Chinese Export

A pair of Chinese porcelain taperstick holders in the form of standing models of elegant nodding ladies holding a fluted baluster vase, each with a black enamel ground long jacket with iron-red sleeves and gilt floral medallions, tied at the waist with a turquoise bow above their lemon-yellow enamel pleated skirts revealing the tip of a foot, each on an integral moulded square raised base with flowerheads and iron-red and washed salmon-pink borders, the bases unglazed.

Chinese porcelain wucai four-tiered square picnic box and cover with indented corners, the cover painted with five crane medallions amongst clouds, each side with two chrysanthemum blooms and foliage and each section interior with two orchids, three bases with a six-character mark of Chenghua in iron-red, the flat white biscuit base unglazed.

A pair of Chinese mirror paintings of seated ladies, each resting her arm on rockwork beside an overhanging tree, wearing a long pink robe and blue skirt and holds in her lap a white feathered fan, all in a garden scene on a mirror ground.

A pair of Chine porcelain famille rose European subject fluted tea-bowls and saucers, each painted with a reclining lady with European hairstyle, lying on a bed beside a stack of books, in a fenced terrace scene with a bird perched on a branch, the ladies shoes in the foreground, encircled by six reserves of peony and chrysanthemum on different diaper grounds of iron-red, turquoise and pink enamel, the body fluted beneath a foliate guilt rim, the tea-bowls similarly painted.

Chinese porcelain blue and white kosometsuke large plate painted with Shoulao seated between seven immortals, all identifiable by their attributes, beside a bridge and between overhanging rocks with pine branches, encircled by a border with 39 mons, the underside with two pairs of lozenge and pearls.

Chinese porcelain blue and white kosometsuke octagonal deep bowl painted in the centre with two figures about to cross a bridge towards a viewing pavilion in a mountainous river landscape scene, beneath sprays of bamboo, prunus, pine and a vine on a flat everted rim, the underside plain with two lines above the foot, the rim and inner rim with mushikui (fritting).

Pair of Chinese porcelain blue and white kosometsuke small food bowls in the form of jardinières, each painted on the exterior with nine branches of bamboo beneath stylised leaves on the flat everted foliate rim.

Pair of famille rose candlesticks, each with a foliate-edged square base and balustrade fluted stem surmounted by a cylindrical ribbed candle holder, painted on the base with eight flowerheads amongst leaves above a turquoise-enamel scrolling band with four further flowerheads beneath the balustrade, painted on each flute with leaves dispersed between prunus flowerheads.

Famille rose figural group of a seated Chinese man drinking beside a lady with his arm on her shoulder, both on a naturalist pierced rockwork plinth, the man’s blue-enamelled unbuttoned tunic incised with ruyi-clouds, also wearing iron-red breeches and black enamelled boots, the lady with her right hand raised to her mouth, wearing a yellow jacket with landscape panels and a blue dress with a leg and bound foot revealed, her hair tied and pinned in a high chignon.

Large Swatow deep circular dish painted in turquoise, black and iron-red enamels with a large central scene of the ‘split pagoda’, with mountains in the distance, figures crossing a bridge and boats, all above three pagodas on rockwork, surrounded by four ruyi-head flaming medallions of fisherman, two with figures crossing a bridge, one with a fishing boat with one of the fisherman holding a net and the other with a boat in a river scene, between four four-character iron-red seals within a double square, the underside plain, the base and foot rim with sand grit.

Large Swatow deep circular dish painted in turquoise, black, iron-red and green enamel with gently everted rim, painted in the centre with a barefoot artist wandering in a landscape holding a branch supporting a long-tailed bird, with a rucksack of scrolls and gourd, a further rolled scroll sits on an easel extending from his rucksack, all beside a deer, rockwork, bamboo and beneath a large chrysanthemum, encircled by a lappet band of flowers and branches, the cavetto painted with four large lobed reserves, two with birds perched amongst aster and camellias and two with lotus flowerheads, all between chilong dragon roundels on an iron-red diaper ground of cash and cross-hatch, the underside plain, the base and foot rim with sand grit.

Famille rose and grisaille eggshell soup plate, painted in the centre with a mountainous river-landscape scene with a tall pagoda in the distance and a gated village in the foreground with a figure and his attendant between two horses, another figure crossing a bridge with a fisherman sitting in his boat beside his raised fishing rod, all amongst delicately painted rockwork, trees and houses, beneath a wide gilt floral leafy continuous branch in the cavetto, the flat everted rim with three peony sprays in leaf-shape reserves, besides white and pink chrysanthemum on a pink diaper ground and a gilt diaper band at the rim.

A set of six China Trade gouache and watercolour paintings on paper heightened in gum Arabic, three painted with palace garden scenes with figures amongst  exotic overhanging trees, one with pagoda island, one with view along the Pearl river and one with a lake side scene.

Whampoa the deep water anchorage on the Pearl River about eight miles downstream from Canton where the East Indiamen lay at anchor during the four month trading season, the view is taken from Dane’s Island looking towards Wampoa Island with its two pagodas.

Macau depicting the Praya Grande looking North East from the rocky shore across the bay are the Monte and Guia Hills each with a fort at its summit.

Shanghai with American and British vessels.

Mouth to the Boca Tigris with a Folly Fort.

Canton depicting the foreign factories of America, France, Britain, Denmark who’s flag signified the headquarters of Jardine Matheson one of who’s directors acted as the Danish Consul, the flag of Hamburg and the flag of Prussia and dated to December 6th 1856.