to download Catalogue II in pdf - Gibson Antiques

GIBSONAntiques 

Antique cerAmics & works of Art

Gibson Antiques 

Catalogue ii 

front cover illustration: 

A fine large sancai-glazed pottery horse, 

tang Dynasty (618-907) 

back and inside front cover illustration: 

Detail from a large Chinese cinnabar 

lacquer quatrelobed vase, 

qing Dynasty, qianlong Period (1735-1796) 

GIBSONAntiques 

Antique cerAmics & works of Art 

7 Georgian House, 

10 Bury street, 

st James’s, 

London sW1Y 6AA 

t 00 44 (0) 7831 645468 

alastair@gibsonantiques.com 

www.gibsonantiques.com

introDuction 

Following on from our success at teFAF showcase in 2011, this year Gibson 

Antiques Ltd will be at the Maastricht Fine Art Open House 2012, which runs 

alongside teFAF from the 15th - 25th March 2012. 

We will be exhibiting fine Chinese ceramics and works of art in the historic 

city centre of Maastricht at Guus Röell Fine Art & Antiques and will also be joined 

by Allan Hare, specialising in fine furniture and Deon Viljoen, showing colonial 

works of art. 

We do hope that you will come and see us in this elegant 18th century townhouse, 

which is open every day between 11am and 6pm. 

For those who are looking for new places to dine in Maastricht a gastronomic 

dinner for up to 30 people will be served each evening at the gallery at 7.30pm. 

the cost per person is 90 euros - which includes wine - however booking 

is essential. 

For further information please contact; 

Alastair Gibson 

tel: 00 44 (0)7831 645468 

email: alastair@gibsonantiques.com 

www.gibsonantiques.com 

Guus Röell 

tel: 00 31 (0) 6 532 116 49 

email: g.roell@planet.nl 

www: guusroell.com 

Guus Röell Fine Art & Antiques 

tongersestraat 2 

6211 Ln Maastricht

1. A fine PAir of ‘rouGe-De-fer’ triPLe-GourD VAses 

qinG DYnAstY, kAnGXi PerioD (1662-1722) 

each painted with sprays of classic lotus flowers within scroll and lappet borders. 

Height: 26.8cm 

similar vases are in the Collection of Augustus the strong, now in the state Art 

Collections, Dresden. Duplicates from the Royal collection were sold at Rudolph 

Lepke’s Kunst Auctions Haus in 1919. Lot numbers 332 and 333, illustrated 

on plate 29 of the auction catalogue, show a similar pair of vases.

2. A GooD cHinese ‘fAmiLLe-Verte’ PorceLAin cHArGer 


Painted to the centre with two beautiful Chinese maidens inspecting bonsai 

trees beneath a gnarled prunus tree within a fenced garden all within a ‘pie-crust’ 

moulded and foliate border, the reverse painted with scattered floral sprigs 

in iron red. 

Diameter: 40.5cm 

3. A cHinese ‘fAmiLLe-Verte’ PorceLAin HeXAGonAL cHArGer 


Painted to the centre with a Chinese maiden sitting at a table playing a Qin 

watched by a gentleman holding a fan before a garden pagoda with a young boy 

attendant preparing tea, all within a moulded ‘pie-crust border’ set with four 

vignettes containing goldfish and butterflies, the reverse painted with 

scattered floral sprigs. 

Diameter: 35cm

4. A coLLection of cHinese BLue AnD wHite PorceLAin fiGures of BoYs 

qinG DYnAstY, eArLY 18tH centurY 

From the ‘Cau Mau’ shipwreck. 

Height: 8.5cm each

5. An unusuAL cHinese PorceLAin ‘fAmiLLe-rose’ LiBAtion cuP 

qinG DYnAstY, YonGZHenG PerioD (1723-1735) 

Of lingzhi fungus moulded form, brightly painted in shades of pink, 

yellow and blue against a green ground. 

Height: 8cm, Length: 12.5cm 

the ‘sacred fungus’ is a symbol of immortality. 

6. An unusuAL cHinese ceLADon PorceLAin triPoD wine VesseL, Jue 

minG DYnAstY, 16tH centurY 

After an archaistic bronze form, the 

three legged vessel finely moulded 

covered in a greenish-blue glaze. 


A closely related example is 

illustrated by the Oriental Ceramics 

society, Oriental Green wares: Pottery 

& Porcelain from the Ming and Far East, 

British Museum, 1997, no 48. Another 

excavated vessel is illustrated in Gems 

of China’s Cultural Relics, no 178. 

Collection of the institute of 

Archaeology of Hangzhou City, 

found in 1987, Hangzhou Zhejiang 

province. 

7. A cHinese PorceLAin DouBLe-GourD BrusH wAsHer 

qinG DYnAstY, qiAnLonG PerioD (1736-1795) 

Of naturalistic form painted in iron-red, 

green and turquoise enamels, on a later 

wooden stand. 

the imperial kilns at Jingdezhen 

undertook the simulation in porcelain of 

all kinds of materials for the qianlong 

emperor, but gourds are surprisingly 

rare. A similar brush washer is illustrated 

by Regina Krahl in Chinese Ceramics in 

the Meiyintang Collection, London, 

1994-2010 vol 2, no. 950. and another 

small gourd-shaped bottle with similarly 

simulated skin and an applied vine with 

golden leaves is in the Musee Guimet, 

Paris, illustrated in Michel Beurdeley 

and Guy Raindre, Qing Porcelain: Famille 

Verte, Famille Rose, London, 1987, 

pl. 170 right. 

Height: 4.2cm, Length: 10.2cm

8. A rAre cHinese ‘fAmiLLe-Verte’ PorceLAin GiLt-metAL 

mounteD teAPot AnD coVer 


the contemporary mounts probably Dutch, of lotus petal panelled form, 

each decorated with chrysanthemum and hibiscus plants, the cover, spout and 

handle set with finely chased mounts, the cover surmounted by a peacock finial. 


Provenance: nicolas e. Landau collection, Paris. 

Literature: illustrated by Lunsingh scheurleer, Chinesisches und japanisches 

Porzellan in europäischen Fassungen, Braunschweig, 1980, page 255, pl. 162. 

9. An inscriBeD YiXinG stonewAre GLoBuLAr teAPot AnD coVer 

qinG DYnAstY, 19tH centurY 

Of simple elegantly potted form, the classic ‘brick red’ clay inscribed to 

the base with a scholarly eight-character poem: 

Yin hua yong yue, pin zhu ping cha: ‘Reciting flower poems and singing about 

the moon, playing the flute while appraising the tea’. 

Height: 8cm, Width: 13cm

10. A LArGe cHinese BLue AnD wHite PorceLAin BowL 


Of octagonal panelled form, vividly painted in underglaze-blue with alternating 

figural and landscape scenes, including pine, prunus, chrysanthemum and carp, 

the interior with a central roundel enclosing a figure of a scholar within a further 

panelled border containing millet, prunus, bamboo, lotus, birds and insects. 

Diameter: 29cm

11. A cHinese ‘krAAk PorseLein’ BLue AnD wHite sHALLow DisH 

minG DYnAstY, wAnLi PerioD, circA 1600 

Well painted in underglaze-blue with precious objects to the centre within a diaper 

work panel, the shaped moulded rim with panels enclosing peaches, scrolls, books, 

double gourds and other auspicious objects. 

Diameter: 20cm 

12. A cHinese BLue AnD wHite ‘krAAk PorseLein’ BottLe VAse 

minG DYnAstY, wAnLi PerioD, circA 1590-1610 

the slender pear-shaped bottle brightly painted in underglaze-blue with four 

moulded peach-shaped cartouches with stylised fruit and diaper work interspersed 

with four panels containing birds, flowers and fruit, the neck with precious objects 

suspended from cords within a ruyi and floral mon diaper work borders. 


Compare to a similar high quality bottle in a private Dutch collection illustrated 

in M. Rinaldi, Kraak Porcelain, London 1989, p.170., pl.213.

13. A rAre cHinese ‘krAAk PorseLein’ ‘eGret-mArkeD’ DisH 

minG DYnAstY, wAnLi PerioD, circA 1595-1605 

Painted in smoky tones of underglaze-blue with a pair of pheasants perched on a 

rocky mound beneath a gnarled pine tree with lingzhi-inspired swirling clouds, all 

within a shaped panelled border containing birds, flowers and insects, the underside 

with a moulded border with petal-shaped panels containing alternating lingzhi 

sprigs and bees, the centre with the egret mark. 


Provenance: An english private collection. 

A similar dish is illustrated in Howard & Ayers, China for the West, 

London 1978, p.51., pl. 6. 

Other examples may be found in the Victoria & Albert museum, 

London and the Princessehof, Leeuwarden.

14. A PAir of cHinese PorceLAin ‘fAmiLLe-rose’ two-HAnDLeD VAses AnD coVers 

qinG DYnAstY, qiAnLonG PerioD, circA 1780 

each of rectangular section moulded with figural panels of a flower maiden 

holding a basket, a sprig of lingzhi fungus and accompanied by a deer and 

attendants, all against a seeded biscuit ground moulded and enameled with 

flower sprays, the domed covers with seated lion-dog knops. 

Height: 33cm 

Provenance: Viscount Cowdray, Cowdray Park, england. 

.

15. A cHinese BLue AnD wHite PorceLAin BArreL-sHAPeD GArDen seAt 


Of traditional form, painted in underglaze-blue with classic lotus scrolls, 

within moulded studs and lappet borders, the top and either side pierced with 

conjoined cash medallions. 

Height: 48cm

16. A LArGe cHinese ‘fAmiLLe-rose’ PorceLAin fiGure of A BirD 


Modelled standing on a tree stump base, the asiatic pheasant brightly coloured in 

typical palette, it’s crest picked out in iron-red, its scaly legs in yellow, wood stand. 

Height: 35cm

17. A LArGe PAir of cHinese PorceLAin ArmoriAL euroPeAn-mArket cHArGers 

qinG DYnAstY, qiAnLonG PerioD (circA 1755) 

each painted to the centre with a large ‘famille-rose’ basket of fruit and flowers, the 

cavetto border bearing the arms of Mathew quartering Van Leemput impaling Byam 

within a bianco-sopra-bianco border of flowers within iron-red and gilt borders. 


According to D.s. Howard, Chinese Armorial Porcelain, London 1974, p.287, G1. 

“the arms are of Mathew of Llandaff, st. Kew, and the Leeward islands....Colonel 

Abednego Mathew (descended from a Welsh family living in Devon and Cornwall 

since the fifteenth century) was Governor of st. Kitts in the Leeward islands and 

received lands there in compensation for his family’s considerable losses in the Civil 

War. His son, William....marrying Catherine, Baroness Van Leemput.....descended 

from Remegius Van Leemput, the Antwerp painter, famous for his copies of 

Van Dyck portraits.”

18. A rAre AnD LArGe JAPAnese imAri PorceLAin cHArGer 

eDo PerioD, circA 1700 

For the Western market, boldly painted with a central double-gourd shaped vase 

depicting a european gentleman in the central panel flanked by european mask 

handles, issuing full blown flowers and foliage, containing peony and a tulip, 

all on an irregular three-legged stand, the border set with four leaf-shaped panels 

containing peony interspersed by groups of five song birds reserved on a black 

ground, picked out in iron-red and highlighted in gilding, the underside 

with floral sprigs. 


such fine and large dishes were popular in europe in the late 17th and early 18th 

centuries and several examples may be found in the Collection of Augustus the 

strong, King of Poland and elector of saxony, who furnished his palaces in Dresden 

with oriental porcelains at this period. 

similar examples may also be found in the Groninger Museum, the netherlands, 

1988.255, illustrated in Porcelain for Palaces, The Fashion for Japan in Europe 

1650-1750, Oriental Ceramic society, 1990, pl 230., p.219 and in the 

Rijksmuseum, Amsterdam.

19. A fine cHinese sAncAi-GLAZeD PotterY Horse 

tAnG DYnAstY (618-907) 

the sturdy steed modelled standing on a slightly domed unglazed base, 

the saddle and blanket covered in a mottled tortoiseshell glaze, the horse’s body 

splashed in running ochre on a pale straw coloured glaze. 

Height: 59cm, Length: 59cm 

thermoluminescene test no. 02052 from the Chinese university of Hong Kong, 

14th February 2000. 

Provenance: the estate of the late edward st George; a prominent figure in the 

British racing world as owner of the Lucayan stud at newmarket. Originally a gift 

given from Li Ka shing to edward st George, Chairman of the Grand Bahama 

Port Authority, Grand Bahama island, Bahamas.

20. A cHinese sAncAi-GLAZeD PotterY fiGurAL censer, 


the flattened rim vessel supported by six central Asian figures, 

covered in brown, ochre and green glazes, the base unglazed. 

Height: 10cm, Diameter: 12.5cm 

21. A cHinese sAncAi-GLAZeD PotterY BowL, 


Applied collector’s label. 


Provenance: the W.F.C. Ohly Collection, 

the Abbey Museum, Barnet, London. 

22. A cHinese sAncAi-GLAZeD PotterY rectAnGuLAr PiLLow, 


Applied paper label Bluett & sons, London. 

Dimensions: 10cm x 5cm x 8.5cm 

Provenance: the W.F.C. Ohly Collection, 

the Abbey Museum, Barnet, London.

23. A PAir of cHinese ‘fAmiLLe-rose’ PorceLAin 

‘eiGHt Horses of mu wAnG’ PLAtes 


each painted with four dappled horses beneath a flowering prunus tree issuing 

from a rocky outcrop scattered with lingzhi fungus, the rim set with butterflies 

and sprays of peonies. 


the eight horses of Mu Wang refer to a Zhou-dynasty story called Mu tian Zi 

“the Heavenly son of Mu”, who by legend had eight horses to pull his chariot.

24. A LArGe cHinese PorceLAin ‘fAmiLLe-Verte’ cHArGer 


Painted to the centre with birds amongst prunus above water with a 

leaping carp reserved against a lotus ground set with four fan and quatrelobed 

vignettes enclosing classical landscapes, insects and flowers, the underside 

with a two-charater seal mark in underglaze-blue. 

incised Japanese Palace inventory no: n: 107/i. 



Provenance: Collection of Augustus the strong, King of Poland, elector of saxony. 

25. A LArGe cHinese PorceLAin ‘fAmiLLe-Verte’ cHArGer 


Painted to the centre with a lion-dog within a landscape reserved against a lotus 

ground set with four fan and quatrelobed vignettes enclosing insects flowers and 

butterflies, the underside with a two-character seal mark in underglaze-blue. 

incised Japanese Palace inventory no: n:107/i. 



Provenance: Collection of Augustus the strong, King of Poland, elector of saxony.

26. A rAre PAir of cHinese BLue AnD wHite PorceLAin 

‘euroPeAn-suBJect’ cHArGers 

qinG DYnAstY, kAnGXi PerioD, circA 1700-10 

Each painted after a drawing by Robert Bonnart, engraved by his brother Nicolas, 

originally titled ‘Symphonie du Tympanum, du Luth et de Flute d’allemagne’ in vivid 

tones of cobalt blue with a fashionable lady playing a dulcimer, accompanied by 

two gentleman playing a lute and a flute, the rim with a border of eight lotus petal 

shaped landscape panels, the underside with bamboo sprigs. 


An identical ‘Music Party’ charger is illustrated in G.Godden, p.118, pl.21; 

and on the cover of Chinese Export Art and Design. Another from the Mottahedeh 

Collection, illustrated in Howard & Ayers, China for the West, volume i, p.77, no.35; 

and in the Victoria & Albert Museum, London, C 781-1910. Recently discussed 

by M.A. Pinto de Matos, The RA Collection of Chinese Ceramics, volume ii, London, 

2011, p. 250-1, no. 332 the same subject has been found on tin-glazed 

earthenware tiles in Holland, so it is likely wares of this design were 

intended for the Dutch market.

27. A PAir of cHinese PorceLAin GiLt-metAL mounteD moDeLs of crAnes 

qinG DYnAstY, 2nD HALf 19tH centurY 

each modelled standing, their plumage picked out in red, blue, grey and white 

enamels, the feathers finely incised, on later naturalistic gilt-metal legs, pierced 

and carved rosewood cloud-scroll stands. 


in Chinese mythology the Crane symbolises immortality, as well as being a symbol 

for high rank and is the chosen mount for the immortals.

28. A PAir of cHinese cLoisonne fiGures of YeLLow Deer 


Modelled standing, facing left or right, their coats yellow with white spots, their 

eyes also picked out in white enamel, the ears, horns, tails and legs gilt-metal. 

Height:16cm, Length: 15cm 

Provenance: John Macallan swan RA (1847-1910) 

the animal painter and sculptor John Macallan swan studied at the Lambeth 

school of Art under W. s. Frith, and like many others, then went on to the Royal 

Academy schools, in 1872. two years later he went to Paris, where he spent 4-5 

years under Gerome, then under the animal sculptor Fremiet, and the painters 

Bastien-Lepage, Henecker and Dagnan-Bouveret, all this making him ‘perhaps as 

French as an englishman could well be’. He then settled in London, convenient for 

studying animals and animal anatomy at London Zoo. it was not until 1878 that 

he sent his first work to the Royal Academy (Dante and the Leopard), and his 

reputation was on the Continent only, until 1889. in that year, his picture at the 

Academy, the Prodigal son, was bought under the terms of the Chantrey Bequest. 

He was elected ARA in 1894, had an exhibition at the Fine Art society in 1897, 

and became RA in 1905.

29. A PAir of cHinese cLoisonne VAses, Gu 

qinG DYnAstY, LAte qiAnLonG/JiAqinG PerioD 

each of classic trumpet shape, 

decorated with lotus flower scrolls 

on a turquoise ground. 

Height: 27cm 

30. A rAre cHinese cLoisonne stem BowL AnD stAnD 

minG DYnAstY, 16tH centurY 

the interior decorated with a carp, 

the exterior with classic lotus scrolls, 

the matching stand similarly decorated. 

A similar stem cup with a classic lotus 

design is illustrated in H.Brinker and 

A.Lutz - Chinese Cloisonné The Pierre 

Uldry Collection, London 1989, 

page 37, pl. 38a. 

Height: 10cm, Diameter: 13.5cm 

31. A GooD cHinese iVorY ‘cHiLonG’ VAse 

qinG DYnAstY, LAte 18tH/eArLY 19tH centurY 

Finely carved with a mythical dragon 

beast holding a lingzhi fungus sprig in 

it’s mouth, the lower body similarly 

carved with a chilong in low relief. 

Height: 14cm 

For a similar vase see Chinese Ivories 

from the Shang to the Qing, Oriental 

Ceramics society, 1984, pl.213 

& 214, p.166. 

32. A cHinese cAntonese BLue AnD wHite enAmeL circuLAr BoX AnD coVer 


Painted with peonies amongst foliage 

picked out in white enamel on blue 

ground, the cover edged in red enamel 

to simulate a jewelled border. 

Diameter: 7.5cm

33. A PAir of cHinese ‘LAque BurGAute’ PeAcH sHAPeD LiBAtion cuPs 

qinG DYnAstY, first HALf 18tH centurY 

each cup finely decorated with a 

figural landscape scene incorporating 

iridescent abalone shell and silver wire, 

the interior with silvered copper linings. 


34. A smALL cHinese cLoisonne BoX AnD coVer 


Formed in the shape of a peach, 

brightly decorated with peaches in 

typical cloisonné enamels supported 

on a gilt-metal mounted naturalistic 

peach branch. 


35. A smALL cHinese iVorY fiGurAL cArVinG 

qinG DYnAstY, 19tH centurY 

Carved with a standing bearded 

immortal accompanied by a recumbent 

deer in conversation with a mandarin 

and attendant, all beneath a pine tree 

issuing from a rocky mound. 


36. A cHinese soAPstone cArVinG of A seAteD LoHAn 

qinG DYnAstY, LAte 18tH/eArLY 19tH centurY 

the stone of greyish tone with red 

striations, modelled seated with long 

flowing robes, incised with a floral 

medallion and further scattered sprigs 

picked out in gilding. 

Height: 11.5cm

37. A cHinese Bone AnD iVorY moDeL of A PLeAsure BoAt 

qinG DYnAstY, 2nD HALf 19tH centurY 

intricately carved and pierced, the upper deck and bow decorated 

with polychrome figures, all on a brocade silk stand. 

Length: 38cm 

38. A cHinese iVorY PortrAit PAintinG of A euroPeAn LADY 

qinG DYnAstY, DAteD 1887 

With original fitted brocade box 

bearing a paper label with the name Yee 

Cheong inscribed in red ink ‘Hong Kong 

August 1887’ examples of Yee Cheong’s 

work (also known as Yee Chung) can be 

found in the Getty Research institute, 

Los Angeles, 2003 R.22.11 where it 

is recorded that he was a painter active 

in shanghai, Hong Kong and Fujian 

and shows a portrait of a boy in 

watercolour on ivory. 

Dimensions: 18.5cm x 14.5cm

39. A PAir of JAPAnese screens BY tAnAkA nikkA (-1845) 

ink and colour on gold leaf paper each signed nikka with 2 seals. 

Dimensions: 121cm x 330cm

tanaka nikka was a very skilful shijo school painter. He studied under 

Okamoto toyohiko (1773-1845) and excelled in figures, flowers and birds. 


40. A JAPAnese siX-foLD PAPer screen PAinteD witH irises 

tAisHo/sHowA PerioD (1912-1926) 

After the eight-Planked Bridge (Yatsuhashi) Ogata Korin (Japanese 1658-1716); 

ink and colour on gilded paper. 

the original screen can be seen in the Metropolitan Museum of Art, new York. 

Louisa eldridge McBurney Gift, 1953 (53.7.1-2). 


41. A PAir of cHinese cAntonese enAmeL DisHes, 


each painted with pheasants amongst peony and lilies issuing from rockwork, 

all within green lappet floral borders, the reverse with a large pomegranate and 

floral sprigs. 


in Chinese art the combination of a pheasant, hen and lilies is allegorical of may 

you have harmony and unity together for one hundred years. Whilst the peony and 

rock work further adds wealth, honour and longevity to that relationship and the 

pomegranate numerous offspring! 

(reverse)

42. A cHinese coromAnDeL LAcquer rectAnGuLAr Document BoX AnD coVer 


the hinged cover finely carved with a gentleman on horseback with an attendant 

approaching a building within two beautiful maidens gazing from the first floor 

window, the sides decorated with prunus blossoms, lotus flower and precious 

objects, the interior plain red, original hinges and lockplate. 

Dimensions: 7cm x 35cm x 21cm 

the cover of the box illustrates a scene from the classic Chinese love story 

written by the Yuan Dynasty playwright Wang shifu (1295-1307) Romance of the 

Western Chamber. 

(detail of cover)

43. A LArGe cHinese cinnABAr LAcquer quAtreLoBeD VAse 


the shouldered lobed body deeply carved with four landscape panels depicting 

young boys searching for peaches, observed by scholars on fenced garden terraces, 

all within classical mountainous landscapes, scattered with pine trees with laconic 

cloud scrolls, all reserved against a deeply carved lotus flower ground, the waisted 

neck and footrim carved with stylised stiff-leaved lappets against foliate cell 

and diaper work. 


Provenance: An english private collection. 

A similar vase from the national Palace Museum, taipei is illustrated in Carving, 

the Subtle Radiance of Colors, Treasured Lacquerware in the National Palace 

Museum, taipei, 2008. p.155, no.166.

44. A cHinese cAnton enAmeL YeLLow-GrounD BowL 


Painted to the interior with a central shou character within a cluster 

of peaches and blossom surrounded by five bats amongst rose, yellow, 

turquoise and blue cloud scrolls, the exterior profusely decorated with 

full blown peony scrolls on a yellow ground. 

Diameter: 15cm

cHronoLoGY 

neOLitHiC 10th - early 1st millennium BC 

sHAnG DYnAstY 16th century - c.1050 BC 

ZHOu DYnAstY c.1050 - 221 BC 

Western Zhou c. 1050 - 771 BC 

eastern Zhou 770 - 256 BC 

spring and Autumn 770 - 476 BC 

Warring states 475 - 221 BC 

qin DYnAstY 221 - 206 BC 

HAn DYnAstY 206 BC - AD 220 

tHRee KinGDOMs 220 - 265 

Jin DYnAstY 265 - 420 

nORtHeRn DYnAsties 386 - 581 

sOutHeRn DYnAsties 420 - 589 

sui DYnAstY 581 - 618 

tAnG DYnAstY 618 - 907 

FiVe DYnAsties 907 - 960 

LiAO DYnAstY 907 - 1125 

sOnG DYnAstY 960 - 1279 

XiA DYnAstY 1038 - 1227 

Jin DYnAstY 1115 - 1234 

YuAn DYnAstY 1279 - 1368 

MinG DYnAstY 1368 - 1644 

Hongwu 1368 - 1398 

Yongle 1403 - 1424 

Xuande 1426 - 1435 

Zhentong 1436 - 1449 

Jingtai 1450 - 1456 

tianshun 1457 - 1464 

Chenghua 1465 - 1487 

Hongzhi 1488 - 1505 

Zhengde 1506 - 1521 

Jiajing 1522 - 1566 

Longqing 1567 - 1572 

Wanli 1573 - 1620 

tianqi 1621 - 1627 

Chongzhen 1628 - 1644 

qinG DYnAstY 1644 - 1911 

shunzhi 1644 - 1661 

Kangxi 1662 - 1722 

Yongzheng 1723 - 1735 

qianlong 1736 - 1795 

Jiaqing 1796 - 1820 

Daoguang 1821 - 1850 

Xianfeng 1851 - 1861 

tongzhi 1862 - 1874 

Guangxu 1875 - 1908 

Xuantong 1909 - 1911 

thanks to: 

Dani Deudney - Photography 

Andrew sullivan at Blacknight Design 

steph Davies - Assistant 

www.blacknightdesign.co.uk

7 Georgian House, 

10 Bury street, 

st James’s, 

London sW1Y 6AA 

t 00 44 (0) 7831 645468 

alastair@gibsonantiques.com 

www.gibsonantiques.com

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