Possibly a work by a follower of Zhao Mengfu. The painting is very fine, probably cut down from a larger composition and now in a Japanese mounting. The subject and composition are inspired by Song bird-and-flower painting, but the slightly stylized qualities suggest a later date, possibly as early as the late Yuan, but also possibly Ming dynasty. To view a detail of the egret, click on related record below.
Cup - 2 1/8" h x 4" w. Stand - 1 1/4""h x 5 3/4" w. Petal - carved, campanulate cup, green-glazed, crazed and pooling thickly in recesses and running down on a solid, slightly splayed base in thicl pools, flat base with traces of spurs, double groove below the rim on the exterior. Design of overlapping petals repeated on the inside of the stand, encircling the cup ring, concave base, buff colored body.
3 3/8" h x 6 1/4" at widest point. Unusual form of "Samarra" type. Ovate and faceted octagonally with beaded strips strung vertically between the panels, a grooved ring on the flat base forming a wide foot ring, horizontal fluted interior with impressed floral spray at the bottom, one slightly raised semi-circle at the exterior only with 'tear' stains running toward the base.
Cup - 2 1/8" h x 4" w. Stand - 1 1/4" h x 5 3/4" w. Petal - carved, campanulate cup, green-glazed, crazed and pooling thickly in recesses and running down on a solid, slightly splayed base in thicl pools, flat base with traces of spurs, double groove below the rim on the exterior. Design of overlapping petals repeated on the inside of the stand, encircling the cup ring, concave base, buff colored body.
7 1/2" l. Beveled and arced spatula form terminating in a bird's head hook, inlaid with gold and turquoise forming an intricate series of lozenge-shaped panels enclosing hook and scroll motifs in gold wire against a turquoise ground.
1 3/8" h. The chubby round-faced boy crawling on his knees, wearing a harness, his hair falling to the sides of his head, simply incised fingers, a greenish-blue opaque glaze falling just above his hands and lower legs revealing the paste burnt iron-red. Roughly modeled.
British market tankard in Famille Rose pattern. Has 3 crests of pelican below a reversed 'MERUI'.
Kraak ware, the center decorated with unusual scene of two deer (one spotted) at the water's edge, in a landscape of rocks, flowers, trees. Cracked with raised, unglazed "bumps" in center.
Of molded shell from with flanged edge, tapering sides , and bisque bottom. Decorated in underglaze blue, iron-red, peach, and gold.
2" h x 2 3/4" w. Ovate body with engraved design of dragons on two sides enclosed in arabesque cartouches and engraved peonies in arabesque cartouches on the other two sides, rectangular cover, domed and cast in relief with a dragon and preforated bale handle, traces of gilding and lacquer.
The alcove, or tokonoma, is slightly elevated above the tearoom floor and may originally have been used to seat someone of high rank. In the medieval age, the alcove became a sacred space to display a scroll with calligraphy or a simple flower arrangement. In a formal tea gathering, the scroll offers a profound message upon which guests may meditate; the natural flower arrangement reflects the pure spirit of the host.
CREAMER: Multi-colored flowers around base and lip and on reed like handle. Eagle on front and scene on side of the Signing of the Declaration of Independence. VASE: Continuous polychrome scene of Declaration of Independence. American spread eagle with shield & banner. Meandering floral borders and gold spear on collar.
Both covered by honeycomb like grid. Border decoration is sepia with plum flowers in medallions. Mauve star-burst design on cup. Saucer with one flower in central medallion. Famille Rose.
A pair of famille rose plates painted in rich enamel colors with a lady helping her sons bait their fishing line as her companion watches lazily, a yellow diaper border on the well and pink cell on the rim interrupted by bour floral panels.
4 3/4" w. Astronomical mirror.
3 7/8" l. Greenish-white jade with russet markings carved in an archaistic style standing dragon, handcarved fitted wood stand.
Detail of neck of funerary vessel. This unusual green glaze jar belongs to a particular type of funerary vessel made during the Three Kingdoms and Western Jin dynasties. Called a hunping (spirit jar), it has a long tapered body topped by a configuration of architectural elements and animals. In this example, figures circle the jar as other creatures swarm up the neck of the container.
7" h. Paneled hu-formed stem with two degenerated animal head handles, molded in relief with floral sprays divided by bow-form raised and molded vertical lines raised on a high tapered base molded in relief with a frieze of stylized lotus petals, supported by five simple feet, surmounted by a hexagonal drip pan, on top there is an inverted scalloped tip collar surmounted by a tapered lip, minutely crazed greenish-beige glaze carelessly applied
Detail of side of funerary vase. This unusual green glaze jar belongs to a particular type of funerary vessel made during the Three Kingdoms and Western Jin dynasties. Called a hunping (spirit jar), it has a long tapered body topped by a configuration of architectural elements and animals. In this example, figures circle the jar as other creatures swarm up the neck of the container.
2 1/6" h. Faceted, flared sides molded with raised animals, tigers, deer, etc., octagonal lip, four comma-shape feet, unctuous cream-white glaze, body thick and translucent.
2"w. Cast with projecting brows, scrolled horns and large scrolled ears, loop handle below a protruding nose which is flanked by hooked fangs, incised with fur markings, traces of gilding present. Dated to Late Eastern Zhou/ Early Han Dynasty.
Back view of inlaid bronze belt hook. Knob for attaching one end of the belt can be seen in the middle, with hook on end for other end of belt.