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396325 Los(e)/Seite
Los 178
A jade bead necklace, length 46cm; a jade ring, finger size U; and a jade and enamel brooch/pendant, length 3.6cmCondition report: The brooch leaf motifs are slightly loose, otherwise in good to fair condition. The brooch fastens with a pin and revolver catch. The necklace fastens with a bolt ring catch, we cannot guarantee the integrity of the string. Gross weight 43.3 grams.
Los 199
A diamond solitaire ring, finger size N; an 18 carat gold hardstone cameo ring, finger size N1/2; two cameo brooches; together with a small quantity of jewellery including an enamel brooch, various other brooches, scarf clips, dress studs etcCondition report: Diamond ring - 1.9 grams. Cameo ring - 2.4 grams.
Los 237
A Silver-Gilt or Gilt-Metal and Enamel Small Notepad, apparently unmarked, probably late 19th century, oblong, the hinged spring-loaded cover enamelled with an elegant couple in 18th century costume in a landscape, 4.5cm wideCondition report: The enamel plaque with a small abrasion to the top right corner and a notable scratch to the left-hand side. Pencil and safety chain are intact. Spring and hinge mechanism good. Metal with general surface wear.
Los 238
Two Gilt-Metal Mounted Enamel Patch-Boxes, South Staffordshire, Probably Late 18th Century, one oval, painted with flowers and foliage, the border with yellow and orange scrolls, 5cm wide, the other oblong, the hinged cover decorated with a church in a landscape and the legend 'On Thy Sweet Lips to Print a Kiss Is my Dear Girl the Price of This', 3.8cm wide
Los 271
A silver filagree carriage; a compact in the form of a pocket-watch and a purse with blue and flower decorated cover (3)Condition report: Filigree carriage - free from breaks with some slight bending to the metal in places. Compact - clasp and hinge functioning correctly. Mirror intact. All stones present and wear to the gilding. Purse with light wear and scratches to the enamel. Clasp functioning. Some wear to the leather.
Los 332
Small 19th century Chinese blue and white ginger jar, painted with horses in a landscape; together with a Japanese Meiji period satsuma jardiniere, a similar pair of bottle vases and smaller planter, an early 20th century Japanese carved ivory box, three Champleve enamel items, and a Persian Niello vase (one tray)
Los 365
A Chinese celadon glazed porcelain jardiniere with white enamel decoration, depicting dragons and cloud scrolls, underglaze six-character Chenghua reign mark, but of later date, 27.5cm highCondition report: Two pieces broken from rim with long associated cracks and 19th century staple repair
Los 392
A studio pottery stick stand containing three walking sticks, Halcyon Days enamel box, a silver napkin ring, silver-topped Adams Jasperware sugar bowl, dolls house furniture, Art Glass etc.Condition report: Stick stand, good condition no chips, cracks, or repair, Isle of Wight glass case, good condition, no damage, other items in the lot not reported
Los 401
A Royal Worcester side plate by William Ricketts, circa. 1919, painted with pears and grapes, signed, together with a Royal Worcester blush ground twin handled pedestal vase painted with wildflowers, 33.5cm and similar scroll handled ewer, 23.25cm (3)Condition report: Side plate with two minor scratches to the enamel and some light gilt wear, the vase and the ewer both free from chips, cracks and repair, minor gilt wear
Los 511
A ROBIN'S EGG GLAZED 'LANTERN' VASE, ZUN, QIANLONG TO JIAQING PERIODChina, 1736-1820. The body tapers slightly towards the foot and is flanked by a pair of prominently molded handles in the shape of inverted vases below the high shoulder and slightly waisted neck. The vase is covered overall with an opaque turquoise glaze densely mottled in bright and dark blue that also covers the recessed base entirely.Provenance: From a private collection in Hampshire, United Kingdom, by repute acquired in the 1960s.Condition: Excellent condition with minor wear and minimal firing irregularities. Weight: 1,097 gDimensions: Height 22.5 cmVases of this lantern shape, all applied with unusual mock handles of inverted vase shape, originated in the Yongzheng period, when they were made with Guan and Ge-type glazes, such as the two Yongzheng examples in the Palace Museum, Beijing, illustrated by Geng Baochang (ed.), Gugong Bowuyuan cang Qingdai yuyao ciqi (Porcelains from the Qing dynasty Imperial kilns in the Palace Museum collection), Beijing, 2005, pls. 174 and 206. However, during the Qianlong period, the shape became more popular as a vehicle for the robin's egg-blue glaze.The 'Robin's egg' glaze represents a significant technical innovation of the Yongzheng period (1723-35) attributable to Tang Ying (1682-1756), the greatest porcelain superintendent in Chinese history. The Yongzheng Emperor, who initiated many revivals of earlier ceramic techniques, was particularly enamored with the variegated Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. In order to have the glazes recreated or imitated, Tang Ying sent his trusted assistant from the imperial kilns in Jingdezhen, Jiangxi province, on study trips to the Jun region in Henan province to learn from the local potters and even went as far as having ceramic raw materials mined in the Jun area transported over thousands of kilometers to Jingdezhen. Among the many types of glazes derived from those efforts are mottled purple ones such as the flambe variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed lu Jun or Oven Jun, i.e., a Jun glaze fired in low-temperature ovens instead of high-temperature kilns (see Jingdezhen Institute of Ceramic Archaeology et al, The Cultures of Porcelain Superintendents and Jingdezhen, conference volume, Nanchang, 2011). The 'robin's egg' glaze is mentioned on a stele in Jingdezhen, inscribed by Tang Ying, as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the Imperial court. Its color is described as intermediate between the glazes of the Shiwan kilns of Foshan, Guangdong, and those used by the Yixing kilns in Jiangsu for their zisha tea pots, but having a better and more beautiful flow.According to scientific research conducted by the Victoria & Albert Museum and Oxford University, 'robin's egg' glazes are high-lead, low-temperature enamel-type compositions fired in oxidation and are colored largely with copper and opacified with lead arsenate to achieve their extraordinary beautiful effect. See Nigel Wood, Rose Kerr et al, 'An evaluation of the composition and production processes of Chinese “robin's egg” glazes', International Symposium on Ancient Ceramics, Shanghai, 2002, pp. 337-353.Literature comparison: Compare a closely related robin's egg glazed zun, with a Jiaqing mark and of the period, illustrated in The Complete Collection of Treasures of the Palace Museum 37 Monochrome Porcelain, Hong Kong, 1999, p. 211, no. 190.Auction result comparison: Compare a closely related robin's egg glaze lantern vase, with a Qianlong mark and of the period, at Christie's New York in The Studio of the Clear Garden: Chinese Ceramics and Works of Art on 22 March 2018, lot 606, sold for USD 137,500.乾隆至嘉慶時期爐鈞釉燈籠紋尊中國，1736-1820年。釉質呈藍綠小片斑狀，腹部兩側對稱燈籠紋浮雕，圈足。 來源：英國漢普郡私人收藏，據説購於上世紀六十年代。 品相：狀況極佳，輕微磨損，輕微燒製瑕疵。 重量：1,097 克 尺寸：高 22.5 厘米 拍賣結果比較：比較一件相近爐鈞釉燈籠紋尊，乾隆款及年代，見紐約佳士得The Studio of the Clear Garden: Chinese Ceramics and Works of Art 2018年3月22日 lot 606, 售價USD 137,500。
Los 421
A CLOISONNE ENAMEL FIGURE OF A DEER, QING DYNASTYChina, 1644-1912. Striding elegantly with one raised foreleg bent, the head turned slightly to one side, the ungulate with almond-shaped eyes, a prominent snout, pricked ears, detachable gilt-bronze antlers, wavy fur, short tail, and white spots, the mouth slightly open. The underside with a large circular aperture encircled by a band of ruyi-heads.Provenance: Belgian trade.Condition: Very good condition with minor wear and manufacturing irregularities. Some wear to gilt. Minor dents, few minuscule nicks, light scratches.Weight: 3,645 g (incl. base)Dimensions: Height 70.5 (excl. base) and 76.5 cm (incl. base), Length 36 cm (the deer) and 44 cm (the base)Mounted to a fitted wood base dating to the late Qing dynasty. (2)清代銅胎掐絲琺琅鹿擺件中國，1644-1912年。鹿邁步優雅，前肢翹起，頭略偏向一側，口鼻突出，嘴微微張開，豎耳，鎏金鹿角可拆卸，皮毛如波浪形，有白點，短尾。 腹部處有一個大圓孔，周圍修飾著一圈如意紋。 來源：比利時古玩市場。 品相：狀況極好，有輕微磨損和製造瑕疵。有些鎏金磨損。輕微的凹痕，微小的刻痕和劃痕。 重量: 3,645克 (含底座) 尺寸：高 70.5 (不含底座)，總76.5 厘米 ；鹿長 36 厘米，底座 44 厘米 清末木質底座 (2)
Los 494
A LONQUAN CELADON-GLAZED RETICULATED TRIPOD CENSER, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. Of cylindrical form, supported on three short feet, the sides with an intricate design of pierced foliate scroll and three evenly spaced flowerheads aligned with the feet. Covered in a rich sea-green glaze thinning at the edges and pooling in the recesses. The well, base, and feet mostly left unglazed, the ivory-white ware burnt to orange along the edges of the glaze.Provenance: The Parry Collection of Chinese Art, London, and thence by descent. The Parry Collection was an important English private collection of Imperial enamel, lacquer, porcelain, and jades, started by Edward Arthur Parry (1879-1946), a barrister by trade, and his wife Angela Parry (nee Scully, 1879-1977) from as early as 1919. Six objects in the Collection were showcased at the International Exhibition of Chinese Art, for which only the world's finest pieces were chosen. The collection has passed down three generations of the Parry family, with many of the pieces having been acquired from the famous London dealers Spink and Bluett's.Condition: Excellent condition with minor old wear, shallow surface scratches, and firing flaws, such as glaze recesses, kiln grit, and firing cracks.Weight: 352.5 gDimensions: Diameter 10.7 cmAuction result comparison: Compare a related Longquan celadon warming bowl, with similar reticulated floral decoration and sea-green glaze, 21.3 cm diameter, dated to the Ming dynasty, at Christie's New York in Fine Chinese Ceramics and Works of Art on 17 March 2017, lot 1171, sold for USD 6,250.明末清初龍泉青釉鏤空筒式三足爐 中國，十七至十八世紀。爐口沿較寬，直壁，足下承三個雲頭形足。器身鏤空雕刻纏枝花卉紋。通體施梅子青釉。爐内底、外底和三足露胎。 來源：倫敦Parry 中國藝術收藏，自此保存至今。Parry收藏是英國重要的御製琺瑯器、漆器、瓷器和玉器私人收藏。1919年，貿易法大律師Edward Arthur Parry（1879-1946) 和他的妻子Angela Parry（原姓 Scully，1879-1977) 開創了這個收藏。該收藏中的六件作品在國際中國藝術展覽會上展出，這個展覽會只選擇了世界上最好的藝術品。該收藏已經在Parry家族傳承了三代人，其中許多藏品都是從著名的倫敦經銷商 Spink & Bluett's 那裡購得。 品相：狀況極佳，有輕微的舊時磨損、表面淺劃痕和燒製瑕疵，如釉面凹陷、窯砂和燒製裂紋。 重量：352.5 克 尺寸：直徑 10.7 厘米 拍賣結果比較：比較一件相近的明代龍泉青瓷花卉紋孔明碗（直徑21.3 厘米），見紐約佳士得Fine Chinese Ceramics and Works of Art 2017年3月17日 lot 1171, 售價USD 6,250。
Los 507
A PAIR OF REVERSE-DECORATED CORAL-GROUND 'PEONY AND LOTUS' BOWLS, QIANLONG SEAL MARKS AND OF THE PERIODChina, 1736-1795. Each delicately and thinly potted, with deep rounded and translucent sides rising from a short, slightly spreading foot to an everted rim. Delicately reverse-decorated in a rich iron-red enamel with a row of peony heads, alternating with smaller lotus above a row of lotus blossoms, all borne on interlocked foliate scrolls reserved in white against the opaque coral ground, the interior left undecorated. The recessed white bases with underglaze-blue six-character seal marks da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in New York, USA.Condition: Superb condition with only minor old wear and minimal firing flaws, such as dark spots and minuscule irregularities in the red enamel along the foot. The glaze with a magnificent, unctuous feel overall. In such pristine condition, the present bowls must be considered exceedingly rare.Weight: 139.2 g and 139.5 gDimensions: Diameter 12.9 cm and 13 cmThis exquisite pair of bowls is notable for the meticulously executed floral scroll, which creates a sharp and pleasing contrast against the iron-red ground. While iron red was already used to decorate Cizhou wares in the Jin dynasty (1115-1234), and was adopted at Jingdezhen during the Yuan dynasty, it was only in the 18th century, when all enamels were scrutinized as to their unique properties, that its decorative potential was fully realized. Iron red, which adheres in a thin, opaque layer, allows for razor-sharp lines, which could not be achieved with other enamels that are thicker and glassier. This property makes 'negative' reverse designs most successful, giving them a delicacy which can only rarely be seen on 'positive' paintings above a white ground. The reverse effect, combined with the unique translucency of the pottery, creates a stunning appearance once sunbeams shine through the bowls.Porcelain wares decorated with 'negative' reverse designs on an iron-red ground are the product of the creative genius of Tang Ying (1682-1756), Superintendent of the Imperial kilns during the Yongzheng and early Qianlong periods. A bondservant of the Plain White Banner, who had served at the court from the age of 16, Tang is credited with the introduction of novel techniques and designs at the kilns. Luxuriant floral scrolls against an iron-red ground first appeared on Yongzheng mark and period boxes, but with additional butterflies, such as one in the Palace Museum, Beijing, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, plate 70, and another from the Sir Percival David collection and now in the British Museum, London, published in Margaret Medley, Illustrated Catalogue of Ming Polychrome Wares, London, 1978, plate 163. During the Qianlong period, this reverse-decorated floral design was modified to be used on the outside of bowls, yet without butterflies.Fitted box. (2)Literature comparison: A related bowl with Qianlong mark, in the Percival David Foundation, is illustrated in Oriental Ceramics, The World's Great Collections, vol. 6, Tokyo, 1982, pl. 94. Three related bowls, also with Qianlong marks, in the Ohlmer Collection, Roemer Museum, Hildesheim, are illustrated by U. Wiesner, Chinesisches Porzellan, Mainz am Rhein, 1981, no. 130-2. See S. Marchant and Son, Nineteenth Century Mark and Period Porcelain, London, 7-28 June, 1992, no. 28, for a pair of Qianlong mark and period bowls of identical decoration and size.Auction result comparison: Compare a pair of near-identical bowls (12.8 cm diameter), also with Qianlong seal marks and of the period, of identical form and decoration, at Sotheby's Hong Kong in Marchant – Fifty Qing Imperial Porcelains on 10 July 2020, lot 3131, sold for HKD 1,750,000 (for a pair). Compare a near-identical bowl (12.7 cm diameter), also with Qianlong seal mark and of the period, of identical form and decoration, at Christie's New York in Marchant: Nine Decades in Chinese Art on 14 September 2017, lot 747, sold for USD 93,750. Compare a near-identical bowl (12.7 cm diameter), also with Qianlong seal mark and of the period, of identical form and decoration, at Christie's New York in Fine Chinese Ceramics & Works of Art Part I on 18 March 2016, lot 1625, sold for USD 81,250.乾隆款及年代一對珊瑚紅彩留白纏枝花卉圖碗中國，1736-1795年。撇口、深腹、圈足。內壁光素施白釉，外壁珊瑚紅地留白裝飾，纏枝花卉佈局繁密，花紋留白處以珊瑚紅線條勾勒花莖，描繪細緻，格調秀雅。圈足内青花六字款“大清乾隆年製”。 來源：美國紐約私人收藏。 品相：狀況極佳，只有輕微的磨損和燒製瑕疵，例如黑斑和足部紅色琺瑯中的微小不規則性。釉面整體具有華麗晶瑩。如此品相，極爲珍貴。 重量：分別為139.2 克與139.5 克 尺寸：直徑分別爲 12.9 厘米 與13 厘米這對碗釉色精美，珊瑚紅在金代（1115-1234）已被用於磁州窯器，元代景德鎮也採用了珊瑚紅紅，但直到十八世紀，單色釉的獨特性才被重視並得到充分發展。珊瑚紅在釉上可以產生獨特的效果，在陽光的照耀下，會產生令人驚嘆的效果。 此種珊瑚紅地留白技法始創於清雍正時期，是督陶官唐英（1682-1756）為皇室燒製的專用器。先在白釉上以紅彩勾繪紋飾輪廓，在輪廓外滿填紅彩，形成紅白相應的色彩構圖，是清代獨特的瓷藝品種。此種紋樣創燒自雍正御窯，較之常見的官窯品種更為稀少，彌足珍貴。相應館藏作品請參考北京故宮博物院藏清雍正紅彩地白花蝶蓋盒（參見《故宮珍藏康雍幹瓷器圖錄》，紫禁城出版社、兩木出版社，1989年，頁241，圖70）。另可見倫敦大英博物館Sir Percival David 收藏，見 Margaret Medley, Ming Polychrome Wares, 倫敦1978年，圖163。到了乾隆年代，此紋飾用於碗外壁，並且沒有了蝴蝶。 配套的盒子。(2) 文獻比較：一件相近的同樣有乾隆款的碗，收藏於Percival David Foundation基金會，見Oriental Ceramics, The World's Great Collections, 第6冊，東京 1982年，圖 94。另外三件有乾隆款的碗，收藏於德國 Hildesheim Roemer Museum美術館Ohlmer Collection收藏，見U. Wiesner, Chinesisches Porzellan, Mainz am Rhein, 1981年，圖130-2。見S. Marchant and Son, Nineteenth Century Mark and Period Porcelain, 倫敦，1992年6月7-28日，圖 28, 一對乾隆款及年代的碗，相同紋飾與尺寸。 拍賣結果比較：比較一對幾乎一模一樣的碗 (直徑12.8 厘米)，乾隆款及年代，相同形狀與紋飾，見香港蘇富比Marchant – Fifty Qing Imperial Porcelains 2020年7月10日 lot 3131, 售價HKD 1,750,000 (一對)；比較一件幾乎一模一樣的碗(直徑12.7 厘米)，乾隆款及年代，相同形狀與紋飾，見紐約佳士得Marchant: Nine Decades in Chinese Art 2017年9月14日 lot 747, 售價USD 93,750；比較一件幾乎一樣的碗 (直徑12.7 厘米)，乾隆款及年代，相同形狀與紋飾，見紐約佳士得Fine Chinese Ceramics & Works of Art Part I 2016年3月18日 lot 1625, 售價USD 81,250。
Los 411
A RARE RED LACQUER 'MONGOL HUNT' BOWL, ATTRIBUTED TO ZHOU ZHUChina, 16th-17th century. The deep rounded sides rising from a short straight foot to an everted rim. Deeply carved with a continuous scene of four Mongolian hunters on horseback brandishing spears, one having just killed a wolf with his weapon, riding through a rocky landscape with grass and lingzhi as well as trees including paulownia, willow, and pine, against a floral diaper ground, the interior lacquered black. Provenance: Captain W. F. Collins (1865-1948), Beijing. Bluett & Sons, London, 26 May 1926. The Parry Collection of Chinese Art, London, acquired from the above and thence by descent. The base with an old collector's label, '341', partly obscuring a label from Bluett & Sons below. A copy of the original typed, stamped, and signed invoice from Bluett & Sons, dated 26 May 1926, addressed to “E. A. Parry, Esq.”, dating the present lot to the Ming dynasty, accompanies this lot. Captain Collins (1865-1948), was Bluett's main supplier in China from February 1925 to January 1928. He also sold pieces to John Sparks and other dealers in London and Paris between the 1920s and 1940s. The Parry Collection was an important English private collection of Imperial enamel, lacquer, porcelain, and jades, started by Edward Arthur Parry (1879-1946), a barrister by trade, and his wife Angela Parry (nee Scully, 1879-1977) from as early as 1919. The collection has passed down three generations of the Parry family, with many of the pieces having been acquired from the famous London dealers Spink and Bluett's.Condition: Good condition with old wear, natural age cracks and few minuscule losses to the red lacquer, the black lacquer with several shallow losses to the rim and associated old minor touchups.Weight: 119.0 gDimensions: Diameter 10.7 cmWith a finely carved hardwood stand dating to the Qing dynasty. (2)Lacquer bowls depicting hunting are extremely rare. Although hunting was extolled by early Ming Emperors who had inherited the tradition from the Mongol Yuan as a sign of military prowess and state authority, by the mid and late Ming period it was seen by the literati as a distraction from grave matters of state. The role of hunting became a charged area of contestation, where Ming Emperors and senior court ministers staked claims about rulership, ruler-minister relations, and the role of the military in the polity. The heirless Zhengde Emperor (1505-1521) was particularly passionate about hunting, much to the consternation of his ministers, see D. M. Robinson, Martial Spectacles of the Ming Court, Cambridge MA, 2013, pp. 214-220.Expert's note: Research conducted by Hugh M. Moss of the Water, Pine and Stone Retreat, concerning a red lacquer box and cover carved with a closely related scene of five Mongolian hunters (see Auction result comparison), has found that box “to be a lacquer version of inlaid wooden boxes decorated with a hunting scene and attributed to the 16th century artist Zhou Zhu.” For this reason, we do attribute the present bowl, identical in quality to the aforementioned box, to Zhou Zhu as well.Zhou Zhu is recorded in the writings of the Ming and Qing literati as having worked in Yangzhou in Jiangsu province during the reign of the Jiajing Emperor. He was famous for his perfection of the technique of inlaying a wide variety of precious stones and other materials onto wood and lacquer. What distinguishes Zhou's works from others is his use of a much broader range of material and the complexity of the inlay itself. By skillfully utilizing kaleidoscopic materials to depict extraordinarily vivid scenes adorning precious woods, Zhou pioneered a range of beautifully inlaid works of art distinctive for their three-dimensional quality with eye-catching effects. His work provided inspiration for numerous subsequent interpretations. Literature comparison: Compare a hardstone-inlaid box and cover, attributed to Zhou Zhu and depicting a Mongolian hunting scene, dated by inscription to 1537, at Sotheby's Hong Kong in Water, Pine and Stone Retreat Collection – Scholarly Art on 7 October 2010, lot 2192. See also two related hardstone-inlaid zitan boxes and covers, early Qing dynasty, decorated with equestrian hunting figures, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn, Hong Kong, 2002, nos. 230-231. A similar hunting scene can be found on a two-colored lacquer tray in the Tokugawa Art Museum, Nagoya, illustrated in Karamono. Imported Lacquerwork – Chinese, Korean and Ryukyuan, Selections from the Tokugawa Art Museum, no. 2, Nagoya, 1997, pl. 95, attributed to the Yuan or Ming period.Auction result comparison: Compare a related cinnabar lacquer box and cover, also dated 16th-17th century, attributed to Zhou Zhu, and carved with a similar Mongolian hunting scene, at Sotheby's Hong Kong in Water, Pine and Stone Retreat Collection – Scholarly Art on 7 October 2010, lot 2213, sold for HKD 860,000.周柱風格罕見剔紅狩獵圖碗中國，十六至十七世紀。剔紅碗撇口，直壁深腹，大氣端莊，通體髹紅漆。外壁錦地剔紅裝飾狩獵場景，山石松樹掩映。蒙古服飾人物騎於馬上手持兵器圍獵，為首之人立於馬上持戟殺狼，一人持鞭催馬。馬匹身姿矯健，四足騰空。獵手神情嚴肅，對獵物誌在必得。整器風格古樸雅緻，乃明代剔紅典雅之作。 來源：北京W. F. Collins (1865-1948) 上尉。倫敦Bluett & Sons 藝廊，1926年5月26日。倫敦Parry Collection中國藝術收藏，購於上述藝廊並保存至今。底部可見收藏老標籤“341”，Bluett & Sons 的標籤局部被遮蓋。隨附Bluett & Sons藝廊出具的蓋章發票副本，時間爲1926年5月26日，收件人地址爲 “E. A. Parry, Esq.”。發票上注明此拍品為明代。Collins上尉 1925 年 2 月至 1928 年 1 月期間曾是 Bluett 在中國的主要供應商。他還在 1920 年代至 1940 年代期間向 John Sparks 和倫敦以及巴黎的其他經銷商出售藝術品。Parry收藏是英國重要的御製琺瑯器、漆器、瓷器和玉器私人收藏。1919年，貿易法大律師Edward Arthur Parry（1879-1946) 和他的妻子Angela Parry（原姓 Scully，1879-1977) 開創了這個收藏。該收藏中的六件作品在國際中國藝術展覽會上展出，這個展覽會只選擇了世界上最好的藝術品。該收藏已經在Parry家族傳承了三代人，其中許多藏品都是從著名的倫敦經銷商 Spink & Bluett's 那裡購得。 品相：狀況良好，有舊磨損、自然老化裂縫，紅漆和黑漆的邊緣有幾處輕微的缺失，存在相關的輕微修補。 重量：119.0 克 尺寸：直徑10.7 厘米 清代硬木底座。 (2) 描繪狩獵場景的漆碗極為罕見。明初皇帝繼承了元代蒙古人的狩獵傳統並將其視爲軍事實力和國家權威的標誌。但到了明中後期，文人將狩獵視為國家政治的昏庸，因此出現了激烈的對抗，明朝皇帝和文人集團之間爭奪統治權。 無子嗣的正德皇帝 (1505-1521) 特別熱衷於狩獵，這令他的大臣們大為震驚，參見 D. M. Robinson，Martial Spectacles of the Ming Court，康橋，2013 年，第 214-220 頁。 水松石房主人 Hugh M. Moss 曾經在一個展覽裏展出過一個漆盒，漆盒上有與現拍品相似的狩獵場景 (見拍賣結果比較), 他認爲那個飾有狩獵場景鑲嵌木漆盒是十六世紀周柱的作品（原文“to be a lacquer version of inlaid wooden boxes decorated with a hunting scene and attributed to the 16th century artist Zhou Zhu.” ）。 根據明清時期文字記載，周柱製百寶嵌，有嵌於硬木、嵌於漆器兩種，當時人稱“週制”。他能夠巧妙利用寶石與其他材料本身的特殊性，創作了很多生動的場面，他的技術被稱為“吳中絕技”，清代阮葵生《茶餘客話》記：“周柱治鑲嵌……名聞朝野，信今傳後無疑也。” 文獻比較: 比較一件鑲嵌硬石的蓋盒，傳周柱作品，描繪了蒙古人狩獵場景，1537年，見香港蘇富比Water, Pine and Stone Retreat Collection – Scholarly Art 2010年10月7日 lot 2192. ；另兩件清初紫檀鑲嵌石料的蓋盒，繪製狩獵場景，見《故宮博物院藏文物珍品全集：竹、木、牙、角雕刻》，香港2002年, 第230-231頁。一件相似場景的雙色漆盤見名古屋德川美術館目錄 Karamono. Imported Lacquerwork – Chinese, Korean and Ryukyan, Selections from the Tokugawa Art Museum, no. 2, Nagoya, 1997, pl. 95, 傳爲元明時期。 拍賣結果比較：比較一件相似的紅漆蓋盒，十六至十七世紀，周柱款，相似蒙古人狩獵場景，見香港蘇富比Water, Pine and Stone Retreat Collection – Scholarly Art 2010年10月7日 lot 2213, 售價HKD 860,000。
Los 422
A CLOISONNE ENAMEL 'MAGPIES AND PRUNUS' PLAQUE, QIANLONG TO JIAQING PERIODChina, 1736-1820. Of rectangular form, finely enameled with six magpies, five of them perched on branches of a gnarled, densely blossoming prunus tree. The sixth standing on the rock below, scattered with bamboo and shrubs, all against a vibrant turquoise ground and framed by a gilt-bronze border. The reverse with original rivets along the edges.Provenance: From an English private collection. Condition: Overall good condition with old wear, manufacturing flaws, expected pitting and crackle, minor nicks and light scratches, some dents, minor hairlines, the plaque slightly warped overall. The reverse with a fine, naturally grown, dark patina.Weight: 3,031 gDimensions: Size 45 x 39 cmExpert's note: In China, magpies are seen as messengers of joy, while the character for 'prunus' is homophonic with the character for 'eyebrows'. Together, the two motifs form a rebus on the phrase 'Joy up to one's eyebrows'.Literature comparison: For a panel of similar size and decoration, see Brinker and Lutz, Chinese Cloisonne: The Pierre Uldry Collection, nos. 311, 313, and 314.Auction result comparison: Compare a related cloisonne panel with cranes, dated to the 18th century, at Bonhams London in Asian Decorative and Export Art on 6 March 2007, lot 18, sold for GBP 16,800.乾隆嘉慶時期銅胎掐絲琺琅喜鵲梅花掛屏中國，1736-1820年。長方形，琺琅繪製六隻喜鵲，其中五隻棲息在一棵盛開的梅樹枝頭。第六隻站在下方岩石上，四周竹林灌木樅。綠松石地，邊框鎏金。背面沿邊有原始鉚釘。 來源：英國私人收藏。 品相：整體狀況良好，有舊磨損、製造瑕疵、預期的麻點和裂紋、輕微劃痕和一些凹痕，有輕微裂線，整體略微翹曲。 背面帶有細膩的自然生長的深色銅綠包漿。 重量：3,031 克 尺寸：45 x 39 厘米 拍賣結果比較：比較一件十八世紀銅胎掐絲琺琅仙鶴掛屏，見倫敦邦翰思Asian Decorative and Export Art 2007年3月6日 lot 18, 售價GBP 16,800。
Los 420
A RARE CLOISONNE ENAMEL POMEGRANATE-FORM VASE, LATE MING TO EARLY QING DYNASTYChina, 17th century. The globular body rising from the flat gilt-metal base to a bud-form mouth shaped as five flaring petals. Superbly decorated with a continuous pattern of six lotus blossoms, borne on scrolling leafy vines issuing peaches, executed in delicate white, blue, red, and yellow enamels, all against a rich leaf-green ground, the foot with a turquoise ruyi-head band. Provenance: English private collection. Christie's London, 6 June 2000, lot 220. The collection of Asbjorn Lunde, acquired from the above. Asbjorn Lunde (1927-2017) was a New York lawyer and devoted art collector. Over more than 60 years, he built a substantial collection featuring Old Masters, landscape paintings, prints, European sculpture, South Asian painting and sculpture, and Asian decorative arts. Throughout his life, Mr. Lunde supported more than forty museums in New York City, across the United States, and in Europe with loans, gifts, and funding. He was a Fellow and Benefactor at the Metropolitan Museum of Art.Condition: Old wear, traces of use and manufacturing flaws. Expected pitting and losses to enamel overall with associated old fills and touchups. The colors are still strong and the gilt is well-preserved, commensurate with age. Shallow surface scratches and extensive wear to base. The enamels with expected crackling.Weight: 212.5 gDimensions: Height 11.5 cmLiterature comparison: Compare to a very similar cloisonne pomegranate-form vessel dated to the early Qing period in the Palace Museum, Beijing, illustrated in Zhongguo jinyin boli falangqi quanji - 5 - falangqi (1), Beijing, 2002, fig. 141. Compare the lotus decoration on the present lot to the one on a barrel-shaped vase, illustrated in Chinese Cloisonne: The Pierre Uldry Collection, London, 1989, pl. 186. This vase shares its distinct lotus blooms with their curled ends on their leaves and the incorporation of ruyi-shaped petals with the present lot and is dated to the second half of the 17th century.Auction result comparison: Compare a closely related turquoise-ground cloisonne vase, of near-identical form, closely related size (11.7 cm high), and also dated to the 17th century, at Christie's Hong Kong in Through Connoisseurs' Eyes – Ephemeral Flowers, Enduring Art on 3 June 2015, lot 2937, sold for HKD 812,500.明末清初罕見掐絲琺琅纏枝蓮紋石榴式水丞 中國，十七世紀。石榴式，口部呈五瓣狀。通體藍綠色琺瑯釉為地色，飾紅、藍、白、黃六朵纏枝勾蓮紋，花紋飽滿，鎏金光亮。底足處飾綠松石色如意紋。 來源：英國私人收藏。倫敦佳士得2000年6月6日 lot 220；Asbjorn Lunde收藏，購於上述拍賣。Asbjorn Lunde (1927-2017) 是一位紐約律師和忠實的藝術收藏家。 六十多年來，他建立了龐大的收藏，涵蓋古代大師、山水畫、版畫、歐洲雕塑、南亞繪畫和雕塑以及亞洲裝飾藝術。在他的一生中，他通過貸款、禮物和資金支持了紐約市、美國和歐洲的四十多家博物館。 他是大都會藝術博物館的研究員和捐助者。 品相：舊時磨損、使用痕跡和製造瑕疵。預期的點蝕和整體琺琅缺損以及其舊時填充和修補。琺琅顔色仍然濃鬱，鎏金保存完好，與年齡相稱。表面淺劃痕，底座有廣泛磨損。琺琅有預期的開片。 重量：212.5 克 尺寸：高 11.5 厘米 文獻比較：比較一件北京故宮博物院清初掐絲琺琅石榴式器，見《中國金銀玻璃琺琅器全集》- 琺琅器，北京，2002年，圖141；比較一件有相似勾蓮紋的桶形掐絲琺琅器，見Chinese Cloisonne: The Pierre Uldry Collection, London, 1989, 圖186. 這個掐絲琺琅瓶的蓮花和它的枝葉以及如意形口，與此拍品一樣都是來自十七世紀下半葉。 拍賣結果比較：比較一件相近的十七世紀綠松石色地掐絲琺琅水丞 (高11.7 厘米)，見香港佳士得Through Connoisseurs' Eyes – Ephemeral Flowers, Enduring Art 2015年6月3日lot 2937, 售價HKD 812,500。
Los 1714
An enamel gold foil glass tumbler, probably Baccarat, circa 1850, of cylindrical form, cut with a rectangular panel inset with an urn of flowers and foliage on gold foil, flanked by strawberry diamond and hobnail panels, height 9.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 1579
A mixed group of 20th century decorative ceramics, including a Royal Doulton figure The Favourite, HN2249, a Michael Sutty figure Mary had a Little Lamb, a Bing & Grondahl figure of a girl and seven Halcyon Days enamel pill boxes.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 1410
A set of four Derby porcelain French Season figures, late 18th century, modelled after Pierre Stephan as children emblematic of Spring, Summer, Autumn and Winter, raised on pierced scroll moulded bases picked out in turquoise enamel and gilding, height 22cm (minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 127
Shanghai Fire Brigade white metal presentation bowl, externally decorated in relief with a dragon, with dedication inscription to Mrs & Mrs Liddell from the brigade, dated May 1st 1923, stamped beneath ZEEWO, 22.5cm diameter x 12.8cm high, 725g approx, on original turned wooden stand with enamel crest (cap badge) of the Shanghai Fire Brigade, motto Omnia Juncta In Uno, 23.5cm high overall
Los 163
Karl Griesbaum of Triberg - Good quality German Black Forest enamel singing bird box automaton, the rectangular top decorated with an Arcadian scene of shepherdesses and sheep in a pasture, with central hinged oval cover enclosing an articulated bird automaton, which swivels, chirps and gently flaps its wings, on pierced brass grille, the sides all with further landscape panels, the brass case frame with engraved wrigglework decoration, including to base framing bird motif and initials K G beside winding arbor, 10.3cm x 6.6cm x 4.1cm high, sold with a bird-shaped winding keyCondition report: Good structural order - a few minor inclusions to enamel but otherwise appear free of enamel cracks as inspected. Mechanism functions as described, but bird does not always currently fully retract beneath cover when ceasing singing (though it does sometimes) - we would recommend a clean and overhaul / service as standard. Bird's feathers perhaps a little drab due to prolonged air contact. Should be easily restorable and has no major faults. Private collection.
Los 71
Rare George III brass and shagreen-cased pedometer, signed Spencer & Perkins, London, the enamel main dial demarcated in tens to 100 for step counting, subsidiary dials for miles and dozens of miles, the mechanism set within a gilt brass case and operated by a tilting rod numbered `516`, 53mm diameter, terminating in a waistband hook, 14cm overallFootnote: Spencer and Perkins are recorded as watch makers at 44 Snow Hill, London, 1765-1806. When hooked over the waistband, the mechanism advances the count by ratchey inclunation from the movement of the thigh.Condition report: Dial has a few flecks but is otherwise good. Shagreen back has some variation in colour and has a couple of small rusted iron spots. Mechanism advances when rod is moved, but is otherwise unwarranted.
Los 79
George V silver cigarette case, the front having a pink guilloché enameled panel, opening to reveal a gilt interior, sponsor's mark of W T Toghill & Co, Birmingham 1929, 8.5cm high, 120g gross approxCondition report: The enamel is a little thin to the edges, with some minor losses, and has a lot of surface scratches etc, but we can not see any major losses or cracks. Hinge, clip and button currently operate correctly.
Los 80
George VI silver cigarette case the front having a green and translucent guilloche enamelled panel with Art Deco decoration, opening to reveal a gilt interior with later presentation inscription, sponsor's mark of Joseph Gloster Ltd, Birmingham 1939, 8.7cm high, 105g gross approxCondition report: The enamel is a little thin to the edges and has some small surface scratches and knocks, but we can not see any major losses or cracks. Presentation inscription almost fills the left hand side and is dated 1963. Hinge, clip and button currently operate correctly.
Los 106
A late 19th century Russian bronzed and enamel crucifix, of three bar Orthodox form, 19.5cm high; and a silvered cross, inset to the front with pearlescent nacre, bears marks 'Bethlehem' & '980', 12cm high (2) Condition Report: First with some losses to enamelling, slightly distorted and will benefit from a clean Second- losses to nacre inset, worn edges, chain later- will benefit from a clean Condition Report Disclaimer
Los 207
An oak and mahogany longcase clock, second quarter 19th century, with eight-day bell striking movement, the 13.5inch painted dial with gilt pagodas to the angles, the white enamel dial with subsidiary seconds and date dials and signed R Dennet Ormskirk, the hood with swan neck pediment and outset columns above the short trunk door flanked by reeded pilasters, 222cm high overall Provenance: From the collection of the late Selwyn Demmy Condition Report: No weights or pendulum, door key and winder present. Case looks to have been cleaned and has fairly high polish finish. Section of moulding to right hand side of hood detached but present. Lower panel to case split- feet possibly replaced. Clocks Condition: due to the mechanical nature of clocks and the fact that most are of great age we cannot offer any guarantee as to whether they are in working order or free from major faults or restoration. Although we endeavour to catalogue items in a fair and informed manner, omission of any comments or observations regarding the condition or originality of a clock in the description does not necessarily indicate that it is free from significant faults, restoration or is in working condition. Condition Report Disclaimer
Los 210
Y A Louis Philippe rosewood, cut brass and ivory inlaid striking mantel clock, the case with scrolling arch top and inlaid with figures and scrolls, the 3.75" white enamel dial with arrow hands, unmarked bell striking 8 day movement, 43.5cm high, 28.5cm wide Condition Report: Rosewood case of slightly uneven colour from sunlight and wear, some old repairs and with lifting to some inlay- no pendulum, chips around winding holes- movement untestable. Clocks Condition: due to the mechanical nature of clocks and the fact that most are of great age we cannot offer any guarantee as to whether they are in working order or free from major faults or restoration. Although we endeavour to catalogue items in a fair and informed manner, omission of any comments or observations regarding the condition or originality of a clock in the description does not necessarily indicate that it is free from significant faults, restoration or is in working condition. Condition Report Disclaimer
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396325 Los(e)/Seite