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G I BSON Ant iques Antique ceramics & works of art


Gibson Antiques Catalogue II

front cover illustration: A fine large sancai-glazed pottery horse, Tang Dynasty (618-907)

back and inside front cover illustration: Detail from a large Chinese cinnabar lacquer quatrelobed vase, Qing Dynasty, Qianlong Period (1735-1796)

GIBSON Antiques Antique ceramics & works of art

7 Georgian House, 10 Bury Street, St James’s, London SW1Y 6AA t 00 44 (0) 7831 645468 alastair@gibsonantiques.com www.gibsonantiques.com


INTRODUCTION

Following on from our success at TEFAF showcase in 2011, this year Gibson Antiques Ltd will be at the Maastricht Fine Art Open House 2012, which runs alongside TEFAF from the 15th - 25th March 2012. We will be exhibiting fine Chinese ceramics and works of art in the historic city centre of Maastricht at Guus Rรถell Fine Art & Antiques and will also be joined by Allan Hare, specialising in fine furniture and Deon Viljoen, showing colonial works of art. We do hope that you will come and see us in this elegant 18th century townhouse, which is open every day between 11am and 6pm. For those who are looking for new places to dine in Maastricht a gastronomic dinner for up to 30 people will be served each evening at the gallery at 7.30pm. The cost per person is 90 euros - which includes wine - however booking is essential.

For further information please contact; Alastair Gibson Tel: 00 44 (0)7831 645468 Email: alastair@gibsonantiques.com www.gibsonantiques.com

Guus Rรถell Tel: 00 31 (0) 6 532 116 49 Email: g.roell@planet.nl www: guusroell.com Guus Rรถell Fine Art & Antiques Tongersestraat 2 6211 LN Maastricht


1. A FINE PAIR OF ‘ROUGE-DE-FER’ TRIPLE-GOURD VASES QING DYNASTY, KANGXI PERIOD (1662-1722) Each painted with sprays of classic lotus flowers within scroll and lappet borders. Height: 26.8cm Similar vases are in the Collection of Augustus the Strong, now in the State Art Collections, Dresden. Duplicates from the Royal collection were sold at Rudolph Lepke’s Kunst Auctions Haus in 1919. Lot numbers 332 and 333, illustrated on plate 29 of the auction catalogue, show a similar pair of vases.


2. A GOOD CHINESE ‘FAMILLE-VERTE’ PORCELAIN CHARGER QING DYNASTY, KANGXI PERIOD (1662-1722)

3. A CHINESE ‘FAMILLE-VERTE’ PORCELAIN HEXAGONAL CHARGER QING DYNASTY, KANGXI PERIOD (1662-1722)

Painted to the centre with two beautiful Chinese maidens inspecting bonsai trees beneath a gnarled prunus tree within a fenced garden all within a ‘pie-crust’ moulded and foliate border, the reverse painted with scattered floral sprigs in iron red.

Painted to the centre with a Chinese maiden sitting at a table playing a Qin watched by a gentleman holding a fan before a garden pagoda with a young boy attendant preparing tea, all within a moulded ‘pie-crust border’ set with four vignettes containing goldfish and butterflies, the reverse painted with scattered floral sprigs.

Diameter: 40.5cm Diameter: 35cm


4. A COLLECTION OF CHINESE BLUE AND WHITE PORCELAIN figures OF BOYS QING DYNASTY, EARLY 18TH CENTURY From the ‘Cau Mau’ shipwreck. Height: 8.5cm each


5. AN UNUSUAL CHINESE PORCELAIN ‘FAMILLE-ROSE’ LIBATION CUP QING DYNASTY, YONGZHENG PERIOD (1723-1735)

6. AN UNUSUAL CHINESE CELADON PORCELAIN TRIPOD WINE VESSEL, JUE MING DYNASTY, 16TH CENTURY

Of lingzhi fungus moulded form, brightly painted in shades of pink, yellow and blue against a green ground.

After an archaistic bronze form, the three legged vessel finely moulded covered in a greenish-blue glaze.

Height: 8cm, Length: 12.5cm Height: 13.5cm The ‘sacred fungus’ is a symbol of immortality. A closely related example is illustrated by the Oriental Ceramics Society, Oriental Green wares: Pottery & Porcelain from the Ming and Far East, British Museum, 1997, no 48. Another excavated vessel is illustrated in Gems of China’s Cultural Relics, no 178. Collection of the Institute of Archaeology of Hangzhou City, found in 1987, Hangzhou Zhejiang province.

7. A CHINESE PORCELAIN DOUBLE-GOURD BRUSH WASHER QING DYNASTY, QIANLONG PERIOD (1736-1795) Of naturalistic form painted in iron-red, green and turquoise enamels, on a later wooden stand. The imperial kilns at Jingdezhen undertook the simulation in porcelain of all kinds of materials for the Qianlong Emperor, but gourds are surprisingly rare. A similar brush washer is illustrated by Regina Krahl in Chinese Ceramics in the Meiyintang Collection, London, 1994-2010 vol 2, no. 950. and another small gourd-shaped bottle with similarly simulated skin and an applied vine with golden leaves is in the Musee Guimet, Paris, illustrated in Michel Beurdeley and Guy Raindre, Qing Porcelain: Famille Verte, Famille Rose, London, 1987, pl. 170 right. Height: 4.2cm, Length: 10.2cm


8. A RARE CHINESE ‘FAMILLE-VERTE’ PORCELAIN GILT-METAL MOUNTED TEAPOT AND COVER QING DYNASTY, KANGXI PERIOD (1662-1722)

9. AN INSCRIBED YIXING STONEWARE GLOBULAR TEAPOT AND COVER QING DYNASTY, 19TH CENTURY

The contemporary mounts probably Dutch, of lotus petal panelled form, each decorated with chrysanthemum and hibiscus plants, the cover, spout and handle set with finely chased mounts, the cover surmounted by a peacock finial.

Of simple elegantly potted form, the classic ‘brick red’ clay inscribed to the base with a scholarly eight-character poem:

Height: 13.5cm

Yin hua yong yue, pin zhu ping cha: ‘Reciting flower poems and singing about the moon, playing the flute while appraising the tea’.

Provenance: Nicolas E. Landau collection, Paris.

Height: 8cm, Width: 13cm

Literature: illustrated by Lunsingh Scheurleer, Chinesisches und japanisches Porzellan in europäischen Fassungen, Braunschweig, 1980, page 255, pl. 162.


10. A LARGE CHINESE BLUE AND WHITE PORCELAIN BOWL QING DYNASTY, KANGXI PERIOD (1662-1722) Of octagonal panelled form, vividly painted in underglaze-blue with alternating figural and landscape scenes, including pine, prunus, chrysanthemum and carp, the interior with a central roundel enclosing a figure of a scholar within a further panelled border containing millet, prunus, bamboo, lotus, birds and insects. Diameter: 29cm


11. A CHINESE ‘KRAAK PORSELEIN’ BLUE AND WHITE SHALLOW DISH MING DYNASTY, WANLI PERIOD, CIRCA 1600

12. A CHINESE BLUE AND WHITE ‘KRAAK PORSELEIN’ BOTTLE VASE MING DYNASTY, WANLI PERIOD, CIRCA 1590-1610

Well painted in underglaze-blue with precious objects to the centre within a diaper work panel, the shaped moulded rim with panels enclosing peaches, scrolls, books, double gourds and other auspicious objects.

The slender pear-shaped bottle brightly painted in underglaze-blue with four moulded peach-shaped cartouches with stylised fruit and diaper work interspersed with four panels containing birds, flowers and fruit, the neck with precious objects suspended from cords within a ruyi and floral mon diaper work borders.

Diameter: 20cm Height: 27.5cm Compare to a similar high quality bottle in a private Dutch collection illustrated in M. Rinaldi, Kraak Porcelain, London 1989, p.170., pl.213.


13. A RARE CHINESE ‘KRAAK PORSELEIN’ ‘EGRET-MARKED’ DISH MING DYNASTY, WANLI PERIOD, circa 1595-1605 Painted in smoky tones of underglaze-blue with a pair of pheasants perched on a rocky mound beneath a gnarled pine tree with lingzhi-inspired swirling clouds, all within a shaped panelled border containing birds, flowers and insects, the underside with a moulded border with petal-shaped panels containing alternating lingzhi sprigs and bees, the centre with the egret mark. Diameter: 20.5cm Provenance: An English private collection. A similar dish is illustrated in Howard & Ayers, China for the West, London 1978, p.51., pl. 6. Other examples may be found in the Victoria & Albert museum, London and the Princessehof, Leeuwarden.


14. A PAIR OF CHINESE PORCELAIN ‘FAMILLE-ROSE’ TWO-HANDLED VASES AND COVERS QING DYNASTY, QIANLONG PERIOD, CIRCA 1780 Each of rectangular section moulded with figural panels of a flower maiden holding a basket, a sprig of lingzhi fungus and accompanied by a deer and attendants, all against a seeded biscuit ground moulded and enameled with flower sprays, the domed covers with seated lion-dog knops. Height: 33cm Provenance: Viscount Cowdray, Cowdray Park, England.

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15. A CHINESE BLUE AND WHITE PORCELAIN BARREL-SHAPED GARDEN SEAT QING DYNASTY, QIANLONG PERIOD (1736-1795) Of traditional form, painted in underglaze-blue with classic lotus scrolls, within moulded studs and lappet borders, the top and either side pierced with conjoined cash medallions. Height: 48cm


16. A LARGE CHINESE ‘FAMILLE-ROSE’ PORCELAIN FIGURE OF A BIRD QING DYNASTY, Qianlong PERIOD, CIRCA 1760 Modelled standing on a tree stump base, the asiatic pheasant brightly coloured in typical palette, it’s crest picked out in iron-red, its scaly legs in yellow, wood stand. Height: 35cm


17. A LARGE PAIR OF CHINESE PORCELAIN ARMORIAL european-MARKET CHARGERS QING DYNASTY, QIANLONG PERIOD (CIRCA 1755) Each painted to the centre with a large ‘famille-rose’ basket of fruit and flowers, the cavetto border bearing the arms of Mathew quartering Van Leemput impaling Byam within a bianco-sopra-bianco border of flowers within iron-red and gilt borders. Diameter: 35cm

According to D.S. Howard, Chinese Armorial Porcelain, London 1974, p.287, G1. “The arms are of Mathew of Llandaff, St. Kew, and the Leeward Islands....Colonel Abednego Mathew (descended from a Welsh family living in Devon and Cornwall since the fifteenth century) was Governor of St. Kitts in the Leeward Islands and received lands there in compensation for his family’s considerable losses in the Civil War. His son, William....marrying Catherine, Baroness Van Leemput.....descended from Remegius Van Leemput, the Antwerp painter, famous for his copies of Van Dyck portraits.”


18. A RARE AND LARGE JAPANESE IMARI PORCELAIN CHARGER EDO PERIOD, CIRCA 1700 For the Western market, boldly painted with a central double-gourd shaped vase depicting a European gentleman in the central panel flanked by European mask handles, issuing full blown flowers and foliage, containing peony and a tulip, all on an irregular three-legged stand, the border set with four leaf-shaped panels containing peony interspersed by groups of five song birds reserved on a black ground, picked out in iron-red and highlighted in gilding, the underside with floral sprigs. Diameter: 59cm Such fine and large dishes were popular in Europe in the late 17th and early 18th centuries and several examples may be found in the Collection of Augustus the Strong, King of Poland and Elector of Saxony, who furnished his palaces in Dresden with oriental porcelains at this period. Similar examples may also be found in the Groninger Museum, The Netherlands, 1988.255, illustrated in Porcelain for Palaces, The Fashion for Japan in Europe 1650-1750, Oriental Ceramic Society, 1990, pl 230., p.219 and in the Rijksmuseum, Amsterdam.


19. A FINE CHINESE SANCAI-GLAZED POTTERY HORSE TANG DYNASTY (618-907) The sturdy steed modelled standing on a slightly domed unglazed base, the saddle and blanket covered in a mottled tortoiseshell glaze, the horse’s body splashed in running ochre on a pale straw coloured glaze. Height: 59cm, Length: 59cm Thermoluminescene test no. 02052 from the Chinese University of Hong Kong, 14th February 2000. Provenance: The Estate of the late Edward St George; a prominent figure in the British racing world as owner of the Lucayan stud at Newmarket. Originally a gift given from Li Ka Shing to Edward St George, Chairman of the Grand Bahama Port Authority, Grand Bahama Island, Bahamas.


20. A CHINESE SANCAI-GLAZED POTTERY FIGURAL CENSER, TANG DYNASTY (618-907)

22. A CHINESE SANCAI-GLAZED POTTERY RECTANGULAR PILLOW, TANG DYNASTY (618-907)

The flattened rim vessel supported by six central Asian figures, covered in brown, ochre and green glazes, the base unglazed.

Applied paper label Bluett & Sons, London. Dimensions: 10cm x 5cm x 8.5cm

Height: 10cm, Diameter: 12.5cm Provenance: The W.F.C. Ohly Collection, The Abbey Museum, Barnet, London.

21. A CHINESE SANCAI-GLAZED POTTERY BOWL, TANG DYNASTY (618-907) Applied collector’s label. Diameter: 11cm Provenance: The W.F.C. Ohly Collection, The Abbey Museum, Barnet, London.


23. A PAIR OF CHINESE ‘FAMILLE-ROSE’ PORCELAIN ‘EIGHT HORSES OF MU WANG’ PLATES QING DYNASTY, QIANLONG PERIOD, CIRCA 1740 Each painted with four dappled horses beneath a flowering prunus tree issuing from a rocky outcrop scattered with lingzhi fungus, the rim set with butterflies and sprays of peonies. Diameter: 23cm The eight horses of Mu Wang refer to a Zhou-dynasty story called Mu Tian Zi “The Heavenly son of Mu”, who by legend had eight horses to pull his chariot.


24. A LARGE CHINESE PORCELAIN ‘FAMILLE-VERTE’ CHARGER QING DYNASTY, KANGXI PERIOD (1662-1722)

25. A LARGE CHINESE PORCELAIN ‘FAMILLE-VERTE’ CHARGER QING DYNASTY, KANGXI PERIOD (1662-1722)

Painted to the centre with birds amongst prunus above water with a leaping carp reserved against a lotus ground set with four fan and quatrelobed vignettes enclosing classical landscapes, insects and flowers, the underside with a two-charater seal mark in underglaze-blue.

Painted to the centre with a lion-dog within a landscape reserved against a lotus ground set with four fan and quatrelobed vignettes enclosing insects flowers and butterflies, the underside with a two-character seal mark in underglaze-blue.

Incised Japanese Palace inventory no: N: 107/I. Applied paper label Bluett & Sons, London.

Incised Japanese Palace inventory no: N:107/I. Applied paper label Bluett & Sons, London. Diameter: 34cm

Diameter: 35.5cm Provenance: Collection of Augustus the Strong, King of Poland, Elector of Saxony. Provenance: Collection of Augustus the Strong, King of Poland, Elector of Saxony.


26. A RARE PAIR OF CHINESE BLUE AND WHITE PORCELAIN ‘EUROPEAN-SUBJECT’ CHARGERS QING DYNASTY, KANGXI PERIOD, CIRCA 1700-10 Each painted after a drawing by Robert Bonnart, engraved by his brother Nicolas, originally titled ‘Symphonie du Tympanum, du Luth et de Flute d’allemagne’ in vivid tones of cobalt blue with a fashionable lady playing a dulcimer, accompanied by two gentleman playing a lute and a flute, the rim with a border of eight lotus petal shaped landscape panels, the underside with bamboo sprigs. Diameter: 34.3cm

An identical ‘Music Party’ charger is illustrated in G.Godden, p.118, pl.21; and on the cover of Chinese Export Art and Design. Another from the Mottahedeh Collection, illustrated in Howard & Ayers, China for the West, volume I, p.77, no.35; and in the Victoria & Albert Museum, London, C 781-1910. Recently discussed by M.A. Pinto de Matos, The RA Collection of Chinese Ceramics, volume II, London, 2011, p. 250-1, no. 332 the same subject has been found on tin-glazed earthenware tiles in Holland, so it is likely wares of this design were intended for the Dutch market.


27. A PAIR OF CHINESE PORCELAIN GILT-METAL MOUNTED MODELS OF CRANES QING DYNASTY, 2ND HALF 19th CENTURY Each modelled standing, their plumage picked out in red, blue, grey and white enamels, the feathers finely incised, on later naturalistic gilt-metal legs, pierced and carved rosewood cloud-scroll stands. Height: 38.5cm In Chinese mythology the Crane symbolises immortality, as well as being a symbol for high rank and is the chosen mount for the immortals.


28. A PAIR OF CHINESE CLOISONNE FIGURES OF YELLOW DEER QING DYNASTY, QIANLONG PERIOD (1736-1795) Modelled standing, facing left or right, their coats yellow with white spots, their eyes also picked out in white enamel, the ears, horns, tails and legs gilt-metal. Height:16cm, Length: 15cm Provenance: John Macallan Swan RA (1847-1910) The animal painter and sculptor John Macallan Swan studied at the Lambeth School of Art under W. S. Frith, and like many others, then went on to the Royal Academy Schools, in 1872. Two years later he went to Paris, where he spent 4-5 years under Gerome, then under the animal sculptor Fremiet, and the painters Bastien-Lepage, Henecker and Dagnan-Bouveret, all this making him ‘perhaps as French as an Englishman could well be’. He then settled in London, convenient for studying animals and animal anatomy at London Zoo. It was not until 1878 that he sent his first work to the Royal Academy (Dante and the Leopard), and his reputation was on the Continent only, until 1889. In that year, his picture at the Academy, The Prodigal Son, was bought under the terms of the Chantrey Bequest. He was elected ARA in 1894, had an exhibition at the Fine Art Society in 1897, and became RA in 1905.


29. A PAIR OF CHINESE CLOISONNE VASES, GU QING DYNASTY, LATE QIANLONG/JIAQING PERIOD

31. A GOOD CHINESE IVORY ‘CHILONG’ VASE QING DYNASTY, LATE 18TH/EARLY 19TH CENTURY

Each of classic trumpet shape, decorated with lotus flower scrolls on a turquoise ground.

Finely carved with a mythical dragon beast holding a lingzhi fungus sprig in it’s mouth, the lower body similarly carved with a chilong in low relief.

Height: 27cm Height: 14cm For a similar vase see Chinese Ivories from the Shang to the Qing, Oriental Ceramics Society, 1984, pl.213 & 214, p.166.

30. A rare CHINESE CLOISONNE STEM BOWL AND STAND MING DYNASTY, 16TH CENTURY

32. a Chinese Cantonese blue and white enamel circular BOX AND COVER QING DYNASTY, QIANLONG PERIOD (1736-1795)

The interior decorated with a carp, the exterior with classic lotus scrolls, the matching stand similarly decorated.

Painted with peonies amongst foliage picked out in white enamel on blue ground, the cover edged in red enamel to simulate a jewelled border.

A similar stem cup with a classic lotus design is illustrated in H.Brinker and A.Lutz - Chinese Cloisonné The Pierre Uldry Collection, London 1989, page 37, pl. 38a. Height: 10cm, Diameter: 13.5cm

Diameter: 7.5cm


33. A PAIR OF CHINESE ‘LAQUE BURGAUTE’ PEACH SHAPED LIBATION CUPS QING DYNASTY, FIRST HALF 18TH CENTURY

35. A SMALL CHINESE IVORY FIGURAL CARVING QING DYNASTY, 19TH CENTURY

Each cup finely decorated with a figural landscape scene incorporating iridescent abalone shell and silver wire, the interior with silvered copper linings.

Carved with a standing bearded immortal accompanied by a recumbent deer in conversation with a mandarin and attendant, all beneath a pine tree issuing from a rocky mound.

Diameter: 10cm Height: 10.5cm

34. A SMALL CHINESE CLOISONNE BOX AND COVER QING DYNASTY, QIANLONG PERIOD (1736-1795)

36. A CHINESE SOAPSTONE CARVING OF A SEATED LOHAN QING DYNASTY, LATE 18TH/EARLY 19TH CENTURY

Formed in the shape of a peach, brightly decorated with peaches in typical cloisonné enamels supported on a gilt-metal mounted naturalistic peach branch.

The stone of greyish tone with red striations, modelled seated with long flowing robes, incised with a floral medallion and further scattered sprigs picked out in gilding.

Diameter: 9.2cm

Height: 11.5cm


37. A CHINESE BONE AND IVORY MODEL OF A PLEASURE BOAT QING DYNASTY, 2nd HALF 19TH CENTURY

38. A CHINESE IVORY PORTRAIT PAINTING OF A EUROPEAN LADY QING DYNASTY, DATED 1887

Intricately carved and pierced, the upper deck and bow decorated with polychrome figures, all on a brocade silk stand.

With original fitted brocade box bearing a paper label with the name Yee Cheong inscribed in red ink ‘Hong Kong August 1887’ Examples of Yee Cheong’s work (also known as Yee Chung) can be found in the Getty Research Institute, Los Angeles, 2003 R.22.11 where it is recorded that he was a painter active in Shanghai, Hong Kong and Fujian and shows a portrait of a boy in watercolour on ivory.

Length: 38cm

Dimensions: 18.5cm x 14.5cm


39. A PAIR OF JAPANESE SCREENS BY TANAKA NIKKA (-1845)

Ink and colour on gold leaf paper each signed Nikka with 2 seals. Dimensions: 121cm x 330cm


Tanaka Nikka was a very skilful Shijo school painter. He studied under Okamoto Toyohiko (1773-1845) and excelled in figures, flowers and birds. Dimensions: 121cm x 330cm


40. A JAPANESE SIX-FOLD PAPER SCREEN PAINTED WITH IRISES TAISHO/SHOWA PERIOD (1912-1926) After the Eight-Planked Bridge (Yatsuhashi) Ogata Korin (Japanese 1658-1716); ink and colour on gilded paper. The original screen can be seen in the Metropolitan Museum of Art, New York. Louisa Eldridge McBurney Gift, 1953 (53.7.1-2). Dimensions: 169cm x 364cm


41. A PAIR OF CHINESE CANTONESE ENAMEL DISHES, QING DYNASTY, QIANLONG PERIOD, CIRCA 1740 Each painted with pheasants amongst peony and lilies issuing from rockwork, all within green lappet floral borders, the reverse with a large pomegranate and floral sprigs. Diameter: 22.5cm In Chinese art the combination of a pheasant, hen and lilies is allegorical of may you have harmony and unity together for one hundred years. Whilst the peony and rock work further adds wealth, honour and longevity to that relationship and the pomegranate numerous offspring!

(reverse)


42. A CHINESE COROMANDEL LACQUER RECTANGULAR DOCUMENT BOX AND COVER QING DYNASTY, KANGXI PERIOD (1662-1722) The hinged cover finely carved with a gentleman on horseback with an attendant approaching a building within two beautiful maidens gazing from the first floor window, the sides decorated with prunus blossoms, lotus flower and precious objects, the interior plain red, original hinges and lockplate. Dimensions: 7cm x 35cm x 21cm The cover of the box illustrates a scene from the classic Chinese love story written by the Yuan Dynasty playwright Wang Shifu (1295-1307) Romance of the Western Chamber.

(detail of cover)


43. A LARGE CHINESE CINNABAR LACQUER QUATRELOBED VASE QING DYNASTY, QIANLONG PERIOD (1736-1795) The shouldered lobed body deeply carved with four landscape panels depicting young boys searching for peaches, observed by scholars on fenced garden terraces, all within classical mountainous landscapes, scattered with pine trees with laconic cloud scrolls, all reserved against a deeply carved lotus flower ground, the waisted neck and footrim carved with stylised stiff-leaved lappets against foliate cell and diaper work. Height: 37.5cm Provenance: An English private collection. A similar vase from the National Palace Museum, Taipei is illustrated in Carving, the Subtle Radiance of Colors, Treasured Lacquerware in the National Palace Museum, Taipei, 2008. p.155, no.166.


44. A CHINESE CANTON ENAMEL YELLOW-GROUND BOWL QING DYNASTY, QIANLONG PERIOD (1736-1795) Painted to the interior with a central shou character within a cluster of peaches and blossom surrounded by five bats amongst rose, yellow, turquoise and blue cloud scrolls, the exterior profusely decorated with full blown peony scrolls on a yellow ground. Diameter: 15cm


Chronology

NEOLITHIC 10th - early 1st millennium BC SHANG DYNASTY 16th century - c.1050 BC ZHOU DYNASTY c.1050 - 221 BC Western Zhou c. 1050 - 771 BC Eastern Zhou 770 - 256 BC Spring and Autumn 770 - 476 BC Warring States 475 - 221 BC QIN DYNASTY 221 - 206 BC HAN DYNASTY 206 BC - AD 220 THREE KINGDOMS 220 - 265 JIN DYNASTY 265 - 420 NORTHERN DYNASTIES 386 - 581 SOUTHERN DYNASTIES 420 - 589 SUI DYNASTY 581 - 618 TANG DYNASTY 618 - 907 FIVE DYNASTIES 907 - 960 LIAO DYNASTY 907 - 1125 SONG DYNASTY 960 - 1279 XIA DYNASTY 1038 - 1227 JIN DYNASTY 1115 - 1234 YUAN DYNASTY 1279 - 1368 MING DYNASTY 1368 - 1644 Hongwu 1368 - 1398 Yongle 1403 - 1424 Xuande 1426 - 1435 Zhentong 1436 - 1449 Jingtai 1450 - 1456 Tianshun 1457 - 1464 Chenghua 1465 - 1487 Hongzhi 1488 - 1505 Zhengde 1506 - 1521 Jiajing 1522 - 1566 Longqing 1567 - 1572 Wanli 1573 - 1620 Tianqi 1621 - 1627 Chongzhen 1628 - 1644 QING DYNASTY 1644 - 1911 Shunzhi 1644 - 1661 Kangxi 1662 - 1722 Yongzheng 1723 - 1735 Qianlong 1736 - 1795 Jiaqing 1796 - 1820 Daoguang 1821 - 1850 Xianfeng 1851 - 1861 Tongzhi 1862 - 1874 Guangxu 1875 - 1908 Xuantong 1909 - 1911

Thanks to: Dani Deudney - Photography Andrew Sullivan at Blacknight Design Steph Davies - Assistant www.blacknightdesign.co.uk


7 Georgian House, 10 Bury Street, St James’s, London SW1Y 6AA t 00 44 (0) 7831 645468 alastair@gibsonantiques.com www.gibsonantiques.com


Gibson Antiques Catalogue II