with pieced design to top and floral design with puce mark to base dated 1922, height 28.5cm.
Lot 407
A Royal Worcester large bulbous gilded two handled vase with lovebird scene and blossom, with restored top, model no.871 with green mark to base dated 1884, height 27.5cm together with a Royal Worcester onion shaped vase with two gilded handles and owl design. Puce mark to base dated 1887. Height 18cm.
Lot 64
A Chinese celadon vase, 18th-19th century, of baluster form, incised with sprigs of peony above a false gadroon border, six-character Qianlong mark , 25cm high, wood stand and associated pierced and carved wood cover (3) Provenance: From a private collection in Buckinghamshire. 清十八至十九世纪 青釉刻花纹瓶 《大清乾隆年制》青花篆书款
Lot 210
A Japanese cloisonné vase, Meiji period (1868-1912), by Namikawa Yasuyuki (1845-1927), of hexagonal form on a slightly splayed circular foot with a flared mouth, decorated with a bird above a blossoming prunus tree surrounded by chrysanthemum against a black ground, the shoulder with florets in shaped panels, the mouth and foot similarly decorated with mounted silver rims, engraved mark 'Kyoto Namikawa' to base, 18.5cm high Provenance: Bonhams, Knightsbridge, 24 March 1993, lot 107.
Lot 35
A Chinese iron red vase, mid-20th century, of baluster form on a flared foot, painted with officials greeting an elderly woman below a pine tree in a garden, six-character Qianlong mark , 21.5cm high Provenance: Thomas Torrance (1871-1959), and thence by descent. 二十世纪中期 矾红人物故事图瓶 《大清乾隆年制》矾红篆书款
Lot 81
NO ONLINE BIDDING ON THIS LOT. PLEASE CONTACT US TO ARRANGE TELEPHONE BIDDING.此件拍品不参与网络竞投，请直接联系我们咨询竞投方式A Chinese imperial inscribed famille rose wall vase, Qianlong (1736-1795), well modelled and flattened at the back, the pear-shaped form on a short splayed foot, flanked by a pair of ruyi handles to the waisted neck, the body inscribed with an imperial poem appraising incense in a circular cartouche with a yuti mark followed by two iron-red seal marks reading Qianlong chen han (the Qianlong Emperor's own mark) and Weijing weiyi (be precise, be undivided), surrounded by scrolling lotus against a yellow sgraffito ground, 19cm high The poem is recorded in the Yuzhi leshantang quanji dingben [Definitive Edition of the Complete Works by His Majesty from the Hall of Pleasure in Goodness], Siku quanshu [The complete library in four sections] ed., vol. 30. 清乾隆 黄地轧道洋彩如意耳开光御题诗纹壁瓶 《乾隆辰翰》《惟精惟一》矾红篆书款 《大清乾隆年制》青花篆书款 诗题：一瓣名香静里焚，篆烟缕缕白如云。幽情未许旁人㑹，手自翻书到夕曛。 Wall vases, also known as wall pockets or sedan chair vases, can be traced back to the Wanli period (1573–1620) in the Ming dynasty, when examples can be found for flower displays on the wall. During the 18th century under the reign of the Qianlong Emperor (1735-1796), government support for arts and craftsmanship reached its peak, the quality of the refined material and the artistic innovation all representative of the emperor’s ambition. Wall vases, of all porcelain forms, became one of Qianlong’s favourite types and developed significantly during his reign. There are thirteen wall vases in varying glazes and forms on the wall of San Xi Tang (The Hall of Three Rarities), the emperor’s special study in Yang Xin Dian (Hall of Mental Cultivation) in the Forbidden City, where he housed his most prized possession: the calligraphic works comprising ‘Timely Clearing After Snowfall’ by Wang Xizhi, ‘Mid-Autumn’ by Wang Xianzhi and ‘Boyuan’ by Wang Xun (fig.1). There are 320 Qianlong wall vases recorded in the collection of the Palace Museum in Beijing and about 138 of them are inscribed with poems by the emperor. Only a few of these poems are from Yuzhi Leshan Tang quanji [The complete Works by His Majesty from the Hall of Pleasure in Goodness], which were written by him as Heshuo Bao Qinwang (Prince Bao of the First Rank), his title from 1722 to his accession in 1735, and which were first printed in 1737 (fig.2). According to Zaoban Chu Gezuo Chengzuo Huoji Qingdang [The Archives of the Imperial Workshops], on the 23 rd of September in the 7 th year of the Qianlong period (1742), the emperor specifically commissioned Tang Ying (1682-1756) to produce porcelains with selected poems from Leshan Tang quanji . And on the 16 th of October in the 17 th year (1752), the emperor instructed Tang Ying that instead of the poems from the Leshan Tang quanji, which were written when he was still a prince, only poems composed after his accession in 1735 should be used (see Chi Jo-hsin , 'cong wenwu kan Qianlong huangdi [understanding Qianlong Emperor through artifacts]', Emperor Ch’ien-lung’s Grand Cultural Enterprise , National Palace Museum, Taipei, 2002, p. 233). In view of this the present wall vase must have been produced between 1742 and 1752, as part of a larger order which included the pair of vases in the collection of the Palace Museum: all three are identical but for their differing poems; see Poem and Porcelain: The Yu Zhi Shi Ceramics in the Palace Museum , Beijing, 2016, pl. 46 (fig.3). Enhancing the rarity of the present lot, is its yangcai (foreign colours) decoration, which was introduced by European Jesuit craftsmen to the Qing court around 1685, adapting the European techniques of enamelling on metal. This resulted not only in an enriched palette of colours, but also in a combination of European brocade-like designs, using tonal effects to appear three-dimensional, and purely Chinese elements such as scrolling lotus motifs. Developed in the Jingdezhen imperial workshops under the patronage of the Qianlong Emperor, this style is representative of the superb quality of porcelain production achieved during the Qianlong reign. Special orders of yangcai are believed to date from only a few years in the early 1740s, with none after Tang Ying’s death in 1756. For more examples of yangcai enamels on sgraffito grounds, see Huali cai ci: Qianlong yangcai/Stunning Decorative Porcelains from the Ch’ien-lung Reign , National Palace Museum, Taipei, 2008. NO ONLINE BIDDING ON THIS LOT. PLEASE CONTACT US TO ARRANGE TELEPHONE BIDDING. 此件拍品不参与网络竞投，请直接联系我们咨询竞投方式
Lot 93
A Chinese famille rose vase, of ovoid form on a circular splayed foot with a flared rim, painted with a hundred boys at play in a continuous landscape, the neck with two confronting catfish attached to a ribboned qing (chime) tied to a ji (polearm) amongst scrolling lotus against a yellow ground, six-character Jiaqing mark , 49cm high The combination of a chime ( qing , homophonous to celebration) hanging on the polearm ( ji , homophonous to auspicious), together with a pair of catfish forms the pun Ji Qing You Yu which means Abundance of Auspiciousness and Celebrations. 粉彩百子图吉庆有余纹撇口瓶 《大清嘉庆年制》矾红篆书款
Lot 30
Lots 30 to 32 From the Collection of the Late Countess Eleanor Golfarelli (1882-1988) A Chinese Langyao sang-de-boeuf vase, Qing dynasty (1644-1911), of baluster form with a waisted cylindrical neck on a flared circular foot, covered with a crackle-suffused glaze of deep strawberry colour falling in a thick line above the unglazed foot and thinning to a pale tone below the rim, 39cm high, carved wood stand with ruyi feet (2) Provenance: Property of a direct descendant of Countess Eleanor Golfarelli (1882-1988). Countess Eleanor Golferelli (1882-1988) was a child actress turned music hall star who, in 1888, danced for Queen Victoria at the Drury Lane Theatre, London. In the early 1900s, as the wife to the pioneering brain surgeon, Lieutenant Colonel Dr Alfred Hull, and mother of twins, the Countess travelled extensively around India, South East Asia and the Far East. Later in life, after discovering her second husband - Italian aristocrat, Count Golferelli - was a bigamist, she fled back to England. Settling in St John's Wood, she became an international buyer for the John Lewis Partnership where she worked until she was ninety years old. Eleanor gave the present lot to her grandson, Anthony Gaisford Hull, as a wedding present in 1966. He kept it in his home in Harrow until he passed it to his son on his marriage in 2003. For a similar vase, see Christie's, London, 13 May 2014, Lot 100. 清康熙 郞窑红釉观音瓶 连木底座
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653685 item(s)/page