396325 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
396325 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
396325 Los(e)/Seite
Los 3070
A GOTHIC REVIVAL 'JEWELLED' BRASS MISSAL STAND, CIRCA 1870, pierced square form, decorated to two sides with enamel roundels and cabochon 'stones', decorated to the other sides with shaped quatrefoils centred by a cabochon 'stone', raised on claw feet. 29cm by 31cmThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The stand is without the lectern lid.
Los 3080
ARCHIBALD KNOX (1864-1933) A LIBERTY & CO TUDRIC PEWTER AND ENAMEL BUTTER DISH, NO. 0163, circular with bifurcated handles, cast in low relief and picked out with turquoise/green enamelled stylised honesty, housing a green glass liner, stamped 'TUDRIC / 0163 / 2'. 18.5cm diameter overallThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Three enamels with visible flaws and each with some cracking visible beneath the surface. The enamels do present well though. Surface marks and wear commensurate with age. Good polish and generally in good condition.
Los 3085
ARCHIBALD KNOX (1864-1933)A LIBERTY & CO TUDRIC PEWTER AND ENAMEL TULIP VASE, NO. 029, the bulbous head with four oval turquoise/green shaded enamels and issuing sinuous bifurcated handles, stamped 'ENGLISH PEWTER 029'. 24.5cm highThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Small visible join in the cast issuing from the rim of the "bowl". Enamels appears in good order than some marks which appear to be beneath the surface. Some minor surface wear but generally very good.
Los 3111
ATTRIBUTED TO CHARLES FLEETWOOD VARLEYAN ARTS AND CRAFTS ENAMEL BOX, cylindrical, the cover centred by a circular enamel plaque depicting a blossoming tree in a landscape, within a surround with the motto 'SWEETS TO THE SWEET', unmarked but tests as silver. 6.2cm diameter, 4.2cm high, 2.3 troy ouncesThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Enamel plaque slightly loose in lid fitting. Minor nicks/dents to base and top rims. Light surface bruising, scratches and tarnishing commensurate with age and use
Los 3112
ARCHIBALD KNOX (1864-1933) A LIBERTY & CO CYMRIC SILVER AND ENAMEL BUTTER DISH, London 1904, the circular bowl with rounded hammer-head handles, each picked out with green/blue shaded enamels, no. 2165, stamped CYMRIC and hallmarked. 4.1 troy ounces, 14.5cm across handlesThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Hallmarks are clear and well struck to the underside of the rim. A couple of tiny and very minor flaws to the enamel. The enamel does not appear to have been restored and is in generally good order with good vivid tones. Some small dings and surface wear but generally in good condition commensurate with age and use.
Los 3144
AN ART NOUVEAU ENAMEL, PEARL AND DIAMOND CADUCEUS BROOCH, BY CHILD & CHILD, designed as a pair of snakes coiled around a winged staff, enamelled in blue-green tones, the centre of the staff set with a rose-cut diamond and terminating in pearls, with pin and c-hook, maker's mark for Child & Child. 4cm by 3.5cm, 6.7 gramsThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The brooch is in good condition, the enamel is in good condition, there is one hairline across one wing but no losses noted, there is slight dulling to the nacre of the top pearl, the pin and hinge is later, the bottom pearl may be a replacement, the Child & Child mark can be seen indistinctly to the back of the piece under the enamel. It is not hallmarked or stamped but in our opinion would test as silver on gold. Condition report made 260121.
Los 3145
ARCHIBALD KNOX (1864-1933)FOR LIBERTY & CO, A PAIR OF CYMRIC SILVER AND ENAMEL CUFFLINKS, of oval form, with whiplash scroll motifs filled with blue green enamel, chain linked to bar backs, hallmarked with maker's mark for Liberty & Co, Birmingham 1906, stamped 'Cymric', 2.5cm by 1.6cm, 9.4 gramsThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The cufflinks are in good condition, there is some chipping to the clear surface glaze noted to both cufflinks, but there are no losses noted to the coloured enamel itself, overall light surface wear consummate with age. Condition report made 150221.
Los 3146
AN ART NOUVEAU SILVER AND ENAMEL PENDANT ON CHAIN, BY CHARLES HORNER, designed as a shaped circular plaque with reserves enamelled in blue-green and purple tones, suspending an enamelled drop, the pendant connected by two trace chains to an enamelled triangular-link, to a trace chain necklace, maker's mark for Charles Horner, Chester 1910. Pendant measures 3.8cm by 2.5cm, chain length 40cm, 8.5 gramsThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The necklace is in good condition with light surface wear, the enamel is in good condition with no noted loss or damage. Condition report made 260121.
Los 3149
AN ART NOUVEAU SILVER AND ENAMEL PENDANT ON CHAIN, BY CHARLES HORNER, designed as a shield-shaped plaque enamelled in green-blue, suspending three enamelled drops, the pendant connected by two trace chains to an enamelled link, to a later trace chain necklace, maker's mark for Charles Horner, Chester 1912. Pendant measures 3.5cm by 2.5cm, chain length 43.5cm, 5.3 gramsThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The pendant is in good condition, the chain is later, the enamel is in good condition with no noted losses or damage. Condition report made 260121.
Los 3150
AN ART NOUVEAU SILVER AND ENAMEL PENDANT ON CHAIN, BY MURRLE BENNETT, designed as a lozenge-shaped plaque with lily of the valley motif and filled with blue-green enamel, suspending a baroque pearl drop, the pendant connected to four fetter chains to enamelled floral links, to a fetter chain necklace, maker's mark for Murrle Bennett, stamped '950', 12.3 gramsThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The necklace is in good condition, the pearl drop may be a replacement, the enamel is in good condition with noted loss or damage. It is stamped '950' to indicate Britannia silver. The necklace fastens with t-bar and ring. Condition report made 260121.
Los 3152
A 1960s SAPPHIRE AND ENAMEL BIRD BROOCH, "TITHONOS", DESIGNED BY GEORGES BRAQUE (1882-1963) FOR HEGER DE LÖWENFELD, designed as a bird in flight with heavily textured feathers, highlighted in white enamel and with a sapphire-set eye, with pin and trombone catch, signed "Bijoux de Braque, Tithonos, EL 2/72", numbered 2492, stamped with French eagle's head mark. 4.3cm by 7.5cm, 25.6 grams, in fitted case The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The brooch is in good condition, the enamel is in good condition with no noted losses or damage, one small area of the lower wing is more creamy in colour than white. Further marks on the back include "OR750" to indicate 18 carat gold and copyright mark. Condition report made 260121.
Los 159
A vintage brass chiming carriage clock, the face marked Camerer Cuss & Co. London, the movement marked France, enamel face with floral garland (the clock winds and runs but requires some attention), 6" high not including handle (has a bruise to enamel above the II visible only with door open)
Los 12
A MASSIVE CLOISONNE ENAMEL BELL, QING DYNASTYChina, 18th-19th century. Of flared form with a lobed bottom edge, an upper register of elaborate taotie masks on a key fret ground above stylized chilong, and a lower register of taotie masks and archaistic elements, separated by a raised bow-string band at the midsection. Suspended from two conjoined dragons at the top, with an apocryphal four-character mark Jingtai nianzhi above the edge.Provenance: From the private collection of a southern French military family, who stayed in Indochina during the first half of the 20th century, and thence by descent in the same family.Condition: Some wear, dings, dents, pitting, minor losses and manufacturing flaws. Two losses at bottom lobes with old fillings. The dragon finial slightly loose. Overall, fine condition and commensurate with age.Weight: 6.2 kgDimensions: Height 42 cmAuction result comparison: Compare with a closely related but considerably smaller cloisonne bell at Christie’s New York in Fine Chinese Ceramics and Works of Art on 16-17 September 2010, lot 1038, sold for USD 15,000.清代銅胎掐絲琺琅鈡 中國，十八至十九世紀。呈喇叭形，中空，撇口，底邊緣呈凸起狀，頂飾交龍鈕，龍背供起成孔。器身以藍色琺瑯釉為地，局部鎏金。銅鈡上部可見饕餮紋，其下部是螭龍紋，之後是神獸紋。 頂部懸掛著兩條相連的龍，邊緣上方有一個寄託款標記“景泰年制”。 來源：法國南部軍人家庭的私人收藏，該軍人20世紀上半葉住在印度支那，從那以後就在同一家庭中世代相傳。 品相：一些磨損、划痕、凹痕、麻點、輕微損失和製造缺陷。 底部裂片已修。 龍頭略松。 總體而言，狀況良好，與年齡相稱。 重量：6.2 公斤 尺寸：高42 厘米 拍賣結果比較：一件相近但小些的掐絲琺琅鈡見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場，2010年9月 16-17日 lot 1038, 售價USD 15,000.
Los 190
A POLYCHROME ENAMELED ‘CHRYSANTHEMUM AND PEONY’ CIRCULAR TRAY, TIANQIChina, 1621-1627. The gently concaved tray painted in bright enamels, of emerald green, iron red, and amber, with chrysanthemum and peony flowerheads on leafy vines against a diapered ground, all encircled by a ruyi band, the exterior with a band of stiff leaves, a floral mark within a double circle to the base.Provenance: Holzapfel collection, Geneva, Switzerland. The greater part of the Holzapfel Oriental Ceramics collection was formed in England and Ireland in the late 1950s and 1960s. After the death of Mr. Holzapfel, most of his pieces went to his children, ten in all. Two of Mr. Holzapfel's eldest sons then started their own collections in the early 1970s, both by adding significantly to their shares of the inheritance. Collecting was eventually continued by one of Mr. Holzapfel’s grandsons, who lives in Switzerland and is a member of the Oriental Ceramic Society. This lot was acquired by the grandfather of Mr. Holzapfel before 1970 and has been in the Holzapfel family ever since.Condition: Excellent condition with some wear to enamel, minor firing flaws, including brown spots and pitting, one shallow chip to rim.Weight: 870.0gDimensions: Diameter 23.5 cm13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.天啓琺琅釉菊花牡丹紋圓盤中國，1621-1627年。淺凹的托盤上使用鮮綠色、翡翠綠色、鐵紅色和琥珀色的琺瑯釉，描繪菊花和牡丹紋，如意紋環繞，外壁卷草紋。底部雙圈花卉款。來源：瑞士日內瓦Holzapfel收藏。 Holzapfel 東方陶瓷收藏的大部分藏品是在1950年至1960年代在英國和愛爾蘭成立的。Holzapfel老先生去世後，他的大部分藏品都交給了他的十個孩子。Holzapfel先生年長的兩個孩子隨後於1970年代初開始了自己的收藏，都擴大了從遺產得到的收藏。Holzapfel先生的孫子之一他目前居住在瑞士，是東方陶瓷協會的成員，他最終延續了收藏工作。此拍品是Holzapfel老先生1970 年前收藏的，在家族相傳至今。圖片：Holzapfel老先生 品相：狀況極佳，琺琅釉上有一定的磨損，輕微的燒制瑕疵，包括褐色斑點和麻點，邊緣有淺磕損。重量：870.0 克尺寸：直徑23.5 厘米
Los 2
A CLOISONNE ENAMEL LANTERN VASE, JIAQINGChina, 1796-1820. The vessel is of the distinct ‘lantern’ shape decorated around the main body with elaborate lotus scrolls amid smaller blossoms, leaves and vines, all on a deep turquoise-blue ground characteristic of the period. The waisted neck and foot are similarly decorated. The bronze base, foot rim, lip and edges show a massive fire-gilding. Provenance: From an old French private collection. Condition: Absolutely original condition with no restoration or fillings whatsoever. Some firing irregularities and microscopic pitting. Some losses to enamels along the edges, the foot rim and lip with dents and minor warping. Old wear, especially to gilding. The central scroll with two areas of enamel loss.Weight: 1,952 g Dimensions: Height 35 cm Auction result comparison: For another lantern vase from the same period, compare with Christies London in Fine Chinese Ceramics and Works of Art, 15 May 2012, lot 92, sold for GBP 10,000.嘉慶掐絲琺琅纏枝蓮紋瓶 中國，1796-1820。花瓶具有獨特的“燈籠”形狀，瓶身裝飾著精緻的纏枝蓮紋，具有該時期特有的深藍綠色底特徵。青銅的底座、圈足、唇沿鎏金。 來源：法國私人老收藏 品相：絕對原始狀態，無任何修復或填充物。 一些燒製缺陷和細微點蝕。 邊緣、腳緣和唇部的琺瑯會因凹痕和輕微翹曲而損失一些。 舊時磨損，尤其是鎏金。 瓶身処有兩個琺琅缺損區域。 重量：1,952克 尺寸：高35 厘米 拍賣結果比較：另一件來自同一時期的燈籠瓶可見倫敦佳士得Christies London Fine Chinese Ceramics and Works of Art拍場，2012年5月15日，lot 92，售價GBP 10,000.
Los 201
A PAIR OF IRON-RED AND ENAMEL-DECORATED ‘BOYS’ JARS, TIANQI PERIODChina, 1621-1627. Each with a baluster shaped body rising from a flat base to a short cylindrical neck, one with an everted lip, the sides painted in bright enamels with different shades of emerald green, iron red, aubergine, and lemon yellow with boys at play in a fenced garden with a young woman looking on, below a scrolling band and between circumferential lines at the shoulder. (2)Provenance: German private collection. Condition: Good original condition with minor wear and manufacturing flaws, traces of use, one jar with a small nibble and chip to the rim, as well as a small glaze line, and both with shallow surface scratches, overall exactly as expected on wares from this period.Weight: 1,010 g (total)Dimensions: Height 14 cm (each)Auction result comparison: Compare with a lidded box from the same period, at Christie’s Paris, in Art d’Asie, on 13 December 2017, lot 35, sold for EUR 15,000.一對礬紅釉琺琅嬰戯圖罐，天啟年間中國，1621-1627年。短頸，削肩，收腹。其中一個罐口外翻。明亮的琺瑯，描繪嬰戯圖，一位夫人在一側陪伴。來源：德國私人收藏品相：良好的原始狀態，輕微磨損，製造缺陷，使用痕跡，一個罐子的邊緣有小小的缺損，表面淺划痕，總體上與該時期的物品相符。重量：縂 1,010 克 尺寸：分別高14 厘米拍賣結果比較：一件相近的同期盒子見巴黎佳士得Art d’Asie拍場2017年12月13日，lot 35, 售價EUR 15,000。
Los 248
AN ENAMELED ‘LANDSCAPE’ LANTERN VASE, QIANLONG MARK AND POSSIBLY OF THE PERIODChina, 1770-1870. Sturdily potted, the baluster body superbly painted in pink, blue, iron-red and shades of green with a continuous and monumental landscape scene depicting minuscule figures on fishing boats and houses amid craggy rockwork and pine trees, with mountains towering in the background, some barely visible at first sight. The base with an underglaze blue six-character seal mark da Qing Qianlong nianzhi and possibly late in the period.Provenance: British private collection. Condition: Excellent condition with minor wear and minimal firing irregularities, such as dark spots, microscopic pitting all over, occasional light scratches, the gilt to rim almost entirely worn off, extensive soiling to the interior.Weight: 3,470 gDimensions: Height 36.8 cmThe depiction is framed by underglaze blue bands of ruyi-heads, with borders of scrolling ribbons to the waisted neck below the gilt rim and to the spreading foot.The masterly execution of the continuous landscape is reminiscent of vases manufactured in the imperial kilns under the direction of Tang Ying during the early years of Qianlong’s reign. The painterly manner in which the landscape is rendered is inspired by the work of Wang Hui (1632-1717), who played a key role both in reinvigorating past traditions of landscape painting and in establishing the stylistic foundations for the Imperially sponsored art of the Qing court.Expert’s note: While both the classic lantern form as well as the style and quality of the landscape would firmly place the present vase in the Qianlong period, the relatively simple underglaze blue borders are not only in stark contrast to the granularity of the main motif, but also rather unusual as a whole. Most Qianlong mark and period examples show either no borders at all, or much more elaborate ones, and some have a more ‘impressionist’ appearance, while Republic period examples simply cannot even approximate the present work in terms of painterly skill and detail. It is therefore both possible that this vase was made either late during the Qianlong reign, or in the 19th century. Either way, it is certainly not a Minguo piece.Literature comparison: A blue and white lantern vase painted with deer and crane amongst rockwork and pine trees from the Qing Court Collection is illustrated in Blue and White Porcelain with Underglazed Red (III) - The Complete Collection of Treasures of the Palace Museum, Beijing, 2000, vol. 36, no. 135. Another was included in the exhibition ‘Imperial Perfection, Chinese Palace Porcelain of the Three Great Emperors at the Minneapolis Institute of Art’, no. 27 Minneapolis, 2004. A vase of similar lantern-shape with a continuous landscape scene painted in Famille Rose is illustrated in Compendium of Collections in the Palace Museum: Enamels 5, Beijing, 2011, no. 196, and another vase painted in a restricted blue palette and with a four-character Qianlong mark in red enamel, but considerably smaller than the present lot and archaistic in style, is illustrated ibid, no. 149. Compare also with a blue and white vase with a village scene in the collection of the Metropolitan Museum of Art, accession number 14.40.268.Auction result comparison: Compare with a related lantern vase with underglaze blue six-character Qianlong reign mark, painted with a similar landscape scene but much more elaborate borders, at Bonhams London in Fine Chinese Art on 10 November 2011, lot 184, sold for GBP 202,250. Compare also with a related, but unmarked lantern vase, painted in underglaze blue and copper-red at Duke’s on 11 February 2010, Dorchester, UK, lot 300, sold for GBP 625,000, and another at Sotheby’s Hong Kong in Legacies of Imperial Power: Treasures from the Imperial Collection on 8 October 2008, lot 2203, bought-in at an estimate of HKD 5,000,000-7,000,000. For a related vase of similar form and decoration, but inscribed with a poem and possibly earlier, see Christie’s Hong Kong in The Imperial Sale on 29 April 2001, lot 516, sold for HKD 3,125,000.乾隆款粉彩山水燈籠瓶 中國, 1770-1870年。器呈直口，短頸，豐肩，筒腹，圈足。瓶身使用粉色、藍色、礬紅和綠色描繪了山水亭臺景觀，背景群山綿延，水上漁舟，山間松林，令人向往。底足青花六字款“大清乾隆年制“。來源：英國私人收藏. 品相：狀況極佳，小磨損，輕微燒製瑕疵，例如黑斑，遍布整個表面的微觀點蝕，些與輕微劃痕，邊緣鎏金完全磨損，內部污跡。重量：3,470 克 尺寸：高36.8 厘米 拍賣結果比較：一件青花六字乾隆款山水景觀燈籠瓶見倫敦邦瀚斯Fine Chinese Art 拍場2011年11月10日 lot 184, 售價GBP 202,250. ；一件相近但無款的青花釉裏紅見英國多切斯特杜克2010年2月11日 lot 300, 售價GBP 625,000, 以及另一件見香港蘇富比Legacies of Imperial Power: Treasures from the Imperial Collection 拍場2008年10月8日 lot 2203, 估價HKD 5,000,000-7,000,000. 一件形制以及繪畫簡潔但有詩文的燈籠瓶見香港佳士得The Imperial Sale 拍場2001年4月29日 lot 516, 售價HKD 3,125,000.
Los 292
A FAMILLE ROSE ENAMELED ‘LOTUS’ LIBATION CUP, GUANGXU PERIOD AND DATED 1880China. Molded in the shape of a lotus flower, the interior and exterior walls enameled in shades of rose. A small drainage hole in the well placed within a lime green reserve connects to the hollow stem of lime green enamel, finished with tiny black enameled dots and a long inscription.Inscriptions: To the stem, Da Qing Guangxu wunian Anhui taihu fujin qiu cao jinian bei (‘5th year of the Guangxu period of the Great Qing, Commemorative Cup of the Autumn Harvest, near Taihu in Anhui’).Provenance: Heritage, 16th December 1991. A French private collection, acquired from the above. A copy of the original invoice, confirming the dating and description above and with a translation of the inscription, accompanies this lot.Condition: Excellent condition with minor wear and firing irregularities.Weight: 179.8 gDimensions: Length 18 cmAuction result comparison: Compare with a pair of closely related but slightly later libation cups at Bonhams San Francisco in Fine Chinese Works of Art and Paintings on 23 June 2015, lot 7292, sold for USD 15,000.光緒五年粉彩荷花秋操杯，1880年中國。太湖秋操杯形如一朵盛開的荷花，粉紅的花瓣中，花蕊嫩黃，花梗碧綠。蓮瓣脈絡清晰，以花梗為中心兩側對稱，花梗內空，一端直通底部花蕊以作吸水之用，製作極為精細。題詞：花梗背面書墨彩“大清光緒五年安徽太湖附近秋操記念杯”。 來源：Heritage藝廊, 1991年12月16日；法國私人收藏, 從上述收藏購得，隨附原始發票副本，上面確認此杯年代。 品相：狀況極佳，輕微磨損和燒製不規則。 重量：179.8 克 尺寸：長18 厘米 拍賣結果比較：一對相近但年代更晚的秋操杯見舊金山邦翰思Fine Chinese Works of Art and Paintings 拍場，2015年6月 23 日，lot 7292, 售價USD 15,000.
Los 297
A POLYCHROME ENAMEL ‘HUNDRED BOYS’ VASE, REPUBLICChina, 1912-1949. The ovoid body rising from a short ring foot to a slightly concave neck, elaborately painted with children engaged in an elaborate musical performance in a garden setting, two boys carrying lanterns, one playing a trumpet horn, others playing percussion instruments, one on a hobby horse.Provenance: From a collector in San Francisco, California. Condition: Excellent condition with minor wear and firing irregularities.Weight: 1,415 gDimensions: Height 30.1 cmThe festive scene is neatly set between a floral and stiff leaf shoulder band below ruyi-head and leiwen bands to the neck and mouth, and an elegant lappet band above key-frets at the base. Apocryphal six-character Qianlong seal mark in iron-red to base.The present piece is decorated with the subject of the ‘Hundred Boys’, a very popular motif in porcelain decoration as it symbolizes the Chinese perpetual wish for many sons. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 63, the 'Hundred Boys' theme has its origins in the Western Zhou dynasty when King Wen of the Zhou adopted one son in addition to his ninety-nine sons to complete the number of one hundred.Auction result comparison: Compare with a closely related vase, though of considerably smaller size and with less elaborate decoration, at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 12 May 2017, lot 524, sold for GBP 11,875.民國粉彩百子嬰戯瓶中國，1912-1949年。卵形瓶體，短圈足，口外翻。粉彩描繪孩子們在花園裡玩耍情景，有表演音樂的，兩個男孩提著燈籠，一個男孩吹小號角，另一個男孩敲擊著樂器，一個騎著馬。 來源：舊金山藏家 品相：狀況極好，輕微磨損和燒製缺陷。 重量：1,415 克 尺寸：高30.1 厘米 拍賣結果比較：一件相近嬰戯瓶售于倫敦佳士得 Chinese Ceramics, Works of Art and Textiles拍場，2017年5月12日，lot 524, 售價GBP 11,875。
Los 3
A LARGE CLOISONNE AND GILT-BRONZE GU, QING DYNASTYChina, 1750-1850. The tall beaker vase following an archaic bronze Gu form with central bulb between the splayed pedestal foot and tall trumpet neck, all ribbed with four vertical flanges, finely enameled on a turquoise ground with leafy lotus strapwork in various enamel tones, all between archaistic borders of cicada blades and above a single ruyi-head band. The inside of the rim enameled with further scrolling lotus.Provenance: From a French private collector. Condition: Some firing flaws and pitting. Minimal losses to enamels along the edges. The foot rim and lip each with a dent and associated losses to enamels with old filling. Old wear, especially to gilding. The base with small dents and scratches here and there.Weight: 1.9 kg Dimensions: Height 35 cm清代銅胎掐絲琺琅鎏金銅觚 中國，1750-1850。高大仿古觚形瓶，圈足外撇，唇沿外翻，腹部外鼓，上有四道垂直凸緣，青綠色地上琺瑯彩繪，並飾有各種纏枝蓮紋、蟬紋以及如意紋。來源：法國私人收藏品相：一些燒製缺陷和點蝕。邊緣処釉彩輕微損失。 腳緣和唇沿各有凹痕，琺瑯質流失。鎏金舊時磨損。底部局部都有小凹痕和划痕。 重量：1.9 公斤 尺寸：高35 厘米
Los 390
AN IMPERIAL ENAMELED WHITE GLASS ‘BOYS’ SNUFF BOTTLE, QIANLONG MARK AND PERIODChina, 1760-1780. Masterfully painted in soft enamels of imperial yellow, pink, blue, green, and turquoise on a translucent ivory-white ground with two scenes of boys at play below a ruyi-tassel border at the shoulder and neck, the recessed base with a blue-enameled four-character Qianlong nianzhi mark within a double square and of the period.Provenance: From the collection of Mary Ann Edmondson Bresee (1932-2017), Georgia, USA, avid collector and former member of the International Chinese Snuff Bottle Society. Her grandfather was Walter T. Candler, son of Asa G. Candler, the founder of the Coca-Cola Company. Her bottles were exhibited both at the Cummer Museum of Art and Gardens and the Norton Museum of Art. Collector’s label ‘LH1’ to spoon.Condition: Superb condition with some wear. Flaws in the glass include minuscule bubbles to the foot rim, partially polished off as a part of the manufacturing process. The crisp and fresh enamels with minor pitting and microscopic crackling in some areas.Stopper: Gilt bronze with incised floral decorations, black collar, and neatly carved spoonWeight: 40.7 gDimensions: Height including stopper 58 mm. Diameter neck 17 mm and mouth 6 mmFour boys are playing a game of blind man’s buff to one side and three boys are performing gymnastics to the other, each in a fenced garden. In Chinese art the depiction of young boys at play is considered a sign of good fortune, representing the blessing of having many sons to carry on the family name. The shoulders of the bottle show birds in flight amid bamboo and craggy rockwork as well as blossoming prunus and wutong behind lingbi stones. The flattened globular body rises from a short broad oval foot to a tapering neck.Of the two main Palace painted enamel arts (on glass and on metal), those on glass are the rarer. During the Qianlong reign enameled metal wares, including snuff bottles, ran into the thousands, whereas enameled glass wares were produced only in the low hundreds. A rough estimate of the total number of enameled glass snuff bottles produced during the period comes to about three hundred. This was mainly due to the greater difficulty of producing them successfully, the need for multiple firings to correctly mature different colors and layers of enamel, and the much higher failure rate during production. In the early phase of the art form, from the late Kangxi until the 1750s or early 1760s, technical control of the enamels was still marginal, and all known examples exhibit some degree of pitting or discoloration of the enamels. This continued to be a problem with some colors into the second half of the Qianlong reign. Although far from obtrusive, in the present bottle the blue enamel on some of the boys’ clothing in particular is pitted, but it is otherwise remarkably well fired.The present type of translucent, milky-white glass was frequently used as an alternative to opaque white glass within the Palace workshops and is ideally suited to the equally translucent enamels. One of the key features of Palace enamels on glass is the softness, translucency, and delicacy of much of the palette, which allows for very subtle shading and gradations of color.A distinctive feature of Qianlong painted enamels on glass is the relative thinness of the enamels and the painterly quality of the brushwork. Court artists, highly trained in the tradition of calligraphic brushwork that gave Chinese painting one of its most profound inner languages, were involved in drawing up the designs and sometimes in painting the enamels. Failing that, it was skilled enamellers trained in the same aesthetic and overseen by court artists who produced them from preparatory sketches. Artistically, these early, painterly enamels represent the apogee of glass enameling during the Qing dynasty, and the present bottle well exhibits this exceptional quality.This design is purely Chinese in its conception, without any hint of the Western influence that appears, not unnaturally, in some wares with European subjects that rely to a greater extent on the use of color and chiaroscuro rather than line to create form. The red blossoms drawn without any in the present bottle do not by that quality reflect Western influence, but rather the 'bodiless' style made famous by Yun Shouping (1633–1690), whose works would have been well known to any court artist a mere half century after the painter's death. Here, the blossoms are balanced against the other elements of the design featuring the elegant black lines of the calligrapher's brush, with well-modulated, expressive strokes.Expert’s note: The reign marks on earlier Qianlong enameled glass bottles are usually flush with the foot, in contrast to the raised blue enamel marks of the mid- to late reign as seen on the present bottle. Together with the masterful quality of the painting as well as the use of translucent glass and soft enamels, this allows us to further narrow the likely dating of this bottle to circa 1760-1770.Literature comparison: Compare a bottle in the Palace Museum, Beijing, included in Snuff Bottles, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2003, no. 9. See also another bottle of this type from the J & J Collection, reproduced in Moss, Graham, Tsang, The Art of the Chinese Snuff Bottle. The J & J Collection, no. 187.Auction result comparison: Compare with a related bottle, dated 1736-1760, at Bonhams Hong Kong in Snuff Bottles from the Mary and George Bloch Collection Part I on 28 May 2010, lot 132, sold for HKD 5,248,000, and another, dated 1750-1780, at Christie’s Hong Kong in Important Chinese Snuff Bottles from a Distinguished American Collection on 7 October 2014, lot 18, sold for HKD 4,120,000.乾隆款與年代御制琺琅彩白料嬰戯圖鼻烟壺 中國，1760-1780年。在半透明的象牙白地上，使用黃色、粉紅色、藍色、綠色和青綠色等琺瑯彩精美描繪孩童玩耍場景。頸部飾如意紋。底足内凹凹進，藍色四字“乾隆年制”款。 來源：美國佐治亞州Mary Ann Edmondson Bresee（1932-2017）收藏。她曾是國際中國鼻煙壺協會的會員。 其祖父是Walter T. Candler，可口可樂公司創始人Asa 克Candler的兒子。 她的鼻烟壺在Cummer Museum of Art and Gardens博物館和Norton Museum of Art博物館均有展出。 圖片：Mary Ann Edmondson Bresee (1932-2017) 品相：狀況極佳，有些磨損。 玻璃中有些瑕疵，包括足部邊緣的微小氣泡，在製造過程部分打磨過。 琺瑯局部有輕微裂紋。 壺蓋：鎏金銅雕花卉紋，黑色蓋托，小壺匙 重量：40.7 克 尺寸：含蓋總高58 毫米，頸部直徑17 毫米，嘴部直徑6 毫米 專家注釋：乾隆時期早期款識通常與腳齊平，與本瓶中晚期所繪的藍色琺琅彩款相反。 再加上繪畫的精湛品質，以及使用半透明玻璃和洋彩，使我們可以進一步明確此鼻烟壺的年代，大約為1760-1770。 拍賣結果比較：一件相近1736-1760年間的鼻烟壺見香港邦翰斯Snuff Bottles from the Mary and George Bloch Collection Part I 拍場，2010年5月 28日 lot 132, 售價HKD 5,248,000, ；以及另一件1750-1780年間的鼻烟壺見香港佳士得 Important Chinese Snuff Bottles from a Distinguished American Collection 拍場，2014年10月7日 lot 18, 售價HKD 4,120,000.
Los 391
A CANTON ENAMEL ON COPPER ‘EUROPEAN SUBJECT’ SNUFF BOTTLE, QIANLONG MARK AND PERIODChina, 1735-1796, four-character mark Qianlong nian zhi neatly painted to base and of the period. The wide-bodied, heart-shaped bottle with a sprawling neck and flat lip, finely enameled on both sides with European figures training dogs in a tranquil landscape, the neck and shoulders decorated with an ornate floral border.Provenance: Belgian private collection.Condition: Very good condition with some firing flaws to the enamel and surface wear, the colors still fresh and strong, the copper with a solid patina and some microscopic verdigris.Stopper: Aventurine cabochon and finely carved organic material spoonWeight: 38.1 g Dimensions: Height including stopper 48 mm. Diameter neck 14 mm and mouth 7 mmAuction comparison: Compare to a related bottle at Sotheby’s Hong Kong, Fine Chinese Ceramics & Works of Art, 8 April 2010, lot 1964, sold for HKD 175,000.乾隆款及年代廣東銅胎琺琅歐洲人物場景鼻烟壺 中國，1735-1796年。底足内書四字款 “乾隆年制”。扁荷包式，寬頸，扁平唇，兩面開光琺瑯描繪精美歐洲人物場景，頸部肩部花卉紋。 來源：比利時私人收藏. 品相：狀況極佳，琺琅有燒制瑕疵，表面磨損，顏色仍然鮮艷，銅綫有堅實的銅綠和一些細小的銅綠。 壺蓋：碧璽壺蓋，有機材料小壺匙 重量：38.1 克 尺寸：總高48 毫米，頸部直徑14 毫米，嘴部直徑7 毫米 拍賣結果比較：一件相近鼻烟壺見香港蘇富比Fine Chinese Ceramics & Works of Art拍場，2010年4月8日lot 1964, 售價HKD 175,000.
Los 392
A CANTON ENAMEL ‘SCHOLARS AND BOYS’ SNUFF BOTTLE, QING DYNASTYChina, 1644-1912. Four-character seal mark Qianlong nian zhi to base. Each side with a lobed reserve featuring a neatly painted image of a scholar and boy, surrounded by a yellow ground showing floral designs and scrolling tendrils. The neck with a key fret border.Provenance: German private collection, acquired between 1980-1985 (by repute).Condition: Good condition with manufacturing flaws such as minor pitting and extensive firing cracks. The colors possibly a bit faded, some minor chipping.Stopper: ‘Beijing’ style blue glass with gold lining and carved spoonWeight: 32.2 g Dimensions: Height including stopper 68 mm. Diameter neck 12 mm and mouth 6 mm清代廣東琺瑯文人童子勾蓮紋鼻煙壺 中國，1644-1912年。底足“乾隆年制”。黃地勾蓮紋地，兩面開光，可見文人童子形象。頸部飾雷紋。 來源：德國私人收藏，據説購於1980至1985年間。 品相：狀況良好，帶有製造缺陷，例如較小的點蝕和廣泛的燒制裂紋。 顏色可能有點褪色，有些碎裂。 壺蓋：北京風格藍料金邊壺蓋，小壺匙 重量：32.2 克 尺寸：總高68 毫米，頸部直徑12 毫米，嘴部直徑6 毫米
Los 393
A PINK ENAMEL ‘SANYANG AND CAT’ SNUFF BOTTLE, QING DYNASTYChina, 18th century. Delicately painted on each side of the body with a lobed cartouche enclosing a cat chasing a butterfly amid flowers and craggy rockwork to one side and three sheep to the other, all reserved on a ground of feathery scrolls in white on a pale pink ground, in imitation of pink sgraffiato as found on Imperial porcelain wares.Provenance: From the estate of Dr. F. Prussing in Long Beach, CA, and thence by descent within the same family. By repute, the present lot was acquired by Dr. Prussing before 1980.Condition: Superb condition with minor wear and manufacturing flaws, such as pitting and dark spots. The base with some scratches, possibly indicating the removal of an Imperial reign mark.Stopper: Gilt bronze with floral decoration, neatly carved spoon Weight: 38.2 gDimensions: Height including stopper 64 mm. Diameter neck 14 mm and mouth 8 mmOf flattened pear-shaped form with a gilt bronze rim to the foot and mouth.Literature comparison: The Sanyang subject is rare on enamel snuff bottles. For another example, see Sotheby’s New York, in the Joe Grimberg Collection of Snuff Bottles, 14 September 2010, lot 174.Auction result comparison: Compare with a related enamel snuff bottle, the borders also in imitation of pink sgraffiato wares, but with a Qianlong seal mark and of the period, at Sotheby’s New York in Important Chinese Art on 13-14 September 2016, lot 219, sold for USD 6,250.清代粉彩琺琅開光“貓戯蝶“與”三羊開泰“鼻烟壺中國，十八世紀。壺身兩側粉色纏枝紋地上，分別開光描繪了”靈貓戯蝶“圖與”三羊開泰“圖。 來源：加利福尼亞州Long Beach的F. Prussing博士所藏，同一家族中世代相傳。 據説是F. Prussing博士1980年前所購。 品相：狀況極佳，有輕微磨損和製造缺陷，例如點蝕和黑斑。 底座上有一些划痕，可能表示已抹去了朝代標記。 壺蓋：銅鎏金花卉紋壺蓋，小壺匙 重量：38.2 克 尺寸：總高64 毫米；頸部直徑14 毫米；嘴部直徑8 毫米 拍賣結果比較：一件相似琺琅彩粉紅錦地乾隆款與年代的鼻烟壺見紐約蘇富比Important Chinese Art拍場2016年9月13-14日 lot 219, 售價USD 6,250.
Los 404
AN IMPERIAL CLOISONNE AND GILT-BRONZE ‘LOTUS AND ASTER’ SNUFF BOTTLE, QING DYNASTYChina, 18th century. Well enameled on each side with a lobed white-ground panel enclosing lotus scrolls to one side and aster sprays to the other, surrounded by floral and foliate motifs against a turquoise ground.Provenance: French private collection. Condition: Superb condition with minor wear, microscopic nicks here and there, and manufacturing flaws, including pitting and some open bubbles.Stopper: Carnelian cabochon, carved in Beijing style, with a turquoise collar and nicely carved spoonWeight: 57.5 gDimensions: Height including stopper 65 mm. Diameter neck 17 mm and mouth 9 mmThe flattened globular body rising from an oval spreading foot with gilt-bronze rim to a short waisted neck with a gilt-bronze everted lip.The present lot belongs to a group of cloisonne enamel bottles, some with only partial inlay of enamels, of similar design, and many different color combinations, which are now considered to be the Imperial output of the Palace workshops from the mid- to late- eighteenth century. This bottle represents cloisonne enamel at its finest, with a simple, formalized design beautifully disposed on an elegant form, the simple coloring giving strength to the abstraction and the substantial wires well gilded against a perfectly even surface.Literature comparison: Comparable cloisonne enamel bottles include one illustrated by Helmut Brinker and Albert Lutz, Chinese Cloisonne: The Pierre Uldry Collection, no. 364; one illustrated by Pamela Friedman, Chinese Snuff Bottles from the Pamela R. Lessing Friedman Collection, p. 128, no. 104; and another by Hugh Moss, Snuff Bottles of China, no. 272.Auction result comparison: Compare with a related cloisonne snuff bottle at Christie’s New York in Important Chinese Snuff Bottles from the J & J Collection on 30 March 2005, lot 9, sold for USD 10,800.清代御制銅胎掐絲琺琅開光花卉紋鼻烟壺 中國，十八世紀。每面開光，白地上深藍花卉枝葉紋。剩餘部位綠松石琺琅釉地卷草紋。 來源：法國私人收藏. 品相：狀況極佳，有輕微磨損，到處有細微的刻痕以及製造缺陷，包括點蝕和一些開放的氣泡。 壺蓋：紅玉髓，北京風格，綠松石托，精緻小壺匙 重量：57.5 克 尺寸：總高65 毫米。頸部直徑17 毫米，嘴部直徑9 毫米 拍賣結果比較：一件相近掐絲琺琅鼻烟壺見紐約佳士得Important Chinese Snuff Bottles from the J & J Collection 拍場，2005年3月30日 lot 9, 售價USD 10,800.
Los 405
A RARE CLOISONNE ENAMEL ‘DOUBLE BAT’ SNUFF BOTTLE, 18TH CENTURYChina, 1715-1760. Probably imperial, attributed to the palace workshops in Beijing. Of bianhu form and with a ‘lotus’ mark underneath. Finely enameled within gilt and raised wire inlays with a deep-blue medallion on each side showing a bat above a swastika and amongst ruyi, with lappet panels around the foot and further ruyi and lotus at the shoulders.Provenance: From the collection of Dr. Erika Pohl-Ströher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Ströher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world’s most valuable collections of gems and minerals.Condition: Superb condition with only minor manufacturing flaws.Stopper: Gilt bronze stopper, fitting and spoonWeight: 33.3 g Dimensions: Height including stopper 59 mm. Diameter neck 12 mm and mouth 5 mmThis bottle represents cloisonne enamel at its finest, with a simple, formalized design beautifully disposed on an elegant form, the simple coloring giving strength to the abstraction and the substantial wires well gilded against a perfectly even surface.Auction comparison: Compare to a related cloisonne enamel bottle at Christie’s Hong Kong, Important Chinese Snuff Bottles from the J&J Collection, 25 April 2004, lot 812, sold for HKD 239,000.十八世紀罕見掐絲琺琅開光雙蝠鼻烟壺 中國，1715-1760年。可能爲御制，北京清宮御用工坊所制。 扁壺形，底足可見蓮花紋。掐絲，琺琅釉，兩面開光，藍地上蝙蝠紋。兩肩上勾蓮紋，足部芭蕉葉紋。 來源：Erika Pohl-Ströher（1919-2016）博士收藏，保存於同一家族至今。 Erika Pohl-Ströher 博士是德國出生的瑞士人，護髮和化妝品公司Wella AG的女繼承人。 她是一位忠誠的收藏家，一生中積累了許多重要的藝術收藏以及世界上最有價值的寶石和礦石收藏之一。 圖片：Dr. Erika Pohl-Ströher 品相：狀況極佳，僅有少量製造缺陷。 壺蓋：鎏金蓋與蓋托，小壺匙 重量：33.3 克 尺寸：總高59 毫米，頸部直徑12 毫米，嘴部直徑5 毫米 拍賣結果比較：一件相近景泰藍鼻烟壺見香港佳士得 Important Chinese Snuff Bottles from the J&J Collection拍場，2004年4月25日 lot 812, HKD 239,000.
Los 406
AN INSCRIBED IMPERIAL CLOISONNE ENAMEL SNUFF BOTTLE WITH MATCHING STOPPER, QIANLONG MARK AND PERIODChina, 1736-1795. Finely decorated in bright enamels and gilt with two lobed turquoise-ground panels, one enclosing lotus flowers and bamboo, the other inscribed in gilt with a poem by the Qianlong Emperor about the magnolia paintings of the Ming dynasty master Shen Zhou, dedicated by the infamous Yu Minzhong, the recessed gilt-copper base delicately incised with a four-character mark Qianlong nianzhi and of the period.Inscriptions: To one panel, at the top, yuzhi (‘Imperial’), bottom left, chen Yu Minzhong jing shu (‘respectfully written by your servant, Yu Minzhong’). Two seals.Provenance: Leslie Gifford Kilborn, USA, and thence by descent in the same family. Leslie Gifford Kilborn (1895-1972), son of Retta and Omar Kilborn, was born in Sichuan, China. He greatly advanced missionary work in Western China, was the author of multiple texts and served as dean of the College of Medicine of the West China Union University. In 1952, he left China and became a professor of physiology at the University of Hong Kong.Condition: Excellent condition with minor wear, microscopic nibbling, and manufacturing flaws, such as pitting and open bubbles.Stopper: Cloisonne enamel with gilt-copper collar and spoon, all matching.Weight: 90.5 gDimensions: Height including stopper 72 mm. Diameter neck 17 mm and mouth 4 mmThe pear-shaped body, yuhuchun, rising from a short circular gilt-copper foot to a short waisted neck with a gilt-copper top. The panels are surrounded by lotus flowers growing from leafy vines, with a lappet border above the foot and a band of ruyi heads below the rim. The matching stopper with a central flower encircled by scrolling vines above a geometric border.The inscription is dedicated by Yu Minzhong (1714-1780), an official from Jintan in Jiangsu province, who served as Chief Grand Councilor from 1773-1780 and was one of the most powerful ministers in the government. He received his jinshi degree with the highest honors, then became a first-class compiler of the Hanlin Academy, and eventually served in many official posts, first in the provinces and from 1750 onwards mainly in Beijing. There he was in the direct company of the Qianlong Emperor in the capital as well as on tours and advised him on many important policy matters. One of his tasks consisted of editing the Emperor's poems, which, having often been composed during brief intervals between audiences, he afterwards had to write down from memory and reputedly seldom made a mistake.Literature comparison: A cloisonne wall vase with the same poem and dedication by Yu Minzhong is in the collection of the National Palace Museum Beijing. For a cloisonne panel with a poem written by Yu Minzhong, with the inscription again dedicated by the minister, see Sotheby’s Hong Kong, 2 May 2005, lot 534.Auction result comparison: Compare with a related cloisonne miniature zhadou, with a closely related Qianlong four-character reign mark incised to a gilt base and of the period, at Christie’s Hong Kong in The Imperial Sale Important Chinese Ceramics and Works of Art on 31 May 2010, lot 2080, sold for HKD 162,500, and a related cloisonne bottle vase (12.3 cm high), with a Qianlong mark and of the period, at Christie’s Hong Kong in Reverence and Perfection – Magnificent Imperial Cloisonne Enamels from a Private European Collection on 29 May 2013, lot 2057, sold for HKD 300,000. Compare also with a cloisonne snuff bottle with a Qianlong mark and of the period but of a different form at Sotheby’s Hong Kong in Snuff Bottles from the Mary & George Bloch Collection: Part VII on 26 November 2013, lot 108, sold for HKD 250,000.乾隆款與年代銅胎掐絲琺琅鼻烟壺中國，1736-1795年。裝飾精美的琺瑯，兩面開光，其中一幅可見蓮花和竹子，另一幅上有乾隆的詩作，描寫明朝大師沈周的玉蘭花。内凹的鍍金銅底座，精巧地刻有四個字的“乾隆年制”。 款識：御制，磊落偏饒韻，芳華不藉春，臣于敏中敬書。兩枚鈴印。 來源：美國Leslie Gifford Kilborn，自此保存在同一家族. Leslie Gifford Kilborn (1895-1972), Retta and Omar Kilborn的兒子，出生於中國四川。他極大地促進了中國西部的傳教工作，是多篇著作的作者，還曾擔任過華西聯合大學醫學院的院長。 1952年，他離開中國，成為香港大學生理學教授。 圖片：Leslie Gifford Kilborn (1895-1972, 左起第三位) 品相：狀況極佳，有輕微磨損，輕微磨損和製造缺陷，例如點蝕和氣泡。 壺蓋：景泰藍，鎏金蓋托，小壺匙，皆匹配 重量：90.5 克 尺寸：含蓋總高72 毫米，頸部直徑17 毫米，嘴部直徑4 毫米 拍賣結果比較：一件相近微型渣斗，乾隆四字款，見香港佳士得 The Imperial Sale Important Chinese Ceramics and Works of Art 拍場，2010年5月31日 lot 2080, 售價HKD 162,500；一件相近景泰藍瓶 (高12.3厘米)，乾隆款與年代，見香港佳士得 Reverence and Perfection – Magnificent Imperial Cloisonne Enamels from a Private European Collection 拍場，2013年5月29日 lot 2057, 售價HKD 300,000 ；一件景泰藍鼻烟壺，乾隆款與年代，見香港蘇富比 Snuff Bottles from the Mary & George Bloch Collection: Part VII 拍場，2013年11月 26日 lot 108, 售價HKD 250,000.
Los 5
A GILT-BRONZE AND CLOISONNE ENAMEL STUPA, QIANLONGChina, 1736-1795. The domed cloisonne section bears a miniature door surrounded by flames and a stepped finial surmounted by sun and moon symbols. All supported by a waisted pedestal with a band of Buddhist lion masks in relief and a votive plaque with a neatly incised depiction of Buddha.Provenance: The James and Marilynn Alsdorf Collection, Chicago, USA. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Married in 1952, James and Marilynn built a life centered on art, philanthropy and family. ‘My grandparents were the picture of elegance, and they had impeccable taste, but to their family they were known for their warmth, wit, and humor,’ recalls Bridget Alsdorf, the couple’s granddaughter. Condition: Excellent condition. The base plate is original with minimal remnants of old glue visible at the edges. Minuscule chip to the enamel near the mandorla and some firing flaws. The gilding on plinth and base is extensively worn. Expected minor dents and nicks.Weight: 409 g Dimensions: Height 13.5 cmThe stupa is raised on two stepped square bases with incised lappet bands and cloud scrolls, separated by a group of rectangular reliefs with gilt Buddhist lions.A stupa is a hemispherical structure containing relics such as sarira, the remains of Buddhist monks or nuns, that is used as a place of meditation. Note that when shaken, a sound from loose objects hidden inside the present stupa is clearly audible. A related architectural term is a chaitya, which is a prayer hall or temple containing a stupa. In Buddhism, circumambulation or pradakhshina has been an important ritual and devotional practice since the earliest times, and stupas always have a pradakhshina path around them. Auction result comparison: Compare with a closely related cloisonne stupa from the same period at Sotheby's Paris in Arts d'Asie, 18 December 2012, lot 45, sold for EUR 15,000.乾隆鎏金銅掐絲琺琅佛塔 中國，1736-1795。塔身施藍色琺琅釉地，一側有火焰包圍的歡門，十三相輪有太陽和月亮符號。塔座呈四方形，上有浮雕佛獅和帶有雕刻精美的佛像刻畫的奉獻牌匾。 來源：美國芝加哥James and Marilynn Alsdorf 收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。 詹姆斯和瑪麗琳於1952年結婚，創造了以藝術、慈善事業和家庭為中心的生活。 他們的孫女布里奇特·阿爾斯多夫（Bridget Alsdorf）回憶說：“我的祖父母是優雅的體現，他們的品位無可挑剔，但對他們的家人而言，他們以熱情、機智和幽默而著稱。”圖片：James and Marilynn Alsdorf, 1950年在邁阿密 品相：良好狀況，底板是原始的，在邊緣可見少量舊膠。 曼陀羅附近的釉面有微細磕損。底座上的鎏金已廣泛磨損。小凹痕和刻痕。 重量：409克 尺寸：高13.5 厘米 此塔屬供養塔，一般置於佛前供案上，以示觀想。該塔製作為分段燒製，後粘合而成。 拍賣結果比較：一件來自同一時期的相似景泰藍佛塔售于巴黎佳士得Arts d'Asie，2012年12月18日，lot 45，售價EUR 15,000.
Los 6
TWO BUDDHIST EMBLEMS, CLOISONNE ENAMEL AND GILT-BRONZE, QIANLONG PERIODChina, 1736-1795. One is the double-fish and the other is the wheel of law, Dharma. Each being one of the Eight Buddhist Emblems, Bajixiang, they represent conjugal happiness and the Buddha's teaching respectively. Both show fine incision and chase work, surmounted by a minuscule sacred Vajra sign. (2)Provenance: From a French private estate. Condition: Superb condition with only minor firing flaws and pitting to enamels, old wear and some minuscule dents to the bronze. Each emblem is cast in six separate parts, all secured by old bolts and screws. The bases are slightly warped. Fine naturally grown patina.Weight: 973 g Dimensions: Height 24 cm eachThe finely cast, incised and gilt emblems are supported by a tiered base enameled with crashing waves above two rows of distinct lappet borders. The stand rises from a small Buddhist shrine vase, Dagaba, with finely enameled lotus decor on an Imperial turquoise-blue ground, flanked by a pair of gilt-bronze ribbons, below four stylized dragon scroll handles, all ending in a detailed and gilt lotus pod resting on a circular band of overlapping leaves.It is rare to find even just two of the Eight Buddhist Emblems made of cloisonne enamel and gilt-bronze, which would be set in a row on a Buddhist altar, and only one other group of two appears to have been offered for sale at auction in the recent past. They are a flamboyant testimony to the strength of Tibetan Buddhism in Imperial China. The labor and material lavished on such Buddhist objects demonstrate the continued importance of Buddhist worship during the Qing Dynasty.Literature comparison: Compare with a group of seven cloisonne enamel, gilt-bronze and white jade emblems, which included four Buddhist emblems, formerly in the Sir John Buchanan-Jardine, T.B. Kitson and Vint collections, sold at Sotheby's London, 21 February 1961, lot 266 and again at Christie's Hong Kong, 3 December 2008, lot 262. For a closely related set from the Qing court collection, preserved in the Palace Museum, Beijing, see a set of smaller emblems rendered in gilt-bronze and champleve enamels, illustrated in Metal-bodied Enamel Ware, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pl.139. See also a champleve enamel set of the Eight Buddhist Emblems preserved in the Mountain Resort Museum, Chengde, illustrated in the National Palace Museum Exhibition, Tibet: Treasures from the Roof of the World, Taipei, 2010, pl.110. Also compare with a single emblem at the Brooklyn Museum, New York, USA, accession number 09.662.Auction result comparison: Compare with a complete set of all eight emblems at Bonhams Hong Kong, 24 November 2010, lot 250, sold for HKD 6.816.000 (€ 752.000). Also compare with a closely related set of two Buddhis emblems at Christies London in Fine Chinese Ceramics and Works of Art, 6 November 2012, lot 42, sold for GBP 97,250.乾隆掐絲琺琅鎏金八寶供器二件 中國, 1736-1795。一件供器上可見雙魚，另一件為法輪。八寶，又稱八吉祥，是藏傳佛教中八種表示吉慶祥瑞之物。這兩件供器均顯示了精細的工藝。 來源： 法國私人遺產 品相：狀況極佳，只有輕微的燒制瑕疵和琺琅蝕痕，舊時磨損以及青銅部位微小凹痕。每件供器均由六個單獨的部分鑄造而成，所有部分均由螺栓和螺釘固定。 底座略有扭曲。 天然包漿。重量：973 克 尺寸：分別高24 厘米 精美鑄造、切割和鎏金的供器，鎏金富麗堂皇，中部仰覆蓮台托升八寶，盡顯佛法神聖高潔。下部法輪出戟十字杵，立於覆蓮托座之上，莊重典雅。底座分層，皇家藍綠色的琺琅地上裝飾纏枝蓮花紋，兩側是一對鎏金銅緞帶。這是兩件稀有的佛教八寶供器，掐絲琺瑯和鎏金銅製成，目前似乎只有另外兩個一組被拍賣出售。 他們是中國藏傳佛教力量的光彩奪目的見證。 這些佛教用品上的製作和材料證明了清代佛教崇拜的持續重要性。文獻比較：一組七件掐絲琺琅鎏金銅白玉供器，其中包括四件佛教供器曾見於Sir John Buchanan-Jardine, T.B. Kitson and Vint collections, 售于倫敦蘇富比1961年2月21 日，lot 266；香港佳士得2008年12月3 日，lot 262；一組來自清廷收藏的相似供器可見於北京故宮博物院；一組稍小的銅鎏金琺琅供器可見於Metal-bodied Enamel Ware, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pl.139；琺琅佛教八寶可見於承德山莊博物館，可見於臺北故宮博物院展覽，Tibet: Treasures from the Roof of the World, Taipei, 2010, pl.110；以及Brooklyn Museum, New York, USA, accession number 09.662. 拍賣結果比較：一組完整的八寶供器售于香港邦翰思2010年11月24日，售價HK$ 6.816.000 (€ 752.000)。另一組兩件八寶供器售于 倫敦佳士得Fine Chinese Ceramics and Works of Art拍場, 2012年11月6日, lot 42, 售價GBP 97,250。
Los 7
A CHAMPLEVE ENAMEL ‘BUDDHA’S HAND’ RUYI SCEPTER, QING DYNASTYChina, 18th century. Cast in openwork with an arched gilt-bronze shaft resembling a gnarled leafy branch and a head in the form of two finger citrons, known as ‘Buddha’s hand’ in Chinese, decorated in champleve enamels graduating from lime-green to yellow next to gilt bronze leaves.Provenance: Property from a Private Collection. Sotheby’s Hong Kong, Fine Chinese Ceramics and Works of Art, 8th April 2014, lot 3099 (one in a lot of two), bought in at an estimate of HKD 1,200,000 — 1,800,000. A noted private collector, acquired from Sotheby’s at a later time.Condition: Excellent condition with minor wear, minuscule dents, light wear to the enamels and gilt.Weight: 584.7 gDimensions: Length 30.9 cmThe shaft bearing two small corresponding fruits in champleve enamels and gilt-bronze leaves, the openwork terminal suspending a tasseled endless knot.Literature comparison: For a gilt bronze scepter of this type, but cast with all three fruit of the sanduo, in the National Palace Museum, Taipei, see one illustrated in Masterpieces of Chinese Ju-i Sceptres in the National Palace Museum, Taipei, 1974, pl. 29; and a zitan version inlaid with jade and various hardstones to depict a finger-citron, in the Palace Museum, Beijing, included in the exhibition China. The Three Emperors, Royal Academy of Arts, London, 2005, cat. no. 277, and another gilt bronze scepter embellished with pomegranates, in the Österreichisches Museum für Angewandte Kunst collection, included in the exhibition Die Ware aus dem Teufelsland, Museum für Kunsthandwerk, Frankfurt am Main, 1981, cat. no. 12.Auction result comparison: Compare with a related gilt bronze scepter, inlaid with glass and decorated with enamels, at Christie’s New York in Auspicious Treasures for Scholars and Emperors: Selections from the Robert H. Blumenfield Collection on 22 March 2012, lot 1228, sold for USD 86,500.清代鏨胎琺瑯多子多福如意 中國，十八世紀。如意以銅胎鎏金飾琺瑯工藝精心而制，雕成老幹樹枝狀折枝，佛手瓜左右雙佛手瓜造型，蒂梗繞於兩果實間，長柄彎曲，柄體呈蒼虯蜿蜓枝幹，彎曲有度，翻轉有致，葉盛開舒展，上掛兩小瓜，生氣盎然。枝葉飾以鎏金，佛手飾以掐絲琺瑯，風格寫實，色彩逼真，琺琅色從青檸色到淡黃色漸變。造型優美流暢，纖細靈秀，盡顯華貴富麗之感。佛手音與“福”字諧音，除表徵多“福“之意，更喻“多福多壽多子孫”的吉祥表徵。 來源： 私人收藏，見香港蘇富比Fine Chinese Ceramics and Works of Art拍場, 2014年4月8日，lot 3099 (一對如意中的一件), 估價HKD 1,200,000 — 1,800,000。藏家説明：購於蘇富比此拍賣之後。 品相：狀況極佳，輕微磨損，微小凹痕，琺琅和鎏金部位輕微磨損。 重量： 584.7 克 尺寸： 長30.9 厘米 軸上有兩個小巧的相應水果，分別是琺瑯彩釉和鎏金銅的葉子，如意終端鏤空的懸掛著流甦的結佩。 文獻比較: 一件此類鎏金銅三鑲式如意，可見在台北故宮博物院中，請參見1974年出版的關於台北故宮博物院中的如意畫冊，圖29; 在中國故宮博物院內，還有一個鑲有玉石和各種硬石的紫檀佛手瓜。 Three Emperors, Royal Academy of Arts, London, 2005, cat. 圖277；另一件來自奧地利應用藝術博物館的銅鎏金石榴如意參加了1981年在美因河畔法蘭克福的應用藝術博物館“來自東方的琺琅製品”的展覽，見“Die Ware aus dem Teufelsland”，Museum für Kunsthandwerk, Frankfurt am Main, 1981, cat. no. 12. 拍賣結果比較：一件相近銅鎏金如意鑲嵌玻璃和琺琅，售于紐約佳士得Auspicious Treasures for Scholars and Emperors: Selections from the Robert H. Blumenfield Collection拍場，2012年3月22日，lot 1228, 售價 USD 86,500。
Los 8
A BEIJING ENAMEL ON COPPER 'PEONIES' WATER POT, QIANLONG MARK AND PERIODChina, 1736-1795, ca. 1740. The pear-shaped body supported on a low splayed foot and rising to a waisted neck below a flared rim, the shape slightly reminiscent of a Zhadou. Finely enameled on a rich Imperial yellow ground with three large peony blossoms, one of purple and lavender, one of pink and one of blue color. The neck draped by a neatly painted scroll of morning glories seen from the top against a pale turquoise ground. The interior white, the rims gilt, the white base inscribed with a blue-enameled four-character reign mark within double squares. Provenance: Property from an important private collection. Old collector number ‘77’ painted in white lacquer to base. Condition: Superb condition with minor wear, traces of use and minor firing flaws. The gilding to lip and foot rim with extensive abrasions. Blue light inspected, absolutely no restoration whatsoever.Weight: 172 g Dimensions: Height 7.6 cm The decoration seen on the present water pot is unusual for Qianlong vessels of this type, although a near-identical vessel from the same period, painted with a peony design on a yellow-ground, is illustrated in Sotheby’s London, 14th November 2002, lot 364, described as an ‘Imperial Enamel Water Pot, Qianlong Mark And Period’.In its shape and delicate small size, this water pot is after a group of slightly earlier, Kangxi period vessels generally painted with motifs from flora and fauna. For an example from this group, see a Kangxi mark and period vase, finely painted with blooming flowers in panels on a yellow ground, illustrated in Michael Gillingham, Chinese Painted Enamels, Oxford, 1978, page 15, plate 6. The pale turquoise color used for the ground of the scroll at the neck of the present water pot is unusual, although reminiscent of that found on the inside of a bowl from the Kangxi period, illustrated by Sotheby’s Hong Kong in Important Chinese Art on October 3rd 2018, lot 3610. Shades of purple and lavender, as found in one of the three peonies on the present water pot, were also frequently used on Kangxi vessels, especially before pink enamel was introduced into the Chinese enamellers' repertoire employed by the Palace Workshop. Another characteristic of Kangxi enamel on copper vessels are their slightly oversized imperial marks, again as seen on the present lot and on the bowl illustrated by Sotheby’s Hong Kong in Important Chinese Art on October 3rd, 2018, lot 3610. For all of the reasons mentioned above, it can safely be assumed that the present water pot was made rather early in the Qianlong period, probably ca. 1740.乾隆款及年代銅胎琺琅牡丹水丞 中國，1736-1795, 約1740年。梨形水丞，圈足外翻，腹部喇叭形，升至腰部頸部，其形狀略似渣斗。黃色釉地上精美琺琅彩，三朵大牡丹花，紫色、粉紅色和藍色。頸部畫著牽牛花，綠松石地開光。水丞內部白色，邊緣鎏金，底足白色底上藍色琺瑯雙方框四字款。 來源：一個重要私人收藏產業。底部可見老藏家所注‘77’ 標志。 品相：狀況極佳，有輕微磨損、使用痕跡和輕微燒制缺陷。 唇沿和圈足邊緣鎏金有大量擦傷。 藍光檢查，絕對沒有任何修復。 重量：172克 尺寸：高7.6 厘米
Los 9
AN EXCEPTIONAL AND VERY LARGE CANTON ENAMEL ‘SCHOLARS’ DISH, EARLY 18TH CENTURYChina. This piece is notable for its imposing size, the broad surface of which has been delicately rendered with a rich scene of scholars, literati and pupils observing an artist working on a scroll, painted with bamboo springing from craggy rockwork, the yet unfinished oeuvre being the talk of the gathering.Provenance: From a private estate in Pennsylvania, USA. The backside with an old collector’s label inscribed “C-09” and a second label with the inscription “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”. Condition: The foot rim with a hole drilled for suspension. The center with circular hairlines along the foot and two old fillings, each the size of a coin. The outer border with an old, restored section of ca. 10-15 cm, barely extending into the yellow border, mirrored at the back. Minuscule firing flaws, pitting, hairlines, dents, losses and fills. The metal mounts with a fine, naturally grown patina. Old wear and traces of use. Overall, in good condition, especially considering the magnificent size of 2.365 cm², with less than 60 cm² of restored area, equivalent to only 2.5% (!) of the total surface.Weight: 3.7 kg Dimensions: 55 cm Furthermore, we find a building with a terrace, a garden with scholar’s rocks, an imposing Ming dynasty altar table with a bitong and various brushes, an inkstone and several garden stools, as well as a peaceful lake and mountains in the far distance completing the inspiring scene.The cavetto with a dense scroll of pink peonies and lavender-colored lotus against an Imperial yellow ground, all within two circumferential bands of leaves and vines. The reverse shows a neatly painted still life of two peaches, lingzhi, flowers and a single bat against a white ground. The border with a band of grapes.The present dish is among the earliest examples of the successful combination of Western imaging techniques with traditional Chinese motifs during the first half of the 18th century. The subtle gradations of tone and the rendering of light and shade are particularly successful in the central panel, where cautious shading is introduced along the walls and canopy of the building. Even these few shades already give the composition a certain three-dimensional depth, heretofore unknown in Chinese painting. Moreover, the similarly rendered pink flowers are depicted in full bloom and appear to loom out from the contrasting yellow background. The fusion of East and West is therefore not only found on a technical level, but also in the stylistic approach to this painting, where the Chinese tradition of outlining has cleverly been combined with the European pursuit of naturalism through shading. Wares that combine a finely enameled scholarly motif on the interior with a vibrant yellow ground exterior were also produced in porcelain and celebrate the newly developed Famille Rose palette of the early eighteenth century. Tang Ying (1682–1756), as of 1728 the superintendent of the Imperial Kilns at Jingdezhen, notes in his work “A Brief Account of Ceramics”, that yangcai (Western color) enamel wares should be classified as combining falang glazes with Western painting styles (see the National Palace Museum exhibition catalog, Stunning Decorative Porcelains from the Qianlong Reign, Taipei, 2008, pp. 32-40).Painting in enamels on copper is essentially a Western art that gained prominence in northern Europe during the Renaissance and flourished in China under the reign of the Qianlong emperor. Once the piece was shaped, the copper was prepared with a ground of plain enamel to receive the painting in glassy pigments which then bonded to it by firing. The resulting clear and brilliant contrast of colors, which allowed for ornate decoration, was particularly suited to the young Qianlong emperor's taste for the opulent and exotic. The technique was first introduced to Guangzhou by Jesuit missionaries who entered the port with samples of Limoges wares from Europe around 1700. It was then presented to the Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou, who supplied versatile artisans dedicated to developing and improving the standard of the imperial Enamel Workshop (see Yang Boda in the catalog to the exhibition Tributes from Guangzhou to the Qing Court, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1987, page 63).Curator’s Summary: The frugal use of shading points to an early date during the first period of enamel production, which can possibly be even narrowed to 1710-1725. After this period, shading became more sophisticated and stippling was introduced. It is even possible that this monumental work, obviously conceived to impress, and difficult to make with the limited production capacities of the time, was among the few large template pieces presented to the Imperial Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou. This would explain the lasting albeit simplified reappearance of closely related scholarly motifs in later imperial works. Overall, the present dish must therefore not only be regarded as extremely rare, but also as an important contributor to what was later to become the most sophisticated producer of enamel wares in the history of mankind: The Imperial Palace Workshops in Beijing. Literature comparison: A similar use of yellow ground with multi-colored floral scrolls along panels containing depictions of scholars in garden landscapes can be seen on a Qianlong hand-warmer – with a red enamel six-character Qianlong seal mark within a single square – in the collection of the National Palace Museum, Taipei (illustrated in Enamel Ware in the Ming and Qing Dynasties, p. 243, no. 134) although the frames of the panels on the hand-warmer are in red tones and created using more sophisticated abutted S- and C-shaped elements. The use of imperial yellow grounds ornamented with multi-colored floral scrolls was much admired by the court in the Qianlong reign and can be seen on a number of items in a range of forms preserved in the collections of the Palace Museum, Beijing, and the National Palace Museum, Taipei.A scene of scholars in a garden setting, related to the one on the present plate, appears on a Qianlong enameled tea container in the collection of the State Museum of Oriental Art, Moscow (illustrated by Marina Neglinskaya in Kitayske raspisnie zmali, Moscow, 1995, cat. 38), although in the case of the Moscow piece, one scholar is playing the qin while another listens, and a servant approaches with refreshments. The enamels on the Moscow tea container are less rich than those on the present plate and the hand-warmer from the National Palace Museum Collection, and the dominant color in the background is blue rather than yellow, but it is interesting to note that the style was appreciated by the European elite as well as those in China.Auction result comparison: Compare with a closely related but much smaller plate at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on December 1st 2010, lot 3229, sold for HKD 350,000.十八世紀初廣州銅胎畫琺琅開光文人賞畫圓盤 中國. 尺寸宏偉，盤内開光，繪畫精美，文人及其學生欣賞一位畫家在捲軸上作畫的場景，四周山水湖泊以及院内假山竹林。 來源： 美國賓夕法尼亞州私人遺產。盤底有老藏家的標簽 “C-09” 以及第二個標簽 “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”。 品相： 完整中文品相報告請至www.zacke.at查看。其餘中文敘述請至www.zacke.at查看。
Loading...-
396325 Los(e)/Seite