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A collection of Victorian and later silver and silver plate, including a mahogany case with a set of six silver and mop handled knives and forks, a silver milk jug, a silver mustard, pepper and salt set, damaged, a silver sugar basin, dented, and a damaged silver filled inkwell, together with a silver plated cigarette box, a cut glass posy vase and two fans
A TALL JAPANESE IMARI TRUMPET-SHAPED VASEEDO PERIOD, C.1700The slender body typically decorated in underglaze blue, gilt, red and pink enamels, with variously-shaped panels enclosing landscapes and flowers, on the dark-blue ground embellished with gilt leaves and scrolling tendrils, 34.3cm.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A RARE JAPANESE KAKIEMON 'HAMPTON COURT' VASE AND COVER EDO PERIOD, 1670-90 The slender hexagonal body with tapering sides and a short straight neck, each side painted with tall sprays of iris painted in yellow, cyan, iron-red, navy-blue and black overglaze enamels; the shoulder and cover with matching patterns of karakusa scrolls and red peony flowerheads; the neck with a key fret border and the bud-shaped knop both in underglaze blue, 37.5cm. (2) Cf. J Ayers, O Impey, JVG Mallet, Porcelain for Palaces, The Fashion for Japan in Europe 1650-1750, p.173, no.153, for another jar and cover with similar decoration from a private collection, which is described as 'almost unique'. When first produced in Arita for the Western market in the 17th century, these brightly-coloured porcelain pieces caused considerable delight: after centuries of blue and white China, they offered a bright touch to the fashionably dark interiors of the time. The earliest mention of this type of jar dates from an account of a sale in Holland in 1680: The red assortment was much desired. 36 show pots for cabinets, cost price 2 florins, nine s. sold at Enkuisen for 140 florins (the ‘red assortment’ was the term used then for vases with polychrome decoration).Hexagonal vases of the same distinctive form and decorated in the Kakiemon palette are known as 'Hampton Court' jars, after similar examples that survive at Hampton Court Palace, access. no. RCIN 1094.1-2, 1178.1-2, 1050.1-2, 1047.1-2, 1110.1-2. These vases were originally in the collection of Mary Stuart and William II of Orange. After marrying the Dutch Stadtholder in 1677, Mary became patroness of the Delft porcelain factories and a keen collector of ceramics. Together with Huguenot architect Daniel Marot (1661-1752), they created a new style of interior at the Palace of Het Loo in Apeldoorn, with her collection in pride of place. Paintings were hung between pilasters decked with porcelain on gilt brackets, and a pediment-shaped pyramid of ceramics took centre stage over the fireplace. The publication of Oeuvres du Sr. D Marot (c.1703 or 1712), including engravings illustrating this type of interiors, helped to popularise the William and Mary style and the fashion of collecting porcelain. Jars from the original collection of William and Mary are still housed today in several royal palaces, including Buckingham Palace and Windsor Castle. Some of the pieces were also dispersed, since after Mary's death a proportion was left to Arnold Joost van Keppel, 1st Earl of Albermarle; others are said to have descended from William IV to his illegitimate daughter Lady Augusta Fitzclarence (1803–65). Colourful Japanese porcelain made its way into other European courts, including the collection of Augustus the Strong, King of Poland and Elector of Saxony, in Dresden. Fashionable ladies trying to emulate the royal taste would also spend huge amounts of money on porcelain collecting, so much so that some were said to have ruined their families and estates. Colourful 17th century Japanese porcelain can still be seen today at Burghley House, Woburn Abbey and other grand houses around Europe. The ‘Hampton Court’ jars feature a variety of patterns. However, this style of decoration is particularly rare as it seems to be known on only two pieces: the other jar is illustrated in J Ayers, et. al., ‘Porcelain for Palaces, The Fashion for Japan in Europe 1650-1750’, p.173, no.153. The use of blue enamels for the scrolls around the shoulder is also less common than most other examples which tend to feature iron-red and green. Due to their popularity, pieces decorated in the Kakiemon palette became extensively copied, first at Meissen in Germany, and then at many other early porcelain factories across Europe.
A PAIR OF JAPANESE SATSUMA VASES BY SHOZANMEIJI ERA, 19TH/20TH CENTURYThe tall square-section bodies each with a circular foot and rim; both decorated with rectangular panels enclosing many figures in interiors and in luxuriant gardens; framed by bands of chevrons and with a dense border of flowerheads to the shoulders; each vase signed Shozan zo under the Shimazu mon, both 25cm. (2)
A JAPANESE SATSUMA TRUMPET-SHAPED VASE BY GYOKUZANMEIJI ERA, 19TH/20TH CENTURYThe tall body with a flared neck and raised on four bamboo-shaped legs, decorated with three rectangular panels enclosing figures in landscapes, one a small boy running whilst playing with his kite; on a dark-blue ground painted with flowers and brocade patterns in gilt, signed Gyokuzan zo under the Shimazu mon underneath, 15cm.
AN UNUSUAL JAPANESE SATSUMA VASE BY SEIKOZAN MEIJI ERA, 19TH/20TH CENTURY The bulbous body raised on a short foot and with an elongated neck, elegantly decorated in gilt and polychrome enamels with large flowering sprays of chrysanthemum and peony on a coral-red ground; with a wide band of flowerheads amongst stylised waves below the rim; the base signed Seikozan, 18.5cm.Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.
A LARGE JAPANESE VASEMEIJI OR LATER, 20TH CENTURYThe bulbous body with a tall straight neck, decorated with large sprays of white and orange chrysanthemum on a blue graduated ground, with a lustrous green glaze dripping from the rim and a band of key fret in gilt to the foot, a six-character signature reading Shinto Kaisha seizo (for the Kobe Porcelain Company) and with two further impressed marks, 39.3cm.
YOSHIJIRO URUSHIBARA (1889-1953)DAISIESSHOWA, C.1930A Japanese woodblock print depicting a small bunch of daisies in a tall cylindrical vase, the vessel decorated with floral patterns; signed to the right of the composition and with two red seal marks; numbered no.97 and signed in pencil in the lower margin, framed and glazed; the reverse with paper labels, one reading 'Y. Urushibara, "Daisies", Original woodcut printed in colours, 150 signed and numbered proofs only. Blocks destroyed'; 30.5cm x 21cm.
A JAPANESE FOUR-CASE GOLD LACQUER INRO BY HARA YOYUSAI (1772-1845/6)EDO PERIOD, 19TH CENTURYDecorated to one side with a scholar in an interior pensively holding a fan, with an open book before him and a screen decorated with bamboo at the back; the reverse with three boys, probably his students, one reading a book by a large vase of flowers; signed to the base, together with an agate ojime and a stag antler netsuke carved as a snake writhing around a tree stump, signed underneath, the inro 6.8cm.
A PAIR OF LARGE AND IMPRESSIVE JAPANESE MOULDED AND LACQUERED VASES EDO PERIOD, 18TH CENTURY Both vases with a tall, elongated pear-shaped body; decorated in underglaze blue with leafy scrolling tendrils and double-gourds, the same motifs repeated in low relief; each vase with iron-red lacquer and gilt bands of curling patterns to the rim and above the foot, and with further traces of lacquer decoration; both raised on European gilded stands, the vases 98cm. (4) Provenance: the collection of Miss Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95).
A MASSIVE JAPANESE BRONZE KORO (INCENSE BURNER) MEIJI ERA, 19TH CENTURYRaised on five scrolling feet, the lower section cast in high relief as Bishamonten slaying a dragon, the God wearing elaborate armour and holding up his sword, ready to strike; he carries a large bulbous vase above his head with his other hand; the handles are modelled as winged mythical creatures, the sides decorated with a procession of oni, bats, and other bakemono, two monsters carrying a large drum; the cover powerfully cast as an eagle on a rock with outstretched wings; 182cm overall.Provenance: the collection of Miss Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95).
NAKAJIMA YASUMI II (1905-86) TSUDA EIJU (1915-2001) SHOWA/HEISEI, 20TH CENTURY Three Japanese bronze vases, two a pair by Eiju, each one with a tall cylindrical body and four horizontal ribs, both with a seal mark for Eiju; the other vase by Yasumi with a slender waisted shape, signed to the base; all with an individual inscribed tomobako wood box, 20.3cm max. (6)Provenance: a British private collection. Cf. T & M Becker, Twentieth Century Japanese Bronze Flower Vases, The Becker Collection, pp.120-121, where one of the two vases is illustrated and discussed. The authors explain that Tsuda Eiju worked mainly for the Imperial family, and became particularly famous for his murashi-do patina. He was awarded the Grand Prize at the Nitten Japanese Fine Art Exhibition in 1962.
A JAPANESE CLOISONNE ENAMEL VASE MEIJI ERA, 19TH CENTURYThe baluster body decorated with four rats on a bright blue ground, two of them carrying large daikon radishes, the other two discussing a book open between them, the shoulder with a band of stylised cash and flowerheads, the neck and foot with further flowerheads on a ground of scrolling tendrils, 18.2cm.Provenance: a private English collection, Brighton.Cf. Victoria Museums, Australia, acc. no. HT 22554, for a blue-ground cloisonné enamel vase of similar style and described as produced in Nagoya (Aichi Prefecture) between 1868-1880. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A JAPANESE CLOISONNE VASEMEIJI OR TAISHO, 20TH CENTURYThe tall baluster body decorated in bright emerald-green shizumi enamels with a band of flowers and leaves, the foot and neck both with white metal mounts; together with a Chinese circular cloisonné box and cover with bats and floral patterns, raised on a wood stand, 24cm max. (4)
A LARGE AND IMPRESSIVE COLLECTION OF JAPANESE CLOISONNE PIECES MEIJI AND LATER, 19TH AND 20TH CENTURY Comprising a substantial number of vases, dishes, koro and other pieces, in a variety of shapes and decorated with birds, flowers, auspicious designs and brocade patterns, one a tall baluster-shaped vase embellished with two large dragons, and another gourd-shaped with a yellow ground; also including a set of plaques illustrating various stages of cloisonné production; approx. 117 pieces.Provenance: the private collection of a British artist, Dorset.
Vicke Lindstrand for Kosta, a rare large size ruby red glass Zebra vase circa 1953, Sommerso overlain with white stripes numbered LH1114, suffix W -originally sold at Wettergens, Gothenberg, height 21cmGood condition, no chips or cracksReference The Kosta Vicke Lindstrand 1955 catalogue. This is the rarer larger size version.
Tobia Scarpa, a Venini "Occhi" vase, designed 1959, model nr 8530, with bulbous oval body and neck made of alternating clear murrine with black and white border, paper label Venini Murano, Venezia Nr 8530, MAde in Italy, height 22cmGood condition, no chips or cracksA vase of this pattern was exhibited at the Milan Triennale in 1960.Reference: “Paulo Venini and his Furnace” page 508.
Simon Gate for Orrefors, Sweden, a 1930s' ribbed glass vase and bowl, with black glass foot, Vase mark Orrefors GU? 110, height 21cm, bowl marked 07.32 GU? 111., diameter 25.5cmBowl has multiple abrasions to interior base and some surface scratches, no other chips or cracks.Vase some interior scratches and surface marks, no chips or cracks.
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653833 item(s)/page