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Click here to subscribeA very large Chinese Famille Verte porcelain Bitong, 20th century, of typical perpendicular form painted in the round with officials and noblemen in a formal pavilion within cash borders. bearing an apocryphal six-character mark to the base for Kangxi, 19 cm high x 22 cm diameter.No damage or restoration
A Chinese blue and white porcelain yen yen vase – Xuande six character mark within double concentric circles, but later (probably Kangxi period), painted with aster flowerheads and a dense ground of leafy scrolls, the everted rim with a toothed diaper border, the central knop bordered by bands of Greek keys and cells, the foot with a border of Vitruvian scrolls, 43cm high, large (old) glued repair to rim.* A large piece (approx. half of the circumference of the rim) has been off in two parts and glued back in place. There are three or four small flakes of porcelain missing from the ends of these breaks. Inside the rim of the vase, there is a fingernail sized firing flaw below this repair. There is one small glaze flake to the opposite side of the rim. No other faults.
A Chinese porcelain famille verte chrysanthemum saucer dish - Kangxi period (1662-1722), with fluted, scalloped rim, painted with three butterflies amidst peony blooms and a central peony and peach branch, the rim painted with polychrome rondels, underglaze blue rabbit mark to base within a double concentric circle, 24.6cm diameter, two hairline cracks to rim.
A Chinese wucai enamelled chrysanthemum bowl - Kangxi period (1662-1722), painted in polychrome enamels with four panels with animals in landscapes, the interior with a conforming circular reserve with a mythical beast and a phoenix, the inside of the rim with a band of flowers and foliage, painted symbol mark to base within double concentric circles, 19cm diameter, 9.5cm high, badly cracked, old stapled repair with three chips to rim.
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
Chinese Kangxi blue and white porcelain bowl, painted with precious objects and ribbon tied scrolls, blue double fish mark (cracked and repaired) 16.3cm. diam., a famille rose seal paste box and cover, painted with fruits and flowers, four character mark in red, a Chinese small blue and white wine cup with calligraphic inscription, painted with a figure in landscape, two Chinese Export blue and white plates, one a soup-plate with Willow pattern, the other with a figure before terracing, a teabowl and two saucers, a plate, possibly Kangxi, painted with dense blue flowers (cracked) 25cm diam. and other items Condition ReportAll of these items are damaged with either chips, cracks or hairline cracks. See all the photographs for damage.
A mixed lot of Chinese porcelain comprising a millefleur dragon and bat water pot, apocryphal six-character Kangxi mark, 13cm; a famille rose moulded trumpet vase, Qianlong, 25cm; a blue and gilt vase, 18cm with wood cover and stand; a blue and white prunus vase, 22cm; a small famille rose yellow ground vase, 14cm; and a figure of Shou Lao, 18cm [damages].
A matched pair of Chinese blue and white prunus pattern Sleeve Vases, mid 20th century, decorated in typical style with apocryphal four-character Kangxi mark to base, H 25.5cm, together with a 20th century Chinese porcelain Ginger Jar, with four character apocryphal Kangxi mark, H 18cm and another smaller, H 10cm, etc. (5)
A GROUP OF CHINESE EXPORT PORCELAIN 18TH CENTURY comprising: an Imari bowl, Kangxi, 23.5cm diameter; and Imari saucer dish with twin-fish and other with deer, Kangxi, 19.5cm and 21.5cm diameter; three Imari plates and two soup bowls, Kangxi, all approximately 23cm diameter ; a Famille Rose octagonal plate, Qianlong, 21.5cm diameter; a blue and white coffee cup, 18th century, 6.5cm high; together with a blue and white 'rice grain' dish, late 19th or 20th century, 18cm diameter; a Japanese Imari tea bowl and saucer and a similar bowl, late Meiji or Taisho Period, the bowl 13.5cm diameter Provenance: The Leonard Fuller Collection Condition Report: imari bowl with 8cm hair crack imari twin fish saucer dish with pieces out of rim and re-stuck and repaired and deer saucer dish with crack and chipsthe three imari plates with some rim chips and wear and the two imari soup bowls with minor chipsfamille rose plate generally good other then minor wear and very minor rim chips coffee can with small rim chipsrice grain dish with a few minor rim chipsthe Japanese imari bowl with scale chip to rim 1.5cm x 5mm Condition Report Disclaimer
A SET OF SEVEN CHINESE IMARI PLATES KANGXI Painted with flowers in underglaze blue and with iron-red and gild floral borders 22cm diameterTOGETHER WITH TWO CHINESE IMARI DISHES, Kangxi, painted in underglaze blue and iron-red and gilt, 32cm diameter (9)Provenance: The Leonard Fuller Collection Condition Report: four plates generally good other than small rim chips and three plates cracked ans chippedthe two larger dishes good other than some rim chips and minor wear Condition Report Disclaimer
A CHINESE BLUE AND WHITE SOUP TUREEN AND COVER QIANLONG 34cm diameterTOGETHER WITH A CHINESE IMARI BOWL, Kangxi, 20cm diameter (This lot is offered without reserve) Condition Report: tureen and cover both extensively damaged and repaired the bowl cracked and riveted and piece out and glued and chips to foot and rim Condition Report Disclaimer
A varied collection of Chinese Imari style porcelain, Kangxi/QianlongDia.: 27,5 - 24 - 24 cm (the plates) H 17 cm (the Japanese Edo period jug) H 14 - L 18,5 cm (teapot) H 10,5 - L 14,5 cm (teapot) H 11 - L 11 cm (the Japanese Edo period oil jug) H 14 - Dia.: 10,5 cm (sugar bowl) H 8,5 - L 16,5 cm (box with cover)
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 very extensive and divers collection of Chinese porcelain, Kangxi and laterH 26,5 - 10,5 cm (the tallest and the smallest vase)Dia.: 26 - 22 cm (the largest and the smallest dish)H 12 - Dia.: 29 - H 8 - Dia.: 10,5 cm (the largest and smallest bowl)Dia.: 16,5 - 9,5 cm (the largest and the smallest saucer)H 5,5 - 4 cm (the tallest and the smallest cup)H 11,5 - L 13 cm (teapot)
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