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An unusual Kangxi blue and white porcelain saucer c.1700. The small Chinese export porcelain saucer is of a Europe inspired form, however the design is Chinese. The unusual scene is of two boys on horseback travelling through a shallow river, to the right is a horse just entering the scene. The border of this Kangxi saucer is of pine branches.

An unusual Kangxi blue and white porcelain saucer c.1700. The small Chinese export porcelain saucer is of a Europe inspired form, however the design is Chinese. The unusual scene is of two boys on horseback travelling through a shallow river, to the right is a horse just entering the scene. The border of this Kangxi saucer is of pine branches.

Ming porcelain

A Ming porcelain dish, Chongzhen 1628-1644. This Transitional porcelain dish is made for the Japanese market and is for serving food at the Tea Ceremony. The scene of this square Ko-akai with canted corners depicts a man under a weeping willow at the waters edge conversing with a fisherman in a small craft. This Ming porcelain dish comes with an old Japanese storage box.

 

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Blue and White Chinese Export Porcelain Plate in the Chinese Taste, soft-paste porcelain, Qianlong Period.
Blue and White Chinese Export Porcelain Plate in the Chinese Taste, soft-paste porcelain, Qianlong Period c.1760 – 1780. Finely Painted with Fu Hu Luo Han, Pindola, The Tiger Taming Lohan (the last of the 18 Lohan). Pindola Takes Center, His Muscular Arms are Firmly Clasped on the Scruff of the Tigers Neck Holding him Down. A Further Lohan Perched on the Edge of a Water Fall Offers the Tiger Vegetarian Food from a Bowl but Only a Birds Seems Interested. The Five Lohan are Joined by a Figure with a Hat Holding Books, Presumably Buddhist Texts.

Blue and White Chinese Export Porcelain Plate in the Chinese Taste, soft-paste porcelain, Qianlong Period c.1760 – 1780. Finely Painted with Fu Hu Luo Han, Pindola, The Tiger Taming Lohan (the last of the 18 Lohan). Pindola Takes Center, His Muscular Arms are Firmly Clasped on the Scruff of the Tigers Neck Holding him Down. A Further Lohan Perched on the Edge of a Water Fall Offers the Tiger Vegetarian Food from a Bowl but Only a Birds Seems Interested. The Five Lohan are Joined by a Figure with a Hat Holding Books, Presumably Buddhist Texts.

porcelain model of Wenchang Wang and his assistant Guixing. Shunzhi or Kangxi period c.1650 – 1700.

porcelain model of Wenchang Wang and his assistant Guixing. Shunzhi or Kangxi period c.1650 – 1700.

A Transitional Blue and White porcelain vase, late Ming or early Qing, Chongzhen or Shunzhi period c.1640-1650. The vase is thickly potted and the tapering body is supported by a flat unglazed base. Painted in rich tones of cobalt blue with prunus, bamboo and other plants.

A Transitional Blue and White porcelain vase, late Ming or early Qing, Chongzhen or Shunzhi period c.1640-1650. The vase is thickly potted and the tapering body is supported by a flat unglazed base. Painted in rich tones of cobalt blue with prunus, bamboo and other plants.

 

 

A large Ming Porcelain bowl, Jiajing Period 1522-1566. Decorated in Blue and White with roundels of deer and birds, the well of the bowl is painted with a large hare. The base with an apocryphal Xuande six character mark, Ming Dynasty (1426-1435).

A large Ming Porcelain bowl, Jiajing Period 1522-1566. Decorated in Blue and White with roundels of deer and birds, the well of the bowl is painted with a large hare. The base with an apocryphal Xuande six character mark, Ming Dynasty (1426-1435).

 

 A 17th century Blanc de Chine Porcelain bronze form censer late Ming or early Qing c.1620-1650, from the Dehua kilns in Fujian Province. The bombe form with two lion mask handles. The 19th century carved wood cover has a coral finial.


A 17th century Blanc de Chine Porcelain bronze form censer late Ming or early Qing c.1620-1650, from the Dehua kilns in Fujian Province. The bombe form with two lion mask handles. The 19th century carved wood cover has a coral finial.

model of a shrine, Longquan kilns c.1400-1450. The small shrine for home or temple use depicts Guanyin in seated pose on the lotus throne with her two diminutive acolytes below paying homage. Guanyin is in surrounded by a grotto of stylised swirling clouds, the sun disk is above ; her emblems, a bird and a vase are either side of her. Guanyin and the acolytes heads are unglazed and would originally have been gilded.

An early Ming celadon ware model of a shrine, Longquan kilns c.1400-1450. The small shrine for home or temple use depicts Guanyin in seated pose on the lotus throne with her two diminutive acolytes below paying homage. Guanyin is in surrounded by a grotto of stylised swirling clouds, the sun disk is above ; her emblems, a bird and a vase are either side of her. Guanyin and the acolytes heads are unglazed and would originally have been gilded.

 

A large Transitional porcelain baluster jar, Shunzhi period 1644 – 1661. Decorated with phoenix roundels against a cell type diaper pattern intersected by lappets with a fretwork design. The flat base is unglazed.

A large Transitional porcelain baluster jar, Shunzhi period 1644 – 1661. Decorated with phoenix roundels against a cell type diaper pattern intersected by lappets with a fretwork design. The flat base is unglazed.

 

 A Japanese Blue and White porcelain dish, Arita kilns c.1690-1720. Painted in unusually rich tones of cobalt with a jardiniere (or perhaps a center) planted with a flowering plant among rocks. The border with ‘The Three Friends of Winter’. The base with an apocryphal mark Chenghua mark, Ming Dynasty 1465 – 1487.


A Japanese Blue and White porcelain dish, Arita kilns c.1690-1720. Painted in unusually rich tones of cobalt with a jardiniere (or perhaps a center) planted with a flowering plant among rocks. The border with ‘The Three Friends of Winter’. The base with an apocryphal mark Chenghua mark, Ming Dynasty 1465 – 1487.

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