Chinese & Japanese Works of Art
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.
Japanese Imari Bottle Vase, circa 1900
Price: £30
A Japanese ceramic vase of slender bottle form with a near globular body rising to a narrow cylindrical neck, decorated in the ‘Imari’ palette of underglaze blue, iron red and gold with two red enamel ground stylised floral panels on a ground of scrolling peony, the neck with scrolling prunus above a band of repeating chrysanthemum heads and the base with a band of repeating stylised leaves. The paste of the foot and the style of the decoration suggest a dating to the end of the Meiji period (1868-1912) probably around 1900.
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.
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.
Set of Four Japanese Ceramic Beakers decorated Geisha, late C20th
Price: £40
A set of four Japanese beakers, straight walled with an incurving black glazed foot, the white ground decorated in coloured enamels with four geisha with elaborate hair styles and wearing differing versions of the traditional kimono dress, each with an inscription and artist’s seal. The depiction of these ladies recalls loosely the prints of the celebrated eighteenth century Japanese artist Utamoro and the type of kimono worn seems to be ‘furisode’ distinguished by its long flowing sleeves symbolising good luck and prosperity. Some vestiges of tradition, then, in pieces that are relatively recent in date but highly attractive in appearance.
Chinese Republican Style Famille Rose small Baluster Jar and Cover, late c20th
Price: £20
A small jar and cover, the body of broad baluster form with a matching domed cover, a knob finial to the top, decorated in Famille Rose enamels with children playing in a stylised garden scene with two butterflies to the reverse, the base with a band of repeating stylised lotus leaves and the shoulder with a border of repeating ‘ju’i’ form lappets, two further butterflies to the lid above a simple border of turquoise enamel. The base has a stamped iron red mark with the Chinese characters ‘Zhong Guo Jingdezhen’ which translate ‘Made in China’ which is also written in Western characters underneath. Below this is the number ‘07’ between two horizontal lines which may indicate the factory or cooperative where the piece was made. This form of mark indicates a dating to the 1980s which is consistent with both the paste of the foot and the style of the decoration. Like the previous lot this is not perhaps Chinese craftsmanship at its best but there is still a certain charm.
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 circular silk textile Panel in later European brass metal Frame, C19th/C20th
Price: £55
This is a fine quality Chinese silk embroidery circular panel, most likely cut out from an original robe as is indicated by the very feint unevenness at the edge, the black ground circular border with finely stitched blue flowers surrounding the central scene of a crane amidst tree branches with flowering lotus in the background. The detail of the embroidery work is evident throughout especially in the rendering of the crane’s feathers and the leaves of the lotus plant, implying that the original robe was a luxury production. This, combined with the fabric of the silk background, indicates that we clearly have nineteenth century work here. Perhaps the rest of the robe had not fared too well but for some reason the decision was taken to extract this sample and fit it into a glazed brass frame with its coil spring border. This has the look of the 1940s or 1950s and is probably English but its provenance cannot be absolutely certain. But the care taken at the time was entirely justified and allows us today to enjoy this fine example of Chinese embroidery work.
Small Chinese Cloisonné Dish decorated lotus, C20th
Price: £25
A small Chinese cloisonné enamel circular dish of typical form decorated with scrolling flowering lotus on a black ground with gilt stylised floral scrolls within a lobed edge blue border and a gilt metal rim, the reverse plain and in blue enamel. The cloisonné technique, in which glass derived enamels were set in wire outlines (the so called ‘cloisons’ from the French word), was developed in China in the early Ming dynasty (1368-1644) and then used throughout, right up until the C20th, indeed pieces are still produced today. The later examples can have their own charm and often the quality of the work is excellent, as here, with an imaginative use of colours and shading effects to the enamels, seen here in the lotus flowers and leaves. Some of the later examples can have paper labels indicating a date of manufacture during the era the People’s Republic of China’ (1912-1949) and a circa date of around 1930 seems reasonable here and is confirmed by the weight of the dish and its finish at the reverse.
Chinese Cloisonné Square Vase on Stand, C20th
Price: £25
A Chinese cloisonné enamel vase of slender squared baluster form flaring towards the base and with a concave neck, decorated with panels of a lady standing on a veranda reading a scroll and two ladies standing on a bridge over a river, the designs repeated, on a black ground with stylised scrolling foliage in blue, the base with a border of gilt repeating fish scale pattern and the rim with a border of repeating stylised lotus leaves, the interior and base in blue enamel. The vase is fitted with a matching wood stand which is probably contemporary.
The cloisonné technique, in which glass derived enamels were set in wire outlines (the so called ‘cloisons’ from the French word), was developed in China in the early Ming dynasty (1368-1644) and then used throughout, right up until the C20th, indeed pieces are still produced today. The style of enamelling here with fairly bold outlines to the decoration and the use of bright enamel colours suggests a dating here to the mid twentieth century which corresponds to the probable date of the accompanying wood stand. Perhaps intended as a desk ornament or possibly a flower vase, this piece could certainly find a home in a contemporary setting.
Chinese Republican Style small Famille Rose Ginger Jar and Cover, late c20th
Price: £20
A small ginger jar and cover of typical near globular form with a matching domed cover decorated in ‘Famille Rose’ enamels with two ladies in a garden scene, the base with a band of repeating stylised lotus leaves and the shoulder with a border of stylised scrolling foliage (peony and lotus) on a pink enamel ground, the cover with two butterflies and a band of fleur de lis and the reverse with a calligraphy inscription in black with seal marks in iron red. The base has a stamped iron red mark with the Chinese characters ‘Zhong Guo Jingdezhen’ which translate ‘Made in China’ which is also written in Western characters underneath. Below this is the number ‘07’ between two horizontal lines which may indicate the factory or cooperative where the piece was made. This form of mark indicates a dating to the 1980s which is consistent with both the paste of the foot and the style of the decoration. Not perhaps Chinese craftsmanship at its best but not without a certain charm.
An unusual Pair of Chinese carved Soapstone Vases, circa 1900
Price: £110
A pair of Chinese soapstone vases with mottled colourings in a wide variety of brown and beige, the triangular form deeply carved on the two front faces with flowering peony and birds nestling in the branches, the reverses flat, each with a rock and a leaf, the base also flat and the interior hollowed out. Soapstone was first used by the Chinese over three thousand years ago but began its popularity in the Ming dynasty (1368 -1644) with the height of production during the ensuing Qing dynasty (1644 – 1911). The triangular form of this pair of vases is most unusual and the depth of carving displays near virtuoso expertise. There is little or no trace of the drill here, unlike some of the later twentieth century pieces, and all the pointers are to a dating no later than around 1900. The carver was fortunate to find two matching pieces of stone which allowed him to produce such a well balanced pair in shape, colour and decoration. The nature of the material means that soapstone pieces are found less often as matching pairs and this triangular shape, perhaps suggested by the original stone pieces themselves, is rarer still.
Chinese painting on Silk, Storks and Pine, circa 1900
Price: £25
A Chinese painting on silk, the fine and detailed brushwork depicting a gnarled branch of pine with three cranes astride on a background of blue clouds with a full moon in the distance. Both the crane and the pine tree symbolise long life and longevity and so there is perhaps a hidden message here which might be uncovered in the elaborate calligraphic inscription at the top right with no less than three red artist’s seals. Great care has been taken with this composition and the overall style suggests earlier work than that found in many pieces perhaps dating to the late nineteenth or early twentieth century. The board mounting is considerably foxed but the painting itself much less so and if reframed it would provide an attractive if slightly enigmatic example Chinese decorative painting.
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.
Chinese Soapstone Double Brushwasher, C20th
Price: £45
A Chinese soapstone brushwasher carved in the form of two hollow bamboo stems standing between strands of trailing peach and resting on a rocky base with stylised foliage and a bird, the curved reverse plain and with three holes to facilitate the carving and the base recessed and with small holes. Various similar pieces can be found with one or more containers or vases surrounded by flowers or sometimes animals and presumably intended as brushwashers. Soapstone was first used by the Chinese over three thousand years ago but began its popularity in the Ming dynasty (1368 -1644) with the height of production during the ensuing Qing dynasty (1644 – 1911). Production continued into the 20th Century and even takes place now, but the style of work here, with fairly coarse hand carving but the evident use of a drill, and the colouring of the stone itself suggest a mid century dating, perhaps to the 1940s. But while not of the highest technical expertise, this piece certainly has a rustic charm and can act as a pleasing ornament with the potential use as a desk accessory.
Chinese provincial double spout Teapot, early C20th
Price: £55
This is a rather unusual teapot, the near spherical body with two spouts, a large angular loop handle and a rounded conical cover with a flattened ball knob, the interior with a central dividing wall and the lid with two cut outs to accommodate this, the glaze slightly off white with a fine craquelure and sketchily painted with typical lakeside scenes including pavilions, trees and rocks. Blue and white teapots with two spouts and a central interior division were made for export during the Kangxi period (1662-1722) but this example is much later, probably dating to the early twentieth century, and, to judge from the coarse decoration, made for the domestic market, but, even if utilitarian ware, there do not seem to be many parallel examples. By tradition, teapots designed with two halves were intended to promote a harmonious relationship between a husband and wife as each could enjoy their favourite type or strength of tea, although it has equally been suggested that they were rather intended for use in tea shops so that differing tastes could be catered for at the same time. A new owner might like to carry out some experiments!
Japanese Arita shallow Bowl circa 1880
Price: £55
A Japanese Arita porcelain bowl of shallow form with straight sides turning in towards the foot, decorated in polychrome enamels with a central scene of two panels, one square with a fabric derived ‘brocade’ design and one rectangular with a landscape scene including waves, mountains, the setting moon and cranes, both with tassels underneath, the outside edge with stylised floral panels, lotus and chrysanthemum, and the base with a band of repeating geometric design in underglaze blue.
The town of Arita in the former Hizen Province, northwestern Kyūshū island, was a major centre for the production of porcelains in Japan. Best known for blue and white pieces it also produced polychrome wares as well, including the familiar Imari colourings. While similar to Imari, the wider palette of colours used here is usually termed ‘Arita’ and this bowl employs not only the colourings but also many of the decorative elements found in these wares. The angular form, though, is unusual. Dating is to the Meiji era (1868-1912) probably around 1880.
Two Japanese Woodblock Prints by Toyohara Kunichika, second half C19th
Price: £75
These are two prints by the celebrated Japanese print maker Toyohara Kunichika (1835-1900) whose signature appears on both. The first does not appear to have been published online and cannot be identified here although the calligraphy inscriptions on this and the second are nearly identical implying that they may both be from the same series . The second is a kabuki (Japanese theatre) portrait of Iwai Hanshiro as Princess Wakana looking up from the spell she is rolling up, smiling at a large spider holding the other end of the scroll. She wears a light blue patterned kimono over a red under robe. Her long hair falls over her shoulders with a cluster of tiny flowers adorning her head. This print comes from the series ‘Competition of Powerful Magicians’ published in 1873.
Toyohara Kunichika achieved great fame and distinction a Japanese print artist. Born in 1835 he studied under Toyohara Chikanobu and then Utagawa Kunisada (also known as Utagawa Toyokuni III) eventually using a combination of both his teacher’s names to create his own professional one. At first he worked within Kunisada’s studio and when his teacher died in 1865 was asked to design two memorial portraits of him. The beginning of the Meiji era (1868-1912) saw Kunichika issuing his own prints, often in themed series and he became known in particular for his portrayals of kabuki actors, indeed he regarded the theatre as almost his second home. A contemporary once wrote ‘"Print designing, theatre and drinking were his life and for him that was enough.’ He achieved great fame and was rated as one of the masters of woodblock printing. Contemporary observers noted Kunichika's skilful use of colour in his actor prints, but he was also criticized for some of his choices for unlike most artists of the period, he made use of strong reds and dark purples rather than the softer colours used previously, exploiting the recent import of new dyes from Germany. Red, for the Japanese, meant progress and enlightenment so there was probably hidden meaning here. Eventually Kunichika’s lifestyle took its toll and he died in poor health, aged 65. It had been a Japanese custom for people of high cultural standing to write a poem before death. Kunichika's own, inscribed on his grave, reads ‘Since I am tired of painting portraits of people of this world, I will paint portraits of the King of hell and the devils.’ For many years his prints fell out of favour but interest has now revived and Kunichika is regarded as one of the eminently collectible Japanese artists in the field and these two prints are an excellent example of his work.
Each print is accompanied by a printed text on fine paper which presumably describes the character represented. The second of them is accompanied by two sheets one of which has become attached in one small place to the print itself but could probably fairly easily be detached by a restorer. In general there are some typical signs of age with minor losses (illustrated), tears and folding but the colours remain bright and fresh.
Japanese Fukagawa Jug and Stand decorated lotus, signed, circa 1900
Price: £30
This is an unusual jug and matching stand made by the celebrated Japanese ceramics manufacturers Fukagawa, more commonly known for their vases, bowls and plaques, many in the classic Imari colourings. The squat ovoid form jug has a wide opening at the top with a broad spout and a loop handle in the form of a dragon’s head; it sits on a complementary deep dish or stand of lobed ‘kiku’ or chrysanthemum form. Both pieces are decorated with finely enamelled lotus flowers on a deep blue ground with gilt detail, the stand with continuous stylised floral detail on the exterior and each with one of the characteristic Fukagawa marks underneath, a mountain and stream followed by the script characters for the firm.
The Fukagawa kilns produced the best quality Imari items made in Japan in the late nineteenth century for export to the West. Their history starts with Ezaiemon Fukagawa who in 1856 became head of his family's porcelain business and in 1875 founded Koransha (The Company of the Scented Orchid) in Arita, Japan, to produce tableware for export. In 1894 the modern Fukagawa company was founded by Chuji Fukagawa, with the Fukagawa trade mark of Mount Fuji and a stream, as its trade mark. Dating of these pieces is therefore towards the end of the Meiji period (1868 - 1912) probably around 1900. While the decoration is similar to that found on other Fukagawa pieces there are few, if any parallels, and tea ware pieces by the firm are not very often seen.
Pair of small Japanese Arita Blue and White Bottle Vases, circa 1880
Price: £55
A pair of small Japanese vases of slender bottle form with ovoid bodies and tubular necks, the bases countersunk, decorated in underglaze blue and white with pine trees, a band of stylised leaf design at the base and scrolling karakusa (a foliate design derived from ferns or vines) to the neck. The form here could be regarded as a variant of a sake bottle or perhaps a water dropper or even just as a decorative shape in itself. Sometimes the Japanese potters were unlucky in matching the size of the pairs they were trying to create, probably because of different shrinkage during the firing process, and sometimes quite pronounced differentials occurred, as here. The town of Arita in the former Hizen Province, northwestern Kyūshū island, was a major centre for the production of porcelains, best known for the blue and white pieces it produced, and is most likely the provenance of this pair. Paste and style of decoration indicate a circa date towards the end of the nineteenth century but no later than 1900.
Japanese Awata ware Teapot and Cover, signed, circa 1900
Price: £25
An earthenware teapot of rounded cylindrical form, curving in at the base and with a flush fitting lid, the handle, spout and lid finial all modelled to imitate bamboo, the beige ground with a minute craquelure and with polychrome enamel decoration of birds and reeds, the modelled bamboo attachments glazed green and a sketchy signature in iron red at the base of the handle. The Awata district of Kyoto, Japan, was the home to many famous kilns including those run by various members of the Kinkozan family. Some of their Satsuma productions were of extremely high quality, indeed prize winning and in great demand from Western collectors which has continued until the present day. Other kilns produced more modest Satsuma wares for export and some are marked with the same maker’s name as their more illustrious counterparts. This teapot, not marked Kinkozan, is a typical example, originally deriving from a small tea service decorated in the same pattern. The signature, hastily drawn, is either that of the decorator or the merchant shop which sold the ware. These pieces too seem to have been popular with Western buyers and are still collected today.
Chinese Crackleware Ginger Jar decorated with Warriors circa 1900
Price: £25
A Chinese Crackle glaze Ginger Jar of typical rounded ovoid form with a short neck, the beige ground with a feint and minute craquelure glaze and decorated in polychrome enamels with a continuous scene of a warrior on horseback with attendants, the shoulder and base with incised matt brown glaze bands intended to imitate bronze, the base with an apocryphal four character mark within a brown glaze square. Paste of the foot and style of decoration, in particular the rather coarsely decorated ‘bronze’ bands, suggest a circa date at the beginning of the twentieth century.
'Crackleware' glazed pieces, usually with 'bronzed’ bands, were a staple output of the Chinese potteries from the mid nineteenth century onwards and were produced in a wide variety of mainly vase shape forms, both in polychrome and blue and white and intended as decorative pieces for the Victorian rooms of the West. As with other ceramic types, the quality deteriorated and this piece is typical of the late productions with a more modest level of craftsmanship but still retaining a naif charm. As with many ginger jars, this one lacks its original domed cover which would have been decorated to match.
Pair of fine quality Japanese Bronze Vases decorated birds, circa 1880
Price: £220
A pair of Japanese bronze vases of angular baluster form with stepped bases, a concave neck and a stepped flaring rim, the necks with applied cast handles in the form of cranes and the front and reverse with raised cast decoration of birds amidst plants and flowers. Vases in bronze, usually with applied cast decoration and elaborate handles, were a staple production of Japanese metalware manufacturers in the late nineteenth and early twentieth century, essentially for export to the West. Some of the pieces attained nearly art studio status but many were fairly routine and some rather hastily produced with poor materials. These vases are well above average with good quality bronze in an attractive patina cast in an imaginative and pleasing shape. The applied decoration is well defined with good detailing and the ornate handles effectively offset the clean lines of the shape. Attractive ornaments in their time this pair of vases would be an elegant enhancement for a contemporary interior.
Pair of Chinese Ginger Jars decorated Birds and Flowers, late C20th
Price: £45
A pair of Chinese ceramic ginger jars of typical ovoid globular form with a short straight neck decorated in polychrome enamels with birds amidst trailing peony on a matt lime green ground with craquelure effects, the bases each with a circular mark in iron red, one with the numbers ‘141’. The look of this pair is more European than Eastern but the finish of the base suggests production in China and similar examples can be found marked ‘Fabricado em Macau’ (‘Made in Macau’) and Macau was indeed a centre for the manufacture of ceramics from the sixteenth century onwards, continuing production well into the twentieth with an emphasis towards the end on souvenirs for tourists. The style of decoration tended to be more heavily influenced by Western techniques and motifs which explains the more hybrid decoration of this pair, not without a certain charm in itself. Dating is most likely towards the end of the twentieth century.
Chinese blue ground Vase decorated Prunus, late C20th
Price: £25
A Chinese ceramic vase of ovoid form with a flaring neck, the blue enamel ground decorated with flowering prunus branches in grisaille and green, the base with the numbers ‘31’ in iron red. Flowering prunus or plum blossom is one of the most iconic designs used in the decoration of porcelain, occurring from the late seventeenth century onwards. This vase is a rather more modest version of the pattern and most likely dates to the late twentieth century. The paste of the foot is coarse and the painting perfunctory, not even wholly Eastern in appearance and similar pieces are sometimes catalogued as French. But as with Lot 3 in this sale, the explanation most likely lies in production further afield from the main porcelain factories at Jingdezhen. Perhaps, as with the jars shown in Lot 3, the source was Macau where poorer and more European influenced pieces were being made in the last years of the twentieth century. But, if not the work of Chinese potters at their best, this vase still has a naif charm to be enjoyed today.
Japanese Kutani Teapot in a carrying Basket, circa 1900
Price: £45
A Japanese Kutani teapot, the body of broad ovoid form with two lug handles and a curved spout, fitted with a very faintly domed flush lid with a knob finial, set in a matching carrying basket of woven wicker with a metal hook and eye fastener, two ring hinges and two loop handles.
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. Vases, bowls and plaques are found in this style but also teapots of which this is a typical example. The decoration is of birds and flowers on a faintly craquelure glaze ground and the lid has a complementary ‘brocade pattern’ design. The base has a two character mark reading ‘ku’ ‘tani’ as is often found. The basket is of tightly woven wicker with the metal fitments as described and is probably Chinese in common with many similar examples, although the Japanese did, of course, have a basket weaving tradition of their own. Slight damage means that the ensemble has to be of decorative value rather than practical use but it remains an interesting and entertaining souvenir item from the orient.
Japanese Blue and White Sugar Bowl and Cover, first half C20th
Price: £25
A Japanese porcelain sugar bowl and cover of globular form, two modelled loop handles to the sides and a flush fitting lid with a squat knob, decorated in bright underglaze blue with stylised scrolling lotus, the design repeated on the lid. In common with many blue and white pieces exported from Japan in the late nineteenth and early twentieth centuries, the decoration here is not handpainted but applied with the use of a stencil which explains the slightly ‘mechanical’ effect. These sugar bowls are often paired with a cream or milk jug but do not seem to have formed part of a larger tea service. The slightly uneven profile of the handles is found elsewhere and while dating is most likely to the 1920s or 1930s this piece is still of either decorative or even practical use around a hundred years later!