Chinese & Japanese Works of Art
Chinese Small Blue and White Potiche and Cover with wood stand, late C20th
Price: £45
A small Chinese porcelain potiche and cover, the straight sides curving out slightly to the top and the overhanging lid slightly domed with a wide knob finial, decorated in underglaze blue and white with a continuous scene of birds and flowers and rocks, the flowers repeated on the lid as floral sprays. The design here is unusual for Chinese ceramics and rather ‘modern’ in appearance which fits with a probable dating to the late twentieth century. While the porcelain is of good quality the paste of the foot suggests fairly recent manufacture (see image 9) and the painting appears to depend partly on stencilled outlines (see especially the bird in the first image). But the wood stand suggests at least some age and the ensemble can be enjoyed its own right as a modest decorative item with the potential for practical use.
Japanese Arita 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.
Chinese Cinnabar Lacquer Egg, C20th
Price: £55
A Chinese cinnabar lacquer egg, deeply carved with peony and prunus flowers within stylised scrolling foliage, the top and bottom with geometric form ‘shou’ medallions. The technique of lacquer carving (lacquer being the sap of a species of tree native to southern China, but also found elsewhere, which dries to a plastic which can be coloured and carved) was practised by the Chinese from the 12th Century onwards and has continued even into modern times. This egg is an example of their rather later creations but reflects techniques developed over many hundreds of years. There is symbolism here, prunus representing winter and peony spring with the ‘shou’ medallions standing for long life, so perhaps a good luck charm was intended. Dating is probably to the later twentieth century, perhaps the 1970s and if imitation is the sincerest form of flattery, copies of the model, rather inferior in quality, were produced by the well known firm, Franklin Mint.
Set of Four Japanese Ceramic Beakers decorated Geisha, late C20th
Price: £40
A set of four Japanese beakers, straight walled with an incurving black glazed foot, the white ground decorated in coloured enamels with four geisha with elaborate hair styles and wearing differing versions of the traditional kimono dress, each with an inscription and artist’s seal. The depiction of these ladies recalls loosely the prints of the celebrated eighteenth century Japanese artist Utamoro and the type of kimono worn seems to be ‘furisode’ distinguished by its long flowing sleeves symbolising good luck and prosperity. Some vestiges of tradition, then, in pieces that are relatively recent in date but highly attractive in appearance.
Chinese Republican Style Famille Rose small Baluster Jar and Cover, late c20th
Price: £20
A small jar and cover, the body of broad baluster form with a matching domed cover, a knob finial to the top, decorated in Famille Rose enamels with children playing in a stylised garden scene with two butterflies to the reverse, the base with a band of repeating stylised lotus leaves and the shoulder with a border of repeating ‘ju’i’ form lappets, two further butterflies to the lid above a simple border of turquoise enamel. The base has a stamped iron red mark with the Chinese characters ‘Zhong Guo Jingdezhen’ which translate ‘Made in China’ which is also written in Western characters underneath. Below this is the number ‘07’ between two horizontal lines which may indicate the factory or cooperative where the piece was made. This form of mark indicates a dating to the 1980s which is consistent with both the paste of the foot and the style of the decoration. Like the previous lot this is not perhaps Chinese craftsmanship at its best but there is still a certain charm.
Chinese Porcelain Teabowl and Spoon Tray with calligraphy insciptions, 1997
Price: £15
Probably a remnant from a rather larger more extensive tea service, these two pieces of Chinese porcelain comprise a tea bowl and a small spoon tray, white glazed with calligraphic inscriptions. The writing on the tray reads ‘Tea Ceremony’ ‘Tea for the lucky ones’ ‘Those who are rich drink tea and those who are rich drink tea exclusively’ ‘Xinhele Tea’ ‘National Treasure blessing’ with a stamped iron red four character mark to the reverse. The characters on the bowl indicate the ‘Ding Chou’ year, the Chinese year of the Ox recurring every sixty years and accordingly most likely 1997 here. The admonition on the tray should, perhaps, be taken to heart by tea drinkers!
Chinese circular silk textile Panel in later European brass metal Frame, C19th/C20th
Price: £55
This is a fine quality Chinese silk embroidery circular panel, most likely cut out from an original robe as is indicated by the very feint unevenness at the edge, the black ground circular border with finely stitched blue flowers surrounding the central scene of a crane amidst tree branches with flowering lotus in the background. The detail of the embroidery work is evident throughout especially in the rendering of the crane’s feathers and the leaves of the lotus plant, implying that the original robe was a luxury production. This, combined with the fabric of the silk background, indicates that we clearly have nineteenth century work here. Perhaps the rest of the robe had not fared too well but for some reason the decision was taken to extract this sample and fit it into a glazed brass frame with its coil spring border. This has the look of the 1940s or 1950s and is probably English but its provenance cannot be absolutely certain. But the care taken at the time was entirely justified and allows us today to enjoy this fine example of Chinese embroidery work.
Small Chinese Cloisonné Dish decorated lotus, C20th
Price: £25
A small Chinese cloisonné enamel circular dish of typical form decorated with scrolling flowering lotus on a black ground with gilt stylised floral scrolls within a lobed edge blue border and a gilt metal rim, the reverse plain and in blue enamel. The cloisonné technique, in which glass derived enamels were set in wire outlines (the so called ‘cloisons’ from the French word), was developed in China in the early Ming dynasty (1368-1644) and then used throughout, right up until the C20th, indeed pieces are still produced today. The later examples can have their own charm and often the quality of the work is excellent, as here, with an imaginative use of colours and shading effects to the enamels, seen here in the lotus flowers and leaves. Some of the later examples can have paper labels indicating a date of manufacture during the era the People’s Republic of China’ (1912-1949) and a circa date of around 1930 seems reasonable here and is confirmed by the weight of the dish and its finish at the reverse.
Chinese Cloisonné Square Vase on Stand, C20th
Price: £25
A Chinese cloisonné enamel vase of slender squared baluster form flaring towards the base and with a concave neck, decorated with panels of a lady standing on a veranda reading a scroll and two ladies standing on a bridge over a river, the designs repeated, on a black ground with stylised scrolling foliage in blue, the base with a border of gilt repeating fish scale pattern and the rim with a border of repeating stylised lotus leaves, the interior and base in blue enamel. The vase is fitted with a matching wood stand which is probably contemporary.
The cloisonné technique, in which glass derived enamels were set in wire outlines (the so called ‘cloisons’ from the French word), was developed in China in the early Ming dynasty (1368-1644) and then used throughout, right up until the C20th, indeed pieces are still produced today. The style of enamelling here with fairly bold outlines to the decoration and the use of bright enamel colours suggests a dating here to the mid twentieth century which corresponds to the probable date of the accompanying wood stand. Perhaps intended as a desk ornament or possibly a flower vase, this piece could certainly find a home in a contemporary setting.
Chinese Republican Style small Famille Rose Ginger Jar and Cover, late c20th
Price: £20
A small ginger jar and cover of typical near globular form with a matching domed cover decorated in ‘Famille Rose’ enamels with two ladies in a garden scene, the base with a band of repeating stylised lotus leaves and the shoulder with a border of stylised scrolling foliage (peony and lotus) on a pink enamel ground, the cover with two butterflies and a band of fleur de lis and the reverse with a calligraphy inscription in black with seal marks in iron red. The base has a stamped iron red mark with the Chinese characters ‘Zhong Guo Jingdezhen’ which translate ‘Made in China’ which is also written in Western characters underneath. Below this is the number ‘07’ between two horizontal lines which may indicate the factory or cooperative where the piece was made. This form of mark indicates a dating to the 1980s which is consistent with both the paste of the foot and the style of the decoration. Not perhaps Chinese craftsmanship at its best but not without a certain charm.
An unusual Pair of Chinese carved Soapstone Vases, circa 1900
Price: £110
A pair of Chinese soapstone vases with mottled colourings in a wide variety of brown and beige, the triangular form deeply carved on the two front faces with flowering peony and birds nestling in the branches, the reverses flat, each with a rock and a leaf, the base also flat and the interior hollowed out. Soapstone was first used by the Chinese over three thousand years ago but began its popularity in the Ming dynasty (1368 -1644) with the height of production during the ensuing Qing dynasty (1644 – 1911). The triangular form of this pair of vases is most unusual and the depth of carving displays near virtuoso expertise. There is little or no trace of the drill here, unlike some of the later twentieth century pieces, and all the pointers are to a dating no later than around 1900. The carver was fortunate to find two matching pieces of stone which allowed him to produce such a well balanced pair in shape, colour and decoration. The nature of the material means that soapstone pieces are found less often as matching pairs and this triangular shape, perhaps suggested by the original stone pieces themselves, is rarer still.
Chinese painting on Silk, Storks and Pine, circa 1900
Price: £25
A Chinese painting on silk, the fine and detailed brushwork depicting a gnarled branch of pine with three cranes astride on a background of blue clouds with a full moon in the distance. Both the crane and the pine tree symbolise long life and longevity and so there is perhaps a hidden message here which might be uncovered in the elaborate calligraphic inscription at the top right with no less than three red artist’s seals. Great care has been taken with this composition and the overall style suggests earlier work than that found in many pieces perhaps dating to the late nineteenth or early twentieth century. The board mounting is considerably foxed but the painting itself much less so and if reframed it would provide an attractive if slightly enigmatic example Chinese decorative painting.
Two Chinese folding Fan Leaves with landscape scenes, now mounted, C20th
Price: £25
As quite often, these two paintings were created for use as folding fans but then mounted on board for display. Each has a landscape scene in tones of grey and blue inks painted on mustard coloured fabric. The designs include the typical elements of Chinese landscape painting : rocky outcrops with trees and lakeside scenes. In one can be seen a seated figure, in the other a man in a boat. Both have a calligraphy inscription and a red artist’s seal. The fairly sketchy brushwork suggests a mid C20th dating for which there are many parallels. Both are mounted on paper with an identical pattern of diaper work and roundels with phoenix and dragons implying that this was done at the same time. While the mounts are foxed, the paintings remain clear and if reframed would provide attractive examples of the genre.
Chinese Soapstone Double Brushwasher, C20th
Price: £45
A Chinese soapstone brushwasher carved in the form of two hollow bamboo stems standing between strands of trailing peach and resting on a rocky base with stylised foliage and a bird, the curved reverse plain and with three holes to facilitate the carving and the base recessed and with small holes. Various similar pieces can be found with one or more containers or vases surrounded by flowers or sometimes animals and presumably intended as brushwashers. Soapstone was first used by the Chinese over three thousand years ago but began its popularity in the Ming dynasty (1368 -1644) with the height of production during the ensuing Qing dynasty (1644 – 1911). Production continued into the 20th Century and even takes place now, but the style of work here, with fairly coarse hand carving but the evident use of a drill, and the colouring of the stone itself suggest a mid century dating, perhaps to the 1940s. But while not of the highest technical expertise, this piece certainly has a rustic charm and can act as a pleasing ornament with the potential use as a desk accessory.
Chinese provincial double spout Teapot, early C20th
Price: £55
This is a rather unusual teapot, the near spherical body with two spouts, a large angular loop handle and a rounded conical cover with a flattened ball knob, the interior with a central dividing wall and the lid with two cut outs to accommodate this, the glaze slightly off white with a fine craquelure and sketchily painted with typical lakeside scenes including pavilions, trees and rocks. Blue and white teapots with two spouts and a central interior division were made for export during the Kangxi period (1662-1722) but this example is much later, probably dating to the early twentieth century, and, to judge from the coarse decoration, made for the domestic market, but, even if utilitarian ware, there do not seem to be many parallel examples. By tradition, teapots designed with two halves were intended to promote a harmonious relationship between a husband and wife as each could enjoy their favourite type or strength of tea, although it has equally been suggested that they were rather intended for use in tea shops so that differing tastes could be catered for at the same time. A new owner might like to carry out some experiments!
Japanese Arita shallow Bowl circa 1880
Price: £55
A Japanese Arita porcelain bowl of shallow form with straight sides turning in towards the foot, decorated in polychrome enamels with a central scene of two panels, one square with a fabric derived ‘brocade’ design and one rectangular with a landscape scene including waves, mountains, the setting moon and cranes, both with tassels underneath, the outside edge with stylised floral panels, lotus and chrysanthemum, and the base with a band of repeating geometric design in underglaze blue.
The town of Arita in the former Hizen Province, northwestern Kyūshū island, was a major centre for the production of porcelains in Japan. Best known for blue and white pieces it also produced polychrome wares as well, including the familiar Imari colourings. While similar to Imari, the wider palette of colours used here is usually termed ‘Arita’ and this bowl employs not only the colourings but also many of the decorative elements found in these wares. The angular form, though, is unusual. Dating is to the Meiji era (1868-1912) probably around 1880.
Two Japanese Woodblock Prints by Toyohara Kunichika, second half C19th
Price: £75
These are two prints by the celebrated Japanese print maker Toyohara Kunichika (1835-1900) whose signature appears on both. The first does not appear to have been published online and cannot be identified here although the calligraphy inscriptions on this and the second are nearly identical implying that they may both be from the same series . The second is a kabuki (Japanese theatre) portrait of Iwai Hanshiro as Princess Wakana looking up from the spell she is rolling up, smiling at a large spider holding the other end of the scroll. She wears a light blue patterned kimono over a red under robe. Her long hair falls over her shoulders with a cluster of tiny flowers adorning her head. This print comes from the series ‘Competition of Powerful Magicians’ published in 1873.
Toyohara Kunichika achieved great fame and distinction a Japanese print artist. Born in 1835 he studied under Toyohara Chikanobu and then Utagawa Kunisada (also known as Utagawa Toyokuni III) eventually using a combination of both his teacher’s names to create his own professional one. At first he worked within Kunisada’s studio and when his teacher died in 1865 was asked to design two memorial portraits of him. The beginning of the Meiji era (1868-1912) saw Kunichika issuing his own prints, often in themed series and he became known in particular for his portrayals of kabuki actors, indeed he regarded the theatre as almost his second home. A contemporary once wrote ‘"Print designing, theatre and drinking were his life and for him that was enough.’ He achieved great fame and was rated as one of the masters of woodblock printing. Contemporary observers noted Kunichika's skilful use of colour in his actor prints, but he was also criticized for some of his choices for unlike most artists of the period, he made use of strong reds and dark purples rather than the softer colours used previously, exploiting the recent import of new dyes from Germany. Red, for the Japanese, meant progress and enlightenment so there was probably hidden meaning here. Eventually Kunichika’s lifestyle took its toll and he died in poor health, aged 65. It had been a Japanese custom for people of high cultural standing to write a poem before death. Kunichika's own, inscribed on his grave, reads ‘Since I am tired of painting portraits of people of this world, I will paint portraits of the King of hell and the devils.’ For many years his prints fell out of favour but interest has now revived and Kunichika is regarded as one of the eminently collectible Japanese artists in the field and these two prints are an excellent example of his work.
Each print is accompanied by a printed text on fine paper which presumably describes the character represented. The second of them is accompanied by two sheets one of which has become attached in one small place to the print itself but could probably fairly easily be detached by a restorer. In general there are some typical signs of age with minor losses (illustrated), tears and folding but the colours remain bright and fresh.
Japanese Fukagawa Jug and Stand decorated lotus, signed, circa 1900
Price: £45
This is an unusual jug and matching stand made by the celebrated Japanese ceramics manufacturers Fukagawa, more commonly known for their vases, bowls and plaques, many in the classic Imari colourings. The squat ovoid form jug has a wide opening at the top with a broad spout and a loop handle in the form of a dragon’s head; it sits on a complementary deep dish or stand of lobed ‘kiku’ or chrysanthemum form. Both pieces are decorated with finely enamelled lotus flowers on a deep blue ground with gilt detail, the stand with continuous stylised floral detail on the exterior and each with one of the characteristic Fukagawa marks underneath, a mountain and stream followed by the script characters for the firm.
The Fukagawa kilns produced the best quality Imari items made in Japan in the late nineteenth century for export to the West. Their history starts with Ezaiemon Fukagawa who in 1856 became head of his family's porcelain business and in 1875 founded Koransha (The Company of the Scented Orchid) in Arita, Japan, to produce tableware for export. In 1894 the modern Fukagawa company was founded by Chuji Fukagawa, with the Fukagawa trade mark of Mount Fuji and a stream, as its trade mark. Dating of these pieces is therefore towards the end of the Meiji period (1868 - 1912) probably around 1900. While the decoration is similar to that found on other Fukagawa pieces there are few, if any parallels, and tea ware pieces by the firm are not very often seen.
Pair of small Japanese Arita Blue and White Bottle Vases, circa 1880
Price: £55
A pair of small Japanese vases of slender bottle form with ovoid bodies and tubular necks, the bases countersunk, decorated in underglaze blue and white with pine trees, a band of stylised leaf design at the base and scrolling karakusa (a foliate design derived from ferns or vines) to the neck. The form here could be regarded as a variant of a sake bottle or perhaps a water dropper or even just as a decorative shape in itself. Sometimes the Japanese potters were unlucky in matching the size of the pairs they were trying to create, probably because of different shrinkage during the firing process, and sometimes quite pronounced differentials occurred, as here. The town of Arita in the former Hizen Province, northwestern Kyūshū island, was a major centre for the production of porcelains, best known for the blue and white pieces it produced, and is most likely the provenance of this pair. Paste and style of decoration indicate a circa date towards the end of the nineteenth century but no later than 1900.
Japanese Awata ware Teapot and Cover, signed, circa 1900
Price: £25
An earthenware teapot of rounded cylindrical form, curving in at the base and with a flush fitting lid, the handle, spout and lid finial all modelled to imitate bamboo, the beige ground with a minute craquelure and with polychrome enamel decoration of birds and reeds, the modelled bamboo attachments glazed green and a sketchy signature in iron red at the base of the handle. The Awata district of Kyoto, Japan, was the home to many famous kilns including those run by various members of the Kinkozan family. Some of their Satsuma productions were of extremely high quality, indeed prize winning and in great demand from Western collectors which has continued until the present day. Other kilns produced more modest Satsuma wares for export and some are marked with the same maker’s name as their more illustrious counterparts. This teapot, not marked Kinkozan, is a typical example, originally deriving from a small tea service decorated in the same pattern. The signature, hastily drawn, is either that of the decorator or the merchant shop which sold the ware. These pieces too seem to have been popular with Western buyers and are still collected today.
Chinese Crackleware Ginger Jar decorated with Warriors circa 1900
Price: £25
A Chinese Crackle glaze Ginger Jar of typical rounded ovoid form with a short neck, the beige ground with a feint and minute craquelure glaze and decorated in polychrome enamels with a continuous scene of a warrior on horseback with attendants, the shoulder and base with incised matt brown glaze bands intended to imitate bronze, the base with an apocryphal four character mark within a brown glaze square. Paste of the foot and style of decoration, in particular the rather coarsely decorated ‘bronze’ bands, suggest a circa date at the beginning of the twentieth century.
'Crackleware' glazed pieces, usually with 'bronzed’ bands, were a staple output of the Chinese potteries from the mid nineteenth century onwards and were produced in a wide variety of mainly vase shape forms, both in polychrome and blue and white and intended as decorative pieces for the Victorian rooms of the West. As with other ceramic types, the quality deteriorated and this piece is typical of the late productions with a more modest level of craftsmanship but still retaining a naif charm. As with many ginger jars, this one lacks its original domed cover which would have been decorated to match.
Pair of fine quality Japanese Bronze Vases decorated birds, circa 1880
Price: £220
A pair of Japanese bronze vases of angular baluster form with stepped bases, a concave neck and a stepped flaring rim, the necks with applied cast handles in the form of cranes and the front and reverse with raised cast decoration of birds amidst plants and flowers. Vases in bronze, usually with applied cast decoration and elaborate handles, were a staple production of Japanese metalware manufacturers in the late nineteenth and early twentieth century, essentially for export to the West. Some of the pieces attained nearly art studio status but many were fairly routine and some rather hastily produced with poor materials. These vases are well above average with good quality bronze in an attractive patina cast in an imaginative and pleasing shape. The applied decoration is well defined with good detailing and the ornate handles effectively offset the clean lines of the shape. Attractive ornaments in their time this pair of vases would be an elegant enhancement for a contemporary interior.
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 Ginger Jars decorated Birds and Flowers, late C20th
Price: £45
A pair of Chinese ceramic ginger jars of typical ovoid globular form with a short straight neck decorated in polychrome enamels with birds amidst trailing peony on a matt lime green ground with craquelure effects, the bases each with a circular mark in iron red, one with the numbers ‘141’. The look of this pair is more European than Eastern but the finish of the base suggests production in China and similar examples can be found marked ‘Fabricado em Macau’ (‘Made in Macau’) and Macau was indeed a centre for the manufacture of ceramics from the sixteenth century onwards, continuing production well into the twentieth with an emphasis towards the end on souvenirs for tourists. The style of decoration tended to be more heavily influenced by Western techniques and motifs which explains the more hybrid decoration of this pair, not without a certain charm in itself. Dating is most likely towards the end of the twentieth century.
Chinese blue ground Vase decorated Prunus, late C20th
Price: £25
A Chinese ceramic vase of ovoid form with a flaring neck, the blue enamel ground decorated with flowering prunus branches in grisaille and green, the base with the numbers ‘31’ in iron red. Flowering prunus or plum blossom is one of the most iconic designs used in the decoration of porcelain, occurring from the late seventeenth century onwards. This vase is a rather more modest version of the pattern and most likely dates to the late twentieth century. The paste of the foot is coarse and the painting perfunctory, not even wholly Eastern in appearance and similar pieces are sometimes catalogued as French. But as with Lot 3 in this sale, the explanation most likely lies in production further afield from the main porcelain factories at Jingdezhen. Perhaps, as with the jars shown in Lot 3, the source was Macau where poorer and more European influenced pieces were being made in the last years of the twentieth century. But, if not the work of Chinese potters at their best, this vase still has a naif charm to be enjoyed today.
Japanese Kutani Teapot in a carrying Basket, circa 1900
Price: £45
A Japanese Kutani teapot, the body of broad ovoid form with two lug handles and a curved spout, fitted with a very faintly domed flush lid with a knob finial, set in a matching carrying basket of woven wicker with a metal hook and eye fastener, two ring hinges and two loop handles.
Kutani (the word means 'nine valleys') porcelain was made at various factories in the former Kaga province of Japan. The earliest pieces were in a completely different style employing a palette of colours emphasising green, the so called 'Ko Kutani'. Production of this ceased around 1730, and manufacturing was not revived until the early nineteenth century when the more familiar colourings of iron red and gold were introduced. Vases, bowls and plaques are found in this style but also teapots of which this is a typical example. The decoration is of birds and flowers on a faintly craquelure glaze ground and the lid has a complementary ‘brocade pattern’ design. The base has a two character mark reading ‘ku’ ‘tani’ as is often found. The basket is of tightly woven wicker with the metal fitments as described and is probably Chinese in common with many similar examples, although the Japanese did, of course, have a basket weaving tradition of their own. Slight damage means that the ensemble has to be of decorative value rather than practical use but it remains an interesting and entertaining souvenir item from the orient.
Japanese Blue and White Sugar Bowl and Cover, first half C20th
Price: £25
A Japanese porcelain sugar bowl and cover of globular form, two modelled loop handles to the sides and a flush fitting lid with a squat knob, decorated in bright underglaze blue with stylised scrolling lotus, the design repeated on the lid. In common with many blue and white pieces exported from Japan in the late nineteenth and early twentieth centuries, the decoration here is not handpainted but applied with the use of a stencil which explains the slightly ‘mechanical’ effect. These sugar bowls are often paired with a cream or milk jug but do not seem to have formed part of a larger tea service. The slightly uneven profile of the handles is found elsewhere and while dating is most likely to the 1920s or 1930s this piece is still of either decorative or even practical use around a hundred years later!
Chinese lotus form Water dropper, C20th
Price: £25
The form here, a compressed globular body with a narrow aperture at the top, suggests that this piece was intended as a water dropper, although there are no ready parallels. Water droppers were used by Chinese scribes to moisten the dried ink before application with a brush. Sometimes the forms take their inspiration from animals and sometimes from nature, as here. The theme of the decoration is lotus, seen flowering at the front and represented by modelled overlapping leaves below the opening at the top. The decoration combines ‘famille verte’ colourings with detail in underglaze blue. The combination is pleasing and this would have been an attractive desk accessory. The paste of the foot suggests a dating to the early twentieth century which is quite consistent with the style of decoration.
Chinese Soapstone Seal with Shou Lao, C20th
Price: £45
A Chinese soapstone seal of cylindrical tubular form with the figure of Shou Lao on a pedestal, the base with incised script characters. 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) and then beyond into the twentieth century. The style of carving here, fairly coarse and lacking in detail, suggests fairly late work but is expressive, nevertheless. The figure represented is the famous god of immortality, Shou Lao. As often he is represented as an old man with a long beard, a high forehead and a bald head, carrying a peach (which represents immortality) and a staff. The pedestal is decorated with an incised stylised landscape scene and to the reverse is a circular panel containing the character ‘shou’ which means longevity. The seal characters, which unfortunately cannot be translated but probably represent the name of the owner, are stained with the red ink which would have been used when the seal was stamped.
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.
Chinese Bone Inkwell in the form of a Chair, early 20th century
Price: £25
An amusing Chinese Bone Inkwell in the form of a Chair, the base with an incised design in black of stylised flowers and waves and with spreading feet, the top in the form of a high chair back with carved floral decoration and piercing, the seat with a lightly incised design resembling a cushion. The cover lifts off to reveal the inkwell below and the profile of the original bone can be clearly seen with the inset 'plug' at the base and the separate cover of the seat. Style of decoration and indeed the object itself suggest a dating to the early 20th century.
Pair of Chinese Soapstone Seals in a fitted box, C20th
Price: £45
A pair of Chinese Soapstone Seals of typical elongated square form, carved at the top with stylised dragons pursuing the flaming pearl above a plinth represented by three carved lines, the bases with incised seal form characters which can be printed to show two presumably complementary four character seals, both contained in a matching fitted box. Style of carving suggests a circa date in the mid twentieth century. Truly a desk ornament for the executive who has everything!
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.
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 Blue and White Vase decorated with flowering Prunus circa 1900
Price: £55
A Chinese porcelain vase of baluster form with an ovoid body flaring at the base and a short cylindrical neck, decorated with two branches of flowering prunus or plum blossom on a blue wash ground, the base glazed white with two concentric circles to the centre.
Flowering prunus or plum blossom is one of the most iconic of the decorative designs used by Chinese potters and first appears in the Kangxi period (1662-1722). Kangxi ginger jars in the pattern were highly prized by Victorian collectors with one example, the legendary ‘Huth’ jar, fetching 5900 guineas, a little over £6000, at auction in 1905, a price equivalent to over a quarter pf a million pounds today. The tree symbolises perseverance and renewal and was usually shown against a pattern of ‘cracked ice, representing the end of Winter and the beginning of Spring. Branches of plum blossom convey the ‘Five Blessings’ : longevity, wealth, health, love of virtue and a peaceful death. The number five was an auspicious number for the Chinese and is reflected in the five petal form of the prunus flower.
Once evolved, the design was continuously repeated by Chinese potters and is even produced today. Many of late nineteenth century pieces display a rather more slapdash interpretation of the pattern as here where the ‘cracked ice’ of the eighteenth century pieces is replaced by the repeated brush strokes of a blue wash ground and the painting of the tree itself is sketchy. The style of decoration and the paste of the foot indicate a circa date to around 1900, but this modest interpretation of centuries old pattern still possesses a charm of its own.
Pair of Japanese Arita small Dishes circa 1880
Price: £40
A pair of small dishes of typical shallow saucer form decorated in underglaze blue with polychrome enamels, the centre with a roundel of a chrysanthemum flower with black petals which is surrounded by four irregularly shaped panels, two also with chrysanthemum and two with trailing willow, all with black leaves, alternating with abstract organic designs incorporating ‘ju’i’ lappets, the reverse plain with two concentric circles in underglaze blue next to the foot rim.
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 with slightly coarser decoration than usual were probably made for the domestic market. The paste of the foot implies a dating to the Meiji era (1868 - 1912) probably around 1880.
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.
Pewter and brass box and cover in the form of a Mallard Duck, Gatco, Hong Kong, 1960s
Price: £25
This is a novelty box and cover, possibly for pills or more likely trinkets made from pewter and brass in the form of a mallard duck. The details are simply but amusingly modelled with an effective contrast of the two metals used. The base, in common with other examples of this model, has an engraved mark comprising a reversed ‘3’ below an ‘8’. Other examples carry a gold ground paper label which reads ‘Made in Hong Kong’ and this is sometimes found elsewhere on brass items which also have a label for the firm ‘Gatco’, implying that this was the manufacturer here (see image 11). These amusing boxes were made in Hong Kong in the 1960s and retain their charm today.
Japanese Kutani Part Tea Service circa 1920
Price: £75
This is a set of three serving items (teapot, sugar basin and cover and cream jug and cover) originally from a tea service decorated in the same pattern which would also have included six or eight cups and saucers. Many tea services in similar florid designs were made and exported by the Japanese in the early years of the twentieth century and examples today are found with a wide variety of manufacturers’ marks. The makers here came from the Kutani district, home to a wide variety of potteries with a history of production extending back to the seventeenth century. Kutani wares, finely painted in gold and orange were a staple export commodity in the second half of the nineteenth century but after 1900 the quality dropped and also a wider palette of colours was used. Thus we have here landscape scenes in grisaille and gold and elaborate handles, finials and spouts in the form of scaly dragons and enamelled in green and gold with a hint of orange and yellow. Each of the three pieces, and doubtless the rest of the service, carries a two character gilt mark identical to that often found in iron red on nineteenth century work. The characters read ‘Ku’ ‘tani’ standing for the place of manufacture and translating as ‘nine valleys’. Presumably popular in their time, these pieces might be an acquired taste now but there is no denying a certain virtuosity displayed in their manufacture.
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.
A Matched Pair of Chinese Cloisonne Bottle form Vases circa 1900
Price: £25
A matched Pair of Chinese Cloisonne Vases of squat bottle form with broad bodies and a slender flaring neck, decorated with flowering peony on a blue enamel ground with a gilt wire design of stylised clouds, the bases with two bands of overlapping semi circles and the tops with a band of repeating ju'i lappets, the top interior rims finished in metal and the bases with a gilt foot rim enclosing blue enamel. The designs on these vases match very closely and the peony flowers are in mirror image but the vases are unlikely to have been an original pair. Weight and style of decoration suggest a circa date at the end of the nineteenth century.
Pair of Chinese hand painted jade Eggs with modern stands
Price: £25
Each of these eggs is made from light green coloured jade formed into the shape of an egg. Both are attractively painted in bright colours with birds and flowers, the designs complementary rather than matching. They were made in China, doubtless as tourist souvenirs and are most likely quite recent in date but the combination of the stone shape and colour and the careful decoration make them attractive decorative items nevertheless.