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Click here to subscribeA Chinese porcelain vase, Republic period (1912-1949), of ovoid form, painted with a bird perched on a blossoming prunus tree, inscribed with the signature of Bi Botao (1886-1961), dated year of Gengwu, seal mark to base, 15.5cm high, and two ink paste boxes and covers, each painted with birds and flowers, inscribed and signed, 7.2 and 6.8cm diameter (5) 民国 浅绛彩花鸟图瓶 毕伯涛款 及 花鸟图盖盒 一组三件
A Chinese famille rose vase and cover, 19th century, of ovoid form on a slightly splayed foot with scroll handles, painted with Hua Mulan disguised as a man retiring to her home from the battle, the other side with Jiang Ziya fishing by a river, and King Wen of Zhou coming to meet him following a guide, the domed cover painted with Hehe Er Xian and a literatus with attendant, Buddhist lion knop, 64cm high (2) 清十九世纪 粉彩人物故事图连盖瓶
A Chinese famille rose vase, 20th century, of cylindrical form, painted with ladies in a garden between a ruyi head and false gadroon borders, the shoulder and the foot with a scrolling lotus border, the neck with millefleurs, inscribed, four-character Qianlong mark, 35cm high 二十世纪 粉彩人物故事图棒槌瓶
A Chinese famille rose vase, late Qing dynasty, of pear-shaped form with tapering neck, painted with quail amongst chrysanthemum against a yellow sgraffito ground, the shoulder with banana leaves above a ruyi border, the foot with a border of chrysanthemum in shaped panels on a diapered ground, 36cm high Provenance: Collection of Carl Fredrik af Petersens. 清晚期 黄地轧道粉彩安居乐业图胆瓶
A Chinese famille rose vase, late Qing dynasty, of cylindrical form on a tall splayed circular foot with inverted rim, with applied precious objects and insects surrounded by flowers on a yellow ground between two diapered borders with lotus, the foot with scrolling lotus and bats against a turquoise ground, 60cm high, wood stand (2) Provenance: Collection of Baroness Rawlings, Burnham Westgate Hall. Collected by Mr Thomas Cook, grandson of the founder, on his travels. He bought Sennowe Park in 1898 and had it rebuilt in 1907. The vase was bought by the present owner at a private auction sale at Sennowe Park in the early 1990s. 清晚期 粉彩黄地贴塑博古图棒槌瓶 连木底座
A pair of Chinese famille rose jardinières and stands, Republic period (1912-1949), each of cylindrical form on an inverted circular foot, painted with a continuous scene of five boys in a garden, all holding objects symbolic of scholarly success and good fortune, two with ruyi sceptres, one carrying a spear tied with a ribbon suspending a chime, one with a vase with a stalk of grain and a lantern, and another holding a lantern in the shape of a fish, all between a dense floral scroll and a false gadroon and key fret border, the lobed flared rim enamelled with scrolling flowers in blue, the base with a four-character mark lingzhi chengxiang (the qilin's footprints foretell good fortune) in iron red, 19.2cm diameter, the stands similarly decorated with branches of peaches, pomegranates and finger citrons to the undersides, which represent the 'Three Abundances' of longevity, blessings and abundance of sons, 17.9cm diameter (4) The decoration on these jardinières is filled with symbols of posterity. The five boys represent the sons of Dou Yujun, all of whom achieved exceptional success and were known as the 'five dragons'. The mark lingzhi chengxiang is an ancient greeting used to wish couples the birth of a son and often found on pieces decorated with boys and qilin . For a similar pair of jars and covers with the same decoration, see Sotheby's, New York, 17-18 September 2013, lot 367. 民国 粉彩婴戏图花盆连底座 《麟趾呈祥》矾红楷书款 一对
A Chinese famille rose plate, Daoguang (1821-1850), of circular form, painted with an elephant carrying a vase in a garden, with an official's hat above, six-character Daoguang mark in red, 22.6cm diameter, a water dropper, 19th century, of pear-shaped form with a slender neck on a circular foot, painted with cockerels, Buddhist lion handles in iron red, the base with six-character Qianlong mark against a blue enamelled ground, 9.5cm high, and a famille rose snuff bottle, late Qing dynasty, of compressed baluster form, painted in a roundel with Niulang seated on a buffalo and Zhinü walking on a bridge formed by magpies, going to meet each other at the Qixi Festival, surrounded by incised clouds, 7.5cm high (3) 清道光 粉彩太平有象图盘 《大清道光年制》矾红篆书款 清十九世纪 斗鸡图铺首耳胆瓶 《大清乾隆年制》篆书款 及 清晚期 粉彩牛郎织女图鼻烟壶 一组三件
A pair of Chinese famille rose altar vases, 18th century, of hexagonal baluster form, each painted with a basket of flowers encircled by a floral border, surrounded by butterflies and sprigs of flowers, 29cm high, and another vase, of quatrefoil baluster form, similarly decorated, 24.6cm high (3) 清十八世纪 粉彩开光花卉纹瓶 一组三件
A Chinese flambé glazed vase, 19th century, of globular form rising to a flaring neck, covered in a rich strawberry-red glaze suffused with crackles, thinning to beige at the rim and falling above the foot rim, 34.5cm high, associated wood stand (2) Provenance: Property of a direct descendant of Countess Eleanor Golfarelli (1882-1988). 清十九世纪 红釉赏瓶
Lots 33 to 37 From the Collection of the Late Thomas Torrance (1871-1959) A Chinese Guan-type double vase, 18th century, of two adjoining square vases on a short spreading foot, covered overall with a soft bluish-grey glaze suffused with a network of dark grey and golden crackles, simulating the 'iron wire' and 'gold thread' of Song dynasty Guan ware, the foot rim dressed in brown, 22cm high, wood stand (2) Provenance: Thomas Torrance (1871-1959), and thence by descent. Thomas Torrance was born in Shotts, Scotland. After becoming a Protestant missionary, he was posted by the China Inland Mission to Chengdu, China in 1895, residing in Western Sichuan from 1896 to 1910. After a brief period back in Scotland in 1910, Torrance re-established himself in Western Sichuan with the American Bible Society. He married Annie Elizabeth Sharp in 1911 and finally returned to Scotland in 1934. On his journeys throughout Sichuan and the Himalayan foothills, Torrance happened upon the Qiang people, who he considered descendants of the Lost Tribes of Israel. Torrance was also influential in the founding of the West China Union University Archaeological Museum. See: ‘The Selected Works of Thomas Torrance', Chengdu, 2016, p.234. 清十八世纪 仿官釉双联瓶 连木底座
Stoneware globular footed pitcher/ vase, decorated in relief with three figures on textured ground, signed KareaT? and stylized fish platter produced for Department 56, L48cm Condition Report Click here for further images, condition, auction times & delivery costs
A Wedgwood CAM Symmetry vase in Pale Blue Dipped Jasperware: Produced in association with Computer Aided Manufacture - to machine cut the design into the vase. Historically, to achieve this look, it would be done by hand and known as Sgraffito. Circa 1988. 13 cm in height.
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