Blanc de Chine figure of Pintoulo seated on a rockwork base, the turned head with detailed beard and eyebrows, hands clasped beneath the robes, covered in a cream glaze.
Chinese Blanc de Chine Buddha seated in meditation with his legs crossed in padmasana, the lotus posture, with both feet exposed, his hands resting on his feet in dhyanamudra, wearing loose robes draped over the shoulders and tied above the waist exposing his chest, with a central wan character and elaborate necklace, the placid face with eyes looking down between elongated earlobes and broad nostrils beneath an urna on his forehead and an intricate mass of tight curls covering the head, all on a stylised lotus form base, covered in a rich cream glaze.
A Chinese porcelain Ming imperial yellow saucer dish with slightly flared rim, covered on the front and underside with a rich yellow glaze, the base with a six-character mark of Zhengde within a double ring and of the period, 1508-1521. 17.6 cm, 7 ¼ inches diameter. Zhengde, 1508-1521.
Chinese porcelain blue and white tall beaker vase of gu form, painted on the upper section with seated scholars, two playing weiqi beside a wrapped qin and books, while another holds up a flower-form fan, with two other scholars, one kneeling while playing a qin between two others, one holding a letter, the other a fan, with an attendant close by bringing a covered box, three of the scholars’ robes with elaborate design, all amongst “v”-shape grass in a fenced continuous landscape scene with plantain, pierced rockwork, bamboo and a cloud bank beneath the sun, and between anhua bands of scrolling branch and a triangular diaper, the central band with blue ground lozenge panels painted in reverse technique with lotus flowers and branches and round medallions, above a band of leaves, the unglazed base revealing the biscuit body.
Chinese Longquan celadon two-handled pear-shaped bottle vase, each side moulded with a ruyi-head medallion, one with fu and one with shou-character between leafy branches of flowering camellia, one issuing from waves, the other from rockwork, all between key-fret bands on the neck and everted foot, the upright rim in the form of an open flowerhead, above two stylised elephant-head and ring handles.
A rare large Chinese porcelain blue and white Kraak charger painted in the centre with a tiger bearing a wang character on its forehead standing on a rocky promontory beside a pine tree, with overhanging rocks and clouds, encircled by a border with panels of peach branches and precious objects.
Chinese Longquan celadon fluted lianzi bowl, the exterior with tall upright petals, the interior with a flowerhead in the well beneath a carved keyfret band at the rim.
A Chinese bronze curved brush-rest of five-peak mountain form, cast with relief birds above crested waves, the mountain peaks topped with stylised snow, all on a fitted wood stand.
A Chinese green lead glazed standing figure of a dog, the head looking forwards with well defined eyes and pointed snout with whiskers, the ears pricked up, wearing a collar joining a harness, his tail curled over his back, the glaze covered with silver iridescence from burial.
Blue and white two handled tripod incense burner painted in a continuous mountain river scene, each side with two fisherman in boats heading towards viewing pavilions with a willow amongst rockwork beneath further viewing pavilions at the shoulder, birds in flight amongst stylised clouds and the moon, the interior of the handle painted with a yang symbol of three unbroken lines, the exterior of the handles with a single line beneath a dot, covered overall in a rich blue tinged glaze continuing on the interior, the rim and feet with mushikui.
Chinese porcelain blue and white small Kraak saucer moulded and thinly potted with a foliate rim, painted in the centre with a bird standing on rockwork looking up at a butterfly in flight beside an aster and beneath stylised clouds, surrounded by a panel border with fruits, books, flowers, a leaf and a scroll.
Chinese porcelain blue and white kosometsuke deep dish painted in the centre with a scholar crossing a bridge in a river landscape scene beside willow and overhanging rockwork beneath stylised clouds, encircled by moulded registers of lotus petals and large petals with stylised plum flowerheads dispersed between petals of wan characters, the underside with four registers of lotus petals, the base with a double ring in underglaze blue.
Chinese porcelain blue and white small Kraak saucer moulded and thinly potted with upright foliate rim, painted in the centre with a cricket standing on a rock between flowering camellia and buds and beneath an insect in flight and overhanging rockwork, encircled by a border with panels of fruits, scrolls, flowers and leaves.
Chinese porcelain blue and white Kraak deep saucer with foliate rim, painted with a pair of birds perched on rockwork above a stream beneath a large butterfly in flight, all in a shaped octagonal panel encircled by panels of fruits and flowers, the underside with some sand adhered from firing.
Blue and white moulded leaf shape dish on three bracket feet painted in the reverse technique in the form of a single leaf with central spine from which everted striped lines emit, painted with stylised water drops beneath a serrated edge.
Further information on 明代及早期器物
Early Ming dynasty ceramics took inspiration from the intricate but busy Islamic styles of the outgoing Yuan Mongols but it wasn’t long before the Han started to exert their own influences on design. From the 15th century onwards, Ming porcelain decoration became more subtle and restrained but as demand grew from Japan and Europe, it once again became more elaborate. It was one of China’s major exports and was often exchanged for Spanish silver. By the sixteenth century, Ming dynasty porcelain included vibrant colours such as blues, reds, greens and yellows.By the late sixteenth and early seventeenth centuries, it was becoming increasingly common for producers of Ming pottery and Ming porcelain to add imperial reign dates to their wares and there started a trend for artists to sign their wares. A signature on a Ming vase of one of the most highly respected Ming dynasty porcelain artists could dramatically affect its price, such was the reputation of some of the artisan craftsmen of the era, not unlike the European painters of the day.