A large Chinese famille rose porcelain vase, probably late Qing dynasty, of rounded baluster form with a tall, gently waisted neck and flaring mouth, painted in polychrome enamels with boys engaged in festive pursuits within a garden landscape. The figural decoration extends around the body, interspersed with leafy trees, ornamental rockwork, butterflies, and sections of garden fencing. Boys carrying banners and a gong animate the composition, while a pavilion with a tiled roof, slender columns, and patterned floor anchors the architectural setting. Generous passages of white ground distinguish the comparatively open landscape from the densely ornamented neck. Against a vibrant yellow ground, the neck displays fruiting peach branches, flowering sprays, and bats surrounding shaped white reserves filled with auspicious objects. A collar of pendant ruyi heads defines the shoulder, complemented by floral borders on dark blue grounds at the mouth and lower body. A further polychrome band follows the interior rim. The children, peaches, and bats express traditional wishes for flourishing descendants, longevity, and good fortune. The recessed base bears the six-character iron-red seal mark, translating as “Made during the Qianlong reign of the Great Qing.” The mark is considered apocryphal and does not establish manufacture during the Qianlong reign. Accompanied by a Hong Kong Art Group Certificate of Identity dated August 30, 1979, incorporating a photograph corresponding to the vase. The certificate states that the vase was more than one hundred years old when issued; this historical age opinion has not been independently verified. Condition includes scattered surface wear, small firing imperfections, and discoloration to the exposed foot. Measures approximately 11" in diameter x 22" tall. Auction Estimate: $800–$1,200. Note Regarding Shipping Services: This item is exceptionally large and/or heavy, and may require custom boxing or crating depending on the intended destination and available carrier services. For more information prior to bidding, please email us at Shipping@AlaskaPremierAuctions.com or call/text us at 907.570.7050.

A Japanese Satsuma earthenware bowl of the Meiji period, late nineteenth or early twentieth century, finely decorated in polychrome enamels and gilding with a gathering of men, women, and children. Its rounded sides rise from a short circular foot, with decoration extending across the interior and exterior. The interior scene includes seated, kneeling, and standing figures attending to boxes and other objects. Their robes are individually patterned with floral sprays, geometric ornament, and contrasting panels of color. Fine outlines articulate the faces, coiffures, and garments, while closely applied gold stippling enriches the surrounding ground. A broad ornamental border frames the scene, combining floral panels, minute geometric patterns, and oval reserves within a complex arrangement of gilt divisions. The exterior carries birds, flowers, and foliage beneath additional patterned bands, continuing the bowl’s detailed decoration beyond its principal figural composition. The underside bears a mark read as Kozan, painted in gold within a black cartouche outlined in gilt. The cream-colored glaze exhibits the fine crackle associated with Satsuma earthenware. The precise workshop identity is not established by the signature alone. Light wear to the gilding, localized discoloration within the glaze crackle, and minor surface marks are present. Measures approximately 6" in diameter x 2.25" tall. Auction Estimate: $800–$1,200.

A Chinese blue and white porcelain bowl of the late Ming dynasty, late sixteenth to early seventeenth century, painted in underglaze cobalt with stylized chilong dragons. The deep, rounded sides rise from a short circular foot to a slightly everted rim, the porcelain covered with a pale, blue-tinted glaze. Two elongated dragons extend around the exterior, their forward-projecting heads, arched bodies, and bifurcated tails resolved into sweeping, scroll-like forms. Fine parallel strokes articulate the heads, contrasting with broader passages of cobalt defining the bodies and curling appendages. Small stylized sprays and ornamental devices occupy the intervening spaces. Variations in pigment intensity and the freely drawn contours give the decoration a distinctly calligraphic character. A further stylized dragon fills the interior well within a double circle, with narrow blue lines encircling the inner rim and lower exterior. The fanciful treatment of the dragons, particularly their branching tails and abbreviated anatomy, distinguishes the design from more naturalistically rendered, scaled dragons. The recessed, glazed base is unmarked and enclosed by an exposed foot ring with an uneven, granular surface, brown discoloration, and small firing imperfections. Condition includes rim fritting and scattered shallow chips, small losses and wear to the foot ring, surface abrasions, and isolated dark kiln specks. Irregularities in the potting and glaze are visible throughout. Measures approximately 5.75" in diameter x 2.75" tall. Auction Estimate: $150–$250.

A late Qing Chinese famille rose porcelain jar, circa 1880–1900, painted with a procession illustrating Qilin Songzi, or “Qilin Sends a Son.” A boy in a bright orange coat rides a scaly purple-and-black qilin, accompanied by attendants carrying a ceremonial parasol, fans and a tray holding a book or scholar’s box. The scene continues around the broad ovoid body, with sparse green foliage and lightly drawn ground lines setting the figures against the white porcelain. The high shoulders rise to a short neck decorated with floral panels above a continuous iron-red-and-white diaper band. Contrasting enamel colors distinguish the figures and their patterned garments, while the procession’s varied gestures carry the narrative around the vessel. Qilin Songzi expresses the traditional wish for a son destined for scholarly achievement and distinction. The auspicious creature, ceremonial parasol and literary attribute give this domestic vessel a celebratory subject. Measures approximately 8.5" in diameter × 10" high. Auction Estimate: $400–$600.

A Chinese blue and white porcelain bowl, attributed to the late Ming to early Qing period, seventeenth century, of deep rounded form with steeply rising sides and a substantial circular foot, freely painted in underglaze cobalt with a phoenix and flowering stems. The phoenix turns its crested head above a compact body, its wings and elongated tail feathers sweeping across the exterior. Broad, saturated strokes establish the bird’s silhouette, contrasted with finer parallel lines defining the breast and plumage. A large stylized blossom occupies the opposite side, with rounded, shaded petals above a curving stem and spreading leaves. Smaller buds, leafy sprays, and loosely drawn ornamental devices complete the decoration. A single cobalt line encircles the lower body above the foot. The largely undecorated interior preserves an open field of pale grey-blue glaze, contrasting with the animated exterior painting. Variations in pigment density, softly diffused outlines, and irregularities in the potting contribute to the bowl’s informal provincial character. The recessed glazed base bears a small, freely brushed underglaze-blue character mark, the precise reading of which remains undetermined. The exposed foot ring is coarse and uneven, with granular accretions, brown discoloration, and scattered small losses. Dark inclusions and localized glaze pits occur across the base and body. Condition includes rim wear and fritting, small edge losses, surface scratches, and scattered glaze imperfections. Measures approximately 6.25" in diameter x 3.5" tall. Auction Estimate: $150–$250.

Two Japanese porcelain sake dispensers, early twentieth century, modeled as barrel-shaped vessels with raised bindings imitating the ropes and straw coverings of traditional wooden sake casks. Each has a filling aperture above and a dispensing opening near the base, with contrasting floral and landscape decoration incorporating prominent commercial inscriptions. The floral example has a cylindrical body, rounded shoulder, and thick, diagonally modeled rope bands. Pink chrysanthemums and green foliage surround a gilt-outlined circular reserve bearing the sake name Matsuragiku, repeated in smaller phonetic characters below. Additional inscriptions include “registered trademark” and a three-shō capacity designation across the shoulder. The Matsuragiku name is associated with Miyajima brewery in Karatsu, founded in 1926, supporting a late Taishō or early Shōwa attribution for this vessel. A wire bail handle remains attached to the shoulder lugs, and a cork closes the lower outlet. The companion has a broader, gently rounded body with molded vertical bindings, horizontal rope borders, and a finely ridged upper surface. Bold cobalt calligraphy dominates the front above a landscape of mountains and sailing boats on blue-lined water, accompanied by smaller iron-red inscriptions. Further commercial lettering appears on the reverse. Pierced shoulder lugs remain, although the carrying handle is absent. The combination of brewery or merchant lettering, decorative imagery, and practical dispensing apertures reflects their role as commercial sake containers. Both have recessed glazed bases bearing blue marks within geometric frames, together with later applied felt pads. Condition includes surface wear, scattered staining and deposits, firing irregularities, and chips and losses to the foot rims. The surviving metal handle exhibits oxidation. Upper closures are absent, and the landscape example also lacks its carrying handle and lower stopper or dispensing fitting. Largest measures approximately 10" in diameter x 10.5" tall. Auction Estimate: $200–$300.

A Chinese blue and white porcelain vase of archaistic hu form, late Qing to early Republic period, circa 1890–1920, painted with horses in a rocky landscape beneath a spreading willow. The rounded shoulders taper toward a slightly spreading foot, while the waisted neck rises to a broad, flaring mouth fitted with a narrow metal collar. Two applied tubular handles flank the neck, their molded horizontal ribs accented with cobalt bands. The principal composition brings together a pale horse with its head raised and a darker horse stepping beneath the willow’s angular trunk and pendant foliage. A spotted animal continues the scene around the adjoining side. Layered rock formations, low vegetation, and small trees extend across the lower body, leaving a broad expanse of undecorated glaze at the rear. Dark outlines and closely worked details distinguish the animals’ manes and features, while overlapping blue washes lend depth to the rocks and landscape. The vase combines a form derived from ancient Chinese bronze vessels with freely arranged animal painting. Its broad shoulder provides space for the principal scene, and the willow extends upward onto the neck, connecting the decoration across the vessel’s changing profile. The recessed glazed base bears a six-character Yongzheng seal mark in underglaze blue, translating to “Made during the Yongzheng reign of the Great Qing.” The mark is considered apocryphal, referring to the earlier reign rather than establishing the vase’s production date. Surface wear commensurate with age, with scattered kiln specks and glaze irregularities. Measures approximately 10" in diameter x 13.25" tall. Auction Estimate: $300–$500.

A Chinese blue and white porcelain covered jar, late Qing dynasty, circa 1880–1910, of tall baluster form with broad, rounded shoulders tapering to a gently spreading foot, surmounted by a domed cover with a rounded button finial. The body is painted in underglaze cobalt blue with prominent double happiness characters surrounded by an extensive network of flowering scrolls. Large, stylized blossoms punctuate the densely intertwined stems and curling leaves, their petals articulated with fine blue lines and shaded washes. The saturated cobalt of the characters provides a strong focal point against the more delicately drawn floral ground. A continuous key-fret border encircles the shoulder immediately below the mouth. The cover repeats the double happiness characters among flowering scrolls, with radiating petal decoration across the finial. Its rounded profile continues the broad sweep of the shoulders, giving the assembled vessel a unified silhouette. The double happiness emblem (shuangxi) combines two characters for happiness and is closely associated with marriage and wishes for a harmonious union. Its repeated appearance places the jar within the Chinese tradition of auspicious household ceramics associated with wedding celebrations and gifts. The recessed, glazed base bears a freely written four-character Chenghua mark, meaning “Made during the Chenghua reign.” The mark refers to the Ming emperor’s reign of 1465–1487 and is apocryphal on this later vessel. Scattered wear commensurate with age. Measures approximately 10" in diameter x 16" tall, including the cover. Auction Estimate: $300–$500. Note Regarding Shipping Services: This item is exceptionally large and/or heavy, and may require custom boxing or crating depending on the intended destination and available carrier services. For more information prior to bidding, please email us at Shipping@AlaskaPremierAuctions.com or call/text us at 907.570.7050.

A monumental Japanese cloisonné enamel vase of the late Meiji period, circa 1890–1910, decorated with flowering irises and swallows in flight against an expansive sky-blue ground. Standing two feet tall, the vase gives an intimate study of birds and flowers an unusually commanding presence. Its elongated ovoid body rises through high, rounded shoulders to a short waisted neck and gently flared mouth. Tall stems and overlapping, sword-shaped leaves support open blossoms and furled buds in violet, cobalt blue, lavender, and creamy white. The petals display carefully graduated shading, with pale edges, darker folds, and yellow accents lending depth to the flowers. Fine metal wires trace the undulating petal margins and delicate veins, while smaller yellow blossoms and broad leaves shaded in green and reddish brown enrich the planting below. Swallows sweep across the upper body in varied attitudes, their pointed wings and deeply forked tails conveying movement above the upright flowers. Closely arranged wirework delineates individual feathers, contrasting dark wings and backs with pale breasts and reddish facial markings. Broad passages of uninterrupted blue separate the birds from the floral groups, allowing the composition to unfold as the vase is viewed from different sides. The decoration draws on the Japanese tradition of bird-and-flower imagery, balancing closely observed natural forms with a carefully arranged composition. Soft transitions between enamel colors give the irises the delicacy of a painted floral study, while the sharply defined wings introduce a lively contrast. The combination of shaded enamels, fine wirework, and an open ground reflects the pictorial refinement achieved by Japanese enamelers during the later Meiji period. Metal mounts encircle the mouth and foot, with a narrow scalloped ornamental border beneath the upper rim. The inner neck is finished in green enamel, and the underside is darkly patinated. No maker’s mark is visible on the base. The exterior retains a glossy surface with scattered minor marks. The metal mounts and underside show tarnishing and discoloration, with patchy wear and pale marks visible inside the neck. The vase measures approximately 10.5" in diameter at its widest point × 24" high. Auction Estimate: $1,500–$2,500. Note Regarding Shipping Services: This item is exceptionally large and/or heavy, and may require custom boxing or crating depending on the intended destination and available carrier services. For more information prior to bidding, please email us at Shipping@AlaskaPremierAuctions.com or call/text us at 907.570.7050.

Japanese ginbari cloisonné enamel vase, late Meiji period, circa 1890–1910, decorated with a coiling dragon emerging among dramatically cresting waves. The elongated body rises through broad, rounded shoulders to a slender, waisted neck and flared mouth. A luminous ground shades from pale green around the neck and shoulders to silvery blue across the body, complementing the deeper blues of the water below. The dragon winds around the vessel in dark emerald and teal enamels, with a segmented pink underside, yellow eyes, projecting horns, and long, curling whiskers. Fine metal outlines articulate the overlapping scales, claws, and facial details. Rust-red and golden-yellow accents enliven the mane and trailing appendages, while the raised head gives the composition a strong upward movement. Broad blue waves sweep around the lower body, their curved outlines contrasting with the irregular, branching shapes of the opaque white foam. The dragon’s body passes through and behind the water, creating a continuous composition that unfolds as the vase is turned. Open passages of pale enamel above the waves provide a quieter setting for the extended whiskers and sweeping contours. The shimmering surface incorporates ginbari, a technique employing textured silver foil beneath translucent enamel. The fine pattern of the underlying foil remains visible through the colored surface, enriching the dragon, water, and surrounding ground with reflected light. The vase’s substantial fifteen-inch height gives particular prominence to this interplay of texture, color, and detailed ornament. Narrow metal mounts frame the mouth and foot. The underside is finished with a darkly patinated metal base, with no legible maker’s mark visible in the supplied photographs. Condition includes visible hairline cracks in the enamel near the mouth and longer cracks across portions of the body, including the wave decoration. These appear shallow, with localized darkening along some of the cracks. Age-appropriate patination to the metal mounts and scattered surface marks are present. The vase measures approximately 5" in diameter at its widest point × 15" high. Auction Estimate: $600–$800.

A large Japanese Imari porcelain charger of the Meiji period, late nineteenth century, richly decorated with shishi, phoenixes, and flowering plants in underglaze cobalt blue, polychrome enamels, and extensive gilding. The broad, shallow body terminates in a deeply scalloped rim, its elaborate decoration arranged around an asymmetrical central composition. At left, a gilded shishi tumbles among peony blossoms and curling foliage against an iron-red ground. A second lion occupies the lower right, its forepaws resting on a low blue-topped support beside a woven basket overflowing with flowers. Above, a long-tailed phoenix descends through an open white-ground reserve beneath the spreading branches of a flowering tree. The contrast between the densely ornamented red field and the more spacious flowering-tree reserve gives the composition its distinctive movement and balance. A cobalt-blue geometric band surrounds the central scene. The broad rim contains shaped reserves of phoenixes, flowering branches, and garden ornament, interspersed with smaller floral medallions and densely patterned grounds. Gilding enriches the lions, foliage, feathers, and borders, exemplifying the kinran-de, or “gold brocade,” decoration associated with richly embellished Imari porcelain. The reverse is decorated with underglaze-blue scrolling foliage and pale flower reserves accented with gilt detailing. Concentric blue lines frame the recessed base, which bears the four-character inscription Fuki chōshun, meaning “wealth, honor, and enduring spring.” This auspicious inscription expresses a wish for prosperity and renewal rather than identifying a maker or reign. Minor wear and discoloration are recorded at the foot. Measures approximately 18.5" in diameter x 2.5" tall. Auction Estimate: $600–$800.

A diminutive Japanese cloisonné enamel vase of the Meiji period, late nineteenth to early twentieth century, decorated with birds, flowering plum, and bamboo against a lustrous sky-blue ground. The slender ovoid body tapers toward a narrow circular foot, rising through rounded shoulders to a short, waisted neck and gently flared mouth. A branching plum tree extends upward across the principal face, its dark trunk and angular shoots bearing white blossoms, rounded buds, and small accents of pink and red enamel. One bird perches among the flowering branches while another approaches in flight. Their green and cream plumage is articulated with fine wire outlines defining the wings, breasts, and tail feathers. Slender bamboo leaves emerge beside the lower trunk, contrasting with the rounded blossoms above. The composition extends around the sides while leaving much of the reverse in uninterrupted blue enamel. This restrained arrangement emphasizes the silhouettes of the birds and branches, giving the small vessel an airy, balanced appearance. Narrow geometric fret borders beneath the mouth and above the foot provide a formal frame for the freely arranged natural imagery. Fine metal wires divide the colored enamels into individual cells, delineating the blossoms, foliage, and feather details. The exposed metal rim and foot mounts provide a dark contrast to the polished blue surface. No maker’s signature is visible on the underside. The metal mounts show patination, with wear and discoloration to the underside. Measures approximately 3" in diameter at the widest point x 6.25" tall. Auction Estimate: $300–$500.

A cast-iron bust of Buddha, attributed to Southeast Asia and probably dating to the late nineteenth or early twentieth century, retaining gilding and remnants of red and green surface decoration. Broad, rounded shoulders support an upright head with arched brows, downcast eyes, a small smiling mouth, and elongated earlobes. Closely arranged spiral curls cover the head and continue over the raised ushnisha, which terminates in a rounded finial. The monastic robe passes over the left shoulder, leaving the right shoulder and upper chest exposed. Shallow folds articulate the garment, while a red border crosses the torso diagonally and continues over the shoulder onto the back. Areas of dark green remain on the robe. Fragmented gilding catches the light across the face, neck, and exposed chest, contrasting with the dark underlying surface. The elongated earlobes and raised ushnisha are traditional attributes of the Buddha, associated with his renunciation of princely life and attainment of enlightenment. The head-and-shoulders composition emphasizes the quiet expression and the contrast between the tightly patterned hair and softly modeled face. The open underside reveals the hollow construction, uneven casting surfaces, and substantial reddish-brown and pale encrustations. A circular raised feature is visible within the interior. The lower edge follows the contours of the chest and shoulders, suggesting that the sculpture was fashioned as a self-contained bust. Condition includes wear and losses to the gilding and colored surface decoration, scattered abrasions, and heavy interior corrosion and deposits. The bust measures approximately 7.25" wide × 3" deep × 8.5" high. Auction Estimate: $200–$400.

A fine Japanese cloisonné enamel vase of the late Meiji period, circa 1890–1910, decorated with three songbirds among flowering cherry branches, irises, and chrysanthemums against a lustrous black ground. The elongated body rises through broad, rounded shoulders to a slender neck and flared mouth, with narrow metal mounts framing the rim and foot. Two birds perch among the branches while a third approaches with raised wings, bringing movement to the carefully arranged garden scene. Their gray and brown plumage contrasts with clusters of pale pink and white cherry blossoms, pendant buds, and leaves shaded in green and reddish brown. Fine metal wires articulate the individual feathers, flower petals, and branching stems. Purple irises rise from the lower body on long, pointed leaves, their spreading petals accented with yellow. Nearby, small white chrysanthemums open around golden-yellow centers. The combination draws together flowers associated with different seasons, creating an idealized garden whose interest lies in the changing forms of blossoms and foliage. Open passages of black enamel give the delicate subjects room to stand out. A narrow band of multicolored scrolling floral ornament encircles the flared mouth, providing a decorative crown above the otherwise unadorned neck. The interior and underside are finished in yellow counter-enamel, while the exposed metal mounts have developed a warm brown patina. No maker’s mark is visible on the base. Scattered pale speckling and minor surface marks are visible in the dark ground. The metal mounts show patination and light wear. The vase measures approximately 12.5" high × 5" in diameter at its widest point. Auction Estimate: $600–$800.

An elaborate Chinese silver-gilt filigree tea caddy, first half of the twentieth century, adorned with brilliantly colored birds and flowering branches against a delicately worked wire ground. The slender, six-lobed body rises beneath a broad domed cover crowned by an openwork finial. Its intricate surface combines the delicacy of filigree with the sculptural presence of raised enamel flowers and polished cabochons. Across the rounded panels, gnarled branches carry birds nestled among open blossoms, pendant buds, and small leaves. Deep cobalt gives way to powder blue and soft mauve across the petals, while touches of green, cream, black, and warm brown distinguish the birds’ plumage. Orange-red and turquoise-blue cabochons introduce brighter accents among the flowers. Cool blue enamels stand out against the warm gilt branches and darkened silver. Fine wire mesh fills the spaces between the branches, individual feathers articulate the birds’ wings and tails, and overlapping petals lift the blossoms away from the ground. Each panel offers a variation on the flowering scene, inviting the viewer to turn the caddy and follow the decoration around its circumference. Narrow metal ribs divide the panels without interrupting the continuity of the design. The generously rounded cover carries matching flowering sprays across its six lobes, with a delicate scrolling border following the lower edge. A spreading foliate mount supports the pierced, bud-shaped finial, topped by a small red cabochon. Viewed from above, the cover’s flower-like outline echoes the blossoms decorating its surface. Beneath the ornamental cover, a separate circular inner cap closes a plain cylindrical metal liner. The underside is stamped “SILVER,” and acid scratch testing indicates a silver purity of .900 or better. The enamels retain vivid colors; condition includes surface patination, rubbing to the gilding and handling marks to the underside. Measures approximately 3.5" in diameter x 7.5" tall, including the cover and finial. Total gross weight: 544 grams. Auction Estimate: $1,000–$1,500.

A Russian Karelian birch cigarette case with an applied imperial eagle and an engraved silver presentation plaque dated 25 May 1940. The compact rectangular body has softly rounded edges, a closely fitted lid, and a warm honey-colored finish that brings out the wood’s swirling grain, dark flecks, and clustered knots. The lid is centered with a detailed double-headed eagle bearing three crowns, a scepter, and an orb. A shield depicting Saint George and the dragon occupies its breast, while smaller armorial shields appear across the wings. This is the imperial Russian state emblem, giving the restrained wooden case a richly detailed heraldic focal point. A curved triangular silver plaque occupies the lower corner. Its flowing Cyrillic inscription begins “Юбиляру,” meaning “To the jubilee honoree,” and includes personal names followed by the date 25 May 1940. The names are not sufficiently clear for a confident transcription. The plaque bears an “84” mark, denoting the Russian 84-zolotnik standard of 875/1000 silver, or 87.5% purity. The inscription records a commemorative presentation; the case itself may be earlier. The lid opens on an interlocking wooden hinge, with a curved lifting lip at the opposite end. Inside, the shallow compartment continues the richly figured wood. Karelian birch and silver were a distinctive combination in Russian personal accessories, allowing the natural pattern of the wood to share attention with the metalwork. Here, the dedication gives an everyday smoking accessory the character of a personal keepsake. Light wear consistent with age, with natural tarnishing to the silver. The closed case measures approximately 3.25" × 3.75" × 0.75" thick. Auction Estimate: $400–$600.

A cast copper-alloy axe head attributed to pre-Columbian Ecuador, circa AD 1100–1500, with a broad crescent-shaped blade and a substantial rectangular tang pierced by a roughly circular hole. The blade sweeps outward to pointed corners, while gently sloping shoulders connect it to the squared butt. Its thick upper section tapers toward the curved cutting edge, giving the compact form a sense of weight and purpose. Mottled green corrosion covers much of both faces, contrasting with dark brown and warmer copper-brown passages around the blade and butt. The irregular surface texture emphasizes the otherwise simple geometry, with the strong horizontal sweep of the blade balanced by the upright tang. The perforation appears intended to assist in securing the head to a handle, which is no longer present. The form relates to cast copper-alloy axes documented from Ecuador during the later pre-Columbian period. Such implements demonstrate a metalworking tradition that extended beyond personal ornament into objects shaped for practical use. Here, the broad blade and sturdy attachment section give the axe its distinctive sculptural character, without requiring an elaborate decorative program. The surface shows corrosion, pitting, scratches, and several localized dents and gouges on the blade face, together with small irregularities along the edges. Green verdigris and layered patination are consistent with significant age. The axe head measures approximately 6.25" wide × 4.75" high × 0.75" thick. Auction Estimate: $400–$600.

A large Chinese famille rose porcelain vase, Qing dynasty, nineteenth century, painted with flowering chrysanthemums and fruiting pomegranate branches rising beside ornamental rockwork. The elongated body narrows toward the foot and rises through rounded shoulders to a tall, waisted neck and flaring mouth. Two pierced handles, formed as angular interlocking scrolls, lend a formal accent to the freely arranged floral decoration. A large magenta chrysanthemum anchors the principal composition, its slender, curling petals shaded toward pale tips. Cream and yellow blooms accompany it among smaller flowers and deeply lobed leaves painted in contrasting shades of green. Above, a branching pomegranate tree extends across the shoulder and into the neck, bearing orange-red blossoms and rounded fruit, several opening to reveal clusters of seeds. Blue-grey garden rocks, pierced with irregular openings, provide a rugged foundation for the delicate stems and blossoms. Fine dark outlines define the petals, leaf veins, and textured bark, while the pale porcelain ground allows each flowering stem to remain distinct. The decoration continues around the sides, giving way on the reverse to isolated chrysanthemum sprays. A narrow gilt line follows the mouth, complementing traces of gilding on the pierced handles. Chrysanthemums traditionally convey wishes for longevity, while the many-seeded pomegranate expresses hopes for abundant descendants. Together, the flowers and fruit give the vase an auspicious domestic character as well as a varied floral composition. Accompanied by a Certificate of Antiquity issued by the Hong Kong Art Craft Merchants Association Limited, dated February 23, 1973, certificate number B 997006. The document includes a photograph matching the vase, identifies it as a 23-inch famille rose vase, and records the association’s opinion that it was then more than 100 years old. The recessed base is glazed and unmarked, enclosed by a broad, exposed foot ring. Condition includes scattered surface wear, rubbing to the gilding and discoloration at the foot. Small firing specks and variations in the glaze remain visible. Measures approximately 9" in diameter x 23" tall. Auction Estimate: $800–$1,200. Note Regarding Shipping Services: This item is exceptionally large and/or heavy, and may require custom boxing or crating depending on the intended destination and available carrier services. For more information prior to bidding, please email us at Shipping@AlaskaPremierAuctions.com or call/text us at 907.570.7050.

A substantial nineteenth-century Japanese Imari porcelain bowl, decorated with flowering plants, geometric borders, and leaf-shaped ornaments in cobalt blue, iron red, green, and gilt. The broad, rounded sides rise from a low circular foot, opening to an interior arranged around a central medallion of three orange-red flowers amid curling blue foliage. Three large panels around the inner wall depict pine, bamboo, and flowering plum, framed by lattice patterns and red scrollwork. These plants form the auspicious “Three Friends of Winter,” known in Japan as shōchikubai. Their ability to remain green or blossom in the colder months made them enduring symbols of perseverance, longevity, and renewal, giving the garden scenes a meaning beyond their decorative appeal. Deep cobalt bands separate the panels, carrying fine gilt scrolls and iron-red reserves filled with boldly veined leaves and ribbon-like ornaments. Smaller floral sprays alternate with angular blue fretwork around the central medallion. The contrast between the freely painted plants and carefully divided borders gives the interior the layered richness associated with brocade-pattern Imari decoration. The exterior is painted with sweeping blue foliate scrolls interrupted by iron-red leaf reserves. A repeating triangle-and-dot border encircles the lower body above the foot. The recessed underside is glazed and unmarked, with an exposed foot rim. Minor wear consistent with age. The bowl measures approximately 11.75" in diameter × 4.5" high. Auction Estimate: $300–$500.

A fine Japanese cloisonné enamel vase of the Meiji period (1868–1912), late nineteenth to early twentieth century, decorated with flowering chrysanthemums against a lustrous deep blue ground. The elongated ovoid body rises from a spreading foot to rounded shoulders, a slender neck, and a flared mouth, with exposed metal mounts framing the rim and base. Tall flowering stems carry large off-white chrysanthemums with delicately shaded pink petal tips and golden-yellow centers. Smaller blossoms in salmon pink, rust red, and white appear among unopened buds and overlapping foliage. The leaves range from olive and sage to deep green and reddish brown, lending the composition a rich autumnal character. Fine wirework traces the individual petals, branching stems, and lobed leaves, extending into the foliage to define its intricate network of veins. Flowers shown face-on alternate with side-facing blooms, revealing the upward sweep of their petals and giving the arrangement a natural variety of poses. The pale blossoms stand out against the blue enamel, while the subtler colors of the foliage reward closer examination. Additional flowering sprays continue around the sides and reverse, separated by generous passages of uninterrupted blue. The unornamented neck and foot emphasize the vase’s graceful proportions and allow the floral decoration to remain the focus. Known in Japan as kiku, chrysanthemums have longstanding associations with autumn and longevity. Their varied forms offered enamelers a particularly expressive subject, allowing broad, rounded blossoms and slender, upturned petals to be distinguished through carefully shaped wire outlines and subtle changes of color. The interior and underside are finished in pale yellow-green counter-enamel. No maker’s signature is visible on the base. Fine crazing is visible in the interior and underside enamel, together with discoloration beneath the base and patination to the metal mounts. The vase measures approximately 5" in diameter at the widest point × 12.5" high. Auction Estimate: $400–$600.