Unusual Chinese banded agate chopstick rest
Price: £25
This is a very unusual chopstick rest made from beautiful banded agate
Beautiful long jade necklace with lapis lazuli and large carved jade pendant
Price: £950
This is a stunning constructed necklace with a large carved jade pendant with alternating stations of jade and lapis lazuli beads. The jade beads and carving are 1920s/30s, the lapis is 1960s.
Chinese four panel Table Screen with embroidered silk panels, signed and boxed, C20th
Price: £110
A fine quality table screen each of the four panels made from rosewood, joined with brass hinges and set with glazed delicately embroidered silk panels, the first panel with a seal character signature. Small screens with four or six panels, usually termed table screens, were made for export by the Chinese in fairly large quantities in the twentieth century, but mostly the panels display paintings on silk. Embroidered pieces are much less common and the fine silk embroidery seen here is much less common and of excellent quality. The composition is a linked design of two birds amidst flowering prunus or plum blossom. The colourings are mostly greens and browns with the addition of light purple for the flowers. The first panel has a six character seal mark signature which may indicate the artist or be a mark of commendation. The screen comes with its original silk fabric covered box with two bone clasp fasteners and probably dates to the mid twentieth century. It is highly attractive and an example of later Chinese export work at its best. A restful distraction for the scholar at work!
Long Art Deco necklace with spinach jade 1930s
Price: £100
This is a lovely necklace with a large carved piece of spinach jade with beads of jade, carnelian, amber and silver, ending in a Buddha figure. This necklace has been restrung using vintage elements.
Japanese Arita Tea Set, boxed, late C20th
Price: £55
This is a Japanese porcelain tea set, comprising a teapot and cover, with an interior wire ‘sieve’ at the base of the spout, and five footed teabowls, all decorated in underglaze blue with enamel highlights in red and green and incorporating floral and landscape designs with geometric patterns. The teapot lid and all the five bowls are signed, presumably with the factory or decorator’s name, in underglaze blue and the lid of the box also has a calligraphic inscription. While made towards the end of the twentieth century, the style of decoration here reflects earlier pieces made at the kilns in Arita for export to the West. Certainly, the quality is a match for the older counterparts and the set has both practical and decorative appeal. Five cups are included since the Japanese ‘set’ contains one less item than the European one. The inscription on the lid, which is found elsewhere on similar sets, apparently contains the wording ‘Sweet smelling goods’ and ‘Arita Ware’.
Japanese wood Netsuke of a Cobra, signed, C19th
Price: £45
A Japanese boxwood netsuke sculpture of a cobra, seated coiled with its head upraised and mouth open with the tongue protruding, the scale naturalistically rendered even to the underside where there is an incised artist’s mark. The eyes are inset with small hardstones [CHECK] which is an additional sign of the quality of the work here which would have required no small amount of skill to create such an ‘open’ composition. Netsuke were carved toggles used to attach hanging objects, usually okimono, to the sash of a kimono and became the subject of the master carver’s art, sometimes of the very highest class. They were formed from ivory or wood, as here, and usually display the holes through which the fastening cord was threaded but this is not the case here because of the nature of the composition. While there is certainly abundant artistry, the carver’s signature cannot be identified. Netsuke began to fall out of fashion in the nineteenth century as European dress gradually became more popular but a dating to this period seems reasonable.
Pair of Chinese Paintings on rice paper, C19th, later framed
Price: £110
A pair of Chinese paintings on rice paper of two figures, a lady and a gentleman, in traditional court dress. She holds a fan while he holds a quiver of arrows in one hand and a bow in the other, suggesting, perhaps fancifully, a contrast between war and peace. Finely detailed, almost jewel-like, cabinet paintings of this type were made in the 18th and 19th centuries for export to Europe, from the Chinese ports and in particular Canton. The subject matter included botanical studies, commercial and domestic scenes and, as here, people depicted wearing elaborate Chinese dress. These paintings were often issued in sets or albums either to be enjoyed as connoisseurs’ items or for framing to be used as wall decoration. The detail of the brushwork here, especially seen on the robes, and the expression of the faces represents the best of work which was exported and the rice paper ground is in remarkably good condition with little or no trace of foxing. Dating is fairly certainly to the nineteenth century and perhaps to the 1840s/1860s since the style of work resembles that seen on the porcelains produced at this time. The simple frames are doubtless a twentieth century addition and allow these two miniature masterpieces to be displayed with great effect.
Japanese Arita Brushwasher, 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.
Striking Art Deco jade necklace
Price: £150
This is a lovely necklace comprising an Art Deco jade disc pendant with dragon motif together with a necklace of jade beads, this necklace has been restrung and the pendant was not originally together with these beads but it looks great!
Necklace with soapstone pendant and amber beads
Price: £65
This is a wonderful necklace comprising amber beads with a brown soapstone pendant. Finished with amber, bone and silver beads and a tassel. This is a constructed necklace from the 1990s although the elements are from various periods.
Large Chinese eglomise scent bottle 1950s
Price: £75
This is a very unusual large scent bottle with loose glass rings and a foo dog stopper. There are two eglomise scenes on either side depicting children playing
Pair of Japanese red lacquered low stands, Taisho period
Price: £150
Pair of Japanese red lacquered low stands, Taisho period (1912-1926). The stands have a square insert on the stand with bowed supports and plain stretcher base. The upper rims are inset with abalone shell, the inset vase stands are round. With original fitted softwood carrying box with character marks on lid
Chinese Blue and White Snuff Bottle with Jade stopper, early C20th
Price: £45
A Chinese snuff bottle of flattened ovoid form, the stopper with a jade top above the cork sealed wand, decorated in underglaze blue with two birds amidst flowering peony or plum blossom, the base with a four character mark in underglaze blue. The paste of the foot and the fairly coarse style of the painting suggest a circa date to around 1900 or a little thereafter but the design is attractive and the bottle survives with its stopper and wand intact which is not always the case.
Japanese coiled Snake Netsuke
Price: £25
A Japanese boxwood netsuke sculpture of a coiled snake, seated with its tongue protruding, the eyes inset with small hardstones [CHECK] and the scale rendered in detail with an incised artist’s mark to underside next to the two attachment holes. Netsuke were carved toggles used to attach hanging objects, usually okimono, to the sash of a kimono and became the subject of the master carver’s art, sometimes of the very highest class. They were formed from ivory or wood, as here, and usually display the holes through which the fastening cord was threaded. While there is certainly skill in the carving, the artist’s signature cannot be identified. Netsuke began to fall out of fashion in the nineteenth century as European dress gradually became more popular but a dating to this period seems reasonable.
Vintage Lacquer Box with an inset ceramic Shard, probably Persian C20th
Price: £25
A lacquer box of rounded square form with a concave, pillow form cover inset with a blue and white ceramic shard. The box is decorated with stylised scrolling foliage on a dark red ground and the ceramic fragment with a design of lotus flowers and clouds. The box was clearly designed to fit the shape of the shard which presumably derives from a vase of some form. Similar boxes are usually described as Chinese with inserts that are obviously Chinese as well, but the lacquer work on these looks more to be Persian and here, the ceramic fragment definitely has a Persian rather than Chinese style of decoration, suggesting that in this case, at least, both the box and its insert are, in fact, Persian. This was an ingenious way of recycling broken pieces of porcelain and these boxes seem to have been made as tourist souvenirs. Despite the aged appearance, dating is probably to the early to mid twentieth century.
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.
Lot of 3 vintage Chinese miniature cork groups
Price: £25
These are very delicate cork groups that also have colour added. They depict cranes and well as birds in an cherry blossom tree.
Japanese Fukagawa Imari Vase of Sake Bottle Form, Koransha Mark, circa 1880
Price: £180
A fine quality Japanese Imari Vase of sake bottle form with a bulbous body curving inwards towards the base and narrowing at the top towards a broad neck with a faintly everted rim, decorated in iron red, underglaze blue and gold with the addition of green enamel. The main body with two shaped panels of flowering chrysanthemum within underglaze blue borders on a ground of stylised flowering chrysanthemum, the shoulder with panels of lotus and stylised flower heads on an underglaze blue band, the neck with further stylised foliage below plantain leaves in iron red and underglaze blue, the rim gilt. The base with a four character mark reading Koransha Fukagawa Sei ('made by the Koransha Fukagawa [factory]'.
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 here is within the Meiji period (1868 - 1912) probably around 1880. This conforms with the script mark used as opposed to the later symbol design. The form is unusual and reflects sake bottle shapes produced in a variety of mediums.
A Chinese Carved Wood Figure of Budai with a small signature plaque to the underside, C19th
Price: £75
A Chinese carved wood figure of Budai shown lying on a lotus leaf. He is depicted in a typically corpulent pose as a stout, smiling man in robes with a largely bare belly, which represents happiness, good luck, and plenty. In his left hand he holds a stylised object which is probably intended to represent the 'sack of plenty' which he is seen with so often and in his right hand is a round ball either representing a pearl (symbolising health and beauty) or a gold nugget (symbolising financial happiness). There is detailed carving to his robes and the lotus leaf is lightly incised with foliage underneath. In addition there is a small signature plaque with indistinct characters. The size and form suggests that this is a 'handling' figure intended for devotional purposes and the style of decoration indicates a circa date in the late nineteenth century.
Width 20cm
For more detailed measurements and a condition report, please visit our website : www.intercollector.com
Japanese red lacquer Box and Cover with inset bone plaque, late C19th
Price: £75
A Japanese lacquer box and cover, the base and lid decorated with a design of massed peony and chrysanthemum heads in red lacquer and the lid inset with an irregularly shaped carved and coloured bone plaque depicting a garden terrace scene with peony, a butterfly and rocks, within an irregularly shaped, diaper design brown lacquer border. The interior with a contemporary paper lining. The style of the lacquer work, slightly less deeply cut and a darker colour, the decorative elements used, with an emphasis on chrysanthemum, and the employment of bone decoration suggest here Japanese, rather than Chinese, work made for export and the paper lining of the interior, not often found in Chinese lacquer boxes, conforms with this. Dating is probably to the end of the nineteenth century and the combination of materials used is rather unusual making this an accessory both decorative and functional.
Marionette Figure of a Prince, probably Burmese mid C20th
Price: £45
This is a puppet figure of a man wearing elaborate dress suggestive of the royal court with billowing sleeves and a flaring skirt, the bold and striking design elaborately worked with sequins, stitching and minute bead work studded at the front with large coloured glass beads representing gems, his hands and face gilt with red and black detail, his feet clad in gilt boots and his head surmounted by a gilt and beaded conical helmet. Eight gilt strings are suspended from a double bar handle piece allowing the puppet master to operate the figure.
The style of the dress suggests Burma which has a tradition of marionette puppetry (marionettes are a specific form of puppet where the figure is controlled by strings or rods) dating back to the late eighteenth century and still popular today with visitors to the country, now called Myanmar. Termed ‘Yoke thé’, the Burmese marionette tradition allowed political commentary under the guise of of an entertainment display. The standard ‘troupe’ comprised twenty seven characters, both animal and human, and this male figure is probably the ‘King’ (‘Mintayar gyi’). Dating is probably to the mid C20th and a little earlier than the female marionette figure also included in this sale. This figure is rather more majestic as befits his regal status.
Decorative pair of Chinese ceramic figures of children, Yunu and Jintong , late C20th
Price: £45
This is an amusing pair of ceramic figures depicting the two children Yunu and Jingtong, Taoist deities well known from Chinese mythology and traditional religion. They are represented with hands clasped and attached to their arms are coins or ‘cash’ (to use the Chinese word, later adopted into the European language), considered to be good luck symbols. Yunu and Jintong were the favoured servants of the Jade Emperor and the martial God Zhenwu. They acted as guides to the underworld but also became known as the paradigm of happily married couples; pictures of them are sometimes displayed during the Chinese Sprig Festival. There are accordingly many associations with good fortune here and these pairs of figures were doubtless sold as lucky charms in the later years of the twentieth century.
Small Chinese Blue and White Brushwasher, C20th
Price: £25
The form here, a flattened broad body with curved walls and a wide opening at the top, is an example of one of the classic ceramic Chinese brush washer shapes and is found in a wide variety of decoration, often monochromes but there are also many pieces where underglaze blue and white was employed. The miniature size here is rather unusual; just possibly it was part of a set. The exterior is decorated with continuous scrolling lotus (perhaps an association with water was intended) below two concentric circles at the top with a single circle at the base. Underneath is the standard four character mark for the Qianlong period (1736 -1795), the characters reading from right to left and top to bottom ‘Qian’ ‘long’ ‘nien’ ‘chi’ (Qianlong years made). This is, of course wildly optimistic. The paste of the foot suggests a dating to the early years of the twentieth century, but this desk accessory has great charm, nevertheless.
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.
Lot of 3 Chinese bangles
Price: £35
This is nice lot of three bangles, one cloisonné and two cinnabar. The larger cinnabar bangle is beautifully detailed on black ground, the thinner cinnabar is more typical and has more age, the cloisonné is lovely work on a blue ground.
Incredible long jade necklace with large carnelian pendant
Price: £135
This is a constructed necklace comprising numerous large celadon colour beads interspersed with different coloured jade beads. There is a ox carving at one of the stations and it ends in a large carnelian disc pendant and silk tassel. This necklace is a very long opera length.
Chinese Silver Bangle with Dragon Heads, C20th
Price: £45
A Chinese silver bangle of simple loop form terminating in two Dragon’s heads. One head with a small circular pad marked 925, Twentieth Century.
Japanese Imari Dish in the form of a Treasure Boat ‘Takarabune’, Meiji Period, circa 1900
Price: £250
A Japanese Imari Dish in the form of a Treasure Boat, the body shallow potted with a modelled stern and prow, the decoration in the typical ‘Imari’ palette of underglaze blue, iron red and gold with the addition of small areas of green enamel, the exterior sides decorated with stylised waves and sea spray in underglaze blue, the interior with a fabric derived ‘brocade’ design of floral panels with two ‘ho ho’ birds within a border of repeated roundels with lozenge on a blue and gilt ground, the flat base unglazed.
In Japanese folklore, the Takarabune or "Treasure Ship", is a mythical ship piloted through the heavens by the Seven Lucky Gods during the first three days of the New Year. Ceramic boat shape dishes were produced during the Meiji period (1868-1912) in both Arita and Imari porcelains. Paste of the foot rim and style of decoration suggest a circa date here towards the end of the nineteenth century.
Set of six fine quality Satsuma cups and saucers, signed, early C20th
Price: £180
A set of six earthenware cups and saucers, the cups straight sided with loop handles and the saucers with an interior well, finely painted with six different genre landscape scenes, matching on each of the two pieces and within geometric pattern black and gilt borders, in a palette of colours emphasising browns, grisaille and gilt, on a cream ground with a very fine craquelure glaze which is repeated on the reverse of the saucers and the base of the cups, all twelve with a small central mark of three gilt characters on a black ground. The style of decoration here is that of the workshops from the province of Satsuma who produced a wide range of pieces, some of exhibition quality, for export to the West in the late nineteenth and early twentieth centuries. While not by one of the best known artists, these cups and saucers are of very high quality and the identity of their maker, which unfortunately cannot be established at present, is probably contained in the signatures. The detail of the painting speaks for itself and all six scenes feature Mount Fuji in the background with a lake in front with figures on the bank engaged in a variety of activities including one scene of a figure contemplating the mountain itself - the artistry is sometimes combined with a wry sense of humour. While most likely part of a larger tea service, these six cups and saucers may possibly have been intended just as cabinet display pieces. Certainly, they could fulfil that function now. Dating is probably to the early twentieth century and within the Taisho period (1912-1926).
Japanese blue and white hat shape small Bowl with flowering prunus, C20th
Price: £25
An unusual tea bowl of inverted conical form with a short slightly flaring foot decorated in blue and white with a reverse outline design of flowering prunus in white on a blue ground, the base glazed white with a blue circle. The shape here, often termed ‘hat shape’ or ‘bamboo hat shape’ from its resemblance to an Oriental hat (see image 7), seems to have originated in China but was eventually taken up by Japanese potters whose work here is indicated by both the style of decoration and the paste of the foot. The decoration features branches of prunus rather differently represented to those on a Chinese vase to be found elsewhere in this sale with the white design of the branches and flowers almost employing a ‘reverse decoration’ effect, loosely imitating work found on Chinese pieces from the Ming dynasty. The result is elegant and this piece no doubt derives from a small set, probably of five pieces, made for the consumption of tea or perhaps sake. The paste and finish of the foot indicates a dating to the early twentieth century, probably in the 1920s or 1930s.
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 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.
The Braves and the Fair Men of Letters and Women of Fame of Old China circa 1900
Price: £75
This is an accordion page book, perhaps intended as an imitation of a scroll painting, containing texts and illustrations of ten characters of fame and repute from Chinese history. The title page reads "The Braves and the Fair Men of Letters and Women of Fame of Old China" but there is no author stated and the book is undated, although similar examples are sometimes ascribed to the late Victorian period which would seem to be consistent with the style of printing and the type of paper found here. This book is believed to have been produced at Fuzhou, the capital of Fujian province, by the Ling Yu Sing Gift Shop, which specialised in mementos for the tourist market.
Each of the ten characters are described in a double page spread, the right hand containing texts in both Chinese and English and the left hand with hand coloured illustrations on silk , delicately rendered. All ten ‘couples’ represent the Confucian of harmony between husband and wife. The book 'works' from right to left and the reverses of the pages are left blank. At each end are fabric covered boards, the front board with a pasted paper inscription in Chinese with a small red seal mark. Other examples are finished with boards in wood, but these are, perhaps, not original or a more deluxe version of the volume. In addition there are other books in a near identical format and presumably issued by the same publisher including ‘Stories of Ancient Chinese Noted Beauties’ and ‘Eight Fairies Festival’.
The illustrations are in excellent condition with the colours still bright. The yellow finish to the paper is original and perhaps intended to give an 'antique' effect. Each of the end boards are very slightly scuffed at the borders. Some of the pages, including the title page and the two end papers, suffer from varying degrees of 'worm hole' perforation. There are also various small tears. A full set of illustrations can be seen above and further images (and a more detailed condition report) are, of course, available on request. But these condition issues should not necessarily detract from the charm of the item which is an attempt to present some of the folk lore of China for Westerners keen to know more about the culture of a country which had attracted such popular interest during the Victorian period.
Graduated set of Three Chinese Blue and White Ginger Jars and Covers, 20th Century
Price: £45
A set of three Chinese Blue and White Miniature Ginger Jars and Covers of graduated sizes and typical form with globular bodies and domed covers, decorated in the 'Ming Style' in underglaze blue with lotus heads and stylised scrolling foliage, a band of lotus form panels to the base and ju'i form lappets to the neck, the design repeated on the cover.
Although of relatively recent manufacture, the quality of these pieces continues the Chinese ceramic productions of the late nineteenth century and together they form an attractive decorative ensemble for the contemporary interior.
Three Chinese Canton Enamel Dishes, Nineteenth Century
Price: £45
Three Chinese Canton Enamel Dishes, all with very similar designs with a central lotus flower in famille rose enamels on a coloured enamel ground (green, turquoise and pink respectively) with lotus flowers and stylised scrolling foliage, the edges with repeating ju'i form lappets, the rims bound in copper and a copper foot to the base, the undersides in off white enamel. The style of decoration suggests a nineteenth rather than eighteenth century date of manufacture (compare the dish in the following lot 7) but the quality is good and while not a set as such the three pieces complement one another well.
Fine Quality Cloisonne Box and Cover in the form of a Snail, Japanese circa 1880
Price: £95
A fine quality Japanese Cloisonne Box and cover in the form of a snail, the lid modelled with typical shell spirals and the base with a conforming shape, the decoration comprising small flower heads and butterflies on a blue enamel ground with gilt scroll work, the lid and base edged with a red enamel band highlighted with repeating gilt circles, the foot with a similar red enamel band highlighted with gilt semi circles and with two bands of gilt semi circles filled with a minutely speckled green enamel fill, the interior and the foot of the base finished in blue enamel.
The Japanese produced copies of natural forms in a variety of media. Carved ivory fruit and small animals are well known. Here, cloisonne enamel is used which is less common. The quality of the work speaks for itself and can be judged form the small butterflies on the cover and the green speckle enamel fill at the base. It is typical of the best Meiji period (1868-1912) work and a circa date towards the end of the nineteenth century is most likely.
Chinese Plate No 3 from the series Beauties of the Red Mansion, Jingdezhen, 1985
Price: £35
This is the third plate from the series ‘Beauties of the Red Mansion’ comprising twelve plates in all, produced by ‘Imperial Jingdezhen Porcelain’ and titled ‘Beauties of the Red Mansion’. The plates were designed by the master artisan Zhao Huimin and depict characters from the famous Chinese romance novel ‘The Dream of the Red Chamber’ or ‘The Story of the Stone’ written by Cao Xueqin during the Qing Dynasty. Each plate depicts one of the court lady characters which appear in the work (Pao-chai, Yuan-chun, Hsi-feng, Hsi-chun, Mao-yu, Ying-chun, Tai-yu, Li-wan, Ko-ching, Hsiang-yun, Tan-chun, Chiao-chieh), all renowned not only for their physical beauty but also for their complex personalities and roles in the narrative of the novel. The twelfth plate depicts Chiao-chieh, the daughter of Hsi-Feng who was eventually forced to abandon the luxury and wealth of court life as a result of the unscrupulous actions of her Mother. The plate has an elaborate inscription on the back along with the factory name and the date of production, 1985. While the work is detailed it is not hand done but seems to have been produced by some form of printing process. The ‘micro dot’ detail of this can be seen in some of the images. The plate comes with its original box and descriptive leaflet which gives extensive background detail and a translation of the inscription on the reverse. These are not always found, making this an interesting collector’s item.
Fine Quality Japanese Plate decorated Carp, signed, early C20th
Price: £25
A fine quality Japanese porcelain plate with a lightly scalloped edge, decorated to the centre with two carp swimming amidst reeds within an elaborate border of stylised floral sprays in blue between cloud form segments in brown and gilt, the reverse with a three character script mark. Unfortunately, the artist cannot be identified from his signature but there are elements here in common with various of the Japanese potteries producing pieces for export in the late nineteenth and early twentieth centuries, including those at Kutani and Seto along with the ubiquitous output from Noritake. But the craftsmanship here is not in doubt and the representation of the two carp, symbols to the Japanese of good fortune and friendship, highly skilful. The style of painting and the paste of the foot suggests a dating to the early twentieth century, probably to the Taisho period (1912-1924).
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.
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 the explanation most likely lies in production further afield in China from the main porcelain factories at Jingdezhen and perhaps 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.
Chinese Reverse Painted Glass Globe depicting deities and attendants, Modern
Price: £45
A Chinese Glass globe with thick walls, hollow inside and with a round opening at the base, reverse painted in great detail with deities and attendants amidst clouds, an eight character inscription to the side with a small red seal mark. Reverse painting is a technique often used by the Chinese for the decoration of snuff bottles where the brush is inserted through the opening at the top and the decoration applied. Here the decorative technique has been used on a rather larger object but with no diminution in the skill of the craftsman indeed the much larger 'canvas' must have proved quite demanding. By repute the decorators require at least one day to create a single example. Heavy, but a little lighter than the previous lot (41), and of extremely high quality glass, these pieces, of which various examples are known (there is another one as the previous lot to this) may have been intended as paperweights or more likely simply as decorative objects. Some are found with modern wood stands. This piece is sold with a contemporary illuminated stand which, when lit, serves to enhance the decorative effect (see image 6).
Chinese Reverse Painted Glass Globe depicting tigers, Modern
Price: £45
A Chinese Glass globe with thick walls, hollow inside and with a round opening at the base, reverse painted in great detail with three tigers in a landscape setting with bamboo, the base with an inscription 'Dick and Sadie'. Reverse painting is a technique often used by the Chinese for the decoration of snuff bottles where the brush is inserted through the opening at the top and the decoration applied. Here the decorative technique has been used on a rather larger object but with no diminution in the skill of the craftsman indeed the much larger 'canvas' must have proved quite demanding. By repute the decorators require at least one day to create a single example. Heavy and of extremely high quality glass, these pieces, of which various examples are known (there is another one as the following lot to this) may have been intended as paperweights or more likely simply as decorative objects. Some are found with modern wood stands. This piece is sold with a contemporary illuminated stand which, when lit, serves to enhance the decorative effect (see image 8).
Constructed necklace with jade, egg yolk amber and cherry amber, C20th
Price: £250
This necklace is a wonderful ensemble comprising cherry and egg yolk amber beads together with jade beads, terminating in a very large carved jade plaque which is a very fine example of Chinese carving, with an allegorical motif of a dragon's mouth around a smaller dragon, and formed from golden spinach jade, an unusual colour.
Japanese Fukagawa Imari Bowl, signed, circa 1880
Price: £380
A Japanese Imari Bowl of shallow lobed form, richly decorated in the Imari palette of underglaze blue, iron red and gold, the interior with a central circular panel with a vase containing peony and chrysanthemum within a blue ground border with gilt diaper work and small stylised floral panels and the sides with alternating shaped edge circular and oval panels filled with flowers and ho ho birds on a stylised floral red enamel and gilt ground, the exterior with circular floral panels in two sizes on a ground of stylised foliage, the base with a four character mark reading 'koransha' 'fuka' 'gawa' 'sei' ('Made by the koransha Fukagawa [factory]'.
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 here is within the Meiji period (1868 - 1912) probably around 1880. This conforms with the script mark used as opposed to the later symbol design.
Chinese celadon glaze sake cup with shou symbols, Qing dynasty (1644-1912)
Price: £55
A Chinese celadon glazed cup, the curved walls above a short foot and flaring outwards slightly at the rim decorated in underglaze blue with six identical auspicious characters, the base unglazed and with a recessed foot. There are no easy parallels for this bowl, although there are various straight sided bowls with underglaze blue Chinese characters, optimistically marked as from the Xuande dynasty (1425-1435), and most likely modern. The celadon glaze here is of fine quality with minute bubbles (see especially images 3 & 5) and the form of the foot, with its recessed base is most unusual, indeed seemingly without parallel. The underglaze blue characters are for ‘shou’ (壽), meaning ‘longevity’, and often used either in character or abstract circular form as a decorative motif. Care has clearly been taken here and the paste of the foot is most certainly Chinese but while dating is highly uncertain it is unlikely to be later than the early twentieth century. The base has two scratched marks ( ‘A’ ‘R’??) which might be those of the bowl’s one time owner. Perhaps its next owner will be lucky enough to discover rather more about it!
Carved celadon jade pendant Necklace c1920
Price: £95
This is a beautiful and long necklace that features a large carved Buddha pendant figure in celadon jade. It is strung on the original silk cord that also has bead stations.
(Please note that although this is jade, we are not specialists in this field and cannot be sure whether or not the jade has been treated in some way.)
Chinese Shoushan Soapstone Seal with the characters A.H., C20th
Price: £45
A Chinese soapstone Seal of slender square form, the top with a relief carved figure of a sage dressed in flowing robes and holding two scrolls in his left hand, set in a niche with a curved top, the base with two raised carved letters ‘A.H.’ The stone used here with its burnt orange, finely mottled surface is an example of ‘Shoushan’ soapstone which was very commonly used in the production of seals. It was mined in the Fujian province at or near the village of Shoushan in the North, from which it takes its name. Seals made from Shoushan stone in this burnt orange colouring, often found as pairs, were made from the nineteenth century onwards. The rather sketchy carving of the figure here suggests the mid to late twentieth century work, though, and, with its two European letters below, this was clearly a special commission. But the form and the quality of the material used are pleasing making this a useful addition to a collection of Chinese desk ornaments.
LOT 92
Japanese metalware plaque with Chokin decoration, signed Kaygetsu, second half C20th, framed
Estimate: £30 – 40Auction Ending
16/11/26 23:02:00 GMT
£0.00
Pair of Japanese Arita Shallow Bowls circa 1880
Price: £75
A pair of Japanese Arita circular shallow bowls with lightly lobed edges, the reverses with a broad unglazed circular ring to the foot, decorated in polychrome enamels (brick red, greens, blues, grisaille) with the addition of a small amount of underglaze blue, with a cenral roundel of flowering chrysanthemum, surrounded by four floral panels with prunus and peony and four small vignette panels of flower heads and geometric design, all on a brick red ground with gilt stylised scrolling foliage, the reverse with a stylised floral design in underglaze blue to the walls.
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 the decorative appeal of the style is clear. These bowls probably come from an original set of five and their quality is much above average. Dating is to the Meiji era (1868 - 1912) probably around 1880.
Pair of Japanese Blue and White Seto Ware Vases, early C20th
Price: £240
A pair of Japanese Vases of ovoid form with modelled concave necks, decorated in bright underglaze blue with densely flowering peony and chrysanthemum, the design continuing right round to the reverse, the necks with a band of repeating geometric design below a band of stylised clouds and waves, the bases glazed and each with indistinct markings in underglaze blue, more extensive on one vase than the other.
The finely drawn brushwork here and the distinctive bright blue are characteristics of pieces made at Seto in Japan in the 19th and early 20th centuries. The city of Seto is located in the Aichi Prefecture and was the location of one of the Six Ancient Kilns of Japan. Pottery was produced there from the 13th century onwards. The kilns took part in the export of decorative wares to the West from the second half of the nineteenth century onwards producing a wide variety of forms, in particular pairs of vases, but with a speciality in flat plaques and table tops, for which they gained something of a monopoly. Their pieces are usually marked, to include the characters for Seto, and this pair of vases may have originally been signed themselves but with the marks partially obliterated in the firing process. The quality here matches anything else produced by the factories but the light weight and thinly potted body suggests a dating to the early 20th century rather than before, probably during the Taisho period (1912-1926). Nevertheless the skill in craftsmanship is obvious and contributes to a highly attractive pair of ornaments for a contemporary interior.
Set of Japanese Plates decorated with Geisha in landscape scenes, late C20th
Price: £40
A set of four plates colourfully decorated with Geisha in a contrasting variety of landscape scenes, two in the countryside with ladies in attendance and two in a pavilion terrace setting, one with a male attendant and the other with a courtier whose intentions look less honourable. All have red seal marks with calligraphy in addition and possibly we are to see the four seasons here which may be indicated in the texts. While the work is detailed it is not hand done but seems to have been produced by some form of printing process. The ‘micro dot’ detail of this can be seen in some of the images, for example (4) and (5). A very modest taste of Japan then but not without its attraction.
Please note that the stands are for display purposes only.
Pair of Chinese Paintings on Silk, framed, C20th
Price: £45
A pair of Chinese paintings on silk, each rectangular panel with indented corners and finished with yellow ground patterned edging, the first depicting a lady in a garden with rocks and bamboo, the second with a mountainous landscape scene, a river bank and a man in a boat to the foreground with craggy tree lined rocky outcrops in the distance the further one surrounded by mist. Both pictures are signed in script with a red seal mark below, most likely denoting the artist or the artist copied by the painter. The style of the brushwork implies twentieth century work and the dating is probably to the 1960s. The paintings were later framed in Europe and provide a complementary pair of decorative items which accurately reflect the tradition of classical Chinese painting.
Chinese Blanc de chine figure of Budai, late C20th
Price: £35
A Chinese white glazed figure of Budai, the so called ‘laughing Buddha’ modelled standing with his typically broad chest exposed, a smiling expression and a small sphere in his hand which represents the ‘wish fulfilling jewel’. These white glazed wares, termrd 'blanc de chine' were a classic of Chinese ceramics and made principally at Dehua in the Fujian province from the fourteenth century onwards becoming one of the staples of the Chinese porcelains exported to the West in the eighteenth century. But they are produced even today and the modern examples can be of surprisingly good quality as is the case here where the paste and finish of the foot suggests a late twentieth century dating. The interior is unglazed and there are scratched marks to the bottom which can be ead as either '617' or 'L19'.
Japanese Samurai China Biscuit Box and Cover, C20th
Price: £25
A Japanese ceramic Biscuit Box and Cover with a wicker handle of squared octagonal form, the body slightly flaring outwards and with a flush fitting cover, decorated in bright satsuma style enamels with panels of a samurai and a geisha and two with landscape designs alternating with orange ground panels with stylised foliage in enamel and gilt, the design repeating onto the lid, the base marked ‘Genuine Samurai China’, ‘Japan’, ‘Hand Painted’, and a ‘Reg No’ which cannot be read, the lettering surrounding a shield like device with Japanese characters. The firm ‘Samurai China’ seems to have made modest ceramic items, mainly tea services, for export to the West. Dating is most likely pre war, perhaps to the 1930s.
Tibetan amulet necklace featuring Buddhist deity c1900
Price: £25
This is very interesting necklace that comprises a very large amulet or talisman in a flower shape, which is built up in steps and features a figure holding a sword. It is made from brass, that would have had bright gilding in its time. It is mounted with garnets and enamel work. There are some stones that appear to be turquoise and coral although these might be enamel. There is also an embossed lotus flower on the back.
The chain on this necklace is quite short for it to fit over a modern head so it would probably need a clasp in addition.
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.
Japanese Kutani Dish decorated with the Thousand Faces pattern, first half C20th
Price: £45
A Japanese polychrome plate decorated with a central roundel of a gilt stylised dragon and phoenix amidst waves on an iron red ground, surrounded by nine concentric borders, the first two with geometric designs and the next six with small repeating faces, the ‘thousand faces pattern’, and the outermost with chrysanthemum heads edged with an iron red and gilt border. The reverse with an iron red mark ‘Made in Japan’.
The colourings and style of work here clearly indicate the workshops of Kutani (the word means 'nine valleys') in the former Kaga province of Japan. By the nineteenth century the majority of their pieces were decorated in iron red and gold but sometimes with other colours in addition, as here. The ‘thousand faces’ pattern (an apocryphal term and this cataloguer has not attempted to count the number of faces appearing here) seems to have been evolved around the end of the nineteenth century and then continued in production until the mid twentieth. Both plates in various sizes and even tea sets are found in the design. The mark ‘Made in Japan’ was usually employed after 1941 (in the previous twenty years ‘Japan’ was the norm) but there are exceptions and the paste of the foot rim here does suggest a slightly earlier date, perhaps around 1930. In perfect condition, with very little wear to the decoration, this piece is a fine example of a rather eccentric decorative patttern.
Chinese Fan, painting on silk, 1960s
Price: £15
A Chinese fan of irregular hexagonal shape with a bamboo effect handle, the silk panel edged with stitching and delicately painted with two goldfish and reeds in a pond setting. This lot is another example of the fans made by the Chinese as handicrafts exports to the West in the mid twentieth century, two other examples of which can be seen in the previous lot. The representation of the fish here is particularly pleasing.
Two Chinese Fans, painting on silk, 1960s
Price: £15
Two fans of circular form with bamboo effect handles, the silk panels edged with stitching and delicately painted, one with a landscape scene, signed, and the other with a bird seated on a branch of flowering lotus. These fans seem to have been made in China for export in the mid twentieth century as part of the many handicrafts items which were sent to Europe for sale. Each of the scenes depicted here has an attraction of its own and both are a modest reflection of contemporary Chinese painting. It is sometimes suggested that these might be 'wedding fans' but that may be apocryphal.
Chinese Blue and White Snuff Bottle decorated boys circa 1900
Price: £45
A Chinese Blue and White snuff bottle of flattened rectangular form with a short round neck slightly flaring at the top, decorated on each side with boys, one writing on a tablet with a brush and two playing together, the sides with lotus petals and the base glazed inside an unglazed foot. The style of decoration, which is not without a naif charm, suggests late nineteenth century work and the paste of the foot rim does not conflict with this, indeed it could be a bit earlier. Similar pieces are found, usually more coarsely potted and painted, and were probably made for the local market rather than export to the West. Doubtless originally fitted with a stopper, perhaps with an attached spoon, this piece is still an amusing and decorative item for the collector.
Chinese Cantonese style hexagonal Jar and Cover, C20th
Price: £150
A Chinese porcelain jar and cover, the body of flattened hexagonal form above a spreading foot and below a shouldered rim, the cover overhanging with a circular knob and the base with a countersunk foot. The decoration is in ‘Famille Rose’ enamels in a wide palette of colours in the nineteenth century ‘Cantonese’ style; two main panels of birds and flowers and four smaller panels with landscape scenes on a stylised ‘cracked ice’ ground with flower heads, the base and top rim with two forms of repeating key pattern and the neck and lid with stylised floral decoration on a yellow ground. The form here was introduced in the nineteenth century but copied again in the twentieth as is the case here where the paste of the foot rim and general style of the decoration indicate later work. But the quality has been reasonably well maintained and dating is probably no later than around 1950, providing an attractive and accessible accessory for a contemporary setting.
Chinese Straw Thread Picture on Silk, framed in original box, late C20th
Price: £45
This is an attractive picture of Chinese Junks moored by a river bank with birds settled on one and seen flying away in the distance. The technique is unusual. On a silk ground, the detail of the image is rendered in fine straw threads with some of the features coloured in underneath. Great skill would have been required to work in this medium and far fewer examples exist than of the more standard silk thread images. The composition is pleasing but the clean, almost ‘modern’ lines of the picture suggest mid to late C20th work. The picture is fitted into a contemporary Chinese fabric covered box suggesting that it was it is framed in China at the same time as its production.
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.
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).
Two jade carvings mounted as a necklace
Price: £125
This is a very striking necklace comprising two large jade carvings that have been joined together on a very thick herringbone chain. The carvings are 20th century but they have the look of a more archaic style. This is a very interesting piece that is totally unique. It is all silver.
Very finely carved soapstone pendant necklace
Price: £175
This is a wonderful necklace comprising a large carved soapstone plaque depicting the double fish, bat and heart symbols. These are symbols for good fortune, happy relationships and good luck. The are combined with jade and cherry amber beads which is a very striking combination. The is a silver clasp and the bale is brass.
Pair of Japanese Shaped Saucer Dishes, Maruku China, 1940s
Price: £25
A pair of fine quality porcelain saucers in the form of a leaf with a pierced handle, decorated in bright enamels with gilt dragons and flames amidst puce impressionistically represented waves, the edges gilt and the reverses plain with a painted blue mark ‘Maruku China’ beneath a crown.
The Maruku factory seems to have operated in Japan after the second world war producing modest but good quality wares for export, rather in the style of Noritake pieces. Usually their pieces are marked in addition ‘Made in Japan’ but for some reason not here. The forms, colourings and designs here are quite unusual and while modest, these are good quality decorative items suitable for a contemporary interior.
PLEASE NOTE THAT THERE IS FREE UK SHIPPING ON THIS ITEM. For international buyers the shipping cost will be reduced by the UK shipping cost, so don't worry if you are outside the UK, you still receive this benefit!
A Japanese Hichozan Shinpo Brushwasher circa 1880
Price: £25
A Japanese brushwasher of squat cylindrical form with a short neck and a flat unglazed base, decorated in brightly coloured enamels with Samurai and banners. The style of painting and palette of colours resembles pieces made by the Tashiro factory in Japan, founded by Tashiro Monzaeman (1816-1900) in the late Edo period during the mid-1850s, and which were marked ‘Hichozan Shinpo’. This piece carries very feint traces of a red mark underneath which may have originally indicated the artist’s name, but even without this, the resemblance is very close and an attribution almost certain. The form suggests a brush washer, part of the scholar’s desk set.
Chinese rice grain Dish with Jingdezhen Mark, late C20th
Price: £35
A small ceramic dish of saucer form, decorated in underglaze blue, red, green, black enamel and gold with a central roundel of a dragon amidst flames within a border of geometric design and bats, itself within a ground of stylised fans and flowers edged with a diaper border, the reverse with a four character seal mark in underglaze blue reading 'Jing-De-Zhen-Zi', indicating manufacture at the well known kiln town of Jingdezhen in the Jiangxi province. The rim of the plate has 'rice grain' decoration where the porcelain is pierced and the glaze allowed to cover the openings made so that the holes can be seen in a strong light. The mark here found on other pieces and seems first to have been used around 1950 but was still employed around forty years later. Dating is probably to the late twentieth century.
Chinese Silk picture of Two Birds and Flowering Plum Blossom, signed, C20th
Price: £25
A Chinese silk picture of two birds sitting on a branch of flowering plum blossom or prunus, the flowers and leaves delicately rendered, a red seal mark to the top, perhaps indicating the maker, alongside four characters of calligraphy probably describing the scene depicted. This piece is not framed but simply taped to card backing. The style and quality of the workmanship suggests a C20th dating perhaps to the mid 1950s and the composition retains great charm.
Exceptionally large Chinese Blue and White Teapot with metal handle, late 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, of which 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.
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).
A very finely carved white pendent on traditional silk cord, Modern
Price: £25
This is a lovely piece of white jade that has been carved with a typical dragon motif and Chinese characters. It is strung onto a very well designed silk cord. This is quite a modest item and it is almost surely treated in some way.
Chinese Reverse Glass Painting of Two Ladies on a Garden Terrace, first half C20th
Price: £240
A reverse glass (or verre eglomise) painting depicting two ladies in elaborate court dress on a garden terrace with fencing at the front and a stylised garden scene at the rear with rocks, prunus and bamboo (symbolising longevity and renewal); one reads a book and the other holds a small library book box. Reverse glass paintings became a staple of the decorative items exported by China in the eighteenth century and production continued into the twentieth. The style of painting here, a little less detailed than that found in older counterparts but still with charm and skill in the brushwork, suggests a dating to the 1920s which would fit with the frame which is most likely original and retains its original fastening pegs at the back. The composition is well balanced and attractive and this is an excellent example of the genre in good and original condition.
Two Vintage Japanese Kokeshi Doll Groups, C20th
Price: £25
Kokeshi are simple wooden Japanese dolls that have been made in Japan for more than 150 years as children's toys. Originally from the Tohoku region in northern Honshu, kokeshi are handmade from wood, having a simple torso and head with a few thin, painted lines to define the face. One characteristic of kokeshi dolls is their lack of arms or legs. Production continues to this day and the dolls are regarded as highly collectible. These two groups are a variation on the traditional design. In one, two child dolls, a boy and a girl, sit in a wicker pannier basket, presumably expecting to be carried. The cylindrical objects on top may be intended to represent logs. In the other, two lady figures are seen wearing the traditional straw rain cape. Regarded as good luck charms, these dolls have a naif charm of their own and might well appeal to an adult as well!
Small Chinese Gilt Ground Cloisonné Bowl, C20th
Price: £35
A small bowl with a short foot and an everted rim, the gilt ground decorated in raised cloisonne enamel with prunus flowers, the base and interior finished in mottled turquoise enamel. 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. In the early twentieth century pieces were produced with a gilt ground onto which were applied raised cloisonne enamel designs, as here. The quality of the work is excellent and self evident but note in particular the shading effects in the enamels which are seen in images (3) and (4). Prunus is the emblem of Winter and the symbol of life because its blossom appears in springtime on an apparently lifeless tree. This small bowl or cup was probably intended for drinking tea or wine which explains the shape of the rim. Dating is most likely to the first half of the C20th.
Japanese turned wood tea caddy, chazutsu, mark for Hakone, C20th
Price: £45
A Japanese turned wood tea caddy, the polished surface of the base, shoulder and lid revealing the grain of the timber and contrasting with the natural bark finish of the central section. The ovoid section body is capped with a tightly fitting circular lid to ensure an airtight seal which would keep the tea fresh. Known in Japanese as ‘chazutsu’, this particular type of tea caddy was made at Hakone, a mountainous town in the Kanagawa Prefecture of Japan, famous for its traditional wood crafts. The two character mark on the shoulder appears to comprises 根 (Ne) to the left translating as ‘root’ and 箱 (Hako) to the right translating as ‘box’ which, taken together reads ‘Hakone’. This is an excellent example of the type with an elegant shape and a fine patina and has survived in perfect condition without scratches or damage to the surface. Dating is most likely to the second half of the twentieth century.
Compagnie des Indes style reticulated edge Armorial Plate, Chinese C20th
Price: £45
The general appearance here is that of a piece of Chinese Export porcelain dinner ware (the so called ‘Compagnie des Indes’ or ‘East India Company’ style) made around 1800. This plate essentially follows the late eighteenth century form, even in its openwork or reticulated edge which was not uncommon at the time although the lightly scalloped edge is anachronistic and the piece is far heavier than an original would be.. The centre is painted with an armorial crest but not, on this piece, one that can be identified indicating a ‘pseudo’ composition. The border has a repeating grape vine pattern and a band of blue enamel with stars, both typical of late C18th Chinese work, but if the front seems reasonably authentic the reverse betrays the date of manufacture with the printed wording in iron red which reads ‘For decorative purposes only’ ‘Not for food use’ [and as if that was not enough] ‘Article may poison food’. Similar wording is found on other C20th Chinese pieces and is probably indicative of a post war dating to the 1950s or 1960s. There was clearly no attempt to deceive here and the producers presumably sensed a demand for such pastiche pieces which do seem to be collectible, even today.
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.
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.
Chinese en grisaille enamelled ceramic Plaque depicting Peony, framed, 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. The 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. It is possible that the inscription is from the poem by the Tang dynasty poet Luo Yin entitled 'Peony Flower' which would be highly appropriate to the painting depicted here.
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.
Chinese silk textile picture, Zhichun Pavilion, the Summer Palace, C20th
Price: £25
This is a Chinese silk textile picture depicting the Zhichun Pavilion within the Summer Palace, Beijing. Built by the Chinese Empress Cixi as a sanctuary for quiet retreat, the Summer Palace is a vast ensemble of lakes, gardens and palaces. The Zhichun Pavilion is situated on the small island in front of the Hall of Jade Ripples, beside Kunming Lake’s east bank. It backs onto a hill and to the south it faces the sun allowing a view of spring’s arrival, it’s name translating as ‘knowing Spring’. Image (7) shows a contemporary view and this silk textile was, no doubt, made as a tourist souvenir, perhaps in the 1960s.
Japanese Celadon Ground Tazza with Chinese Nanking decoration, late C19th
Price: £25
This is an unusual and hybrid piece combining elements of both Japanese and Chinese decoration. The stoutly potted footed bowl, or tazza, is Japanese porcelain employing a fine quality stone like clay, visible on the underneath of the three feet, often found in these celadon glazed pieces made for export towards the end of the nineteenth century. The pedestal feet support a stubby bulbous column which in turn supports the circular serving dish on top. The underside of the dish has moulded decoration and its edge is slightly shaped. The celadon glaze is enhanced with blue and white decoration and the dish itself is wholly decorated in blue and white with a landscape scene closely resembling the designs on Chinese export wares of the late eighteenth century (see the previous lot in this sale for a typical example) and often known as ‘Nanking’ ware in Europe, Nanking being the Chinese port from which it was shipped to the West. The elaborate border with cell and diaper work and stylised flowers also copies the Chinese exemplar. The shape is a Japanese interpretation of a European form and was clearly intended as a serving dish, perhaps for a small desert service of pieces in a similar pattern, but it can stand on its own today as a piece both decorative and practical.
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 and can be regarded as a cheaper alternative to bone or ivory. 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.
Chinese cloisonné Vase decorated birds, C20th
Price: £25
A Chinese cloisonné vase of baluster form, the ovoid body above a spreading foot and below a stepped concave neck, the top and bottom finished with gilt metal bands and the base in blue enamel, the decoration in the cloisonné technique of polychrome glass derived enamels set in wire outlines (the so called ‘cloisons’ from the French word), with birds in a stylised garden scene with lotus on a black ground with a wire inlay design representing clouds, between elaborate borders at the top and bottom including ‘ju’i’ lappets and stylised lotus leaves. The cloisonné technique 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. Dating is most likely to the early twentieth century and this vase clearly shows that a high standard of workmanship was still maintained at this time.
Chinese Cantonese style Vase decorated butterflies, late C20th
Price: £150
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 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.
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.
Chinese Famille Rose Snuff Bottle and Stopper, early C20th
Price: £45
A Chinese porcelain snuff bottle and stopper, the cylindrical body with a stepped shoulder, a short concave neck and a modelled rim, decorated in Famille Rose enamels with a bird sitting on a branch of flowering peony, a two character signature to the reverse, the glazed base with an artemisia leaf in iron red, the cap form stopper with an unglazed wand. While the decoration recalls eighteenth century export wares the paste of the foot and the style of painting indicates a rather later dating here, probably to the beginning of the twentieth century. But the design is attractive and deserves its artist’s signature, which cannot be identified, and the piece has survived in excellent condition.
Strand of Chinese ceramic beads c1950
Price: £25
This is a lovely necklace comprising 19 barrel shaped ceramic beads with vulcanite spacer beads. The ceramic beads are chinese porcelain with Famille Rose style decoration. This necklace has not clasp but will fit over the head.
Impressive Chinese crystalline glaze bottle Vase, Jingdezhen mark, second half C20th
Price: £350
A large and imposing vase of bottle form the broad globular body with a short foot, below a concave neck flaring outwards to the rim, the glaze with crystalline effects in blue, light green and off white, the base glazed white with a four character mark in underglaze blue reading (from right to left and top to bottom) ‘Jing-de-zhen-made’.
The striking glaze effects seen here are usually attributed to the kilns at Shiwan, a district of the provincial town Foshan which is located near to Guangzhou, better known in the West as Canton, in the Guangdong province. But the place of manufacture is here clearly advertised by the mark on the base which attributes it to the well known potteries of Jingdezhen, for centuries one of China’s most prolific producers of porcelains for both the domestic and export markets. This particular glaze, though, seems to be a late twentieth century creation with no obvious precedents from the past. Just possibly it derived from an accident of the firing process which was then deliberately imitated. Certainly, the ‘look’ is modern and the interior of the neck reveals one of the hallmarks of the very late pieces made at Jingdezhen where the small but regular potting rings indicate manufacture by machine rather than the hand of a potter (see image 8). The sandy and slightly coarse paste of the foot is fully consistent with this.
By repute, similar vases were bought new in the 1980s so there is, at least, a degree of age here and the overall effects combine sophisticated techniques with inventive decoration to produce a piece of considerable and striking appeal.
(As sometimes happened with the manufacture of larger ceramic items, this vase emerged from the kiln with a slight ‘lean’ when viewed from certain angles, probably due to irregular shrinkage of the clay body during the firing process. Images (11) and (12) are intended to highlight the ‘fault’ but the final image (13) shows how this can easily be corrected with the addition of a wood stand built up inside to provide corrective support.)
Chinese Watercolour Painting on Silk, first half C20th
Price: £75
A watercolour painting on silk depicting two scholars in a stylised garden scene, one reading from a scroll while the other looks on, with a boy attendant pointing to a spray of prunus which he is holding in his right hand. In the foreground are rocks while in the background is the exterior of a pavilion with a flowering prunus tree behind. To the top right are lines of calligraphy and a four character stamped red seal. The calligraphy is possibly an extract from a poem by Li Ciming (1830-1894) whose work tended to focus on the prunus tree and its associations. If so, the seal mark might possibly be his. Certainly, prunus blossom, often known also in English as hawthorn or plum, seems to be the central theme here. Known as a symbol representing for resilience, purity, and perseverance because it blooms in winter, it was frequently depicted in Chinese Art. Here, the young boy seems to be directing the attention of the two gentleman scholars to the spray of it which he holds in his hand and perhaps the scroll in the hands of one of them describes the tree itself. The composition is appealing and the drawing skilful with the work most likely dating to the early twentieth century, some years after Li Ciming’s death.
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.
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 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.