Tuesday, October 30, 2012

Chinese Ivory Carving History An Overview

Chinese Ivory Carving History An Overview

History of Chinese Ivory Carvings

Chinese Ivory Carving History An Overview
Carved Ming Dynasty Ivory Cup
Early in the Neolithic Age, the Chinese ancients already started to use articles made of bones, fangs, and horns from animals along with stoneware, wooden articles and pottery ware. Materials for carving taken from animals are mostly ivory. The animal-mask patterned ivory cup inlaid with pine-and –stone design unearthed from the Fuhao Tomb in the Yin Ruins, Henan in 1976 can be called a representative of the Shang Dynasty ivory carving.


The ivory carving craft made rapid progress in the Song Dynasty, marked by the multi-cased ivory ball named “Superlative Workmanship” using fretwork process of the ball relief patterns are engraved; inside the ball are several hollow balls with different size one on top of the other. Each ball is engraved with exquisite and complicated designs, appearing delicate and refined.


In the Ming and Qing dynasties, economic and cultural exchanges with South Asia and Africa promoted. Ivory material was introduced to China. Then the ivory carving art entered a period of full bloom.


In the Ming Dynasty, ivory carving was manly done in Beijing, Yangzhou and Guangzhou, and widely involved by the government, folk artisans, men of letters and refined scholars. Ivory artworks and other small-sized carved articles using bamboo, wood, gold, stone, etc., became rare curios and ornaments. At that time ivory and rhinoceros horn carvings made no difference to bamboo, wood, gold or stone carving so far as carving skills were concerned. Quite a number of craftsmen had no difficulty in carving using different materials, some were known as all-around carvers regardless of medium.

To Read More: Chinese Ivory Carving History An Overview  CLICK HERE ~!

Tuesday, October 23, 2012

James McNeill Whistler, The Peacock Room, Kangxi Porcelain Collection at the Smithsonian

www.asia.si.edu/exhibitions/online/peacock/images/PeacockRoom.pdf

The Whistler Peacock Room


Peacock Room, kangxi Porcelain
View, The Peacock Room. Green learther walls with
Gilt Decoration by James M. Whistler.
Designed by Thomas Jeckyll
The Peacock Room was once the dining room in the London home of Frederick R. Leyland, a wealthy shipowner from Liverpool, England. It was originally designed by a gifted interior architect named Thomas Jeckyll. To display Leyland’s prized collection of Chinese porcelain to best advantage, Jeckyll constructed a lattice of intricately carved shelving and hung antique gilded leather on the walls. A painting by James McNeill Whistler (1834–1903) called La Princesse du pays de la porcelaine—or The Princess from the Land of Porcelain (see fig. 2)—occupied a place of honor above the fireplace.

Kangxi Porcelain display Freer Gallery
View, Whistler's Peacock Room done for the
London Home of Frederick R. Leyland.
Designed by Thomas Jeckyll
Jeckyll had nearly completed his commission when he consulted Whistler—who was then working on decorations for the entrance hall of Leyland’s house—about the color to paint the dining room shutters and doors. Concerned that the red roses on the leather hangings clashed with the colors in The Princess, Whistler volunteered to retouch the walls with traces of yellow. Leyland permitted Whistler to make that minor alteration and also to adorn the wainscoting and cornice with a “wave pattern” derived from the design on the leaded glass of the pantry door. Assuming the decoration of the room to be virtually complete, Leyland went back to his business in Liverpool.

In his patron’s absence, Whistler was inspired to make bolder revisions. He covered the ceiling with Dutch metal, or imitation gold leaf, over which he painted a lush pattern of peacock feathers. He then gilded Jeckyll’s walnut shelving and embellished the wooden shutters with four magnificently plumed peacocks.

More Images from the Whistler Room courtesy of the Smithsonian Institution. To read this entire Article CLICK HERE

James McNeill Whistler by Paul César Helleu
James McNeill Whistler Dry Point,          
by Paul César Helleu  (French,1859–1927) 

Gilt Panels and Kangxi Smithsonian
View, Corner of Peacock Room, Kangxi Porcelain and
Gilt Decorated leather walls, by Whistler

Gilt Peacock Shudders Whistler Room
View, Kangxi Blue and White with Peacock Shudders

Gilt Shudders of Peacocks Freer Gallery
Gilt Shudders Detail in Peacock Room

The Princess from the Land of Porcelain
"The Princess from the Land of Porcelain",
By James McNeill Whistler (1834-1903)


Saturday, October 20, 2012

Asian Antiques Rejected by Christie's and Sotheby's, Now What?

Was Your Collection of Asian Antiques Consignment Rejected By Christie's and Sotheby's, Now What? 

It happens all the time, all hope is not lost. Keep reading.

Settling an Estate or after Inheriting a Collection of Chinese or Asian Antiques


Asian Antiques Rejected by Christies and Sotheby's, Now What?
18th C. Chinese Robe
So, its like this. You have inherited or are the executor of an estate containing Chinese, Japanese or Korean works of art, they look really great right?

Perhaps you may not know if it's all Chinese or Japanese, it may be a little of both.

Perhaps it's a wonderful collection of vases and bowls, jade carvings, dandy little bronzes, big framed scrolls, maybe a terrific carved piece of bamboo. All wonderful and just not the kind of things you want to live with or they need to be sold as a condition of a will or trust or to simply settle the estate itself. It;s time to get some values and sell them, or some of them. 

Selling Asian Antiques At Christie's or Sotheby's, seems like the logical choice



Qianlong Export Porcelain
Chinese Qianlong Period Export Porcelain
Tureen and Under Tray, 18th C. 
So you decide to sell and think in a flash of brilliance  "hey what the heck, I'll let Christie's or Sotheby's sell them!"  

  • Personally I prefer Christie's, they are usually a happier bunch and seem glad to be working there. Sotheby's? not so much

These firms are in the news every week its seems selling paintings, jewelry, antiques and Chinese art for huge amounts of money. So why not give them a shot? 

You call one of them and they predictably ask you to send along some photographs, measurements and any other useful information. They may even ask you to bring them to NY or London or wherever the nearest office is for either of these venerable old companies. You think, "yes they will want this stuff". 


You comply and send off the requested information and wait. After a week or maybe a few, the letter arrives in an elegant, expensive looking buff colored envelope. You tear it open, it reads:

____________________________________________________________


   Dear Mr. "Hopeful Consignor";
   Thank you for your interest in consigning your property to Christie's/Sotheby's for inclusion in one of our  upcoming sales. After sharing your information with our Experts in the appropriate departments we regret to inform you, your item(s) are not of sufficient value for inclusion at this time.
We suggest you contact a local auction house who might better serve you in this matter.
If in the future should you have other items you feel might be of interest, feel free to contact us.
Thank you once again for contacting Christie's/Sotheby's.
Sincerely, 

Wee Sah  No



__________________________________________________________

Does this seem familiar? Did this happen to you? Now what? 
If so, join the club and its a BIG CLUB. Trust me, they send them out by the thousands each month.

Did Christie's and or Sotheby's make a mistake? 

Both of these companies make mistakes all the time, every day, 5 days a week, 52 weeks a year. It may also not have been a mistake, they just do not need what you have right now. They may already be heavy in a category and nothing you have is worth very high amounts so they simply do not bother encouraging you. The person who sent you a letter may also not be a REAL expert, but a low level staffer with a title who's overworked and wants to appear efficient. Saying no, is often the safest move.

  • 27 years ago I had a great Qianlong celadon vase rejected by a Department Head at Christie's. She had been there for only a few years and through attrition became it's head in record time. She was wrong, I politely left and consigned it with a fellow I knew elsewhere, it sold for $140,000. 

What to do next? 

Call the local auctioneer!

18th C. Chinese Bamboo Elephant
Detail, 18th C. Carved Chinese Bamboo Elephant
So? What to do next? Odds are you'll start looking around at the local auctioneers. 

Here's the problem, despite advertising specifically for Asian antiques, there is a 99.5% likelihood they know next to nothing Asian antiques. This is the case even if they claim to have an "expert". 

In today's world the vast majority of smaller auction houses cannot afford an Asian antiques expert. Even Christies' and Sotheby's have a hard time retaining them due to salary demands. 

  • NOTE: A good Asian dealer today working part time, can earn more than a Doctor or Lawyer. 



What most auctioneers do know is, some Chinese antiques (vases, bowls, tables, robes, bronzes, jades) are really valuable and they'll be willing to take a shot in case your's are good ones. As for why and which ones, they haven't a clue.

How do we know this? 

Each week, we get emails and phone calls from auctioneers trying to catalog an auction with a fresh consignment of Asian objects from a local estate. We do try and help them, they are all generally nice people trying to do the right thing but are usually way over their heads. This is not a good way to sell single items or a collection. Asian antiques are really an area for specialists only from start to finish. 

I do feel badly for the consignors, they are now at a disadvantage and probably do not know it. How is this auctioneer going to answer daily inquiries regarding age, condition, form, rarity and likely value? If he cannot do it, how on earth the potential buyer in Beijing or Sydney going to have enough confidence to make a strong bid? ANS: They won't. It's that simple, especially with things that are worth tens of thousands of dollars. 

The local auctioneer doesn't know the difference between a Yen Yen vase or a Meiping example. How is he or she going to make a buyer 8,000 miles away feel comfortable in spending $50,000 or $150,000?

Selling Chinese and Asian Art Through Us

"..we can make it easier, it's what we've done for 35 years". 


Collection of Chinese Art Appraised
Add caption
If you have gotten "The Letter" and need help or want an adviser on how to handle this situation?

Call us before you put a "local" auctioneer in the position of having to do it. It may be your things are not worth a million dollars, but it could be worth a lot more than you might imagine.

We are appraisers and dealers of Asian antiques and have been for over 35 years. 

We have a customers in China the local auctioneer will never have a shot at. We could very well know the Jade buyer in France who desperately collects the very thing you have. We may just know the auctioneer who will gladly take in your item(s) and will work with us to ensure you get what you should for the piece or an entire collection.

We know which months of the year and in what cities are the best, based on other things happening in the Asian Trade Market. We also know when and where you definitely DO NOT want to sell at auction and which specialty dealer will be your best choice if a direct sale is wise. 

After 35 years in "The Trade" we will have the information you need and we will work with you , as we have with hundreds of other heirs and executors over the years in making smart decisions in how to convert Asian Antiques into as much revenue as possible. 

plcombs Asian Antique Dealers and Appraisers
plcombs Asian Antique Dealers and Appraisers
Call us anytime.

Thank you,

Peter Combs

plcombs, Asian Art
Appraisers - Dealers
185 Main Street
Gloucester, Massachusetts
01930
978 283 3524 , 
Hours: M-F, 9AM to 6PM

Since 1978











History Ruling in China - Victoria and Albert Museum, Imperial Life

History Ruling in China - Victoria and Albert Museum, Imperial Life


Ruling in China

History Ruling in China - Victoria and Albert Museum, Imperial Life
Ming Dynasty Yongle Period (1403-1425)
The V&A possesses one of the most comprehensive and important collections of Chinese art dating from 3000 BC to the present time. The China (T T Tsui) gallery at the V&A is organised according to six main themes; living, eating & drinking, temple & worship, burial, ruling and collecting. Here we present some background history on the subject of royal customs, using objects from the collections and quotes from original sources.

A Unique Being

The emperor of China was the source of all power. Although statesmen and administrators supported the emperor in governing the country, he was at the head of the hierarchy, the highest authority in the land. There was no possibility of challenging imperial power, short of overthrowing the dynasty. In this respect China differed from Islamic or Christian states. For example, the popes of medieval Europe argued with the rulers about who was the most important.

winter court robe worn by the Emperor
Imperial Court Robe Victoria Albert Museum

Letter from a Chinese official to the Emperor, 1712

Li Xu reverently memorializes:
My servant brought back by secret palace memorial on 2/15. After I opened it, I read Your Majesty's vermilion endorsement…Public opinion in the South holds that the governor-general never sold any zhu ren degrees [qualifications for provincial officials], but because the governor was too suspicious and hated the governor general, he went to far as to impeach him. Now both of them have been discharged. Although the governor is an honest official, he often failed to make clearcut decisions. Therefore too many people were arrested when he handled disputes. The governor-general never took any money. He is also very able and quick-witted. All of the people love him in their hearts, and the localities [under his jurisdiction] have all benefited [from his good administration]. This is the nature of the public comment on this issue. I therefore report to Your Majesty according to your secret instructions…
The vermilion endorsement written by the emperor reads:
Continue your secret inquiries; and report your findings swiftly.

  TO read More Click HERE~!

Thursday, October 18, 2012

Asian Art Week at Christie's London to offer a diverse array of rare and beautiful works

Asian Art Week at Christie's London to offer a diverse array of rare and beautiful works

LONDON.- Christie’s will celebrate Asian Art in London this autumn between 6 – 9 November, with a diverse array of rare and beautiful works with excellent provenance and many highlights from important private collections.

Asia week London 2012
Imperial Qianlong Jade.
Former Collection of J.T. Tai.
Estimate: £500,000-700,000.
Photo: Christie's Images Ltd 2012.
The sales include: Fine Chinese Ceramics and Works of Art on 6 November at King Street; and at South Kensington: Interiors – dedicated to Chinese Art – and The Japanese Aesthetic on 7 November; and Chinese Ceramics, Works of Art and Textiles on 9 November. Fine Chinese Ceramics and Works of Art: 6 November at 10.30am & 2.00pm, Christie’s King Street - Bid via Christie’s LIVE Christie’s London Asian Art week in autumn 2012 opens with a stellar offering of Fine Chinese Ceramics and Works of Art on 6 November. A selection of exquisite works from a Private English Collection and Property from the Michael D. Stevenson Collection will be offered alongside notable ceramics, jade carvings, bronzes, cloisonné enamel, lacquer ware, painting and furniture. The sale features over 300 works which demonstrate the incredible breadth and dynamism of Chinese art, spanning the Neolithic period through to the 20th century. With estimates ranging from £1,000 to £700,000 the sale is expected to realise in excess of £10 million.

Monday, October 15, 2012

Chinese Trade Antiques in New England Estates

Chinese Trade Antiques in New England Estates


Here in New England some of the most interesting collections or accumulations of Chinese and Asian antiques have come to us from family's who had become by default multi-generational collectors or owners of collections through inheritance.  While much of it often sits silently in trunks and boxes for decades, quietly tucked away in attics, closets and basements how much of it that is there can be astounding. If this sounds like your situation, be happy, I have good news for you.

A Gift From your Fore-bearers 

Chinese Trade Antiques in New England Estates
18th C. Blanc De Chine Meiping Vase, North Shore Estate
Where things come from and how they wind up in a family's home is always a fascinating story.

It may have been a great grandfather or grandmother who had lived in China while doing Christian missionary work or perhaps as a banker in Hong Kong or Shanghai in the late 1800's, or maybe a relative had a factory in China prior to the political upheavals of the late 19th C. . It could be any number of other things as well, not the least of which a family who had made an initial fortune in The China Trade plying the waters from Salem, Boston, New Bedford, New York or Philadelphia from the early 1800's onward.

Surprisingly Christian missionaries began going into China during the Tang period (7th C. ) under the Nestorian Church from Persia and continued straight through the Ming Dynasty under the direction of the Pope, who sent waves of Jesuits to China.  Including among them Mateo Ricci the famed 16th C. Italian mathematician who introduced Western style educational practices to the Chinese.  He was later followed during the middle of Qing period circa 1807 with Protestant Missionaries, many from the New England area who continued to go there into the 20th C.. All of these early visitors came home with treasures, if they ever came home at all. Many stayed for the rest of their lives.

Over the last few hundred years tens of thousands of New England families have for one reason or another lived in China and Japan. Some for short periods of time and others for decades. Living in China back "in the day" presented an irresistible urge and attractive opportunity to learn, study and develop an appreciation for objects of the culture.  An urge, very few could resist. As a result finding Chinese trade antiques in New England estates is not at all unusual and can have a fascinating history beyond the items themselves.

New England Estate Chinese Robe
Chinese Silk Robe, Maine Estate, Missionary Family
Consequently families descended from those who had lived in China or Japan tend most often to have a fascinatingly eclectic array of interesting objects. Especially if they themselves had good taste and had an understanding of art, form and composition while there.

Who Collected What?

Interestingly we've found Western women from New England would collect often Chinese Robes, textiles and furniture, the husbands would collect porcelains, jades, bamboo and bronzes.  If in the China Trade, usually the wives never went along, the husbands would buy a bit of everything to bring home as luxury items for their wives and extended family as gifts. When put together decades or centuries later you can have a visual smorgasbord of interesting things and sometimes of great value, especially today. In some old Yankee family's through marriages, multiple collections became merged over the years, making it even more diverse and at times a bit unwieldy.

Chinese Famille Rose Estate Plaque from Boston
Chinese Famille Rose Plaque
If you or your family are in the happy position of being in possession of one of these collections, large or small, bravo for you. If you are now contemplating the sale of them, undertake it slowly. The first question should always be what exactly are the things, how old are they? and what are they worth in today's market? This begins the quest for information, this also becomes the problem. Questions such as if the vase or bowl is marked, is the mark authentic? Is a multi-colored piece of jade worth more than a solid color, does it make any difference at all? Is it really jade to begin with?

While a porcelain vase with nice colors is obviously a pleasant thing to own. You now need to know when was it made? is it a rare example worth thousands of dollars or a very nice but typical example and worth hundreds and hundreds of dollars. While 95% fall into the later rather than the former category, it can still add up to a lot of money, especially if you have a few of them. So take your time! Find out if the tales your own family told you were true, very often the family lore is way off the mark and the values are HIGHER than they ever considered possible.

Museums 

Museums will not give information regarding values or Appraisals, however a stop by the Peabody Essex Museum in Salem to look at the collection is always worth the time, as well as the Museum of Fine Art in Boston.  Both have terrific Asian Departments.

Inherited Chinese Jade Incense Burner
18th C. Chinese jade Incense Burner
Perhaps you haven't been to either in years, so this is your ideal opportunity to go and have a good visit. The MFA is still FREE after 4:00 PM on Wednesdays. The Peabody Essex Museum is still FREE to all Salem residents! Both are truly great institutions. The Peabody Essex is today one of the greatest Asian art museums in the entire world. 

How to Make an Informed Decision about Your Collection

Perhaps we can help. Here at plcombs Asian Art we've been dealers and appraisers of Chinese, Japanese, Korean and Southeast Asian antiques for over 35 years. Located in Gloucester, Massachusetts, we serve all of New England and travel extensively across the country aiding in the evaluation and sale of everything from fine porcelains to silk textiles.

Questions and Answers and Choices

Is what you own really great? Is it an item whose market is limited to the USA or Europe or is it something that has strong appeal directly in Asia? Did you know a lot of important collectors today live in Taiwan? or Johannesburg South Africa? or Australia? Thailand? Hawaii? Well they do and many other places even including Vietnam. The world has changed, we've watched it to our fascination. Today, the largest private collection of Chinese furniture outside of the National Palace Museum is here in the USA, a few years ago the largest collection of Peking Glass was in the Philippines. Lately some of the biggest buyers in Hong Kong have not been only from there and Mainland China.
China Trade Bronze from Salem, MA
Late Ming Dynasty Chinese Bronze Incense Burner

If you get a bit stuck or simply do not have the time it takes and are really interested tapping into the Chinese or Japanese market in a serious way, call us. Its what we do, every day.

We know values, we know whether you'll do better in a local market or perhaps a swim in the deep end at a major auction house or perhaps straight into Beijing or the Hong Kong market where we've been doing business just fine for decades.

Today Chinese buyers are dominating the market and could easily be the ultimate buyer of what you're selling. While selling something here in Boston may seem like a great idea, you might just be a few too many layers away from the last check written. The buyer in a Boston auction house for example might be three to five people away from the real customer who in the end pays much more dearly to acquire what he or she wants. This is the buyer you should want after all and not a picker from mainland China working with a Credit account who is hitting auctions all over the USA.  These buyers are here for a reason, looking for bargains relative to their home market.

plcombs, Chinese Antiques Gloucester, Mass
Thank you for taking the time to visit, and do feel free to call anytime, even if you just need a quick bit of information to get you started.

Many thanks, Peter Combs
Cape Ann, Gloucester, Mass

















Tuesday, October 09, 2012

Bronzes of the Ming and Qing Dynasty

Bronzes of the Ming and Qing Dynasty

History of Chinese Ming and Qing Bronzes, periods of elegance

During the Ming Dynasty a real revival began in the making of Chinese bronzes,  often referred to as The Second Bronze Age. During this period bronzes were simplified with more attention being paid to perfection of shape and elegance.  The skills with which they were made reached astounding levels of refinement. This trend continued into the Qing period lasting until the start of the 19th C.  when the overall quality of many Chinese Arts began to slip and stagnate relying more on copying older forms of everything from porcelain, silks, to carvings and bronze work.

For more on later bronzes and auction results visit our other Blog:

"Chinese Bronze Values Song-Yuan-Ming to Qing Dynasty"

__________________________________________________________



______________________________________________________________

Over the years here in New England we've been fortunate enough to have seen and handled similar examples to those found on this page on many occasions.  If you have any of these we would be pleased to see images of yours.


Bronzes of the Ming and Qing Dynasty
Chinese Ming Dynasty Gilt Splashed Bronze.
Created with the lost wax method, the bowl-shaped burner comes with an original waisted stand with cusped openings. The shoulder is carved in high relief with animal masks suspending loose rings. At the base is a Xuande mark in seal script within a square. The burner originally had a coat in "crimson cloud red", but as it aged, it has taken on a yellowish-brown patina that is not unlike the colour of the faded papers of ancient scriptures. The entire piece, as well as the stand, is covered with small, irregular splashes of gold. Cast of high quality bronze, this beautiful piece is particularly substantial in weight and is valued for its brilliant sheen, and is regarded as "even more valuable than pure gold".

<img src="Ming Bronze.jpg" alt="Gilt bronze Incense burner ">
Chinese Ming Dynasty Gilt Splashed Xuande marked Bronze
This burner with animal masks is cast using the lost wax method. Dull brown in colour, it is covered all over with irregular splashes of gold. The base is impressed with a Xuande six-character mark within a square in regular script. The colour of the bronze has a jewel tone, a result of over ten rounds of smelting. Width: 12cm
Height: 8.4cm
<img src="Ming Bronze.jpg" alt="Footed incense burner ">
Ming Dynasty Footed Incense Burner
The bulbous body raised on three cabriole and lion mask supports, cast around the sides with cranes flanking shou characters alternating with wan emblems positioned above lingzhi sprigs rising from a rock and wave border, with further shou characters below each of the curved upright handles, with a band of bosses between diaper borders on the neck and classic scroll encircling the side of the everted rim, the copper cover with three rounded, stepped registers, the lowest pierced with the Eight Trigrams, the middle with wan emblems and the upper with cash symbols, all below a bud-form finial, traces of gilding overall. Height: 66cm
<img src="Ming Incense Burner.jpg" alt="Incense Burner of Bronze Stand ">
Ming Dynasty Incense Burner on bronze leaf form base.
Lip slightly splayed, constricted neck, flanked by pair of twisted handles, drum belly, three articulated feet, base with four character Xuande mark in seal script. Diameter: 20cm
<img src="Ming Bronze.jpg" alt="Gilt relief worked bronze Incense burner ">
Elaborate Relief Work Gilt Bronze, Ming Dynasty
The incense burner is in the shape of a compressed rectangular bowl with an openwork lid and four ruyi legs. The body of the vessel is carved in high relief with a dragon emerging from the frothing waves. The four corners of the lid are carved with ruyi heads. On the lid are two prancing dragons flying among auspicious clouds culminating to form the finial. The piece is cast by using the lost wax method. The dragons and the clouds are partly gilded. The bottom is clearly inscribed in regular script with the gilt-highlighted characters "made during the Xuande period of the Ming Dynasty". Width: 18cm
Height: 16cm
<img src="Ming Bronze.jpg" alt="Gilt bronze Incense burner ">
Very Rare Carved and Gilded Ming period Incense Burner.
Signed Hu Wenming in seal script. The gui shaped gilded burner, with handles separately cast and attached, is decorated in three bands. The neck and the ring foot are carved in relief with gilded taotie and flying phoenixes on a background of tortoise shell pattern. Width: 19.8cm, Height: 8.2cm
Documentary Ming Bronze Chinese Cultural relic.
Inscribed Ming Period Bronze
The body of compressed globular form rising to a rounded rim, the sides crisply cast with a pair of lion-mask handles, the base cast with a sixteen-character inscription incorporating an apocryphal Xuande date, reading Da Ming Xuande wunian Jiandu Gongbu guanchen Wu Bangzuo zao (Made by Wu Bangzuo, supervisor of the Ministry of Works, in the 5th year of Xuande of the Great Ming).
<img src="Ming Bronze.jpg" alt="Gilt bronze Incense burner with elephant feet ">
Fine Ming Period Gilt bronze.
The deep, waisted body raised on three elephant-head supports and set with a pair of angular loop handles with fluted sides and ruyi head-capped corners, splashed in gold in contrast to the reddish-olive patina, the base cast with an apocryphal Xuande mark. Across Handles: 11cm
Yuan period Bronze Brush rest
Chinese Yuan Period Bronze Brush Washer.
The brushrest, cast using the lost wax method, is in the shape of three peaks carved in high relief and openwork. The middle peak stands taller than the rest. The brushrest sits on a rectangular stand with cusped edgings and six feet in the form of ruyi heads. The piece is heavily decorated with lotus flowers and leaves, with eighteen egrets among them, all with different postures. The exquisite craftsmanship distinguishes this brushrest as a rare work of art. Width: 18cm
Height: 7.2cm
Ming Bronze with Zitan lid
Fine Ming Period Incense Burner with handles.
Rising from high zui dragon feet, the rectangular body flanked with tapering handles, each side with medallion enclosing plum trees, the zitan cover elegantly carved with flower scroll, small jade figure of a deer eating a lingzhi on top as handle. Diameter: 25cm
Zhengde period, Ming Dynasty Bronze
Stamped Zhengde six-character mark and of the period (1506-1521). Flanked with a pair of ear-shaped handles under a flattened rim, the exterior with two medallions each enclosing Arabian script. Diameter: 20.5 cm
Qing Dynasty Cast Bronze
Qing Dynasty Bronze with Jade finial.
Rising from three finely cast feet to a slightly everted mouth rim flanked with a pair of upright handles, wood cover with three ruyi heads in openwork supporting a white jade lotus-shape handle, bronze tripod stand in lotus shape. Diameter: 12.8 cm
Qing bronze Hand Warmer
Qing Dynasty Bronze Hand Warmer.
Flanked by a movable bronze handle, with a pierced metal cover, The hand warmers were used in winter to keep warm, filled with burning coals. They were made of bronze, other metal, cloisonne or painted enamel. Diameter: 26cm
Ming Dynasty Archaic From Gilt bronze Incense Burner
Ming Dynasty Gilt Bronze Incense Burner.
Of archaic form, flanked by a pair of handles in the shape of a dragon's head, the exterior with dragons and mythical animals amidst flames, all against a light-incised wave ground and between a floral scroll band around the mouth rim and another classic scroll around the foot. Diameter: 25cm

Kangxi Period bronze Incense Burner
Kangxi Incense Burner, Circa 1700, Early Qing Dynasty
Of circular shape resting on three feet, two lion's heads as handles, a band of bosses above the base and further bosses below the rim between a horizontal rib and the slightly thickened mouth rim.
Kangxi Gilt Bronze Seal
Kangxi Period Gilt Bronze Seal Set, circa 1700

Kangxi Period Seals from Set (above)