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A 19th century Chinese blue and white porcelain vase, of bottle shape, painted with figures, four character mark to base, 27cm high, together with a collection of 19th century and later Chinese and Japanese porcelainBottle vase has some light overall wear and tiny chips around the lip and foot rim. Paint spots on the surface from decorating. No other visible damage or repairs. Firing crack around the inside of the foot rim. Dirty. Clearly signed to base. Collected from a local house clearance in Suffolk.
A CHINESE BLUE AND WHITE SLEEVE VASE, 17TH CENTURY painted with a man astride a turtle traversing a river with others in pursuit, the reverse with a rocky ravine, the waisted neck with a band of upright leaves, anua bands to the neck and base. 27.5cm highNo chips, cracks or restoration. In very good condition.
RENÉ LALIQUE (FRENCH, 1860-1945), 'PIRIAC', A VASE, DESIGNED 1930 frosted, opalescent and blue-stained glass, stencilled R. LALIQUE FRANCE. 18cm highA couple of minor flaws can be observed on the inside edge of the rim, and there are also some minor scratches present on the rim. Overall, the item is in generally good condition.
A CHINESE TRANSITIONAL BLUE AND WHITE SLEEVE VASE, 17TH CENTURY painted with two figures flanking a horse, the reverse with an inscription alongside a crescent moon with stellar constellations above clouds, shrubs and rocks. 23cm highNo chips, cracks or restoration. In very good condition.
A VERY RARE LONGQUAN GE-TYPE BLACK-BODY DISH, SOUTHERN SONG / YUAN DYNASTY, 13TH – 14TH CENTURY with shallow sides flaring at an angle from a short foot to a foliate-shaped rim, evenly covered overall except the base with a rare Ge-type greyish-green glaze with ‘Gold Thread’ crackles, the unglazed base revealing the black body burnt purplish-brown in the firing. 14cm diameterAn English Private CollectionThe form and foliate style rim, with the foot rim glazed and unglazed base, is typical of dishes made at the Longquan kilns during the Southern Song to Yuan period. The dish was possibly used as a washer to adorn the table of a scholar. However, the elements which make this dish very rare are the black body that fired a purplish-brown shade on the surface of the unglazed base and the exquisite ‘Gold Thread’ crackles in the celadon glaze. It is thought that the black 'Iron Wire' lines on Ge wares were produced using a black pigment but that the small thin ‘Gold Thread’ lines were caused by the iron oxide from the iron-rich clay permeating through the crackle in the glaze after the dish had been buried by the potters underground for a length of time.It is most likely that the Longquan kiln intentionally attempted to imitate the crackle glaze of Ge wares with this scarce dish. The Ge (‘elder brother’) kiln site is yet to be determined, and it is generally accepted that the crackles in the glaze of Geyao are either just ‘Iron Wire’ or the combined ‘Gold Thread and Iron Wire’ shades. However, there are some examples of dishes in the Palace Museum which only have the ‘Gold Thread’ crackle and these are illustrated in ‘Selection of Ge Ware, The Palace Museum Collection and Archaeological Discoveries, 2017, item 51 pages 130—131, item 54 pages 136—137 and item 55 pages 138—139.The glaze of Ge wares contains many tiny bubbles. Generally, the glaze resembles shiny, oily skin and is not illuminant. An example of this type of Ge ware glaze is on a vase in the Metropolitan Museum collection, accession number: 42.198. The profusion of bubbles in the glaze of this dish, similar to those in Ge glaze, shows how the Longquan kiln was able to imitate Ge ware.Although the surface of the unglazed base on this dish fired a dark purplish-brown, due to the tiny surface firing cracks on the base, it can be seen using magnification that they expose the iron-rich black body. This is very unusual for Longquan ware, as it is normal for such ceramics to have a lighter grey body. Although fragments of Longquan Black-body Guan-type wares were excavated at the Wayaolu kiln site, and a number of these are in the Zhejiang Institute of Cultural Relics and Archaeology ( Selection of Ge Ware, The Palace Museum Collection and Archaeological Discoveries, 2017, pages 198—217 ), it is extremely rare to find a complete Longquan Ge-type dish of this form having a black stoneware body similar to Ge wares.
A CHINESE TRANSITIONAL BLUE AND WHITE BOTTLE VASE, 17TH CENTURY the body painted with a scene depicting dignitaries in the presentation of a gift, flanked by a man holding a fan and others standing by a chariot, the flared neck painted with typical Dutch style leaf decoration, kites and other motifs. 38cm highNo chips, cracks or restoration. In very good condition.
AN EDWARDIAN SILVER-MOUNTED GREEN GLASS VASE by W G Connell, London 1901, in the Art Nouveau taste, with angular handles and a pierced silver shoulder, the circular base with whiplash supports. 20cm highThe marks are clear. The glass is in good condition. In generally very good condition.
A Pair of George III Silver Candlesticks, by John Winter and Co., Sheffield, 1773 each on square base with gadrooned borders, stamped with foliage at the corners and a classical vase on three sides, the fourth side engraved with initials, the tapering stem with trailing foliage and terminating in a foliage cast socket with detachable gadrooned nozzle, filled33cm high (2)The Sheffield assay office was founded in 1773, the year of the hallmark on the present candlesticks. It celebrates its 250th anniversary this year.Each fully marked on base. Further marked with maker's mark and lion passant on nozzle. The marks on the base are clear. There is some wear to the marks on the nozzles. There is some minor surface scratching and wear, consistent with age and use.
A Pair of Chinese Export Silver Vases, With Artisan Mark of Ren, Hong Kong and Canton, First Half 20th Century, Retailed by The Sincere Company Ltd., Hong Kong each tapering cylindrical and on spreading foot and with crimped rim, each chased on one side with three classical deities emblematic of fortune, prosperity and longevity, the other side with cranes on rockwork and below pine trees and with flowers22cm high, 17oz, 528gr (2)Tennants are grateful to Adrien von Ferscht for his assistance in cataloguing this lot.Each is marked on foot. There is some wear to the marks but in general each is still legible. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points. There is some bruising overall, particularly noticeable to the rims and to the foot on one. This vase rocks slightly when placed on a flat surface.
A Flight, Barr & Barr Worcester Porcelain Vase and Later Cover, circa 1820, of ovoid form, painted with The Straits of Menai from Anglesey on a claret ground with gilt borders, on a beaded waisted cylindrical column flanked by three dolphins, on a trefoil plinth, painted title and factory marks in blue19cm highCover broken and restored. Main body, some very good restoration thickly potted and so the lengths of repair not known, view from inside the bowl over sprayed. One of the rear dolphins with a crack across the tail. Gilding in good ordered but the restored areas will be re gilded.
A Flight, Barr & Barr Worcester Porcelain Coffee Cup and Saucer, circa 1825, painted with Bolton Abbey, Yorkshire, Hartlebury Palace, Worcestershire, Winchelsea Gateway, Sussex and Kirkstall Abbey, Yorkshire on a gilt seaweed ground within gadrooned borders, painted titlesA Similar Pen Tray, painted with Beauchief Abbey, Derbyshire21cm wideA Small Pot Pourri Vase and Cover, painted with peasants in landscape9.5cm high (4)Cup and saucer - saucer with some good restoration. Cup in good order, Pen tray - some gilt wear.Pot pourri - cover with the knop restored, some other yellowing over spray restoration. Main body free from damage and repair. Both pieces with gilt wear.
A Chinese Porcelain Vase, Qianlong reign mark but not of the period, of mallet form, applied with a sinuous dragon within moulded formal bands of scrolls and taotie picked out in gilt on a mottled russet ground, bears six-character reign mark27cm highNo restoration. Free from chips and cracks. Some losses to the jewels on the lower lappet border.
A Rockingham Porcelain Spill Vase, by Edwin Steele, circa 1830, of cylindrical form with rolled rim, painted with a continuous band of flowers on a shaded maroon ground over a scotia base10cm highFor a similar example see Victoria & Albert Museum, accession number C763-1935No chips, cracks or restoration. Wear to the gilding, mainly the foot. Enamel in good order.
A Chinese Porcelain Bottle Vase, bears Qianlong reign mark, painted in famille rose enamels with a dragon and phoenix chasing the flaming pearl on an orange ground within formal borders, bears six-character reign mark40cm highNo chips, cracks or repair. Enamels with some wear and scratches mainly to the main body.
A Flight, Barr & Barr Worcester Porcelain Vase, probably by Samuel Smith, circa 1830, of urn form with twin entwined serpent handles, painted with a still life of shells, coral and seaweed on a green ground highlighted in gilt within beaded borders, on a circular socle and square plinth, painted mark in red and impressed crowned FBB mark20cm highSee footnote to previous lot.Right side handle badly broken at the top, also to the middle and bottom, these sections restored. Left handle restored on the top loops. Raised gilt section of the neck broken and restored. PAinted panel free from damage and repair, some slight scratches. Coloured ground with minor wear and scratches.
A Pair of Flight, Barr & Barr Worcester Porcelain Small Vases, circa 1820, of twin-handled urn form, painted with sprays of flowers in a cream panel on a blue ground highlighted in gilt, on circular socles and square bases, painted marks in red9.5cm highOne handle restored. Gilding on the opposite vase re touched at the pedestal and plinth, possibly some very good restoration at this point. Minor surface wear to both.
A Chinese Porcelain Vase, 19th century, of Zum form, painted in famille verte enamels with figures in landscapes and interiors and with birds and insects amongst foliage in panels on red and green cell bands40cm highTwo abrasions / flat chips to the rim, slightly into the body.Some fritting and pitting to the glaze. Slight wear and scratches to the enamel. No restoration.
A Barr, Flight & Barr Worcester Porcelain Spill Vase, 1804-1813, of slightly flared cylindrical form, painted with a river landscape on a faux variegated dark blue marble ground within gilt line borders, painted marks in red11.5cm highA Similar Smaller Vase, painted with pink roses and forget-me-nots on a black panel and gilt seaweed ground, impressed crowned BFB mark8.5cm high (2)Second vase with restored crack through body. Both with some typical minor surface wear and scratching.
An Imari Porcelain Vase, Meiji period, of baluster form, the flared neck with twin mythical beast handles, typically painted with panels of foliage and landscapes on a foliate ground within brocade borders61cm highTop rim with re touching to the gilding. Some gilt wear overall. No damage or restoration.
A Royal Worcester Porcelain Vase, by Charles Baldwyn, 1899, of baluster form, the twin-leaf handles hung with swags, painted with flying swans on a matt blue ground, the reverse with a swift over moulded and stiff leaf bands, on a circular socle and square foot, signed, printed mark in green21cm highNo chips, cracks or repair. Some wear to gilding on upper rim. Other minor wear and scratching. Possibly originally with cover.
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653833 item(s)/page