 BLUE and WHITE |
 POLYCHROME |
 MONOCHROME |
 EARLY CHINESE |
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 SOUTH EAST ASIAN |
 SHIPWRECK |
 EUROPEAN |
 MISCELLANEOUS |
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 Espir Collection |
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A MAJOR EXHIBITION AT THE FITZWILLIAM MUSEUM
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HONGZHI or ZHENGDE 1488 - 1521 Ming PorcelainMing Blue and White `Provincial` Porcelain : Pieces like the present Ming Porcelain example have traditionally been referred to as `Provincial Blue and White Porcelain` because the potting and painted appear as being some what rustic. Sometimes `provincial` pieces have a great strength and freedom that can be lacking in more refined objects. Recent research in China has shown that there was little Blue and White Porcelain produced outside the main kiln complex of Jingdezhen in Jiangxi Province. The exception might be Dehua in Fujian province but the Blue and White Porcelain production from those kilns is distinct from the kilns at Jingdezhen. R and G McPherson dealers in antique Chinese porcelain |
KANGXI 1662 - 1722 Chinese Export PorcelainCone Designs on Kangxi Porcelain : Sometimes referred to as palmette the cone pattern is an Islamic design that was originally made for the Egyptian market by cotton dyers in Gujarat. This stylised cone shape was later woven into Mamluk silks as well as Safavid and Mughal brocades, the form was sometimes filled with calligraphy. These brocades were widely traded and inevitably some ended up in China, the Chinese first used the design on porcelain during the reign of Kangxi (1662-1722). This design, normally in blue and white but sometimes in Famille Verte enamels, consists of varying numbers of cones with the bases arranged around a central design. Most of the Kangxi porcelain objects are large dishes, large deep bowls and Islamic form ewers. The majority of this information comes from an article in : Transactions of the Oriental Ceramic Society, Volume 71, 2006-2007. Kutahya Patterns, Out of The Blue, a lecture given by Yolande Crowe pages 45 to 52. Transactions of the Oriental Ceramics Society are now available on-line, this lecture can be found at http://doc.rero.ch/lm.php?url=1000,42,23,20080222145333-SK/kutahya-patterns.pdf References : For a large Kangxi Cone design dish with six cones see : Chinese Ceramics in the Topkapi Saray Museum Istanbul, A Complete Catalogue III, Qing Dynasty Porcelains (Regina Krahl, Sotheby`s 1986. ISBN 0-85667-184-3) page 980, plate 2061 and a dish with four cones is shown, 2060. A Persian blue and white dish of this design, probably based on a Kangxi example is in the Victoria and Albert Museum, inv.1166-1876. For another Kangxi blue and white porcelain dish of this design see : Azul E Branco Da China, Porcelana Ao Tempo Dos Descobrimentos (Coleccao Amaral Cabral, Portugal, 1997. ISBN 972-8137-66-4) page 169, plate 73. R and G McPherson dealers in antique Chinese porcelain |
WANLI 1573 - 1620 Ming PorcelainThis Ming porcelain Chinese taste scholars object has had ormolu added to convert it to a European ink-stand and was sold in the late 19th or early 20th century by the exclusive Parisian firm of Boin-Taburet (marked Bointaburet on the ormolu base). A partnership of George Boin and Emile Taburet were based at 3 Rue Pasquier, Paris. This retail firm is considered to have re-introduced the Louis XV style to Parisian metalwork in the late 1880`s. Boin-Taburet won great acclaim at the International Exhibitions held in Paris, 1889 and Moscow, 1891. They were also chosen to represent France at the St. Petersburg Exhibition of 1902. The Rectangular section comes out, the circular ormolu additions to the to are attached but triangular sections of the metal being folded back under the porcelain. The Ormolu finial is also attached but I am not sure how. Ormolu : Ormolu, from the French dorure d’or moulu, meaning "gilding with gold paste" is an eighteenth-century English term for applying finely ground, high-carat gold in a mercury amalgam to an object of bronze. The mercury is driven off in a kiln. The French refer to this technique as bronze doré; in English, it is also known as "gilt bronze". References : For a Ming blue and white porcelain painter`s vessel with a six character Wanli mark and of the period, of a circular form and with straight sides see : Fine Chinese Ceramics, Bonhams`s London, 17th May 2012, lot 244. The catalogue entry mentions that the circular apertures we meant to support upright brushes and the rectangular one an ink stick. I have see an example where the apertures have porcelain liners that fit into the holes. For another round Ming blue and white vessel of this type see : Important Chinese Ceramics and Archaic Bronzes, Sotheby & Co, Hong Kong 16th of November 1973, lot 141. For a Ming polychrome vessel of this type but again circular see : Important Chinese Ceramics and Works of Art, Sotheby Parke Bernet, 23-24th of May 1978, lot 64. R and G McPherson dealers in antique Chinese porcelain |
TIANQI or CHONGZHEN c.1620 - 1640 Transitional PorcelainKo-Sometsuke : Ko-Sometsuke, meaning `Old Blue and White` is a term used to describe Chinese blue and white porcelain made for Japan. This late Ming porcelain was made from the Wanli period (1573-1620) and ended in the Chongzhen period (1628-1644), the main period of production being the 1620`2 and 1630`s. The porcelain objects produced were made especially for the Japanese market, both the shapes and the designs were tailored to Japanese taste, the production process too allowed for Japanese aesthetics to be included in the finished object. Its seams firing faults were added, repaired tears in the leather-hard body were too frequent to not, in some cases, be deliberate. These imperfections as well as the fritting Mushikui (insect-nibbled) rims and kiln grit on the footrims all added to the Japanese aesthetic. The shapes created were often expressly made for the Japanese tea ceremony meal, the Kaiseki, small dishes for serving food at the tea ceremony are the most commonly encountered form. Designs, presumably taken from Japanese drawings sent to China, are very varied, often using large amount of the white porcelain contrasting well with the asymmetry of the design. R and G McPherson dealers in antique Chinese porcelain |
KANGXI 1662 - 1722 Chinese Export PorcelainExhibited / Published : Item number 362 in `Mittens Rike`. Items on loan from collectors in the Ming Tz’u society in Boras, Sweden, October 1985. Museum of Far Eastern Antiques, Stockholm. Röhska Museum, Gothenburg. Kempe Collection, Ekolsund. Historical Museum, Gothenburg and Kulturen, Lund. `Mittens Rike` Cultural centre of Boras Sweden. `Mittens Rike` had 835 exhibits and a printed 200 page catalogue. Provenance : A Private European Collection. R and G McPherson dealers in antique Chinese porcelain |
KANGXI 1662 - 1722 Transitional PorcelainReferences : For an early Kangxi stemcup of this distinct form see : Transitional Wares and Their Forerunners (The Oriental Ceramic Society of Hong Kong, 1981) page 146, plate 93. Provenance : From a Private American Collection of Chinese, European and English Porcelain. R and G McPherson dealers in antique Chinese porcelain |
YONGZHENG 1723 - 1735 Chinese Export PorcelainA Yongzheng Pseudo-Armorial Design : The design on this large well painted Chinese export porcelain dish is unusual, however large dishes with this design are known, blue and white teawares with this design are occasionally encountered too. It is curious in that the central scene is purely Chinese in style and yet the rest of the design is based on a European prototype. The inclusion of a crown on a Chinese export porcelain object would normally suggests a commission for an individual or family, but in this incidence that appears unlikely. This piece can not be seen as armorial because the crown is on it`s own without anything to identify the person who commissioned it, so it falls into a somewhat vague and little understood category referred to as Pseudo-Armorial. Chinese porcelain with this design is sometimes found in old Dutch collections which perhaps is unsurprising as the European element of this design bares a striking resemblance to Dutch Delftware of the period. References : For a Chinese Export Porcelain dish of this design but slightly smaller (39 cm) dated as "Kangxi (1662-1722) c.1710-1725" see : Pronken Met Oosters Porselein (Stephen Hartog, Uitgeverij Waaders b.v. 1990) page 63, plate 44. For another 18th century blue and white dish of this design dated to the Kangxi period see : An Important Collection of Chinese Ceramics, Christie`s London, 12th and 13th of May 1986, lot 418. R and G McPherson dealers in antique Chinese porcelain |
FURSTENBERG c. 1790 German Hard Paste Porcelain R and G McPherson dealers in antique Chinese porcelain |
MING DYNASTY 14th or 15th Century Longquan Celadon WareMing Celadon Bowls with a Narrative Story and Inscriptions : There was a distinct group of Ming celadon bowls produced at the Longquan kilns that are thickly potted and show figures with explanatory inscriptions. Several different designs were produced in varying qualities, the size and layout are similar, maybe four or five designs were produced. They are characterized by their thickly potted rounded form and moulded designs of figures with explanatory inscriptions to the interior, they usually have a single character in the well and the border is of a key-fret band, so-called Greek-Key. A Ming bowl of this type is illustrated in : Yuegutang, A Collection of Chinese Ceramics in Berlin (Regina Krahl, G+H Verlag, Berlin, 2000) pages 280 and 280. Regina Krahl dates this bowl to the early Ming dynasty, 14th or 15th century. She states a similar bowl was excavated from a tomb at Sunqiao, Jingshan county, Hubei province, dated to the 15th year of the Hongzhi period (1502). Regina`s description of this Ming bowl is worth quoting in full "The rounded bowl has a straight, heavy foot. The inside is decorated with moulded figure scenes and explanatory cartouches, showing a military and a civil official playing a board game under a star constellation, and the inscription zhenzi po qizhan (`the gods fighting over a chess game`) ; a scholar seated at a desk with a book and an inkstone, and the inscription Li Bo guan...juan (`Li Bo gazing at ... book`) ; a man with an official`s cap standing beside a board depicting a reclining qilin (a mythical animal), and inscribed jin yu (gold and jade) ; a lady seated at a table working on a piece of cloth, and with the inscription Zhoa Jun yi yi ca (`Lady Zhoa improves her talents`) : and a man playing a qin zither and the inscription Kongzi yi Yan Hui (`Confucius remembers Yan Hui`). The center is impressed with the character gao (noble... the character on the present example is different), the outside is incised with a flower scroll and the rim with a key-fret border both inside and out. The piece is covered with an olive-green glaze except for a ring on the base which has fired brick-red. Zhenzi refers to the star gods of the Northern and Southern poles, who are determining men`s fate through their chess play. Jin yu is a general reference to riches. Zhao Jun is another name for Lady Wang Jiang, a legendary beauty at the Han court, who was married off to a `barbarian` chieftain. Yan Hui, who died young, was regarded as Confucius` most gifted disciple". Another bowl from this group, albeit a poorer quality one is in the British Museum, see : Ming Ceramics in the British Museum (Jessica Harrison-Hall, British Museum Press, 2001) page 482, Item 16:52. The Design has, like the previously mentioned example, six figures with narrative inscriptions. The bowl tells the story of Su Qin (died 317 B.C.). Jessica Harrison-Hall States in her Ming Catalogue "A bowl of this type was unearthed in 1982 in the tomb of scholar Wang Zhen (1424-1495) and his wife Mne Liu (1425-1503) in Huai`ian, Jiangxi province"........ References : Several examples of this type are known, the present piece is very crisply moulded and has a very rich deep green glaze than most of the examples. However, a bowl which of a good rich colour and of a different design is illustrated in : Yuegutang, A Collection of Chinese Ceramics in Berlin (Regina Krahl, G+H Verlag, Berlin, 2000) pages 280 and 280. A similar but poorer quality Ming celadon bowl of this type is in the British Museum see : Ming Ceramics in the British Museum (Jessica Harrison-Hall, British Museum Press, 2001) page 482, Item 16:52. A further example of this type of Ming celadon bowl was discovered in the ruins of Saya Castle, Komatsu-Shi, Ishikawa prefecture, Japan, built in the sixteenth century, and now in the Tokyo National Museum. Such bowls are called Ningyo ude bowls in Japan because of their figural decoration". For another example of this type of Ming Celadon Bowl see : Chinese Ceramics, Bronzes and Jades in the Collection of Sir Allan and Lady Barlow (Michael Sullivan, Faber and Faber Ltd, 1963) page 99, illustration 95c ; `Chekiang Celadon, XIV-XV Century`. Also see : Chinese Ceramics, The New Standard Guide (Hi Li,Thames and Hudson,1996) pages 246 and 262, item 510, "The decoration of this bowl, combining calligraphy with human figures, reflects a new trend in Longquan (celadon) products during the Ming dynasty. In addition to the auspicious phrases and names of potters that had increasingly appeared on Longquan wares since the Yuan, historical figures provided another rich resource for decorative motifs at Daotai and Daqi (kilns at Zheijiang). Provenance : R & G McPherson Antiques see `Sold Items` number 17027. The Guy-Jones Collection of English and Chinese Ceramics, label to base number 1176. R and G McPherson dealers in antique Chinese porcelain |
KANGXI or YONGZHENG c.1700 - 1735 Biscuit Glazed Chinese PorcelainMonochrome Glazed Biscuit Porcelain : Chinese porcelain with a clear turquoise, green or aubergine glaze over a biscuit body was exported to Europe from the Kangxi period (1662-1722) onwards. The brightly colour with a clear shiny glaze was like nothing produced in Europe at the time. Monochrome glazed Chinese export porcelain was especially popular in France during the 18th century and to this day many pieces can be found in French private collections. French taste in the second quarter of the 18th century tired of Chinese blue and white porcelain, indeed by this time France was producing it`s own blue and white porcelain at St.Cloud among other factories. Collectors like the duc d`Aumont had a large collection of monochrome Chinese porcelain, with celadons as a favourite. They were sometimes made more French by the addition of ormolu mounts, 43 % of his collection had mounts. Objects For The Scholar`s Desk : The term `Scholar`s object` refers to something used by a Chinese scholar in his studio, it includes everything from tables, screens and chairs to the smaller objects found on the scholar`s desk. The material used for these desk objects varied greatly, from bamboo to stone, ivory, wood and metal, but ceramics were by far the most commonly used material, even though ceramics rated lowest in ranking of importance. Bamboo, ivory or wood might not be durable enough and metal was sometimes too heavy but ceramic objects could be thrown or moulded in to an infinite variety of forms. Most of the objects made centered around the functions of writing and painting. Brushpots of different sizes and shape were needed to take the various types of brush, the same applies to brushrests. Water droppers for adding water to dry solid ink when it was ground on an inkstones, as well as the inkstones themselves were all needed, as were water-pots and brushwashers, all of these could be made of porcelain. But these were not merely functional items, they conveyed symbolic mean, often enhancing scholarly virtues and the wish for longevity. They were meant to inspire the writer, poet and artist but it is clear they could also exhibit a great sense of humour, sometimes having almost child like quality. Objects for the scholar`s desk were made out of many different ceramic bodies, during the Song Dynasty (960-1279) Qingbai porcelain was most frequently used, often in moulded form but by the late 17th and early 18th century biscuit porcelain with coloured glazes such as green, aubergine or turquoise were popular. It appears highly likely some of these objects were shipped to Europe at the time, especially France and were they were seen as whimsical novelties divorced from their true scholarly function. Provenance : A Private European Collection of Chinese Porcelain. R and G McPherson dealers in antique Chinese porcelain |
QIANLONG 1736 - 1795 Chinese Export PorcelainReferences : For an almost identical pair of blue and white Chinese Export porcelain dishes, also with one dish of a deeper blue, see : The Two Quail Pattern, 300 Years of Design on Porcelain, A History of the Pattern and a Catalogue of the Porcelain Factories from the East and West (Dr. Chris Girton, Louvic Publications, 2004. ISBN 0-9547195-0-6) page 24, fig.15. R and G McPherson dealers in antique Chinese porcelain |
HATCHER CARGO c.1643 Transitional PorcelainProvenance : From a Private Belgium Collection of Chinese and Japanese Ceramics and Works of Art. Correct stock number 19831. R and G McPherson dealers in antique Chinese porcelain |
MING DYNASTY or QING DYNASTY 17th or 18th Century Chinese Bronze R and G McPherson dealers in antique Chinese porcelain |
CHONGZHEN or SHUNZHI c.1630 - 1660 Blanc de Chine PorcelainBlanc de Chine Figures of Guanyin : Figures of Guanyin are by far the most common of all Blanc de Chine figures and indeed one of the most common images in Chinese figurative art. Guanyin was the Goddess of mercy, She was especially revered in the area where this figure was produced ; Dehua in Fujian Province. But her origins stem from Tibetan Buddhism, she was originally the patron saint of Tibetan Buddhism `Avalokitesvara`. Blanc de chine figures like the present example were constructed of separate pieces put together, this was a standard technique at the Blanc de Chine kilns in Dehua, it explains the huge variation of seemingly similar objects produced at the kilns. Figures from the Ming dynasty show a far greater degree of hand-modelling, with folds of material, the face, as well as fingers cut by hand. The potting tends to be thicker too, the interior space often shows cutting marks where the excess leather-hard clay was removed. The models of Guanyin from the Kangxi period (1662-1722) appear much more obviously mould-made, the modelling is normally more shallow with less definition and less hand-tooling. The interior wall often shows numerous small finger marks where the potter has pushed the clay into the mould. These figures, especially the taller ones frequently have ridges of porcelain supporting the interior moulded walls, they are pinched to form a ridge which is triangular in cross-section. Blanc de Chine Guanyin Figures : Figures of Guanyin are by far the most common of all Blanc de Chine figures and indeed one of the most common images in Chinese figurative art. Guanyin was the Goddess of mercy, She was especially revered in the area where this figure was produced ; Dehua in Fujian Province. But her origins stem from Tibetan Buddhism, she was originally the patron saint of Tibetan Buddhism `Avalokitesvara`. Blanc de chine figures like the present example were constructed of separate pieces put together, this was a standard technique at the Blanc de Chine kilns in Dehua, it explains the huge variation of seemingly similar objects produced at the kilns. Figures from the Ming dynasty show a far greater degree of hand-modelling, with folds of material, the face, as well as fingers cut by hand. The potting tends to be thicker too, the interior space often shows cutting marks where the excess leather-hard clay was removed. The models of Guanyin from the Kangxi period (1662-1722) appear much more obviously mould-made, the modelling is normally more shallow with less definition and less hand-tooling. The interior wall often shows numerous small finger marks where the potter has pushed the clay into the mould. These figures, especially the taller ones frequently have ridges of porcelain supporting the interior moulded walls, they are pinched to form a ridge which is triangular in cross-section. Blanc de Chine Porcelain : The porcelain known in the West as Blanc de Chine was produced 300 miles south of the main Chinese kiln complex of Jingdezhen. The term refers to the fine grain white porcelain made at the kilns situated near Dehua in the coastal province of Fujian, these kilns also produced other types of porcelain. A rather freely painted blue and white ware, porcelain with brightly coloured `Swatow` type enamels as well as pieces with a brown iron-rich glaze. However it is the white blanc de Chine wares that have made these kilns famous. The quality and colour achieved by the Dehua potters was partly due to the local porcelain stone, it was unusually pure and was used without kaolin being added. This, combined with a low iron content and other chemical factors within the body as well as the glaze, enabled the potters to produce superb ivory-white porcelain. References : For a Blanc de Chine Guanyin of this type see : Fine Chinese Ceramics Works of Art and Jade Carvings, Sotheby`s Hong Kong, 31st of October 1995, lot 398. For another similar Blanc de Chine porcelain figure see : Blanc De Chine (Marchant and Son,2006) Page 24 Item 10. A further figure cat be seen in our `Sold Items` stock number 16859. R and G McPherson dealers in antique Chinese porcelain |
KORYO PERIOD 918 - 1392 Korean CeladonKoryo Ceramics : Korean ceramics of the Koryo Period (918 - 1392) chiefly comprise of Celadon wares, although influenced by Chinese Song Dynasty (960-1279) Yue Celadons they are distinctly Korean, although there is a geological connection between the Yue and Korean celadon kilns which might add to the similarity in appearance between the two. The distinct colours achieved by Korean potters owe much to the raw materials employed. The presence of iron and iron oxide as well as manganese oxide in the clay, and quartz particles in the glaze give these celadons their unique appearance. Firing temperatures were commonly around 1150ºC, and the level of oxygen within the kiln was dramatically reduced at some stage of the firing; this is known as a reducing, rather than an oxidizing atmosphere. Koryo celadon are often plain, but decoration included incised, carved, impressed, or inlaid designs. The inlaid designs are distinctly Korean, metallic compounds like iron oxide (black or brown), copper oxide (red), and even occasionally gold colourings were added to slip which them was rubbed into an impressed design producing the look of an inlay. References : For a Korean celadon stand like the present example with it`s cup see : Chinese Ceramics, Bronzes and Jades in the Collection of Sir Allan and Lady Barlow (Michael Sullivan, Faber and Faber Ltd, 1963) plate 138. R and G McPherson dealers in antique Chinese porcelain |
MING DYNASTY or QING DYNASTY 16th or 17th Century Chinese Bronze R and G McPherson dealers in antique Chinese porcelain |
CHONGZHEN to KANGXI c.1640 - 1680 Blanc de Chine PorcelainProvenance : Said to have come from a Place in India. Private Collection. R and G McPherson dealers in antique Chinese porcelain |
NORTHERN SONG 960 - 1127 Cizhou TypeReferences : A very similar white rimmed bowl is illustrated in : Chinese Ceramics, Bronzes and Jades in the Collection of Sir Allan and Lady Barlow (Michael Sullivan, Faber and Faber Ltd, 1963) plate 51a. For a similar Cizhou Type bowl given a date of late11th or early 12th century see : Hare`s Fur, Tortoiseshell, and Partridge Feathers, Chinese Brown- and Black Glazed Ceramics, 400 - 1400 (Robert D.Mowry, Harvard University Art Museums, 1996) Pages 132 & 133, Item 31. For another Song dynasty bowl of this type with a brown-black glaze see our `Sold Items` number 17658. For another Song bowl with a white rim from a different area of China, possibly from the Maodian Kilns in Guangze County, Fujian Province or possibly the Baishe kilns in Nanfeng County, Jiangxi province see `Sold Item` 21479. R and G McPherson dealers in antique Chinese porcelain |
WANLI DATED 1584 Ming PotteryReferences : For a very similar dated Ming model but with Buddha `at ease`, with the same inscription see : Fine Chinese Ceramics, Jades and Works of Art, Christie`s London, 8th April 1981, lot 80. R and G McPherson dealers in antique Chinese porcelain |
JIAQING MARK AND OF THE PERIOD 1796 - 1820 Imperial Jiaqing PorcelainJiaqing 1796 - 1820 : Qianlong`s fifth son Jiaqing was born in 1760 in the Old Summer Palace to Xiao Yi, Qianlong`s second favourite consort, who later had her role elevated to empress. In October 1795, in the 60th year of his reign, Emperor Qianlong announced his intention to abdicate in favour of Prince Jia: he did not think it proper to rule longer than his grandfather, Kangxi Emperor (1662-1722). Although becoming Emperor in 1796 it was not until the death of Qianlong in 1799 that he was able to stamp his authority on the Imperial Court and China as a whole. Jiaqing acted swiftly against the powerful Heshan, favorite of his father Qianlong, he was forced to commit suicide. Heshan had already weakened the empire, there was no money in the treasury and the people were hungry, it was so bad that widespread rebellion was almost constant between 1799 and 1803. A strong hard working man Jiaqing was not able to quell the secret societies such as the White Lotus Society and the Triads. Indeed he narrowly avoided assassination during a revolt in 1813. Jiaqing moved against Christianity, `The Great Qing Code` includes one statute titled "Prohibitions Concerning Sorcerers and Sorceresses". In 1811 a clause was added to it with reference to Christianity. It was modified in 1815 and 1817, settled in its final form in 1839 under Daoguang`s rule, and abrogated in 1870 under the Tongzhi Emperor. It sentenced Europeans to death for spreading Catholicism among Chinese and Manchus. Christians who would not repent their conversion were sent to Muslim cities in Xinjiang, to be given as slaves to Muslim leaders and beys. Jiaqing`s second son Daoguang was named as heir in 1799 and the two worked together until his death of heat stroke in 1820. Daoguang ruled China from 1820 t0 1850. Information from : Chronicle of the Chinese Emperors, The Reign-By-Reign Record of The Rulers of Imperial China (Ann Paludan, Thames and Hudson, 1998. ISBN 0-500-05090-2) and Wikipedia. Provenance : Fine Nineteenth Century Chinese Porcelain, Earlier Ceramics, Furniture, Works of Art and Reference Book, Sotheby Parke Bernet, Hong Kong 1st and 2nd December 1977. Lot 626, One of eight bowls in the lot, we purchased all eight bowls. Original auction label to the interior of the bowl. R and G McPherson dealers in antique Chinese porcelain |
JIAQING MARK AND OF THE PERIOD 1796 - 1820 Imperial Jiaqing PorcelainJiaqing 1796 - 1820 : Qianlong`s fifth son Jiaqing was born in 1760 in the Old Summer Palace to Xiao Yi, Qianlong`s second favourite consort, who later had her role elevated to empress. In October 1795, in the 60th year of his reign, Emperor Qianlong announced his intention to abdicate in favour of Prince Jia: he did not think it proper to rule longer than his grandfather, Kangxi Emperor (1662-1722). Although becoming Emperor in 1796 it was not until the death of Qianlong in 1799 that he was able to stamp his authority on the Imperial Court and China as a whole. Jiaqing acted swiftly against the powerful Heshan, favorite of his father Qianlong, he was forced to commit suicide. Heshan had already weakened the empire, there was no money in the treasury and the people were hungry, it was so bad that widespread rebellion was almost constant between 1799 and 1803. A strong hard working man Jiaqing was not able to quell the secret societies such as the White Lotus Society and the Triads. Indeed he narrowly avoided assassination during a revolt in 1813. Jiaqing moved against Christianity, `The Great Qing Code` includes one statute titled "Prohibitions Concerning Sorcerers and Sorceresses". In 1811 a clause was added to it with reference to Christianity. It was modified in 1815 and 1817, settled in its final form in 1839 under Daoguang`s rule, and abrogated in 1870 under the Tongzhi Emperor. It sentenced Europeans to death for spreading Catholicism among Chinese and Manchus. Christians who would not repent their conversion were sent to Muslim cities in Xinjiang, to be given as slaves to Muslim leaders and beys. Jiaqing`s second son Daoguang was named as heir in 1799 and the two worked together until his death of heat stroke in 1820. Daoguang ruled China from 1820 t0 1850. Information from : Chronicle of the Chinese Emperors, The Reign-By-Reign Record of The Rulers of Imperial China (Ann Paludan, Thames and Hudson, 1998. ISBN 0-500-05090-2) and Wikipedia. Provenance : Fine Nineteenth Century Chinese Porcelain, Earlier Ceramics, Furniture, Works of Art and Reference Book, Sotheby Parke Bernet, Hong Kong 1st and 2nd December 1977. Lot 626, One of eight bowls in the lot, we purchased all eight bowls. Original auction label to the interior of the bowl. R and G McPherson dealers in antique Chinese porcelain |
JIAQING MARK AND OF THE PERIOD 1796 - 1820 Imperial Jiaqing PorcelainJiaqing 1796 - 1820 : Qianlong`s fifth son Jiaqing was born in 1760 in the Old Summer Palace to Xiao Yi, Qianlong`s second favourite consort, who later had her role elevated to empress. In October 1795, in the 60th year of his reign, Emperor Qianlong announced his intention to abdicate in favour of Prince Jia: he did not think it proper to rule longer than his grandfather, Kangxi Emperor (1662-1722). Although becoming Emperor in 1796 it was not until the death of Qianlong in 1799 that he was able to stamp his authority on the Imperial Court and China as a whole. Jiaqing acted swiftly against the powerful Heshan, favorite of his father Qianlong, he was forced to commit suicide. Heshan had already weakened the empire, there was no money in the treasury and the people were hungry, it was so bad that widespread rebellion was almost constant between 1799 and 1803. A strong hard working man Jiaqing was not able to quell the secret societies such as the White Lotus Society and the Triads. Indeed he narrowly avoided assassination during a revolt in 1813. Jiaqing moved against Christianity, `The Great Qing Code` includes one statute titled "Prohibitions Concerning Sorcerers and Sorceresses". In 1811 a clause was added to it with reference to Christianity. It was modified in 1815 and 1817, settled in its final form in 1839 under Daoguang`s rule, and abrogated in 1870 under the Tongzhi Emperor. It sentenced Europeans to death for spreading Catholicism among Chinese and Manchus. Christians who would not repent their conversion were sent to Muslim cities in Xinjiang, to be given as slaves to Muslim leaders and beys. Jiaqing`s second son Daoguang was named as heir in 1799 and the two worked together until his death of heat stroke in 1820. Daoguang ruled China from 1820 t0 1850. Information from : Chronicle of the Chinese Emperors, The Reign-By-Reign Record of The Rulers of Imperial China (Ann Paludan, Thames and Hudson, 1998. ISBN 0-500-05090-2) and Wikipedia. Provenance : Fine Nineteenth Century Chinese Porcelain, Earlier Ceramics, Furniture, Works of Art and Reference Book, Sotheby Parke Bernet, Hong Kong 1st and 2nd December 1977. Lot 626, One of eight bowls in the lot, we purchased all eight bowls. Original auction label to the interior of the bowl. R and G McPherson dealers in antique Chinese porcelain |
JIAQING MARK AND OF THE PERIOD 1796 - 1820 Imperial Jiaqing Porcelain Jiaqing 1796 - 1820 : Qianlong`s fifth son Jiaqing was born in 1760 in the Old Summer Palace to Xiao Yi, Qianlong`s second favourite consort, who later had her role elevated to empress. In October 1795, in the 60th year of his reign, Emperor Qianlong announced his intention to abdicate in favour of Prince Jia: he did not think it proper to rule longer than his grandfather, Kangxi Emperor (1662-1722). Although becoming Emperor in 1796 it was not until the death of Qianlong in 1799 that he was able to stamp his authority on the Imperial Court and China as a whole. Jiaqing acted swiftly against the powerful Heshan, favorite of his father Qianlong, he was forced to commit suicide. Heshan had already weakened the empire, there was no money in the treasury and the people were hungry, it was so bad that widespread rebellion was almost constant between 1799 and 1803. A strong hard working man Jiaqing was not able to quell the secret societies such as the White Lotus Society and the Triads. Indeed he narrowly avoided assassination during a revolt in 1813. Jiaqing moved against Christianity, `The Great Qing Code` includes one statute titled "Prohibitions Concerning Sorcerers and Sorceresses". In 1811 a clause was added to it with reference to Christianity. It was modified in 1815 and 1817, settled in its final form in 1839 under Daoguang`s rule, and abrogated in 1870 under the Tongzhi Emperor. It sentenced Europeans to death for spreading Catholicism among Chinese and Manchus. Christians who would not repent their conversion were sent to Muslim cities in Xinjiang, to be given as slaves to Muslim leaders and beys. Jiaqing`s second son Daoguang was named as heir in 1799 and the two worked together until his death of heat stroke in 1820. Daoguang ruled China from 1820 t0 1850. Information from : Chronicle of the Chinese Emperors, The Reign-By-Reign Record of The Rulers of Imperial China (Ann Paludan, Thames and Hudson, 1998. ISBN 0-500-05090-2) and Wikipedia. Provenance : Fine Nineteenth Century Chinese Porcelain, Earlier Ceramics, Furniture, Works of Art and Reference Book, Sotheby Parke Bernet, Hong Kong 1st and 2nd December 1977. Lot 626, One of eight bowls in the lot, we purchased all eight bowls. Original auction label to the interior of the bowl. R and G McPherson dealers in antique Chinese porcelain |
JIAQING MARK AND OF THE PERIOD 1796 - 1820 Imperial Jiaqing PorcelainJiaqing 1796 - 1820 : Qianlong`s fifth son Jiaqing was born in 1760 in the Old Summer Palace to Xiao Yi, Qianlong`s second favourite consort, who later had her role elevated to empress. In October 1795, in the 60th year of his reign, Emperor Qianlong announced his intention to abdicate in favour of Prince Jia: he did not think it proper to rule longer than his grandfather, Kangxi Emperor (1662-1722). Although becoming Emperor in 1796 it was not until the death of Qianlong in 1799 that he was able to stamp his authority on the Imperial Court and China as a whole. Jiaqing acted swiftly against the powerful Heshan, favorite of his father Qianlong, he was forced to commit suicide. Heshan had already weakened the empire, there was no money in the treasury and the people were hungry, it was so bad that widespread rebellion was almost constant between 1799 and 1803. A strong hard working man Jiaqing was not able to quell the secret societies such as the White Lotus Society and the Triads. Indeed he narrowly avoided assassination during a revolt in 1813. Jiaqing moved against Christianity, `The Great Qing Code` includes one statute titled "Prohibitions Concerning Sorcerers and Sorceresses". In 1811 a clause was added to it with reference to Christianity. It was modified in 1815 and 1817, settled in its final form in 1839 under Daoguang`s rule, and abrogated in 1870 under the Tongzhi Emperor. It sentenced Europeans to death for spreading Catholicism among Chinese and Manchus. Christians who would not repent their conversion were sent to Muslim cities in Xinjiang, to be given as slaves to Muslim leaders and beys. Jiaqing`s second son Daoguang was named as heir in 1799 and the two worked together until his death of heat stroke in 1820. Daoguang ruled China from 1820 t0 1850. Information from : Chronicle of the Chinese Emperors, The Reign-By-Reign Record of The Rulers of Imperial China (Ann Paludan, Thames and Hudson, 1998. ISBN 0-500-05090-2) and Wikipedia. Provenance : Fine Nineteenth Century Chinese Porcelain, Earlier Ceramics, Furniture, Works of Art and Reference Book, Sotheby Parke Bernet, Hong Kong 1st and 2nd December 1977. Lot 626, One of eight bowls in the lot, we purchased all eight bowls. Original auction label to the interior of the bowl. R and G McPherson dealers in antique Chinese porcelain |
JIAQING MARK AND OF THE PERIOD 1796 - 1820 Imperial Jiaqing PorcelainJiaqing 1796 - 1820 : Qianlong`s fifth son Jiaqing was born in 1760 in the Old Summer Palace to Xiao Yi, Qianlong`s second favourite consort, who later had her role elevated to empress. In October 1795, in the 60th year of his reign, Emperor Qianlong announced his intention to abdicate in favour of Prince Jia: he did not think it proper to rule longer than his grandfather, Kangxi Emperor (1662-1722). Although becoming Emperor in 1796 it was not until the death of Qianlong in 1799 that he was able to stamp his authority on the Imperial Court and China as a whole. Jiaqing acted swiftly against the powerful Heshan, favorite of his father Qianlong, he was forced to commit suicide. Heshan had already weakened the empire, there was no money in the treasury and the people were hungry, it was so bad that widespread rebellion was almost constant between 1799 and 1803. A strong hard working man Jiaqing was not able to quell the secret societies such as the White Lotus Society and the Triads. Indeed he narrowly avoided assassination during a revolt in 1813. Jiaqing moved against Christianity, `The Great Qing Code` includes one statute titled "Prohibitions Concerning Sorcerers and Sorceresses". In 1811 a clause was added to it with reference to Christianity. It was modified in 1815 and 1817, settled in its final form in 1839 under Daoguang`s rule, and abrogated in 1870 under the Tongzhi Emperor. It sentenced Europeans to death for spreading Catholicism among Chinese and Manchus. Christians who would not repent their conversion were sent to Muslim cities in Xinjiang, to be given as slaves to Muslim leaders and beys. Jiaqing`s second son Daoguang was named as heir in 1799 and the two worked together until his death of heat stroke in 1820. Daoguang ruled China from 1820 t0 1850. Information from : Chronicle of the Chinese Emperors, The Reign-By-Reign Record of The Rulers of Imperial China (Ann Paludan, Thames and Hudson, 1998. ISBN 0-500-05090-2) and Wikipedia. Provenance : Fine Nineteenth Century Chinese Porcelain, Earlier Ceramics, Furniture, Works of Art and Reference Book, Sotheby Parke Bernet, Hong Kong 1st and 2nd December 1977. Lot 626, One of eight bowls in the lot, we purchased all eight bowls. Original auction label to the interior of the bowl. R and G McPherson dealers in antique Chinese porcelain |
JIAQING MARK AND OF THE PERIOD 1796 - 1820 Imperial Jiaqing Porcelain Jiaqing 1796 - 1820 : Qianlong`s fifth son Jiaqing was born in 1760 in the Old Summer Palace to Xiao Yi, Qianlong`s second favourite consort, who later had her role elevated to empress. In October 1795, in the 60th year of his reign, Emperor Qianlong announced his intention to abdicate in favour of Prince Jia: he did not think it proper to rule longer than his grandfather, Kangxi Emperor (1662-1722). Although becoming Emperor in 1796 it was not until the death of Qianlong in 1799 that he was able to stamp his authority on the Imperial Court and China as a whole. Jiaqing acted swiftly against the powerful Heshan, favorite of his father Qianlong, he was forced to commit suicide. Heshan had already weakened the empire, there was no money in the treasury and the people were hungry, it was so bad that widespread rebellion was almost constant between 1799 and 1803. A strong hard working man Jiaqing was not able to quell the secret societies such as the White Lotus Society and the Triads. Indeed he narrowly avoided assassination during a revolt in 1813. Jiaqing moved against Christianity, `The Great Qing Code` includes one statute titled "Prohibitions Concerning Sorcerers and Sorceresses". In 1811 a clause was added to it with reference to Christianity. It was modified in 1815 and 1817, settled in its final form in 1839 under Daoguang`s rule, and abrogated in 1870 under the Tongzhi Emperor. It sentenced Europeans to death for spreading Catholicism among Chinese and Manchus. Christians who would not repent their conversion were sent to Muslim cities in Xinjiang, to be given as slaves to Muslim leaders and beys. Jiaqing`s second son Daoguang was named as heir in 1799 and the two worked together until his death of heat stroke in 1820. Daoguang ruled China from 1820 t0 1850. Information from : Chronicle of the Chinese Emperors, The Reign-By-Reign Record of The Rulers of Imperial China (Ann Paludan, Thames and Hudson, 1998. ISBN 0-500-05090-2) and Wikipedia. Provenance : Fine Nineteenth Century Chinese Porcelain, Earlier Ceramics, Furniture, Works of Art and Reference Book, Sotheby Parke Bernet, Hong Kong 1st and 2nd December 1977. Lot 626, One of eight bowls in the lot, we purchased all eight bowls. Original auction label to the interior of the bowl. R and G McPherson dealers in antique Chinese porcelain |
JIAQING MARK AND OF THE PERIOD 1796 - 1820 Imperial Jiaqing PorcelainJiaqing 1796 - 1820 : Qianlong`s fifth son Jiaqing was born in 1760 in the Old Summer Palace to Xiao Yi, Qianlong`s second favourite consort, who later had her role elevated to empress. In October 1795, in the 60th year of his reign, Emperor Qianlong announced his intention to abdicate in favour of Prince Jia: he did not think it proper to rule longer than his grandfather, Kangxi Emperor (1662-1722). Although becoming Emperor in 1796 it was not until the death of Qianlong in 1799 that he was able to stamp his authority on the Imperial Court and China as a whole. Jiaqing acted swiftly against the powerful Heshan, favorite of his father Qianlong, he was forced to commit suicide. Heshan had already weakened the empire, there was no money in the treasury and the people were hungry, it was so bad that widespread rebellion was almost constant between 1799 and 1803. A strong hard working man Jiaqing was not able to quell the secret societies such as the White Lotus Society and the Triads. Indeed he narrowly avoided assassination during a revolt in 1813. Jiaqing moved against Christianity, `The Great Qing Code` includes one statute titled "Prohibitions Concerning Sorcerers and Sorceresses". In 1811 a clause was added to it with reference to Christianity. It was modified in 1815 and 1817, settled in its final form in 1839 under Daoguang`s rule, and abrogated in 1870 under the Tongzhi Emperor. It sentenced Europeans to death for spreading Catholicism among Chinese and Manchus. Christians who would not repent their conversion were sent to Muslim cities in Xinjiang, to be given as slaves to Muslim leaders and beys. Jiaqing`s second son Daoguang was named as heir in 1799 and the two worked together until his death of heat stroke in 1820. Daoguang ruled China from 1820 t0 1850. Information from : Chronicle of the Chinese Emperors, The Reign-By-Reign Record of The Rulers of Imperial China (Ann Paludan, Thames and Hudson, 1998. ISBN 0-500-05090-2) and Wikipedia. Provenance : Fine Nineteenth Century Chinese Porcelain, Earlier Ceramics, Furniture, Works of Art and Reference Book, Sotheby Parke Bernet, Hong Kong 1st and 2nd December 1977. Lot 626, One of eight bowls in the lot, we purchased all eight bowls. Original auction label to the interior of the bowl. R and G McPherson dealers in antique Chinese porcelain |
KANGXI 1662 - 1722 Kangxi Porcelain R and G McPherson dealers in antique Chinese porcelain |
YONGZHENG or QIANLONG c.1730 - 1740 Chinese Export Porcelain with Dutch DecorationThe Helen Espir Collection of European Decorated Chinese Export Porcelain : "a member of the Oriental Ceramic Society and collector, with her husband. Having made a typical collection of Song and provincial Ming blue and white, they decided to concentrate on what used to be called `clobbered` porcelain. She is the author of the standard work on the subject, European Decoration on Oriental Porcelain,2005, the first to examine the work of European decorators on Chinese porcelain throughout the eighteenth and nineteenth centuries, focusing on enamellers in Holland, Germany and England. She has learned Chinese." From Provenance ; Collectors, Dealers & Scholars : Chinese Ceramics in Britain & America (Roy Davids, Dominic Jellinek, Privately Printed, 2011. ISBN 978-0-9570148-0-0). Provenance : Portobello Road c.2005. The Helen Espir Collection of European Decorated Chinese Export Porcelain. R and G McPherson dealers in antique Chinese porcelain |
SHUNZHI or KANGXI c.1660 - 1720 Blanc de Chine PorcelainProvenance : Vallin Galleries, International Asian Art Fair 3/96 (March 1996) P. Rosenberg (label to base). R and G McPherson dealers in antique Chinese porcelain |
KANGXI or YONGZHENG c.1700 - 1735 Biscuit Glazed Chinese PorcelainMonochrome Glazed Biscuit Porcelain : Chinese porcelain with a clear turquoise, green or aubergine glaze over a biscuit body was exported to Europe from the Kangxi period (1662-1722) onwards. The brightly colour with a clear shiny glaze was like nothing produced in Europe at the time. Monochrome glazed Chinese export porcelain was especially popular in France during the 18th century and to this day many pieces can be found in French private collections. French taste in the second quarter of the 18th century tired of Chinese blue and white porcelain, indeed by this time France was producing it`s own blue and white porcelain at St.Cloud among other factories. Collectors like the duc d`Aumont had a large collection of monochrome Chinese porcelain, with celadons as a favourite. They were sometimes made more French by the addition of ormolu mounts, 43 % of his collection had mounts. Objects For The Scholar`s Desk : The term `Scholar`s object` refers to something used by a Chinese scholar in his studio, it includes everything from tables, screens and chairs to the smaller objects found on the scholar`s desk. The material used for these desk objects varied greatly, from bamboo to stone, ivory, wood and metal, but ceramics were by far the most commonly used material, even though ceramics rated lowest in ranking of importance. Bamboo, ivory or wood might not be durable enough and metal was sometimes too heavy but ceramic objects could be thrown or moulded in to an infinite variety of forms. Most of the objects made centered around the functions of writing and painting. Brushpots of different sizes and shape were needed to take the various types of brush, the same applies to brushrests. Water droppers for adding water to dry solid ink when it was ground on an inkstones, as well as the inkstones themselves were all needed, as were water-pots and brushwashers, all of these could be made of porcelain. But these were not merely functional items, they conveyed symbolic mean, often enhancing scholarly virtues and the wish for longevity. They were meant to inspire the writer, poet and artist but it is clear they could also exhibit a great sense of humour, sometimes having almost child like quality. Objects for the scholar`s desk were made out of many different ceramic bodies, during the Song Dynasty (960-1279) Qingbai porcelain was most frequently used, often in moulded form but by the late 17th and early 18th century biscuit porcelain with coloured glazes such as green, aubergine or turquoise were popular. It appears highly likely some of these objects were shipped to Europe at the time, especially France and were they were seen as whimsical novelties divorced from their true scholarly function. Provenance : A Private European Collection of Chinese Porcelain. R and G McPherson dealers in antique Chinese porcelain |
QIANLONG 1736 - 1795 Chinese Export PorcelainProvenance : Lawrence Auctions, 16th July 2001 (one of three) A Private English Collection of Chinese Blue and White Porcelain. R and G McPherson dealers in antique Chinese porcelain |
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