TWO MIRROR-BLACK-GLAZED DOUBLE-GOURD VASES18th centuryThe larger one brightly gilt on the lower lobe with three large roundels of figures and foliage, the waist with a herringbone band, below a wide band of descending lappets at the small neck, 27cm (3 3/4in) high; and another smaller, under a rich dark glaze, 13cm (5in) high. (2).Footnotes:十八世紀 烏金釉描金蒜頭瓶 及烏金釉葫蘆小瓶 一組兩件 Provenance: Ralph M. Chait Galleries, New York, 2 November 2006 (the garlic-head vase)Ralph M. Chait Galleries, New York, 14 November 2008 (the gourd-shaped vase)A European private collection 來源：Ralph M. Chait Galleries，紐約，2006年11月2日（蒜頭瓶）Ralph M. Chait Galleries，紐約，2008年11月14日（葫蘆小瓶）歐洲私人收藏Compare the garlic-mouth vase with a related mirror-black-glazed and gilt-decorated bottle vase, 18th century, which was sold at Christie's London, on 10 December 2013, lot 30. Compare the other vase with a related mirror-black-glazed double-gourd vase, 18th century, in the collection of the Metropolitan Museum of Art, New York (acc.no.50.221.40). Compare also with a related small mirror-black-glazed double-gourd vase, Kangxi, which was sold at Bonhams London, 11 May 2021, lot 264.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
We found 653685 price guide item(s) matching your search
There are 653685 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
653685 item(s)/page
TWO YELLOW-GLAZED VASES18th centuryA pear-shaped vase under a rich slightly dark yellow-caramel glaze moulded with five horizontal ribs around the broad body, wood stand, 12.5cm (5in) high; and an unusual small baluster vase with a large central aperture at the top, possibly a water dropper for the scholar's table, 11cm (4 3/8in) high. (3).Footnotes:十八世紀 黃釉梅瓶 及黃釉弦紋瓶 一組兩件Provenance:Mrs. Samuel T. Peters (1859-1943), New York (ribbed vase)Parke-Bernet Galleries Inc, New York, 15 October 1943, lot 108 (ribbed vase)Hans (1888-1966) and Ludmilla Arnhold (1894-1976) acquired from the above (ribbed vase)(according to collector's index card)Seidel and Son, Berlin (meiping vase)(according to the collector's documents) A European private collection來源：Samuel T. Peters (1859-1943) 夫人，紐約（弦紋瓶）Parke-Bernet Galleries Inc，紐約，1943年10月15日，拍品編號108 （弦紋瓶）Hans (1888-1966)和 Ludmilla Arnhold (1894-1976)伉儷從上處購得（弦紋瓶）（據藏家索引卡）柏林古董商Seidel and Son（黃釉梅瓶）（據藏家檔案）歐洲私人收藏Samuel T. Peters (1854-1921) and his wife Adeline (1859-1943) were known as great collectors and amassed an impressive and large collection of Chinese works of art. In the obituary of Samuel T. Peters, the New York Times noted that Peters' gift of about 400 jades to The Metropolitan Museum of Art, New York, 'form a collection probably unsurpassed anywhere.'Compare the meiping-shaped vase with a small turquoise-glazed meiping, Kangxi, which was sold at Christie's Hong Kong, 28 May 2021, lot 2995; for the other vase, compare the shape with a related white-glazed vase, hu, Kangxi, which was sold at Christie's London, 8 April 2014, lot 14.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A FINE LARGE GREEN-GLAZED INCISED 'PHOENIX TAIL' VASE, YEN-YENYuan DynastyBoldly incised on the lower baluster section with a wide band of four alternating chrysanthemums lotus and peony heads in profile issuing from a long continuous leafy meander and all above a band of stiff leaves, the tall trumpet neck boldly carved with long cicada lappets below the flaring rim. 52cm (20 1/2in) high.Footnotes:元 龍泉窯青釉暗刻纏枝牡丹紋鳳尾尊Provenance: Ralph M. Chait Galleries, New York, 5 May 2017A European private collection來源：Ralph M. Chait Galleries，紐約，2017年5月5日歐洲私人收藏Although celadon glazes were perfected during the Southern Song period (1127-1279), it was really during the Yuan dynasty that production increased, with approximately three hundred kilns active in the Longquan area. The rivers in the region facilitated the transport and distribution of the ceramics to other areas. At this time, new shapes and decorative designs were introduced, as well as vessels of larger sizes than before including dishes, vases and jars. Compare with a similar vase decorated with a floral decoration to the bulbous section, Yuan dynasty, illustrated in The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256 – 1353, New York, 2002, no.194.A related celadon-glazed vase, late Yuan/early Ming dynasty, was sold at Christie's New York, 14 September 2017, lot 702.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A GUANYAO-TYPE CRACKLE-GLAZED MALLET-SHAPED VASE17th/18th centuryHeavily potted, the glaze simulating a Song dynasty prototype, the broad oviform body and cylindrical neck with everted rim all under a widely-crackled glaze of pale caramel-brown tone. 16cm (6 1/4in) high.Footnotes:十七/十八世紀 仿官窯長頸瓶Provenance: Samson Collection (probably Henry C. Samson, d.1914, New York)H.A.E. Jaehne, New York A.J. Mercher (active around 1930s-40s), New YorkHans (1888-1966) and Ludmilla Arnhold (1894-1976), on 7 December 1944來源：Samson舊藏 （或為Henry C Samson，1914年去世，紐約）H.A.E. Jaehne，紐約A.J. Mercher （約活躍於1930-40年代），紐約Hans (1888-1966)和 Ludmilla Arnhold (1894-1976)伉儷獲得於1944年12月7日Song dynasty glazes were greatly admired by the Emperors of the Qing dynasty because of their beauty and understated elegance, and the potters at the Imperial kilns in Jingdezhen sought to reproduce these glazes on contemporary porcelain. The glaze coating the present vase is a reinterpretation of the highly-regarded Guan ware. In addition, the mallet shape is based on Song dynasty prototypes, an example of which is in the collection of the Palace Museum, Taipei, acc.no.K1B017856.Other Song dynasty inspired glazes on mallet-shaped vases were emulated during the eighteenth century. See a Ge-type mallet vase with straight neck, Yongzheng six-character mark and of the period, which was sold at Christie's Hong Kong, 27 November 2013, lot 3201; see also a crackled-glazed mallet vase, Yongzheng, illustrated by B.Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, p.75, no.194.Compare with a related guan-type mallet vase, 18th century, in The Metropolitan Museum of Art, New York, acc.no.1993.386.26. A related guan-type mallet vase, Yongzheng mark and of the period, was sold at Christie's New York, 24 September 2020, lot 855.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A LARGE SANG DE BOEUF-GLAZED LONG-NECKED VASE18th centuryThe compressed globular body and very tall cylindrical neck all under an even slightly streaky rich glaze firing to a pale colour in an irregular band at the top of the neck. 37cm (14 1/2in) high.Footnotes:十八世紀 紅釉長頸荸薺瓶Provenance: an American private collectionRalph M. Chait Galleries, New York, 10 May 2016A European private collection來源：美國私人收藏Ralph M. Chait Galleries，紐約，2016年5月10日歐洲私人收藏See a similar vase, 1723-1735, illustrated by J.Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980, pl.198. Compare also with a related flambé-glazed vase, 18th century, which was sold at Christie's New York, 17 March 2017, lot 1249.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A LARGE BLUE AND WHITE BOTTLE VASEKangxiBoldly painted on the compressed body and very long neck flaring at the rim with large-headed lotus in a dense leafy meander covering all the surface, the rim and shoulder with a band of herringbone-pattern. 44cm (17 1/2in) high.Footnotes:清康熙 青花纏枝菊紋荸薺瓶Provenance: Ralph M. Chait Galleries, New York, 5 November 2018A European private collection來源：Ralph M. Chait Galleries，紐約，2018年11月5日歐洲私人收藏Compare with a very similar blue and white bottle vase, Kangxi, which was sold at Christie's New York, 23 January 2020, lot 1.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
KAISEKIAn Unusual Pair of Inlaid Four-Sided Wood Vases Meiji era (1868-1912), late 19th/early 20th centuryEach vase supported on scrolled bracket feet, delicately carved in high relief with a matching design, decorated with inlay of gold and silver with panels of birds and butterflies in flight among seasonal plants and flowers of plum, magnolia, bamboo, and chrysanthemum; each vase signed with a gilt tablet Kaiseki. Each vessel: 14.6cm x 5.2cm (5¾in x 2 1/16in). (2).Footnotes:A similar pair attributed to Tsukahara Katao was sold in these Rooms, 17 May 2018, lot 490.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SHOZANA Satsuma-Ware Vase Meiji era (1868-1912), late 19th/early 20th centuryFinely decorated in enamels and gilt, the neck with a thick simulated flambé glaze covering the neck trickling down to the circular squat body depicting a continuous spring rural landscape design of a family of chickens pecking for food on the banks of a river; signed on the base Shozan seizo within a large square seal. 16.2cm (6 5/16in) high. Footnotes:Provenance:Sold at Christie's, London, 28 June 2007, lot 107.For further information on this lot please visit Bonhams.com
OKAMOTO RYOZAN FOR THE YASUDA COMPANYA Satsuma-Ware Reticulated Rectangular Vase Meiji era (1868-1912), late 19th/early 20th centuryDecorated in bright polychrome enamels and gilt over a colourless glaze with fine craquelure, two sides with a central horizontal band enclosing men and women accompanied by children at leisure respectively during the hanami (cherry-viewing) and the momiji (maple-viewing) seasons between slightly recessed panels pierced as lattice work, the alternating sides with further reticulated designs in the shape of a crescent moon or blossoms on a ground finely painted with birds and flowers corresponding to spring and autumn; the base signed Ryozan beneath the Yasuda Company trade mark with the maru ni juji mon (crest of a cross within a circle), emblem of the Shimazu clan of Satsuma; with a separate square wood stand. 19.4cm (7 5/8in) high. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
STYLE OF MAKUZU KOZANAn Earthenware Cylindrical Vase with Appliqué Decoration Meiji era (1868-1912), late 19th centuryDecorated in enamels and gilt, moulded and carved in high relief with a sparrow perched on a budding cherry branch beside a stream, surrounded by blooming blue and pink daisies, the neck and foot decorated with bands of various brocade panels and stylised karakusa ('Chinese grasses'); unsigned. 26.1cm x 11.6cm (10¼in x 4 9/16in).For further information on this lot please visit Bonhams.com
NAMIKAWA YASUYUKI (1845-1927) OF KYOTOA Miniature Cloisonné-Enamel Slender Ovoid Vase Meiji era (1868-1912), late 19th/early 20th centuryDelicately worked in silver wire with a solitary butterfly hovering over stalks of purple and yellow wild flowers on a midnight-blue ground, the foot and neck of silver; signed directly on the silver base with engraved characters Kyoto Namikawa. 10cm (4in) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A CLOISONNÉ-ENAMEL BALUSTER VASEMeiji era (1868-1912), late 19th/early 20th centuryFinely worked in gold and silver wire of varying gauge with overlapping closed and open ogi (folding fans), each decorated with a different-coloured ground enclosing seasonal kacho-ga (bird-and-flower scenes) scattered over a midnight-blue ground, the neck and foot encircled with a wide swirling simulated brocade enclosing repeated chrysanthemums interwoven among karakusa ('Chinese grasses'); unsigned. 16cm (6¼in) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A CLOISONNÉ-ENAMEL MASSIVE BALUSTER VASEMeiji era (1868-1912), late 19th/early 20th century Finely worked in silver wire of varying gauge on a lilac-blue ground, decorated with an all-over flamboyant design of different species of birds and fowl among blooming seasonal plants and flowers, the neck and shoulder with a simulated brocade, enclosing on the neck assorted overlapping takaramono ('precious objects'), comprising tama (wish-granting jewel), tsuchi (Dakikoku's magic mallet), makimono (handscroll) and a kakuregasa (hat of invisibility), the shoulder with five confronting dragons writhing among clouds; unsigned. 77.5cm (30½in) high.For further information on this lot please visit Bonhams.com
ANDO JUBEI COMPANYA Cloisonné-Enamel Baluster Vase Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryWorked in silver wire of varying gauge with stalks of windswept white chrysanthemums and hageito (Joseph's coat), more stalks of white chrysanthemums on the reverse, all reserved on a yellow-celadon ground, applied with a silver rim and foot; signed on the base in silver wire with the mark of Ando Jubei. 31cm (12 1/8in) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MURASE JINZABURO OF NAGOYAA Pair of Cloisonné-Enamel Rectangular Vases Meiji era (1868-1912), early 20th centuryEach vase worked in silver wire of varying gauge with an almost identical design, each depicting a profusion of summer and autumn flowers in bloom including maple, lilies, chrysanthemums, peonies, daffodils, and irises; each vase signed on the base Murase seizo. Each vase: 13cm (5 1/16in) high. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MIYABE ATSUYOSHI OF KYOTOA Pair of Inlaid Bronze Slender Ovoid Vases Meiji era (1868-1912), late 19th/early 20th centuryBoth vases decorated with a complementary design depicting sparrows among flowering stalks of nogiku (wild chrysanthemum) growing over a bamboo fence, each worked in gilt, bronze, silver, shibuichi, and shakudo high relief, one vase showing a spider dangling upside down on a single thread from its web, each vase signed on the base with chiselled characters Dai Nihon Kyoto no ju Miyabe Atsuyoshi tsukuru with a kao; with two unrelated inscribed wood storage boxes. Each vase: 19.7cm (7 5/8in) high. (4).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
INOUE OF KYOTOA Pair of Inlaid Bronze Vases, Meiji era (1868-1912), late 19th/early 20th centuryEach vase decorated in high relief of gilt, silver and bronze with a matching design comprising seasonal flowers and plants including rose mallow, camellia, chrysanthemum, peony, plum, and wisteria, each neck encircled with a band enclosing a ho-o bird in flight beneath repeated lappets of tasselled foliate patterns, each foot with chrysanthemum flowers and tendrils, signed on the foot of one vase with seal Inoue sei. Each vase: 24.8cm (9¾in) high. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
YUKIMASA OR YUKIO FOR THE YAMAMOTO COMPANYAn Inlaid Bronze Rectangular Vase Meiji era (1868-1912), late 19th/early 20th centuryThe rectangular four-sided vase supported on a circular foot, decorated in high and low relief of silver, shakudo, and shibuichi inlay with a different design on each panel: 1, A pine tree; 2, A plum; 3, Bamboo; and 4, A boat laden with rice bales sailing before a snow-decked Mount Fuji in the distance; signed with chiselled signature Yukimasa or Yukio and on the base Yamamoto tsukuru, with an inscribed storage box. 22.8cm (9in) high. (2).For further information on this lot please visit Bonhams.com
SADAHARU AND TADAYOSHIA Pair of Imperial Silver Handled Matching Presentation Vases Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryEach of baluster form with a trumpet neck and finely worked in low relief with two ho-o birds in flight among densely clustered paulownia, foliage and clouds, the neck and shoulder decorated in low relief with sixteen-petalled kiku-mon (chrysanthemum crest) on the neck and shoulder, scattered among clumps of kiri-mon (paulownia crests), the neck with repeated chrysanthemum heads within hexagonal reserves, the foot with more stylised chrysanthemums interwoven among karakusa ('Chinese grasses') beneath a band of repeated hanabishi (flowery-diamond) patterns, each signed on the base with chiselled characters Tsuiko Sadaharu, Tadayoshi kizamu (Hammered by Sadaharu and chiselled by Tadayoshi); with a wood storage box inscribed Ginsei kabin ittsui (A pair of silver vases). Each vase: 30.5cm (12in) high. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
YOSHIMINE FOR THE TENSHODO COMPANYAn Inlaid Silver Pear Vase Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryDelicately worked in silver, gold and shakudo high relief with a crane and a mandarin duck about to alight among flowering stalks of reeds and chrysanthemums growing along the banks of a river, delineated in katakiribori (engraving with an angled chisel emulating brushstrokes), set on slightly splayed ring foot, signed on the reverse with chiselled characters [...]shusai Sozan Yoshimine koku, stamped on the underside with an impressed mark Jungin Tenshodo; with a wood storage box inscribed Ginsei kabin (silver flower vase) and a separate wood stand. 33.5cm (13 3/16in) high. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A WUCAI 'DESCENDING GEESE' SLEEVE VASEShunzhiThe tall cylindrical vessel decorated in vibrant enamels and underglaze blue around the exterior with a continuous scene of lotus blossoms issuing undulating leaves, a kingfisher in flight with another perched on a branch, two geese on the bank gaze above at a goose in flight about to descend, while another swims in the pond, the neck with further flowering fruits and insects. 44.8cm (17 2/3in) high. Footnotes:清順治 五彩芙蓉禽戲圖瓶Provenance: Berwald Oriental Art Ltd., London, 17 May 2013來源：伦敦古董商Berwald Oriental Art Ltd.，2013年5月17日Geese descending is a theme which has strong poetic associations with Autumn and has been extolled by both painters and musicians alike in the well-known song for the guqin 'Wild Geese Descending on the Sandbank' (平沙落雁). This theme attained renown within Chinese literary and artistic circles during the Song period and continued from then on. See also a painting of geese descending by Bian Shoumin (1683-1752), in the Museum of Fine Arts, Houston (acc.no.90.513), and the painting 'Wild Geese and Hibiscus' by Bian Wenjin (ca.1356-1428), in The Shanghai Museum, illustrated by Hou-mei Sung, Decoded Messages: The Symbolic Language of Chinese Animal Painting, New Haven, 2009, p.68. The latter painting (though with five birds) shows wild geese on a river shore in the four aspects of flying, calling, sleeping and eating, a traditional grouping. Geese over time had many different meanings from orderliness in flight, to their ability to come and go as they pleased, to their apparent busyness and friendship. During the Yuan dynasty, wild geese appear to have symbolised the self-enforced leisure and freedom of retired Han Chinese scholars, indignant at their treatment under Mongolian rule. It could be perhaps, that Han Chinese scholars felt the same with impending foreign Manchu rule. It is likely that the brushpot's design was based on the woodblock printed book Tuhui zongyi (圖繪宗彝), which also shows geese descending, and was published in 1607.See a similar wucai cylindrical vase, circa 1640, with birds and lotus, which was sold at Bonhams London, 6 November 2014, lot 47. See also a rare wucai sleeve vase, Shunzhi, which was sold at Christie's New York, 16 March 2015, lot 3547. See also a blue and white ovoid jar and cover, with similar design of geese, Chongzhen, which was sold at Bonhams London, 3 November 2022, lot 7.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE PAIR OF WUCAI 'TANG EMPEROR VISITS THE MOON PALACE' JARS AND COVERS, GUANShunzhiEach of elegant baluster shape, decorated around the exteriors in vibrant enamels with continuous scenes of noble ladies, attendants, musicians and noblemen in palatial settings with balustrades and gnarled pine trees amidst wispy clouds, Chang E carrying a hare, all beneath bands of flowers on the shoulders, the slightly domed cylindrical covers decorated with three boys playing in a rocky fenced garden, the sides with further rocks and floral sprays. 33.5cm (13 1/4in) high. (4).Footnotes:清順治 五彩「唐明皇夜遊月宮圖」蓋罐一對Provenance: Elizabeth Crompton, 1830 (old label)S.Marchant & Son, London, 1 November 2008來源：Elizabeth Crompton，1830年（據老籤）倫敦古董商S.Marchant & Son，2008年11月1日The scenes on the present lot are from the popular drama 'The Tang Emperor Visits the Moon Palace' based on the Tang poem by Bai Juyi (772-846), 'Song of Eternal regret'. The Tang Emperor Minghuang (685-762) was infatuated by his concubine Yang Guifei (719-756), so much so that affairs of state were being neglected leading to the An Lushan rebellion of 755. The Emperor and his concubine were forced to flee the capital, but on the road, the Emperor's own bodyguard, blaming her for the rebellion, forced the Emperor to order her suicide:君王掩面救不得，回看血淚相和流。His Majesty covered his face, for he could not save her. Looking back, he saw a stream of blood and tears mixing togetherThe Emperor grieved for a long time afterwards until a Daoist priest felt pity for the Emperor and decided to use his powers to search for the spirit of Yang Guifei. In the 17th century drama, The Emperor and Concubine are reunited in Chang E's moon palace, underscored in the present lot by the presence of the hare, which pounds the elixir of Immortality on the moon.See a wucai vase, circa 1650-1660, with similar decoration, illustrated by M.Butler et al, Shunzhi Porcelain: Treasures from an Unknown Reign, Alexandria, 2002, p.207. The story is also recounted by J.B.Curtis, Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars' Motifs and Narratives, New York, 1995, p.112. Compare also with a related wucai jar, 1645-1660, illustrated by C.J.A.Jorg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties, London, 1997, p.84, no.75. See also a related pair of wucai jars and covers, 1650-1670, in the Royal Collection Trust (acc.no.RCIN 35286).See also one wucai jar and cover, Shunzhi, which was sold at Bonhams London, 3 November 2022, lot 23.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A FINE BLUE AND WHITE 'ODE TO THE RED CLIFFS' SQUARE VASEJiajing six-character mark, KangxiRobustly potted with four tapering sides surmounted by a waisted cylindrical neck with flaring mouth-rim, the body painted in bold tones of cobalt-blue with two scenes of a boat beside cliffs, the moon reflected in the water, two sides with calligraphy. 54cm (21 1/4in) high. Footnotes:清康熙 青花「赤壁賦」方棒槌瓶青花「大明嘉靖年製」楷書款Provenance: Robert McPherson Ltd., London, 11 July 2006來源： 倫敦古董商Robert McPherson Ltd.，2006年7月11日When the Song dynasty literatus Su Dongpo (1037-1101) was first sent to Huangzhou in exile for opposing reformist policies at court, he passed by the supposed site of the naval battle of the Red Cliffs (208 AD) during the Three Kingdoms period. It was here, purportedly, that that the powerful northern warlord Cao Cao was defeated by Liu Bei, virtuous scion of the Han dynasty, who dreamt of reuniting China but ultimately failed. Su wrote the two poems on the Red Cliffs commemorating the valour and bravery of the historical heroes that fought in the battle long past, while also voicing his own sense of nostalgia, loss and receding into the pages of history. His poems have since entered into the Chinese literary canon and are a continuously popular motif for artists and poets; see R.Egan, Word, Image, and Deed in the Life of Su Shi, Cambridge MA, 1994, pp.221-228.A similar blue and white 'Red Cliff' square vase, Kangxi, is in the Shanghai Museum, illustrated in Kangxi Porcelain Wares, Hong Kong, 1998, pp.42-43, pl.31; another very similar blue and white vase, is illustrated by J.B.Curtis, Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars' Motifs and Narratives, New York, 1995, p.84, no.26. Compare also with a similar blue and white square vase with landscapes and poems, Kangxi, illustrated in Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collections: Beauty's Enchantment, Shanghai, 2005, pp.276-277. Another very similar square blue and vase, with the same decoration, Kangxi mark and period, is in the Carnegie Museum of Art (acc.no.73.48.82).Compare with a related blue and white 'Romance of the Western Chamber' square vase, Kangxi, which was sold at Bonhams London, 3 November 2022, lot 24.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE TEADUST-GLAZED ARCHAISTIC VASE, FANGHUDaoguang seal mark and of the periodOf square archaistic fanghu shape, rising from a short foot to waisted neck, applied by a pair of mythical-beast-head handles issuing rings, covered in a lustrous tea-green glaze thinning at the corners and handles resembling gilt-bronze. 14.5cm (5 3/4in) high. Footnotes:清道光 茶葉末釉仿古鋪首銜環耳方壺「大清道光年製」篆書款Provenance: Derek Bolton Robert Kleiner & Co Ltd., London, 20 June 2000來源：Derek Bolton 倫敦古董商Robert Kleiner & Co Ltd.，2000年6月20日The present vase is notable for its lustrous and rich tea-dust glaze which was inspired by and simulated the patina characterising archaic bronzes. This type of glaze was achieved through the precipitation of yellow crystals that stood out against the dark green background, producing the resulting chayemo (茶葉末) or 'tea-leaf dust' effect, which gave a rather rich and velvety appearance to the glaze. Its similarity to patinated bronze is further alluded to on the present lot by the thinning areas resembling gilt. This archaism is further underscored by the shape of the vase, which is based on bronzes from the Han dynasty.Daoguang mark and period teadust-glazed wares are rare, particularly those of the same form as the present lot. See however, a small teadust-glazed jar, Daoguang seal mark and of the period, which was sold at Christie's New York, 19 March 2021, lot 863.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A VERY RARE DOUCAI PEAR-SHAPED 'KUI XING' VASEShi jin tang zhi four-character mark, ShunzhiFinely potted with pear-shaped body rising from a short foot to wide cylindrical neck, expertly painted and enamelled around the exterior with Kui Xing riding the back of the mythical ao or dragon-fish, his right arm raised holding a brush, the left clasping an ingot, clad in a loincloth and billowing scarves beside the North Star, the reverse with a poetic inscription and seal, all beneath the mouth rim with a band of triangles. 22cm (8 1/2in) high.Footnotes:清順治 鬥彩魁星點斗膽瓶青花「世錦堂製」楷書款Provenance: S.Marchant & Son, London, 23 July 2008Published and Illustrated: S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, p.205.來源：S.Marchant & Son，倫敦，2008年7月23日著錄：S.Marsh，《筆筒淵鑒：收藏家的隨心所悟》，香港，2020年，第205頁The four-character underglaze blue mark which reads: 世錦堂製 which may be translated as: 'Hall of Continuous Prosperity through Generations'. The couplet on the present lot reads: 北極之象，太陰之精。鍾英毓秀，翼我文明。Which may be translated as:The phenomenon of the Pole Star is the essence of the Great Yin, Concentrate the talents, nurture the refined, advance the brilliance of our culture.The references to talent and distinguished cultural environments are entirely in keeping with the decoration of the present vase. Identified by the writing brush held in his raised hand and his iconic 'back-kick' posture, Kui Xing 魁星 ('Chief Star') was a Daoist deity worshipped to obtain academic success. It would therefore, have been extremely auspicious for a scholar to own a vase decorated with him on it to inspire him in his writing and achieve examination success.The Chinese character Kui (魁) is composed of the ideograph for 'demon' (鬼) and the ideograph for 'ladle' (斗). The ladle or 'dipper' (as Kui Xing is also associated with the North Star) is depicted on the present lot in the form of a square vessel. Kui Xing is portrayed with a demonic appearance, a horn-like protuberance on his head, and a sinewy body. According to legend, he was once a mortal scholar with outstanding literary skills but was repeatedly failed in the Civil Service examinations due to his repulsive appearance. Out of frustration and humiliation, Kui Xing threw himself into a river, where he was saved by a mythical monster called an ao. He then ascended to the Big Dipper and became the stellar patron of the literati and the God of Literature.Dreaming of Kui Xing the night before the exams was considered an auspicious sign and the candidate who obtained the highest results, known as the First Scholar (zhuangyuan), would walk first on a staircase decorated with the ao mythical beast. Representations of Kui Xing and ao are thus a symbol of literary success and highest achievement at the Imperial examinations.Compare with a related pair of underglaze blue and polychrome enamel pear-shaped bottle-vases, with the same shi jin tang zhi mark, Shunzhi, but decorated with other Daoist deities, in the Butler Family Collection, illustrated by T.Canepa and K.Butler, Leaping the Dragon Gate: The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, London, 2021, p.334.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE LAVENDER-GLAZED 'FLORAL' VASEShunzhiElegantly potted of baluster form rising from a concave biscuit base with a small step, rising to swelling shoulders and surmounted by a tall waisted neck with flaring mouth rim, finely incised around the exterior with flowering branches beneath a herring-bone-pattern band on the shoulder, the neck with floral scrolls and upright lappets, covered in a lavender-blue glaze, the interior glazed white. 21.1cm (8 1/4in) high. Footnotes:清順治 藍釉暗刻蕉葉花卉紋長頸瓶Provenance: Berwald Oriental Art Ltd., London, 1 May 2007來源：倫敦古董商Berwald Oriental Art Ltd.，2007年5月1日The present vase is extremely rare, and very few examples of this type have survived. Compare however, with a related lavender-glazed jar, Shunzhi, with a similar style of incised decoration and glaze, in the Butler Family Collection, illustrated in Shunzhi Porcelain: Treasures from an Unknown Reign, Alexandria, 2002, no.41, where it is noted that 'the lavender colour does not seem to have been used before Shunzhi; it was rare then and even in early Kangxi'.A larger similarly incised lavender-glazed vase and cover, Shunzhi, circa 1650, from the collection of John and Julia Curtis was sold at Christie's New York, 16 March 2015, lot 3549.For further information on this lot please visit Bonhams.com
AN UNUSUAL BLUE AND WHITE CRACKLE-GLAZED 'DRAGON' DISH18th centuryElegantly potted rising from an inward-tapering foot to sharply rising sides with flaring mouth rim, decorated with a writhing scaly four-clawed dragon in white slip with details in underglaze blue, leaping after the flaming pearl, all reserved on a powdered ground of speckled and finely crackled blue-grey tone, the flared rim with brown edges, and foot rim covered with a dark slip. 26cm (10 1/2in) diam. Footnotes:十八世紀 醬釉冰裂紋地青花龍紋盤Provenance: Sotheby's Hong Kong, 16 May 1977, lot 123 (part lot)來源：香港蘇富比，1977年5月16日，拍品編號123（部分拍品）A vase of baluster form, but with very similar design of three dragons on a dark greenish-grey ground in a white slip under a crackled glaze, Qianlong, from the Salting bequest is in the Victoria and Albert Museum, London (acc.no.C.986-1910).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Loading...-
653685 item(s)/page