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Lot 15
A Chinese cream-glazed stoneware baluster vaseSong dynastyThe evenly potted vase raised on a tall splayed foot rising to thick wide rim, applied to the inside and out with yellowish cream glaze with fine craquelure.13cm high.宋 米黃釉瓶*This lot is offered without reserve.*此拍品未設底價。Condition Report: Wear and flaking to the glaze to the edges of the mouth rim, firing imperfections, generally in good condition.
Lot 19
A Chinese 'Yijun' Yixing lobed vase by Ge MingxiangQing dynasty, Qianlong period, Ge Mingxiang markThe lobed pear-shaped vessel with paired loop handles to the slender neck, covered overall in a streaked bluish glaze, the unglazed foot revealing the buff clay of the body, the base with unglazed impressed four-character mark in brown slip within a double square.29.5cm high. 清乾隆 宜鈞瓜棱紋瓶，「葛明祥」款Born in Dingshang, Yixing, Ge Mingxiang was active during the reign of Emperor Qianlong (1736-1795). Together with his brother, Ge Yuanxiang 葛源祥, he established the studio kiln known as 'Geyao' 葛窑, specialising in the mottled green, black, blue and brown glaze known as 'Yijun' 宜钧器.This was a glaze inspired by the Song dynasty Junyao wares, production of which had started in Yixing during the late Ming dynasty, particularly by the master potter Ou Ziming 欧子明, and it was as popular domestically as it was overseas, particular in Japan. The Ge brothers greatly expanded the range of vessel types on which this glaze was used, and their names, particularly that of Ge Mingxiang, started being mentioned together with that of legendary master Ou Ziming.Writer Ji Yuansou, in the Tao ya 陶雅, written in the Qing dynasty, mentions them: ”Ou and Ge's use of glaze were similar, somewhere between grey, black, blue and green ....it was named as 'sea cucumber glaze 海鼠釉', appreciated by the Japanese. The flowers from four seasons can all well fit with this glaze".Condition Report: Small surface flake in the 'ge' character.
Lot 20
A pair of Chinese wucai 'Goddess brings a Son' jarsQing dynasty, 19th centuryEach painted and enamelled in mirror image with a lady Immortal holding a baby and coming to meet a young official by a river shore, the lady Immortal accompanied by her celestial attendants, all floating on clouds, the official with an attendant holding a canopied umbrella over his head, wood stands.27.5cm high (2).清十九世紀 五彩‘天仙送子’圖紋將軍罐一對The story of the Goddess who brings a son (天仙送子）is the story of a young man who is approached by a celestial lady who expresses the wish to marry him, as such was the will of heaven. After the nuptials are celebrated, she disappears, returning a year later to deliver him with a son, saying that he would one day, become Emperor. The son later grew to become the first Emperor of Xia.Condition Report: Wear to the enamels and glaze commensurate with age. Firing imperfections including pitting and iron spots. One vase with minor chips and nibbles to foot. Both base drilled to the base with associated chips. General surface wear to the wood stands.
Lot 202
A Chinese jadeite 'dragon and phoenix' flattened baluster vase and coverQing dynasty, 19th/20th centuryThe translucent white stone with a bright green inclusion to the side, carved in reticulation as a dragon clambering up the shoulder and holding onto the mouth, the other side with a phoenix, the domed cover with large knop finial.17.5cm high.清十九/二十世紀 翡翠雕龍鳳紋蓋瓶
Lot 214
A small Chinese finely-carved ‘roses’ rock crystal vase and coverQing dynasty, 19th centuryDeeply carved in reticulation from a very clear stone as a baluster vase and cover surrounded by luxuriant flowering roses, with hardwood stand.11cm high.Provenance: from the collection of one of the first diplomats to the People's Republic of China in the early 1950s, and thence by descent.清十九世紀 水晶雕月季紋蓋瓶連木座來源:1950年代駐中國大使私人收藏，後傳承至現藏家。 Condition Report: A few nibbles and small chips to the edges of the carved design.
Lot 227
A group of Chinese snuff bottles and a paste box and cover20th centuryComprising two inside-painted snuff bottles, a lapis lazuli bottle and stopper, two enamelled glass and two monochrome glass bottles, six porcelain snuff bottles. one cloisonné-enamel egg-shaped bottle, a famille rose paste box and cover, and a green glass vase.5.7cm - 10cm high (17).二十世紀 鼻煙壺及印泥蓋盒一組
Lot 300
A Chinese bronze vase, gu17th/18th centuryThe body cast with a bulbous mid section with four flanges separating the stylised panels to each side, incised to the neck with upright lappets, the lower section with floral patterns.35.3cm high.十七 - 十八世紀 銅出戟觚*This lot is offered without reserve.*此拍品未設底價。Condition Report: Weight: 2.22kg. Indentation to the metal, verdigris and metal corrosion commensurate with age, minor casting faults.
Lot 31
A pair of Chinese hardstone-inlaid lacquer 'flowers and antiques' plaquesLate Qing dynastyEach of the black-lacquered panels set within a black and red-lacquered frame, the panels inset in soapstone, jade and hardwood with elegant arrangements of antique vessels holding flowers and plants, one panel with a bonsai pine tree, a jade vase with white and pink chrysanthemum, two vases with prunus, a vase with coral and two incense burners, all on elaborate pierced wood stands, beside the inscription 'duofu shouyi', 多福受宜 (a million blessings); the other with a vase of blossoming prunus, one of nandina berries, a pot with narcissus and a jardinière with Rohdea Japonica, the plaque inscribed 歲兆清賞 'suizhao qingshang'.Each 134cm x 59.3cm wide within the frame (2).清晚期 木嵌硬石雕花卉博古圖紋掛屏一對An evergreen that keeps its needles throughout the adversity of winter, pine is a symbol of longevity, as well as a symbol of gentlemen, representing virtues of self-discipline and fortitude. It is no coincidence that the God of Longevity, Shoulao, is often depicted in the shade of a pine tree, thus reinforcing the auspicious wish for a long life for the recipient of the artwork. It is also no coincidence that scholar gatherings are often represented in a pine grove, or in woods dotted with various species of pine trees.Blooming through ice to herald the spring, the plum blossom is one of the most beloved flowers in Chinese art, symbolising the winter, but also inner beauty and humble display in adverse condition. It is often depicted on its own, or part of other important groups of flowers or rebuses, such as ‘the four gentlemen’, ‘the three friends of winter’, or ‘prunus on ice crackle’. Growing on gnarled old branches, looking fresh and pure, plum blossoms can also symbolise vigour in old age.Chrysanthemum, beautiful and colourful, represents autumn. As it blooms in autumn when all other flowers are fading away, it symbolises the ability to withstand adversity. It is tranquil and harmonious with others, but also dignified and indomitable.Known in Chinese as ‘Southern Heavily Bamboo’ (nantianzhu 南天竹), the Nandina berry is a popular subject matter in Chinese art, both for the sonority of its name, where the similarity of the words ‘bamboo’ (zhu 竹) and ‘wish’ (zhu 祝) make it especially suitable for visual puns, but also for its abundance of red berries which symbolises fertility, and is a perfect allegory for having many sons (zi 子).Narcissus, in Chinese shuixian 水仙, literally 'water immortal', was a plant beloved of Emperor Yongzheng, who was depicted admiring it in his garden, in the album Shuzhai xiejing, 'Copying Sutras in the Studio', in the album leave series entitled Yongzheng xingle tu, 'Emperor Yongzheng at Play'. In China, it blooms late winter, or early spring, thus becoming associated with Chinese New Year. Since it includes the word for 'Immortal' (xian 仙) in its name, it is also associated with a wish for longevity. When seen together with of Nandina berries, tianzhu 天竺, fungus, lingzhi 靈芝, and rockworks, shoushi 壽石, it forms the pun 'May the immortality of the fungus congratulate you on your birthday and bestow longevity', zhixian zhushou 芝仙祝壽.The plant of Rhodea Japonica, with its tight cluster of red berries, also expresses the wish for fertility and male progeny.. Interestingly, this plant became a popular subject matter in art from the 18th century. As a Chinese evergreen, its name ‘wannianqing’ (萬年青) literally means ‘Ten thousand years green’, where the word green (qing 青) is a homophone with Qing dynasty (清), thus doubling up as a wish of longevity to the Emperor and his dynasty.Condition Report: Both panels with areas of cracking to the centre. Chrysanthemum with loss to one leaf, one of the stands on the same panel with cracking through the middle.General areas of cracking and small losses to the inlay. Some of the inlay may have been reset and partly replaced, as there is evident overpainting in the areas surrounding the inlay.Some natural fissures and cracks in the hardstones.
Lot 333
Five small Chinese bronzesLate Qing dynasty/Republic period, one with apocryphal Shisou mark, one with apocryphal Xuande markComprising two scroll weights with wood stands, an archaistic gu vase, a small tripod incense burner with Xuande six-character mark to base, and a silver-inlaid archaistic tripod incense burner with lines, the base with inlaid two-character mark.The largest 14cm wide, the smallest 5cm long (5).晚清/民國 銅爐五件，「石叟」、「大明宣德年製」寄托款Condition Report: Shisou-marked censer (with liner): 554g. Without liner: 422g. Liner very possibly only associated. Nibbling to edges, some scattered scratches and surface wear. Some pitting and areas of rough casting.Small censer: approx. 97g. Light bruising around the body, some scratching and surface wear.Archaistic gu: 114g approx. Scattered denting to edges, areas of rough casting and surface wear.Lion scroll weight: approx. 123g. Elephant 161g. Expected surface wear and casting imperfections
Lot 413
A Chinese Jun-style pear-shaped vase with paired handles20th centuryThickly potted and covered overall in a pale blue glaze, hardwood stand, box.13cm high.The Property of a Lady. Purchased in Hong Kong throughout the 1980s and 1990s. (Lots 355 - 474)Provenance: Tsu Po Antique Co., Hong Kong, 11 July 1987二十世紀 仿鈞釉雙耳瓶女士藏品。二十世紀八十至九十年代間購置於香港。（拍品 355 - 474）來源：香港聚寶古玩行，1987年7月11日Condition Report: Firing imperfections and a few shallow nibbles to foot.
Lot 439
A Chinese peachbloom-glazed amphora20th century, apocryphal Kangxi six-character markThe slender baluster vase covered in a green and red copper glaze, the recessed base with six-character mark in underglaze blue, hardwood stand and box.15.2cm high.二十世紀 豇豆紅釉柳葉瓶連木座及盒The Property of a Lady. Purchased in Hong Kong throughout the 1980s and 1990s. (Lots 355 - 474)女士藏品。二十世紀八十至九十年代間購置於香港。（拍品 355 - 474）Condition Report: Some light firing imperfections and a couple of tiny nibbles to foot.
Lot 44
A large Chinese famille rose 'magpie and prunus' bottle vase, tianqiupingRepublic period, apocryphal Qianlong seal markEnamelled around the pear-shaped body with a pair of magpies alighting over blossoming branches of cherry and peach trees, the base with six-character seal mark in iron-red.56.5cm high.Provenance: from the collection of one of the first diplomats to the People's Republic of China in the early 1950s, and thence by descent.民國 粉彩繪‘喜鵲登梅’圖紋天球瓶，礬紅篆書「大清乾隆年製」寄託款來源：1950年代駐中國大使私人收藏，後傳承至現藏家。Blooming through ice to herald the spring, the plum blossom is one of the most beloved flowers in Chinese art, symbolising the winter, but also inner beauty and humble display in adverse condition. Growing on gnarled old branches, looking fresh and pure, plum blossoms can also symbolise vigour in old age. Prunus is often depicted on its own, or part of other important groups of flowers or rebuses, such as ‘the four gentlemen’, ‘the three friends of winter’, or ‘prunus on ice crackle’.In China, magpies are seen as messengers of joy, in the form of married bliss, and are often shown in pairs. Prunus on the other hand, is homophone for the word ‘eyebrows’, and the two together form the rebus ‘joy up to the tip of the eyebrows’.This is a subject matter that became popular within ‘birds and flowers’ paintings during the Song dynasty, and was first translated to porcelain in the early 15th century. In the Qing dynasty, this subject matter was then revived during the reign of the Yongzheng Emperor, both in underglaze blue and enamelled porcelain, and has remained a much beloved decorative motif ever since.Condition Report: general expected firing imperfections including pitting to the surface and some iron spots, firing imperfection to the mouth rim roughly 3cm.
Lot 47
A fine Chinese reticulated 'pine' rock crystal vaseQing dynasty, 19th centuryFinely and deeply carved in reticulation from a clear stone as a baluster vase and cover surrounded by the gnarled branches of a pine tree, with a pair of deer standing at the base and a magpie perched on the branches of the cover, the reverse with flowering morning glory, fitted wood stand.15cm high.Provenance: from the collection of one of the first diplomats to the People's Republic of China in the early 1950s, and thence by descent.清十九世紀 水晶雕松鹿紋蓋瓶來源：1950年代駐中國大使私人收藏，後傳承至現藏家。An evergreen that keeps its needles throughout the adversity of winter, pine is a symbol of longevity, as well as a symbol of gentlemen, representing virtues of self-discipline and fortitude. It is no coincidence that the God of Longevity, Shoulao, is often depicted in the shade of a pine tree, thus reinforcing the auspicious wish for a long life for the recipient of the artwork. It is also no coincidence that scholar gatherings are often represented in a pine grove, or in woods dotted with various species of pine trees.A symbol of grace and longevity, deer (lu 鹿） is a homophone of lu 祿, or emoluments - the favours granted to government officials - thus becoming a symbol of wealth, nobility and success in imperial examination. They are therefore often represented prowling within pine groves, reinforcing at once the wish for longevity and success.Condition Report: A couple of losses to the edges of the branches of the over, and a few expected nibbles to extremities. Tiny hairline to edge of foot.
Lot 48
A Chinese silver-inlaid sleeve vaseQing dynasty, 19th centurySupported on a stand, the tall vase inlaid with silver depicting a peacock besides stylised rock and floral foliage, between two bands of keyfret, the neck decorated with a band of upright banana leaves, inscribed with Chinese characters jia ren ju you yi.29cm high. Provenance: from the collection of one of the first diplomats to the People's Republic of China in the early 1950s, and thence by descent.清十九世紀 銅錯銀孔雀山石紋瓶來源：1950年代駐中國大使私人收藏，後傳承至現藏家。An ubiquitous motif in Chinese art, be it painting, porcelain, lacquer, or carving, the banana plant developed from a background motif to a motif in its own right. In painting, it is generally the tropical variety typically planted in Chinese gardens, Musa basjoo, which was an ornamental favourite of Chinese gardeners, and was the backdrop of choice for the representation of a pensive young woman.Peacocks, the 'kings of birds', were generally regarded as symbol of the Ming dynasty, embodying virtues of divinity, beauty, power and rank. Both the peacock and the banana tree would be exotic features in a well-landscaped luxurious garden.
Lot 5
A Chinese cinnabar lacquer wall vaseQing dynasty, 18th centuryDelicately carved to the lower section with a symmetrical design of a bat holding a triangular plaque in its mouth adorned with ruyi heads with ribbons attached, a pair of catfish to each side of the central scene, the trumpeted neck with a pair of phoenixes to base and a shou character to the centre, all on a diaper ground, the vase backed with metal mount featuring a pair of scrolling handles to the neck.17cm high.清十八世紀 剔紅‘福壽’紋壁掛瓶Condition Report: Wear and tarnish to the metal mount commensurate with age, two holes to the metal base probably of the original design for securing the vase to the wall, flakes and chips to the lacquer with small areas of restorations, the biggest of approx. 2cm across to one side of the fish. Please request further images from the department for a full overview.
Lot 535
A carved Korean Buncheong bottle vaseGoryeo dynasty, 15th century The sturdily potted vase raised from short thick foot rising to rounded body sweeping up to a trumpet neck, freely carved to the body with lotus flowers below a band of lotus petals to the shoulder, overall applied with a glassy, pale celadon glaze.27cm high.Provenance: Collection of Betty Gertz.Christie's auction 07.02.2017, lot 73, as Yuan dynasty yuhuchun.*This lot is offered without reserve.Condition Report: The neck had been broken off and restored, a chip to the mouth rim of 2cm across, another chip to the underside of the rim of approx. 1.5 x 0.5cm, nibbles and shallow chips to the foot rim, significant crazing to the glaze, the neck is slight off due to firing imperfections.
Lot 224
German porcelain, trio of Porcelain items with Sitzendorf mid 19th Century hard paste porcelain vase flanked by a Putti figure stamped to base, height 15cm (small crack to reverse, minor damage to flowers), German Mid 19th Century Hard Paste “Pohl” (?) porcelain boy with dog figurine stamped to base 1436 P (overall good condition, hairline crack to base), plus a similar SPM small vase of a cherub climbing into a flower (damaged). (3)
Lot 234
Royal Doulton, collection of Royal Doulton Dickens Ware to include; Sam Weller Tea Pot, Tea Cups with Sam Weller (x2), Mr Pickwick & Australia Reg (with saucer), Saucers with Mr Pickwick, Barnaby Rudge, Little Nell, Poor Jo, Captain Cuttle & Old Peggaty, Plates with Tom Pinch, Sam Weller, Bill Sykes & The Artful Dodger, Bowls with Mr Pickwick, Bill Sykes & Further Scene, Posy vase Mr Squires & Fagin vase, Mr Squires tray, Character Jugs with Captain Cuttle (Beswick), Charles Dickens Collectors club no. 2819 & two others. Plus, Spode Charles Dickens plate, Sairey Gamp Sandlandware tray and Lancaster Sandland figurine. Total pieces 29. BUYER TO COLLECT. (29)
Lot 236
Royal Doulton, Maud Bowden for Royal Doulton Lambeth Art Nouveau tall stoneware posy vase, glazed blue and green with side profile portraiture design to round, tall cylindrical thin neck. Impressed to base with Doulton Lambeth England and initials for ‘MB’ (Maud Bowden), numbered 8366. Height 29cm.
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653685 item(s)/page