Page 68 - Bonhams May 11th 2017 London Fine Chinese Art

154 154 *
155
A RED-GLAZED SAUCER-DISH
Yongzheng six-character mark and of the period
The curved body flaring outwards rising from a short
recessed circular foot, the exterior evenly applied
with a layer of deep crimson red glaze, the interior
left white, the base with a six-character mark in
underglaze-blue within double circles.
14.8cm (5 7/8in) diam.

£6,000 - 8,000
CNY52,000 - 69,000

清雍正 霽紅釉敞口盤
青花「大清雍正年製」楷書款

Compare with a similar but slightly larger red-glazed
dish, Yongzheng mark and period, with white
fish motif, illustrated in Monochrome Porcelain:
The Complete Collection of the Treasures of the
Palace Museum, Shanghai, 1999, p.28, no.25. See
also another similar dish with a Yongzheng mark
within double squares (acc.no.24.80.286), in the
Metropolitan Museum of Art, New York, illustrated
by S.Valenstein, A Handbook of Chinese Ceramics,
Boston, 1975, p.221, no.157.

155 *

A RARE JUN-TYPE GLAZED FIGURE OF
BUDDHA
18th century, the European ormolu mount 19th century
The Buddha rendered with downcast and serene
expression beneath blue glazed hair, seated in
dhyanasana, the hands raised in front of the chest in
auspicious mudra, clad in an bright red robe draped
over the shoulders, the exposed skin of the Buddha
applied with lacquer and gilt, with ornate metal stand.
28.5cm (11 1/4in) high. (2).

£5,000 - 8,000
CNY43,000 - 69,000

十八世紀 仿鈞釉佛陀坐像
配十九世紀法國鎏金基座

Compare with a closely-related guan-type glazed
figure of Buddha, Yongzheng/ Qianlong, in the Sir
Augustus Wollaston Franks collection (1826-1897),
in the British Museum, museum no.Franks.244. It is
possible that the present lot would have been part
of a set of Buddhas produced in different glazes.
Compare also the modelling of a white-glazed
figure of Guanyin, inscribed ‘Respectfully made by
Tang Ying’, Qianlong, illustrated in Tianjin Museum,
London, 2012, pl.222. Tang Ying (1682-1756),
acclaimed as the greatest of all the supervisors of
the Imperial Kilns, first came to the kilns as resident
assistant in 1728. He was particularly known for
his highly successful imitation of early wares; the
Jingdezhen tao lu notes that: ‘His close copies of
famous wares of the past were without exception
worthy partners [of the originals]; and his copies
of every kind of well-known glaze were without
exception cleverly matched ...’, translated by R.Kerr
in Chinese Ceramics - porcelain of the Qing Dynasty
1644-1911, London, 1986, p.20. This innovation
steeped in tradition by reintroducing earlier glazes of
the Song dynasty, such as Jun and Guan are indeed
evident in the present lot and the British Museum
example mentioned above. The careful modelling of
both Buddha examples are similar in their treatment
to that of the Tianjin Museum Guanyin.

For details of the charges payable in addition to the final Hammer Price of each Lot
please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.