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396325 Los(e)/Seite
Los 9053
French - late-19th century 8-day drum clock, in a Belgium slate and variegated marble case with a two-piece enamel dial and visible Brocot escapement, count wheel striking movement striking the hours on a bell.Dimensions: Height: 23cm Length/Width: 35cm Depth/Diameter: 18cmCondition Report:Some cracks and repairs to the case. No pendulm or key.
Los 6220
French - late 19th-century 8-day ebony and faux tortoiseshell mantle clock, waisted shaped case with brass inlay raised on rococo feet, two-part dial with a recessed gilt centre and enamel chapter ring, Arabic numerals, minute markers and fleur di Lis steel hands, with a twin train rack striking movement, striking the hours on a bell. With pendulum.Dimensions: Height: 38cm Length/Width: 23cm Depth/Diameter: 12cm
Los 6225
French - 8-day late 19th-century mantle clock in a Belgium slate case, with a flat top, rouge marble relief and incised chasing on a stepped plinth, two-part enamel dial with a visible dead-beat brocot escapement, Roman numerals, minute track and steel spade hands, two train movement striking the hours and half-hours on a bell. With pendulum.Dimensions: Height: 28cm Length/Width: 26cm Depth/Diameter: 17cm
Los 6231
French - late 19th century 8-day marble and Belgium slate mantle clock, with a flat top, break front case on a broad plinth with contrasting variegated sienna marble panels, enamel dial with Roman numerals, minute track and steel spade hands, striking movement with a recoil anchor escapement, striking the hours and half hours on a bell. No pendulum.Dimensions: Height: 23cm Length/Width: 22cm Depth/Diameter: 13cm
Los 6232
French- early 20th century timepiece carriage clock complete with original velvet lined traveling case, enamel dial with Roman numerals, minute markers and steel spade hands, corniche style case with an oval glass panel to the top, 8-day movement with a replacement jewelled lever platform escapement. With key.Condition Report:Dial glass chipped.
Los 6234
French - late 19th century carriage clock with alarm and gong strike, in an Anglaise case with four bevelled glass panels and square viewing panel to the top, with an enamel dial, Roman numerals, five-minute Arabic's, minute markers, steel spade hands and subsidiary alarm dial, with a silvered platform and original cylinder escapement.Dimensions: Height: 14cm
Los 6238
German - late 19th century single weight Vienna regulator, in an ebonised case with a gable pediment and finials, fully glazed door with a visible pendulum and two part enamel dial with Roman numerals and steel spade hands, 8-day movement with a weight driven deadbeat escapement. No weight.Dimensions: Height: 110cm Length/Width: 32cm Depth/Diameter: 13cm
Los 598
AN 'AUSPICIOUS' CONCH-FORM CLOISONNE ENAMEL SNUFF BOTTLE, QING DYNASTYChina, 1780-1860. The flat lip and lower tip gilt, the body finely decorated in bright enamels with various auspicious and Buddhist symbols including bats, double-fish, wan, chimes, and lotus blossoms amid scrolling vines, the shoulders each with a shou character, the neck with a band of plantain leaves.Provenance: English trade. Condition: Very good condition with minor wear and manufacturing irregularities, little rubbing to gilt. The stopper lost.Weight: 41.6 g Dimensions: Height 60 mm. Diameter neck 14 mm and mouth 4 mm清代銅胎掐絲琺瑯海螺形鼻烟壺中國，1780-1860年。平唇，下端足部鎏金，壺身掐絲琺瑯藍地蝙蝠、雙魚、琬、鐘、纏枝蓮花等吉祥紋飾，肩部各有一壽字，頸部飾有一圈蕉葉紋。 來源：英國古玩交易。 品相：狀況極好，輕微磨損和製造瑕疵，鎏金小磨損，壺蓋丟失。 重量：41.6 克 尺寸：高60 毫米，頸部直徑14 毫米，壺口直徑 4 毫米
Los 267
A PAIR OF CLOISONNE ENAMEL GARLIC-MOUTH VASES, QIANLONG TO JIAQING PERIODChina, 1736-1820. Each with a globular body supported on a straight foot and rising to a long neck with a gilt rib below the distinct bulbous mouth with gilt rim. Decorated with red, white, and blue lotus blooms on scrolling leafy stems against a turquoise ground, a lappet border above the foot, and a ruyi band framing the mouth, the base in gilt. (2)Provenance: Galerie Zacke, Vienna, Austria. Old Austrian private collection, acquired from the above before 1999. A copy of an excerpt from a Galerie Zacke catalog, dating from before 1999, accompanies this lot. Condition: Fine condition with minor wear, few small bruises with minor losses, one bottle with a dent to the mouth.Weight: 213.8 g and 216.1 g Dimensions: Height 13.7 cm and 13.7 cm Auction result comparison:Type: RelatedAuction: Sotheby's London, 12 July 2006, lot 440Price: GBP 7,800 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A small cloisonne enamel 'garlic mouth' vase, mark of Qianlong and probably of the periodExpert remark: Compare the related form and floral decoration. Note the smaller size (9.5 cm) and the Qianlong mark. Also note that this result is for a single vase only.乾隆至嘉慶一對銅胎掐絲琺琅纏枝蓮紋蒜頭瓶中國，1736-1820年。瓶口呈蒜頭狀，長頸，溜肩，碩腹，圈足。松石綠色地，通體掐絲琺瑯纏枝蓮紋，瓶口、頸部和圈足鎏金。圈足上飾如意紋。 來源：奧地利維也納Galerie Zacke藝廊；奧地利私人舊藏，1999年前購於上述藝廊。隨附一份1999年前Galerie Zacke藝廊目錄摘要複印本。 品相：狀況良好，有輕微磨損，輕微缺損，一瓶瓶口有凹痕。 重量：分別為213.8克與216.1 克 尺寸：分別為高13.7 厘米與13.7 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2006年7月12日，lot 440 價格：GBP 7,800（相當於今日EUR 16,500） 描述：乾隆款或為其年代銅胎掐絲琺瑯蒜頭瓶 專家評論：比較相近的外形和蒜頭形口。請注意尺寸較小 (9.5 厘米) 和乾隆款，以及此拍品只有一瓶。
Los 14
AN EXTREMELY RARE CLOISONNE ENAMEL QUADRILOBED BOX AND COVER, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIODChina, 1736-1795. Supported on a flaring foot, the cover decorated with a central blossom encircled by four lotus flowers issuing meandering vines, the foot with further lotus and vines above a band of floral sprays, all above a turquoise ground, the interior, base, and rims in gilt. The recessed base incised with a five-character mark Qianlong nianzhi xuan and of the period.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. The interior of the cover with three old labels, '18', 'Signe Kun-Lung Imperial', and 'Geneve Art Ancien Chine & Extro-Orient. 2762 TFA', and a lacquered inventory number 'AMA-2762/2'. The interior of the bowl with three old labels, 'Signe Kung Lung Imperial', 'K. Ming 1736-95', and 'Asia-Africa Museum Geneve', and lacquered with an inventory number 'AMA-2762/2'. The base with an old label, 'Signe Kien Lung Imperial'. Two old paper labels with collection notes, one numbered 'No 276/TFA' and the other 'No 2757/TFA'. According to the collector's personal notes, the present lot was acquired on 13 October 1972. A copy of the corresponding entry in the collector's notebook accompanies this lot. Condition: Very good condition with minor wear, few small nicks and light scratches, and manufacturing flaws, such as scattered pitting.Weight: 140.0 g Dimensions: Length 6.6 cmThe present lot belongs to a group of small cloisonne vases, censers, and instruments (luping sanshi) which were made for the burning of incense had an additional character below the reign mark and were made for the Qianlong court. Some scholars have suggested that the fifth character under the Qianlong mark could have been a way to number the large group of objects in a correct order, see H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, pp. 74-79.The form of this four-lobed box supported by a broad foot rim directly references the crabapple (haitang), which could be combined with other emblems to create auspicious rebuses. Its second character, 'tang', is homophonous with the character for 'hall' and, by extension, 'the family home'. For examples of Imperial objects of the Qing court of related haitang shape, see a bamboo tray at Bonhams Hong Kong, 24 November 2012, lot 323 (see fig. 1), and a pair of gilt bronze and cloisonne jardinieres at Bonhams London, 8 November 2012, lot 250 (see fig. 2).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 September 2021, lot 930Price: USD 25,000 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A small cloisonne enamel circular box and cover, Qianlong four-character incised mark in a line and of the period, with an additional character yingExpert remark: Compare the related lotus decoration, five-character Qianlong mark, and size (6.4 cm). Note the less rare circular form.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 4 October 2011, lot 2091Price: HKD 250,000 or approx. EUR 41,500 converted and adjusted for inflation at the time of writingDescription: A small cloisonne seal-paste box and cover, incised mark and period of QianlongExpert remark: Compare the related lotus decoration, five-character Qianlong mark, and size (7 cm). Note the less rare circular form.乾隆五字款及年代罕見銅胎掐絲琺瑯四瓣花口蓋盒中國，1736-1795年。四瓣花口，蓋子裝飾著纏枝蓮紋，中央一朵花。足部有更多的纏枝蓮紋。綠松石色地，盒內、底部和邊緣鎏金。底足内刻“乾隆年製 宣”五字款。 來源：瑞士日内瓦知名私人收藏，建立於上世紀六十年代，保存至今。收藏中重要的一部分被永久借出，已在日內瓦的亞非博物館展出了幾十年。盒蓋内有三個標籤，'18'，'Signe Kun-Lung Imperial'與 'Geneve Art Ancien Chine & Extro-Orient. 2762 TFA'，收藏編號 'AMA-2762/2'。盒内有三個標籤 'Signe Kung Lung Imperial'，'K. Ming 1736-95'與 'Asia-Africa Museum Geneve'，'AMA-2762/2'。底部標籤 'Signe Kien Lung Imperial'。兩個收藏紙標籤，一個寫著 '編號276/TFA' ，另一個寫著 '編號2757/TFA'。根據收藏家的個人筆記，本拍品購於 1972 年 10 月 13 日。隨附收藏家筆記本中相應條目的複印本。品相：狀況良好，有輕微磨損、少量刻痕和輕微劃痕，以及製造缺陷，如分散的點蝕。 重量：140.0 克 尺寸：長6.6 厘
Los 274
A RARE CANTON ENAMEL 'COCKERELS' DISH, YONGZHENG TO EARLY QIANLONG PERIODChina, circa 1730-1740. Painted in vibrant colors with a lobed medallion enclosing two cockerels beside rockwork issuing peonies and chrysanthemums, with a cricket and butterfly, the medallion reserved on an ice-crack and prunus ground, with a ruyi band and green wave border below the metal rim. The reverse decorated with three floral sprays and a central flower on white ground.Provenance: From a private estate in Staffordshire, United Kingdom. Condition: Very good condition with minor wear and manufacturing irregularities, including expected craquelure and pitting to the enamel. Light scratches and a small piece of white enamel on the reverse has been invisibly restored.Weight: 368 g Dimensions: Diameter 22.6 cmLiterature comparison:Cockerels became a popular motif during the Yongzheng period. See, for example, a famille rose dish at Sotheby's London, 6 November 2013, lot 425.Auction result comparison:Type: RelatedAuction: Christie's London, 16 April 2014, lot 51Price: GBP 4,000 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: A pair of canton enamel saucer-shaped dishes, Yongzheng/early Qianlong period, circa 1730-1740Expert remark: Compare the related form, motif, lobed medallion, and size (21.5 cm). Note that the lot comprises two dishes, each with an ice-crack and prunus ground.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 11 September 2019, lot 870Price: USD 11,250 or approx. EUR 12,000 converted and adjusted for inflation at the time of writingDescription: A painted canton enamel 'flowers and butterflies' dish, Qing dynasty, 18th centuryExpert remark: Compare the related form and motif. Note the slightly larger size (26.3 cm).雍正至乾隆初年廣東琺瑯開光《公鷄鬥蟋蟀》盤中國，約1730-1740年。淺弧腹，圈足。盤中開光，描繪兩隻正在戲耍的公雞，一側假山、盛開的多色月季與雛菊，還有一隻蟋蟀和蝴蝶；開光外冰梅紋、如意紋帶和綠色波浪紋帶。盤外壁描繪淡雅的小雛菊、鳶尾與蝴蝶花紋，圈足中粉花款。 來源：英國斯坦福郡私人舊藏。 品相：狀況極好，有輕微磨損和製造瑕疵，包括龜裂和琺瑯點蝕，背面有輕微劃痕和一小塊白色琺瑯已小修。 重量：368 克 尺寸：直徑 22.6 厘米 文獻比較： 公雞在雍正時期成為一種熱門的繪畫主題，見一對清雍正粉彩富貴錦雞紋八方盤，售於倫敦蘇富比，2013年11月6日，lot 425。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2014年4月16日，lot 51 價格：GBP 4,000（相當於今日EUR 6,500） 描述：一對約1730-1740年雍正製乾隆初期廣東琺瑯醬碟 專家評論：比較相近的外形、主題和尺寸(21.5釐米)。請注意此為兩件醬碟，皆有冰裂紋。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月11日，lot 870 價格：USD 11,250（相當於今日EUR 12,000） 描述：清十八世紀銅胎畫琺瑯開光花蝶圖盤 專家評論：比較相近的外形和主題。請注意尺寸稍大 (26.3釐米)。
Los 448
A DOUCAI BOTTLE VASE, LATE QING DYNASTY TO EARLY REPUBLIC PERIODChina, c. 1820-1920. The globular body rising to a tall, cylindrical neck, supported on a straight foot, painted in bright enamels of green, red, blue, and yellow, decorated with four lotus and scrolling vines roundels, framed to the shoulder and above the foot with bands of lappets, the shoulders with archaistic scrolls, the neck decorated with an ornamental band enclosing two rows of small flowers. Provenance: Swiss trade. Condition: Good condition with considerable wear to enamel and minor firing irregularities.Weight: 286.8 g Dimensions: Height 14.1 cmThe recessed base with an apocryphal underglaze-blue six-character mark da Qing Qianlong nianzhi. Auction result comparison:Type: RelatedAuction: Bonhams London, 27 February 2013, lot 95Price: GBP 2,500 or approx. EUR 3,900 converted and adjusted for inflation at the time of writingDescription: A doucai oviform vase, Qianlong six-character seal markExpert remark: Compare the related form, enamels, scrolling design, and Qianlong mark. Note the size (24.5 cm).清末民初鬥彩纏枝蓮紋瓶中國，約1820-1920年。直頸，圓鼓腹，淺圈足。明亮琺瑯，青花勾勒，肩部如意紋，瓶身纏枝開光蓮紋，肩部和瓶口飾仿古幾何紋和芭蕉紋。足部可見芭蕉紋。 來源：瑞士古玩交易。 品相：狀況良好，琺瑯磨損嚴重，燒製不規則。 重量：286.8 克 尺寸：高 14.1 厘米 圈足内青花偽“大清乾隆年製“六字款。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2013年2月27日，lot 95 價格：GBP 2,500（相當於今日EUR 3,900） 描述：乾隆六字款鬥彩瓶 專家評論：比較相近的外形、琺瑯、纏枝蓮紋設計和乾隆款。請注意尺寸(24.5 厘米)。
Los 563
'BEAUTY IN A GARDEN, WEARING A TIAN-TSUI TIARA', ZHENG MUKANG (1901-1982), DATED 1941China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Depicting a lady strolling in a garden, framed by a prunus tree and rockwork issuing bamboo, dressed in fine robes tied at the waist and adorned with a blue, flowing scarf. Her hair tied in a high coiffure, wearing a kingfisher feather (Tian-Tsui) tiara.Inscriptions: Top left, dated 'Three days before the winter solstice in the Year of Xingsi' (corresponding to 1941), signed 'Mukang Zheng Shixuan'. Two seals 'Zheng Mukang yin' and 'Mukang Shuhua'. Provenance: From a European private collection. Condition: Good condition with some wear, creasing, and little staining.Dimensions: Image size 66.7 x 42.5 cm, Size incl. mounting 171.5 x 56.5 cmZheng Mukang (1901-1982) was a Chinese painter born in Chaoyang, Guangdong Province. He was an apprentice to several notable artists before becoming a teacher of Chinese Painting at the Shanghai Art School. He is well-known for his gongbi (meticulous) style renditions of Chinese beauties.Tian-Tsui is a style of Chinese art featuring kingfisher feathers. For 2,000 years, the Chinese have been using the iridescent blue feathers of kingfisher birds as an inlay for fine art objects and adornment, from hairpins, headdresses, and fans to panels and screens. Kingfisher feathers are painstakingly cut and glued onto gilt silver. The effect is like cloisonne, but no enamel was able to rival the electric blue color. Blue is the traditional favorite color in China. Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 29 May 2018, lot 1466Price: HKD 75,000 or approx. EUR 9,700 converted and adjusted for inflation at the time of writingDescription: Zheng Mukang (1901-1982), Lady ReadingExpert remark: Compare the related motif, also wearing a Tian-Tsui tiara, the composition, and fine brushwork. Note the size (98 x 42.8 cm).Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 10 December 2012, lot 5323Price: USD 12,500 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: Zheng Mukang (1901-1982), Beauty Under a WillowExpert remark: Compare the related motif, also wearing a Tian-Tsui tiara, the composition, and size (68 x 35.6 cm).鄭慕康(1901-1982)《紅衣仕女圖》1941年中國，紙本水墨設色，掛軸。一位美人在花園中漫步，身側有一棵桃樹與假山綠竹。她穿著精美的長裙，梳高髻，佩戴點翠髮飾。 款識：辛巳冬至前三日寫，慕康鄭師玄；鈴印：鄭慕康印，慕康書畫 來源：歐洲私人收藏。 品相：狀況良好，有一些磨損、摺痕和少量污漬。 尺寸：畫面66.7 x 42.5 厘米，總171.5 x 56.5 厘米 鄭慕康(1901-1982) 廣東潮陽人，學畫師從馮超然。精工筆人物，擅作仕女肖像。曾任上海美專國畫教師、上海中國畫院畫師，海上名畫家之一。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2018年5月29日，lot 1466 價格：HKD 75,000（相當於今日EUR 9,700） 描述：鄭慕康《庭院閑讀》 專家評論：比較相近的主題、也佩戴點翠髮飾、構圖和精細的筆觸。請注意尺寸(98 x 42.8 厘米)。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年12月10日，lot 5323 價格：USD 12,500（相當於今日EUR 15,000） 描述：鄭慕康《柳下美人》 專家評論：比較相近比較相近的主題、也佩戴點翠髮飾、構圖和尺寸 (68 x 35.6 厘米)。
Los 599
A CLOISONNE ENAMEL 'DAJI' DOUBLE-GOURD SNUFF BOTTLE, LATE QING DYNASTY TO REPUBLIC PERIODChina, 1850-1949. The bulbs decorated with floral medallions reading 'da' and 'ji' (great fortune), surrounded by lotus blossoms and scrolling vines, framed by a band of ruyi-heads at the neck and a lappet band above the foot.Provenance: English trade. Condition: Very good condition with minor wear and manufacturing irregularities, few minuscule nicks.Stopper: Green hardstone Weight: 49.3 g Dimensions: Height incl. stopper 55 mm. Diameter neck 14 mm and mouth 4 mmThe gilt recessed base incised with an apocryphal four-character mark Qianlong nianzhi above a fifth character.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 30 May 2018, lot 478 Price: HKD 18,750 or approx. EUR 2,500 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel 'daji' double-gourd snuff bottle, late Qing dynasty - Republican periodExpert remark: Compare the closely related subject, decoration, and form. Note the turquoise ground.清末民初掐絲琺瑯“大吉”葫蘆鼻煙壺中國，1850-1949年。葫蘆形鼻煙壺，口略外撇，黃地纏枝蓮紋，開光飾有“大”和“吉”字樣。頸部飾有如意紋，腳部蕉葉紋。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和製造不規則，輕微劃痕。 壺蓋：綠色硬石 重量：49.3 克 尺寸：含壺蓋高55 毫米. 頸部直徑14 毫米 ，壺口直徑4 毫米 鎏金底刻有偽“乾隆年製“四字。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2018年5月30日，lot 478 價格：HKD 18,750（相當於今日EUR 2,500） 描述：清末至民國掐絲琺瑯「大吉」葫蘆式鼻煙壺 《乾隆年製》仿款 專家評論：比較非常相近的主題、裝飾和外形。請注意綠松石地。
Los 148
A LUDUAN-FORM BRONZE CENSER, MING DYNASTYChina, 1368-1644. Finely cast standing foursquare, the chest of the hollow body with a long strip of scaling, the sides with swirls and stylized ruyi-heads, flanking a short tail. The hinged cover rendered in the form of a single-horned head with bulging eyes, scrolling mane, and funnel-shaped ears, the mouth wide open revealing tongue and teeth.Provenance: Galerie Gross, Wiesbaden, Germany, 12 December 1980. An old German private collection, according to the family acquired from the above, and thence by descent. Condition: Very good condition with expected old wear and casting irregularities. The hinge original and remarkably well-preserved, thus functioning properly. A few minuscule nicks and small dents. Naturally grown, rich and very dark patina overall.Weight: 4,612 g Dimensions: Height 30 cm (excl. base, incl. pegs) and 33.5 cm (incl. base)With an old wood base. (2)The throne of the Emperor of China in the Hall of Supreme Harmony in the Forbidden City in Beijing has two incense burners shaped as luduan, the legendary auspicious creatures who can travel 18,000 li (9,000 km) in a single day and speak all world languages. A legend says that a luduan once appeared to Genghis Khan and convinced him to abandon his efforts to conquer India.Luduan are mythical creatures with strong lion bodies, a single horn and the paws of a bear. They are believed to have the ability to foretell the future, give life to the good, and kill the evil. According to legend, they were originally known as 'jiaoduan', and their name changed to 'luduan' because the character for 'lu' matched their appearance better. Known as guardians of enlightened rulers, luduan were said to appear in areas where a wise and virtuous leader was present.The auspicious nature of luduan was particularly appropriate for the purpose of these censers. Cast with hinged or removable heads, they were made for burning incense and smoke would emerge from the beast's mouth, animating and empowering the sculpture. As Chuimei Ho and Bennet Bronson note in their discussion of a pair of Qianlong cloisonne enamel examples from the Palace Museum, Beijing, included in the exhibition 'Splendors of China's Forbidden City, The Glorious Reign of Emperor Qianlong' by The Field Museum, Chicago, 2004, these burners were traditionally valued at the Imperial Court, as with their open mouths and smoke billowing forth, they were a reminder to the emperor that he should always be receptive to honest advice (see page 37).The origin of incense burners of this form is difficult to determine. An example attributed to the Song dynasty was recovered from the Ming dynasty tomb of the scholar-official Zhang Shupei (1552-1615) in Tonglian, Sichuan (Wenwu, 1989, no. 7, pp 45-46, figs 14-16). Mythical beast incense burners, however, became a popular model only from the Xuande period onwards. A censer in the form of a mythological animal was included in the painting 'Enjoying Antiquities' by Du Jin (ca. 1467-1505), where two scholars are depicted scrutinizing a selection of antiquities (illustrated in Through the Prism of the Past, Antiquarian Trends in Chinese Art of the 16th to 18th Century, National Palace Museum, Taipei, 2003, catalog no. I-44). A drawing of a similar beast is also published in the Shizu zhai jian pu (Ten Bamboo Studio Catalogue of Letter Paper Designs), a woodblock printed book of stationery papers from 1645, compiled by Hu Zhengyan and illustrated in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, volume 1, Hong Kong, 1978, page 179, figure 15. Its popularity continued well into the Kangxi reign, when censers of this form were made in a variety of media, including porcelain, cloisonne enamel, and bronze.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 4 April 2017, lot 60 Price: HKD 350,000 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A Rare Bronze Luduan-Form Censer, Yuan-Ming Dynasty (1279-1644)Expert remark: Note the similar size (35.2 cm) Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 3 June 2015, lot 2870 Price: HKD 275,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: A Bronze Luduan-Form Censer and Cover, Late Ming Dynasty, 17th CenturyExpert remark: Note the smaller size (23 cm)明代甪端銅香薰中國，1368-1644年。銅香薰，作獨角甪端形象，昂首傲立，蹲伏狀。雙目圓瞪，發須如火焰紋，前胸配以纓絡鈴鐺，身體兩側有如意狀紋飾，頭部與身體相分開。腹部中空，設計巧妙。體態飽滿圓潤。 來源：德國威斯巴登Galerie Gross藝廊，1980年12月12日；一個德國私人收藏，在同一家族保存至今。 品相：狀況極好，有磨損和鑄造不規則現象。原始鉸鏈且保存完好，因此可以正常使用。一些微小的刻痕和小凹痕。自然包漿細膩。 重量：4,612 克 尺寸：高 30 厘米 (不含底座，含釘子)，33.5 厘米 (不含底座) 木底座。(2)
Los 15
A CLOISONNE ENAMEL 'LOTUS' BOTTLE VASE, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIODChina, 1736-1795. The globular body supported on a spreading foot, rising to a tall neck tapering towards the gilt rim, brightly decorated with stylized lotus blooms borne on meandering leafy tendrils below a ruyi-head band, the foot encircled with C-scrolls and circles, all reserved on a turquoise ground. The base incised with a five-character mark Qianlong nianzhi tong and of the period.Provenance: From a private collection in South Africa, gifted to the previous owner by a former diplomat in Yugoslavia on 26 June 1982. French trade, acquired from the above. Condition: Very good condition with old wear as expected and some manufacturing irregularities, including minimal pitting, as well as minor nicks to enamels.Weight: 278.8 g Dimensions: Height 12.7 cmBased on its size and shape, this vase was made to hold incense instruments. These types of small cloisonne vases, censers, and instruments (luping sanshi) which were made for the burning of incense had an additional character below the reign mark and were made for the Qianlong court. Some scholars have suggested that the fifth character under the Qianlong mark could have been a way to number the large group of objects in the correct order, see H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, pp. 74-79.Literature comparison: Compare a similar cloisonne enamel vase in the Pierre Uldry collection, published in Brinker and Lutz in Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, no. 285, p 283. Compare a related cloisonne enamel vase, Qianlong mark and period, in the Palace Museum, illustrated by Zheng Xinmiao, ed., Compendium of Collection in the Palace Museum: Enamels 2 - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, pl. 154. For a Kangxi-marked example of similar size and decoration from the Qing Court Collection, see Metal-bodied Enamel Ware. The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pl. 81.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 May 2013, lot 2057 Price: HKD 300,000 or approx. EUR 44,500 converted and adjusted for inflation at the time of writing Description: A small cloisonne enamel bottle vase, Qianlong incised four-character mark and of the periodExpert remark: Compare the closely related form, motif, and four-character mark with an additional character. Note the size (12.3 cm).乾隆五字款及年代銅胎掐絲琺瑯蓮紋長頸瓶中國，1736-1795年。鎏金口，長頸，斜肩，圓腹，圈足。藍地，銅胎掐絲琺瑯，口沿下緣飾一圈如意雲紋，頸及腹飾番蓮紋，圈足飾幾何紋。底有陰刻“乾隆年製”橫向單行楷款，其下有一個“同”字。 來源：南非私人收藏，1982年6月26日由前南斯拉夫外交官贈予前主人；法國古玩交易，購於上述收藏。 品相：狀況極好，有磨損和一些製造缺陷，包括最小的點蝕，以及琺瑯上有輕微劃痕。 重量：278.8 克 尺寸：高 12.7 釐米 根據這個長頸瓶的大小和形狀，可以推測它曾是用來裝香的。這些供燒香用的小景泰藍花瓶、香爐和器具（爐瓶三事）在年號下方加了一個字，是為乾隆宮廷製作的。 一些學者認為，乾隆標記下的第五個字元可能是一種以正確順序對一大組擺飾進行編號的方式，見 H. Brinker和A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，第 74-79頁。 文獻比較： 比較一件相似的銅胎掐絲琺瑯瓶，收藏於Pierre Uldry collection，出版於Brinker和Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，編號285，頁283。比較一件相近乾隆款及年代銅胎掐絲琺瑯瓶，收藏於故宮博物院，見Zheng Xinmiao等編，《故宮博物院藏品大系‧琺瑯器編‧清掐絲琺瑯》，北京，2011年，圖154。一件清廷收藏康熙款相似尺寸的例子，見《故宮博物院藏文物珍品全集‧金屬胎琺瑯器》，香港，2001年，圖81。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得， 2013年5月29日，lot 2057 價格：HKD 300,000（相當於今日EUR 44,500） 描述：清乾隆掐絲琺瑯纏枝蓮紋小瓶，《乾隆年製》楷書橫款 專家評論：比較非常相近的外形、主題、四字年代款和一字款。請注意尺寸(12.3 厘米)。
Los 130
A LARGE IRON-RED AND GILT 'DRAGONS' DISH, GUANGXU MARK AND PERIODChina, 1875-1908. Nicely potted with rounded sides and finely painted in iron red and gilt with two confronting dragons amid ruyi-shaped clouds and flames chasing a pearl, the dragons' eyes dotted in black on an opaque white enamel ground also used to depict their fangs and claws. The design repeated along the exterior walls. The recessed base with an iron-red six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From a Swedish private collection. Originally gifted to the previous owner in the 1950s, and thence by descent in the same family. Condition: Magnificent condition with only minimal firing irregularities, little wear to gilt and enamels, minor fritting to foot, and light surface scratches. The gilt remarkably well-preserved!Weight: 1,892 g Dimensions: Diameter 34 cmAuction result comparison:Type: Near identicalAuction: Christie's London, 3 November 2020, lot 184Price: GBP 18,750 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A large iron-red-decorated 'dragon' dish, Guangxu six-character mark in iron-red and of the periodExpert remark: Compare the near identical motif to the interior, and similar size (37 cm). Note the exterior is enameled with four blooms on leafy scrolls.Auction result comparison:Type: Near identicalAuction: Christie's London, 14 May 2013, lot 281Price: GBP 22,500 or approx. EUR 35,500 converted and adjusted for inflation at the time of writingDescription: A pair of iron-red-decorated 'dragon' dishes, Guangxu six-character mark and of the periodExpert remark: Compare the near identical motif to the interior and exterior, and the similar size (33.2). Note the lot comprises two dishes.光緒款及年代大型礬紅描金雙龍戲珠紋盤中國，1875-1908年。胎骨堅致，白釉潤澤，敞口弧壁，淺腹圈足。通體施白釉，釉面光潤。口沿飾金彩，盤心以礬紅彩繪雙龍戲珠，並以金彩描繪雙龍身軀、雲紋及龍珠。雙龍身形矯健，鬃鬣飛揚，展現威風凜凜之態。外壁繪雙龍趕珠，內外紋飾呈呼應之勢，底部礬紅彩書“大清光緒年製”。 來源：瑞典私人收藏，是受贈之物，之前的主人購於上世紀五十年代，在同一家族保存至今。 品相：品相精美，僅有微小的製造瑕疵，描金和琺瑯輕微磨損，足部有輕微的熔塊，表面有小劃痕。 重量：1,892 克 尺寸：直徑 34 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦佳士得，2020年11月3日，lot 184 價格：GBP 18,750（相當於今日EUR 25,000） 描述：清光緒礬紅描金雙龍戲珠紋盤礬紅六字楷書款 專家評論：比較內盤幾乎相同的主題，以及尺寸 (37 厘米)較小。請注意盤外圍飾有花卉纏枝紋。 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦佳士得，2013年5月14日，lot 281 價格：GBP 22,500（相當於今日EUR 35,500） 描述：一對光緒款及年代大型礬紅描金雙龍戲珠紋盤 專家評論：比較內盤幾乎相同的主題，尺寸 (33.2)較小。請注意此盤為一對。
Los 265
A MINIATURE CLOISONNE ENAMEL AND WOOD TABLE SCREEN, QING DYNASTYChina, the cloisonne c. 1750-1830, the wood fitting from the later 19th century. The screen of rectangular form, fitted with a cloisonne enamel plaque depicting a river landscape with a pavilion, bridge, fisherman, and trees, enclosed by a wood frame with vines and a stand with scrolling feet.Provenance: From a private collection in New York, USA. The underside inscribed 'China'. Condition: The cloisonne in very good condition with some wear, small nicks, minuscule losses, light scratches. The wood screen with old repairs and associated remnants of adhesive.Weight: 164.2 g Dimensions: Height 9.9 cm, Width 10.8 cm Auction result comparison:Type: RelatedAuction: Christie's London, 14 July 2006, lot 113Price: GBP 2,400 or approx. EUR 5,000 converted and adjusted for inflation at the time of writingDescription: A small cloisonne table screen, 18th centuryExpert remark: Compare the related motif and wood screen. Note the slightly larger size (13.8 cm).清代鑲掐絲琺瑯《水上獨釣》木桌屏中國，掐絲琺瑯約1750-1830年，木桌屏應爲十九世紀末。長方形桌屏，鑲有景泰藍琺瑯屏，描繪河景、亭台、小橋、漁人和樹木。木框雕刻纏枝紋和底座。 來源：美國紐約私人收藏，底部可見“China”字樣。 品相：景泰藍狀況極好，有一些磨損、小刻痕和微小的缺損。木框帶有小修補和相關黏合劑殘留物。 重量：164.2 克 尺寸：高 9.9 厘米，寬 10.8 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2006年7月14日，lot 113 價格：GBP 2,400（相當於今日EUR 5,000） 描述：十八世紀鑲掐絲琺瑯木桌屏 專家評論：比較相近的主題和木底座。請注意尺寸稍大(13.8 厘米)。
Los 442
A 'QIANJIANG CAI' ENAMELED 'SEVEN MONKEYS' PLAQUE, STUDIO OF PAN TAOYU (1887-1926)China, Jingdezhen. The rectangular plaque painted in green and blue tones with seven monkeys frolicking, each with a comical and mischievous expression, a pair with a young seated below a tree playing the flute and pointing upwards, a young monkey playing with a lamp at the tree top, and two monkeys perched on a branch holding a stick trying to reach out to another monkey hanging on a tendril.Inscriptions: Center left, inscribed 'Guanyin fenghou' (a wish for a speedy promotion), one seal of the artist, 'Gu huan' (ancient joy).Provenance: From the private collection of a doctor, Connecticut, USA. Condition: Very good condition with some old wear and little rubbing. The frame with few small nicks and scratches.Weight: 3,340 g Dimensions: Image size 40.8 x 25.3 cm, Size incl. mounting 47.8 x 32.3 cmIn a hardwood frame with metal mount, both from the period. (2)Gu huan (ancient joy) is the studio name that belongs to Pan Taoyu (1887-1926), a porcelain master from Jingdezhen. The emergence of the market for fine decorative art porcelains was an important development and brought a fresh and vibrant energy to porcelain making in China during the Republic period. Pan Taoyu was one of the most important pioneers and masters of porcelain painters in the early 20th century. With his superb ability to depict delicate fine shadings, Pan achieved excellence in painting a wide range of objects on porcelain, including figures, landscapes, and bird-and-flowers motifs. Among Pan Taoyu's students are Wang Yeting, Liu Yucen and Cheng Yiting, all important members of the celebrated 'Eight Friends of Zhushan' group who were among the best fencai masters of the Republic period. Pan Taoyu died young, and very few of his personal works survived.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Monkeys are a popular motif in Chinese art. Shown together with the inscription, they symbolize the wish for immediate success or a speedy promotion of young candidates.Literature comparison: Examples of Pan Taoyu's personal porcelain paintings are illustrated by Simon Kwan, Chinese Porcelain of the Republic Period, The Muwen Tang Collection Series, Hong Kong, 2008, p. 68-73, and on the cover. Auction result comparison:Type: RelatedAuction: Bonhams London, 10 November 2011, lot 569Price: GBP 361,250 or approx. EUR 641,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of enameled fan-shaped plaques, circa 1900-1920, signed by Pan Taoyu (circa 1887-1926)Expert remark: Note that the lot comprises two fan-shaped plaques and that these are personal (not studio) works by the master. Note also the much larger size (54 cm). 潘匋宇(1887-1926)淺絳彩《卦印封侯》瓷板中國，景德鎮。長方，此橫幅作品以一角構圖，繪樹上樹下幾隻靈猴或是掛於樹間，或是在樹下戲耍。樹上有一隻手正努力把一個印掛在樹上。畫法細膩，樹枝凹凸斑駁處著意用粉彩渲染，色澤由暗漸明，可見是經過層層暈染方成，極富立體感。以靈猴裝飾瓷器，明清時較為少見，但從晚清民國的瓷器鳥獸畫來看，藉著吉祥“封侯”之寓意，在作品中繪以雅趣。 款識：卦印封候；鈴印：古歡 來源：美國康涅狄格州醫生私人收藏。 品相：狀況極好，有一些磨損和少量磨損。木框上有一些小劃痕。 重量：3,340 克 尺寸：畫面40.8 x 25.3 釐米，總47.8 x 32.3 釐米 硬木框金屬架，應爲來自同期。
Los 269
A LARGE CLOISONNE ENAMEL BOX AND COVER, JIAQING PERIODChina, 1796-1820. Of circular form, the domed cover decorated in bright enamels with a medallion encircling animals symbolizing a harmonious marriage, including a pair of cranes above a stag and doe as well as pairs of butterflies and dragonflies amid swirling clouds. The sides decorated with the Eight Daoist Emblems (anbaxian) and ruyi borders. The foot encircled by a band of scrolls below blue and red lappets.Provenance: From an Austrian private collection. Condition: Fine condition, commensurate with age, with old wear and manufacturing flaws including pitting. Few minor old fills, as expected from this type of ware. Some dents, cracks and losses to the enamels, mostly to the inside, exposing the copper body. Presents remarkably well overall.Weight: 1,436 g Dimensions: Diameter 21.8 cm Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 9 December 2021, lot 138Price: EUR 3,276 or approx. EUR 3,600 adjusted for inflation at the time of writingDescription: A cloisonne enamel box and cover Qing dynasty, Jiaqing periodExpert remark: Compare the closely related form, foot, and size (21 cm)嘉慶大型銅胎掐絲琺瑯開光蓋盒中國，1796-1820年。圓盒蓋覆蓋明亮的琺瑯，上面開光飾有象徵婚姻美滿瑞獸，一對鹿及其上方的一對仙鶴，祥雲之中還有成對的蝴蝶和蜻蜓。兩側飾暗八仙紋和如意。足部藍紅相間蕉葉紋。 來源：奧地利私人收藏。 品相：狀況良好，與年代相符，有磨損和製造缺陷，包括點蝕。正如此類器皿所預期的那樣，有輕微的舊時填充物。琺瑯有一些凹痕、裂縫和缺損，大部分在內部，露出銅胎。總體品相極好。 重量：1,436 克 尺寸：直徑 21.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2021年12月9日，lot 138 價格：EUR 3,276（相當於今日EUR 3,600） 描述：清嘉慶掐絲琺瑯花樹紋蓋盒 專家評論：比較非常相近外型、足和尺寸 (21 厘米)。
Los 260
A PAIR OF CLOISONNE ENAMEL 'BIRD' CANDLESTICKS, QIANLONG PERIODChina, 1736-1795. Each bird modeled standing with outstretched wings, the plumage finely enameled in white and accentuated in dark blue near the wings and beaks, the feathers well detailed in gilt wire, the head lowered supporting the drip pans decorated with floral motifs on turquoise ground, the beak holding a ball, and standing on gilt clawed feet. Provenance: From an old Austrian private collection. Condition: Good condition commensurate with age. Some wear, the figures leaning, with warping, bends, obvious losses, minor nicks and dents, and expected touchups. The wood stands with few nicks and light surface scratches.Weight: 425 g and 440 g (excl. base), 514 g and 520 g (incl. base) Dimensions: Height 24.8 cm and 25.7 cm (excl. base), 28.6 cm and 29 cm (incl. base)With two fitted wood stands, dating from the late Qing dynasty to the Republic period. (4)Literature comparison:Compare a single cloisonne bird candlestick with cloisonne stand, described as petrel, dated to the mid-Qing period, from the Qing Court Collection at the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Metal-bodied Enamel Ware, Hong Kong, 2002, p. 159, pl. 151. Compare also a closely related pair from the National Palace Museum, illustrated in Chen Hsia-Sheng, Enamel Ware in the Ming and Ch'ing Dynasties, Taipei, 1999, pl. 55. A related example from a private collection is illustrated in Zhang Xin, ed., Colorful, Elegant, and Exquisite: A Special Exhibition of Imperial Enamel Ware from Mr. Robert Chang's Collection, Suzhou, 2007, p. 72. Another related cloisonne bird candlestick holder, formerly in the Kitson Collection, is illustrated in Sir Harry Garner, Chinese and Japanese Cloisonne Enamels, London, 1970, pl. 74B.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 5 November 2009, lot 42Price: GBP 20,400 or approx. EUR 37,500 converted and adjusted for inflation at the time of writingDescription: A rare pair of cloisonne enamel 'bird and tortoise' candlesticks, QianlongExpert remark: Compare the related pose, colors, and size (24.4 cm). Note the cloisonne bases.乾隆時期一對銅胎掐絲琺瑯鳥形燭檯中國，1736-1795年。每隻鳥都張開雙翼站立，羽毛以白色精美琺瑯描繪，並在翅膀和喙附近以深藍色突出，羽毛用鎏金線條突出細節。鳥低著頭，頭頂綠松石色地纏枝花卉紋的滴盤，鳥爪鎏金。 來源：奧地利私人收藏。 品相：品相良好，一些磨損，燭檯稍有傾斜、翹曲、缺損，輕微的刻痕和凹痕，以及小修補。木底座有些為刻痕和輕微劃痕。 重量：分別爲425 克與 440 克 (不含底座)，514 克與520 可 (含底座) 尺寸：高 24.8 厘米與25.7 厘米 (不含底座)，28.6 厘米與29 厘米 (含底座) 清末民初木底座 (4) 文獻比較： 比較一件明中期銅胎掐絲琺瑯鳥形燭檯，被描述為海燕，來自北京故宮清廷收藏，見《故宮博物院藏文物珍品全集：金屬琺瑯器》，香港，2002年，頁159，圖151。比較一對非常相近的燭檯，收藏於臺北故宮博物院，見Chen Hsia-Sheng，《Enamel Ware in the Ming and Ch'ing Dynasties》，臺北，1999，圖55.。一件相近的私人收藏例子 ，見Zhang Xin編，《絢麗、華貴、至尊：香港張宗憲先生珍藏御製宮廷掐絲琺瑯特展》，蘇州，2007年，頁72。另一件相近的銅胎掐絲琺瑯鳥形燭檯 ，曾收藏於Kitson Collection，見Sir Harry Garner，《Chinese and Japanese Cloisonne Enamels》，倫敦，1970，圖74B。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2009年11月5日，lot 42 價格：GBP 20,400（相當於今日EUR 37,500） 描述：乾隆一對銅胎掐絲琺瑯鳥形燭檯 專家評論：比較相近的姿勢、顏色和尺寸(24.4 厘米)。請注意此燭檯的底座。
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A LARGE CANTON ENAMEL 'SCHOLARS' DISH, 18TH CENTURYChina. Finely painted in bright enamels to the interior with a scene of scholars and their attendants carrying staffs and books, examining a scroll in a verdant landscape with rockwork and trees, encircled by a wide band of floral blossoms borne on leafy scrolling vines on a yellow ground below a key-fret band, and to the exterior with a similar yellow-ground floral band with chilong. The base with a finely painted chilong medallion.Provenance: The Paris trade, previously acquired from an old French private estate. The base with an ancient, slightly faded ink inscription dating from the early 20th century, reading '… Jaune' (= … yellow). Condition: Good condition with minor wear and manufacturing irregularities. Light surface scratches, few expected stress lines to the well along the foot rim, minimal hairlines here and there, the outside with a single minor loss to the enameling with associated remnants of old paint, well visible under strong blue light. The colors are crisp and remarkably well-preserved. Overall the condition is considerably better than generally expected from this type of canton enamel dish. Displaying exceptionally well.Weight: 2,144 g Dimensions: Diameter 44 cm Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 1 December 2010, lot 3229 Price: HKD 350,000 or approx. EUR 57,500 converted and adjusted for inflation at the time of writing Description: A large canton enamel circular dish, Qing dynasty, 18th century Expert remark: Note the similar size (40 cm)十八世紀大型廣東琺瑯開光文人圖盤中國。盤內開光精美描繪文人們山間談天説地，有手持法杖，有的拿著書籍，周圍岩石和樹木環繞，並可見花卉。盤沿黃地纏枝花卉紋。圈足內飾有精美的螭龍紋。 來源：法國古玩交易，購於一個法國私人舊藏。底部有一個二十世紀初墨書 '… Jaune' (= … 黃色)“。 品相：狀況良好，有輕微磨損和製造缺陷，輕微的表面劃痕，沿著腳緣處有輕微衝線，局部輕微的琺瑯損失和舊油漆殘留，在強藍光下清晰可見。顏色清晰，保存完好。總的來說，這種廣州琺瑯盤的狀況比一般預期的要好得多。 重量：2,144 克 尺寸：直徑 44 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2010年12月1日，lot 3229 價格：HKD 350,000（相當於今日EUR 57,500） 描述：十八世紀廣東琺瑯開光圓盤 專家評論：請注意相似的尺寸(40 厘米)。
Los 266
A RARE PAIR OF CLOISONNE ENAMEL FIGURES DEPICTING GUANYIN, QING DYNASTYPublished: Michael B. Weisbrod, Inc., Brochure, New York, 1992, p. 50-53, no. 14.China, late 18th - 19th century. Modeled standing on a rockwork base, wearing hooded cloaks over long dresses decorated with cranes amid swirling clouds, open at the chest to reveal beaded pendants. The hands, feet, and chest in gilt, the dresses embellished with pomegranates, Buddha's hand citrons, and peaches. The faces with downcast eyes below gently arched eyebrows and finely enameled hair. (2)Provenance: A private collection in New England, USA. Michael B. Weisbrod, acquired from the above. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years, the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Very good condition with some old wear and manufacturing flaws as expected. Each figure with a pierced aperture in the left hand of which one was filled. The gilt renewed in some areas.Weight: 1,434 g and 1,460 g Dimensions: Height 35.9 cm and 36.1 cmThe ladies represent the deity of mercy, Guanyin, who is typically depicted wearing long flowing gowns with a hood over her head and a necklace on her chest. She often stands on a rockwork base that is reminiscent of Pu Tao Island, where she lived as Queen of the Southern Seas.Figural representations in cloisonne enamel appear to be extremely rare and only a few related examples have been published. According to Sir Harry Garner in Chinese and Japanese Cloisonne Enamels, page 93, the earliest human figures made of cloisonne date back to the seventeenth century.Literature comparison: A pair of seated female figures, from the A.W. Bahr Collection, in the Metropolitan Museum of Art, accession number 54.154.1a-c and 54.154.2a, b, dated to the Qianlong period or later, are illustrated by B. Quette, Cloisonne: Chinese Enamels from the Yuan, Ming and Qing, Singapore, 2011, p. 297, no. 142.Auction result comparison:Type: RelatedAuction: Christie's New York, 20 September 2013, lot 1632Price: USD 43,750 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of cloisonne enamel figures of female immortals, late 18th/19th centuryExpert remark: Compare the related subject, facial features, rockwork bases, and sizes (38.6 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.清代一對罕見銅胎掐絲琺瑯觀音立像中國，十八世紀末至十九世紀。觀音站在山水紋底座上，身穿連帽斗篷，長裙上飾有仙鶴圖案，漩渦狀雲紋，胸前敞開，露出瓔珞吊墜。手、足、胸鍍金，衣飾石榴、佛手、桃子等紋飾。髮紋精美，雙眼微閉，眉毛微彎。(2) 出版: Michael B. Weisbrod，Inc.，Brochure，紐約，1992年，頁50-53，編號14。 來源：美國新英格蘭私人收藏；Michael B. Weisbrod購於上述收藏。Michael B. Weisbrod是一位著名的中國藝術學者，在五十多年的時間內發表了大量有關中國藝術的文章。1972 年，Michael 加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術畫廊。這對父子團隊於 1977 年在紐約麥迪遜大道開設了他們的藝廊，在接下來的四十五年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終在上海和香港也開設了分店。 品相：狀況非常好，如預期的那樣有一些磨損和製造缺陷。每個人物的左手都有一個穿孔，其中一個經過填充。局部鎏金經過翻新。 重量：分別爲1,434克與1,460 克 尺寸：高 35.9 厘米與36.1 厘米觀世音菩薩身著飄逸長袍，頭戴兜帽，胸前佩戴瓔珞，居住在南海。 景泰藍此類人物形像極為罕見，根據 Harry Garner 爵士在《中國和日本景泰藍琺瑯》中的記載，頁93，最早的景泰藍人物雕像可以追溯到十七世紀。 文獻比較： 一對清乾隆時期或較晚婦人坐像，收藏於A.W. Bahr Collection，大都會博物館，編號54.154.1a-c和54.154.2a,b，見B. Quette，《Cloisonne: Chinese Enamels from the Yuan，Ming and Qing》，新加坡，2011年，頁297，編號142。
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A CLOISONNE ENAMEL STEM CUP, QING DYNASTYChina, 18th century. The globular body supported on a tall, splayed foot, decorated to the exterior with lotus scroll divided by dark blue borders, set against a turquoise ground, the foot with scrolling vines beneath a plantain leaf band. The rims and base gilt.Provenance: From a Norwegian private collection. Condition: Good condition with old wear and expected manufacturing irregularities, such as crackling and pitting, few small dents and losses, the interior with some residue from extensive previous usage as a censer. The cover with scattered nicks.Weight: 528.2 g (incl. cover) Dimensions: Height 14.5 cmWith a reticulated silver cover showing a dense floral design. Added in Japan, probably during the 19th century, so that the cup could serve as a koro (incense burner). (2) Auction result comparison:Type: RelatedAuction: Millon, Paris, 9 June 2022, lot 25Price: EUR 21,000Description: A gilt bronze and cloisonne enamel footed bowlExpert remark: Compare the closely related form and lotus decoration. Note the Qianlong reign mark.Auction result comparison: Type: RelatedAuction: Bonhams Hong Kong, 29 May 2018, lot 18Price: HKD 350,000 or approx. EUR 46,500 converted and adjusted for inflation at the time of writingDescription: A very rare cloisonne enamel stem cup, incised Qianlong four-character mark and of the periodExpert remark: Compare the related form and lotus decoration. Note the Qianlong reign mark.清代銅胎掐絲琺瑯高足杯 中國，十八世紀。杯鼓腹，高足，足底外撇。杯外壁以藍釉為地色，飾纏枝蓮花，高足處則飾蕉葉紋一周。杯口與足部鎏金。 來源：挪威私人收藏。 品相：狀況良好，輕微磨損和預期的製造不規則，例如裂紋和點蝕，輕微小凹痕和缺損，杯內有一些使用痕跡。杯蓋有些許劃痕。 重量：528.2 克 (含蓋) 尺寸：高14.5 厘米 鏤空花卉紋銀蓋，可能是在十九世紀在日本被加上，如此便可以當作香薰杯使用。(2) 拍賣結果比較： 形制：相近 拍賣：巴黎Millon，2022年6月9日，lot 25 價格：EUR 21,000 描述：18世紀銅胎掐絲琺瑯高足碗 專家評論：比較非常相近外型和蓮花裝飾。請注意此碗有乾隆款。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2018年5月29日，lot 18 價格：HKD 350,000（相當於今日EUR 46,500） 描述：清乾隆銅胎掐絲琺瑯纏枝蓮紋高足杯，陰刻「乾隆年製」楷書款 專家評論：比較相近外型和蓮花裝飾。請注意此杯有乾隆款。
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A RARE PAIR OF MING-STYLE GREEN-ENAMELED 'DRAGON' BOWLS, KANGXI PERIODChina, 1662-1722. Each with deep rounded sides supported on a short foot and rising to an everted rim, the exterior finely incised with two five-clawed dragons amid flames and clouds, reserved on the biscuit and covered with green enamel, the interior similarly decorated with three clouds.Provenance: From an old German private collection, acquired in 1980 and thence by descent in the same family. German trade, acquired from the above. Condition: Excellent condition with only very minor old wear and some firing irregularities.Weight: 338 g and 345.9 g (excl. stands) Dimensions: Diameter 18.7 and 18.9 cmThe recessed bases each with an apocryphal underglaze-blue six-character mark da Ming Chenghua nianzhi within a double circle.Each bowl with a finely carved zitan stand, dating from the Qing dynasty. (4)Imperial porcelain bowls decorated with green-enameled dragons first appeared in the Chenghua period, with and sometimes without reign marks, and either enameled with dragons over the glaze or over the biscuit. More were manufactured in later periods of the Ming dynasty, particularly during the Hongzhi and Zhengde reigns, where they were always inscribed with their corresponding reign marks. This motif, which is also found on matching saucer dishes, required each vessel to be fired twice: First the design was incised on the biscuit and covered with a layer of wax, which would melt during the first firing and reveal the pinkish buff body underneath. This was later filled with green enamel and fired a second time at a much lower temperature. The result is rather spectacular, because the dragons appear as if they are literally leaping off the surface of the bowls.Literature comparison: For the Chenghua prototype of this design, see two bowls with dragons enameled over the biscuit silhouettes, in the National Palace Museum, Taipei, included in the Museum's exhibition Chenghua ciqi tezhan (Special Exhibition of Ch'eng-Hua Porcelain Ware), Taipei, 2003, cat. nos. 110 and 111. Porcelain wares decorated with green dragons continued to be produced in the Qing dynasty, from the Kangxi to the Guangxu reigns, such as a dish with an apocryphal Hongzhi mark, in the Palace Museum, Beijing, illustrated in Miscellaneous Enameled Porcelains, Plain Tricolour Porcelains. The Complete Collection of Treasures in the Palace Museum, Shanghai, 2009, pl. 75. Furthermore, compare with entry 5 in Marchant, 90th Anniversary Exhibition, Qing Porcelain from Private Collections. Auction result comparison: Type: Closely related Auction: Christie's London, 20 February 2020, lot 134 Price: GBP 23,750 or approx. EUR 31,000 converted and adjusted for inflation at the time of writing Description: A green-enameled 'dragon' bowl, 18th centuryExpert remark: Compare the closely related form, incised and green-enameled dragon design, apocryphal Ming reign mark, and near-identical size (18.4 cm)康熙一對明代風格綠釉龍紋碗中國，1662-1722年。敞口，略外撇，深弧腹，圈足。外壁暗刻綠釉一對五爪龍，雲中戲珠；碗中三朵綠色雲紋。 來源：德國私人老收藏，於 1980 年入藏，並由同一家族繼承；德國古玩交易，購於上述收藏。 品相：狀況極佳，只有非常輕微的磨損和一些燒製不規則現象。 重量：分別為338 克與 345.9 克 (不含底座) 尺寸：直徑 18.7與18.9 厘米 圈足內青花“大明成化年製”。 每個碗都有一個精雕細刻的紫檀座，可追溯至清代。(4) 綠釉龍紋碗最早出現於成化年間，有或無年號，或在釉上或在素胎上繪龍紋。明朝後期，特別是弘治、正德年間，多會使用相應的年號。龍紋也出現在配套的碟子上，每個容器都需要燒製兩次：首先，將設計刻在素胎上並覆蓋一層蠟，在第一次燒製時蠟會融化，露出下面的淺黃色體 。之後用綠釉填充，並在低溫下進行第二次燒製。龍看起來栩栩如生。 文獻比較： 此設計的成化原型，見兩個碗，上面有琺瑯彩龍，收藏於臺北故宮博物院，《故宮成化瓷器精選》，臺北，2003年，圖錄編號110和111。清代從康熙至光緒年間持續出產綠龍紋瓷器，例如一件北京故宮博物院偽弘治款瓷盤，見《故宮博物院藏文物珍品全集》，上海，2009年，圖75。
Los 273
A RARE PAIR OF CLOISONNE ENAMEL 'BUDDHIST LION' MOON FLASKS, BIANHU, 19TH CENTURYChina. Each with a flattened globular body displaying brightly hued Buddhist lions playing with brocade balls above a turquoise ground with swirling clouds, the neck flanked by a pair of handles in the form of Buddhist lions, the foot decorated with a key-fret border. (2)Provenance: From the collection of Dr. Aurel Gonda, acquired in Shanghai circa 1937-1947, and thence by descent to the present owner. Dr. Aurel Gonda (1885-1964) was an Austro-Hungarian physician who served as a councilman and health official in Vienna. A street in Inzersdorf, in the 23rd district of Vienna, is named after him. He was the brother of architect Charles Henry Gonda, who was active in Shanghai between the 1920s and 1940s. As C. H. Gonda rose to be a renowned architect, he ran in the same circles as foreign elites, including Shanghai's top oligarch Victor Sassoon. In 1938, Aurel Gonda and his family escaped fascist Vienna and joined C. H. Gonda in Shanghai. After the Communist victory in China in 1949, the brothers and their families left for the US and settled in Lakewood, New Jersey.Condition: Good condition and presenting notably well. Some wear, traces of use and expected manufacturing irregularities. Each flask with a dent and associated minor losses to the enamels. One of the handles slightly loose.Weight: 2,116 g and 1,870 gDimensions: Height 28.4 cm (each) Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 June 2013, lot 322Price: USD 32,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: A pair of large Chinese cloisonne enamel moon flasks, late Qing dynastyExpert remark: Compare the closely related form, handles and style - despite the fact that in this example we find dragons instead of Buddhist lions as the main motif. Note the significantly larger size (54.6 cm).十九世紀一對罕見銅胎掐絲琺瑯太獅扁壺中國。扁壺，小口外撇，頸部外鼓，青綠色地上，雲彩飛舞，色彩鮮豔，太獅玩錦球，頸部兩側一對太獅耳朵，足部飾有雷紋。 (2) 來源： Dr. Aurel Gonda收藏，約於1937-1947年間購於上海，保存在同一家族至今。Dr. Aurel Gonda (1885-1964) 曾是來自奧匈帝國的醫生，曾在維也納擔任議員和衛生部官員。維也納第 23 區 Inzersdorf 的一條街道以他的名字命名。他的兄弟Charles Henry Gonda 曾是一位建築師，在 1920 年代至 40 年代活躍於上海。隨著 C. H. Gonda 成為著名建築師，他與外國精英打交道，其中包括上海的頂級寡頭Victor Sassoon。 1938 年，Aurel Gonda 和他的家人逃離了法西斯維也納，並在上海與 C. H. Gonda 會合。 1949 年共產黨在中國取得勝利後，兄弟倆和他們的家人前往美國，定居在新澤西州萊克伍德。 品相：狀況良好，一些磨損、使用痕跡。每個扁壺都有凹痕和琺瑯輕微缺損。 其中一個手柄略微鬆動。 重量：分別爲2,116 克與1,870 克 尺寸：各高 28.4 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年6月19日，lot 322 價格：USD 32,500（相當於今日EUR 40,000） 描述：清代末期一對罕見銅胎掐絲琺瑯扁壺 專家評論：比較非常相近的外型、手柄和型制，但此對扁壺手柄和裝飾主題是龍而非太獅。請注意尺寸明顯較大 (54.6厘米)。
Los 270
A LARGE CLOISONNE ENAMEL PUNCHBOWL, JIAQING PERIODChina, 1796-1820. The ovoid body raised on a short spreading foot, brightly decorated with leafy peony, chrysanthemum, and prunus sprays, with butterflies fluttering among the blooms, reserved on a white ground inlaid with wan-diaper cloisons, all below a broad band of ruyi-heads suspending beaded tassels below the rim with a key-fret band and above a band of stylized blossoms borne on leafy scrolling vines to the foot.Provenance: Italian trade, acquired from a private estate in Trieste, Northern Italy. Condition: Good condition with minor wear and manufacturing irregularities, minuscule nicks, small dents, the body with minor bruises here and there, some with associated tiny losses.Weight: 3,254 g Dimensions: Height 35.3 cmAuction result comparison: Type: Related Auction: Christie's London, 7 November 2008, lot 145 Price: GBP 6,250 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A large cloisonne enameled jardiniere, 19th century Expert remark: Compare the closely related white ground inlaid with wan-diaper cloisons and brightly enameled floral blossoms. Note the different form and long-tailed bird. Also note the width (47.8 cm).嘉慶大型銅胎掐絲琺瑯花卉紋缸中國，1796-1820年。缸口下微束，壺腹，圈足外撇。缸口雷紋，頸部如意紋流蘇，缸身掐絲琺瑯，飾著牡丹、菊花和梅花等花卉紋，蝴蝶在花叢中飛舞，白色地T形紋錦地；圈足出纏枝花卉紋。 來源：義大利古玩交易，購於義大利北部特利斯特私人舊藏。 品相：狀況良好，有輕微磨損和製造瑕疵、微小的劃痕、小凹痕，多處有輕微凹痕。 重量：3,254 克 尺寸：高35.3 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得， 2008年11月7日，lot 145 價格：GBP 6,250（相當於今日EUR 10,500） 描述：十九世紀銅胎掐絲琺瑯花卉紋缸 專家評論：比較非常相近的白色地T形紋錦地和琺瑯畫花卉紋。請注意不同的外形和鳳凰圖飾，以及直徑 (47.8 厘米)。
Los 439
AN IRON-RED AND GILT-DECORATED TRIPOD CENSER, DAOGUANG MARK, CHINA, 1840-1940Expert's note: Looking at the missing white space inside the leaves for example, this looks like a typical work from circa 1880-1920. However, some aspects of the decor are really fine, especially the fine gilt and the subtly degrading nuances of the iron red, so there is a remote chance that this is a bit earlier, possibly even late in the Daoguang period.The globular body with upright curling handles standing on three bulbous short legs, decorated in shades of iron-red enamel with leafy lotus and ribbon-tied Eight Buddhist Emblems in a continuous meander, between borders of linked ruyi-heads and key-fret scrolls. The underside with an unglazed ring encircling ruyi-heads centered by a blossom. The rim decorated with a band of bats in flight amid scrolling clouds below a band of key-fret and the horizontal iron-red six-character mark da Qing Daoguang nianzhi. Note the finely gilt lines and details.Provenance: French trade. By repute from an old estate in the north of France. Condition: Excellent condition with minor old wear and traces of use, little rubbing to gilt and the iron-red. The cover lost.Weight: 1,818 g Dimensions: Height 23.5 cmThis impressive iron-red enameled incense burner would have been the central part of a five-piece altar garniture, flanked by two candlesticks and two vases. It was most likely produced for a smaller temple or private altar.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 17 May 2012, lot 331Price: GBP 33,650 or approx. EUR 58,000 converted and adjusted for inflation at the time of writingDescription: A large iron-red globular tripod incense burner, Daoguang seal mark in a horizontal line and of the periodExpert remark: Compare the closely related form, decorations, and Daoguang reign mark. Note the much larger size (42 cm) and that this is a confirmed mark and period piece.Auction result comparison:Type: RelatedAuction: Bonhams London, 5 November 2012, lot 145Price: GBP 6,875 or approx. EUR 12,000 converted and adjusted for inflation at the time of writingDescription: An iron-red enameled tripod incense burner, Jiaqing six-character seal mark in a line below the rimExpert remark: Compare the related form and decorations. Note the larger size (29.5 cm) and that while this censer has a Jiaqing mark, Bonhams did not specify whether it is of the period or not, so this might well date from the second half of the 19th century or even the republican era too.1840-1940年道光款礬紅彩描金纏枝蓮紋三足爐 描述：胎體厚重堅致，下設蹄形三足，肩置沖天耳，通體滿飾礬紅彩。爐闊口平沿，厚壁，外折凸厚唇，唇外沿飾迴紋一周，以紅彩書“大清道光年製”篆書款。直頸外壁裝飾纏枝蓮紋，肩部勾繪靈芝如意紋。腹部精繪纏枝蓮及寶傘、寶瓶、雙魚、盤長等佛家八寶紋。朝冠耳內外均繪纏枝蓮紋，側面勾繪迴紋。足面亦精繪纏枝蓮紋，足脛裝飾迴紋一周。整器紋飾佈局繁而不亂，設色嬌妍明艷。專家注釋：看葉子內部的空白，像是約 1880-1920 年的典型風格。細節精美，看描金和礬紅彩，所以這件作品年代可能更早，甚至可能是道光晚期。 來源：英國古玩交易，據説購於法國北部一個舊藏。 品相：狀況極佳，有輕微磨損和使用痕跡，描金和礬紅彩輕微摩擦。無蓋。 重量：1,818 克 尺寸：高23.5 厘米 此爐為宮中佛前五供之一，五供器為明代晚期至清代流行的佛前供器，品種涉及青花、紅彩、粉彩等。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2012年5月17日，lot 331 價格：GBP 33,650（相當於今日EUR 58,000） 描述：清道光礬紅八吉祥紋雙耳三足爐，礬紅「大清道光年製」篆書款 專家評論：比較非常相近的外形、裝飾和道光款。請注意尺寸較大(42 厘米) ，以及此爐確定為道光年代。
Los 259
A CLOISONNE ENAMEL FIGURE OF A RAM, 18TH CENTURYChina. The bronze finely modeled in a recumbent pose with one front leg bent. The head slightly turned towards the left, the mouth agape, the ribbed horns distinctly curled, the hind legs tucked beneath the body. The white fur neatly detailed in fine wires with swirling circles.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. Stefanos Lagonico was a member of the wealthy Greek community of Alexandria whose family settled in Egypt in the late 19th century. His collection of important Iznik ceramics was formed after the First World War, comprising mostly plates and jugs from the classic period (post 1570). At least six pieces from this collection were included in the important 1925 Exposition d'Art Musulman in Alexandria. Lagonico eventually left Egypt for Switzerland, just before the rise of nationalism and the abolition of the Capitulations in May 1937. His son Jean, an importer of dried fruits and nuts from the Levant, inherited most of the collection, and kept it in obscurity at his house in southern France until its dispersal at auction beginning in 1991.Condition: Good condition with old wear and expected manufacturing irregularities such as pitting, the right front leg with a minor old repair.Weight: 489.4 g (excl. base), 701.7 g (incl. base) Dimensions: Length 16 cm (excl. base) and 16.1 cm (the base)With a fitted huali wood base dating from the late 19th century. (2)Auction result comparison:Type: Closely relatedAuction: Christie's London, 26 October 2011, lot 1144Price: GBP 4,750 or approx. EUR 7,800 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese cloisonne enamel rams, 18th centuryExpert remark: Note the near-identical related size (16 cm) and that this lot comprises a pairAuction result comparison:Type: RelatedAuction: Sotheby's London, 14 May 2014, lot 306Price: GBP 15,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A pair of cloisonne enamel rams, Qing dynasty, 18th centuryExpert remark: Note the gilt details and that this lot comprises a pair十八世紀銅胎掐絲琺瑯臥羊 中國。羊以右前腿彎曲，臥姿精心塑造；頭略微偏向左側，張大嘴巴，羊角捲曲，後腿夾在身體下方。羊身白地渦旋狀捲曲細線。 來源：亞歷山大港Stefanos Lagonico，在同一家族保存了幾代。Stefanos Lagonico是亞歷山大港富有的希臘社區的成員，他的家人於十九世紀末在埃及定居。他的重要伊茲尼克陶瓷收藏是在第一次世界大戰後形成的，主要包括古典時期（1570 年後）的盤子和水壺。 1925 年在亞歷山大港舉行的重要穆斯林藝術博覽會中，至少有六件來自該收藏。1937 年 5 月民族主義興起，廢除投降協議之前，Lagonico最終離開埃及前往瑞士。他的兒子Jean從黎凡特進口乾果和堅果，他繼承了大部分藏品，並將其保存在法國南部的房子，直到 1991 年開始在拍賣會上分散。 品相：狀況良好，有磨損和預期的製造不規則，例如點蝕，右前腿有輕微的小修補。 重量：489.4 克 (不含底座)，701.7 克 (含底座) 尺寸：長 16 厘米 (不含底座) ，16.1 厘米 (底座) 花梨木底座，十九世紀末。(2) 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2011年10月26日，lot 1144 價格：GBP 4,750（相當於今日EUR 7,800 ） 描述：十八世紀一對銅胎掐絲琺瑯臥羊 專家評論：請注意幾乎相同的相近尺寸 (16 厘米) ，以及此拍品為一對。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2014年5月14日，lot 306 價格：GBP 15,000（相當於今日EUR 22,500） 描述：十八世紀清代一對銅胎掐絲琺瑯臥羊 專家評論：請注意琺瑯細節，以及此拍品為一對。
Los 261
A PAIR OF CLOISONNE ENAMEL FIGURES OF DUCKS, QING DYNASTYChina, 1780-1840. Modeled standing with upright head, the wings and tail decorated with colorful enamels, the body with a turquoise ground. The exposed bronze areas finished in fine gilt.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. Stefanos Lagonico was a member of the wealthy Greek community of Alexandria whose family settled in Egypt in the late 19th century. His collection of important Iznik ceramics was formed after the First World War, comprising mostly plates and jugs from the classic period (post 1570). At least six pieces from this collection were included in the important 1925 Exposition d'Art Musulman in Alexandria. Lagonico eventually left Egypt for Switzerland, just before the rise of nationalism and the abolition of the Capitulations in May 1937. His son Jean, an importer of dried fruits and nuts from the Levant, inherited most of the collection, and kept it in obscurity at his house in southern France until its dispersal at auction beginning in 1991.Condition: Good condition with minor wear and manufacturing irregularities such as expected pitting, few minor dents and losses to enamels.Weight: 187.1 g and 192.5 g Dimensions: Height 13.2 cm and 12.7 cm Auction result comparison:Type: Closely relatedAuction: Christie's New York, 3 April 2013, lot 186Price: USD 3,750 or approx. EUR 4,600 converted and adjusted for inflation at the time of writingDescription: A pair of small Chinese cloisonne enamel standing figures of ducksExpert remark: Compare the closely related pose, beaks, gilt details, and size (13.3 cm)清代一對銅胎掐絲琺瑯鴨子中國，1780-1840年。鴨子直立，翅膀和尾部飾有彩色琺瑯，身體以綠松石色琺瑯為地，精美鎏金。 來源：亞歷山大港Stefanos Lagonico，在同一家族保存了幾代。Stefanos Lagonico是亞歷山大港富有的希臘社區的成員，他的家人於十九世紀末在埃及定居。他的重要伊茲尼克陶瓷收藏是在第一次世界大戰後形成的，主要包括古典時期（1570 年後）的盤子和水壺。1925 年在亞歷山大港舉行的重要穆斯林藝術博覽會中，至少有六件來自該收藏。1937 年 5 月民族主義興起，廢除投降協議之前，Lagonico最終離開埃及前往瑞士。他的兒子Jean從黎凡特進口乾果和堅果，他繼承了大部分藏品，並將其保存在法國南部的房子，直到 1991 年開始在拍賣會上分散。 品相：狀況良好，有輕微磨損和製造不規則，例如預期的點蝕、少量輕微凹痕和琺瑯缺損。 重量：分別為187.1 克與192.5 克 尺寸：高 13.2 厘米與12.7厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年4月3日，lot 186 價格：USD 3,750（相當於今日EUR 4,600） 描述：一對銅胎掐絲琺瑯鴨子 專家評論：比較非常相近的姿勢、鳥喙、琺瑯細節和尺寸 (13.3 厘米)。
Los 271
A CLOISONNE ENAMEL 'PRECIOUS OBJECTS' CIRCULAR WALL PLAQUE, JIAQING PERIODChina, 1796-1820. The circular plaque is finely enameled with a large blue and white baluster vase on a carved stand at the center, issuing blossoming peonies and prunus, flanked by an ornate cloisonne censer and a colorful brush holder with calligraphy implements including brushes and paper, backed by two books and a waterpot, the foreground scattered with fruits, all above a turquoise wan-diaper ground.Provenance: From an old Austrian private estate, where it was originally fitted into an old German sideboard dating from circa 1870-1880. The back with an old label '60 frco'. Condition: Very good condition with minor wear, few scratches, light nicks, little warping, small chips and losses to the edge, and pitting as expected. The back with scratches.Weight: 1,680 g Dimensions: Diameter 41.7 cmCloisonne enamel plaques were popular from the second half of the 16th century onwards and became particularly popular during the mid-Qing dynasty, bringing vibrant colors to the imperial palaces' interiors. These plaques were used on screens, large furniture such as imperial thrones, or as decorative framed hanging panels.Literature comparison: Compare a related cloisonne plaque, dated mid-Qing dynasty, illustrated in Compendium of Collections in the Palace Museum: Enamels, vol. 4, Beijing, 2011, pls. 133-148. Compare related cloisonne panels decorated with antiques, dated to the second half of the 18th century, illustrated in H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, nos. 307-310.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 7 June 2021, lot 743Price: GBP 35,250 or approx. EUR 49,000 converted and adjusted for inflation at the time of writingDescription: A large cloisonne enamel 'precious objects' circular plaque, Qianlong/JiaqingExpert remark: Compare the closely related form and motif. Note the significantly larger size (67.1 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 22 June 2017, lot 175Price: EUR 25,000 or approx. EUR 28,500 adjusted for inflation at the time of writingDescription: A gilded bronze and cloisonne enamel plaque, Qing dynasty, Jiaqing-Daoguang periodExpert remark: Compare the closely related motif and size (41.3 x 50.8 cm). Note the rectangular form.嘉慶掐絲琺瑯博古紋壁盤中國，1796-1820年。圓盤銅胎掐絲琺瑯，盤内藍地修飾博古紋，一個青花賞瓶中插著三朵盛開的牡丹；瓶兩側分別是一個仿古景泰藍香爐和一個木紋釉筆筒，筆筒裏放著毛筆，瓶后有書籍和筆洗；瓶子前面散落著水果。 來源：奧地利私人舊藏，它最初被安置於大約 1870-1880 年的舊德國餐具櫃中。背面帶有舊標籤“60 frco”。 品相：狀況極好，輕微磨損與劃痕、刻痕和小翹曲，邊緣有小缺口，點蝕。背面有劃痕。 重量：1,680 克 尺寸：直徑 41.7 厘米 銅胎掐絲琺瑯壁飾從十六世紀下半葉開始流行，並在清朝中葉盛行，為皇宮的內部增添了鮮豔的色彩。這些壁飾被用在屏風、大型家具（如皇家寶座）上。 文獻比較： 比較一件相近的明代中期銅胎掐絲琺瑯掛屏，見 《故宮博物院藏品大系‧琺瑯器編》，卷 4，北京，2011年，圖133-148。比較一件相近的十八世紀下半葉銅胎掐絲琺瑯古董紋掛屏，見 H. Brinker 和 A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，編號307-310。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2021年6月7日，lot 743 價格：GBP 35,250（相當於今日EUR 49,000） 描述：清乾隆/嘉慶銅胎掐絲琺瑯博古圖「百事如意」圓掛屏 專家評論：比較非常相近的外形和主題。請注意明顯尺寸較大 (67.1釐米)。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2017年6月22日，lot 175 價格：EUR 25,000（相當於今日EUR 28,500） 描述：清嘉慶/道光掐絲琺瑯清供圖長方屏 專家評論：比較非常相近的主題和尺寸(41.3 x 50.8釐米)。請注意此屏是長方形。
Los 7
AN IMPERIAL JADE-INLAID CINNABAR LACQUER WALL VASE INSCRIBED WITH A POEM BY HONGLI (1711-1799), QIANLONG PERIODThe poem inscribed on the jade plaque was composed by Hongli (1711-1799), better known as the Qianlong Emperor (reigned from 1736-1795). It is recorded in Qing Gaozong yuzhi shiwen quanji (Anthology of Imperial Qianlong Poems and Texts), volume 3, juan 58, page 19, figure 1, and can be translated as follows:Jade carved into flowers are fragrant like orchids,Between the garden steps, a few are elegantly planted.Who knows their essential beauty?Youdu, once asked this, answered with "Xie An".China, 1736-1795. Finely cast from gilt-bronze into baluster form flattened on one plane, mounted on the body with a shaped yellowish-celadon jade plaque inscribed in clerical script with a thirty-one-character Imperial poem, all surrounded by superbly carved blossoms of peony, chrysanthemum, and prunus borne on leafy branches against a diaper ground, framed by bands of prunus blossoms below the neck and above the foot, the neck flanked by two short tubular handles incised with scroll.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.J.111. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Superb condition with expected minor wear, few minuscule nicks, the back with light surface scratches, the wood base with a small chip. Fine, naturally grown patina overall.Weight: 512.2 g Dimensions: Height 18.6 cmMounted on a short wood base, probably zitan and dating from the same period. (2)Hongli was the fourth son of Yongzheng and born to Noble Consort Xi. He was adored by his grandfather, the Kangxi Emperor, and some historians argue to this day that Kangxi appointed Yongzheng as his successor only because Hongli was his favorite grandson. One of China's eternal visionaries, Kangxi is said to have spotted the singular leadership talent of the later Emperor Qianlong in Hongli when he was still a child. In 1796, the Qianlong Emperor abdicated in favor of his son, the Jiaqing Emperor, in a filial act so as not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase ranks among the most unusual and rarest examples produced during the Qianlong reign, as it combines gilt-bronze, cinnabar lacquer and carved jade.Expert's note: Carved cinnabar lacquer and gilt-bronze wall vases combined with jade inlays are very rare. The examples that come up for auction now and then almost invariably have condition issues such as strong wear to the gilding, losses and cracks to the lacquer, cracks or - worse - replacements to the jade inlays, and others. The pristine condition of the present wall vase makes it not just exceptionally rare, but literally unique. Literature comparison: Compare a pair of wall vases in the National Palace Museum, Taipei, included in the museum's exhibition The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, 2014, pl. II-48 (fig. 1), where the author notes that 'Lacquerware with jade inlay on a copper body is very rarely seen'.Also compare two boxes, one rectangular, the other chime-shaped, both inset with jade plaques, in the Palace Museum Beijing, illustrated in Carved Lacquer in the Collection of the Palace Museum, Beijing, 1964, cat. nos. 313 and 315. Compare a jade plaque inset in a cinnabar lacquer moon flask, similarly incised with a Qianlong seal mark and of the period, at Christie's Hong Kong, 27 April 1997, lot 21.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 25 April 2004, lot 19 Price: HKD 744,000 or approx. EUR 139,000 converted and adjusted for inflation at the time of writing Description: A very rare jade inlaid cinnabar lacquer wall vase, Qing dynasty, Qianlong periodExpert remark: Compare the closely related (and extremely rare) combination of carved lacquer and jade with an Imperial poem. Note the similar size (18 cm). Also note that the jade plaque on this example has several cracks, whereas on the present example it is in perfect condition.乾隆時期御製剔犀鑲玉刻御詩壁瓶中國，1736-1795年。鑲鎏金銅，剔犀掛瓶，頸部左右分別有一貫耳。瓶身錦地纏枝花卉紋，瓶身中央鑲嵌玉牌，上雕刻一首御詩。
Los 13
A LARGE 'BIRDS WORSHIPPING THE PHOENIX' CLOISONNE BASIN, MING DYNASTYChina, 16th to early 17th century. The interior exquisitely decorated in bright enamels with a majestic phoenix standing proudly on one leg, surrounded by adoring birds including a crane beside a tree, a peacock in flight amid colorful clouds, mandarin ducks in a pond, and pheasants perched on bamboo stalks, all encircled by red-ground foliate and white-ground lappet bands. The cavetto with a band of alternating lotus blossoms and the Eight Treasures (babao) below a diapered floral band, the everted rim with a band of chrysanthemum flowerheads and scrolling vines above a ruyi-head border, all against a dark blue ground.Provenance: London trade. Condition: Good condition with some old wear and expected manufacturing irregularities, including pitting to the enamel, the cavetto with small losses to enamel and associated old fills, minute dents, light wear to gilt. Weight: 1,960 g Dimensions: Diameter 37.5 cmPhoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants, are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace. The present lot is a rare example of such a depiction on a cloisonne basin. Literature comparison: Compare a related cloisonne phoenix basin, dated to the late Ming dynasty, illustrated in the Compendium of Collections in the Palace Museum: Enamels 1, Beijing, 2011, no. 170. Two Ming dynasty cloisonne enamel basins decorated with phoenixes from the 15th and 16th centuries are illustrated by H. Brinker and A. Lutz in Chinese Cloisonne: The Pierre Uldry Collection, The Asia Society Galleries, USA, 1989, pls. 19 and 63.Auction result comparison: Type: Closely related Auction: Christie's Paris, 9 June 2021, lot 166 Price: EUR 17,500 or approx. EUR 19,000 adjusted for inflation at the time of writing Description: A cloisonne enamel 'phoenix' basin, China, Ming dynasty, 16th-17th centuryExpert remark: Compare the closely related form, enamels, decorative bands, and phoenixes. Note the slightly smaller size (35 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 30 May 2018, lot 653 Price: HKD 175,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel 'carp' basin, Ming dynasty, Wanli periodExpert remark: Compare the closely related form, enamels, and decorative bands. Note the slightly smaller size (35.5 cm) and different subject. Auction result comparison: Type: Related Auction: Christie's Paris, 10 December 2020, lot 6 Price: EUR 56,250 or approx. EUR 61,500 adjusted for inflation at the time of writing Description: A large cloisonne enamel basin, China, 17th centuryExpert remark: Compare the closely related form, enamels, and decorative bands. Note the significantly larger size (53.5 cm) and different subject.明代大型《百鳥朝鳳》掐絲琺瑯盆中國，十六至十七世紀初。盆折沿，弧腹，平足。明豔精美的琺瑯，盆中開光描繪一隻威風凜凜的鳳凰單腿站立，周圍環繞著可愛的鳥兒，包括樹旁的鶴，彩雲中飛翔的孔雀，池塘中的鴛鴦，竹上的雉鷄；盆内壁可見纏枝蓮紋帶與八寶紋帶。 來源：倫敦古玩交易。 品相：狀況良好，有一些磨損和製造不規則，包括琺瑯點蝕和凹陷、鎏金有些缺損和相對應的修補、鎏金輕微磨損。 重量：1,960 克 尺寸：直徑37.5 厘米 《百鳥朝鳳》這個題材在繪畫和刺繡中經常出現。鳳凰被視為百鳥之王，至高至上，美好吉祥。文獻比較： 比較一件相近的明代銅胎掐絲琺瑯鳳凰盆 ，見《故宮博物院藏品大系．琺瑯器編1》，北京，2011年，編號170。兩件十五至十六世紀明代銅胎掐絲琺瑯鳳凰盆，見H. Brinker和A. Lutz《Chinese Cloisonne: The Pierre Uldry Collection》，The Asia Society Galleries，美國，1989年，頁19和63。 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2021年6月9日，lot 166 價格：EUR 17,500（相當於今日EUR 19,000） 描述：明十六/十七世紀掐絲琺瑯鳳紋折沿盆 專家評論：比較非常相近的外形、琺瑯、裝飾花邊和鳳凰。請注意尺寸(35 厘米)稍小。
Los 601
AN IMPERIAL GUANGZHOU ENAMEL 'LOTUS AND SHOU' SNUFF BOTTLE, YONGZHENG MARK AND PERIODChina, 1723-1735. Of ovoid form, the short waisted foot and neck each with a flat gilt-copper rim. Finely enameled on a yellow ground with formal scrolling flowers and vines as well as a circular medallion with the character shou (longevity) between a bat and a neatly detailed lotus blossom. The neck and foot enameled with bands of formalized lotus petals and line borders. The concave base with a red-enameled four-character mark Yongzheng nianzhi and of the period.Provenance: Belgian trade. Condition: Fine condition commensurate with age showing expected old wear and some manufacturing irregularities, rubbing to gilt, minor flaking to enamels, minute nicks to the copper alloy foot and lip. One small chip to the shoulder with an associated old repair. While the enamels are generally crisp and quite well preserved, the yellow background is somewhat faded.Stopper: Gilt bronze, possibly matching, good spoon Weight: 124.5 g Dimensions: Height incl. stopper 100 mm. Diameter neck 15 mm and mouth 6 mmAs noted by Hugh Moss, “extant examples of Yongzheng painted enamels on metal are almost as rare as those surviving from the Kangxi reign. [...] Of all surviving marked enamels from the Yongzheng era (there are not many), more than half are southern.” Yellow-ground enamel on copper examples of this form and from the “southern” group, e.g. from Guangzhou, are rare and vary in decoration including designs of dragons, deer in landscape, and bats, lotus and Shou, as seen on the present bottle.The Imperial Enamel Workshop which was first established in Beijing by the Kangxi Emperor utilizing the knowledge of Jesuit priests and enamellers from Guangzhou, was producing enamel works since circa 1715 as attested to by a Jesuit priest, Father de Maille, see H. Garner, The Origins of Famille Rose, TOCS, vol. 37, 1967-1969, London, 1970, page 4. However, the most important Chinese craftsmen came from Guangzhou as shown in a Court memorial dated 1716 noting the Viceroy of Guangdong and Guangxi sent two artisans to Beijing to serve in the Enamel Workshop, see Yang Boda, Tributes from Guangdong to the Ch'ing Court, Hong Kong, 1987, page 63. By the Yongzheng period, technical challenges were gradually overcome and the painting became more refined and controlled.This bottle exhibits the Guangzhou tendency to elaborate on Beijing decorative motifs in a novel manner. Although the subject of formalized flowers on a yellow ground was common to both the Palace workshops in Beijing and on Guangzhou wares for the court, the style was generally different. The standard northern style tended to be simpler and more powerful, while its southern counterpart was more complex and ornate, often using a greater range of filling colors within outlined areas, such as scrolling vines and leaves.The lotus is a symbol of harmony in marriage as well as a Buddhist symbol of purity, because the perfect flower emerges from mud and murky waters. The overlapped lotus petals used as decorative borders in the present lot are derived from the bases of Buddhist sculptures from the sixth century onwards, which are usually surrounded by a series of registers of petals opening up to the Buddha seated above. The bat (fu) forms one of the most popular rebuses in Chinese art as it is a pun on the word for 'blessings'.Literature comparison: Yongzheng reign-marked enamel snuff bottles are extremely rare, with only a small number from the Qing court collection still preserved in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Snuff Bottles, Hong Kong, 2003, nos. 129-133.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2008, lot 261 Price: USD 73,000 or approx. EUR 96,000 converted and adjusted for inflation at the time of writing Description: A very rare and unusual Guangzhou enamel snuff bottle, Imperial, Guangzhou, Yongzheng four-character mark in brown enamel and of the periodExpert remark: Compare the related motif and form. Note the similar size (height 8.9 cm excl. stopper). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 10 February 2021, lot 3026 Price: HKD 604,800 or approx. EUR 73,300 converted at the time of writing Description: A Canton Enamel 'Millefleurs' Snuff Bottle Mark and Period of YongzhengExpert remark: Compare the quality of the painting, the enameling technique, and the execution of the mark.雍正款與年代御用廣州琺瑯纏枝蓮紋福壽紋鼻煙壺中國，1723-1735年。口略外撇，短頸，卵形，壺身成卵形，圈足；口部和足部邊緣包鍍金銅。淡黃色地，精美琺瑯，肩部蕉葉紋，在蝙蝠與纏枝蓮紋之間團壽紋。 圈足内紅彩“雍正年製”四字款。 來源：比利時古玩交易。 品相：品相良好，有磨損，琺瑯輕微剝落，足部和唇部包銅有微小刻痕。肩部有小磕損和相應的修補。 壺蓋：鎏金銅，可能原配，小勺精緻 重量：124.5 克 尺寸：含壺蓋高100 毫米，頸部直徑15 毫米，壺口直徑6 毫米
Los 458
A PAIR OF 'QIANJIANG CAI' ENAMELED 'PEACOCK AND CRANE' VASES, BY MA QINGYUN, DATED 1920China. Each of bottle form with bulbous body surmounted by a cylindrical neck with straight rim, painted in bright enamels with a peacock and a pair of cranes perched on craggy rocks, with peonies and a gnarled pine tree. One side with a poetic inscription and signature. The bases with iron-red maker's marks. (2)Inscriptions: To one side, signed 'by Ma Qingyun in Changjiang', dated 'in the Summer of the Year of Gengshen' (corresponding to 1920), inscribed 'The most beautiful woman compares to a peony, the Emperor glanced at her with pleasure, the beauty just, like a gentle wind in spring, removed of all resentment, in Chenxiang pavilion the Emperor and his concubine lean against the fence', and 'the poem titled Qingbingdiao by Li Qinglian'. To the base, 'Ma Qingyun xie hua Yawan'.Provenance: From a noted Hungarian private collection. Condition: Very good condition, minor wear, light scratches, and manufacturing flaws including firing cracks, dark spots, and minuscule fritting. One vase with a hairline along the base.Weight: 3,762 g and 3,892 g Dimensions: Height 34.6 cm and 34.5 cmThe inscription on the present vases is an excerpt from the poem Qingbingdiao, written by Li Qinglian, also known as Li Bai (701-762), one of China's most famous poets from the Tang dynasty. The poem comprises three sections and illustrates the supposed love story between Emperor Xuanzong and his consort Yang Guifei, one of the Four Beauties of ancient China. According to some historical accounts, the Emperor and Yang Guifei would enjoy a nighttime celebration of peony viewing whenever the peonies were in full bloom. During one celebration, the Emperor was displeased with the selection of music and called for Li Bai to write a song. Li Bai, who was supposedly drunk during this time, rapidly composed this poem that pleased the Emperor.Ma Qingyun was a painter, poet, and literary artist who was active from the late Guangxu period into the Republic period.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 13 March 2012, lot 3464Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A pair of polychrome enameled porcelain baluster vases, Republic periodExpert remark: Compare the related Qianjiang style, motif, poem, and seal mark. Note the different form and sizes (58 cm).馬慶雲款一對淺絳彩花鳥賞瓶，1920年中國，長頸瓶，溜肩鼓腹，圈足外撇。淺絳彩描繪孔雀和一對仙鶴站在松下假山上，牡丹盛開。另一面書寫李白詩。圈足鈴印“馬慶雲畫雅玩”。 款識：名花傾國兩相歡，常得君王帶笑看。解釋春風無限恨，沉香亭北倚闌干。庚申夏右？李青蓮 清平調 則于昌江客邸馬慶雲寫之意 。 來源：知名匈牙利私人收藏。 品相：狀況非常好，有輕微磨損、劃痕和製造缺陷如燒製裂紋、黑點和微小的熔塊。其中一個花瓶底部有冲線。 重量：分別為3,762克與3,892克 尺寸：高34.6 厘米與 34.5 厘米 馬慶雲是活躍於光緒末年至民國時期的畫家、詩人、文學家。拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年3月13日，lot 3464 價格：USD 15,000（相當於今日EUR 17,500） 描述：民國一對淺絳彩賞瓶 專家評論：比較相近淺絳彩、主題、詩和印。請注意不同的外形和尺寸(58 厘米)。
Los 109
A RARE BLUE-GROUND POLYCHROME-DECORATED 'DRAGON' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. Superbly potted with deep rounded sides rising from a straight foot to a gently flared rim, the exterior vividly enameled with two ferocious dragons, one in green enamel, the other iron-red, racing through green, yellow and iron-red flames in pursuit of flaming pearls positioned above cruciform clouds, resting on a band of overlapping petals, all reserved on a washed underglaze-blue ground, the interior with a central medallion enclosing a similar green dragon. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in North Yorkshire, United Kingdom. Condition: Very good condition with expected wear and shallow surface scratches, minimal firing irregularities, few barely visible glaze lines. Weight: 227.8 g Dimensions: Diameter 14 cmLiterature comparison: A Kangxi-marked bowl of this same design was included in the exhibition Joined Colors, Decoration and Meaning in Chinese Porcelain, Ceramics from Collectors in the Min Chiu Society, Hong Kong, illustrated by L.A. Cort and J. Stuart, Catalogue, Hong Kong, 1993, p. 84, pl. 13. Qianlong-marked bowls of this type are relatively rare, examples include one sold at Christie's New York, 28 March 1996, lot 363, and another at Sotheby's Hong Kong, 1 December 1977, lot 648.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 May 2013, lot 1924 Price: HKD 870,000 or approx. EUR 132,000 converted and adjusted for inflation at the time of writing Description: A rare blue-ground polychrome-decorated 'dragon' bowl, Qianlong six-character seal mark and of the periodExpert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in excellent condition. Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 28 May 2014, lot 3456 Price: HKD 475,000 or approx. EUR 72,000 converted and adjusted for inflation at the time of writing Description: A Rare Blue-Ground Polychrome-Decorated 'Dragon' Bowl, Qianlong Six-Character Seal Mark and of the Period (1736-1795)Expert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in restored condition.乾隆款及年代罕見青花藍地紅綠彩龍紋碗中國，1736-1795年。胎體緊緻，碗口略外撇，深弧腹。碗外壁青花藍地，分別用紅彩與綠彩描繪兩條矯健雲龍戲珠，被綠色、黃色和鐵紅色火焰環繞。腹底飾一圈重疊花瓣紋。碗內開光内藍地綠彩雲龍。足底青花“大清乾隆年製”款。 來源：英國北約克郡私人收藏。 品相：品相極好，有磨損和表面劃痕，製造瑕疵，少量不明顯的釉面裂紋。 重量：227.8 克 尺寸：直徑14 厘米 文獻比較： 一件相同設計康熙款碗，見Joined Colors，《Decoration and Meaning in Chinese Porcelain，Ceramics from Collectors in the Min Chiu Society》，香港，見L.A. Cort和J. Stuart，圖錄，香港，1993年，頁84，編號13。一件乾隆款碗，售於Christie's New York，1996年3月28日，lot 363，以及售於香港蘇富比，1977年12月1日，lot 648。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2013年5月29日，lot 1924 價格：HKD 870,000（相當於今日EUR 132,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗品相極佳。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2014年5月28日，lot 3456 價格：HKD 475,000（相當於今日EUR 72,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗曾修復過。
Los 432
A LARGE AND MOLDED FAMILLE ROSE 'HUNDRED ANTIQUES' BALUSTER VASE, QING DYNASTYChina, 19th century. The body molded and applied with various auspicious items and scholar's objects in high relief, including archaistic bronze vessels, butterflies, bats, and gourds, interspersed with floral sprays, the waisted neck flanked by two lingzhi handles, the neck and foot decorated with a diaper pattern and geometric bands, the interior of the mouth with three branches bearing peaches.Provenance: French trade. By repute acquired from a private estate in the region of Lille, France. Condition: Presenting remarkably well with some natural wear and expected firing irregularities, minor fritting and minuscule chips, small hairlines to the base, the rim with an old repair. The wood base with expected natural age cracks and small nicks.Weight: 7.1 kg (incl. base) Dimensions: Height 60.2 cm (excl. base), 66.5 cm (incl. base)With a fitted wood base. (2)Literature comparison:Compare a related yellow ground 'hundred antiques' vase, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, vol. 39, Hong Kong, 1999, p. 285, no. 254.Auction result comparison:Type: RelatedAuction: Christie's London, 9 September 2015, lot 518Price: GBP 13,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese famille rose 'hundred antiques' vases, 19th centuryExpert remark: Compare the related design and size (61 cm). Note that this lot comprises two vases but lacks the molded relief work completely.清代大型粉彩博古紋堆塑雙耳瓶中國，十九世紀。此瓶敞口，直頸，溜肩，直筒腹，脛部內收，圈足外撇。器身白地粉彩堆塑博古紋，疏朗排列，瓷瓶、擺件、盆景等，繪筆細緻，古雅氣質。此瓶胎質潔白細膩，形制端雅，繁複堆塑，風格別致。 來源：法國古玩交易，據說來自法國里爾地區私人收藏。 品相：品相極好，有一些自然磨損和預期的製作不規則、輕微磨損和微小的磕損、底部有細小的裂線，邊緣有修復。木底座有自然老化裂縫和小刻痕。 重量：7.1 公斤 （含底座) 尺寸：高 60.2 厘米 (不含底座)，66.5 厘米 (含底座) 木底座。 (2) 文獻比較： 比較一件相似的黃地凸雕博古圖龍耳大地瓶，見《故宮博物院藏文物珍品全集‧琺瑯彩粉彩》，卷39，香港，1999年，285頁，編號254。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年9月9日，lot 518 價格：GBP 13,750（相當於今日EUR 20,500） 描述：十九世紀一對粉彩博古紋瓶 專家評論：比較相近的設計和尺寸 (61 厘米)。請注意此拍品為一對，但並沒有浮雕堆塑。
Los 268
A CLOISONNE ENAMEL MINIATURE TRIPOD CENSER, DING, QIANLONG TO JIAQING PERIODChina, 1736-1820. Of circular form, rising from three elongated, tapering legs, the galleried rim set with two upright loop handles decorated with C-scrolls, the body decorated with kuilong scrolls, lotus blossoms, and scrolling vines issuing flowerheads, the legs depicting scrolls and flowers, all above a turquoise ground. The body with a gilt band above the legs and a gilt rim.Provenance: Collection of Anton Exner, Vienna, thence by descent. Galerie Zacke, Vienna, acquired from the above. An Austrian private collection, acquired from the above before 1999. A collection number 'SI [XX]' lacquered to the rim. A copy of an excerpt of the Galerie Zacke description from before 1999, confirming the dating and provenance above, accompanies this lot. Anton Exner (1882-1952) was the most important dealer, collector, and assessor of East Asian art in Vienna during the interwar period. His collection included all branches of Asian art - particularly Chinese and Japanese - from all epochs. During a long sojourn in Canada and the USA from 1908 to 1910, he made contact with Chinese dealers and later acquired handicrafts and Japanese silk blouses at various Asian ports, which formed the basis for his future business activities in Vienna. From then on, he went almost every year on buying trips to the Far East. The Austrian auction house Dorotheum appointed him as a sworn assessor of Asian art, a position he held for around a quarter of a century. From the early 1920s, he lent objects for all major exhibitions of Asian art in Vienna. Condition: Very good condition with minor wear, few nicks and scratches, little bruising, small chips, minor losses to the enamels, and manufacturing flaws including pitting.Weight: 397.2 g Dimensions: Height 15.6 cmAuction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 1 June 2015, lot 663Price: HKD 112,500 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: A small gilt-bronze and cloisonne enamel archaistic tripod censer, Qing dynasty, 18th/19th centuryExpert remark: Compare the related form. Note the smaller size (10 cm) and cover.乾隆至嘉慶掐絲琺瑯三足鼎式爐中國，1736-1820年。鼎式爐，雙沖耳，三圓柱形足向下變尖。爐身藍地纏枝蓮花，飾有夔龍紋。 來源：維也納Anton Exner，保存至今；維也納Galerie Zacke藝廊，購於上述藝廊；奧地利私人收藏，購於上述藝廊，購於1999年前。邊沿處有收藏編號 'SI [XX]' 。隨附一份1999年前Galerie Zacke目錄摘要複印本，確認時間和來源。Anton Exner (1882-1952) 是兩次世界大戰期間維也納最重要的東亞藝術經銷商、收藏家和評估員。他的收藏包括亞洲藝術的所有分支——尤其是中國和日本——來自各個時代。1908 年至 1910 年在加拿大和美國逗留期間，他接觸了中國商人，後來在亞洲各個港口收購了手工藝品和日本絲綢女衫，為他日後在維也納的商業活動奠定了基礎。從那以後，他幾乎每年都去遠東旅行。奧地利拍賣行 Dorotheum 任命他為亞洲藝術的宣誓評估員，他擔任這一職位大約25年。從二十年代初開始，他為維也納所有主要的亞洲藝術展覽出借物品。 品相：狀況極好，有輕微磨損、少許刻痕和劃痕、小缺口、少量琺瑯缺損以及包括點蝕在內的製造缺陷。 重量：397.2 克 尺寸：高15.6 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2015年6月1日，lot 663 價格：HKD 112,500（相當於今日EUR 15,500） 描述：清十八 / 十九世紀銅胎掐絲琺瑯仿古紋雙耳三足蓋爐 專家評論：比較相近的外形。請注意尺寸較小 (10 厘米) 和爐蓋。
Los 600
A MOLDED AND ENAMELED CICADA-FORM PORCELAIN SNUFF BOTTLE, 1800-1850China, Jingdezhen kilns. The bottle molded in the round with realistic detail, the insect's eyes and legs painted in black, its wings in blue enamel and its thorax highlighted with brown enamel stripes.Provenance: From an old private collection in the United Kingdom, acquired in Shanghai and Hong Kong from the 1930s onwards, and thence by descent. Condition: Excellent condition with minor wear and firing flaws, little rubbing to enamels.Stopper: JadeiteWeight: 44.6 gDimensions: Height incl. stopper 82 mm. Diameter mouth 7 mmThe cicada is a symbol of immortality because it has a long life cycle of up to seventeen years. It also became a symbol of extended youth and of happiness on account of its joyous chirping.Literature comparison: The group of molded porcelain cicada-form snuff bottles to which this example belongs first appeared in the early nineteenth century. For another very similar example from the Caretti Collection, see H. Moss, Chinese Snuff Bottles No. 5, p. 59, fig. 43. See other examples and versions in Chinese Snuff Bottles No. 4, p. 5, top, center; and R. Hall, Snuff Bottles IX, no. 8. The molded porcelain model may have evolved from jade cicada-form bottles which were popular at the Court during the eighteenth century. See Moss, Graham and Tsang, The Art of the Chinese Snuff Bottle: The J & J Collection, nos. 7 and 8; and Moss, Graham and Tsang, A Treasury of Chinese Snuff Bottles, Vol. 1, Jade, nos. 58 and 59.Auction result comparison:Type: Near identical Auction: Christie's New York, 19 March 2008, lot 245 Price: USD 9,375 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: An enameled molded porcelain cicada-form snuff bottle, Jingdezhen kilns, 1800-1850 Expert remark: Note the size (7.5 cm), which is the same length as the present snuff bottle excluding the stopper.1800-1850年堆塑彩繪蟬形鼻煙壺中國，景德鎮。瓶身為蟬形，細節逼真，蟬的眼睛和腿塗成黑色，翅膀為藍色琺瑯，胸部則用棕色琺瑯條紋描繪。 來源：英國私人收藏，藏品為上世紀三十年代購於上海和香港，保存至今。 品相：品相極佳，有輕微磨損和燒製缺陷，琺瑯有輕微磨損。 壺蓋：翡翠 重量：44.6 克 尺寸：含壺蓋高82 毫米，壺口直徑 7 毫米 蟬自古是長生不老的象徵，因為它的生命週期長達十七年之久。而它歡快的鳴叫聲，也使它成為青春和幸福的象徵。 文獻比較： 本例所屬的瓷製蟬形鼻煙壺群，最早出現於十九世紀初。其他相似的例子來自Caretti Collection，見H. Moss，《Chinese Snuff Bottles No. 5》，頁59，圖43。見另一件例子《Chinese Snuff Bottles No. 4》，頁5；R. Hall，《Snuff Bottles IX》，編號8。堆塑瓷器可能是從十八世紀宮廷流行的玉蟬形瓶演變而來的。見Moss，Graham和Tsang，《The Art of the Chinese Snuff Bottle: The J & J Collection》，編號7和8; 以及見Moss，Graham和Tsang，《A Treasury of Chinese Snuff Bottles》，卷1，〈Jade〉，編號58和59。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，19 3月 2008年，lot 245 價格：USD 9,375 EUR 12,500 （相當於今日） 描述：1800-1850年堆塑彩繪蟬形鼻煙壺 專家評論：請注意尺寸(7.5 厘米)，幾乎和我們的拍品一樣長。
Los 272
A PAIR OF CLOISONNE ENAMEL MINIATURE 'BUDDHIST LION' VASES, HU, QING DYNASTYChina, 1644-1912. Each with a pear-shaped body supported on a short foot and rising to a galleried rim, set with two lion mask handles suspending loose rings, decorated with nine Buddhist lions playing with a brocade ball and chasing each other, all against a turquoise ground with scrolling clouds and red flames. Provenance: Collection of Arnold Vissiere, Paris, France, thence by descent in the same family. Arnold Vissiere (1858-1930) was a French sinologist born in Paris and one of the creators of the French School of the Far East system. He worked as an interpreter at the French legation in Beijing and became a professor at the Ecole des Langues Orientales Vivantes in 1911. Later, Vissiere was appointed Consul General in Shanghai and then Minister Plenipotentiary in China. He also worked at the National Library on the catalog of Chinese books. Vissiere collected Chinese art including Chinese maps, some of which are exhibited in the Musee Guimet. Condition: Very good condition with minor wear, few small nicks, light scratches, minuscule bruises, and minor losses to the enamels. The miniature rings on the masks slightly warped.Weight: 85.1 g and 88.6 g Dimensions: Height 7.5 cm and 7.6 cmAuction result comparison:Type: Remotely relatedAuction: Bonhams San Francisco, 24 June 2013, lot 1134Price: USD 7,500 or approx. EUR 8,700 converted and adjusted for inflation at the time of writingDescription: A pair of small cloisonne enameled metal vases, 18th/19th centuryExpert remark: Compare the form and enamels. Note the slightly larger size (11.5 cm).清代一對掐絲琺瑯太獅尊中國，1644-1912年。大口，口以下漸放，垂腹，圈足，獅面輔首啣環，藍地掐絲琺瑯，飾九頭太獅戲球，互相追逐，祥雲圍繞，紅色的火焰。 來源：法國巴黎 Arnold Vissiere，在同一家族保存至今。Arnold Vissiere (1858-1930) 是一位生於巴黎的法國漢學家，法國遠東學派體系的創始人之一。他曾在北京的法國大使館擔任翻譯，並於 1911 年成為 Ecole des Langues Vivantes 的教授。後來，Vissiere 被任命為駐上海總領事，隨後被任命為駐華全權公使。他還在國家圖書館從事中文圖書目錄工作。Vissiere 收藏了包括中國地圖在內的很多中國藝術品，其中一些在吉美博物館展出。 品相：狀況極好，有輕微磨損、輕微刻痕、表面劃痕、微小的凹痕和輕微的琺瑯缺損。獅面輔首啣環略微變形。 重量：分別爲85.1克與88.6克 尺寸：分別高7.5 厘米與7.6 厘米 拍賣結果比較： 形制：稍微相近 拍賣：舊金山邦瀚斯，2013年6月24日，lot 1134 價格：USD 7,500（相當於今日EUR 8,700） 描述：一對十八/十九世紀掐絲琺瑯瓶 專家評論：比較的外形和琺瑯。請注意尺寸稍大(11.5 厘米)。
Los 16
A CLOISONNE ENAMEL MALLET VASE, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIODChina, 1736-1795. The cylindrical body rising from a spreading foot to a tall neck with gilt rim, decorated around the exterior with lotus blooms borne on meandering leafy scrolls between ruyi bands, the foot encircled with C-scrolls and circles, all reserved on a distinct turquoise ground. The base incised with a five-character mark Qianlong nianzhi zuo and of the period.Provenance: British trade. Condition: Good condition with expected old wear, minor crackling and small fills typical for these wares. Minuscule nicks, some dents with associated small losses, the vase slightly leaning.Weight: 226 g Dimensions: Height 14.4 cmBased on its size and mallet shape, this vase was made to hold incense instruments. These types of small cloisonne vases, censers, and instruments (luping sanshi) which were made for the burning of incense had an additional character below the reign mark and were made for the Qianlong court. Some scholars have suggested that the fifth character under the Qianlong mark could have been a way to number the large group of objects in the correct order, see H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, pp. 74-79.Literature comparison:Compare a similar cloisonne enamel vase with Qianlong five-character mark and of the period, from the Robert H. Clague Collection, Phoenix Art Museum, illustrated in Beatrice Quette, Cloisonne: Chinese Enamels from the Yuan, Ming and Qing Dynasties, New York, 2011, p. 291, pl. 130.Auction result comparison:Type: Near identicalAuction: Christie's New York, 18 September 2014, lot 613Price: USD 37,500 or approx. EUR 44,500 converted and adjusted for inflation at the time of writingDescription: A small cloisonne enamel bottle vase, Qianlong four-character mark inscribed in a line and of the periodExpert remark: Compare the near identical bottle or mallet form, motif, five-character mark, and size (14.5 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams London, 11 May 2017, lot 180Price: GBP 22,500 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: A cloisonne enamel bottle vase, Qianlong five-character mark and of the periodExpert remark: Compare the closely related mallet or bottle form, motif, and five-character mark. Note the slightly larger size (17 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams London, 17 May 2012, lot 139Price: GBP 20,000 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: A cloisonne enamel and gilt-bronze long-necked cylindrical vase, incised Qianlong five-character mark and of the periodExpert remark: Compare the closely related form, motif, and five-character mark.乾隆五字款及年代銅胎掐絲琺瑯纏枝蓮紋賞瓶中國，1736-1795年。長頸，直腹，底足微束，足微外撇。外壁掐絲琺瑯描繪纏枝蓮紋，瓶口下裝飾一圈如意紋。底足内刻“乾隆年製”與“左”字款。 來源：英國古玩交易。 品相：品相良好，有磨損、輕微裂紋和小填充物。微小的刻痕，一些凹痕、缺損，賞瓶略微傾斜。 重量：226 克 尺寸：高 14.4 厘米 根據它的大小和形狀，這個瓶子應是用來盛放香薰器具的。這些供燒香用的小景泰藍瓶、香爐和器具在年號下方加了一個字，是為乾隆宮廷製作的。 一些學者認為，乾隆標記下的第五個字符可能是一種以正確順序對大群物品進行編號的方式，見 H. Brinker和A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，頁74-79。 文獻比較： 比較一件相似的銅胎掐絲琺瑯乾隆五字款和年代賞瓶，來自Robert H. Clague 收藏，收藏於Phoenix Art Museum，見Beatrice Quette，《Cloisonne: Chinese Enamels from the Yuan，Ming and Qing Dynasties》，紐約，2011年，頁291，圖130。
Los 12
AN IMPERIAL BEIJING ENAMEL CUP STAND, KANGXI YUZHI MARK AND OF THE PERIOD (1662-1722)China, c. 1700-1722. Of sixteen-lobed form, the body of heavily cast copper alloy and with the rims finely gilt. Exquisitely painted in bright enamels, the interior with eight phoenixes radiating from the central raised stand with kuilong decoration against a yellow ground. The central recessed ring, added to support a cup, with a half-open peony bloom and furled petals against a turquoise ground, the base similarly painted with radiating and overlapping flower petals, centered by a roundel enclosing a red-enameled four-character mark Kangxi yuzhi and of the period.Provenance: By repute from an old estate in London, United Kingdom. English trade, acquired from the above. Condition: Good condition, commensurate with age, presenting remarkably well with crisp colors and a subtle luster overall. Old wear and a dense crackling to the enamels, as well as minor warping, dents and nicks to the metal fittings, exactly as expected from this type of ware. Small areas of verdigris, the inner edges and corners of the well with minor yet distinct areas of calcification, indicating the piece may have been used as a jardiniere for some time. Obvious nicks and losses, no restoration or repair of any kind.Weight: 744.3 g Dimensions: Diameter 21.6 cmThe sides painted on the interior with petals against a turquoise ground and on the exterior with colorful kuilong against a yellow ground, the galleried rim with blue foliate scroll against a white ground.The rich color palette and the delicacy of the multi-colored design employed to decorate this exquisite cup stand demonstrate the superb craftsmanship of the Imperial Palace Workshops in Beijing, the Zaobanchu, and the extraordinary skill of their painters. The technique of enameling on metal was originally introduced to the Chinese craftsmen in the Guangzhou area by French Jesuit missionaries in 1684, following the lifting of restrictions at Chinese ports. Being a port city, these artisans were the first to be exposed to wares from Europe and initially developed the skills to replicate these imports. Enamored with the range of vivid and pastel tones of both the imported and tributary wares, the Kangxi Emperor recruited enamel artisans from Guangzhou and Jesuit missionaries to work in the Palace and advance the proficiency of the Enamel Workshops. Painted enamel thus became a defining art form of this period, in quality, innovation, and unsurpassed opulence.The appearance of Kangxi yuzhi marks - unframed, inside double circles, as in the case of the current cup stand - on a number of the surviving examples provides an indication of the Emperor's close personal attachment to these pieces. This exquisitely decorated cup stand can probably be dated to the latter years of the Kangxi reign, possibly to the period AD 1700-22, since a fully developed enamel palette has been used to great effect in its painted decoration on a yellow ground, which is found on the majority of enameled metal vessels from this era. The delicately-painted phoenixes are rendered in both pink and blue enamels, of types which were not successfully prepared in the imperial ateliers until around 1700. In fact, this lot can be seen as a celebration of these newly invented enamel colors and the way they could be used to create painterly, but at the same time jewel-like, decoration. A related palette can be found on a small white-ground lobed box, also with a Kangxi yuzhi mark, in the collection of the National Palace Museum, Taipei (see Enamel Ware in the Ming and Qing Dynasties, Taipei, 1999, page 172, no. 82), which also bears a blue Kangxi yuzhi mark. The painting on the current lot is, however, executed with even greater sophistication.Literature comparison: Compare a Beijing enamel plate, also of sixteen-lobed form, with a Kangxi yuzhi mark, and painted with the same design, in the National Palace Museum, Taipei, image number K1E000374N000000000PBA.Also compare an almost exact reproduction of the present cup stand commissioned by the Qianlong Emperor, 22.5 cm diameter, with an enameled four-character Qianlong mark and of the period, from the Qing Court collection and still in Beijing, illustrated in Metal-bodied Enamel Ware: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pages 212-213, no. 203. The fact that only a few details were slightly reinterpreted to suit the Qianlong Emperor's taste speaks for the timeless beauty of the present cup stand. Furthermore, compare with entry I-15 in Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 30 November 2022, lot 27 Price: HKD 885,000 or approx. EUR 107,000 converted at the time of writing Description: A superb and rare imperial Beijing enamel circular dish, Kangxi red enamel yuzhi four-character mark and of the periodExpert remark: Compare the closely related enamel decoration, yellow ground, and Kangxi yuzhi mark. Note the different form, motif, and the significantly smaller size (9.5 cm). Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2013, lot 2157 Price: HKD 1,230,000 or approx. EUR 186,000 converted and adjusted for inflation at the time of writing Description: A very rare imperial painted-enamel cup and stand, Yongzheng enameled four-character marks and of the periodExpert remark: Compare the related enamel decoration and yellow ground of the cup stand. Note the different form, motif, smaller size (15.2 cm), Yongzheng reign mark, and that the lot also comprises the matching cup.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2013, lot 3028 Price: HKD 1,840,000 or approx. EUR 278,000 converted and adjusted for inflation at the time of writing Description: A rare imperial enameled gold-bodied cup stand, Qing dynasty, Qianlong / Jiaqing periodExpert remark: This lot is another example of an imperial enameled cup stand, however of later date and unmarked. Note the related size (20.5 cm). The Sotheby's catalog note for this lot states that the Qianlong-marked cup stand in the National Palace Museum (see Literature comparison) is gold-bodied, which is contradicted by the Palace Museum's own publication, stating that the rims of the cup stand are only gilt, e.g. not made from solid gold.“康熙御製”款黃地花式鳳紋折沿杯托中國，約1700-1722年。 來源：據説來自英國倫敦私人收藏；英國古玩交易，購於上述收藏。
Los 128
AN IMPERIAL YELLOW-GROUND BLUE-ENAMELED 'SHOU' DISH, TONGZHI MARK AND PERIODChina, 1861-1874. The deep rounded sides supported on a short foot and rising to a gently everted rim. The interior finely decorated with six concentric bands of 138 stylized shou characters in blue enamel, encircling a larger central shou character, all reserved on an even Imperial yellow ground. The rim finely gilt. The exterior covered with a transparent glaze and decorated with three evenly spaced floral sprays and scrolling vines in exquisite Famille Rose enamels. The recessed base with an iron-red four-character mark Tongzhi nianzhi and of the period.Provenance: English trade. By repute from an old estate in northern Scotland. Condition: Magnificent condition with expected minor wear to gilt and enamels as well as few minute firing irregularities. Intentional fine craquelure to the glaze overall.Weight: 744.9 gDimensions: Diameter 29 cmAuction result comparison: Type: Related Auction: Christie's New York, 23 September 2022, lot 1058 Price: USD 47,880 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: A pair of yellow-ground 'Shou' bowls, Tongzhi four-character marks in iron red and of the period Expert remark: Compare the closely related yellow ground, blue-enameled shou characters, gilt rim, and iron-red Tongzhi mark. Note the different form and smaller size (21 cm). Also note that this lot consists of two bowls.同治款及年代御用黃地藍彩百壽盤中國，1861-1874年。淺圓腹，低圈足，邊緣外翻。盤内黃底藍彩書寫共 138 個壽字，每個壽字大小相同，間隔勻淨，錯位排列，中央一個較大的壽字，規整中透出一種莊重和威嚴。邊緣精美鎏金。外壁白地粉彩纏枝花卉紋。圈足内鐵紅四字款“同治年製”。 來源：英國古玩交易，據説購於一個北蘇格蘭私人收藏。 品相：品相精美，鎏金和琺瑯有輕微磨損，並有輕微的燒製不規則現象。整體釉面精細開片。 重量：744.9 克 尺寸：直徑29 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2022年9月23日，lot 1058 價格：USD 47,880（相當於今日EUR 46,000） 描述：一對同治款及年代黃地藍彩碗 專家評論：比較非常相近的黃地藍彩壽紋，邊緣精美鎏金，以及鐵紅四字款“同治年製”。請注意外形不同和尺寸較小 (21 厘米)，以及此碗為一對。
Los 17
A LARGE IMPERIAL CLOISONNE ENAMEL ARCHAISTIC CENSER AND COVER, FANGDING, QIANLONG MARK AND PERIODChina, 1736-1795. The tapering rectangular censer has twin upright handles and is decorated to each side with massive raised flanges separating finely enameled taotie masks surrounded by and below a band of confronting kui dragons, all supported on four blade-shaped legs emerging from mythical-beast terminals. The reticulated gilt copper alloy cover is decorated with pierced foliage, enameled with angular scrolls, and surmounted by a gilt finial in the shape of a Buddhist lion. The cover is neatly incised with a horizontal six-character mark da Qing Qianlong nianzhi on a gilt plaque and of the period.Provenance: Hong Kong trade. By repute acquired from an old private estate.Condition: Magnificent condition with minor wear and manufacturing irregularities, including expected pitting and tiny casting holes. The censer wobbles very slightly. No restorations or fills of any kind visible under the examination of strong UV light. Note that such a general state of preservation on a censer from this period is extremely rare.Weight: 8,338 gDimensions: Height 44.5 cm, Width 27.7 cmWith a custom fitted silk storage box. (2)The shape of this censer is based on ancient bronze vessels. The finely gilt blade-shaped legs, loop handles and flanges, along with the wide spreading taotie masks, all have their prototypes in Zhou dynasty bronzes, many of which are illustrated in Xiqing Gujian, 'Inspection of Antiques from the Zhou Dynasty', the catalogs of ancient bronzes in the Qing Court Collection compiled under the authorization of the Qianlong Emperor in 1755. Censers of this type not only served as an important part of the palace furnishing, but were also used in rituals, banquets, and imperial ceremonies.Literature comparison: Several similar cloisonne fangding-form censers have been preserved in the Qing Court Collection, which are found in varying sizes with different combinations of decorative elements. Compare the fangding with cover with a cloisonne enamel Qianlong six-character mark, similarly decorated with taotie design but with flat dragon-form legs in the National Palace Museum, Taipei, illustrated in Enamel Ware in the Ming and Ch'ing Dynasties, Taipei, 1999, no. 59 (33.8 cm). Compare also three examples in the Palace Museum, Beijing, the first dated to the early Qing dynasty with a gilt openwork cover, lion-form finial and flat blade-shaped legs (35.6 cm), the second with a cast Qianlong six-character mark without a cover and decorated with angular chilong motifs (28.7 cm), the third with a cast Qianlong four-character mark and decorated with taotie design with blade-shaped feet (48.3 cm), illustrated in Compendium of Collections in the Palace Museum, Enamels - 2 - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, nos. 68, 245 and 246, respectively. Compare also one with a lion-form finial and reticulated panels on the cover (38 cm) in the Shenyang Imperial Palace Museum, illustrated in The Prime Cultural Relics Collected by Shenyang Imperial Palace Museum - The Enamel Volume, Shenyang, 2007, pp. 146-147, no. 1.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 2 December 2015, lot 3250 Price: HKD 1,240,000 or approx. EUR 168,000 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel archaistic censer and cover, fangding, Qianlong periodExpert remark: Compare the closely related form and decoration as well as the similar size of 48.2 cm, the difference of 3.7 cm owed solely to the fact that the Buddhist lion on top of this censer has its body raised in an alert position, while it is shown in a rather huddled position on the present lot. Note also the absence of a reign mark.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 November 2020, lot 2911 Price: HKD 4,750,000 or approx. EUR 570,000 converted and adjusted for inflation at the time of writing Description: A superb imperial cloisonnne enamel 'taotie' fangding-form censer and cover, and a champleve stand, Qianlong periodExpert remark: Compare the closely related form and decoration as well as the similar size (46.5 cm excl. stand). Note the absence of a reign mark and the additional champleve stand.乾隆款及時期大型掐絲琺瑯饕餮紋出戟鼎式方蓋爐中國，1736-1795年。銅胎，纏枝蓮紋鏤雕蓋，鎏金臥獅蓋鈕，拱門式立耳；立耳和口沿下飾回紋，一面口沿中央有“大清乾隆年製”，腹面中央及四角鑲稜脊，爐身饕餮紋；神獸形四足。 來源：香港古玩交易，據説購於一個老收藏。 品相：狀況極佳，有輕微磨損和製造不規則，比如微小的鑄孔。香爐有輕微搖晃。在強紫外線的檢查下，看不到任何類型的修復體或填充物。 請注意，這一時期的香爐上如此保存狀態極為罕見。 重量：8,338 克 尺寸：高 44.5 釐米，寬 27.7 釐米 配置絲襯方盒。 (2) 此爐仿青銅器造型，精美的鎏金刀狀腿、拱形耳朵、折邊，寬幅的饕餮紋，均出自周代青銅器，多見於1749年乾隆帝授意開始編撰的《西清古鑑》中關於周代古物的研究。此類香爐不僅是宮廷器物的重要組成部分，還用於祭祀、宴請和宮廷大典。
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396325 Los(e)/Seite