Japanese Kutani Vase of Water Dropper form, circa 1880
Price: £45
A small Japanese Kutani vase of globular form with a narrow straight neck, decorated in the typical colourings of iron red, grisaille, salmon pink and gold with a continuous scene of
flowering peony below stylised clouds, the neck in iron red with gilt highlighting also depicting stylised clouds. The base with three simple bands in iron red and the base
with a two character mark reading 'Ku' 'Tani'.
Kutani (the word means 'nine valleys') porcelain was made at various factories in the former Kaga province of Japan. The earliest pieces were in a completely different style employing a palette of colours emphasising green, the so called 'Ko Kutani'. Production of this ceased around 1730, and manufacturing was not revived until the early nineteenth century when the more familiar colourings of iron red and gold were introduced. This small vase is typical of pieces exported to the West in fairly large quantities at the end of the nineteenth century. The form suggests a water dropper and is found in Imari colourings as well. Many of the Kutani pieces were marked, sometimes simply 'Ku' 'Tani' as here. The glaze was sometimes unstable with a tendency to craze as can be seen here, but this is original to the manufacture and does not detract from the piece's decorative appeal.
Chinese Framed Ceramic Plaque depicting Peony, C20th
Price: £150
A Chinese ceramic plaque decorated with delicately painted flowering peony in shades of grisaille with highlighting in red and blue, an elaborate inscription to the left with two red seals and a further red seal to the bottom right. The frame is Chinese and most likely contemporary with the plaque. Style of painting and decoration combined with the very even surface and high white glaze of the plaque itself suggest a dating to the 1960s or 1970s rather than the Republican period (1912-1949) when similar pieces were made which are highly sought after now. But the work is of extremely high quality nevertheless and the composition artistic and appealing.
Chinese Bone Netsuke carving of a man holding a musical instrument, early C20th
Price: £25
A Chinese Bone Netsuke carving of a man holding a musical instrument, depicted with its strings, and dressed in a simple robe decorated with incised detail in brown and black, two typical holes to the reverse, early C20th. Netsuke were developed in Japan as a fastener or toggle by which small hanging storage boxes, okimono, could be attached to the sash of a kimono. They were made in a variety of forms but the small figurine, as here and in the previous lot, was the most common. Chinese examples seem to have been made in the early twentieth century and were more often crafted from bone rather than the ivory or wood favoured by most of the Japanese craftsmen.
Chinese Bone Netsuke carving of a Sage, early C20th
Price: £45
A Chinese Bone Netsuke carving of a bearded Sage dressed in an elaborate robe, his hands upraised and holding a staff and a bowl, the decoration detail in dark grisaille and red, two typical holes to the reverse and signed at the base within an irregular ovoid circular border panel, early C20th. Netsuke were developed in Japan as a fastener or toggle by which small hanging storage boxes, okimono, could be attached to the sash of a kimono. They were made in a variety of forms but the small figurine, as here, was the most common. Chinese examples seem to have been made in the early twentieth century and were more often crafted from bone rather than the ivory or wood favoured by most of the Japanese craftsmen.
Chinese Majolica Style Brush Holder modelled as a Crane, mid C20th
Price: £25
While seemingly of European manufacture, this brightly coloured figure of a crane standing on a rock with sea shells and a vase like container to the reverse, doubtless intended to contain brushes, was, in fact, made in China. Some near identical examples exist which are stamped ‘CHINA’ and at least one has a paper label reading ‘Product of the People’s Republic of China’ (1912-1949). Examined closely, the paste of the foot is, in fact, a Chinese clay (see image 6) but there is little else to suggest an Oriental origin. The glazes are brightly coloured in the style of European nineteenth century ‘Majolica’ pieces, particularly some of the examples made in France, and the modelling has nothing Chinese about it at all. There is an impressed number at the base (‘74’) and an impressed mark which seems to depict some form of marine creature but cannot be identified. A puzzle piece, then, but highly attractive in its own right and an elegant decorative object.
Japanese Bone and Lacquer Plaque, Lady and Boy, signed, late C19th
Price: £45
A Japanese wooden rectangular plaque, the front decorated with on oval panel, the black lacquer ground inset with carved and incised bone decoration depicting a lady in formal dress, carrying a bag in her right hand, accompanied by a boy attendant who carries a sack. Above them hovers a butterfly and to the bottom right is a small signature tablet, the characters set in a red ground. The panel is surrounded by a border of gilt speckle on a brown ground, typical of the decoration on Japanese writing boxes.
These bone and lacquer plaques were produced in great quantities by Japanese artists in the late nineteenth century for export to the West and became a familiar feature of the European drawing room. The medium was easily subject to damage and loss, especially in respect of the bone inlay, and while this example has some slight damage this is confined to a crack in the lacquer ground of the panel itself and some chipping to the extremities of the panel. The decoration of the figures remains intact (the surround seems to have been cut away in some places to give added definition to the composition) and allows appreciation of the skill with which they were carved, presenting a genre scene of great charm.
Framed Chinese painting on silk, two Silk Dyers, C19th/C20th
Price: £15
This is a Chinese genre painting on silk of two men seemingly engaged in dying skeins of silk in a rocky landscape scene. To the right stands a man holding two loops of fabric thread, most likely silk and to his left, a boy stands in front of a vat filled with liquid, clearly twisting the threads into cord, perhaps having dipped them into liquid dye using the tool he is holding in his left hand. The strip of wood across the top of the vat may have been used to help removed excess fluid from the dyed thread. The significance of the rather desolate landscape setting is unclear. The two workers seem to have been banished by their companions! Silk dyeing was an old tradition in China which is still kept up today (see image 7). While there are many painted scenes of rural and craft activities, this particular manufacturing process does not seem to be illustrated elsewhere. The style of the brushwork suggests a dating to around 1900 and there is a stamped artist's seal mark in red at the bottom left but the frame and mount are clearly later, perhaps mid C20th. An unusual composition, then, for collectors of Chinese art.
Group of Three Chinese carved bone Horses with wood stands, probably mid C20th
Price: £30
This is a group of three bone horses carved in China most likely in the 1930s/1940s. The patina is attractive and the three different poses imaginatively created. One horse is shown grazing, another standing with his head turned back and the third galloping with his tail upraised. These are almost certainly three from an original set of eight which would have represented the famous 'Eight Horses of Wang Mu', so often depicted in Chinese Art. The Emperor Mu of the Zhou dynasty (1023-983 BC) was the subject of a romance legend in which he sought to visit the heavenly paradise and taste the peaches of immortality. A charioteer named Zaofu used his chariot drawn by eight horses to carry Wang Mu to his desired destination and the legend was then perpetuated in Chinese Art. As well as being found in Chinese painting and on Chinese porcelains, the horses were also the subject of Chinese sculptors working in ivory, bone and even wood. Many of these small groups exist and most are no more than a hundred years old. The style here and the form of the fitted wood stands suggests mid C20th work, probably as tourist souvenirs. While missing their companions, this group still enjoy a unity of their own and make a highly decorative ensemble.
Japanese Carved Wood Figure of a Young girl, Kokeshi doll style, C20th
Price: £45
This is a rather charming carved wood figure of a young girl standing dressed in an elaborate robe decorated with floral blooms and fan shape panels in blue with floral designs. She holds something in her hands (an offering?) and looks out expectantly. The naif style resembles closely the kokeshi dolls that have been made in Japan for more than 150 years as children's toys but the portrayal is much more lifelike than that of its abstract counterparts. Dating is probably to the mid twentieth century.
Chinese carved wood Box decorated Dragons, early C20th
Price: £150
A Chinese wood box with a hinged lid of rectangular form, deeply carved with dragon designs , a large sinuous example on the lid, his scales graphically depicted, within a border of bats and floral rosettes, the sides with smaller companions, two confronting at the front and rear between a shield, with a circular geometric motif at the corners, the interior with another large example slightly stylised and wrapped round a large circular panel, perhaps intended to be carved to display the name of the owner. The richly coloured wood is a form of the rosewood used so often by the makers of the furniture and decorative items intended for export and the style of the carving, accomplished but not with the finest detail, suggests early twentieth century work. But this in no way detracts from a rather striking creation intended for the foreign market.
Japanese satsuma style match stick holder c1940
Price: £45
This is a lovely little figure of a Japanese man holding a vessel that is used to hold matches. It is done in a satsuma style motif and is marked Made in Japan on the bottom. A lovely souvenir from a trip long ago.
Chinese Cinnabar Lacquer Egg, C20th
Price: £55
A Chinese cinnabar lacquer egg, deeply carved with peony and prunus flowers within stylised scrolling foliage, the top and bottom with geometric form ‘shou’ medallions. The technique of lacquer carving (lacquer being the sap of a species of tree native to southern China, but also found elsewhere, which dries to a plastic which can be coloured and carved) was practised by the Chinese from the 12th Century onwards and has continued even into modern times. This egg is an example of their rather later creations but reflects techniques developed over many hundreds of years. There is symbolism here, prunus representing winter and peony spring with the ‘shou’ medallions standing for long life, so perhaps a good luck charm was intended. Dating is probably to the later twentieth century, perhaps the 1970s and if imitation is the sincerest form of flattery, copies of the model, rather inferior in quality, were produced by the well known firm, Franklin Mint.
Chinese Cantonese style Vase decorated butterflies, late C20th
Price: £125
This is a vase of typical Chinese nineteenth century baluster form with a broad ovoid body narrowing to a near cylindrical neck which flares out towards the galleried rim at the top; each side has two applied and modelled confronting fo dogs. The decoration employs the ‘Famille Rose’ palette with vividly represented flying butterflies amidst flowering peony and lotus; the kylins are finished in iron red and the galleried rim has a band of repeating key pattern. All of this points to the nineteenth century but the brushwork and general appearance of the deccoration indicate a much later date of manufacture, probably late C20th, and the finish of the foot, with its ‘baked in’ imitation dirt, is wholly consistent with this. The fo dogs too are much more sketchily modelled than their older counterparts. But this is a pastiche with great charm and much above the average quality of late C20th work. Even when making copies, the Chinese could sometimes try quite hard!
Chinese Blue and White Box and Cover with pierced lid, late C20th
Price: £25
A Chinese Blue and White Box and Cover, possibly intended as an incense burner, of rounded form, the base decorated in underglaze blue with panels of dragons and flames on a diaper ground above a band of stylised waves and the lid similarly decorated with piercing to the surface, the underneath with a broad flat foot rim. The paste of the foot and style of the decoration suggest later twentieth century work and some examples are found with an affixed label which reads ‘Andrea by Sadek’.
The Charles Sadek Import Company was founded in 1936 by the father and son Charles and Norman Sadek and began by importing decorative items from Japan later broadening their range to a wider variety of suppliers including China. These pieces were sold under the ‘Andrea by Sadek’ brand, named after Norman's daughter Andrea. The business continued to a third generation until it was taken over by Fitz & Floyd in 2015.
This box, then, is a typical example of their range of wares, good quality decorative items marketed at an affordable price. The quality of these boxes can vary and this piece seems to be an above average example.
Japanese Celadon Dish decorated basket of flowers, circa 1900
Price: £45
An unusual shallow dish of lobed and fluted circular form, the rich celadon glaze decorated in underglaze blue and overglaze enamels with a basket of flowering lotus, the design slightly off centre, the reverse with a blue transfer mark representing fungus (a plant traditionally symbolising long life).
Celadon glazed wares with enamel decoration in fairly muted colours are a familiar product amongst the ceramics produced by Japanese potters at the end of the nineteenth century but examples of this type of dish are rather less commonly found. The basket of flowers is a regular decorative feature of Chinese ceramics, but given here a slightly different interpretation with the depiction of lotus, the emblem of summer. The mark probably imitates Chinese ‘commendation’ marks inscribed within the foot rim, another nod on the part of the Japanese potters towards their Chinese counterparts.
LOT 22
Japanese Blue and White Sugar Bowl and Cover, first half C20th
Estimate: £10 – 20
14d 8h 38m
£0.00
Japanese Arita Square Sake Flask and Cover decorated flowers, C20th
Price: £25
This is a rather striking example of a Japanese sake flask of less conventional form. The slender square form rectangular body (compare lot XX) is topped with a slender slightly concave neck of gently conical form, the top capped by a stopper like cover. On one of the corners is an elaborate loop form handle and on the other a short spout. The base is flat and unglazed. The decoration is rather hybrid. The iron red and gold scrolling pattern at the top recalls kutani pieces, but the main body, with its heavily enamelled chrysanthemum heads employing a wide variety of colours, looks almost towards satsuma wares. The combination is quite arresting if not eyecatching and raises the question of whether there was once a set of cups with a matching design… The slightly ‘brassy’ look to the gilding indicates an early C20th dating but probably no later than around 1920. Best regarded, perhaps, as a functional piece of whimsy!
Pair of Chinese Ceramic Shoes, seal mark and with fitted box, C20th
Price: £55
An amusing pair of Chinese ceramic models of shoes or clogs, modelled in the form of a kylin head with a pronounced snout, the sides of the shoe with impressed repeating geometric patterns below a band of stylised scrolling foliage, the brightly coloured glazes all with craquelure patterning, the interior glazed turquoise with an impressed seal mark and the underneath glazed in cream, also with a small circular impressed mark. The pair are presented in a fitted box, fabric covered and silk lined, which is presumably contemporary. Neither of the marks can be deciphered and dating is uncertain, probably to the late C20th, but this does not need to detract the rather humorous design which does have at least one parallel from the C18th (see image XX)and may have been intended as a brushwasher for a scholar with something of a sense of humour.
Chinese Scroll Painting of a Merchant and his Client, C20th
Price: £45
A scroll painting depicting what appears to be a scene in a Chinese merchant’s shop where there can be seen scales and a box containing coins on a table in the background. The elderly trader is seated next to a younger gentleman, presumably his client. One attendant stands watching and another bears an object on a tray which may well be the subject of a bargain to be made. The painting is colourful and expressive, with the faces carefully delineated. The style looks to be early twentieth century work and resembles that of reverse glass paintings from the period. The scroll is offered with a complementary scroll box, European with chinoiserie scenes in gilt, which considerably enhances the decorative effect.
Framed Chinese Silk Embroidered Runner Panel, garden scenes, C20th
Price: £15
The repeating design we see here (the figure on the left reappears on the right) indicates that this textile is a section from a longer piece which perhaps acted a ceiling border for a wall. Depicted in a fairly muted palette of silk threads with an emphasis on light green and turquoise is a stylised garden scene with labourers (hoe, wheatsheaves, fruit basket) and one figure seated at leisure, all within a border comprising a mixed assemblage of the common motifs of Chinese decoration including stylised flowers, dragons, elephants, shou medallions and the endless knot (one of the eight Buddhist emblems). The stitching is not particularly detailed suggesting mid C20th work but the design is pleasing nonetheless.
Framed Chinese Painting of a Court Official, C20th
Price: £25
A Chinese painting on silk depicting a court official or ‘mandarin’ standing on a wooden decked veranda, dressed in his official robes with a phoenix emblem on his chest, an elaborate bead necklace round his neck and his sceptre of office by his left wrist (the hand is mysteriously lacking). A pavilion can be seen to the rear and beyond the terrace wall are reeds and flowering prunus in a stylised garden setting. The artist has caught the self important majesty of the figure who is perhaps described in the calligraphy inscription to the top right with an artist’s seal stamped in red. Perhaps a portrait but more likely a generic design, this composition probably dates to the early C20th. The frame and mount are, of course, much later but complement the image well and provide an attractive ‘ready to go’ example of Chinese decorative painting.
Japanese Seto Ware Blue and White Vase, late C19th
Price: £450
Famous for over a thousand years, the ceramics produced at Seto in the Aichi prefecture, Japan, became synonymous in the late nineteenth century for high quality blue and white porcelains finely painted and produced in a wide variety of forms, some of near demonstration quality. The vase presented here is an outstanding example of their work, immaculate in both its craftsmanship and condition.
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A fine quality Japanese porcelain vase, the ovoid body with a curved flaring foot and rising to a tall concave neck with a well defined shoulder, applied elephant and ring handles to the sides and a galleried rim, decorated in bright underglaze blue with two bands of stylised flowering chrysanthemum at the top and bottom between a continuous scene of flowering peony and chrysanthemum, the top rim with repeating whorl design on the exterior and stylised leaf design inside, the stepped base glazed white.
The kilns at Seto in the Aichi prefecture of Japan and situated close to Nagoya form one of the traditional ‘Nihon Rokkoyo’, the six old kilns of medieval Japan. The location of Seto was ideal for the production of ceramics with an abundance nearby of both porcelain clay and forests to provide firewood for the kilns. Production began as early as the Heian period (794-1185) and continued without a break thereafter, the earlier pieces being more pottery forms copying Chinese wares. It was in the early nineteenth century that the kilns turned to producing porcelains decorated in underglaze blue and white, a development initiated by the potter Tamikichi Kato who went to Arita to learn the techniques of its production there, returning to Seto in 1807. Production grew and developed and was directed towards the export market in the Meiji period (1868-1912) with Seto wares being displayed at the European and North American exhibitions and fairs. Their delicately painted designs of birds and flowers proved to be immensely popular and were, in their time, to influence Art Nouveau and Art Deco designs. Some of the forms produced were truly virtuoso creations including, besides vases, screens, jardinieres and even ceramic tables.
Signed pieces are known and besides Tamikichi Kato the distinguished potters included the Kichiemon brothers, Kato Chuji and Kawamoto Jihyoe, and Kawamoto Hansuke. But not all the best pieces carried an artist’s signature as this vase well demonstrates. Formed from fine quality clay, as can be seen from the foot rim (image 10), the complex shape with its spreading base, angled shoulder and galleried rim would have been difficult to create. The handles show remarkable skill with the rings somehow formed so as to hang loose (presumably some form of kiln waster technique was used). The detail and artistry of the painting speaks for itself. Note in particular the shading effects on the peony flowers. While not perhaps an exhibition piece, this vase is definitely of exhibition quality and would be a worthy addition to a collection of nineteenth century Japanese ceramic art.
Japanese Studio Pottery Vase, signed, C20th
Price: £75
This is a most unusual Japanese vase of elongated proportions, the slender cylindrical body rising to a narrow concave neck with a flaring rim edged in brown. The fine quality white glaze is decorated in underglaze colours of blue, copper red and green in a continuous design of flowering lotus against two horizontal double edged bands. Pronounced potting rings can be seen inside the top interior but the white glazed base is quite smooth and has a seven character mark in underglaze blue, presumably indicating the studio which produced it. Late twentieth century dating seems most likely. There are no ready parallels for this piece, although perhaps with imagination one might possibly see a form of sake bottle here, and for the time being it must be appreciated for itself as strikingly modernist example of Japanese ceramic art.
Framed Chinese Embroidery Silk Textile, signed, second half C20th
Price: £25
A Chinese silk textile with an embroidered design of a peacock and a peahen (the male and female peafowl) sitting on the branch of a pine tree with peony growing below in a stylised garden scene. There is a four character signature to the top left, probably denoting the artist. The style of the embroidery and the calligraphy of the signature suggest mid to late C20th work, perhaps dating to the 1960s or 1970s. The composition and the detail and colourings of the embroidery work are pleasing, combining to produce an excellent example of the genre. The frame is European and perhaps contemporary with the date of manufacture (see Lot 24).
Framed Chinese Embroidery Silk Textile, signed, second half C20th
Price: £25
A Chinese silk textile with an embroidered design of a peacock and a peahen (the male and female peafowl) standing on a grass embankment with a flowering peony bush behind them. There is a four character signature to the top left, probably denoting the artist. The style of the embroidery and the calligraphy of the signature suggest mid to late C20th work, perhaps dating to the 1960s or 1970s. Other embroidery panels with a similar design can be found which are much later. As with the previous lot the composition and the detail and colourings of the embroidery work are pleasing, combining to produce another excellent example of the genre. The frame is European and perhaps contemporary with the date of manufacture (see Lot 24).
Framed Chinese Embroidery Silk Textile, signed, second half C20th
Price: £45
A Chinese silk textile with an embroidered design of a phoenix standing on a rock at the edge of a river, flowering peony below and to the rear a prunus or plum blossom tree with bamboo. On the riverbank also stand a pair of cranes, ducks can be seen in the water and a pair of birds sitting on one of the prunus tree branches with another pair flying to the left. In the distance, the setting sun and at the top right a four character signature probably denoting the artist. There is a mixture of motifs here. The phoenix can denote the Empress, cranes represent long life, peony represents spring while prunus denotes winter. Ducks point to marital happiness and the flying magpies happiness and good luck, whereas the setting sun is often a metaphor for sadness and sorrow. Perhaps a deliberate contrast is intended here or perhaps the various motifs were simply chosen for their decorative elements. As with lots 2 and 3 in this sale, this is another excellent example of the genre and the frame provides a clearer indication of dating. The frame makers ‘Charles and Co’ had a business in Notting Hill, London in the post war years and the telephone number ‘PARk 6306’ indicates a date before 1966 when UK telephone numbers ceased to include letters.
Korean Najeonchilgi lacquerware jewellery Box, C20th
Price: £25
This is an example of Korean lacquerware known as ‘Najeonchilgi’. The technique, derived from both China and Japan, involves the inlay of shellfish derived small pieces onto a lacquerware base. ‘Najeon’ means ‘mother of pearl’ and ‘chilgi’ lacquerware. These wares were produced quite early on in Korea’s history with a ‘golden era’ during the Goryeo dynasty (918–1392) but continued to be made until quite recent times. This box, then, made in the late C20th, comes at the end of a long run of a traditional manufacturing process but retains some of the hallmarks of its predecessors. The shape is rectangular with a bowed front, the hinges and clasp fastening in polished metal and the interior lined in red fabric with a mirror fitted to the underside of the lid. The highly polished black lacquer surface is inlaid with mother of pearl decoration, flowers to the front and a moonlit scene of storks to the lid, symbolising long life. Highly decorative in itself, this box is also extremely practical as storage item for a small jewellery collection and would be an elegant addition to the dressing table.
Korean Najeonchilgi lacquerware jewellery Box, C20th
Price: £25
This is an example of Korean lacquerware known as ‘Najeonchilgi’. The technique, derived from both China and Japan, involves the inlay of shellfish derived small pieces onto a lacquerware base. ‘Najeon’ means ‘mother of pearl’ and ‘chilgi’ lacquerware. These wares were produced quite early on in Korea’s history with a ‘golden era’ during the Goryeo dynasty (918–1392) but continued to be made until quite recent times. This box, then, made in the late C20th, comes at the end of a long run of a traditional manufacturing process but retains some of the hallmarks of its predecessors. The shape is rectangular with a bowed front, the hinges and clasp fastening in polished metal and the interior lined in red fabric with a mirror fitted to the underside of the lid. The highly polished black lacquer surface is inlaid with mother of pearl decoration, flowers to the front and a moonlit scene of storks to the lid, symbolising long life. Highly decorative in itself, this box is also extremely practical as storage item for a small jewellery collection and would be an elegant addition to the dressing table.
Japanese Celadon glaze vase with enamel decoration, late C19th
Price: £25
A Japanese vase of ovoid form with a short slightly concave neck, the celadon glaze with raised enamel decoration in green, white and pink of flowering peony, the base glazed in white. Many pieces of enameled celadon ware were produced by the Japanese potters for export to the West in a variety of forms including vases, jardinieres and garden seats, the latter implying, perhaps, a destination of the conservatory. Their appeal is obvious and the work is of high quality. This vase, one, no doubt, of an original pair is a typical example with its rich celadon glaze enhanced by the floral decoration. Dating is most likely towards the end of the Meiji period (1868-1912) around 1900. The provenance of these pieces is uncertain, although sometimes Seto ware, better known for its productions in blue and white, is suggested.
Chinese Small Blue and White Potiche and Cover with wood stand, late C20th
Price: £45
A small Chinese porcelain potiche and cover, the straight sides curving out slightly to the top and the overhanging lid slightly domed with a wide knob finial, decorated in underglaze blue and white with a continuous scene of birds and flowers and rocks, the flowers repeated on the lid as floral sprays. The design here is unusual for Chinese ceramics and rather ‘modern’ in appearance which fits with a probable dating to the late twentieth century. While the porcelain is of good quality the paste of the foot suggests fairly recent manufacture (see image 9) and the painting appears to depend partly on stencilled outlines (see especially the bird in the first image). But the wood stand suggests at least some age and the ensemble can be enjoyed its own right as a modest decorative item with the potential for practical use.
Japanese Arita Brush Washer, C20th
Price: £25
A small deep bowl with high slightly incurving walls and a lightly scalloped rim, decorated in underglaze blue with small floral blooms, peony representing Spring and prunus representing Winter, the base unglazed. The form suggests a brush washer and the paste of the foot an early to mid twentieth century dating. A modest scholar’s desk ornament then which might find a home in a contemporary office.
Chinese Yellow Ground Famille Rose Charger, 1950s/early 1960s
Price: £55
A Chinese circular charger, stoutly potted and with a faintly everted rim, richly enamelled in the ‘famille rose’ palette with lotus, bats, shou symbols and a central chrysanthemum head surrounded by small peony blooms, all on a yellow ground with white enamel stylised scrolling foliage, the reverse glazed white with a glazed footrim surrounding an unglazed circular band, the centre with a seven character stamped mark in iron red ‘Jiangxi’ ‘Jingdezhen’ ‘Ming 5 Ci’, ‘made at Jingdezhen [in the] Jiangxi [province], place rank 5’.
This is a fine example of the porcelains made at Jingdezhen, for centuries the chief centre of ceramic production in China, in the early years of the People’s Republic of China (1949-). Soon after the communists took control, the kilns at Jingdezhen were organised into co-operatives, each with a number. Many of their pieces were marked and the form of the mark determines the date of production. The circular marks, as here, were the earliest allowing a dating of this charger to the 1950s or possibly the early 1960s. Some of these conglomerates, for the quality can vary, retained the skills of their predecessors and produced works of high quality. This is clearly seen here in the careful and precise enamelling and the general artistry of the design employing ‘imperial’ yellow with the symbolism of happiness (bats), longevity (shou symbols), friendship and a life of ease (chrysanthemum) and fruitfulness and offspring (lotus), all combining to produce a piece well worthy of its many predecessors.
Please note that the wood stand is for display purposes only and is not incuded with this lot.
Japanese Polychrome Bowl, Shibata Toki ware, late c20th
Price: £45
A fine quality Japanese porcelain bowl with deep sides curving in towards the base and with ribbing in the lower section, the interior delicately decorated in polychrome enamels with a design of flowering peony, the exterior with gilt diaper work on an iron red ground above a border of repeating stylised leaves, the base with a four character mark in iron red reading ‘Shiba-ta-to-ki’, ‘Shibata Porcelain’. The porcelain manufacturer Shibata began production in 1948, based at Mizunami city, near to Nagoya in Japan. They were known for their fine quality porcelains whose work resembles that of the nineteenth century Fukagawa kilns. Their pieces are marked, as here, sometimes with the addition of their name in Western lettering. This bowl probably dates to the 1970s and is a fine example of their work. Since 2004, the company has also operated from workshops in China.
Chinese Cloisonne Shallow Bowl, C19th
Price: £45
A Chinese cloisonne shallow bowl of typical form with a compressed globular body, a wide opening with a gilt metal rim, a short gilt metal foot, the interior and the base enamelled in blue and the exterior decorated in cloisonne enamels with multicoloured floral blooms on a green ground with repeating a repeating fish scale border at the base and a band of ‘ju’i’ lappets at the top. The cloisonné technique, where glass derived enamels are inlaid between gilt metal outline designs, the so called 'cloisons' or 'partitions', was developed in China from as early as the fourteenth century and employed continuously thereafter, even until the present day. The weight of this piece and the quality of the decoration suggests a dating to the nineteenth century, perhaps towards the middle. Certainly, it is a much above average example of a form which was to be produced in substantial quantities in the early years of the twentieth century for export to the West. Its smaller size enhances its attraction making it an attractive collector’s item.
Chinese carving of a Beggar, possibly Shoushan stone, Soapstone stand, C20th
Price: £55
This is a stone carving of a figure resembling a beggar, the elderly man semi clad and holding something (an offering box?) in his left hand while with his right he strokes his head. The carver has incorporated features of the original rock into his work and the black veining is used to accentuate and embellish the profile of the figure, contrasting with the main body of white stone. This effect resembles closely pieces carved in ‘shoushan’ stone which comes from the village of Shoushan in Fujian province, East China and that is most likely the material which was employed here. The separate base is formed from the more commonly found soapstone, with its brown tinges, and contrasts well. The style of carving suggests early twentieth century work and this was probably a piece destined for the export market.
Set of Three Celluloid Figures of Monks, Japanese, first half C20th
Price: £45
This is an amusing group of three Japanese celluloid figures representing young boys dressed as monks. Each wears a patterned coat with complementary trousers and boots, the coloured details carefully picked out. Their poses resemble those of the celebrated three wise monkeys ‘see no evil, hear no evil, speak no evil’ which is a humorous combination with their apparently spiritual role. Celluloid, often known as the first plastic, was used for the manufacture of accessories and collectibles from the late nineteenth century to the 1940s. The Japanese produced many pieces in the material, other examples of which can be seen elsewhere on this site, but this small group, probably dating to the 1930s, is a particularly charming example.
Pair of Chinese Hand Painted Eggs in Case, 1970s
Price: £25
This is an excellent example of a type of souvenir model made in China, probably in the 1970s. The pair of eggs are delicately painted with ladies in a garden scene to the front which continues to the reverse. They are displayed on small stands set on a crushed fabric base and set within a purpose built case made from wood and glass. Underneath is a label reading ‘Made in China’ with four Chinese characters ‘Zhong Guo Zhi Zao’ which translate as the same. This type of mark seems to have been used on porcelains from the 1970s allowing an approximate dating here.
Exceptionally large Chinese Blue and White Teapot with metal handle, C19th
Price: £350
A Chinese teapot of exceptionally large size, the globular body with a short neck, a curved spout, two lugs for a carrying handle and a flush fitting flat lid. Attached to the lugs is a carrying handle in brass, probably contemporary with the date of manufacture of the teapot itself. The decoration is in vivid underglaze blue with an overall pattern of scrolling lotus and repeating white dot borders to the top rim and edge of the lid.
The form here, without a ceramic handle but with an attached carrying handle, suggests a travelling teapot, a well known variation of the teapot type produced in China but rarely found on such an epic scale. Presumably this piece was intended for use at a rather large gathering or banquet so that a multitude of guests could be served at once! The paste of the footrim, style of decoration and clearly visible hand thrown potting rings (see images 8 and 9) all point to late nineteenth century work which is confirmed by the minute vertical lines seen on the exterior which are often found on blue and white pieces from that period. It is sometimes suggested that these brass handles, for similar examples can be found, were made in Thailand but there is little evidence for this. However, a local audience rather than an international one seems more than likely since there would have been little call for such a serving item in Western homes.
Chinese Porcelain Teabowl and Spoon Tray with calligraphy insciptions, 1997
Price: £15
Probably a remnant from a rather larger more extensive tea service, these two pieces of Chinese porcelain comprise a tea bowl and a small spoon tray, white glazed with calligraphic inscriptions. The writing on the tray reads ‘Tea Ceremony’ ‘Tea for the lucky ones’ ‘Those who are rich drink tea and those who are rich drink tea exclusively’ ‘Xinhele Tea’ ‘National Treasure blessing’ with a stamped iron red four character mark to the reverse. The characters on the bowl indicate the ‘Ding Chou’ year, the Chinese year of the Ox recurring every sixty years and accordingly most likely 1997 here. The admonition on the tray should, perhaps, be taken to heart by tea drinkers!
Chinese Export Nanking Pattern Saucer, Qianlong period (1736-1795)
Price: £75
A fine quality Chinese Export saucer in the typical form of a shallow bowl with a small short foot, decorated in underglaze blue with a landscape scene, pagodas on rocky outcrops by a river, within an elaborate border, floral and geometric designs with cell work, the edge with gilt highlighting. The pattern here is a fine example of the ‘Nanking’ wares, so called from their port of export, produced by the Chinese in the second half of the eighteenth century. This saucer comes from a tea service and is rather larger than the standard size implying a matching cup of similar proportions. Some of these tea services had gilt decoration added on arrival at their destination; it is usually held that this was done in England. The result has a hint of luxury and is highly decorative.
Two Chinese folding Fan Leaves with landscape scenes, now mounted, C20th
Price: £25
As quite often, these two paintings were created for use as folding fans but then mounted on board for display. Each has a landscape scene in tones of grey and blue inks painted on mustard coloured fabric. The designs include the typical elements of Chinese landscape painting : rocky outcrops with trees and lakeside scenes. In one can be seen a seated figure, in the other a man in a boat. Both have a calligraphy inscription and a red artist’s seal. The fairly sketchy brushwork suggests a mid C20th dating for which there are many parallels. Both are mounted on paper with an identical pattern of diaper work and roundels with phoenix and dragons implying that this was done at the same time. While the mounts are foxed, the paintings remain clear and if reframed would provide attractive examples of the genre.
Fine quality Japanese Cloisonne bottle form Vase with black ground, late C19th
Price: £45
A cloisonne vase of bottle form, the bulbous ovoid body rising to a tall narrow cylindrical neck, the flat base in copper metal, the black ground decorated on the body with flowers including peony and butterflies, with a stylised wave border below and a band of peony blooms on the shoulder on a brown speckle ground, and on the neck with stylised hanging floral blooms. While not necessarily at the level of some of the signed pieces produced by the Japanese craftsmen in the late nineteenth century, this vase is an excellent example of the best work produced for export. The decoration is detailed and complex and employs some of the ‘special effects’ used, including shading to the enamels and a speckle ground, created with the addition of gold filings to the enamel, both seen in the decoration to the shoulder (see image 5). No doubt intended as a cabinet piece and not necessarily one of a pair, this vase is an excellent tribute to one of the classic ‘arts of Japan’ produced towards the end of the nineteenth century.
LOT 23
Vintage Lacquer Box with an inset ceramic Shard, probably Persian C20th
Estimate: £20 – 30
14d 8h 40m
£0.00
