{"title":"Chinese Silver","description":"","products":[{"product_id":"antique-chinese-silver-rosewater-sprinkler-qing-dynasty-china","title":"Antique Chinese Silver Rosewater Sprinkler, Qing Dynasty, China","description":"This antique Chinese silver sprinkler was made in Canton in the middle of the 19th century. Despite its age, it can still be easily disassembled by unscrewing the various parts, which allows the globular container to be filled with scent. The rose, or sprinkler, is in the shape of a flower, ornamented with chasing, which tops an elegant elongated neck flaring gently outwards towards the top and bottom. The line of the neck is interrupted by one protruding flanged knop, which facilitates grip and allows the rose to be unscrewed from the neck. The lowest part of the neck is encircled by a border of large perpendicular acanthus leaves above a convex ring knop with plain borders, also ornamented with flowers and leaves. A similar but larger knop ornaments the short stem between the globular body and the pedestal foot.\u003cbr\u003e\u003cbr\u003eFour panels of ornament, of two designs, adorn the top of the foot. Two are unframed and show paeony flowers, buds and foliage, a popular Chinese design. These alternate with two panels in collar shaped frames which show fruits, possibly strawberries, with foliage. These panels have been ornamented using repousse and chased techniques.\u003cbr\u003e\u003cbr\u003eThe reservoir which contains the rosewater has no ornamentation to the area nearest the top but around the widest part, there is a riotous border of flowers and foliage. The leaves arch and curl, showing great movement and the veins of the leaves and the centres of the flowers have been finely and expertly chased showing both great expertise and restraint.\u003cbr\u003e\u003cbr\u003eThe Sprinkler has two silver marks to the underside of the base, the ‘Gothic K’ mark and a Chinese character mark. The ‘Gothic K’ mark was used between the years of 1830 and 1880, approximately. The photo of the underside of the vessel also shows a distinctive quadri-lobed nut, a characteristic and distinctive shape which is only ever found on silver objects of Chinese origin. \u003cbr\u003e\u003cbr\u003eThe Canton retail silversmith who used the ‘Gothic K’ mark, created a wide range of objects including items of Judaica and Islamic silver of Chinese form but with little Chinese ornamentation, suggesting that a significant portion of their clients were either Muslim or Jewish. Rosewater sprinklers were used ceremonially by Sephardi and Mizrachi Jews as well as by Muslims, at weddings, feasts and in welcoming ceremonies. There were a significant number of affluent Jewish and Muslim merchants living in Hong Kong and China who were involved in the China Trade during the late 19th century. They came mainly from India, the Middle East or countries along the Silk Road as did other traders living in these parts who were also involved in trading with China.\u003cbr\u003e\u003cbr\u003eDimensions:- Height 31 cms; Width 8 cms\u003cbr\u003e\u003cbr\u003eWeight:- 352 grammes\u003cbr\u003e\u003cbr\u003eProvenance:- European art market\u003cbr\u003e\u003cbr\u003eReferences:-\u003cbr\u003e\u003cbr\u003eAdrien Von Ferscht, Chinese Export Silver 1785-1940, The Definitive Collectors’ Guide, 4th Edition, 2015","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":31593105686618,"sku":"JC-ROSE-06781","price":1800.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique_Chinese_Silver_Rosewater_Sprinkler.jpg?v=1581827186"},{"product_id":"antique-chinese-silver-vase-monumental-size-wang-hing-canton-1885","title":"Antique Chinese Silver Vase, Monumental Size, Wang Hing, Canton - 1885","description":"\u003cp\u003eThis spectacular and impressive Chinese silver presentation vase stands over 40 cms tall and weighs an impressive 2.3 kilos. The ornamentation is very fine and shows a range of ornament in a variety of techniques, all exhibiting excellent craftsmanship.   There is no presentation inscription, but we believe the vase was made in the mid-1880s, probably towards the end of 1885\/early 1886 and it undoubtedly celebrates the close relationship between China and Great Britain which existed at this time. The figural scene is believed to show Yuan Shikai, the Chinese Resident, arriving in Korea. Who the vase was commissioned by and to whom it was presented, or whether in fact it was ever presented, is unknown.  Nonetheless, it is an exceptional object and probably the most fascinating and intriguing piece of Chinese silver we have seen.\u003c\/p\u003e\n\u003cp\u003eThe fine figural scene to the lower body references current events in Korea, which loomed large on the political agenda of both nations and also that of Japan.  Increasing tensions between Japan and China over Korea eventually led to the outbreak of the First Sino-Japanese war in 1894. \u003c\/p\u003e\n\u003cp\u003eThis was the era of what, with the benefit of hindsight and distance, is now termed Sino-Western unequal treaties, but it is important to remember that at the time they were signed, the parties concerned perceived them differently. It was also an era of influential bi-cultural individuals like Harry Parkes and Robert Hart who spent more of their lives overseas than in Britain.  Parkes became Envoy Extraordinary and Minister Plenipotentiary in Peking, the highest ranking British diplomatic post in China and Minister for Korea, dying in office in 1895.  After four months deliberation, Robert Hart turned down the opportunity of replacing him, to continue as Head of the Chinese Maritime Customs, for which he received The Imperial Order of the Double Dragon,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eShuang Lung Pao Hsing\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efrom the Emperor and The Peacock Feather in 1895.  Li Hung Chang (\u003cem\u003eLi Hongzhang\u003c\/em\u003e), de facto Chinese Foreign Minister, saw much to admire in and learn from the British and other Europeans, often seeking out their company and Marquis Tseng (\u003cem\u003eZeng Jize\u003c\/em\u003e), who was appointed minister to Britain, France and Russia in 1878, lived in Europe for seven years between 1879 and 1885.\u003c\/p\u003e\n\u003cp\u003eAt this time, possibly more than at any other time in history, Chinese and British interests were enmeshed and often aligned, albeit their end goals were sometimes different and there were occasions when each used their political influence to further the benefit of the other country’s political aims.  Korea, known as the ‘hidden kingdom’, was the focus of much attention and ‘opening up’ to trade. British trade negotiations with Korea were established with the help of the Chinese, culminating in the Parkes Treaty, ratified in Seoul on 28th April 1884.  In turn, Robert Hart’s intervention helped the Chinese conclude the Sino-French war with the signing of the Tientsin Treaty on 9th June 1885.\u003c\/p\u003e\n\u003cp\u003eFor both countries, 1885 was a year of frenzied diplomacy and the politics of this time are exceedingly complex.  In April 1885 (some sources say 31st May), the Li-Ito Convention, also known as the Convention of Tianjin\/Tientsin, was signed between Li Hung Chang of China and Ito Hirobumi of Japan to halt escalating tensions between the two countries.  Japanese attempts to increase their influence over the Korean Peninsula and the Korean royal family, which had always been a suzerain of China, resulted in the Gapsin Coup erupting in Korea on 4th December 1884, which was suppressed by Chinese troops, under the leadership of Yuan Shikai, three days later.  Yuan Shikai, at that time a subordinate of Li Hung Chang, is an important historical figure. Prior to the Gapsin Coup, he was serving in Korea and in charge of three Chinese troop divisions stationed there.  Later, he became the Chinese Resident in Korea and in 1912 he became the First President of the Chinese Republic.  \u003c\/p\u003e\n\u003cp\u003eOn 18th July 1885, after a delay of nine years, the Chefoo Convention was ratified by the British in London with the signing of the Chefoo Agreement, now known as the Yantai Treaty.  The treaty was signed by Marquis Tseng (\u003cem\u003eZeng Jize\u003c\/em\u003e) for China and the Marquis of Salisbury for Britain.\u003c\/p\u003e\n\u003cp\u003eThe shape of this vase follows the European classical revival style, embraced and popularised by English silversmiths such as Stephen Smith.  The form is modelled on ancient amphorae made in Greece around 1,000 BC.  Most elements of the repousse and chased ornamentation are in the Chinese style but the acanthus leaf borders to the top and bottom and the three large oval reserves to the body of the vase are in the European, specifically British, style. Although there are many items of Chinese silver of European form, tankards for example, with dragon handles and Chinese ornamentation, we are not aware of other pieces which have, what can best be described as bi-cultural ornamentation, which is highly unusual, if not unique.\u003c\/p\u003e\n\u003cp\u003eThe impressive peacock shaped handles are formed from sheet silver to the back and front with finely reticulated side panels featuring bamboo. These are wholly in the high Chinese style of the late 19\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003ecentury.  A similar, single reticulated handle, featuring a leaf design, adorns the ‘Admiral’s Cup’, which bears the same maker’s mark and is dated 1882. This trophy featured on the cover of the catalogue for the Hong Kong Maritime Museum’s exhibition, ‘The Silver Age, Origins and Trade of Chinese Export Silver’, held earlier this year.   The peacocks,  symbols of elegance, dignity, and nobility, appear to be bowing to each other.  The design may be intended to represent Marquis Tseng and the Marquis of Salisbury or Yuan Shikai and King Gojong. It could also reference Li Hung Chang, whose popularity was at an all-time high in 1885, and had many peacock feathers showered upon him or the peacock feather awarded to Robert Hart, the first foreigner to receive this high honour; we can only speculate.\u003c\/p\u003e\n\u003cp\u003eThe neck of the vase is plain silver. Ornamenting the neck are four oval panels of repousse and chased ornamentation.  The panel to the front contains a pair of birds in plum blossom.  Moving clockwise, the side panel shows a pair of birds in bamboo, the panel to the back depicts a dragon amongst the clouds and the last panel depicts fish, including a carp, crab, crayfish\/lobster and lotus leaves or possibly, mushrooms.\u003c\/p\u003e\n\u003cp\u003eTo the shoulder of the vase, to front and back, is a fine repousse border featuring two opposing dragons flying amongst the clouds in pursuit of the pearl of wisdom.  The design of this border is very similar to the iconography found on the sash and medal of the Imperial Order of the Double Dragon and may derive from it.  The order was founded by Emperor Guangxu on 7\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003eFebruary 1882 and, until 1908, was only awarded to foreigners for outstanding services to the Imperial throne. In 1885 it was awarded to Robert Hart, the Inspector General of the Chinese Maritime Customs and his assistant, Duncan Campbell, based in London, for their assistance with the treaty negotiations ending the Sino-French War and service with the Customs.\u003c\/p\u003e\n\u003cp\u003eThe mid-section of the body of the vase has a chased ‘cracked ice’ effect background surrounding three large oval panels worked in repousse and chased techniques, depicting the plant emblems of Britain.  The panel to the front features a spray of roses, those to the back a wreath of shamrocks and a stem from the thistle plant.  The red rose is the national flower of England; the purple thistle is the national flower of Scotland and the green shamrock, the symbol of Ireland.  As in the national flag of Great Britain, the Union Jack, introduced in 1801, there is no separate representation for Wales: as the flag was designed after the invasion of Wales in 1282. It is known that Wang Hing produced other silver presentation vases with a ‘cracked ice’ ground in the 1880s, including a trophy for the Hong Kong races of 1889.\u003c\/p\u003e\n\u003cp\u003eTo the lowest part of the body is a continuous figural scene. It is likely that the representations in the figural scene have been inspired by contemporary printed materials which graphically illustrated important historical events of the time.  We have seen many later prints relating to events and incidents during the First Sino-Japanese War, and there are definite similarities of style. The scene is intended to be read from right to left as one turns the vase, starting at the right-hand side of the front, in the same way as porcelain.  (Close up photos showing the whole figural scene, are available on request.) \u003c\/p\u003e\n\u003cp\u003eTowering mountain peaks have been used as a device to separate the scenes and probably also to suggest that the emissary had travelled a long way and that the journey had been arduous.  Although mountainous peaks are frequently depicted in the Chinese artistic tradition, the style of these peaks has probably been influenced by the painting on the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIrworobongdo\u003c\/em\u003e, a Korean folding screen which stood behind the Korean royal throne at Gyongbok Palace during the Joseon Dynasty.  This highly stylised painting of five mountains peaks with the sun, symbolising the king, and the moon, symbolising the queen, denoted a mythical place with the enthroned King as the pivot in a balanced cosmos. The figural scenes show:-\u003c\/p\u003e\n\u003cp\u003eScene 1 - Six soldiers or officials standing nervously outside a couple of fine buildings. Two men are looking left, two are looking right and the two in the centre are holding long rifles. The men are Chinese and seem to be guarding the buildings.   Banana plants can be seen growing in the gardens of the buildings, suggesting they belong to someone of high rank, importance and status. \u003c\/p\u003e\n\u003cp\u003eScene 2 - A Chinese envoy, dressed in the military field dress of a General, is arriving with his assistant.  The assistant holds a three-tiered umbrella over him, proclaiming his high status and signifying that he is on an Imperial Commission. We believe this Commissioner to be Yuan Shikai, arriving back in Korea to take up the position of Chinese Resident to the Korean Court.  A photograph of Yuan Shikai wearing similar dress is held by Getty Images and can be viewed here\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.gettyimages.co.uk\/detail\/news-photo\/yuan-shih-kai-16-09-1859-general-politiker-china1-pr-news-photo\/545049741\"\u003ehttps:\/\/www.gettyimages.co.uk\/detail\/news-photo\/yuan-shih-kai-16-09-1859-general-politiker-china1-pr-news-photo\/545049741\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e     \u003c\/p\u003e\n\u003cp\u003eA low table, possibly bearing food or a warmer, lies on the ground and Yuan holds his foot up near it.  Three Koreans wait to greet the Chinese; their hats signify they are Korean.  The Koreans are bowing respectfully and the central figure holds a warm or fresh robe to offer to the Commissioner. The Korean at the rear of the welcome party holds up a banner with an emblem.  Although only part shows, this is probably the emblem of the House of Yi, the Korean Imperial Household.  Standing behind the greeting party are two Koreans bearing inscribed banners.  Roughly translated, the inscriptions say ‘We parade following the Emperor’s command.  When the Emperor commands us, we act immediately and without hesitation.  Anyone disrespecting the Emperor or his representatives will die!’ \u003c\/p\u003e\n\u003cp\u003eScene 3 - Two high ranking Korean officials stand outside a building chatting, waiting for the Chinese visitors to arrive.  One holds a fan. Behind them are two Koreans carrying gongs which hang from rods placed over their shoulders.  They are beating the gongs.  To the other end of the rods are hanging banners with inscriptions.  These say:- ‘We are removing people from the street!  Someone from the Emperor’s Palace is coming!’\u003c\/p\u003e\n\u003cp\u003eScene 4 – The Commissioner has reached his destination and settled in, he has changed his clothes, this could be many months later. He is staying in a group of fine buildings surrounded by bamboo.  A long wall stands behind most of the buildings. The atmosphere is relaxed and congenial.  A female servant stands in the background in front of the first building, politely gesturing him onwards.  Another female, dressed in finer clothes (possibly Queen Min), gestures Yuan to take a seat in a high backed chair in front of a table.  On the opposite side of the table, seated in a similar chair, (signifying the men held similar status) is a figure we believe to be King Gojong of Korea.  His hands rest on a zither.  Playing the zither was considered to be one of the four arts of a scholar. The Chinese man holds something in his hand, likely chopsticks.  \u003c\/p\u003e\n\u003cp\u003eKing Gojong and his guest are sitting amongst a group of fine buildings within a walled garden or palace compound.  The wall is covered in a cracked ice design. Behind the wall, plantain\/banana plants are growing, which were popular in scholar’s gardens for the sound the leaves made. A maid is approaching with a tall covered pot containing refreshment.   Nearby, on the terrace, there are other large cooking pots, probably containing food.  The style of the pots seems to be Korean.  A low table with a brazier has been placed near the visitor, to provide warmth or to receive the food.  The emissary is being treated with great courtesy and hospitality.\u003c\/p\u003e\n\u003cp\u003eThe ornamentation of the buildings is elaborate and very fine.  There are many bamboo plants, five trailing plants or mosses are growing on a wall; groupings of five are often auspicious.  There is a solitary bird in the bamboo, thought to be a Golden Crow.  Rocks in the garden resemble scholar’s rocks.  In Chinese symbolism, bamboo represents a wish and rocks, longevity; together they represent ‘a wish for longevity’.  A Golden Crow in bamboo represents the sixth moon of the Chinese year.\u003c\/p\u003e\n\u003cp\u003eIt is likely that the venue depicted is the Gyeongbok Palace complex in Seoul, possibly the Gyeonghoeru Pavilion where the Korean King often received foreign dignitaries.\u003c\/p\u003e\n\u003cp\u003eYuan Shikai was recalled to China in spring 1885 and was appointed Resident by the Chinese Emperor, at the request of Li Hung Chang and King Gojong of Korea, in October 1885. During his time in Korea, twelve years in total, Yuan took three Korean concubines: Lady Lee, Lady Kim and Lady O, with whom he fathered fourteen children.  It has been said that Li sat next to King Gojong for nine and a half years, suggesting that he was his constant companion and able to observe his every move.\u003c\/p\u003e\n\u003cp\u003eThis vase bears the large Wang Hing\/Da Ji (Tai Kut) silver mark. Unusually for Chinese silver marks, which are normally small and applied discreetly if a little haphazardly to the underside of the base, this large mark was struck to be noticed!  It has been very carefully positioned to the exterior of the side of the foot at the centre back, allowing it to be easily seen whenever the object was displayed on a centrally placed table or podium.  In some of the early books on Chinese silver, this mark was thought to signify that the object had been made for Tiffany in New York, but this theory has now been disproved by research into the Tiffany archives carried out by Adrien von Ferscht.  He suggests that Wang Hing, who had numerous suppliers, had probably invested in the Da Ji (Tai Kut) workshop.  All silver bearing this large mark that we have been able to identify, including small objects such as a pair of salts, had either reticulated panels, applied cut silver or cut foliage fronds and we suggest that Da Ji (Tai Kut) probably specialised in this exacting and labour intensive very fine hand piercing and cutting work.  Adjacent to the large silver mark, there is a small Dutch silver mark, signifying that the fineness of the silver has been tested and found to be .835 or above but less than .925, in line with the .900 usual for Chinese silver of this era.\u003c\/p\u003e\n\u003cp\u003eIn the third quarter of the nineteenth century, there was a significant increase in demand for silver sporting trophies and presentation pieces in the East.  Wang Hing, a prominent retailer, targeted this lucrative market with great success.  Comparing this vase to other presentation pieces made by Wang Hing, of known date and bearing the same large silver mark, indicates the vase was made during the mid-1880s.  Unfortunately,  Zetland House, Wang Hing’s flagship store at 10 Queen’s Road, Hong Kong, which had only opened in February 1937, was destroyed by bombing in 1941, only days after the Japanese invasion. The explosion destroyed all their stock along with all Wang Hing’s design archive and trading records.  \u003c\/p\u003e\n\u003cp\u003eIt is very likely that the vase was made to celebrate the arrival of the new British Envoy Extraordinary and Minister Plenipotentiary, Sir John Walsham, in Peking.  (After Parkes unexpected death in early 1885, the post was held by an interim Charge d’Affairs whilst a new permanent appointment was made).   It was offered to Robert Hart, who deliberated for four months and then turned it down, then offered to Walsham who accepted the post, taking up his appointment on 15\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003eJune 1886 in Peking.  The figural scene shows a solitary bird in the bamboo.  If the bird is a Golden Crow, this would signify the 6\u003csup\u003eth\u003c\/sup\u003e\u003cspan\u003e \u003c\/span\u003emoon of the year, which tallies with the date Walsham commenced his residency.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance:-\u003c\/em\u003e  European art market\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDimensions:-\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e Height 41cms; Width 23.5cms\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWeight:–\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e2,300 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences\u003c\/em\u003e:-\u003c\/p\u003e\n\u003cp\u003eHong Kong Maritime Museum, Exhibition catalogue, ‘The Silver Age, Origins and Trade of Chinese Export Silver’ Edited by Libby Lai-Pik Chan and Nina Lai-Na Wan, 2017-18\u003c\/p\u003e\n\u003cp\u003eJames Z Gao, Historical Dictionary of Modern China (1800-1949)\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.amazon.co.uk\/Historical-Dictionary-1800-1949-Dictionaries-Civilizations\/dp\/0810849305\/ref=sr_1_1?s=books\u0026amp;ie=UTF8\u0026amp;qid=1540913458\u0026amp;sr=1-1\u0026amp;keywords=9780810849303\"\u003e(Historical Dictionaries of Ancient Civilizations and Historical Eras), Scarecrow Press, Maryland USA, 2009\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.amazon.co.uk\/Historical-Dictionary-1800-1949-Dictionaries-Civilizations\/dp\/0810849305\/ref=sr_1_1?s=books\u0026amp;ie=UTF8\u0026amp;qid=1540913458\u0026amp;sr=1-1\u0026amp;keywords=9780810849303\"\u003ePatricia Bjaaland Welch, Chinese Art, A Guide to Motifs and Visual Imagery, Tuttle Publishing, Singapore 2008\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.amazon.co.uk\/Historical-Dictionary-1800-1949-Dictionaries-Civilizations\/dp\/0810849305\/ref=sr_1_1?s=books\u0026amp;ie=UTF8\u0026amp;qid=1540913458\u0026amp;sr=1-1\u0026amp;keywords=9780810849303\"\u003eAdrien von Ferscht, Chinese Export Silver 1785-1940 The Definitive Collectors’ Guide, 4th Edition @chinese-export-silver.com\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.amazon.co.uk\/Historical-Dictionary-1800-1949-Dictionaries-Civilizations\/dp\/0810849305\/ref=sr_1_1?s=books\u0026amp;ie=UTF8\u0026amp;qid=1540913458\u0026amp;sr=1-1\u0026amp;keywords=9780810849303\"\u003eDenise Patry Leidy, How to read Chinese Ceramics, The Metropolitan Museum of Art, New York, Yale University Press, New Haven and London, 2015\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eStanley, Lane-Poole, Sir Harry Parkes in China, Methuen, London 1901\u003c\/p\u003e\n\u003cp\u003eB E Foster Hall, Sometime Commissioner of Chinese Maritime Customs Occasional Papers: No. 5, The Chinese Maritime Customs: An International Service, 1854-1950. Re-published by order of the Chinese Maritime Customs Project, University of Bristol  \u003c\/p\u003e\n\u003cp\u003eYoung Ick Lew, Yüan Shih-k'ai's Residency and the Korean Enlightenment Movement (1885-94), Pages 63 – 107, Journal of Korean Studies, Duke University Press, Volume 5, 1984\u003c\/p\u003e\n\u003cp\u003eVolume 31, The Diaries of Sir Robert Hart, Sir Robert Hart Collection, Queen’s University, Belfast\u003c\/p\u003e\n\u003cp\u003eThe Cambridge History of China, Volume 11, Late Ch'ing, 1800–1911, Part 2, Edited by John K Fairbank, Kwang-Ching Liu, Cambridge University Press 1980\u003c\/p\u003e\n\u003cp\u003eJ O P Bland, Li Hung Chang, (From Makers of the Nineteenth Century edited by Basil Williams), Constable and Company, London 1917\u003c\/p\u003e\n\u003cp\u003eRobert Hart and James Duncan Campbell, The I.G. in Peking, Letters of Robert Hart, Chinese Maritime Customs, 1868-1907, Edited by John King Fairbank, Katherine Frost Bruner, Elizabeth MacLeod Matheson, Belknap Press of Harvard University Press, Cambridge, MA USA, 1975\u003c\/p\u003e\n\u003cp\u003eThe Japan Center for Asian Historical Records and the British Library, A collaborative project resulting in an online exhibition “The Sino-Japanese War of 1894-1895: as seen in prints and archives”\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":31593110601818,"sku":"JC-CHIN-06782","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Chinese-Silver-Vase-Monumental-Size-Wang-Hing-Canton-1885.jpg?v=1599102873"},{"product_id":"antique-chinese-silver-spittoon-thookadaan-peekdaan-c-1820","title":"Antique Chinese Silver Spittoon (Thookadaan\/Peekdaan) - C. 1820","description":"This antique silver double bell form spittoon has been chased and engraved with panels of grapes and vine leaves over a ring punched background. It is believed to have been made in China for the Indian export market, where spittoons of this shape were popular during the 18th and 19th centuries. There are many examples, including a bidri ware double bell spittoon dating to this period, which is held within the collection of the Metropolitan Museum of Art in New York. To the underside of the base is an unusual silver mark, a monogram within a shield-shaped cartouche, containing the letters T and R (or R \u0026amp; T). The letters are of European style and superimposed. This is believed to be the retailer’s mark. Unfortunately, we have not been able to identify this as yet, although our research continues.\u003cbr\u003e\u003cbr\u003eThe upper and lower parts of the spittoon are of near identical design save that the lower part is slightly larger than the upper part. There are six panels of ornamentation on each bell, separated by plain silver borders. Whilst the upper cup is open, the lower part has been neatly and carefully ‘closed’ with silver sheet at the base, so that it forms a container to receive the spittle. At the point where the two bells join, an opening in the base of the upper cup funnels deposits into the container below.\u003cbr\u003e\u003cbr\u003eIn Asia, spittoons are usually associated with the chewing of the areca or betel nut. Betel chewing was widespread in Asia and popular in China, South Asia and Southeast Asia for at least 2,000 years. The betel ceremony held an important place in social and formal etiquette including court life. Betel sets comprised an array of objects which were needed to hold the various ingredients and tools used to prepare the betel quid and often included a spittoon. These sets were made in a wide range of materials from simple baskets and wood through to elaborate examples in silver and gold The quality of the betel set announced the owner’s social status with gold sets often reserved for the use of the ruler and court and silver for the next highest strata in society. In some Southeast Asian cultures, contracts, including marriage contracts, were sealed by the two parties partaking in betel.\u003cbr\u003e\u003cbr\u003eThis spittoon differs from most Indian examples in that the bells have been made in the shape of a flower and show strong Chinese influence. Flower shaped wine cups were popular in China during the Kangxi dynasty and cups of this shape are sometimes referred to as magnolia cups. The grape and vine pattern was used in both traditional Indian and Chinese art. In China, the use of grape and vine ornament dates back at least as far as the Tang dynasty (618 – 907 AD) and there are many examples from that time where grapes and vines were used to ornament bronze, gilt bronze and precious metal objects. In Chinese culture, the grape and vine motif symbolises abundance, fecundity and heirs’. It is probable that this spittoon was made in China for the Indian market or possibly by Chinese craftsmen working in India.\u003cbr\u003e\u003cbr\u003eProvenance:- UK art market \u003cbr\u003e\u003cbr\u003eDimensions:- Height 14 cms, Width 12.5 cms\u003cbr\u003e\u003cbr\u003eWeight:- 430 grammes\u003cbr\u003e\u003cbr\u003eReferences:-\u003cbr\u003e\u003cbr\u003eMetropolitan Museum of Art, New York, Accession Number: 19.135.39\u003cbr\u003e\u003cbr\u003eChinese Art, A Guide to Motifs and Visual Imagery, Patricia Bjaaland Welch, Tuttle Publishing, Singapore 2008\u003cbr\u003e\u003cbr\u003eLot 916, Christie’s New York, Fine Chinese Ceramics and Works of Art, 22nd and 23rd March 2018","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":31593124692058,"sku":"JC-SPIT-06783","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique_Chinese_Silver_Spittoon_-_Thookadaan_Peekdaan_-_C1820.jpg?v=1581870603"},{"product_id":"antique-silver-mop-snuff-box-depicting-napoleon-china-1810","title":"Antique Silver \u0026 M.O.P. Snuff Box Depicting Napoleon, China 1810","description":"This very fine silver snuff box features finely engraved and bas-relief mother of pearl panels and is of rectangular shape with canted corners. The decoration has been executed in Canton in the Chinese style, save for the principal carved panel to the lid, which has been copied from a French medallion. This relief plaque features Napoleon Bonaparte in a framed classical scene entitled ‘LE TIROMPHE DE TRAJAN’ (sic), ‘The Triumph of Trajan’ and bears the legend ‘Venit Vidit Vicit’; ‘he came, he saw, he conquered’. It is most likely that the box would have been commissioned in Canton around 1810 by a French sea captain or trader, who would have provided a medallion bearing the design of the principal plaque for the pearl carver to copy. The box would have probably been intended for his personal use or possibly purchased as a gift.\u003cbr\u003e\u003cbr\u003eAt first sight, it is not obvious that the classical scene to the top of the box has been copied from a commemorative die-stamped token issued in Paris on 31stDecember 1805, to celebrate Napoleon’s acceptance of the new title proposed for him by the Tribunat, ‘Napoleon le Grand’ or ‘Napoleon the Great’, on 30th December.\u003cbr\u003e\u003cbr\u003eThis title was offered to Napoleon after his greatest and most important victory of the Napoleonic Wars at the Battle of Austerlitz, (sometimes referred to as ‘The Battle of the Three Emperors’) on 2nd December 1805, when he inflicted a crushing victory over Czar (Tsar) Alexander I of Russia and Holy Roman Emperor, Francis II of Austria.\u003cbr\u003e\u003cbr\u003eNapoleon drew many parallels with ancient Rome in his attempts to legitimize and strengthen his post revolutionary imperial rule and build his personal myth on the journey from republican hero to imperial triumphator. He wished his own French Empire to outshine that of Rome, the greatest empire of ancient times.\u003cbr\u003e\u003cbr\u003eOf all the events held in Rome, processional triumphs were the most magnificent and spectacular pageants in its history and are depicted in great detail in the sculptural scenes on monuments such as Trajan’s Column, Marcus Aurelius’ Column and the Arch of Trajan in Benevento. Many drawings have been made of these, including those by Piranesi, through which the French would have accessed the iconography used in designing the medallion.\u003cbr\u003e\u003cbr\u003eThe Emperor Trajan, identified by Gibbon as one of the ‘Five Good Emperors’, is generally regarded as the best Roman emperor of all. He was a soldier emperor who ruled from 98 AD until his death in 117 AD and his reputation as a good and great Emperor has survived intact. He presided over the greatest military expansion in Roman history, conquering Dacia, Armenia and Mesopotamia and the lands of the empire reached their zenith at the time of his death. Trajan was also known for his justice, philanthropy, extensive public building programme and social welfare reforms. Napoleon hoped to emulate him and ‘borrow’ glory from being identified with this legendary figure.\u003cbr\u003e\u003cbr\u003eThe principal panel depicts Napoleon, dressed in Roman costume, seated in a chariot and holding a sceptre in his left hand. The chariot is pulled by four horses and driven by the winged figure of Victory who is holding the reins with her left hand and has turned towards Napoleon, offering him a frond of palm and a laurel wreath crown with her outstretched right hand. Minerva stands at the back of the chariot holding her shield above the head of the Emperor in a protective gesture. In the sky above, a winged cherub holds an incense burner in his right hand, the smoke wafting towards Napoleon. To the right hand side of the panel is one rayed star, perhaps an oblique reference to the former King Louis XIV being known as Le Roi-Soleil or The Sun King, i.e. the sun’s dynasty has ended and a new star now shines brightly in the sky. Louis XIV had been depicted in similar fashion as an imperial triumphator in his chariot, a popular theme in post renaissance France, which Napoleon resurrected to serve his own purposes. The border has been executed in the Chinese style and engraved with the favourite Tang dynasty design of squirrels with grapes and vine leaves.\u003cbr\u003e\u003cbr\u003eThe sides of the box are decorated with eight bas-relief panels, carved in the Chinese style, with the four larger panels featuring naturalistic landscape designs with trees, plants, buildings, boats, birds and figures and the four smaller panels (at the canted corners) each featuring a single stylized floral motif. To the base of the box is a finely engraved mother of pearl panel in the Chinese style with a vacant circular cartouche with geometric border, surrounded by naturalistic chrysanthemum sprays, the whole within a decorative geometric border. The silver mounts are not marked.\u003cbr\u003e\u003cbr\u003eThis is a rare and fascinatingly complex cross cultural silver and mother of pearl box from the Chinese Qing dynasty period which would have been commissioned by a French sailor or trader in the Port of Canton, made by Chinese silversmiths and pearl carvers and features Napoleon in the guise of Trajan, the Emperor of Rome. A unique object which celebrates the achievements of three of the world’s greatest empires, separated in time by 1,700 years.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e UK art market\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e Height, 2 cms, width 6.5 cms, depth 4.8 cms\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eReferences:-\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eAchille Collas, Tresor de Numismatique et de Glyptique ou Receuil General de Medailles, Monaies, Pierres Gravees, Bas-Reliefs etc. Didier et Cie, Paris 1858, page 137, illustrated page 536\u003cbr\u003e\u003cbr\u003eDiana Rowell, Paris: The ‘New Rome’ of Napoleon I, Bloomsbury Academic, London and New York 2012\u003cbr\u003e\u003cbr\u003eEdward Gibbon, The History of the Decline and Fall of the Roman Empire, W Strahan and T Cadell, London 1776-88","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":31593129377882,"sku":"JC-SNUF-06784","price":3800.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique_Silver_and_MOP_Snuff_Box_Depicting_Napoleon_China_1810.jpg?v=1581892597"},{"product_id":"antique-chinese-straits-silver-coffee-pot-circa-1900","title":"Antique Chinese Straits Silver Coffee Pot - Circa 1900","description":"This stylish antique silver coffee pot is a fantastic example of Straits silverware, fusing elements of Chinese and Malay design. We believe it was made around 1900. Coffee, rather than tea, was the favoured beverage in many Straits homes. This coffee pot is a wonderfully rich amalgam of the Chinese and Malay cultures. \u003cbr\u003e\u003cbr\u003eThe pot is of good size and weight. It has been made with high grade silver and ornamented with great finesse. Some features of the form, such as the chrysanthemum bud finial to the lid, the faux bamboo silver handle and spout and the melon form of the lower part of the pot are wholly Chinese. However, the ornamentation to the cover and lower part of the body are mostly drawn from the Malay, rather than the Chinese, tradition.\u003cbr\u003e\u003cbr\u003eSilversmiths from the native Malay tradition and immigrant silversmiths from the Chinese tradition, co-existed in Malaysia during the late 19th and early 20th centuries. In her introduction to Roth's book, Oriental Silverwork, Malay and Chinese, Sylvia Fraser-Lu states that around 300 Chinese silversmiths were working in Singapore around 1900 and that there were a further 1,300 in Malaysia in 1905. 'Chinese craftsmen ..... were able to reproduce traditional Malay-style objects in flawless craftsmanship'. They were '.... immigrant Chinese silversmiths from Southern China who fashioned a variety of jewellery, bed ornaments, and items for hospitality and ritual used by the prosperous, long-established Malaysian Chinese families.' \u003cbr\u003e\u003cbr\u003eThe craftsmanship is superb and of the highest quality which indicates that this was the work of a master silversmith. The pot features a domed hinged lid topped by a segmented chrysanthemum bud-shaped finial. The silver handle and spout are curvaceous and naturalistic, imitating bamboo; the opening at the mouth of the spout is zoomorphic. Practically, the handle also contains insulators. The body of the pot is tall with a wide straight neck which flares out at the top and bottom giving the pot a ‘low waist’. Overall, the shape resembles a drip filter coffee pot in a style popular in continental Europe during the 19th century. The lower part of the body is melon shaped, a shape also encountered in Chinese silver teapots of similar age. The pot is supported by a plain silver pedestal foot.\u003cbr\u003e\u003cbr\u003eThe lid has been ornamented using repousse and chased techniques. Surrounding the base of the chrysanthemum bud finial is a ruyi border. The dome of the lid is divided into four areas of ornamentation, separated by ribbons of plain silver. Each section contains a naturalistic portrayal of a flowering plant with its foliage; one of the designs features an orchid. The four designs are all different and the background to the designs has been softly hammered. The flat rim of the lid is encircled by a geometric chased border of typical Malay ‘mountain ranges’ ornament.\u003cbr\u003e\u003cbr\u003eThe neck of the vessel has been ornamented with borders to the top and bottom only with no ornament to the centre part. This allows the plain silver ground to contrast with the richly ornamented, darkened, punched and hammered areas. This textural variation adds richness and interest, holding the viewer's attention. There are scalloped edges to the sides of the borders facing the centre of the neck which recall the shape of a Chinese court collar. The background to the repousse borders has been finely punched and darkened. The top border features bats, symbolising good fortune. This ornamentation draws on the Chinese tradition whilst the lower border depicts naturalistic vegetal elements in typical Malay style.\u003cbr\u003e\u003cbr\u003eThere are four principal panels to the lower, bellied, part of the pot. They lie under a geometric meander pattern border which is a traditional Chinese pattern known as Huí Wén and represents rebirth. It has been used in China as far back as the Neolithic period, becoming prominent during the Ming dynasty. A corresponding border of tessellating waves lies underneath the principal panels. \u003cbr\u003e\u003cbr\u003eThe four principal panels are quatrefoil in shape with each panel depicting an artistic arrangement of leafy stems with fruits and seedpods. The fruits and seeds represent a wish that the union would be fruitful and that the couple would be blessed with children. The ground outside the pictures and to the corners, has been softly hammered.\u003cbr\u003e\u003cbr\u003eThis represents a very rare opportunity to purchase an antique Chinese Straits silver coffee pot of great style and superb quality in fantastic original and undamaged condition. The design and execution are superb and there is an admirable play of light, shade, contrast, balance and textural variation which captures the interest and attention of the viewer. \u003cbr\u003e\u003cbr\u003eTo the underside of the base, there are two silver marks, the initials PE and a silver fineness mark of 935, showing the purity of the silver to be higher than sterling at 935\/1000. The style of the silver marks, particularly the fineness mark, suggests that the pot was taken to Europe and assayed, probably in Germany, in the 1920s or 30s\u003cbr\u003e\u003cbr\u003eDimensions:- Height 22.5 cms; Width 21.5 cms\u003cbr\u003e\u003cbr\u003eWeight:- 558 grammes\u003cbr\u003e\u003cbr\u003eProvenance:- \u003cbr\u003e\u003cbr\u003eReferences:-\u003cbr\u003e\u003cbr\u003ePatricia Bjaaland Welch, Chinese Art - A Guide to Motifs and Visual Imagery, Tuttle Publishing, Vermont USA, 2008\u003cbr\u003e\u003cbr\u003eChinese Export Silver 1785-1940, The Definitive Collectors’ Guide, 4th Edition, 2015\u003cbr\u003e\u003cbr\u003eH Ling Roth, Oriental Silverwork, Malay and Chinese with an introduction by Sylvia Fraser-Lu, Oxford University Press, Kuala Lumpur 1993","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":31593133015130,"sku":"JC-COFF-06785","price":1800.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique_Chinese_Straits_Silver_Coffee_Pot.jpg?v=1581897371"},{"product_id":"antique-chinese-gilded-copper-circular-lidded-box-china-17th-century","title":"Antique Chinese Gilded Copper Circular Lidded Box, China – 17th Century","description":"\u003cp\u003eThis delightful antique Chinese gilded copper box has a pull-off cover and the interior has also been richly gilded. Metal testing revealed that around 20% of the metal content of the box is gold. It is likely that this container was made to hold cosmetics, snuff, or possibly incense.  Finely crafted repousse and chased work ornaments the surface of the cover and the side of the box.  The beautifully composed scene is well balanced. It features a gentleman scholar returning home in the springtime. This scene was a favourite and recurring theme of Chinese court and professional painters during the Ming dynasty and is understood to represent a return home after a pleasant spring outing filled with wine and poetry.\u003c\/p\u003e\n\u003cp\u003eThe scene to the cover shows a scholar sitting astride his horse. A servant walks behind his master carrying a bundle. They are approaching a small bridge leading towards a pagoda.  The water underneath the bridge is fast flowing and turbulent, indicating that the river is swollen with melted snow.  It is springtime and the two large cherry trees behind the bridge are in full blossom with birds flying around and perching on their branches.  A fu (foo) dog can be seen in the sky above. Rocks, trees and plants are scattered over the foreground.  The upper part of the side of the box is attached to the cover.  This has been gilded but not ornamented. The lower part of the side of the box forms part of the container and has been ornamented in a similar style to the cover. The inclusion of auspicious emblems, such as fu (foo) dogs, are a design characteristic of works from this period.\u003c\/p\u003e\n\u003cp\u003eScholars were greatly revered and respected within traditional Chinese culture and were in the top echelon of the social hierarchy. The attributes of the ideal scholar derived from Confucian texts and scholars were role models to aspire to.  Great scholars were learned polymaths who could read ancient texts and write with beautiful brush strokes; play music and paint expertly, demonstrating grace and elegance in every aspect. Respect for intellectual ability and academic success was fostered through the Chinese national examination system which was instigated during the Tang dynasty and offered a pathway to upward social mobility for successful candidates.\u003c\/p\u003e\n\u003cp\u003eThe background to the repousse and chased scene on the cover has been extremely finely punched and shows evidence of having been worked in tight concentric circles, emanating from the central point.  The background to the side is very similar but has been worked differently, this time in straight lines which circumnavigate the box.  The box bears no silver marks as was usual at this time.\u003c\/p\u003e\n\u003cp\u003eThe Asian Civilisations Museum in Singapore have an almost identical box to this one within their collection which dates to the 17\u003csup\u003eth\u003c\/sup\u003e century. The Metropolitan Museum of Art in New York have a carved ivory medallion from the Ming dynasty within their collection which also features a similar scene.  This dates to the late 16\u003csup\u003eth\u003c\/sup\u003e\/early 17\u003csup\u003eth\u003c\/sup\u003e century.\u003c\/p\u003e\n\u003cp\u003eThere are striking similarities between the cover of this box and the ornamentation to the panels of a very early silver teapot held within the collection of the Peabody Essex Museum in Salem, Massachusetts. The teapot was made before 1680 in China and bears no Chinese marks but bears London hallmarks for 1682. The similarities are so striking as to raise the question of whether this box was made by the same hand or created within the same workshop. Writing in 2014, Adrien von Ferscht provided a description of the Peabody Essex teapot. ‘The body has six shaped oval panels cast and chased with a scene, three symbolic of spring with a scholar on  horseback with servant behind in search of plum blossom, crossing a bridge within plum blossom, pine and bamboo with a bird above, all on matted ground, and three alternate panels almost identically cast but with pagoda to the left and fu dogs above.’ \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e          \u003c\/strong\u003eUK art market\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e\u003c\/em\u003e                       Height:  2 cms, Width:  7 cms (approx.) \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWeight:                \u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e90 grammes\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eReferences:\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Asian Civilisations Museum, Singapore, accession number 2016-00227\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Metropolitan Museum of Art, New York, collection number 1993.176\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeabody Essex Museum, Salem, Massachusetts, collection number E82766.AB\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdrien von Ferscht @ chinese-export-silver.com  ‘Chinese Export \u003c\/strong\u003e\u003cstrong\u003eSilver: The Longest Tea Party the  World’s Ever Seen Part 1,  \u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003cstrong\u003e中國出口銀器\u003c\/strong\u003e\u003cstrong\u003e: \u003c\/strong\u003e\u003cstrong\u003e有史以來最長的茶具\u003c\/strong\u003e \u003cstrong\u003e之\u003c\/strong\u003e\u003cstrong\u003e一\u003c\/strong\u003e\u003cstrong\u003e, 18\u003csup\u003eth\u003c\/sup\u003e January 2014\u003c\/strong\u003e\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":35372333367446,"sku":"JC-06823","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Chinese-Gilded-Copper-Circular-Lidded-Box-China_17th-Century.jpg?v=1599100656"},{"product_id":"antique-silver-chinese-coffee-pot-straits-circa-1900","title":"Antique Silver Chinese Coffee Pot, Straits - Circa 1900","description":"\u003cp\u003eA large Chinese silver coffee pot with repousse decoration depicting scenes relating to the Japanese occupation of Port Arthur following the Russo Japanese war of 1904-05.\u003c\/p\u003e\n\u003cp\u003eBetween 1894 and 1905 the Japanese Empire was involved in a series of conflicts, firstly with Qing dynasty China and then Russia. An expansionist policy over influence in Korea resulted in the first Sino Japanese conflict from 1894-95 resulting in China’s defeat and Japanese ascendancy in the Korean peninsula. Despite receiving major territorial concessions, Japan was pressured by the European powers to surrender these gains for an increased cash indemnity from Chin.\u003c\/p\u003e\n\u003cp\u003eThe Russian empire was effectively the major beneficiary from these changes, expanding its influence and gaining its own concessions from the Chinese in the Liaodong Peninsular which effectively guarded the sea route to Peking. Increased Russian activity in Korea and Manchuria which were viewed by the Japanese as areas under their influence eventually lead to the Russo Japanese war of 1904-05. The conflict began with a surprise attack by the Japanese navy on the Russian fleet at Port Arthur, a base the Japanese had been forced to renounce. The eventual Japanese victory in 1905 marked a curtailment of Russian ambitions in the area and increased prestige and influence for Japan. Port Arthur itself was taken by the Japanese in January 1905 and they administered it as the city of Ryojun until 1945.\u003c\/p\u003e\n\u003cp\u003eThis fine coffee pot is particularly interesting as it combines traditional decorative motifs with a representation of contemporary events. There are two scenes depicted on the body of the pot. Firstly, we can see a group of soldiers with an officer standing outside a series of barracks. They are identifiable as Japanese soldiers from the style of uniform and the stylised Japanese flag that flies from a flagpole. The scene is given a modern feeling through the depiction of a lamp post and a series of oil silos in the background, contrasting with a depiction of a traditional Chines shrine and hanging lamp.\u003c\/p\u003e\n\u003cp\u003eAn officer and a soldier are to be seen walking from the main group and pointing towards a dog. This second scene shows a Chinese settlement with three figures, a woman, a child and a man carrying a traditional pole with baskets. In the background are traditional junks and a steamship which appears to be flying two Royal Navy ensigns.\u003c\/p\u003e\n\u003cp\u003eThe inclusion of a British Naval vessel suggests that the location of the Japanese troops is Port Arthur. Its location on the Liaodong Peninsular was strategically important as it guarded one of the points that guarded the entrance to the Bohai Sea and Peking beyond. The other point, the Shangdong Peninsular, housed a British Naval base centred on Port Edward that had been leased from the Chinese Empire in 1898.\u003c\/p\u003e\n\u003cp\u003eThe hilly landscape which frames these scenes is interspersed with engraved representations of grass. The front and back are decorated with cherry and palm trees which provide a visual link to the naturalistic handle which is rendered as a bamboo decorated with engraved leaves. Similarly, the spout takes this naturalistic form. The bottom of the pot and the top are engraved with foliage with traditional key design as a border on the base and a stylised cornucopia around the top. The lid continues the theme of foliage engraved in groups with the knob having leaves and foliage engraved like a canopy of greenery.\u003c\/p\u003e\n\u003cp\u003eThe unusual combination of traditional Chinese forms with an image of contemporary relevance suggests the pot was made locally in the Liaodong Peninsular. While illustrating the Japanese occupation of the area there is no implied hostility to the Japanese despite China’s humiliation in the recent conflicts. This would suggest not only a local maker who would be sensitive to displaying any outward hostility but also that it may have been intended for a member of the Japanese forces based in the area. Elements of the design may have been derived from contemporary prints which were widely available and often used by craftsmen as a basis for their work.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: European Art Market\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDimensions:- Height 21.5 cms; Width 23,0 cms\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eWeight:- 904 grammes\u003c\/span\u003e\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42033574248598,"sku":"JC-06987","price":4250.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Antique-Silver-Chinese-Coffee-Pot.jpg?v=1673609745"},{"product_id":"pair-of-chinese-silver-gilt-filigree-goblets-china-mid-18th-century","title":"Pair of Chinese Silver Gilt Filigree Goblets - China, Mid-18th Century","description":"\u003cp\u003eThis stunning and very rare pair of 18th-century silver gilt goblets were fashioned from filigree silver and made functional by the addition of removable silver gilt liners, which they still retain, semi-concealed behind the filigree exterior. They were made in China around the middle of the eighteenth century and would have been destined for the European export market, most probably for France and possibly for a member of the royal household.\u003c\/p\u003e\n\u003cp\u003eOn the side of each goblet is an ogival cartouche, set within the filigree, containing a depiction of a lily flower with six petals and pronounced stamens. Some other examples of flowers or leaves within a filigree panel can be found in 'Silver Wonders from the East', including a close-up photo showing a drawer front from Catherine the Great's Toilet Mirror.\u003c\/p\u003e\n\u003cp\u003eIn France, prior to the revolution, the lily flower was the symbol of French royalty. A heavily stylised lily flower, known as the fleur-de-lis (flower of the lily) was adopted in the 12th century by, either King Louis VI or King Louis VII, when the monarch utilised the fleur-de-lis design on his shield so that his men could readily identify their monarch. The lily flower symbolises perfection, light and life and is also associated with Christianity. The Gospels of Mark and Luke report that Jesus said, \"Consider the lilies, how they grow: they neither toil nor spin, yet I tell you, even Solomon in all his glory was not arrayed like one of these\". In Christian art, a white lily has often been used to symbolise Madonna's purity.\u003c\/p\u003e\n\u003cp\u003eKing Louis XIV of France (1638 – 1715) adored filigree, as did his mother, who bequeathed him her own collection. During his reign, he amassed a collection of 167 gold and 693 silver filigree objects, which he displayed in three rooms at Versailles. Louis was mocked for his obsession by the Comte de Guiche, who cheekily referred to the King as the 'Marquis de Filigrane'. The filigree collections of Lous XIV, Catherine the Great of Russia, helped to popularise filigree throughout Europe and many rulers and aristocrats acquired some filigree items around this time. These were very costly objects which reflected their owner's high status. Fine filigree objects were made in China, India and Batavia and brought back to Europe by merchants, such as those of the East India Company, where they were sold for enormous profits. Later, the filigree was also manufactured in Europe.\u003c\/p\u003e\n\u003cp\u003eLouis XIV was succeeded by his great-grandson, Louis XV (1715 - 1774), who probably added to his predecessor's collection. Unfortunately, the Versailles collection did not survive the French Revolution, when objects would have been destroyed and dispersed. Saule recorded that a large proportion of Louis XIV's collection was of Chinese origin.\u003c\/p\u003e\n\u003cp\u003eThe bowls of the goblets are conical. They are supported by knopped stems emanating from domed feet. The solid silver gilt rim to the top has been incised with a meander border. This ancient Chinese design is known as hui-wen and symbolises rebirth. The rest of the cone is constructed of filigree with a strict repeating design which is sometimes known as the 'overlapping coin' pattern. A pair of rosewater sprinklers of similar date and panels of filigree in the same 'overlapping coin' pattern is illustrated on page 27 of 'Silver Wonders from the East'.\u003c\/p\u003e\n\u003cp\u003eThe filigree of the upper part, which forms the conical bowl, differs in style to the filigree forming the stems and feet, which is a more freestyle tangle of looping and arched threads, curlicues and relaxed spirals within panels delineated by thick flattened wires.\u003c\/p\u003e\n\u003cp\u003eThe feet of the goblets are domed, and the panels of filigree take the form of three rows of concentric petals emanating from the centre point and increasing in size as they approach the edge of the foot, which is finished by a thick double-wire border to the edge.\u003c\/p\u003e\n\u003cp\u003eThe large spherical knop to the centre of the stem facilitates grip and this is echoed by a similar but smaller knop at the base of the stem and another at the top of the stem, which is shaped more like a ring. The two straighter sections of the stem were constructed in panels which were joined together, then rolled to form a cylinder and joined by vertical seams.\u003c\/p\u003e\n\u003cp\u003eThe spherical knops were constructed of petal-shaped panels, which, once joined, became a bowl-shaped 'flower'. One forms the lower hemisphere of the knop and another, a similar 'flower' is inverted and placed over the first before joining the two halves to form the sphere. Many strikingly similar examples of these spheres can be seen in mid-18th-century silver filigree objects. Often, they became the feet of filigree boxes and baskets. A few of these boxes and a rectangular filigree basket with these feet are illustrated in 'Silver Filigree from the East'.\u003c\/p\u003e\n\u003cp\u003eSome of the distinguishing features of the mid-18th century Chinese silver filigree can be seen in these goblets:-\u003c\/p\u003e\n\u003cp\u003eThe filigree has been constructed from wires of different gauges, some of which have been twisted, others flattened, with the remainder retaining their original round profile. Also, various panels worked in different filigree styles are usually found within the same object. \u003cbr\u003e\u003cbr\u003eProvenance: European Art Market\u003cbr\u003eDimensions:- Height 13.3 cms; Width 6.5 cms \u003cbr\u003eWeight:- 280 grammes \u003cbr\u003e \u003cbr\u003eReferences:- \u003cbr\u003eB Saule, Cabinet des Filigranes, Versailles (unpublished) \u003cbr\u003eMaria Menshikova et al, Silver Wonders from the East; Filigree of the Tsars, Hermitage Amsterdam, 27 April-17 September 2006. \u003cbr\u003eThe Bible\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42408331706518,"sku":"JC-SILV-07116","price":11750.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/products\/Pair-of-Chinese-Silver-Gilt-Filigree-Goblets-China-Mid-18th-Century.jpg?v=1673442626"},{"product_id":"antique-chinese-straits-silver-repousse-cylindrical-lidded-box-mid-nineteenth-century","title":"Antique Chinese Straits silver repousse cylindrical lidded box, mid-nineteenth century","description":"\u003cp\u003eA fine mid-nineteenth century Chinese Straits silver repousse cylindrical lidded box with makers mark to base.\u003cbr data-mce-fragment=\"1\"\u003eThis sumptuously decorated box demonstrates the exceptional quality of workmanship that existed within the Peranakan communities. Chinese migration to the Malay Archipelago began as early as the 10th century and increased tremendously during the 15th to 17th centuries following the Ming empires reopening of Chinese-Malay trade relations. During the 19th century the expansion of British colonial rule in the area encouraged the already vibrant trade and helped to cement the pivotal role of Singapore in the area’s economic development.\u003cbr data-mce-fragment=\"1\"\u003eThe communities that developed from the integration of the Chinese migrants with the local population retained much of their cultural heritage and traditions from the mainland. These cultural links are evident in the art produced and traded throughout the area often illustrating historical and quasi legendary events, and this box is a perfect example of this continuation of tradition and heritage.\u003cbr data-mce-fragment=\"1\"\u003eThe box is of a form which is also found in lacquer and jade, the abundance of decoration is typical of luxury items that often convey several messages relating to long standing traditions and beliefs. The lavish floral decoration on the lid incorporates flowering peonies, emblematic of wealth and prosperity and chrysanthemums which embody joy and peace. Entwined within these flowers are items reinforcing these themes, notably the gourd and a fan. Along with these items we find items of martial virtue, a sword, a quiver of arrows and crossed maces along with a traditional ancestor tablet. This is encircled with more lavish vegetal decoration inhabited by birds and beasts. The rim of the lid has a continuous frieze of vine leaves with bunches of grapes which reinforces the themes we see on the lid of wealth and fertility.\u003cbr data-mce-fragment=\"1\"\u003eThe main body of the box continues the theme of lush vegetation which provides the background to the figures portrayed in the act of battle. The figures are identified with banners and represent figures from both historical and legendary China. The main protagonist is Di Qing, a famous warrior of the Song dynasty in the 11th century. Renowned for his martial exploits, he would don a bronze mask and let his hair flow freely during battle as shown here. His legendary pursuits formed the centrepiece of three Qing dynasty novels collectively known as the Romance of Di Qing, these works were developed into traditional Chinese Opera which naturally helped to spread the tales. Various versions of these stories were produced over the years, in the scene shown here along with Din Qing we have a figure identified as Shuang Yang ‘The Rebel Princess’ who is here married to Di Qing. The stories were also reproduced in wood block prints during the 19th century, one famously showing Di Qing and fellow generals in battle. \u003cbr data-mce-fragment=\"1\"\u003eAlong with the battling figures we see various actual and legendary animals inhabiting the landscape. The most important being a Dragon symbolising the Sun and a Phoenix the Moon. These represent the masculine and feminine, the Emperor and Empress, good luck, strength and health. There are also deer and cranes which are both auspicious animals. Along with the figures taking part in the battle two figures stand out apart from the main groups. These appear from their attributes and mounts to be two immortals, probably He Xiangu mounted on a deer and Cao Guojiu on a lion.\u003cbr data-mce-fragment=\"1\"\u003eThe large scale, sumptuous decoration and use of precious metal would indicate this was a luxury item intended for display rather than use. The quality of workmanship is exceptional, a suitably beautiful addition to any collection.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA 19th century wood block depiction of the Opera battle scene involving Di Qing and the Northern Song generals.\u003c\/p\u003e\n\u003cp\u003eWeight: 1350 grams\u003c\/p\u003e\n\u003cp\u003eH: 10.5cm W:19.5cm\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42738288328854,"sku":"JC-CYLI-07135","price":11950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_1-41_1.jpg?v=1693833060"},{"product_id":"antique-chinese-silver-covered-wine-jug-chrysanthemums-wh-90-china-or-hong-kong-circa-1900","title":"Antique Chinese Silver Covered Wine Jug, Chrysanthemums, WH 90, China or Hong Kong, Circa 1900","description":"\u003cp\u003eAntique Chinese Silver Covered Wine Jug, Chrysanthemums, WH 90, China or Hong Kong, Circa 1900 \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis charming and unusual antique Chinese silver wine jug has a body of ovoid shape with a long neck, hinged lid and faux bamboo cast silver handle. The body is supported by a short knopped stem over a pedestal foot. The top surface of the foot has been ornamented with chased floral and foliate elements, including bamboo. The cover, or lid, is domed and ornamented with chased veining to the top surface, suggesting a leaf, probably a lotus leaf. \u003cbr data-mce-fragment=\"1\"\u003eThe form is that of a European claret jug with some elements suggestive of those produced around the end of the nineteenth century and made by members of the British arts and crafts movement, but the ornamentation is wholly within the Chinese tradition.\u003cbr data-mce-fragment=\"1\"\u003eTo the body, repousse and chased ornamentation depicts elements of the chrysanthemum plant, a perennial favourite, and a lone bird in the sky above. Curving stems with buds, leaves and fully opened chrysanthemum flowers have been well rendered in a very realistic way. \u003cbr data-mce-fragment=\"1\"\u003eTo the side of the pedestal foot, there are three marks: 90 denoting the silver fineness of 900\/1000, the letters WH, denoting the retailer was Wang Hing and the artisan’s mark is written in Chinese characters.\u003cbr data-mce-fragment=\"1\"\u003eWang Hing was owned by the Lo family and were in business from around 1854 – 1941. They started in Canton, but by 1900 were also trading in Hong Kong and Shanghai. They sold silver and other luxury goods, including jade and silks. They are acknowledged as the most prolific retailer of Chinese Silver wares. They retailed a wide variety of high-quality stylish silver items and were commissioned to make many silver presentation pieces.\u003c\/p\u003e\n\u003cp\u003eH:17.5cm W:10.5cm\u003c\/p\u003e\n\u003cp\u003eWeight: 296 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42738437292182,"sku":"JC-CHIN-07142","price":1.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_2-111_1.jpg?v=1693843108"},{"product_id":"antique-chinese-silver-loving-cup-vase-kylins-dragons-luen-hing-shanghai-circa-1900","title":"Antique Chinese Silver Loving Cup\/Vase, Kylins \u0026 Dragons, Luen Hing, Shanghai circa 1900","description":"\u003cp\u003eAntique Chinese Silver Loving Cup\/Vase, Kylins \u0026amp; Dragons, Luen Hing, Shanghai circa 1900\u003cbr data-mce-fragment=\"1\"\u003eA splendid and fantastical Chinese silver cup with ornamented panels of repousse and chased work and fine sculptural elements. The cup is supported on three cast and chased silver feet, in the form of chiwen heads, which have been finely modelled and wonderfully detailed. The three oversized cast silver handles take the form of sinuous and characterful dragons. The figures have been finely modelled and superbly chased, with a high level of detail. The dragons appear to be peering over the rim of the cup and they are beautifully rendered and finely detailed, bringing a smile to my face.\u003cbr data-mce-fragment=\"1\"\u003eThe style of this vessel has been influenced by European design, where three-handled cups had a long tradition and were known as TYG. They were extremely popular in the nineteenth century and commonly known as ‘loving cups’ but the ornamentation is entirely in the Chinese tradition. It would function equally well as a posy vase.\u003cbr data-mce-fragment=\"1\"\u003eThere are nine repousse and chased panels to the lower part of the body of the cup featuring ani assortment of flowering plants, flowering trees, and grasses.\u003cbr data-mce-fragment=\"1\"\u003eClear well-struck marks to the underside of the base are in three cartouches, firstly, the letters LH, denoting Luen Hing of Shanghai, a notable retailer of luxury goods - predominantly silver - who traded from about 1880 to 1920 and catered for the burgeoning affluent and stylish Chinese middle class and members of the foreign - mainly European - community, living and working in Shanghai. The second cartouche contains the numbers 95, indicating a silver fineness of 950\/1000 (higher than sterling) and the third cartouche contains Chinese characters, which are probably the mark of the artisan or silversmith.\u003cbr data-mce-fragment=\"1\"\u003eA very interesting and unusual Chinese silver cup with superbly detailed and characterful sculptural elements.\u003c\/p\u003e\n\u003cp\u003eW:15cm H:15cm\u003c\/p\u003e\n\u003cp\u003eWeight: 514 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42738446729366,"sku":"JC-CHIN-07143","price":3350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_2-127_1.jpg?v=1693845256"},{"product_id":"antique-chinese-silver-vase-classic-meiping-shape-repousse-chased-scenic-panels-c-1900","title":"Antique Chinese Silver Vase,  Classic Meiping Shape,  Repousse \u0026 Chased Scenic Panels, c. 1900","description":"\u003cp\u003eAntique Chinese Silver Vase, Classic Meiping Shape, Repousse \u0026amp; Chased Scenic Panels, c.1900\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis lovely Chinese silver vase is of the classic meiping shape and was meant to hold a single branch of plum tree blossoms. The meiping was especially popular during the Song (960–1279) and Ming (1368–1644) periods. The meiping was a tall vase, often of celadon, made to convey certain characteristics of an idealised female form, i.e. a small mouth, a short, narrow neck, a plump bosom and a concave belly. There are two stamped marks to the side of the foot, one in Chinese characters and the other comprising English letters as is frequently the case with Chinese silver articles. The retailer has not been identified. \u003cbr data-mce-fragment=\"1\"\u003eThe vase has a plain silver neck which is balanced by the plain silver border around the pedestal foot. Running down from the nape of the ‘neck’ to the top of the pedestal foot, the area has been divided into four vertical panels separated by plain silver borders. One panel contains a circular cartouche which is unused and vacant. These panels have been ornamented using repousse and chased techniques. The ornamentation is very artistic, the natural elements have been handled with great sensitivity by the craftsman, who is clearly very experienced. One panel shows a bird perched on the stem of a chrysanthemum plant, another a pair of birds, possibly magpies, flying down and towards a stand of bamboo. A third scene shows a garden with a weeping tree. A woman looks down from a window inside the building, watching as a man approaches the tree and fence. On the other side of the fence, a kneeling woman is either cooking or burning incense in a small cauldron. Clouds of smoke or steam emanate from the cauldron.\u003cbr data-mce-fragment=\"1\"\u003eA very charming vase in excellent condition with all elements of the repousse and chased ornamentation very crisp and well defined.\u003c\/p\u003e\n\u003cp\u003eH: 20.3cm W: 8.5cm\u003c\/p\u003e\n\u003cp\u003eWeight: 298 gram\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42749418373270,"sku":"JC-CHIN-07145","price":1850.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_2-145_1.jpg?v=1694771956"},{"product_id":"antique-chinese-silver-teapot-with-decorative-repousse-panels-and-bamboo-elements-c-1890","title":"Antique Chinese Silver Teapot with decorative repousse panels and bamboo elements c.1890","description":"\u003cp\u003eAntique Chinese Silver Teapot with decorative repousse panels and bamboo elements c.1890\u003cbr data-mce-fragment=\"1\"\u003eThis large and attractive pumpkin shaped teapot has been finely ornamented in the high Chinese style using repousse and chased techniques. It is a whimsical and uplifting example which features an elegant bird’s beak spout and naturalistic cast bamboo form insulated handles with the knob of the hinged lid, in similar style. There are Chinese marks to the underside of the base.\u003cbr data-mce-fragment=\"1\"\u003eTo the top of the pot, surrounding the lid, is a trompe l’oeil circlet of bamboo which complements the repousse and chased bamboo stems and leaves ornamenting the lid. Surrounding the base of the knob to the lid, an additional ring of hand cut and chased silver bamboo leaves sits over the chased lid, adding textural interest, heightening the realism and accentuating the faux bamboo elements of the composition.\u003cbr data-mce-fragment=\"1\"\u003eAround the body of the pot are six large scenic panels executed in repousse and chased techniques bordered with fine trellis above and below. Each scenic panel has been applied to a segment of the pumpkin. The panels are framed by plain silver borders which define the clefts of the pumpkin. \u003cbr data-mce-fragment=\"1\"\u003eThe scenes are all ornamented in a naturalistic style and the subjects include birds in specimen trees, mythical animals in the heavens and humans in the grounds of a domestic dwelling. The scenes include a man and a woman relaxing in a garden setting, a dragon amongst the clouds, a bird amongst plum blossom and a crane in a pine tree. The scenes suggest that this fine tea pot can be used, and its contents enjoyed, throughout the year, whatever the season.\u003cbr data-mce-fragment=\"1\"\u003eThe craftsmanship is very good throughout as is the condition. A lovely and very good sized example of a late 19th century Chinese silver teapot.\u003c\/p\u003e\n\u003cp\u003eH:14cm W:23cm\u003c\/p\u003e\n\u003cp\u003eWeight: 492 gram\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42749426335894,"sku":"JC-CHIN-07147","price":1800.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_2-95_1.jpg?v=1694773181"},{"product_id":"antique-chinese-silver-parcel-gilt-bowl-medallions-chaozhou-chao-zhou-潮州-china-late-19th-century","title":"Antique Chinese Silver \u0026 Parcel-Gilt Bowl, Medallions  -  Chaozhou, (Chao Zhou) ( 潮州), China, late 19th Century","description":"\u003cp\u003eAntique Chinese Silver \u0026amp; Parcel-Gilt Bowl, Medallions - Chaozhou, (Chao Zhou) ( 潮州), China, late 19th Century\u003cbr data-mce-fragment=\"1\"\u003eThis unusual and extremely stylish Chinese silver and parcel-gilt pedestal bowl would grace any silver collection. The bowl is covered in auspicious and felicitous symbols, inside and out. It was made in Chao Zhou, China, in the last quarter of the nineteenth century, possibly for export to the South-East Asian market. \u003cbr data-mce-fragment=\"1\"\u003eThe whole of the exterior surface of the bowl, excluding the underside of the base, is covered in ornamentation. The design is very bold and extremely confident, with a sense of the dramatic and it has been executed superbly. It is very unusual to find parcel gilt Chinese silver from this period. The design has been inspired by porcelain from the Ming dynasty.\u003cbr data-mce-fragment=\"1\"\u003eTo the interior surface, around the base of the well, is a pleasing depiction of a plum tree bearing blossom and fruit, together with bamboo. When bamboo and plum are featured together, they represent marriage and the hope that the union proves fruitful. The bamboo leaves have been carefully arranged to form the Chinese character for long life. The bowl was almost certainly commissioned to celebrate a marriage and to wish all good things including long life and many children to the newly married couple. \u003cbr data-mce-fragment=\"1\"\u003eTo the underside of the bowl are clear Chinese character marks. We understand they state the name of the retailer, Huang Gan Xiang, and the city of manufacture, Chaozhou, a large and historic city in the Guangdong province of China. \u003cbr data-mce-fragment=\"1\"\u003eAround ten million of Chaozhou’s population speak the Teochow dialect rather than Mandarin. Teochow people form the largest ethnic Chinese group living in Thailand and Cambodia and the second largest Chinese ethnic group living in Singapore. There are around two and a half million Teochow people living overseas, mainly in South-East Asia. This raises the possibility that the bowl was not made for the home market but for export, probably to Thailand. As a result of their common language, the Teochow people of Chaozhou enjoyed excellent trading relationships with their counterparts overseas, particularly those living in South-East Asia, in the countries bordering the historic Maritime Silk Road.\u003cbr data-mce-fragment=\"1\"\u003eThe bowl stands on a conical pedestal foot of plain silver. This is balanced by the outwardly flaring conical rim to the top of the bowl. Immediately under the rim lies a border worked in repousse and chased techniques, showing bats flying amongst the clouds. Clouds are considered lucky as they bring the rain to water the crops, which ensures a good harvest. In combination with bats, they symbolise an even stronger wish for good luck and good fortune. The background of the panels has been finely punched and the high relief areas have been gilded as have the narrow gilt wire borders which frame the borders and panels. \u003cbr data-mce-fragment=\"1\"\u003eThe border to the base of the bowl contains four large sunflower heads linked by arching foliate branches or vines, one marking each quadrant. These have been created using repousse and chasing and have been gilded, providing a strong contrast to the finely punched, silver background. Whilst the sunflower heads are still attached to the plant, they always turn to face the sun, constantly adjusting their position and tracking the sun as it moves across the sky. In Chinese art, the sunflower symbolises longevity, good fortune, vitality, intelligence, happiness and faithfulness. This border is also finished by narrow gilt silver borders to the upper and lower edges, echoing the style of the upper border and providing balance and harmony.\u003cbr data-mce-fragment=\"1\"\u003eTo the centre of the bowl, are four large medallions or tondos, depicting charming vignettes of courtship and young love, one placed at each quadrant. The medallions stretch from the upper to the lower borders and have been slightly cropped at the tops and bottoms so that the central area of the panels can be at a larger scale. The scenes have been superbly executed using repousse, chasing and engraving techniques and are finely detailed. The areas of high relief have been gilded and each medallion is encircled by a simple raised wire frame, which has also been gilded.\u003cbr data-mce-fragment=\"1\"\u003eThe four scenes of the medallions depict courtship:- \u003cbr data-mce-fragment=\"1\"\u003eThe suitor has arrived at the bridge near to the family home and is being greeted by the girl’s father. \u003cbr data-mce-fragment=\"1\"\u003eThe family and the suitor relax together in the garden, enjoying a board game, thought to be Go. \u003cbr data-mce-fragment=\"1\"\u003eThe suitor and the young lady are alone in a quiet area of the garden. The suitor is removing a scroll, probably a love poem, from his sleeve and presenting it to the lady. \u003cbr data-mce-fragment=\"1\"\u003eThe departure of the suitor on horseback. Mother and daughter are seeing him off after he has partaken of refreshments before his journey. The daughter bows her head deferentially and holds the bowls which contained the refreshment.\u003cbr data-mce-fragment=\"1\"\u003eThe background between the medallions has been finely engraved with a strong repeating diamond shaped geometric double trellis or lattice, with each of the diamond shaped spaces between the struts containing an identical symbol; a swastika or sv-asti, meaning ‘so be it’ in Sanskrit. The sv-asti have this Buddhist meaning but also a secular meaning. The ground of the swastika motives has been finely punched and this surface treatment defines the symbols whilst creating a subtle but very effective tonal contrast to the reflective plain silver surrounding them. The punched surface also provides textural variation. This clever backdrop provides interest whilst allowing the roundels to dominate the space and draw the eye.\u003cbr data-mce-fragment=\"1\"\u003eIn Buddhist paintings the swastika symbolises the heart of The Buddha. This ancient Indian motif is regarded as a good luck symbol there but in China, is more associated with a wish for long life, representing the endless turning of the wheel of life through multiple reincarnations. This motif’s four-fold symmetry softly echoes the four roundels around the centre of the bowl and the four sunflowers around the lower border.\u003cbr data-mce-fragment=\"1\"\u003eRegarding the background, it is exceedingly difficult to execute such a strong and large linear grid on a curving surface. It requires meticulous planning and absolute precision, with numerous small adjustments along the way to compensate for the curvature of the surface.\u003c\/p\u003e\n\u003cp\u003eH:8.6cm W:17.4cm\u003c\/p\u003e\n\u003cp\u003eWeight: 982 Grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42749459923094,"sku":"JC-CHIN-07149","price":18500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_2-638_1.jpg?v=1694776663"},{"product_id":"antique-chinese-silver-circular-lidded-box-china-late-17th-century","title":"Antique Chinese Silver Circular Lidded Box, China – Late 17th Century","description":"\u003cp\u003eAntique Chinese Silver Circular Lidded Box, China – Late 17th Century\u003cbr data-mce-fragment=\"1\"\u003eThis rare seventeenth century Chinese silver box has a pull-off cover and the surface of the cover and the lower part of the side of the box have been finely ornamented using repousse and chased techniques. The beautifully balanced scene to the cover is in the Chinese tradition; a gentleman scholar is returning home with his servant and the season is spring. This scene was a favourite and recurring theme of Chinese court and professional painters during the Ming dynasty. It is understood to represent a scholar returning home following a spring outing after he had enjoying a pleasant day filled with wine and poetry. \u003cbr data-mce-fragment=\"1\"\u003eThe scene shows a scholar sitting astride his horse. Horse and rider are approaching a small bridge under which is a fishing platform. The water underneath the bridge is fast flowing and turbulent, indicating that the river is swollen with melted snow. A servant walks behind his master carrying a bundle. It is springtime and the cherry trees near the bridge are in full blossom with birds flying around them and perching amongst their branches. A small boat with sail can be seen to the lower right. A weeping willow, or tree of similar pendulous habit, occupies the central foreground with occasional rocks, plants and bushes scattered over the ground. \u003cbr data-mce-fragment=\"1\"\u003eThe upper part of the side of the box is formed from the side of the cover. This, approximately top third of the side, is concave in section, to facilitate grip. It has not been ornamented save for a thin incised linear border to top and bottom. The lower part of the side of the box is formed from the side of the container. This has been ornamented in similar style to the top of the lid using repousse and chased techniques. It features a pagoda, birds and blossoms amongst other motifs. \u003cbr data-mce-fragment=\"1\"\u003eThe background to the repousse and chased scene on the cover has been finely punched and shows evidence of having been worked in tight concentric circles, emanating from the central point. The background to the side is very similar but has been worked differently, this time in straight lines which circumnavigate the box. Similar small boxes in gilded copper are known and feature in various museum collections including those of the Asian Civilisations Museum, Singapore, and the Museum of Fine Arts in Boston. Within the collection of the Met Museum is a Chinese carved medallion featuring a similar scene and dating to the late 16th or early 17th century.\u003c\/p\u003e\n\u003cp\u003eHeight:1.8cms Width :4.8cms\u003c\/p\u003e\n\u003cp\u003eWeight: 56 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":42749472440470,"sku":"JC-CHIN-07150","price":1.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Yossi_Antiques_Shoot_1-317_1.jpg?v=1694778856"},{"product_id":"a-fine-and-rare-set-of-mid-nineteenth-century-chinese-export-silver-gilt-filigree-tea-glass-holders-by-the-maker-known-as-gothic-k","title":"A fine and rare set of mid nineteenth century Chinese Export silver gilt filigree tea glass holders by the maker known as ‘Gothic K’.","description":"\u003cp\u003eA fine and rare set of mid nineteenth century Chinese Export silver gilt filigree tea glass holders by the maker known as ‘Gothic K’.\u003c\/p\u003e\n\u003cp\u003eDesigned as a lush forest incorporating trees, flowers and foliage the handles of restrained rococo design with foliate detail. The forest is inhabited with butterflies and exotic birds, probably representing the legendary Phoenix which has a special importance in Chinese culture as a symbol of harmony, prosperity and virtue.\u003c\/p\u003e\n\u003cp\u003eThese cup holders display the high quality of filigree work for which China was long famed and which was avidly collected in Europe.\u003c\/p\u003e\n\u003cp\u003eDuring the late 18th and early 19th century much export silver had been primarily copies of western models. This gradually changed as taste in Europe was increasingly looking for the exotic and therefore more specifically Chinese decoration began to appear on items intended for the European market. Objects that were unknown in China were therefore copied and decorated with Chinese motifs and designs and these tea glass holders are fine examples of this shift.\u003c\/p\u003e\n\u003cp\u003eThe use of tea glasses was particularly popular in Russia and other Slavic countries from the late18th century as tea consumption increased. The podstakannik is the traditional method of holding tea glasses, from simple metal cases with a handle they quickly developed from simple utensils to works of art. Examples for the elite and aristocracy were of silver and were later often adorned with enamel.\u003c\/p\u003e\n\u003cp\u003eFiligree was also particularly popular in Russia and indeed the Hermitage holds one of the most extensive collections of Chinese 17th and 18th century examples in the world. These tea glass holders are a wonderful example of exoticism and opulence that would appeal most especially to such an audience in the mid-19th century.\u003c\/p\u003e\n\u003cp\u003eThe maker of these cups is identified by their use of a Gothic ‘K’ as a mark. While no name can be attached to them, it appears they were active in Canton from 1825-1875 and produced wares largely western in form for export.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHeight: 8cm\u003c\/p\u003e\n\u003cp\u003eWidth: 11cm\u003c\/p\u003e\n\u003cp\u003eWeight:  551grams\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":44132934975638,"sku":"JC-SILV-07190","price":4950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/DSC_1169.jpg?v=1727450245"},{"product_id":"an-early-19th-century-chinese-export-silver-visiting-card-case-with-erroneous-london-hallmarks","title":"An early 19th century Chinese Export silver visiting card case with erroneous London Hallmarks.","description":"\u003cp\u003eAn early 19th century Chinese Export silver visiting card case with erroneous London Hallmarks.\u003c\/p\u003e\n\u003cp\u003eVisiting cards became popular in the late Georgian and Regency periods and became an indispensable article for members of the gentry or aristocracy, developing a whole etiquette of their own. Naturally cases were required for the cards and examples were produced in various materials from gold, silver and agate to tortoiseshell, mother-of-pearl, ivory, lacquered papier-mache and leather, as well as a diversity of decorative woods.\u003c\/p\u003e\n\u003cp\u003eFrom relatively plain origins the cases became increasingly elaborate through the 19th century reflecting changing tastes and the affluence of society in general.\u003c\/p\u003e\n\u003cp\u003eThis example is interesting in that it ably demonstrates the demand for exotic decoration as well as the changing nature of Chinese Export silver during this period.\u003c\/p\u003e\n\u003cp\u003eThe case is decorated on all sides with traditional Chinese scenes of court ladies and officials at ease in landscapes with traditional buildings, trees and plants. The ladies wear elaborate dresses with ornamental head pieces and fans and are attended by servants bringing nourishment while the officials are engaged in conversation with attendants nearby.\u003c\/p\u003e\n\u003cp\u003eSuch card cases were not known in China before the wider trade with the West brought increasing numbers of western articles into the orbit of artisans in China and the Straights where trade had increased steadily as the various European powers encroached on the area. From copying western articles closely for export, the demand for more exotic articles and decoration increased from European traders and the trend to produce items decorated in a more traditional Chinese way rose to meet the demand.\u003c\/p\u003e\n\u003cp\u003eInterestingly, although this card case is decorated with traditional Chinese scenes, the original, probably plain model, has been copied in shape and form along with the original hallmarks. The transposing of hallmarks was a feature of early Chinese Export silver where copying as precisely as possible the European artifact was desirable, and as there was no history of hallmarking they simply also copied the marks.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHeight: 8.5cm\u003c\/p\u003e\n\u003cp\u003eWidth: 5.4cm\u003c\/p\u003e\n\u003cp\u003eDepth: 1cm\u003c\/p\u003e\n\u003cp\u003eWeight: 46 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":44240884760726,"sku":"JC-ANE-07191","price":1600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/DSC_1604RESIZED.jpg?v=1731939351"},{"product_id":"straits-chinese-silver-teapot-19th-century-1870-1910-circa-canton-mark-of-da-xing","title":"Straits Chinese Silver teapot, 19th century (1870-1910 circa), Canton, mark of Da Xing","description":"\u003cp\u003eStraits Chinese Silver teapot, 19th century (1870-1910 circa), Canton, mark of Da Xing\u003cbr\u003eThis beautiful solid silver Straits Chinese teapot, produced for Chinese export in the 19th century, is\u003cbr\u003edecorated with floral patterns, branches, blooms and bamboo. The Straits Settlements were British\u003cbr\u003ecolonial territories of settlements around British Malaya.\u003cbr\u003e1\u003cbr\u003e‘Straits Chinese’ were Chinese born migrants in\u003cbr\u003eSoutheast Asia, maintaining unique cultures which distinguished them from the indigenous population.\u003cbr\u003eThese communities settled in Singapore, Philippines, Indonesia and Malaysia, establishing themselves in\u003cbr\u003ethese lands predominantly in the 19th century.\u003cbr\u003e2 While Chinese tea aficionados typically preferred to not\u003cbr\u003euse silver, as freshly brewed tea in silver remained too hot to drink and the handle uncomfortable to hold.\u003cbr\u003eHowever, the Mongolian custom was to demonstrate wealth and prestige through silver and gold and the\u003cbr\u003eStraits Chinese, who were predominately merchants and traders, enjoyed this manner of consumption and\u003cbr\u003eluxury. However, the silver teapots and artefacts they preferred were small and delicate.\u003cbr\u003e3\u003cbr\u003eFeatured around the teapot are groups of figures, one group surrounded by bamboo and tree trunks while\u003cbr\u003ethe other figures are surrounded by flowers with a large butterfly close above them. This tea pot closely\u003cbr\u003eresembles other similar silver tea sets which were produced for export, melding European designs with\u003cbr\u003eChinese. This genre is known as Chinoiserie. Bamboo, Chinese figures, scenes and symbols are featured\u003cbr\u003ealongside what many perceive as European patterns and style,\u003cbr\u003e4\u003cbr\u003ethe meander or ‘Greek key’ design, which\u003cbr\u003eis in several places around the teapot. However, this design, in addition to Classical antiquity, can be\u003cbr\u003efound in ancient China, described as a huiwen 回紋.\u003cbr\u003e5 Therefore, it is plausible that this design would have\u003cbr\u003eappealed to Straits Chinese and Western clients.\u003cbr\u003e6 Chinese teapots, irrespective of whether they were\u003cbr\u003eproduced silver, gold, enamel, porcelain or pottery, are typically low and round, generally resembling a\u003cbr\u003e6 Arkell.\u003cbr\u003e5 Jeong-Hee Lee-Kalisch, ‘The Transmission of Ornaments in Buddhist Art: On the\u003cbr\u003eMeander of Huiwen’, Hualin International Journal of Buddhist Studies, 1.2 (2018):\u003cbr\u003e111-130 (p. 112).\u003cbr\u003e4 Roland Arkell, ‘Chinese Export Silver,Silver Linings’, Asian Art, Antiques Trade Gazette\u003cbr\u003e(2019) \u0026lt;https:\/\/chinesesilver.com\/wp-content\/uploads\/AAS-2019-chinese-export.pdf\u0026gt;\u003cbr\u003e[accessed 19 June 2025].\u003cbr\u003e3 HoWing Meng, Straits Chinese Silver, A Collector’s Guide (Singapore: Times Books\u003cbr\u003eInternational, 1984), pp. 149-150.\u003cbr\u003e2 Mark Ravinder Frost, ‘Transactional Diaspora: The Straits Chinese in Singapore,\u003cbr\u003e1819-1918’, Asia Research Institute, ARI Working Paper, No. 10 (2003) 1-44 (pp. 1-2).\u003cbr\u003e1 David Newman, ‘British Colonial Censorship Regimes: Hong Kong, Straits\u003cbr\u003eSettlements, and Shanghai International Settlement 1916-1941’, Silencing Cinema: Film\u003cbr\u003eCensorship Around the World, ed.by Daniel Biltereyst \u0026amp; Roel Vande Winkel (2013)\u003cbr\u003e167-191 (p. 168).\u003cbr\u003epear or are of a compressed globular form. Furthermore, diminutive tea pots were considered refined and\u003cbr\u003etasteful by Straits Chinese\u003cbr\u003e7\u003cbr\u003eOn the teapot’s base is 大興 which is the Maker’s Mark of Da Xing. A silver salver, by Da Xing,\u003cbr\u003ewho is estimated to have been active between 1870-1910 , was sold in Christie’s in 2014.8 Da\u003cbr\u003eXing, like other Chinese silversmiths, created imaginative variations on functional Western\u003cbr\u003eartefacts while embellishing them with traditional Chinese motifs. Da Xing made silver\u003cbr\u003eespecially for export to Southeast Asia,9\u003cbr\u003etherefore part of his workshop would have catered for\u003cbr\u003ethe Straits Chinese market.\u003cbr\u003eThis beautiful teapot, with its floral motifs, depictions of archetypal Chinese imagery such as\u003cbr\u003ebamboo, bridges constructed from branches, a butterfly and figures in Chinese clothing, alludes\u003cbr\u003eto when commerce between two differing cultures created objects and genres anew through their\u003cbr\u003efusion. Attested to by its Maker’s Mark, this is an expertly crafted silver teapot produced by Da\u003cbr\u003eXing who demonstrated an acute awareness of what would appeal to his own, Strait Chinese as\u003cbr\u003ewell as Western cultures.\u003c\/p\u003e\n\u003cp\u003eMeasurements:\u003c\/p\u003e\n\u003cp\u003eLength: 15.5 cm\u003c\/p\u003e\n\u003cp\u003eWidth:10 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 284 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":45175220371606,"sku":"JC-STRA-07194","price":1700.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/thumbnail_DSC_2840.jpg?v=1751636482"},{"product_id":"straits-chinese-solid-silver-wine-ewer-19th-century","title":"Straits Chinese Solid Silver Wine Ewer, 19th century","description":"\u003cp\u003eStraits Chinese Solid Silver Wine Ewer, 19th century\u003cbr\u003eDecorated with elaborate and fantastical imagery, this remarkable solid silver wine ewer is an excellent example of a type of object which were rarely encountered outside of the homes of wealthy Straits born Chinese families.1 The Straits Settlements were British colonial territories of settlements around British Malaya.2\u003cbr\u003e‘Straits Chinese’ were Chinese born migrants based in\u003cbr\u003eSoutheast Asia, maintaining unique cultures which distinguished them from the indigenouspopulation. These communities settled in Singapore, Philippines, Indonesia and Malaysia, establishing themselves in these lands predominantly in the 19th century.\u003cbr\u003e3 Numerous figures, trees, temples, nāgas, a lion, branches, trees and blossoms decorate this intricate work in silver. Atop the lid of the ewer is a lion finial. Notable examples of Straits Chinese wine ewers have lion finials on the top of their lids.4 Lions are important symbols within Buddhism, with the lion established in early Buddhism as a symbol of Shakyamuni Buddha. 5 6 As a symbol of his\u003cbr\u003esovereignty, the Buddah’s throne is supported by eight lions. The lion on the lid of this ewer has a circular shape under its front paw. A Chinese legend recounts that lionesses lactate through their paws and that by passing hollow balls for their young to play with, the cubs could extract milk.7\u003cbr\u003eAround the wine ewer various figures are portrayed. Two figures wearing traditional clothing, perhaps intended to be monks, are positioned in a temple setting. One sits in an entranceway of the temple below the roof while the other is positioned beside the building beneath a blossom tree. A votary, with a bowed head and standing on steps, faces the sheltered monk and holds an object in both hands. Next to the figure standing beside the temple is another figure holding a fan and standing below a tree. On the base of the ewer another man stands between a palm tree close\u003cbr\u003eto a building and a tree with large blossoms. The emphasis of landscapes and figural scenes\u003cbr\u003e7 Beer, pp. 63-64.\u003cbr\u003e6 Paul K. Nietupski, Infinite Splendor, Infinite Light, The Bruce Walker ‘53 Collection of\u003cbr\u003eTibetan Religious Art, (Greencastle, Indiana: DePauw University, 2018), p. 57.\u003cbr\u003e5 Robert Beer, The Handbook of Tibetan Buddhist Symbols, (Chicago, Illinois: Serindia\u003cbr\u003ePublications, Inc, 2003), p. 63.\u003cbr\u003e4 Meng, p. 157-159.\u003cbr\u003e3 Mark Ravinder Frost, ‘Transactional Diaspora: The Straits Chinese in Singapore,\u003cbr\u003e1819-1918’, Asia Research Institute, ARI Working Paper, No. 10 (2003) 1-44 (pp. 1-2).\u003cbr\u003e2 David Newman, ‘British Colonial Censorship Regimes: Hong Kong, Straits\u003cbr\u003eSettlements, and Shanghai International Settlement 1916-1941’, Silencing Cinema: Film\u003cbr\u003eCensorship Around the World, ed.by Daniel Biltereyst \u0026amp; Roel Vande Winkel (2013)\u003cbr\u003e167-191 (p. 168).\u003cbr\u003e1 HoWing Meng, Straits Chinese Silver, A Collector’s Guide, (Singapore: Times Book\u003cbr\u003eInternational, 1984) p. 156.\u003cbr\u003eindicate that this ewer was produced by master artisans in Southern China and sent to the Straits\u003cbr\u003efor export.8\u003cbr\u003eHowever, the most impressive element of the ewer is the handle. The entire handle is the body of\u003cbr\u003ea nāga. Nāga in Sanscrit and Pāli means snake and in China they are represented as dragons. A\u003cbr\u003enāga inhabits underwater kingdoms and the roots of monumental trees, often with the intention\u003cbr\u003eto protect treasure. These creatures are said to be under the command of Virupaksa, the god of\u003cbr\u003ethe west and they guard the Traystrimsa Heaven. There are times when they appear in the\u003cbr\u003eaudience of the Buddah, as detailed in the famous Lotus Sutra. Nāga may be benevolent or\u003cbr\u003emalevolent and there were instances where they served to protect or shelter the Buddah.9\u003cbr\u003eThe entire length of the ewer’s handle represents a nāga. The remarkable texture of the nāga’s\u003cbr\u003escales is finely delicate, while the swirling whiskers and mane twist and blow wildly around its\u003cbr\u003eface as if caught in a great storm. A Tibetan ewer inspired by Chinese design in the Victoria and\u003cbr\u003eAlbert Museum also has a handle which resembles a nāga, however that handle is not as\u003cbr\u003ewhimsical or as refined as this example.10 A similar creature’s head is at the base of the ewer’s\u003cbr\u003espout which protrudes from this monster’s open mouth. This is a common motif in Straits\u003cbr\u003eChinese wine ewers.11\u003cbr\u003eThis intricately detailed ewer, with its floral imagery, figures and representation of architecture,\u003cbr\u003elion finial and nāga handle and spout, is an excellent example of 19th century Straits Chinese silver. With comparable examples in private collections published in academic literature,12 this ewer would be a magnificent artefact for admirers, scholars and collectors of Straits Chinese artefacts.\u003c\/p\u003e\n\u003cp\u003eMeasurements:\u003c\/p\u003e\n\u003cp\u003eWidth: 17cm\u003c\/p\u003e\n\u003cp\u003eHeight: 18.5cm\u003c\/p\u003e\n\u003cp\u003eWeight: 342 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":45175302291606,"sku":"JC-STRA-07196","price":2400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/image0_4.jpg?v=1751640106"},{"product_id":"two-straits-chinese-betel-nut-or-sireh-containers-solid-silver-19th-century","title":"Two Straits Chinese Betel-nut or sireh containers, Solid Silver, 19th century","description":"\u003cp\u003eTwo Straits Chinese Betel-nut or sireh containers, Solid Silver, 19th century\u003c\/p\u003e\n\u003cp\u003eThis pair of Straits Chinese silver and gold Betel-nut containers were used for chewing betel‘quid’ or ‘chew’. Betel-nut, also known as sireh, consisted of shaved areca nut with lime paste wrapped in green betel leaf. For flavour various spices, herbs and even tobacco was included.\u003cbr\u003eChewing betel quid is most famous for causing black teeth and red stained lips. An extremely popular practice across Asia and Oceania, chewing betel quid was common from antiquity to 1945, with it being banned in Thailand due to being viewed by the government as ‘uncivilised’. The practice has practically become non-existent.\u003cbr\u003eAmong the various immigrant communities of Straits Chinese, Peranakan Chinese immigrants in Malaya and Singapore were alone in adopting the Hindu-Malay custom of chewing betel-nut leaves. Wealthy Straits Chinese merchants and traders commissioned Straits silversmiths to produce these intricate silver utensils for the practice. Small circular boxes were typically designed for travel. These two silver betel-nut containers are intricately engraved with floral patterns. The top of the lids includes gold discs decorated with designs of swirling foliage and a floral star shape around a circular centre. Decorated with rounded patterns which perfectly align with its globular form, these beautiful betel-nut containers are fine examples of an ancient practice which is now rarely partaken in. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMeasurements:\u003c\/p\u003e\n\u003cp\u003eWidth: 6 cm\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eHeight: 5cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWeight: 116 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":45175511351446,"sku":"JC-TWO-07197","price":1200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/image0_5.jpg?v=1751884503"},{"product_id":"19th-century-chinese-straits-silver-mounted-coco-de-mer-in-the-form-of-an-ewer-or-teapot","title":"19th century Chinese Straits silver mounted coco-de-mer in the form of an ewer or teapot.","description":"\u003cp\u003eAn exceptional and possibly unique, 19th century Chinese Straits silver mounted coco-de-mer in the form of an ewer or teapot. The silver mounts intricately detailed with pierced and engraved decoration, with decorated spout, rope formed handle and base supported on six stylised leg and paw feet.\u003c\/p\u003e\n\u003cp\u003eThis remarkable object is constructed around one of the most sought after and intriguing items of the natural world. The coco-de-mer has a long and legendary history that spans many cultures which has caused it to have been one of the most sought-after items for collectors.\u003c\/p\u003e\n\u003cp\u003eBefore the Seychelles were discovered and settled, nuts of this species were sometimes carried by the ocean currents to distant shores. Malay seamen had seen coco-de-mer nuts \"falling upwards\" from the seabed, and so they had reasoned that these nuts must grow on underwater trees, in a forest at the bottom of the Indian Ocean. Malay people believed that the tree was also the home of the huge bird or bird-like creature Garuda (or Rukh in the Arabian legends). African priests believed that the Garuda was capable of hunting elephants and tigers and that sometimes the coco-de-mer trees rose up above the ocean surface, and when this happened, the waves that the trees created did not allow any ship nearby to sail away and the helpless sailors were eaten by the Garuda.\u003c\/p\u003e\n\u003cp\u003eIn the Maldives, any coco-de-mer nuts that were found in the ocean or on the beaches were supposed to be given to the king, and keeping a nut for yourself or selling it could have resulted in the death penalty. However, this did not prevent the nuts from appearing in Europe and indeed Rudolph II was able to purchase one of these nuts for 4,000 gold florins. The Dutch Admiral Wolfert Hermanssen also received a nut as a gift for his services, from the Sultan of Bantam in 1602, for fighting the Portuguese and protecting the capital of Bantam. However, the nut that the admiral was given was missing the top part; apparently the Sultan had ordered the top of the nut to be cut off, in order not to upset the noble admiral's modesty. João de Barros believed that coco-de-mer possessed amazing healing powers, superior even to those of \"the precious stone Bezoar\". In one of his books, Dr. Berthold Carl Seemann mentioned that many believed the nuts to be an antidote to all poisons.\u003c\/p\u003e\n\u003cp\u003eEven after the discovery of the Seychelles and the real trees, the nut held a fascination to such a degree that General Gordon, after visiting the islands, believed the Vallée de Mai on the island of Praslin was the original Garden of Eden as described in the Bible, and that the coco-de-mer was the forbidden fruit of the tree of the knowledge of good and evil.\u003c\/p\u003e\n\u003cp\u003eThe magical powers associated with the nut, its rarity, and the expense in acquiring them has naturally resulted in them being incorporated into objects associated with the European tradition of the Kunstkammer. Silver, gold, and precious stones were applied liberally to create artistic masterpieces that adorned the European courts. This practice is also to be found in India, the Arabic nations, and the Malay Archipelago.\u003c\/p\u003e\n\u003cp\u003eMuch thought has been given as to how the nut was to be mounted, its intrinsic value as well as the associations that legend has attached to it and the cultural traditions of the Peranakan Chinese have clearly influenced the form and decoration that has been applied. The nut has been hollowed out and the top cut to create a double lid decorated with silver bands decorated with an intricate floral motif which extends to the silver hinges. The knops above are raised on silver disks again with engraved floral decoration.\u003c\/p\u003e\n\u003cp\u003eSilver bands extend from the lid at front and back from which the finely twisted handle is applied with stylised bud finials. At the front the silver band is finely pierced with engraved decoration of pomegranates in flower, this decoration continues and extends along the spout. The base is\u003c\/p\u003e\n\u003cp\u003esimilarly conceived, with a lush floral frieze punctuated by applied multi petaled flower heads and the legs echoing the spout with pomegranates and foliage.\u003c\/p\u003e\n\u003cp\u003eThe pomegranate is an important symbol in Chinese culture and is found in different media but most especially on ceramics. It represents fertility, abundance, posterity, numerous and virtuous offspring, and a blessed future. Interestingly the Chinese symbol for seed (zi) is the same as that for son, the pomegranate with its many seeds is therefore a symbol for having multiple sons and is also appropriate given the fertility symbolism of the coco-de-mer seed itself. Indeed, it is possible that this object was commissioned to celebrate the birth of a son and heir.\u003c\/p\u003e\n\u003cp\u003eWhile the scale of the pot makes it rather impractical for usage its symbolism within the very rarified Chinese culture of the tea ceremonies would make it a visual focal point. Incorporating a rare natural wonder and embellished with the finest silver mounts decorated to an exceptional quality expressing ideas of family, tradition, and continuity. As a high-status object only a rich and socially high ranking individual would have been able to commission such a piece, its unique nature and quality a testament to the traditions and craftsmen of the Peranakan communities.\u003c\/p\u003e\n\u003cp\u003eMeasurements: \u003c\/p\u003e\n\u003cp\u003eHeight: 50cm\u003c\/p\u003e\n\u003cp\u003eWidth: 39cm\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":45182233051286,"sku":"JC-19TH-07198","price":16500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/image6_1.jpg?v=1751885571"},{"product_id":"early-20th-century-chinese-bowl","title":"Early 20th century Chinese bowl","description":"\u003cp style=\"text-align: left;\"\u003eThis beautiful solid silver bowl was produced by the silversmith Sammy (森美), who was\u003cbr\u003eoperational in Hong Kong between circa 1910-1940.1 Represented on each section of the bowl are various aspects of nature. Subtle and elegant, this bowl has six sides depicting bamboo, flowers, leaves as well as branches alighted by birds. The tips and upper portion of the bowl are curved like petals of a flower, creating a delicately undulating effect.\u003cbr\u003eHallmarked on the base of the bowl, this fine silver artefact by Sammy is emblematic of high\u003cbr\u003equality export silver produced in Hong Kong.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eSAMMY 森美 [pinyin SEN MEI][jyutping SAM MEI]hakka SEM MI] HONG KONG\u003cbr\u003eSAMMY; Union House, Connaught Road, Central, Hong Kong\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eMeasurements:\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eHeight: 7.2 cm\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWidth: 15cm\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWeight: 301 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":45208027070614,"sku":"JC-EARL-07203","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/PHOTO-2025-07-18-12-00-34.jpg?v=1752837842"},{"product_id":"straits-chinese-betel-nut-or-sireh-container-19th-century","title":"Straits Chinese Betel-nut or sireh container, 19th century","description":"\u003cp\u003eStraits Chinese Betel-nut or sireh container, 19th century\u003c\/p\u003e\n\u003cp\u003eThis Straits Chinese silver Betel-nut container was used for chewing betel ‘quid’ or ‘chew’.\u003cbr\u003eBetel-nut, also known as sireh, consisted of shaved areca nut with lime paste wrapped in green betel leaf. For flavour various spices, herbs and even tobacco was included. Chewing betel quid is most famous for causing black teeth and red stained lips. An extremely popular practice across Asia and Oceania, chewing betel quid was common from antiquity to 1945, with it being banned in Thailand due to being viewed by the government as ‘uncivilised’. The practice has practically become non-existent. Among the various immigrant communities of Straits Chinese, Peranakan Chinese immigrants in Malaya and Singapore were alone in adopting the Hindu-Malay custom of chewing betel-nut leaves. Wealthy Straits Chinese merchants and traders commissioned Straits silversmiths to produce these intricate silver utensils for the practice. Small circular boxes were typically\u003cbr\u003edesigned for travel. This cylindrical silver betel-nut container is intricately engraved with floral patterns, with the lid including a gold disc with designs of swirling foliage and a floral star shape around a circular centre. Other patterns include lattice shaped designs, flowers and foliage. This beautiful betel-nut container is a fine example of an ancient practice which is now rarely partaken in.\u003c\/p\u003e\n\u003cp\u003eMeasurments:\u003c\/p\u003e\n\u003cp\u003eHeight: 5.5cm\u003c\/p\u003e\n\u003cp\u003eWidth: 5.5cm\u003c\/p\u003e\n\u003cp\u003eWeight: 80 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":45567350538390,"sku":"JC-STRA-07208","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/image0_3.jpg?v=1756739898"},{"product_id":"19-th-century-chinese-export-silver-jug-with-erroneous-english-hallmarks","title":"19th century Chinese Export silver jug with pseudo English hallmarks","description":"\u003cp\u003eA rare and impressive early 19th-century Chinese Export silver jug with pseudo English\u003cbr\u003ehallmarks.\u003cbr\u003eThis impressive jug of a fine gauge is a wonderful example of the ability of the Chinese\u003cbr\u003esilversmiths to copy western models for export, either to Europe or the local colonial centres that were developing in the orient.\u003cbr\u003eHistorically, China had been happy to export renewable or inexhaustible luxury goods, mainly ceramics and silks. Silver was more valuable in China than in Europe, and therefore,\u003cbr\u003epayments in silver were advantageous to the Chinese government. This changed during the\u003cbr\u003elatter part of the 18th century, and the export of finished silver objects to the West became\u003cbr\u003efinancially attractive.\u003cbr\u003eFrom the end of the 18th century the export trade increased tremendously, and the demand\u003cbr\u003efrom Europe for familiar utilitarian forms increased. European forms such as mugs, ewers,\u003cbr\u003etazza, and candlesticks were unknown in China, so models were sent to China.\u003cbr\u003eThe silversmiths were therefore copying original items chiefly from England and America.\u003cbr\u003eCommon items were tea and coffee sets, spoons, forks, trays and other flatware. Having no\u003cbr\u003eprior history of making such items, they copied as exactly as possible and, in the process,\u003cbr\u003eand not realising their significance, the hallmarks were also copied.\u003cbr\u003eThis jug is of a typical late Georgian form, the copied hallmarks are for London and copy the\u003cbr\u003eform in use from 1786 to 1821 with a crowned Leopard head and the monarchs face in an\u003cbr\u003eoval. Sadly, there isn’t a date letter, but there is an attempt at a maker’s mark. While not\u003cbr\u003ecopied to intentionally deceive, these marks would be easily mistaken for genuine marks.\u003cbr\u003eAs the silversmiths were copying items as up-to-date as possible to stay in fashion and\u003cbr\u003etherefore find a ready market, the copying of the marks is a valuable indicator of the possible\u003cbr\u003edate of manufacture. Given its form and the marks, we can estimate the jug dates to the\u003cbr\u003e1820’s at the latest.\u003c\/p\u003e\n\u003cp\u003eLength: 24.5 cm\u003c\/p\u003e\n\u003cp\u003eHeight: 22 cm\u003c\/p\u003e\n\u003cp\u003eTotal Weight: 1261 grams \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":46364499869846,"sku":"JC-07215","price":4750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Jug1.jpg?v=1777381519"},{"product_id":"a-charming-pair-of-19th-century-chinese-export-silver-and-hardwood-chamber-candlesticks","title":"A Pair of 19th-century Chinese Export silver and hardwood chamber candlesticks.","description":"\u003cp\u003eA charming pair of \u003cspan style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Aptos; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-GB; mso-fareast-language: EN-US; mso-bidi-language: HE;\"\u003e19\u003csup\u003eth\u003c\/sup\u003e\u003c\/span\u003e century Chinese Export silver and hardwood chamber candlesticks.\u003cbr\u003eDesigned as columns with restrained chased and repoussé decoration composed of a series\u003cbr\u003eof friezes of trailing flowers demarcated into five registers. The base plate of silver similarly\u003cbr\u003edecorated with stylised bamboo and attached to a carved hardwood pedestal base.\u003cbr\u003eThe form of these candlesticks is reminiscent of monumental Chinese architecture,\u003cbr\u003eparticularly carved stone columns. These are particularly associated with the Ming period\u003cbr\u003eand decorate buildings as well as gardens and the complex of tombs built outside Beijing.\u003cbr\u003eThese columns are often similarly decorated with friezes in registers, some depict the\u003cbr\u003eheavens usually with an entwined dragon but also with vegetal decorations like those on\u003cbr\u003ethese candlesticks.\u003cbr\u003eChinese art is often imbued with deep symbolism. The plant kingdom is a primary source\u003cbr\u003efor much of this and plants have an important role within Chinese culture in general.\u003cbr\u003eThe bamboo depicted on the base is an especially important part of Chinese culture, on a\u003cbr\u003epractical level bamboo was used extensively in many aspects of Chinese life. Symbolically it\u003cbr\u003erepresents purity, modesty, restraint and integrity and is one of the four noble plants in\u003cbr\u003eChinese culture.\u003cbr\u003eThe theme of the noble plant is continued on the column. The registers have three friezes\u003cbr\u003edepicting plum blossom, the most popular plant in Chinese art and serves as a metaphor for an indomitable spirit of inner beauty and modesty in adversity. In folk culture, the five petals of the plum blossom represent the five blessings: Fu (福 happiness; good luck), Lu (禄fortune; salary), Shou (寿 longevity), Xi (喜 joy) and Cai (财 wealth).\u003cbr\u003eThe next flower is the chrysanthemum, symbolic of longevity and wealth, and a wish for a\u003cbr\u003epeaceful retirement. Since ancient times, the chrysanthemum has been deeply cherished by\u003cbr\u003eChinese scholars and known as the ‘Hermit of All Flowers’. This is largely due to the\u003cbr\u003eassociation with the foremost of the Recluse Poets, Tao Yuanming (陶渊明, CE 365-327),\u003cbr\u003ethe pioneer of the so-called ‘Fields and Gardens’ poetry. \u003cbr\u003eFinally, the top register has a frieze of stylised hanging fruit. There are several possibilities\u003cbr\u003eas to which fruit is intended, the most likely, given the preponderance of plum blossom is that\u003cbr\u003ethis is the fruit represented. Traditionally, the plum fruit symbolizes strength, endurance, hope and perseverance.\u003cbr\u003eThe traditional wooden base is carved with lotus blossom and cartouches, the lotus\u003cbr\u003erepresenting purity, beauty and spiritual enlightenment.\u003cbr\u003eCombining elements from traditional Chinese art with their associated symbolism, these candlesticks would have appealed to the growing Western taste in oriental works of art and highlighted the quality of Chinese artisans working on items destined for export.\u003c\/p\u003e\n\u003cp\u003eLength: 7 cm  \u003c\/p\u003e\n\u003cp\u003eWidth: 7 cm\u003c\/p\u003e\n\u003cp\u003eHeight: 12.5 cm\u003c\/p\u003e\n\u003cp\u003eTotal Weight: 583 grams\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":46364553674902,"sku":"JC-07219","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/Candles1.jpg?v=1777470561"},{"product_id":"antique-chinese-silver-rosewater-sprinkler-bird-canton-china-qing-dynasty-mid-19th-c","title":"Antique Chinese Silver Rosewater Sprinkler, Bird,  Canton, China - Qing Dynasty, mid-19th C.","description":"\u003cp class=\"MsoNormal\"\u003eThis fine antique Chinese silver sprinkler was made in Canton around the middle of the 19\u003csup\u003eth\u003c\/sup\u003e century and carries a silver mark for the Canton retail silversmith who used a ‘Gothic K’ as his cipher.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThis firm was unusual in that it created a wide range of objects, including items of Judaica and Islamic silver, alongside items in Chinese style.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eOften, objects they produced had a Chinese form but had little Chinese ornamentation, perhaps indicating that a significant number of their clients were either Muslim or Jewish.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eIn the latter half of the 19\u003csup\u003eth\u003c\/sup\u003e century, a significant number of affluent Jewish and Muslim merchants were involved in the China Trade and many were also living in Hong Kong or China. Most had their origins in the Indian sub-continent, but others came from the Middle East and the countries straddling the Silk Road. \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003eRosewater sprinklers such as this, were traditionally not used by Chinese or Europeans but were used ceremonially by Sephardi and Mizrachi Jews and by Muslims, at weddings, feasts and in welcoming ceremonies.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThis sprinkler has an inscription around the side of the foot, which has been photographed.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThe writing has been pricked out and we do not know which language this is in or what it says. To the underside of the base is the ‘Gothic K’ silver mark, which has also been photographed. This mark was used between the years of, roughly 1830 and 1880. The photo of the underside also reveals a distinctive quadrilobed nut, a characteristic and very distinctive shape of nut which is only ever found on silver objects of Chinese origin.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe sprinkler has been ornamented using repousse and chased techniques and this is still very crisp and sharp. It can be easily disassembled by unscrewing the various parts, which allows the globular container to be filled with scent.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eUnusually, this sprinkler has the figure of a bird, probably a parrot or parakeet, to the top.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThe bird stands erect with its two feet planted firmly on the ground and its wings outspread. It appears to be standing on top of a small hummock, which is in fact the centre of a traditional flowerhead, a feature which can usually be found at the top of these vessels where it signifies the purpose of the container and functions as the rose or sprinkler. In this case, the actual sprinkler is the bird itself and the rosewater droplets emanate from the fine holes in the bird’s back.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThe bird figure has been finely modelled and well detailed, as have the petals of the flower it stands on.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThe feathers of the wings and tail have been delicately chased whilst those to the back of the bird have not.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eUnder the bird and flower is an elegant and elongated neck of plain silver, which flares gently outwards towards the top and bottom of its length. The line of the neck is interrupted by one protruding flanged knop, which forms a finger rest when using and allows the rose to be unscrewed from the neck for cleaning purposes.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThe lowest part of the neck is encircled with a border of large and elongated acanthus leaves stretching upwards, emphasising the length of the neck. These leaves sit above a convex ring knop ornamented with chased roundels interspersed by leaves.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eA similar, but larger knop, forms the vessel’s short stem, connecting the globular body with the pedestal foot below and creating visual balance.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe bulbous part of the sprinkler forms the reservoir which holds the rosewater. \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003eThere is no ornamentation to the top third, but around the widest part is an explosive border of flowers and high relief, almost, three-dimensional foliage, which surrounds the small scenes.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThe foliage has great depth and movement; the raised leaves arch and curl and the whole effect is in sharp contrast to the area of plain silver above and the narrow plain silver bands to the top and bottom of the stem and around the side of the pedestal foot. \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003eThe veins of the leaves and the centres of the flowers have been finely and expertly chased showing both restraint and great mastery of the medium. The top face of the foot has been ornamented in similar style with floral and foliate imagery.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe three scenes appear to represent the circle of life and all of God’s creatures, those which inhabit the earth and the mythical or divine.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThe scenes focus our minds on life and procreation, death and decay and immortality by portraying a mythical and divine being in the heavens, a mammal on land and the birds of the air.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe four small scenic panels are framed by leaves and flowers.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThe flowers and foliage are not those typically found ornamenting Chinese silver such as plum blossom, bamboo, pine, chrysanthemums and paeony. The flower of one ‘frame’ meets the flower of the adjoining frame at the vertical centre.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eAbove and below these meeting points are irregular apertures filled with a fine and very restrained linear triangular grid or trellis pattern. \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003eThese serve as ‘quiet’ spaces providing calm and contrast within the design whilst emphasising the height of the surrounding relief and separating the scenes.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eOne scene shows a mythical \u003ci\u003ekylin\u003c\/i\u003e with outstretched wings flying amongst the clouds.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eKylins are believed to be composite creatures. In the Qing dynasty they were usually portrayed with the head of a dragon, the antlers of a deer, the skin and scales of a fish, the hooves of an ox and the tail of a lion.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eMany Asians, including the Chinese, regard the \u003ci\u003ekylin\u003c\/i\u003e as a divine and peaceful creature. \u003cspan style=\"font-size: 10.5pt; line-height: 107%; font-family: 'Arial',sans-serif; color: #202122; background: white;\"\u003eThey believe that kylins do not eat flesh and that they take great care when and where they walk, to avoid treading on another living creature. Therefore, they are often shown amongst the clouds or walking on water. They also believe that kylins only appear in areas or buildings ruled by a wise and benevolent leader, which can include a household.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; line-height: 107%; font-family: 'Arial',sans-serif; color: #202122; background: white;\"\u003eThe scene showing three birds perched on the branch of a pine tree is repeated twice.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eTwo birds appear to be a pair and the other one a spare!\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eUnder the branch is a nest holding three eggs, signifying the approaching birth of the next generation. The third scene features an antelope, lying on the ground with slashes to its side.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eIt is dead and appears to have been attacked and killed by a predator, such as a tiger, which has eaten some of the corpse and disappeared. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-fareast-font-family: 'Times New Roman';\"\u003eDimensions\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-fareast-font-family: 'Times New Roman';\"\u003e:-\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eHeight 40 cms; Width 11cms\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-fareast-font-family: 'Times New Roman';\"\u003eWeight\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-fareast-font-family: 'Times New Roman';\"\u003e:- \u003cspan style=\"mso-spacerun: yes;\"\u003e         \u003c\/span\u003e470 grammes\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-fareast-font-family: 'Times New Roman';\"\u003eProvenance\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-fareast-font-family: 'Times New Roman';\"\u003e:- \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003eEuropean art market\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-fareast-font-family: 'Times New Roman';\"\u003eReferences\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-fareast-font-family: 'Times New Roman';\"\u003e:-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; color: #202122; background: white;\"\u003eA\u003c\/span\u003e\u003cspan style=\"font-size: 10.5pt; line-height: 107%; font-family: 'Arial',sans-serif; color: #202122; background: white;\"\u003edrien Von Ferscht, Chinese Export Silver 1785-1940, The Definitive Collectors’ Guide, 4th Edition, 2015 \u003c\/span\u003e\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":46431635210390,"sku":"JC-SPRI-07234","price":3250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/2306261_1.jpg?v=1782307130"},{"product_id":"18th-century-chinese-export-silver-gilt-filigree-and-enamel-casket","title":"18th century Chinese Export Silver Filigree and Enamel Box","description":"\u003cp class=\"p1\"\u003e18th century Chinese Export Silver-Gilt Filigree and Enamel Box, made in Canton (Guangzhou), China, during the late Qing Dynasty.\u003cbr\u003eThe form, with its lobed quatrefoil outline, dense silver filigree scrollwork, gilded ground, and traces of blue and green enamel decoration, is characteristic of the luxury filigree objects produced by Canton silversmiths for both the Chinese elite and the European export market. Comparable examples are preserved in major collections and have appeared at Christie's, where related filigree boxes are attributed to Canton workshops of the 18th and 19th centuries. \u003cbr\u003eOf lobed quatrefoil form, the box and conforming stand entirely covered with exceptionally fine filigree decoration composed of tightly coiled silver wires arranged in geometric and floral patterns. The domed cover centred by a stylised floral rosette enclosed within radiating filigree panels, the surrounding field enriched with scrolling foliate ornament highlighted with translucent blue and green enamels. The sides are similarly decorated with floral cartouches and continuous scrollwork, demonstrating the remarkable precision and technical sophistication of Cantonese filigree production.\u003cbr\u003eChinese filigree silver represented one of the most admired luxury exports of the Qing period. European collectors, including royal patrons, developed a particular enthusiasm for the delicate lace-like workmanship produced by Canton workshops. The complexity of the wirework, combined with gilding and enamel decoration, reflects a tradition that blended Chinese decorative aesthetics with forms intended for international markets. Comparable filigree boxes formed part of the celebrated collection of Catherine the Great and are now preserved in the State Hermitage Museum, Saint Petersburg. \u003cbr\u003eThe present example belongs to a rare group of highly decorative filigree boxes intended for jewellery, cosmetics, sewing implements, betel accessories, or precious personal possessions. The accompanying pierced stand further enhances its ceremonial and display function.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMeasurements:\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eBox:- Width: 10cm x 8cm, Height: 3.7cm\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eWeight: 85 grams\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003ePlate:- Width: 12.5cm x 10.2cm, Height: 1.5cm\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eWeight: 29 grams\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eTotal weight: 116 grams\u003c\/b\u003e\u003c\/p\u003e","brand":"Joseph Cohen Antiques","offers":[{"title":"Default Title","offer_id":46432403259542,"sku":"JC-CHIN-07236","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0124\/1507\/4394\/files\/2306266_2.jpg?v=1782389900"}],"url":"https:\/\/www.josephcohenantiques.com\/collections\/chinese-silver.oembed?page=2","provider":"Joseph Cohen Antiques","version":"1.0","type":"link"}