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Decorative Arts Collection of the Late J.O. Fairfax AC, Day 1 — Leonard Joel Pty. Ltd.

Articles on this Sale

Auction House:Leonard Joel Pty. Ltd.Number of lots recorded:215
Sale Title:Decorative Arts Collection of the Late J.O. Fairfax AC, Day 1Lots with images:215
Auction Location:SydneyPrices available:199
Date:31-Aug-2017
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A Mughal miniature depicting a Noble man on horseback, 19th century, the male figure mounted on a finely bridled horse, gazing at a courtesan wading through the stream, circa 1800, 23.5 x 18 cm
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A Mughal miniature of a youth holding a candle and incense burner, late 17th / early 18th century, painted on a sparse grey ground with gilded edge, 8 x 14 cm within perspex box frame
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An unusual Mughal miniature, 18th century, a partly robed beauty modestly clasping a sheer robe, adorned in jewels, 10 x 14.5 cm within perspex box frame
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A pink sandstone head of a deity, India, Depicted with an elaborate jatamukata, the head 18 cm high, including stand, 34 cm high
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Two bronze figures, probably Nigeria, Africa, one depicting the Queen of Sheba, the other a male fertility deity, the largest 18.5 cm high
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A Shona stone sculpture of a spirit animal, Zimbabwe, in the form of a standing mythical spirit animal with hands held to its mouth, carved from a single piece of mottled green stone, 21.5 cm high. Provenance: Irving sculpture gallery, Sydney, 1985
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A clay head, possibly Nigeria, depicted wearing headress, possibly Nok peoples, 31 cm high
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A chiefly stool, Fanti Tribe, Ghana, West Africa, early 20th century, made for chiefly use, the base of the seat of the stool carved in the form of a standing male lion, an animal of great power and majesty, the curved seat with native repair and a worn patina, 59 cm wide, 37 cm deep, 55 cm high. Provenance: Blaxland gallery, Sydney, 1990
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Two Amharic manuscript scrolls, Ethiopia, the larger perspex case measuring 28 cm wide, 7.8 cm deep, 44.5 cm high including brass fixtures (2). Other Notes: Ethiopian healing scrolls were used to eliminate illness by purging evil spirits and demons from a sick person. Part of a larger healing ritual, the scrolls were commissioned by the illiterate to combat grave illnesses.
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An Ethiopian brass key, together with an Ethiopian brass pot, the key with an ornate handle, the pot with profusely incised decoration to body and neck, the key 28.5 cm length. Provenance: The brass pot presented by Haile Selassie's father to Admiral Gilly according to provenance notes
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A deer form effigy vessel, Colima, Mexico (200-600AD), in the form of a deer laying on the ground, this unusual piece clearly has deer horns but the face of a dog, the body incised with concentric diamond shapes, 17 cm high. Provenance: Purchased Irving sculpture gallery, Sydney, 1983, from the collection of the late Rudy Komon and Robert Shaw
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A dog form effigy Vessell, Colima, Mexico (200-600AD), Depicted in curled recumbent position with head resting on paws, spout on the back, 12 cm high. Provenance: Purchased Irving sculpture gallery, Sydney, 1983, Literature, illustrated, Art and Australia Vol.3, no.3, page 186
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A stirrup vessel in the form of a standing warrior, Moche, Peru (100-700AD), the figure in low relief with painted geometric design, 17.5 cm high
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The clay head of a Smiling deity, Veracruz style, Mexico, depicting Mesoamerican humor with protruding tongue and swollen cheeks, 20.5 cm high including stand
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A large and fine Zia pottery vessel, new Mexico, early 20th century, finely painted with stylised birds and foliage in red, black and tan ochre, 47 cm diameter. Provenance: Purchased Gerald Peters gallery, Santa Fe, new Mexico 1992
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A large and fine Zia pottery vessel, new Mexico, early 20th century, finely painted with stylised birds and geometric designs in red, black, and tan ochre, 43 cm diameter. Provenance: Purchased Gerald Peters gallery, Santa Fe, new Mexico, 1988
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A Kamanggabi cult hook, Arambak Tribe, Karawari river, This large and impressive cult figure known as Yipwon are from the lower Karawari river area, carved from a single large piece of timber, the whole figure is seen in profile, the large head at the top is followed by a series of concentric hooks, the base of the figure is an unusual double leg form, 250 high. Provenance: Acquired from Wayne Heathcote (1973), extract from letter from Wayne Heathcote 'To the best of my knowledge the Karawari hook is stone…
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A set of Cockfighting blades in a decorative carved case, Bali, Indonesia, 19th century, the finely carved case in the form of a Barong figure, a mythical protector in Balinese Hindu culture, the case measuring 21.5 cm high
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A Balinese carved bamboo ceremonial container, with incised designs of a figure swimming in a sea of suffering, the stopper in the form of a bird, 33 cm high
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A gilt red lacquer ware Offering dish, Burma, late 19th century, the bowl risen from ring and turned column base, 51 cm diameter
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A carved sandstone architectural relief, possibly Khmer, finely carved with a figure of a dancing female deity, possibly Ravana, 40 cm high
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A clay head of a deity, Mon, Thailand, 8TH-10th century, Depicted with down cast eyes, smilling, 29.5 cm high including base
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A clay head and torso of a deity, probably Mon, Thailand, 8TH-10th century, Depicted with joined eyebrow and full lips, 57 cm high including base
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A stucco head of a Buddha, Thailand, Depicted with full lower lip, 16 cm high including base
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A clay head of a deity, Dvaravati, Thailand, 6th-8th century, Depicted with serene smiling expression, 34 cm high including base
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A head and bust of a Buddha, Sukhothai, Thailand, 13TH-15th century, Depicted with down cast eyes wearing ushinisha topped with a flaming cintamani, 59 cm high inclusing base
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A standing Buddha, Loburi, Thailand, 12TH-13th century, an early standing Buddha in Royal attire with hands held out to the front in vitarka mudra, the gesture of philosophical debate, 24 cm high. Provenance: Purchased David Jones Gallery, Sydney, 1964
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A torso of a walking Buddha figure, Sukhotha Thailand, 13TH-15th century, of typical robed form, 41.5 cm high including base
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A bronze figure of Buddha in the Ayutthaya style, Thailand, 17th century, Depicted adorned and with both hands vitarka mudra, 35 cm high including base
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A standing bronze Buddha, Ayutthaya period, Thailand, 18th century, a fine example of the Ayutthaya style Buddha with a serene face and standing in samabhanga, his right hand in abhayamudra and his left pendent along the left side of his body, floating away from the flaring hem of his garment, depicted wearing a belt around his waist with a centre fold falling between slightly swelling thighs, the head with an ornate diadem surmounted by his conical ushnisha, 123 cm high including base
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Japanese scroll painting, Mt Fuji, Edo period, 18th century, signed Torin-Ga (Kano), Kakejiku (vertical hanging scroll), ink on paper depicting mount Fuji from and a coastal outcrop, signed Torin Ga, the reverse signed Torin ga Miho Fuji (Fuji from Miho by Torin), Kano Torin (1679 - 1754), 113 x 68.5 cm including mount, the artwork 52 x 34 cm. Other Notes: There is scant information about this artist other than he was a painter, draughtsman and adopted Son and pupil of Kano Togen.
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Zen scroll, ink on paper, Edo period, C.1800, signed Dokuan, Kakejiku (vertical hanging scroll), ink on paper featuring a passage of a poem by eighth century Chan Buddhist recluse Hanshan, 'White clouds embracing the hidden stones', the artwork excluding mount 94 x 24 cm. Other Notes: Not much is known about Dokuan other than he was active around the end of the 18th century. His calligraphy also featured on scroll paintings by the master Nagasawa Rosetsu (1754-1799).
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Japanese woodblock print, Ando Hiroshige (1797-1858), Oban size, woodblock print of Futami-ga-ura in Ise Province from the series thirty-six Views of mount Fuji (Fuji sanjûrokkei), 1858, 34 x 23 cm
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A lacquer Tebako (accessories box), Edo period, 19th century, attributed to Hashi-Ichi, formed as a section of bamboo, realistically rendered in natural colours and decorated in gold lacquer with small sprigs of bamboo, the lid decorated on roiro black ground with a bird flying to her young in the nest in takamakie, 14 cm wide, 11 cm deep, 5 cm high. Provenance: Purchased Spink & Son Ltd, 1991. Other Notes: This work is unsigned but attributed to Hashimoto Hashiichi I (1817-1882) who was known for…
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A fine lacquer four-case Inro, Edo period, early 19th century, by Hasegawa Shigeyoshi I or II, bearing a kinji ground and decorated with the rare motif of a long tailed bird of paradise on cherry blossom in takamakie and hiramakie, the reverse sparsely decorated with flying sparrows and blossom, the interior risers in nashiji, signed Hasegawa Shigeyoshi saku with red pot seal hashira, 8.5 cm high. Provenance: Purchased Barry Davies Oriental Art, 1988
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A four case Japanese lacquer Inro, Edo period, 19th century, signed Yamada Yoshioki, of classic form, the roiro ground shading to nashiji, main decoration of two geese in silver and gold takamakie with kirikane highlights to their feet and similar theme continuing on the reverse, ensuite kagamibuta netsuke of a sparrow flying amongst foliage, signed Yamada Yoshioki Tsuku, 8 cm high. Provenance: Purchased Y. Tsuruki & Co, Kyoto, 1988. Other Notes: geese are known to fly in pairs and therefore symbols of…
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A fine lacquer four-case Inro, Edo period, early 19th century, signed Jitokusai Gyokuzan, bearing a rich kinji ground and lacquered with three hiramakie and takamakie cranes in flight and two cranes on the reverse. The details in gold, silver, black, red and lacquer and interior rims and shoulders in fundame, signed: Jitokusai Gyokuzan with red pot seal, 7.5 cm high. Provenance: Purchased Spink & Son Ltd, 1989. Other Notes: cranes have been a popular subject matter in Japanese Art and culture since ancient…
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A four case Japanese lacquer Inro, Edo period, 19th century, signed Toshihide, on roiro ground with a black crane flying over reeds and waves rendered in togidashi makie, the interior in black lacquer, signed on the front Koshu with additional red seal of Koshu, signed on the underside Toshihide above a red seal reading Tokei, 7 cm high. Provenance: Purchased Spink & Son Ltd, 1990. Other Notes: Toshihide (also known as Hisahide) was a member of the Tatsuke lacquer family, whilst Koshu (1760-1822), refers…
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A Japanese lacquer four-case Inro, lotus theme, Edo period, 19th century, on a nashiji ground, three-case inro decorated in gold, red and silver takamakie and mother of pearl inlay, with a continuous design of a kingfisher perched on a lotus plant with leaves and flowers, the interior in gold fundame lacquer, 11 cm high. Provenance: Purchased Spink & Son Ltd, 1990. Other Notes: the lotus represents the emergence of the pure from the unclean, the lotus flower emerging from the mud at the bottom of the pond.
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A rare Japanese three case lacquer Inro, Edo period, 19th century, signed Kajikawa, extremely fine gold lacquer three-case in the rare form of an eggplant, a hawk on one side and mount Fuji on the reverse, all in various shades of gold and silver lacquer in takamakie and hiramakie with silver and gold kirikane, signed Kajikawa on the base with red pot seal, 12 cm high. Other Notes: the combination of Mt Fuji, the hawk and eggplant allude to the popular tradition that Tokugawa Ieyasu's (first Shogun and…
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A fine five case Japanese lacquer Inro, Meiji period (1868-1912), 19th century, signed Shosai/ Shouei, of typical form and on kinji ground, a five case silver and black hiramakie and takamakie inro depicting an imposing hawk on a prunus, amongst spring blossom, the reverse with a continuing Sakura design, signed Shosai, 8 cm high
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A fine Japanese Makie Tansu, lacquer cabinet, Edo period, 19th century, comprising three main drawers, two smaller drawers and top sliding doors, decorated overall on a rich nashiji ground with main theme of sparrows flying among bamboo in hiramakie and takamakie, the interior drawers in nashiji, silver door pulls and carrying handles, 45 cm wide, 28 cm deep, 47 cm high. Other Notes: Recalling the story of the 'Cut-tongue sparrow' (shitakiri suzume) - an old man goes out to cut firewood when he sees a…
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A pair of Japanese lacquer Hokai, Edo period, 19th century, each of typical form, with ribbed sides and canted corners, supported on four tall spreading feet, decorated overall with roiro black lacquer, edges and feet with brass kanagu (metalwork fittings) engraved with scrolling foliage, black lacquer interior and traditional orange cord, each 33 cm wide, 33 cm deep, 36 cm high. Provenance: Purchased Spink & Son Ltd, 1991. Other Notes: Hokai were primarily used outdoors at picnics or flower outings.
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A fine and rare Japanese lacquer stand, Edo period, 18th century, of lobed, pentagonal form decorated in dense nashiji and silver and gold hiramakie with leafy vine tendrils interspersed with snowflake roundels containing sprays of grass and silver dew drops, the rim adorned with five original silk tassels fixed to gilt copper kanagu fittings, 26.5 cm high. Provenance: Purchased Spink & Son Ltd, 1992, Exhibitions, Sparse Shadows, flying pearls', Queensland Art gallery, 2005. Other Notes: This piece was…
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A fine Japanese lacquer Sagejubako (picnic container), Edo period, 19th century, the double hexagonal frame lacquered in roiro and decorated with bamboo in hiramakie and copper-gilt carrying handle, the set comprising, a hexagonal four-tier stacking food box decorated with classical flora and meandering stream in gold lacquer, tokkuri (sake container) in nashiji and hiramakie and a hexagonal food tray with hiramakie sparrows and bamboo on a nashiji ground, 42 cm wide, 17 cm deep, 31 cm high. Provenance:…
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Japanese mirror, lacquer case and stand, Edo period, 19th century, signed Fujiwara Yoshihiro, the stand and case decorated with a variation of an aoi family symobl, the mirror inscribed: Murata Yama Shire (keeper of castle) Fujiwara Yoshihiro, mirror 52 cm high, overall including stand 90 cm high. Other Notes: mirrors used in the Edo period, and earlier were made from bronze, nickel, and iron with the surface highly polished. The reverse would often feature an intricately carved design.
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Japanese mirror, lacquer case and stand, Edo period, 18th century, signed Fujiwara, the box decorated with scrolling foliate decoration and Paulownia crest, opening to reveal an ornately carved mirror decorated with lotus and scrolling foliage, the folding stand with similar decoration tied with a silk cord, signed Fujiwara Kaneko, the mirror 24 cm high, overall including stand 53 cm high. Other Notes: mirrors used in the Edo period, and earlier were made from bronze, nickel, and iron with the surface…
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An impressive Japanese lacquer cabinet and stand, Meiji period (1868-1912), 19th century, on a black ground, the main ribbed cabinet decorated in plum, the base with a short sliding drawer in hiramakie peacocks and the sliding doors in an assortment of birds, highlights in scrolling grasses and gilt brass kanagu fittings, unsigned, 63 cm wide, 33 cm deep, 89 cm high
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A Negoro lacquer Katakuchi, Meiji period, 19th century, Negoro lacquer over wood, Katakuchi / Choshi (spouted sake server), 19 cm high. Provenance: Purchased David Jones Art gallery, 1986. Other Notes: associated with the Buddhist temple in Negoro where the wares are first thought to have originated, Negoro was popular in the 15th century and remains one of the most highly regarded forms of lacquer in Japan, particularly in the tea ceremony.
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Japanese wood figural netsuke of a Mouse, Edo period, early 19th century, Simply carved netsuke of a mouse sniffing for food, with the eyes inlaid in horn and the wood slightly worn on the tail, showing good patina, unsigned, 3 cm high
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Two Japanese ivory netsuke, Edo period, late 19th century, one signed Asahi Gyokuzan, the first a netsuke in ivory of a kneeling skeleton with skull signed Asahi Gyokuzan, the second an ivory netsuke figure of a seated Buddhist monk with an alms bowl, rubbed signature, the tallest 8 cm high
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A rare wood netsuke of a fox, Edo period 19th century, standing upright with its front paws held to one side of its head with short pointed ears, narrow eyes, long pointed muzzle and slightly open mouth, natural himotoshi on tail section, 7.5 cm high. Provenance: Purchased Spink & Son Ltd, 1989
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An ivory okimono of a banana, late Meiji (1868-1912) or Taisho period (1912-1926), early 20th century, a naturalistic Japanese stained and carved ivory study of a banana, partly peeled and realistically rendered. Meiji/Taisho period, circa 1900-1923, 12 cm length
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A fine okimono of a Street vendor, Meiji period (1868-1912), signed Joun, a very finely carved ivory okimono of a seated street vendor, his various utensils lacquered and inlaid, signed by the artist, 'Joun' on a tsuishu lacquer reserve., 13 cm length. Provenance: Purchased Victoria & Ray Tregaskis, 1997
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A wood sculpture of Jizo Bosatsu, Muromachi / Momoyama period, circa late 16th century, Jizo seated on a gold lotus pedestal (later Edo addition C.1800) shown in the guise of a serene monk with shaved head, his right hand carrying Shakujo (staff) and in his left a Tama or Buddhist jewel, 34 cm high including pedestal (the seated figure 17 cm high). Provenance: Purchased Y. Tsuruki & Co, Kyoto, 1988. Other Notes: Jizo Bosatsu (Bodhisattva) is one of the most beloved Japanese deities, traditionally seen as…
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A Japanese wood guardian figure, Edo period, 17th century, depicting one of the four guardian Kings (shitenno), wearing ancient Chinese-style armour, his left arm raised (missing weapon), traces of original pigment, 57 cm high including base (the figure 46.5 cm high). Other Notes: the Shitenno are Buddhist protectors of the four directions. In Japan they are often shown as martial figures wearing Chinese armour warding off evil and protecting the world from malicious spirits
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A bronze model of Tanjobutsu (Shaka At Birth), Edo period, 18th/19th century, cast in the form of the historical Buddha Shaka immediately after his birth, naked to the waist, his right hand pointing to the heavens and his left pointing to the earth, on a lotus base, traces of gold gilding, 14 cm high. Other Notes: According to legend, his mother Mahamaya gave birth to him from her right side. The infant then took 7 steps and pointing to the heavens with his right hand and to the earth with his left hand,…
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A pair of Japanese bronze rabbit screen supports, Edo period, 19th century, Realistically cast screen supports modelled as rabbits in patinated bronze, unsigned, each 12 cm high
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A Japanese Imari bowl, Edo period, 19th century, of circular form with a scalloped rim, the exterior painted with floral panels, the interior with six similar panels with a central design of a traditional basket of flowers, 19 cm diameter
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A Japanese Seto vase, monkey theme, Meiji period, 20th century, signed, of baluster shaped and painted with monkeys amongst spring flowers, signed Machimoto Owari-ya Seizo, 35 cm high
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A Japanese stoneware vase, 20th century, painted with an abstract floral design, signed Anzan or Yasuyuma, 17 cm high
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Japanese celadon garden seat, Edo period, 19th century, square shaped garden seat, raised relief design of bamboo in celadon porcelain, the top with a pattern of blue and white floral roundels, unsigned, 50 cm high
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A Japanese celadon vase lamp stand, 20th century, of bottle shape, a celadon vase converted to lamp stand, 50 cm high to brass fitting including base
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A Japanese elm rice container, Edo period, 19th century, of tapering coppered form, an elm rice barrel, 52 cm diameter x 52 cm high
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Korean chest with iron fittings, 19th century, of rectangular shape, in elm with iron fittings and hinged lid, 93 cm wide, 41 cm deep, 38 cm high
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An iron Ikebana vessel, 20th century, unsigned, of circular form, a shallow ikebana vessel in iron with square inlet, the surface worked in a traditional ishime (rock surface) finish, 14 cm diameter, 4 cm high
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A Chinese hardstone libation cup with twin handles, the smooth, mottled brown carved stone incised with a band of key fret design at the rim, the overall mottling appearing as if marble, the handles carved with a scalloped, scrolling motif and the cup on a raised straight foot, 12 cm length with wooden stand
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A Chinese archaic-style hardstone libation jug, on a tripod base, carved in relief to the exterior with a double key fret band to the rim, a wider band of dragon design to the body, above a continuous line of archaic-style script, the attached handle in the shape of a qilin, 8.5 cm high, with stand
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A Chinese russet jade Phoenix-shaped vase and cover, Qing Dynasty (1644-1911), carved with a seated phoenix carrying the deep vessel upon its back, the vessel carved with low relief archaistic bands and in high relief a pair of qilin, one climbing on the side from the head of the phoenix, and one atop the cover, the neatly carved plumes of the phoenix with a central design, the feet neatly tucked under and carved to the base, together with the auspicious 'Ruyi' motif. The phoenix and qilin often depicted…
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A Chinese Shoushan seal of square-form, surmounted by a ferocious Buddhist lion, the square seal with an incised design, including a band of 'Endless knots' one of the eight auspicious symbols of Buddhism, and the character for dragon 'Long' incised to the four sides, and incised to the base with a four-character mark, 8.5 cm high
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An early Chinese white jade carved figure of a Bixie, Qing Dynasty (1644-1911), the mythical horned animal in a crouching position and carved with full rounded body, grasping a leafy 'Lingzhi' spray (the sacred mushroom) in its mouth, 8.4 cm length, with wooden stand
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A fine Chinese jade carving of bi Xie, Qing Dynasty (1644-1911), the mythical animal recumbent and carved with full rounded body, the head turned backwards, and grasping a long, leafy 'Lingzhi' spray (the sacred mushroom) in its mouth, its back paws slightly raised, the pale green jade with a few russet inclusions, 10 cm length, with decorative wooden stand. Other Notes: for similar, please see Christie's, New York, 30 March, 2005, lot 111, Sotheby's, London, 6 November 2013, lot 283, Sotheby's, London, 14…
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A Chinese mottled white jade carving of a winged horse, the mythical white figure, recumbent, with nostrils flared and dragon-like features, possibly depicting the auspicious Bailongma, the white dragon horse, 17 cm long, on stand
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A Superbly carved Chinese jade figure of a mythical horse, Qing Dynasty (1644-1911), the mottled white jade figure, recumbent atop a bed of swirling waves and rockwork, with finely combed mane, its head turned towards a collection of books bound together with a flowing sash, symbolic of one of 'The four accomplishments' upon its back, the body depicted with scales and a dragon tail, in keeping with the Chinese legend of Haima (sea horse), 17.25 cm length, with carved wooden stand. Provenance: Purchased at…
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A Chinese spinach jade circular box and cover, Qing Dynasty (1644-1911), 18th century, of lotus form, the cover carved as a lotus pod, with circular nodes simulating seeds, encased by overlapping lotus petals to the box and cover in low relief, with a straight foot rim, with wooden stand, 9 cm diameter. Provenance: Purchased at or prior to 1976, old Sotheby's sticker, lot 481 attached, Literature, illustrated in Art and Australia, Vol. 3, no. 4, p.258. Other Notes: for a similar, though larger spinach jade…
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A Chinese export Canton enamel table bell, Qing Dynasty (1644-1911), Qianlong period (1736-1795), late 18th century, with a flower-head and down its length with alternating leaf bands in black and pink. The body painted with peonies in famille rose between bands of broad leaf designs and scrolling floral patterns, 14 cm high. Provenance: Purchased from Spink & Son Ltd., London in 1991, with a copy of certificate by the British antique Dealer's Association, London, dated 13 May 1991
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A pair of Chinese cloisonne enamel figures of deer, Qing Dynasty (1644-1911), the lovely standing figures, with their heads turned, one facing to the left, the other to the right in mirror image, finely cast with gilt metal antlers, ears and hoofs. Their bodies decorated with scattered flower-heads of pink and blue in gilt outline, a black mane all on a lovely apple green ground, their faces finely detailed, the eyes with turquoise, and navy, their mouths with red enamel lips and white teeth, 25 cm high,…
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An extremely rare pair of Chinese cloisonne sheep figures, Qing Dynasty (1644-1911), Qianlong period (1736-1795), circa 1760, Their recumbent bodies styled overall with elaborately curled fleece in white enamel, decorated with brightly gilded horns, ears and finely styled feet, their naturalistic mouths with black and turquoise enamel, their round eyes beautifully depicted, 9 cm high, 14 cm length (2). Provenance: Purchased Mallett, 1995, from the Martyn Cook Exhibition. Other Notes: for a similarly…
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A metal finial or Armrest, in the shape of a Buddhist lion head, finely detailed, 9.5 cm high, together with pedestal base
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A Chinese gilt bronze cloisonne figure of a mythical winged ram, Qing Dynasty (1644-1911), 19th century, in the recumbent position, with the legs tucked neatly underneath the body, the head raised supporting a pair of large curving horns, the back fitted with a pair of sculpted, removable wings, enamelled overall with stylised scrolling on a turquoise ground, with highlights of pale blue, pink, yellow, green, red and black enamel detail, with gilt horns, hoof, the facial features decorated with a scaly…
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A rare pair of sapphire blue Peking glass wine goblets, Qing Dynasty (1644-1911), mid-19th century, in European style, the shape taken from an English Georgian design, each 9 cm high (2). Provenance: Purchased Ray and Victoria Tregaskis, NSW, 1993, Ex fine Chinese works of Art, no.79, illustrated
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A Chinese export underglaze blue and white porcelain oval butter dish and cover, Qing Dynasty (1644-1911), circa 1750, Nanking Cargo, decorated to the exterior and lid with pagodas, rocks and sprays of blossom, with a decorated handle, the official Nanking cargo seal ascribed by Christie's Amsterdam attached to the base, 11.5 cm length. Provenance: Purchased from Christie's, Amsterdam, Nanking Cargo Auction, 1 May, 1986, Lot 4521 (part of). Other Notes: This butter dish was part of the famous Nanking Cargo…
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A Chinese Zhangzhou blue and white porcelain dish, 17/18th century, the Zhangzhou 'Swatow' export ware bowl, with underglaze blue and white design, with a central stylised 'Fu' character, for good fortune, typically surrounded by a band of floral design, 29 cm diameter
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A large pair of Chinese jars and covers, Qing Dynasty (1644-1911), 19th century, on a pale blue ground, each decorated to the exterior in underglaze blue with Foo dogs playing amongst cloud scrolls, each approximately 32 cm high (2)
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A Chinese Cafe-Au-lait glazed porcelain bowl, 19th century, with everted rim, the pearlescent monochrome crackle glaze stopping short of the raised foot, glazed to the base, 21 cm diameter
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A large Chinese celadon bowl, 19th century, of deep form, the body covered evenly with crackle glazed celadon, with brown rim, the straight foot unglazed, 24 cm diameter
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Two Chinese five-lobed lotus bowls, Qing Dynasty (1644-1911), 19th century, Spurious four-character Qianlong Seamark, the matching bowls, one with a turquoise enamel painted ground, the other with yellow enamel, decorated overall with auspicious Buddhist emblems including the lotus pattern, the endless knot tassels, the 'Ruyi' bats, and 'Shou' symbols for longevity, each with a straight foot and gilt rim, each measuring approx 20 cm diameter (2)
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A collection of three Chinese porcelain vases, mounted as lamps, one of globular form, the other two of baluster shape, each decorated with bands of lotus petals and floral design, with wooden stands (3)
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A small Chinese porcelain egg-cup, with Fencai Enamels, Guangxu six-character mark and of the period (1871-1908), decorated to the exterior with a band of ruyi-lappet design above a green enamelled dragon on a yellow ground, resting above a band of waves, 5.5 cm high
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A Chinese porcelain five-lobed footed bowl, Qing Dynasty (1644-1911), Tongzhi mark and of the period (1861-1875), the exterior decorated with overglazed enamels, depicting figures in scholarly pursuits, the interior of the bowl covered in an overall turquoise glaze, the base with six-character mark in red overglaze, 21.5 cm high
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A pair of Chinese famille rose 'Chicken' bowls and matching covers, Qing Dynasty, (1644-1911), after Qianlong, painted to the exterior with a continuous celebrated scene depicting the young boy Jia Chang facing a rooster, and stamping his left foot to call the chickens, set against jagged rockwork and blossoming peonies issuing from leafy stems, the hen and the four chicks nearby, on the reverse an inscription in black enamel of an Imperial poem by the Qianlong Emperor acknowledging the emulation of…
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A fine famille rose 'Dayazhai' Chinese yellow-ground Grisaille-decorated dish, Qing Dynasty (1644-1911), Guangxu period (1875-1908), the shallow rounded sides rising to a slightly everted rim, the interior decorated in grisaille with two bees above flowering peony, with an inscription in iron red, Dayazhai and a seal, Tiandi yijia chun (Springtime in heaven and earth, one Family), all reserved on the yellow enamel ground, the exterior painted with enamels on a white ground with stylized scrolling lotus,…
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An early Chinese Longquan celadon mallet-shaped vase, song Dynasty (960-1279), or later, well-potted, with a cylindrical body, rising from a low foot-rim to a canted shoulder, and terminating by a dish-shaped mouth. The neck with crackle glaze, flanked by an applied pair of serpentine dragon-fish handles. Covered overall in a fine bluish-green glaze, the unglazed hand-pared foot-rim revealing the dark brown dressing, with glazed base, 26.5 cm high, Exhibitions, Sparse Shadows, flying pearls', Qag, 27…
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A Chinese green-glazed pottery model of a treasure chest, Ming Dynasty (1368-1644), the locks and handle with a golden yellow glaze, 11 cm high. Other Notes: the tomb offering, 'Mingqi' designed to be buried with the departed to provide for the next world, 'Symbolically' containing valuable items within the chest.
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An exceptional Chinese glazed pottery figure of a Bactrian two-Humped camel, Tang Dynasty (618-906AD), standing fours-quare on long legs upon a rectangular base, its long neck raised to support the well modelled head, with mouth open, and nostrils flared, as if braying, the amber-ochre glaze dripping majestically over the body, mouth, legs, and tail. The powerful neck with thick plaits of fur on the underside, with groomed mane. The slender cream-glazed humps leaning in opposite directions, 80 cm high with…
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A Chinese Mandarin official's summer hat, Qing Dynasty (1644-1911), Guangxu period (1871-1908), circa 1880, This fine example in the form of a conical crown of split bamboo cane, covered with a seamless piece of white silk gauze and decorated with tassels of red braided Manchurian silk, surmounted with a gilt copper finial supporting a crystal sphere, with gold brocade edging, with a green plume holder and peacock feather attached. Provenance: Purchased Linda Wrigglesworth at Irving Galleries, London,…
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A Chinese Mandarin official's Winter hat, Qing Dynasty (1644-1911), the hemispherical paper-stiffened padded crown with upturned brim, covered with red braided silk, surmounted with gilt filigree stylised spike supporting a crystal sphere, jade holder (which would have held a peacock feather), stays and lining. Other Notes: for a very similar example, please see: the Newark Museum, gift of the iris barrel Apfel collection, the collection of Ken Rutherford, NSW, as illustrated in Judith Rutherford and…
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A Chinese red silk Kesi ladies Informal robe, 19th century, decorated with an evenly spaced monochrome pattern of round medallions, enclosing a pair of five-clawed dragons in profile contesting a flaming pearl, set against lotus scrolls. The border at the wide cuffs and neck, with a detailed and colourful floral pattern surrounding the eight precious Buddhist emblems, including the unending knot, conch, lotus and double fish pattern on a golden ground, with a trimmed band of couched gold metal thread with…
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A Chinese Emperor's Surcoat (Gunfu), Qing Dynasty (1644-1911), the navy satin with four woven kesi Imperial dragon medallions, fastened at waist level with spherical metal buttons and silk loops, the lining a pale blue silk with a subtle monochrome key fret pattern, the arm span measuring 166 cm. Other Notes: the gunfu was a surcoat traditionally worn by the emperor over his court robe. It is usually midnight blue and knee length so that the court robe could be seen below the hemline. The Qing dynasty…
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A fine example of a Chinese Manchurian lady's Waistcoat, Qing Dynasty (1644-1911), circa 1870, worn by a lady in waiting to the Empress of China. The bright blue silk damask, woven with butterflies and prunus blossom. The black borders are embroidered with bamboo, cherry blossom and more butterflies. The black border is edged with a ribbon of flowers. Lined in turquoise blue silk. Extremely unusual and exceptionally elegant, 76 x 140 cm, in perspex case measuring 131 cm wide, 16 cm deep, 162 cm high.…
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