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18th century | height: 22 cm | region: Delft | country: Holland | provenance: private pharmacy museum | Albarello faience pottery | Dating from the 18th century, this jar is a beautiful example of Delft faience pottery, which was very popular in Europe. The jar is decorated with blue and white decor, a style that imitated Chinese porcelain, which was in high demand at the time. On the front of the jar, a bird sitting on a vine branch is elegantly depicted, set in a richly ornamental frame with plant motifs. This type of ceramic was widely used in the pharmaceutical environment for the storage of medicines or as a decorative element in interiors. The shape of the jar is simple but functional, with a bulbous body and a narrow neck that made handling easier. Delft faience was prized for its quality and precision of workmanship, and this artifact is evidence of a high level of craftsmanship. This jar is not only a utilitarian object, but also a work of art that reflects the aesthetic values ​​and skills of the potters of the time. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

Large art glass vase of flattened ovoid form with multi-coloured swirls on red ground, possibly Chinese and imported by RBA Glass, Sweden, 28cm high, together with another art glass vase with multi-coloured swirls and flared tricorn rim, 33cm high (2)

Tatlock RR: A Record of the Collections in the Lady Lever Art Gallery, Port Sunlight. Formed by the First Viscount Leverhulme: THREE volumes: 1- English Painting; 2- Chinese Porcelain & Wedgwood Pottery; 3- English Furniture, Tapestry, & Needlework. Batsford, 1928, LIMITED EDITION OF 200 COPIES, with DWs & slipcase. FINE SET. (3)

Collection of coloured art glass; Monart glass bowl (unsigned), Cobalt blue mell decanter, 8 pointed star design dish, hand blown ball, chinese monochrome vase and hand blown bubble vase.

Pan Xiaoling (Chinese, b.1956) The wedding gouache, signed upper left, gilt framed 21 x 15in (53.3 x 38.1cm), frame size 66.5 x 51cm) together with a framed set of three folk art prints in a similar style by Lee Ngo (Chinese, b.1952). (2)

AN ANTIQUARIAN GILT BRONZE AND CHINESE LACQUER-MOUNTED BREAKFRONT SIDE CABINET 19TH CENTURY, OF LOUIS XIV STYLE, THE LACQUER PANELS 18TH CENTURY The marble top above a frieze of foliate scrolls and acanthus above three doors displaying re-used lacquer panels enclosing oak shelves, above a raised plinth centred by a panel with bearded mask and with rosette blocks, on tapering feet with acanthus clasps, one lock stamped Comyn Ching & Co 97cm high, 160cm wide, 58cm deepProvenance: The Hon. Claude John Yorke, and thence by descent This imposing cabinet reflects the antiquarian taste prevalent in England in the 19th century, led by London dealer/agents and manufacturers such as Edward Holmes Baldock who was trading from various addresses in of Hanway Street from 1805 and Robert Hume trading from Berners Street from 1829. Indeed the Covent Garden and Soho areas of London witnessed a huge number of businesses engaged in the trade in new, restored and second hand furniture and works of art, from the likes of Baldock and Hume whose clients included royalty and the nobility, to traders who bought and sold `curios' and others who were little more than dealers in scrap. The trade was fanned by enthusiastic and wealthy and collectors of `antiques' such as William Beckford (d.1844) and the Duke of Hamilton (d.1852), historic house refurbishments such as at Hardwick Hall (1839 - 49) and sometimes hare-brained projects such as the Earl of Eglinton's chivalric Tournament of 1839 offered dealers an easy opportunity to make money, while auction sales of eminent collections brought yet more artefacts to the market. Part of this trade saw new furniture created re-using older element, particularly those items deemed precious or valuable, hard stones, Chinese and Japanese lacquer, carved ebony, boulle and tortoiseshell and even old oak. Makers such as Baldock incorporated these in conventional ways, using newly made pieces and the best are superbly executed. A detailed study of the trade was published by Mark Westgarth, Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers, Regional Furniture Society Journal, 2009, vol.23. A Regency cabinet of similar type, black and gilt-japanned and incorporating 18th century Kangxi lacquer was sold from Crichel, Dorset, at Christie's, London, 23 May 2013, lot 152 (£22,500 including premium).The attribution to a London antiquarian manufacturer is reinforced by the use of locks marked by the Seven Dials ironmonger Comyn Ching & Co.      Condition Report: Generally good, structurally secure with wear and tear consistent with age and use. There are minor scratches marks and scuffing and some constructional shrinkage cracks. The marble top is in good order but with some repairs, a crack running front to back about 23cm from the left edge and a repaired break to the back right corner. Otherwise some minor edge chips. The ormolu all present, of large scale with good chiselling, overall of reasonable quality. Lacquer panels with typical craquelure and yellowing of surface varnish. but with sensitive conservation they would come alive. Minor lifting to the brass stringing on the left side. There is a 26cm piece of ebonised facing detached to the upright inside the centre door. The carcase made of framed and panelled oak, quite precisely machined and assembled typical of 19th century work. Each door revealing a single shelf. Overall a handsome and robust cabinet. Condition Report Disclaimer

Group of Chinese works of art including figures, soapstone and other carvings, brass dish, fan and other itemsLosses and repairs to the figures and bone items.

A Chinese book of erotic art. 9 cm wide.

Chinese Art Deco light blue rug, wide black border with gold scrolling acanthus leaf design (180cm x 120cm); two Aubusson-design Chinese rugs, light blue ground with central floral medallion, floral garland border and scrolling designs in pastel colours (161cm x 76cm - 188cm x 90cm)

A collection of Chinese and Japanese ceramics and works of art, to include a cloisonne enamel charger, 30cm diameter, (some damage).

A mixed group of works of art, to include a set of Chinese bronze concentric weights. (9)

A mixed group of Chinese works of art, to include: two small shipwreck vases, 4cm high; and two jadeite lion dogs, 12.5cm long. (6)

A Mixed Collection of Plates to include Longton Art School S. Thomas 1948 Student Plate, Minton Haddon Hall, Chinese Famille Rose etc. (1 Tray)

A CHINESE FAMILLE ROSE VASE 19TH CENTURY Decorated with two sections of garden scenes, flanked by scroll handles, vase converted to lamp, with wood stand 43.5cm high Provenance: The Leonard Fuller Collection Condition Report: Uninspected inside and under mountsFritting to the edgesWear to decoration, some discolouration, DrilledRemnants of old wire, this would need rewiring and testing by a professional electrician prior to use in a domestic setting it is sold as a decorative work of art only Please see additional images for visual reference to condition Condition Report Disclaimer

A CHINESE POTTERY FIGURE OF A MYTHICAL BEAST TANG DYNASTY OR LATER 34cm highProvenance: By repute from The C. Roger Moss OBE collection C. Roger Moss was a renowned art collector who, throughout the years, thanks to his determination and enthusiasm, was able to create an outstanding collection of artworks, largely from Asia(This lot is offered without reserve) Condition Report: probably Tang dynasty but untested so sold as viewed old extensive repairscrackswear throughout Condition Report Disclaimer

JOHN (W), ENGLISH DECORATED TRAYS, 1550-1850, 1000 copies printed, Ceramic Book Company, 1964; BRAMAH (E), COFFEE MAKERS, 300 YEARS OF ART AND DESIGN, 1989; JONES (O), THE GRAMMAR OF ORNAMENT, Omega Books, 1986; THE GRAMMAR OF CHINESE ORNAMENT; CROOK (J), WILLIAM BURGESS AND THE HIGH VICTORIAN DREAM, 1981; and sixteen other books, mostly on ceramics, (21).

Lot China. Consisting of 7x old paper money. 2x Book about Chinese art. Size: 13.3 - 29.4 cm. In good condition.

A Chinese bronze ritual wine vessel with a buffalo-shaped cover, 'jue', possibly ShangH 25 - L 21,5 cmProvenance:- The collection of Mr. and Mrs. S., Ghent, Belgium.- Acquired from Het Magazijn, Ghent, in November 2010, according to the owner's inventory notes.- Acquired by Het Magazijn from the Schlimper collection, Düsseldorf, according to the owner's inventory notes.- Originally acquired from Pranger Oriental Art, Amsterdam, ca. 1980, according to the owner's inventory notes.

A Chinese bronze ritual food vessel, 'ding', probably Western ZhouH 17,5 - Dia.: 16,5 cmProvenance:- The collection of Mr. and Mrs. S., Ghent, Belgium.- Acquired from Het Magazijn, Ghent, in January 2011, according to the owner's inventory notes.- Acquired by Het Magazijn from the collection of Philip Smolarski, according to the owner's inventory notes.Ref.: The Smithsonian, National Museum of Asian Art, New York, Accession Number S1987.912 from the Arthur Sackler Collection, for a closely related example. (link)

A varied collection of Chinese and Japanese works of art, 18th/20th C.Dim.: 27,8 x 23,8 cm (the wooden panels)H 12 - 11 cm (the two jars) 

A varied collection of Chinese cloisonne, wood and Yixing stoneware works of art, 19th/20th C.Work: 40 x 16,5 cm (painting)Frame: 43 x 19,5 cm (painting)H 11,5 - L 21 - D 16,5 cm (the base)25,5 x 18 cm (the wooden panels)H 41,5 cm (the bird)H 23 - 16,5 - 16,5 cm (the vases)H 5,5 - L 9,5 - D 9,5 cm (box with cover)H 9 - L 12,5 cm (table set)H 9,5 - L 19 cm / H 9 - L 17 cm / H 8 - L 20 cm / H 7,5 - L 13 cm (the teapots)

A Chinese blanc de Chine figure of Guanyin, KangxiH 22,5 cm Provenance: - Ex-collection Robert Mc Pherson (no. 26592, link). A Kangxi (1662-1722) Blanc de Chine Porcelain, Dehua Kilns, Fujian Province, late 17th. This Blanc de Chine porcelain group depicts Guanyin holding a child, with her acolytes either side and a dragon below. The mould-made construction which is rather lightly potted, combined with a small amount of hand-work indicates that this model was made towards the end of the 17th century rather than earlier. Figures of Guanyin are by far the most common of all Blanc de Chine figures and indeed one of the most common images in Chinese figurative art. Guanyin was the goddess of mercy, She was especially revered in the area where this figure was produced ; Dehua in Fujian Province. But her origins stem from Tibetan Buddhism, she was originally the patron saint of Tibetan Buddhism `Avalokitesvara`. Guanyin is actually the shorter form of the name Guan shi yin, which means 'one who observes the voices of the world.' True to her name, Guanyin listens to and understands the worries that plague man's existence. Because of her mercy and generosity, Guanyin is the most-loved of China`s divinities, she is the one people turn to for assistance in their everyday lives. Guanyin is specially venerated by those who are hoping to have children or those who are about to set out for sea. Guanyin is usually portrayed wearing a white cape. On her head is a crown in the style of the Amitabha-buddha. She is shown with a child on her lap, flanked by her two attendants, Longnu (girl) and Shancai (boy). She is flanked by two rocky pedestals, one supporting a book, the other a vase. Guanyin has been given the same qualities as the Virgin Mary of Catholic theology, which is why she is sometimes portrayed holding a child in her arms. Indeed some Blanc de Chine figures are of the the Virgin Mary with child, an interesting mix of East and West. While the worship of Guanyin could be traced historically from India, she is the star of countless legends and folk tales in China. Guanyin`s home on earth was the Putuo mountains, located on an island on China's eastern coast to the south of Shanghai. In China, Putuo-shan is one of the most sacred places in Buddhism and the temple dedicated to Guanyin on the mountain is one of the most important pilgrimage sites for Buddhists and non-Buddhists alike. Guanyin`s birth is celebrated on the 19th day of February, and her enlightenment is celebrated on the 19th of September. On those days, the pilgrims flock to Putuo mountain.

A varied collection of Chinese works of art, 19th/20th C.H 11,5 - L 15 cm (the teapot)

A Chinese blue and white French market covered cup and saucer with Louis IX and his mother, KangxiDia.: 13,6 cm (the saucer) H 8,7 cm - Dia.: 9 cm (the cup) Decorated with the historic subject of the young French king Louis IX with his mother, Blanche of Castille, the border of the tea bowl inscribed 'L'empire de la vertu est etabi jusq'au bout de l'uners' (L'empire de la vertu establi jusqu'au bout de l'universe). Provenance: - Ex-collection Luis Alegria Lda, Porto (link). Ref.: -Christie's, New York, Chinese export art featuring property from the Tibor collection (online 19271), Jan. 7-20, 2021, lot 4, for a similar cup and saucer (sold USD 4.000, link).

A set of 3 Mid 20th Century Chinese lacquered framed cork art displays. With cranes, pagodas, and trees. 24x36.5cm. 21x16cm. 12x17cm.

λ&nbspSIR FRANK BRANGWYN (BRITISH 1867-1956) THE JAPANESE KIMONO: PORTRAIT OF LUCY RAY Oil on canvas Signed with initials and dated '93' (upper right) 100 x 95cm (39¼ x 37¼ in.) Provenance: The Fine Art Society, London Sale, Sotheby's, London, 19 May 1982, lot 19 The collection of Mr and Mrs Tim Rice Literature: The Decorative Arts Society, Journal 26, 2002, Horner, 'Brangwyn and the Japanese Connection', reference O3237 Young woman sits behind dark table facing left, wearing kimono and seated in white Chinese looking chair. Pink cherry blossom in bowl foreground, pale chrysanthemum patterned panel behind her left and plain peacock blue panel right.Very Whistlerian and obviously Japanese in 'quotation' mode. Unusual for Brangwyn, not only because he painted few portraits, but also because the lady is quite beautiful and the painting sympathetic to the female figure. The work was initially known as Lady in a Kimono until The Fine Art Society suggested that it was a portrait of Lucy Ray, Brangwyn's wife.Lucy Ray was born in 1870 in Stantonbury, Buckinghamshire so she would have been 23 in 1893 which accords with the sitter. She married Brangwyn on the 28th January 1896 at the Registry Office, St George's, Hanover Square, London, when she was 26 and Brangwyn was 29. The marriage certificate described her as a nurse. Unfortunately there are very few close up photographs of Lucy - one was taken in Longpré, France in 1896 and the other is undated.Very little is known about Lucy. Much was written about Brangwyn and his work during his lifetime, most of it 'purple prose', but very little biographical, except Philip Macer-Wright's book Brangwyn. A Study of Genius at Close Quarters. published in 1940. The reliability of the book is debateable, but he does quote Brangwyn as stating that 'sheer laziness had prevented him from making portraits of his wife'. Laziness was not one of Brangwyn's characteristics but one would have thought he'd recall painting her before they were married.Comparing the known photographs of Lucy with the portrait Horner argues that the sitter is unlikely to be Lucy, who had a much longer face, a wide mouth with thin lips and different shaped eyebrows. Whether we will ever know for sure who the sitter is remains a mystery.We are grateful to Dr Libby Horner for her assistance with cataloguing this lot.   Condition Report: The canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges. The canvas perhaps a little loose. Inspection under UV reveals some scattered light retouching and infilling throughout.Condition Report Disclaimer

Leeds Hailware glass Art deco vase with Chinese style decoration

Asian Art: Chinese porcelain. A pair of finely decorated famille rose vases in a bronze frame. 19th century. | Height 44 cm. | Condition: Good condition.

Asian Art: Chinese porcelain, a Chinese famille rose vase with characters and antiques. 19th century. | Height: 59.5 cm. | Condition: Good condition.

Asian Art: Chinese porcelain. A Chinese wucai vase. | Height 31 cm. | Condition: One hairline and small chips on the edge of the vase.

Asian Art, Chinese porcelain, A Chinese blue and white yen yen vase with birds and flowers. Kangxi mark. | 44 cm | Condition: Provenance: Castle of Rumbeke, owned by Mr. Erik Loncke.(Hairline at the top 10 cm.)

Asian Art, a Chinese bronze figure of a standing Shou Lao accompanied by his deer, a turtle and a bird of paradise. Qing Dynasty. | Height: 19 cm. (without wooden base)Width: 12.5 cm.Depth: 9.5cm. | Condition: Old restorations and minor damage.

Asian Art: Chinese porcelain, a pair of Chinese vases with ladies in a garden. Republic period. | Height: 42 cm. | Condition: Good condition.

Asian Art, a Chinese lacquered and gilded bronze figure of a dignitary, Ming Dynasty. | 19,5 cm.

Asian Art: Chinese porcelain. A pair of imposing Chinese famille rose vases with a decor of warriors, literate and birds. China 19th century. | Height: 89 cm. | Condition: 1 vase in good condition.1 vase with a crack in the front and back + a small old restoration at the top of the vase. (see detail photos)

Asian Art: A Chinese vase with ladies in a garden. | Hoogte: 48,5 cm.Diam.: 27 cm. | Condition: Goede staat.

Asian Art: A Chinese copper and silver inlaid bronze vase with embossed decor for the Vietnamese market. 19th century. | Height: 25 cm.

Asian Art, Chinese porcelain, a square Chinese vase with characters and a water buffalo. Signed. | Height: 40.5 cm.

Asian Art: 2 Chinese Jadeite figures of a standing Guanyin with scepter and a seated Guanyin. 2nd half of the 20th century. | 66.5 x 22 x 14 cm.53 x 30 x 18.5 cm.

Asian Art: Chinese porcelain, a dish and a cup with grisaille decor and a famille rose cup and saucer with a carp decor, Compagnie des Indes. 18th century. | Dish:Diameter: 20.5 cm. (hairline) | Condition: Hairline in the dish.saucer: star in the bottom.Grisaille cup: start in the bottom.

Asian Art: A Chinese water buffalo and a standing Guanyin in Jadeite. 2nd half of the 20th century. | Guanyin: 57 cm.Water buffalo: 16.5 x 36 x 25 cm.

Asian Art, Chinese porcelain. A pair of deep dishes with ladies in blue and white porcelain. Kangxi/Yongzheng period. Marked. | Height: 5.5 cm.Diameter: 25 cm. | Condition: Provenance: Castle of Rumbeke, Belgium, owned by Mr Erik Loncke. Most likely sold at the Christie's auction from 20 -23 May 1997.1 dish in very good condition, except for a small chip.1 dish with 2 edge flakes and a hairline (4.5 cm.) (see details)

Asian Art: A lot with various pieces in Chinese porcelain. 19th-20th century. |

Asian Art: A pair of Chinese cloisonné incense burners in the shape of deer. China, 19th-20th century. | 54,5 x 38 x 18 cm.

Asian Art: Chinese porcelain, 5 pieces of blue and white porcelain. 18th century. | Dishes: Diam. 14.5 cm.Bowl: 8 x 16.5 cm.Vases: 27.5 and 27 cm. | Condition: Provenance: Castle of Rumbeke, Belgium, owned by Mr Erik Loncke.Bowl: small edge flakes, otherwise in good condition.Dishes: 1 dish with baking error, otherwise in very good condition.Vases: 1 lid with shard. 1 lid with small shard on top. 1 vase in good condition. 1 vase with hairline (3 cm) at the top.

Asian Art: 3 Chinese jadeite figures of a standing Guanyin and a Chinese warrior. 20th century. | Bigest Guanyin: 68 cm.Guanyin: 39 cm.Warrior: 50.5 cm.

Asian Art: Chinese cloisonné. A pair of pheasants in finely crafted cloisonné. 20th century. | Rooster: 19 x 37 cm. (incl. base)Hen: 18 x 38 cm. (incl. base) | Condition: Small peeling on the hen's wing.

Asian Art: A Chinese sculpture of Vaishravana on a Buddhist lion in lacquered and decorated wood. 19th century. | 40 x 23 x 13 cm.

Asian Art: Chinese porcelain, Chinese vase depicting a lady and children playing around an aquarium. Republic period. | Height 57.5 cm. | Condition: Good condition.

Asian Art: An impressive 3-piece Chinese bronze brûle perfume with silver and copper inlay for the Vietnamese market. | Height: 72 cm.Width: 56 cm. | Condition: Minor damage to one handle. (see detail photos)

Asian art: 9 Chinese snuff bottles. |

Asian Art: A finely carved pedestal in Chinese hardwood and a square Chinese painted and lacquered pedestal. 19th century. | 92 x 51 cm.46 x 40 cm.

Asian Art, Chinese porcelain, a large Chinese octagonal dish in blue and white porcelain. Qianlong period. | 30 x 37,5 cm. | Condition: Excellent condition.Provenance: Castle of Rumbeke, property Mr. Erik Loncke.

Bronzed Chinese design urn (no base - possibly lamp conversion) and brass Art Deco lady lamp base on wooden plinth

A Chinese carved wood ruyi with dragon and bat, 95mm l, two Chinese rose quartz pendants, a Japanese carved wood alligator inro, a Korean blue and white bowl and cover, a miniature bronze tripod vessel and cover, Mexican pottery flute and several other works of art Mostly in good condition

Y Haku Maki (Japanese, 1924-2000)Hanto 58 - Heart SutraWood block printTitled, signed, A/P, limited edition no 211Framed and glazed Haku Maki 巻 白 (Japanese, 1924-2000) was born as Maejima Tadaaki in Ibaraki prefecture, Japan in 1924. He was a teacher until WWII and had no formal art education. After the war, he studied printmaking in Tokyo with artists of sōsaku hanga, especially Onchi Kôshirô. His early works were reflective of his mentors’ woodblock styles. In the early 1960s, Haku Maki began developing his signature subjects and techniques. He experimented with embossing, manipulating textures with concrete, and printing with oil-based pigments. Now, he is famed for the unique texture of his prints, primarily depicting Chinese calligraphy and ceramics. A master of modern Japanese abstract printmaking, Maki's work can be found in the collections of the Museum of Modern Art in New York, the Los Angeles County Museum of Art, the British Museum, and many others. Measures approx. 21cm x 18cm (8.5" x 7")

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Feuilles de bambou". Medium: Original vintage photogravure. Date: Composed c1935. Printed 1935. Dimensions: Image size: 11 3/4 x 9 1/8 in. (298 x 232 mm).Pricing:   Starting Price: $300  Reserve Price: N.A.  Auction Sale Price Estimate: $400/500Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [23916-2-300-NA]

BOOKS: CHINESE AND JAPANESE WORKS OF ART IN THE COLLECTION OF HER MAJESTY THE QUEEN, BY JOHN AYERS. Published by Royal Collection Publications, 2016. Three volumes in slipcase. Covering the substantial and important collection in comprehensive detail with more than 2400 colour images illustrating the collection, including intricate decorative details and makers' marks. Slipcase 32cm x 26cm x 11cm Condition: Very good condition. Slipcase with some marks.

A CHINESE LONGQUAN CELADON GLAZED PORCELAIN VASE, YUAN DYNASTY, PUBLISHED AND EXHIBITED. Of baluster form covered in a sea green glaze. Zhejiang province. Yuan dynasty (1279–1368). 14cm tall.Provenance: Exhibited at The Art Gallery, University of Maryland, USA in early 1995, and illustrated on page 56 of the exhibition catalogue 'The Helen D. Ling Collection of Chinese Ceramics' (ISBN 0-0937123-31-5). Helen Dalling Ling (1901 - 1982) was a co-founder of the Southeast Asian Ceramics Society in 1971.Purchased from Brian Page Antiques in 2019.Property of a Sussex gentleman Condition: Good overall condition with no signs of damage or repair. With shallow chip to edge of foot, probably caused in manufacture process.

Various collectables, predominantly ceramics, incl. a Royal Doulton teapot and sugar bowl; Carlton ware Chinese pagoda ginger jar, lacking cover; pair of Empoli type blue glass vases; art glass mushroom mounted with fairy, in the style of John Ditchfield; Murano style miniature glass kingfishers, etc.