A ‘QIANJIANG CAI’ ENAMELED ‘LUSH FORESTS AND HIGH BAMBOO’ PLAQUE, BY JIN PINQING (1862-1908) 金品卿(1862-1908) 淺絳彩《茂林脩竹》瓷板Please note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: Qianjiang cai or 'pastel palette' enamels reflected the late Qing potter's increasing inability to produce the more technically demanding vibrant colors of the earlier High Qing or the later Republic period. To borrow a modern aphorism however, the determined late Qing artisans turned this 'bug' into a 'feature' – notably the dreamlike faintness of these colors became popular with the melancholy intelligentsia of the time and led to masterworks by the best, with Cheng Men (1833-1908) and Jin Pinqing (1862-1908), the painter of the present lot, being the most renowned.The rectangular plaque painted in orange, green, and blue tones with thinly applied enamels depicting a forest landscape with hills and mountains, bamboo groves and pine trees in the foreground. Two scholars sit conversing in a field while a third approaches them on foot, two houses with a tranquil river running beside it which disappears into the mountains. The plaque with a lengthy dedication written by Wang Fengchi (1824-1898), a scholar and official who was friends with Jin Pinqing and often collaborated with him on porcelain paintings.Inscriptions: Top center, titled ‘Lush Forests and High Bamboo’, signed ‘written by Jin Pinqing’, two seals. Top left, inscribed ‘Some time ago in the Yijin Studio in the capital, I saw an ink painting by the master Wang Jian from Taicang with a lush forest. The landscape was quite unique. The [present] painting was painted for me by Pinqing in the style of porcelain paintings from Zhushan. The paintings complement each other. The ink style is so gentle and mild like a breath of air. The [original] painting was done in the Spring of the Year of Dingchou [corresponding to 1877] in the third year of the Guangxu era. I am very touched, thus I wrote this dedication. Wang Fenchi.’Provenance: Boston trade. Acquired from a private estate.Condition: Good condition with minor wear and firing irregularities, some of the enamels slightly faded and with minor rubbing and minimal losses, and light surface scratches. Weight: 2,651 gDimensions: Image size 26.3 x 40.7 cm. Size incl. frame 34.1 x 48.6 cm.With an associated gilt wood frame. (2)Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.Auction result comparison: Type: RelatedAuction: Christie’s London, 16 May 2014, lot 1254Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A large circular famille rose ‘landscape’ plaque, late 19th/20th century, dated Bingzi year, corresponding to 1874Expert remark: Note the size (47.6 cm diameter).Auction result comparison: Type: RelatedAuction: Bonhams San Francisco, 11 December 2015, lot 2291Price: USD 21,250 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A qianjiangcai enameled plaque, dated by inscription to 1894Expert remark: Note the size (55.2 cm).
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A LARGE ‘BIRDS WORSHIPPING THE PHOENIX’ CLOISONNÉ BASIN, MING DYNASTY 明代大型《百鳥朝鳳》掐絲琺瑯盆Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 16th to early 17th century. The interior exquisitely decorated in bright enamels with a majestic phoenix standing proudly on one leg, surrounded by adoring birds including a crane beside a tree, a peacock in flight amid colorful clouds, mandarin ducks in a pond, and pheasants perched on bamboo stalks, all encircled by red-ground foliate and white-ground lappet bands. The cavetto with a band of alternating lotus blossoms and the Eight Treasures (babao) below a diapered floral band, the everted rim with a band of chrysanthemum flowerheads and scrolling vines above a ruyi-head border, all against a dark blue ground.Provenance: Sotheby's London, 2 November 2022, lot 291. A private collector, acquired from the above. A copy of the invoice from Sotheby's London, dated 8 November 2022 and stating a purchase price of GBP 8,190 or approx. EUR 10,000 (converted and adjusted for inflation at the time of writing) accompanies this lot. Condition: Good condition with some old wear and expected manufacturing irregularities, including pitting to the enamel, the cavetto with small losses to enamel and associated old fills, minute dents, light wear to gilt. Weight: 1,960 g Dimensions: Diameter 37.5 cmPhoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants, are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace. The present lot is a rare example of such a depiction on a cloisonné basin. Literature comparison: Compare a related cloisonné phoenix basin, dated to the late Ming dynasty, illustrated in the Compendium of Collections in the Palace Museum: Enamels 1, Beijing, 2011, no. 170. Two Ming dynasty cloisonné enamel basins decorated with phoenixes from the 15th and 16th centuries are illustrated by H. Brinker and A. Lutz in Chinese Cloisonné: The Pierre Uldry Collection, The Asia Society Galleries, USA, 1989, pls. 19 and 63.Auction result comparison: Type: Closely related Auction: Christie’s Paris, 9 June 2021, lot 166 Price: EUR 17,500 or approx. EUR 19,000 adjusted for inflation at the time of writing Description: A cloisonné enamel ‘phoenix’ basin, China, Ming dynasty, 16th-17th centuryExpert remark: Compare the closely related form, enamels, decorative bands, and phoenixes. Note the slightly smaller size (35 cm). Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 30 May 2018, lot 653 Price: HKD 175,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A cloisonné enamel ‘carp’ basin, Ming dynasty, Wanli periodExpert remark: Compare the closely related form, enamels, and decorative bands. Note the slightly smaller size (35.5 cm) and different subject. Auction result comparison: Type: Related Auction: Christie’s Paris, 10 December 2020, lot 6 Price: EUR 56,250 or approx. EUR 61,500 adjusted for inflation at the time of writing Description: A large cloisonné enamel basin, China, 17th centuryExpert remark: Compare the closely related form, enamels, and decorative bands. Note the significantly larger size (53.5 cm) and different subject.明代大型《百鳥朝鳳》掐絲琺瑯盆中國，十六至十七世紀初。盆折沿，弧腹，平足。明豔精美的琺瑯，盆中開光描繪一隻威風凜凜的鳳凰單腿站立，周圍環繞著可愛的鳥兒，包括樹旁的鶴，彩雲中飛翔的孔雀，池塘中的鴛鴦，竹上的雉鷄；盆内壁可見纏枝蓮紋帶與八寶紋帶。 來源：倫敦古玩交易。 品相：狀況良好，有一些磨損和製造不規則，包括琺瑯點蝕和凹陷、鎏金有些缺損和相對應的修補、鎏金輕微磨損。 重量：1,960 克 尺寸：直徑37.5 厘米
A CLOISONNÉ ENAMEL WALL VASE, CHINA, 18th CENTURY 十八世紀掐絲琺瑯纏枝蓮紋壁瓶 Please note this Lot is to be sold at No Reserve. 本拍品不設底價Of flattened form, the body supported on a short spreading foot atop a gilt-copper stepped stand raised on three ruyi-form feet and rising to a tall flared neck with a ribbed rim decorated with pendent ruyi heads, flanked by a pair of gilt-copper openwork chilong handles. Brightly enameled on a turquoise ground with a central lotus bloom borne on a leafy scroll surrounded by colorful tendrils, all between overlapping petal and stiff leaf lappet bands at the shoulder and lower body, respectively. The neck with plantain leaves, separated by ruyi heads, above a T-scroll band, below lotus scroll. The copper back with two pierced apertures.Provenance: From the private collection of Sara Fredericks, probably acquired in New York during the 1960s, and thence by descent. Sara Fredericks (1903-1986) was a designer and a retailer who specialized in women’s luxury fashion for more than 50 years. After her marriage to Frederick Cohen, who was in the shoe business, she began selling dresses out of her home to women who admired her clothes. ''She lived the life her customers lived,'' said Pauline Trigere, who was among the designers who considered Miss Fredericks a friend as well as a client. Others in that category were Geoffrey Beene, James Galanos, Bill Blass, Oscar de la Renta, Bob Mackie, and Hubert de Givenchy. ''She had impeccable taste,'' Miss Trigere said, “her customers trusted her.”Condition: Good condition with old wear and manufacturing irregularities including pitting. Tiny nicks and small dents. The foot and base loose, the screw still in place but the nut missing. Minor flaking and small losses to enamels, one with an old fill. For more details, please request a video of the wall vase shot under strong blue light directly from the department.Weight: 413 gDimensions: Height 26 cm Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9.Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 30 May 2006, lot 1276 Price: HKD 204,000 or approx. EUR 38,000 adjusted for inflation at the time of writing Description: A cloisonne enamel wall vase, Qing dynasty, 17th centuryExpert remark: Compare the closely related technique and form.Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 30 May 2006, lot 1278 Price: HKD 228,000 or approx. EUR 42,000 adjusted for inflation at the time of writing Description: A rare cloisonne enamel wall vase, Qing dynasty (18th/19th century)Expert remark: Compare the closely related technique and form. 十八世紀掐絲琺瑯纏枝蓮紋壁瓶壁瓶半器型，敞口，束頸豐肩，斂腹，足部外撇。頸部鑲鎏金銅雙耳，鏤空螭龍紋；瓶身松石綠色地，纏枝蓮紋；頸部芭蕉葉紋；瓶足鎏金銅底，三如意形足。瓶背面銅面有兩個穿孔。 來源：Sara Fredericks私人收藏，可能於上世紀六十年代購於紐約，保存至今。Sara Fredericks (1903-1986) 曾是一位設計師兼零售商，專注於女性奢華時裝已有五十多年的歷史。與從事鞋業生意的Frederick Cohen結婚後，她開始在家裡向欣賞她的衣服的女士出售衣服。“她過著顧客的生活，” Pauline Trigere說道，她是把 Fredericks 小姐視為朋友和客戶的設計師之一。此外還有Geoffrey Beene，James Galanos，Bill Blass，Oscar de la Renta，Bob Mackie與Hubert de Givenchy。“她的品味無可挑剔，” Trigere小姐說，“她的顧客信任她。” 品相：狀況良好，有磨損和製造缺陷，包括點蝕，微小的刻痕和小凹痕。支腳和底座鬆動，螺釘仍在原位，但螺母遺失。琺瑯有輕微剝落和少量缺損，存在舊修。 如需瞭解更多細節，請直接向我司索取在強藍光下拍攝的視頻。 重量：413 克 尺寸：高 26 釐米 壁瓶在乾隆年間尤為流行。眾所周知，三希堂內也有壁瓶。材質多樣，有瓷、景泰藍和漆器，偶爾還會刻有禦詩，例如本拍品。比較北京故宮博物院收藏的幾件瓷壁瓶，插圖見《The Life of Emperor Qianlong》，澳門藝術博物館，澳門，2002年，編號 1，63-2 至 63-9。本壁瓶堪稱乾隆年間最稀有珍品。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得， 2006年5月30日，lot 1278 價格：HKD 204,000（相當於今日EUR 38,000） 描述：十七世紀清代銅胎掐絲琺瑯壁瓶 專家評論：比較非常相近的技巧和外形。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2006年5月30日，lot 1278 價格：HKD 228,000（相當於今日EUR 42,000） 描述：十八至十九世紀銅胎掐絲琺瑯壁瓶 專家評論：比較非常相近的技巧和外形。
A GRISAILLE AND IRON-RED-DECORATED ‘LI TIEGUAI’ VASE, HONGXIAN MARK, EARLY REPUBLIC PERIODPlease note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: For an interesting discussion of porcelain produced during the short period from December 1915 to February 1916 when General Yuan Shikai adopted the reign title Hongxian in an attempt to restore the monarchy to China, see the article by Simon Kwan, 'Hongxian Porcelain and the Role of Wang Xiaotang', published in Orientations, October, 1991, pp. 65-70. In particular, the author notes that a batch of Hongxian-marked porcelain wares was most likely indeed produced for Yuan Shikai. The painting on the present porcelain vase is of the highest quality. The painter not only executed the meticulous wrinkles and folds of Li Tieguai’s skin with a deft hand, but he also painted the clothes with an intricate pattern and shaded the rocks with remarkable mastery. This vase belongs to a rare group of grisaille-decorated porcelain from the Republic period which were decorated by the most skilled painters in Jingdezhen, of which there were exceedingly few left at that time.China, c. 1915-1930. Delicately potted, the ovoid body supported on a short foot and rising to a gently rounded shoulder with a waisted neck and flared mouth. Superbly painted to the exterior in predominantly iron-red and grisaille with Li Tieguai leaning on his iron crutch as he sits on a dramatically cragged and pierced rock under a towering tree with gnarled branches, before a flaming brazier with his double gourd placed on top, surrounded by further vessels and implements. The base with an iron-red four-character seal mark Hongxian nianzhi within a double square.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.3.16. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou’s years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou’s drive to collect was a burning desire to preserve the relics of China’s rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a ‘must see’ destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China’s glorious history.Condition: Very good condition with minor wear and firing irregularities, the body with a fine and short hairline.Weight: 553.5 g Dimensions: Height 20 cm Auction result comparison:Type: Closely relatedAuction: Christie’s New York, 15 September 2011, lot 1642Price: USD 12,500 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: An iron-red and grisaille-decorated baluster vase, 20th centuryComparison: Compare the closely related iron-red and grisaille decoration, immortal subject, and Hongxian mark. Note the different form and the size (32.9 cm).Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 29 May 2013, lot 2033 Price: HKD 437,500 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A grisaille-decorated ‘landscape’ vase, Hongxiang yuzhi blue enamel mark within double-squares, Republic period Expert remark: Compare the closely related iron-red and grisaille decoration and Hongxian mark, as well as the similar size (20.2 cm). Note the different subject and form.Due to length restriction on Drouot this entry is shortened. For full description please visit www.zacke.at.由于Drouot平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A QIANJIANG CAI ‘SCHOLAR AND ATTENDANT’ BRUSHWASHER BY THE HANKOU GANXIN COMPANY, LATE QING DYNASTY TO REPUBLIC PERIOD 清末民初漢口贛新瓷業公司淺絳彩人物場景花口筆洗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, c. 1910-1949. Skillfully potted with a distinctively lobed rim and finely painted to depict an elderly scholar leaning on his staff while his boy attendant carries a basket of flowers under a gnarled pine tree with bright green pine needles in a fenced garden. The base lacquered with a Shou character. The figures are painted inside a garden fence, standing next to a tall pine tree with bright green pine needles.Inscriptions: Center left, ‘Hankou Ganxin Ciye Gongsi’. One seal.Provenance: Belgian trade.Condition: Very good condition with minor wear, traces of use, and firing flaws, light scratches to the base.Weight: 436.5 g Dimensions: Width 29 cmThe Hankou Ganxin Company was an offshoot of the Jiangxi Porcelain Company based in Hankou, Hubei province, one of three towns along with Wuchang and Hanyang that were merged in 1949 to become Hubei’s new capital Wuhan. The Jiangxi Porcelain Company (or Jiangxi Ciye Gongsi) is the most well-known Chinese porcelain studio of the first half of the 20th century, located in Jingdezhen. It was established in 1910 as a large semi-government company funded by private owners and the five provinces of Hebei, Hubei, Jiangsu, Anhui, and Jiangxi. It is located near the Zhushan – the Pearl Hill – adjacent to the former Imperial porcelain workshops. It is often said that the Jiangxi Porcelain Company of the early 20th century replaced the Imperial kilns, making porcelains for the court in the last years of the Qing Dynasty.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the late Qing dynasty and early Republican period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink. The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works. 清末民初漢口贛新瓷業公司淺絳彩人物場景花口筆洗中國，約1910-1949年。花口淺筆洗，平底。洗中淺絳彩描繪松下站著一位文人，拄著手杖，一男童提著一籃子花。底座隱約可辨一個“壽”字。 款識：漢口贛新瓷業公司 來源：比利時古玩交易。 品相：狀況極好，有輕微磨損、使用痕跡、燒製缺陷，底座有輕微劃痕。 重量：436.5 克 尺寸：寬29 厘米
A LARGE IRON-RED AND GILT ‘DRAGONS’ DISH, GUANGXU MARK AND PERIOD 光緒款及年代大型礬紅描金雙龍戲珠紋盤Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1875-1908. Nicely potted with rounded sides and finely painted in iron red and gilt with two confronting dragons amid ruyi-shaped clouds and flames chasing a pearl, the dragons' eyes dotted in black on an opaque white enamel ground also used to depict their fangs and claws. The design repeated along the exterior walls. The recessed base with an iron-red six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From a Swedish private collection. Originally gifted to the previous owner in the 1950s, and thence by descent in the same family. Condition: Magnificent condition with only minimal firing irregularities, little wear to gilt and enamels, minor fritting to foot, and light surface scratches. The gilt remarkably well-preserved!Weight: 1,892 g Dimensions: Diameter 34 cmAuction result comparison:Type: Near identicalAuction: Christie’s London, 3 November 2020, lot 184Price: GBP 18,750 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A large iron-red-decorated 'dragon' dish, Guangxu six-character mark in iron-red and of the periodExpert remark: Compare the near identical motif to the interior, and similar size (37 cm). Note the exterior is enameled with four blooms on leafy scrolls.Auction result comparison:Type: Near identicalAuction: Christie’s London, 14 May 2013, lot 281Price: GBP 22,500 or approx. EUR 35,500 converted and adjusted for inflation at the time of writingDescription: A pair of iron-red-decorated 'dragon' dishes, Guangxu six-character mark and of the periodExpert remark: Compare the near identical motif to the interior and exterior, and the similar size (33.2). Note the lot comprises two dishes.光緒款及年代大型礬紅描金雙龍戲珠紋盤中國，1875-1908年。胎骨堅致，白釉潤澤，敞口弧壁，淺腹圈足。通體施白釉，釉面光潤。口沿飾金彩，盤心以礬紅彩繪雙龍戲珠，並以金彩描繪雙龍身軀、雲紋及龍珠。雙龍身形矯健，鬃鬣飛揚，展現威風凜凜之態。外壁繪雙龍趕珠，內外紋飾呈呼應之勢，底部礬紅彩書“大清光緒年製”。 來源：瑞典私人收藏，是受贈之物，之前的主人購於上世紀五十年代，在同一家族保存至今。 品相：品相精美，僅有微小的製造瑕疵，描金和琺瑯輕微磨損，足部有輕微的熔塊，表面有小劃痕。 重量：1,892 克 尺寸：直徑 34 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦佳士得，2020年11月3日，lot 184 價格：GBP 18,750（相當於今日EUR 25,000） 描述：清光緒礬紅描金雙龍戲珠紋盤礬紅六字楷書款 專家評論：比較內盤幾乎相同的主題，以及尺寸 (37 厘米)較小。請注意盤外圍飾有花卉纏枝紋。 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦佳士得，2013年5月14日，lot 281 價格：GBP 22,500（相當於今日EUR 35,500） 描述：一對光緒款及年代大型礬紅描金雙龍戲珠紋盤 專家評論：比較內盤幾乎相同的主題，尺寸 (33.2)較小。請注意此盤為一對。
AN IMPERIAL CLOISONNÉ ENAMEL ‘LOTUS’ BOTTLE VASE, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIOD 乾隆五字款及年代御製銅胎掐絲琺瑯蓮紋瓶Please note this Lot is to be sold at No Reserve. 本拍品不設底價Published: Galerie Zacke, Feines Altes Kunsthandwerk aus China und Japan, Vienna, 1989, pl. 4a-c, nr. 4c.China, 1736-1795. The ovoid body supported on a slightly spreading foot, surmounted by a gently waisted slender neck, the shoulder with a gilt-bronze band, the rims also finely gilt. Neatly decorated in bright enamels with stylized lotus blooms borne on leafy scrolling vines between ruyi-head bands, the foot encircled by C-scrolls, all reserved on a turquoise ground. The base incised with a five-character mark Qianlong nianzhi yin and of the period.Provenance: Anton Exner (Vienna 1882 – 1952 Vienna). By descent to Walter Exner (Vienna 1911 - 2003 Bad Wildungen). Galerie Zacke, Vienna, 1989. An Austrian private collection, acquired from the above.Condition: Presenting very well and in fine condition commensurate with age, with old wear and expected manufacturing irregularities, including pitting and dark spots. Minor losses to enamels with associated old fills, one dent with an old repair.Weight: 165.2 gDimensions: Height 11.8 cm Based on its size and shape, this vase was made to hold incense instruments. These types of small cloisonné vases, censers, and instruments (luping sanshi) which were made for the burning of incense had an additional character below the reign mark and were made for the Qianlong court. Some scholars have suggested that the fifth character under the Qianlong mark could have been a way to number the large group of objects in the correct order, see H. Brinker and A. Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York, 1989, pp. 74-79.Small cloisonné vases such as the present lot were particularly popular during the reign of Qianlong and are known to have adorned the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian, as illustrated for example in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002. The present vase displays the ornate aesthetic and technical mastery that characterizes Imperial cloisonné wares of the High Qing period, with the characteristic vibrant colors of the enamels and the elegant execution of the linework of the cloisons only achieved during this period.Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 29 May 2013, lot 2057 Price: HKD 300,000 or approx. EUR 39,500 adjusted for inflation at the time of writing Description: A Small Cloisonne Enamel Bottle Vase, Qianlong Incised Four-Character Mark and of the Period (1736-1795)Expert remark: Compare the closely related form, decoration, and incised Qianlong reign mark. Note the similar size (12.3 cm).Auction result comparison: Type: Closely related Auction: Christie’s New York, 23-24 September 2021, lot 931 Price: USD 15,000 or approx. EUR 15,500 adjusted for inflation at the time of writing Description: A small cloisonne enamel bottle vase, Qianlong four-character incised mark in a line and of the period (1736-1795), with an additional character MingExpert remark: Compare the closely related form, decoration, and five-character Qianlong reign mark. Note the similar size (12.7 cm). Also note that this lot has a dent to the center of the red lotus with some loss to enamels.
‘BEAUTY IN A GARDEN, WEARING A TIAN-TSUI TIARA’, ZHENG MUKANG (1901-1982), DATED 1941 鄭慕康(1901-1982)《紅衣仕女圖》1941年 Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Depicting a lady strolling in a garden, framed by a prunus tree and rockwork issuing bamboo, dressed in fine robes tied at the waist and adorned with a blue, flowing scarf. Her hair tied in a high coiffure, wearing a kingfisher feather (Tian-Tsui) tiara.Inscriptions: Top left, dated ‘Three days before the winter solstice in the Year of Xingsi’ (corresponding to 1941), signed ‘Mukang Zheng Shixuan’. Two seals ‘Zheng Mukang yin’ and ‘Mukang Shuhua’. Provenance: From a European private collection. Condition: Good condition with some wear, creasing, and little staining.Dimensions: Image size 66.7 x 42.5 cm, Size incl. mounting 171.5 x 56.5 cmZheng Mukang (1901-1982) was a Chinese painter born in Chaoyang, Guangdong Province. He was an apprentice to several notable artists before becoming a teacher of Chinese Painting at the Shanghai Art School. He is well-known for his gongbi (meticulous) style renditions of Chinese beauties.Tian-Tsui is a style of Chinese art featuring kingfisher feathers. For 2,000 years, the Chinese have been using the iridescent blue feathers of kingfisher birds as an inlay for fine art objects and adornment, from hairpins, headdresses, and fans to panels and screens. Kingfisher feathers are painstakingly cut and glued onto gilt silver. The effect is like cloisonné, but no enamel was able to rival the electric blue color. Blue is the traditional favorite color in China. Auction result comparison:Type: RelatedAuction: Christie’s Hong Kong, 29 May 2018, lot 1466Price: HKD 75,000 or approx. EUR 9,700 converted and adjusted for inflation at the time of writingDescription: Zheng Mukang (1901-1982), Lady ReadingExpert remark: Compare the related motif, also wearing a Tian-Tsui tiara, the composition, and fine brushwork. Note the size (98 x 42.8 cm).Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 10 December 2012, lot 5323Price: USD 12,500 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: Zheng Mukang (1901-1982), Beauty Under a WillowExpert remark: Compare the related motif, also wearing a Tian-Tsui tiara, the composition, and size (68 x 35.6 cm).鄭慕康(1901-1982)《紅衣仕女圖》1941年中國，紙本水墨設色，掛軸。一位美人在花園中漫步，身側有一棵桃樹與假山綠竹。她穿著精美的長裙，梳高髻，佩戴點翠髮飾。 款識：辛巳冬至前三日寫，慕康鄭師玄；鈴印：鄭慕康印，慕康書畫 來源：歐洲私人收藏。 品相：狀況良好，有一些磨損、摺痕和少量污漬。 尺寸：畫面66.7 x 42.5 厘米，總171.5 x 56.5 厘米 鄭慕康(1901-1982) 廣東潮陽人，學畫師從馮超然。精工筆人物，擅作仕女肖像。曾任上海美專國畫教師、上海中國畫院畫師，海上名畫家之一。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2018年5月29日，lot 1466 價格：HKD 75,000（相當於今日EUR 9,700） 描述：鄭慕康《庭院閑讀》 專家評論：比較相近的主題、也佩戴點翠髮飾、構圖和精細的筆觸。請注意尺寸(98 x 42.8 厘米)。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年12月10日，lot 5323 價格：USD 12,500（相當於今日EUR 15,000） 描述：鄭慕康《柳下美人》 專家評論：比較相近比較相近的主題、也佩戴點翠髮飾、構圖和尺寸 (68 x 35.6 厘米)。
A CLOISONNÉ ENAMEL JAR AND COVER, 18TH CENTURY 十八世紀掐絲琺瑯蓋罐Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. Of compressed globular form, tapering towards the foot, the short neck with a gilt rim, decorated around the exterior with stylized dragons amid scrolling clouds above a turquoise ground, enclosed by a band of ruyi to the shoulder and a lappet border above the foot, the neck and foot with key-fret. The cover similarly decorated with dragons and scrolling clouds and surmounted by gilt lotus petals supporting the globular finial. Provenance: British trade. Remnants of an old label to the base. Condition: Good condition, commensurate with age and displaying nicely overall. There is a remote possibility that vessel and cover may have been associated, but they are definitely from the same period. With some wear, small losses and old fills as expected, few dents to the metals, minor chips, light scratches, and little warping.Weight: 349.2 g Dimensions: Height 13.4 cm十八世紀掐絲琺瑯蓋罐 描述：中國，罐口外撇鎏金寬邊，豐肩，腰下斂；在綠松石色地雲中龍紋，肩部修飾如意紋帶，足部蕉葉紋。罐蓋上封面同樣飾有龍紋和卷雲，頂部飾有鎏金蓮花鈕。 來源：英國古玩交易，底座有舊標籤。 品相：品相良好。蓋子和罐可能不是原始匹配，但它們肯定來自同一時期。有一些磨損、小修補，金屬上有凹痕、輕微劃痕和翹曲。 重量：349.2 克 尺寸：高13.4 釐米
A FAMILLE NOIRE ‘MAGPIE AND PRUNUS’ BRUSHPOT, BITONG, QING DYNASTY 清代墨地喜上眉梢筆筒Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 18th - 19th century. Exquisitely painted in delicate tones of violet-blue, coral, and emerald green on a black ground, depicting an Oriental magpie perched on a flowering prunus tree, surrounded by peony blossoms, and with small butterflies fluttering about the composition.Provenance: From a private collection in Paris, France, Rue des Petites Écuries. Condition: Very good condition with some old wear and firing irregularities, rubbing to enamels, traces of use to the interior.Weight: 736.5 gDimensions: Diameter 10.4 cm, Height 12.8 cm Expert’s note:The present lot was certainly not created for export, as the concept of the Bitong was not common in the west during the later 19th century. It is one of the interesting study examples, where it is rather difficult to say if it was made during the Kangxi reign or later in the Qing period. Either way, the quality of the artwork is superb, and the enameling palette corresponds to the patterns described by Sullivan (see literature comparison below).The 19th century witnessed a ‘Famille Noire frenzy’ prompted by a surge of interest amongst the newly minted millionaires in England and America who vied with one another to acquire the best art to fill the enormous rooms of their grand estates. Famille Noire wares comprised many of the most expensive porcelains sold at the time, with some examples selling for tens of thousands of pounds. Clients and dealers, from John D. Rockefeller to J.P. Morgan, competed vigorously for fine examples, the intensity resulting in ruptured friendships and even legal battles.The issue of supply became paramount. Two elements facilitated the production in China in the 19th century. The first resulted from the political and social turmoil that defined China in the last years of the Qing dynasty. Commissions were disappearing for the potters of Jingdezhen and they certainly would have welcomed requests for Kangxi-style wares, including large-scale Famille Noire pieces. Secondly, black was the natal color of Empress Dowager Cixi (1835-1908), and it is reputed that the palace eunuchs added black grounds to some wares to please her (see Gerald Reihinger, Economics of Taste, volume 2, London, 1970, page 212).Both genuine Kangxi pieces, with bodies scraped and re-enameled, and entirely new wares were sold to the West as Kangxi period during that time, an attribution that was not seriously questioned until 1974 with John Alexander Pope’s catalog of the Frick Collections porcelains. Pope put forth a convincing argument about the Famille Noire wares, observing that most large-scale objects in the collection were late 19th century (see John Alexander Pope, The Frick Collection: An Illustrated Catalogue. Volume 7, Porcelains, Oriental and French, Washington, 1974, pp. 87-90).The pairing of prunus with magpie in Chinese culture sounds similar to the phrase ‘mei xi que’, which can be interpreted as ‘may happiness and joy arrive’. This association is often used in artistic imagery to symbolize the welcoming of spring and the renewal of the landscape. Tradition also holds that if a magpie lands near your house, it is a sign of good luck and positive opportunities approaching.Literature comparison: For a description of Kangxi-period famille noire wares that match the current lot, see Michael Sullivan, The Arts of China, 1977, p. 248. Sullivan discusses the “violet-blue” and “jewel-like green” hues of the Kangxi period famille noire enamels, and further talks about how the “black background” should be “almost iridescent” like “being washed over with a transparent green glaze”. Compare a related famille noire vase with a closely related violet-blue enamel, dated to the Kangxi period, in the Victoria & Albert Museum, accession number C.1310-1910.
A RARE BLUE-GROUND POLYCHROME-DECORATED ‘DRAGON’ BOWL, QIANLONG MARK AND PERIOD 乾隆款及年代罕見青花藍地紅綠彩龍紋碗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1736-1795. Superbly potted with deep rounded sides rising from a straight foot to a gently flared rim, the exterior vividly enameled with two ferocious dragons, one in green enamel, the other iron-red, racing through green, yellow and iron-red flames in pursuit of flaming pearls positioned above cruciform clouds, resting on a band of overlapping petals, all reserved on a washed underglaze-blue ground, the interior with a central medallion enclosing a similar green dragon. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in North Yorkshire, United Kingdom. Condition: Very good condition with expected wear and shallow surface scratches, minimal firing irregularities. The well with a near-invisible starcrack, ca. 5 cm long. Weight: 227.8 g Dimensions: Diameter 14 cmLiterature comparison: A Kangxi-marked bowl of this same design was included in the exhibition Joined Colors, Decoration and Meaning in Chinese Porcelain, Ceramics from Collectors in the Min Chiu Society, Hong Kong, illustrated by L.A. Cort and J. Stuart, Catalogue, Hong Kong, 1993, p. 84, pl. 13. Qianlong-marked bowls of this type are relatively rare, examples include one sold at Christie's New York, 28 March 1996, lot 363, and another at Sotheby’s Hong Kong, 1 December 1977, lot 648.Auction result comparison: Type: Near identical Auction: Christie’s Hong Kong, 29 May 2013, lot 1924 Price: HKD 870,000 or approx. EUR 132,000 converted and adjusted for inflation at the time of writing Description: A rare blue-ground polychrome-decorated ‘dragon’ bowl, Qianlong six-character seal mark and of the periodExpert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in excellent condition. Auction result comparison: Type: Near identical Auction: Christie’s Hong Kong, 28 May 2014, lot 3456 Price: HKD 475,000 or approx. EUR 72,000 converted and adjusted for inflation at the time of writing Description: A Rare Blue-Ground Polychrome-Decorated 'Dragon' Bowl, Qianlong Six-Character Seal Mark and of the Period (1736-1795)Expert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in restored condition.乾隆款及年代罕見青花藍地紅綠彩龍紋碗中國，1736-1795年。胎體緊緻，碗口略外撇，深弧腹。碗外壁青花藍地，分別用紅彩與綠彩描繪兩條矯健雲龍戲珠，被綠色、黃色和鐵紅色火焰環繞。腹底飾一圈重疊花瓣紋。碗內開光内藍地綠彩雲龍。足底青花“大清乾隆年製”款。 來源：英國北約克郡私人收藏。 品相：品相極好，有磨損和表面劃痕，製造瑕疵，少量不明顯的釉面裂紋。 重量：227.8 克 尺寸：直徑14 厘米 文獻比較： 一件相同設計康熙款碗，見Joined Colors，《Decoration and Meaning in Chinese Porcelain，Ceramics from Collectors in the Min Chiu Society》，香港，見L.A. Cort和J. Stuart，圖錄，香港，1993年，頁84，編號13。一件乾隆款碗，售於Christie's New York，1996年3月28日，lot 363，以及售於香港蘇富比，1977年12月1日，lot 648。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2013年5月29日，lot 1924 價格：HKD 870,000（相當於今日EUR 132,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗品相極佳。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2014年5月28日，lot 3456 價格：HKD 475,000（相當於今日EUR 72,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗曾修復過。
FULHAM FC MEDAL 1891 Winners medal for the West London Observer Association Football Challenge Cup 1891. Hall-marked silver with enamel crest and engraved on reverse "Fulham FC J.King 1891". Fulham FC, founded in 1879 had prior to this triumph only won one other Cup competition, namely the West London Cup in 1886-87, and this is a medal from only the second trophy that Fulham had won. Until 1898, Fulham were an amateur side and Jack King was also a member of the Fulham Championship team of 1892-93 (West London League) and was a founder member of the team from the Mud Pond pitch days near Star Lane. This was the first season that this Cup competition was held and Fulham defeated The Stanley 5-3 in the Final after a draw a week earlier. The medal with pin clasp is in good condition and comes with a non-original case. Good
Group of silver, comprising set of six Norwegian enamel coffee spoons, in fitted case, cigarette case, with engraved initials and C scroll decoration and a pair of silver mounted dwarf candlesticks, all stamped or hallmarked Condition Report: Cigarette case approximately 2.39 ozt (74.2 grams)General wear commensurate with age and use in the form of surface scratches, nicks and small knocks. Enamel damaged with heavy losses on all spoons. Some larger knocks and compression to cigarette case and candlesticks.
Modern silver mounted clock, with reed and ribbon border, hallmarked Carr's of Sheffield Ltd, Sheffield 1994, together with a miniature silver Art Nouveau style photograph frame and three silver topped glass bottles, including a scent bottle with pink guilloche enamel decoration, all hallmarked, clock H17cmCondition Report: Weighable silver 0.85 ozt (26.3 grams)General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Some chips to facets of glass bottles. Hallmarks with varying degrees of wear, mostly clear and legible.
Seven early 20th century and later silver and enamel cartouche fobs, all relating to football, to include a circular example, with central rose gold cartouche surrounded by a green enamel border, hallmarked Birmingham 1927, and six others all hallmarked with various dates and makersCondition Report: Approximate total weight 3.01 ozt (93.5 grams)General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Some rubbing to the higher points of detail. Hallmarks with varying degrees of wear.
Set of six Danish silver-gilt blue enamel demitasse spoons with crown finials and together with an individually boxed example, all by Egon Lauridsen, stamped ELA Denmark Sterling 925S, both in fitted casesCondition Report:General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Some losses to the enamel on two spoons. Gilt wearing slightly particularly to the underside of the bowls.
Set of six Danish silver-gilt harlequin enamel demitasse spoons with crown finials, by Egon Lauridsen, stamped ELA Denmark Sterling 925S, in fitted caseCondition Report:General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Some losses to the enamel on two spoons. Gilt wearing slightly particularly to the underside of the bowls.
Set of six Danish silver-gilt guilloche enamel coffee spoons, stamped Denmark Sterling, with Birmingham import marks for SJ Rose and Son, in fitted caseCondition Report:General wear commensurate with age and use in the form of surface scratches, nicks and small knocks. Some knocks and losses to enamel. Marks with varying degrees of wear but generally legible. Box with discolouration to interior and exterior.
Mid 20th century Danish silver and guilloche enamel cruet set by Volmer Bahner, comprising pepper shaker, open salt and salt spoon, the spoon handle and bowl interior with red basse taille enamel and vine motif, the pepperette with panels of red guilloche enamel with similar applied vine decoration, all stamped Sterling Denmark VB, pepperette H4cmCondition Report:General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Losses to enamel on spoon but appears good on other items.
ART DECO GEORGE V SILVER AND GUILLOCHE ENAMEL TRINKET BOX, ADIE BROS LTD, BIRMINGHAM 1929 of shaped outline with velvet lined interior11cm wideIn overall good condition. Silver tarnished. Enamel in good order. Fabric in fair condition, would benefit from a clean. Additional images now available.
GEORGE VI SILVER AND GUILLOCHE ENAMEL COMPACT HENRY CLIFFORD DAVIS, BIRMINGHAM 1949 of circular form, the hinged cover painted with violets to white ground10.3cm diameterLoss to enamel near the clasp, further scratches and pitting to enamel, sent to underside, further scratches and nicks to silver, images available
SET OF FOUR GEORGE V SILVER AND ENAMEL CAKE FORKS, L. & CO., BIRMINGAM MARKS with peacock feather terminal, along with further silver flatware, including five zodiac coffee spoons, silver and mother of pearl cake knives and forks, and furtherthe weighable silver approx 685g gross Condition good to fair. Light age related wear. One teaspoon a/f
CONTINENTAL SILVER AND ENAMEL PILL BOX, SECOND HALF OF THE 20TH CENTURY stamped 925, of oblong form, the hinged cover mounted with enamel plaque decorated with fox hunting scene depicting two riders, along with a silver placename/menu holder modelled as a thistlethe pill box 3.8cm wide Qty: 2
Early 20th century 18ct gold open face keyless cylinder pocket watch, white enamel dial with Roman numerals, back case with engraved foliate decoration and empty cartouche, stamped 18K with Helvetia hallmarkCondition Report:Approx 48.25gm, pendant bow and inner dust cover not gold, movement functioning, dial good with very small loss between 4 and 5 o'clock, other marks just dirt, case diameter = 39mm, hands moving freely, case with some very light dents, closes tight, glass loose from front cover
9ct gold jewellery including horseshoe stick pin, ruby and diamond cluster ring, cameo ring and a brooch, silver jewellery including butterfly ring by Thomas Mott, yellow enamel pendant necklace and two Victorian brooches and a set of gilt cufflinks, boxedCondition Report:Horseshoe stick pin approx 0.75gm, head tested 9ct, pin base metal (some dents), other 9ct approx 8.8gm (back pin not gold on brooch), silver tested or stamped
Early 20th century keyless lever 8 days goliath pocket watch by Favre-Leuba & Co, white enamel dial with Roman numerals and subsidiary seconds dial, in silver mounted leather case, with velvet interior, Birmingham 1901Condition Report:Movement functioning and clean, case with some scratches and marks around opening, dial good with very very small enamel loss under '8 days' - not detrimental, case diameter = 65mm, case with wear, back stand missing, closes tight
WWI silver trench wristwatch, white enamel dial with Arabic numerals, red 12 and subsidiary seconds dial, the back case engraved Nov 27th 1915, case by Stockwell & Co, London import mark 1914, on brown leather strapCondition Report:Movement functioning and clean, dial with very faint hairline from centre to 8 o'clock, hands moving freely, lugs sound, case diameter = 32mm (excluding crown)
Early 20th century 9ct gold open face keyless lever pocket watch by American Watch Co, Waltham, No. 16807288, white enamel dial with Roman numerals, case by Dennison, Birmingham 1910Condition Report:Approx 91.55gm, movement functioning, inner dust cover screw on base metal, pendant bow broken from the movement so cannot wind or move hands, requires repair, missing seconds hand and loss to dial at the base, case closes tight, some light scratches and a couple of dents
Norwegian silver green enamel flower pendant necklace by J. Tostrup, 18ct gold stone set pendant / charm, 9ct gold earrings, single strand cultured pearl necklace with 9ct gold clasp, silver jewellery including bracelet, three leaf clover moonstone brooch, scallop shell marcasite and pearl brooch etcCondition Report:9ct earrings approx 5.3gm gross, 18ct gold charm approx 1.7gm
Victorian British Politics - a 19th century brass carriage timepiece, 6.5cm rectangular enamel clock dial inscribed with Roman numerals, key-wound movement with platform escapement, five-glass gorge case, swing carrying handle, 14.5cm high, presentation inscription From Sir William Harcourt 1885Sir William George Granville Venables Vernon Harcourt KC (1827 - 1904) served as Member of Parliament for Oxford, Derby and West Monmouthshire. He held the offices of both Home Secretary and Chancellor of the Exchequer
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