A RARE WUCAI 'ZHANG TIANSHI AND THE FIVE POISONS' DISH, WANLI MARK AND PERIODChina, 1573-1620. Exquisitely potted, the shallow rounded sides supported on a tapered foot and rising to an everted rim. Superbly painted in bright enamels and cobalt-blue to the interior with Zhang Tianshi riding a tiger with flame-like mane and bushy tail, raising his sword as he chases a snake hiding behind a craggy rock, all below a gnarled pine tree and above further rockwork and blossoming flowers, enclosed by a double line border and encircled by butterflies, floral motifs, and lingzhi. The exterior similarly decorated with reeds, floral motifs, and a lizard. The recessed base with an underglaze-blue six-character mark da Ming Wanli nianzhi within a double circle and of the period.Provenance: New York trade, by repute acquired from an old Japanese private collection.Condition: Superb condition with minor old wear and distinct firing irregularities, as expected from authentic Wanli wares, including scattered pits and few dark spots. Only minimal rubbing to enamels, occasional light surface scratches.Weight: 191.5 gDimensions: Diameter 16 cmWith a Japanese wood storage box and protective cloth wrapping. (3)The theme in this dish is associated with the Dragon Boat Festival (duanwujie), which falls on the fifth day of the fifth lunar month. Many of the motifs associated with duanwujie relate to the desire to combat evil forces and poisonous creatures. On this dish, we see the legendary Daoist priest Zhang Tianshi, who cuts through evil with his sword.The snake, lizard, centipede, toad, and scorpion constitute the 'Five Poisons' in Chinese traditions. Here, Zhang is depicted chasing two of them, a snake and a lizard, the latter of which is painted to the exterior of this dish. The pomegranate flowers, which are in bloom at the time of the Dragon Boat Festival, are associated with fertility and were worn as amulets by women. Their brilliant red color is also the color of joy.Zhang Tianshi, courtesy name Fuhan, also known as Zhang Daoling and Zhang Ling, among other names, was a Chinese religious leader who lived during the Eastern Han dynasty and founded the Way of the Celestial Masters sect, the first organized form of religious Daoism. In 142 CE, Zhang announced that Laozi had appeared to him, and commanded him to rid the world of decadence and establish a new state consisting only of the 'chosen people'. Zhang became the first Celestial Master and began to spread his newly founded movement throughout the province of Sichuan. The movement was initially called the Way of the Five Pecks of Rice, because each person wishing to join was required to donate five pecks of rice. The movement spread rapidly, particularly under his son Zhang Heng and grandson Zhang Lu. Their rebellion against the Han dynasty is known as the Five Pecks of Rice Rebellion. After the success of the rebellion in 194, they founded the theocratic state of Zhang Han in the Hanzhong Valley of Sichuan, enjoying full independence.Expert's note: Wucai dishes with related designs and Wanli marks were sometimes copied during the Kangxi period. The present lot, however, is without a doubt a genuine Wanli piece, as indicated by the creamy, pale ivory-colored ware, the distinct kiln marks, the fine warping and the inimitable color palette.Literature comparison: A smaller Wanli wucai dish with similar theme but differently rendered with Zhang Tianshi surrounded by all the 'Five Poisons' is in the Palace Museum, Beijing, illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, no. 47. The present dish also relates to a somewhat larger Wanli wucai dish in the collection of the Percival David Foundation and now in the Victoria & Albert Museum, accession number C.1037-1917, illustrated by Rosemary E. Scott and Rose Kerr in Ceramic Evolution in the Middle Ming Period, V&A and Percival David Foundation, London, 1994, p. 22, no. 25, and another in the collection of the Tianminlou Foundation, illustrated by Louise Allison Cort and Jan Stuart, Joined Colors, Smithsonian Institution, Washington, 1993, p. 130, no. 57. The latter two dishes have the theme of the Five Poisonous Creatures on the back and another aspect of the Duanwujie festival - dragon boat races - on the interior.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 November 2016, lot 3400 Price: HKD 525,000 or approx. EUR 74,000 converted and adjusted for inflation at the time of writing Description: A fine and very rare wucai 'Zhang Tianshi' dish, Wanli six-character mark in underglaze blue within a double circle and of the period Expert remark: Compare the closely related depiction of Zhang Tianshi with raised sword, the exterior also with a lizard, and further decoration of butterflies, pomegranate flowers and lingzhi. Note that there is no tiger and no snake. Also note that the dish is of smaller size (14 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 6 April 2016, lot 47 Price: HKD 1,125,000 or approximately EUR 158,500 converted and adjusted for inflation at the time of writing Description: A small wucai 'shoulao' dish, mark and period of Wanli Expert remark: Compare the closely related form and wucai decoration, though depicting a different subject. Note the smaller size (12.3 cm).萬曆款與年代五彩開光《張天師斬五毒圖》盤中國，1573-1620年。盤沿外撇，弧腹，圈足。圈足内有“大明萬曆年製”六字二行青花楷體雙圈款。來源：紐約古玩交易市場，據説購於一個日本私人舊藏。 品相：品相極佳，有輕微的磨損和明顯的燒製不規則現象。琺琅磨損輕微，局部有輕微的劃痕。 重量：191.5 克 尺寸：直徑16 厘米 日本木製盒子。 由於字數限制，完整中文敘述請至www.zacke.at查看。
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A RARE AND LARGE CLOISONNE ENAMEL 'BAJIXIANG' VASE, GU, QIANLONG PERIODChina, 1736-1795. The vase is well cast of archaic gu form, superbly decorated around the rounded mid-section with lotus sprays and bats enclosed by linked fret scrolls. The trumpet neck and spreading foot are enameled with hanging plantain leaves enclosing lotus blossoms and scrollwork, dividing further lotus sprays borne on tendrils. The flared mouth rim is embellished around the exterior with the Bajixiang, the Eight Buddhist Emblems, and four Shou medallions amidst lotus blooms on the interior.Provenance: A highly important Austrian private collection, acquired during the first half of the 20th century, and thence by descent within the same family. Dorotheum, Vienna, 9 December 1992, lot 229. A Viennese private collection, acquired from the above. Old inventory label from Dorotheum to base.Condition: Superb condition with minor traces of use and manufacturing irregularities, including expected pitting, minuscule losses to enamels with associated old fills, few microscopic nicks, expected wear to gilt, light scratches to base. Please request a video, shot under strong blue light, to see the magnificent condition of this lot for yourself. Overall, such a large cloisonne vessel, dating from the 18th century, that comes in such a pristine state of preservation must be considered extremely rare. Weight: 2,931 g Dimensions: Height 44 cmExpert's note: It is rare to find a cloisonne enamel gu vase decorated with the bajixiang motif, and the current vessel is likely to have been part of a set placed in a Buddhist temple within an important palace, possibly the Forbidden City. The matching pair to the present vase, most probably coming from the same altar set, was sold at Christie's in 2016 (see auction result comparison), and it is our sincere hope that the winning bidder of the present lot will be able to reunite the pair.Literature comparison: A number of cloisonne vessels of other forms with this Buddhist decoration have been published, including the alms bowls and plates illustrated in Compendium of Collections in the Palace Museum - Enamels (2) - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, pls. 260-261, 287-289. Compare also a censer, similarly decorated with the bajixiang borne on lotus blooms and archaic scrolls as on the present vase, dated to the early 18th century and illustrated by C. Brown in Chinese Cloisonne - The Clague Collection, Phoenix Art Museum, 1980, pl. 43.Auction result comparison: Type: Matching pair Auction: Christie's Hong Kong, 1 June 2016, lot 3402 Price: HKD 1,840,000 or approx. EUR 247,000 converted and adjusted for inflation at the time of writing Description: A rare large cloisonne enamel 'bajixiang' vase, gu, Qianlong period Expert remark: Note that this vase and the present lot most likely once were part of the very same altar set.乾隆罕見掐絲琺瑯八吉祥花觚中國，1736-1795年。花觚喇叭口，細長頸，鼓腹，束腰，足外撇。松石綠色地上琺瑯彩繪，觚外壁口下與高圈足上，均繪纏枝蓮托八寶紋。頸部下方有蕉葉紋，腹部纏枝蓮紋，口沿與足牆處一周迴紋。觚内壁纏枝蝙蝠壽字紋。花觚造型優雅，結構紋飾富麗堂皇。 來源：奧地利重要私人收藏，二十世紀上半葉進入收藏，在同一家族保存至今。1992年12月9日維也納Dorotheum, lot 229；維也納私人收藏購於上述拍賣。底部可見Dorotheum 編號標籤。 品相：狀況極佳，有輕微的使用痕跡和製造瑕疵，包括預期的點蝕、與舊填充物相應的琺瑯缺損、輕微刻痕、鎏金磨損，底座上有輕微劃痕。請聯繫藝廊獲取藍光下拍攝的視頻。總體而言，如此原始的保存狀態的十八世紀景泰藍大型容器極為罕見。 重量：2,931 克 尺寸：高44 厘米 專家注釋：以八吉祥為裝飾的掐絲琺瑯觚瓶十分少見，而這件觚瓶很可能曾放置在重要宮殿（可能是紫禁城）內的一座佛堂中。 此瓶曾爲一對，另一個於 2016年 年在佳士得拍賣（見拍賣結果比較），我們真誠地希望本拍品有朝一日能重聚。文獻比較：一些具有佛教裝飾的景泰藍器皿已經出版，包括《故宮博物院藏品大系—琺瑯彩2—清掐絲琺瑯（1644-1911）》中的碗和盤，北京，2011年，圖260-261和287-289。與此相比，還有一件18世紀初香爐也有類似的裝飾，飾有蓮花和古卷，見C. Brown，《Chinese Cloisonne - The Clague Collection》，Phoenix Art Museum，1980年，圖43。由於字數限制，完整中文敘述請至www.zacke.at查看。
AN INSCRIBED BAMBOO BRUSHPOT, BITONG, BY WANG LUYI, 18TH CENTURYChina. Of cylindrical form, supported on three short feet, finely carved in relief and undercut with three men in a sampan fishing boat under swirling clouds and a willow growing from rockwork with bamboo and a crane. The reverse with a poetic inscription as well as a cyclical date and the artist signature.Inscription: To reverse, 'Wang Luyi' (name of artist), 'Youzhu' (artist sobriquet), dated to spring of Dingxu year (corresponding to 1706 or 1766). The poem:“Returning home, the charcoal smoke is rising;A single boat approaches the willow's shade.”Provenance: Ralph M. Chait Galleries, New York, USA (according to label on base). The collection of Dr. Thomas Navratil, Zurich, Switzerland. Sydney L. Moss Ltd., London, United Kingdom, 22 November 1999. The collection of Teddy Hahn (1933-2012), acquired from the above, and thence by descent to the present owner. A copy of the original stamped and signed invoice, dated 22 November 1999, stating a purchase price of GBP 4,000 or approx. EUR 7,700 (converted and adjusted for inflation at the time of writing), accompanies this lot. The base with an old inventory label, inscribed '89', and further inscribed '[…] 1080'. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.”Published: Sydney L. Moss Ltd, Escape from the Dusty World: Chinese Paintings and Literati Works of Art”, London, 1999, no. 19.Condition: Good condition with old wear, light scratches, few minuscule nicks, natural age cracks with associated small losses and old fills. Elegant naturally grown patina overall.Weight: 477.4 gDimensions: Height 14.9 cm, Diameter 14 cmAuction result comparison: Type: Related Auction: Sotheby's New York, 10 September 2019, lot 54 Price: USD 15,000 or approx. EUR 16,000 converted and adjusted for inflation at the time of writing Description: A bamboo 'scholars' brushpot, Qing dynasty, 18th centuryExpert remark: Compare the related manner of carving, also with a sampan under clouds and trees. Note that the composition is denser while the brushpot is narrower and lacks any inscriptions or signatures. 十八世紀竹雕人物筆筒，王魯一款中國。圓柱體，筆筒外壁浮雕人物場景，漁船上三個人物，一個在撐船，一個似乎是婦人正在吹火。柳樹下立著一隻仙鶴。另有詩文。底部三短足。 題詩: 載歸煤烟生，？船就柳蔭 丙戌仲春友竹居士王魯一製 來源：美國紐約Ralph M. Chait Galleries藝廊 (根據底部標籤)；蘇黎世Dr. Thomas Navratil收藏；英國倫敦Sydney L. Moss Ltd.藝廊，1999年11月22日；Teddy Hahn (1933-2012)收藏，購於上述藝廊，保存直徑。隨附1999年11月22日出具的蓋章並簽名的發票複印件，顯示當年價格：：為 GBP 4,000 ，相當於如今的 EUR 7,700 。底部有收藏標籤顯示 '89'以及'[…] 1080'字樣。Theodor “Teddy” Hahn 曾是知名的根付和亞洲藝術收藏家。他參觀了很多博物館，研究世界早期文化，對造像產生了特別的興趣，他開始收藏，他說：“我不知何故知道它會對我的生活產生深遠的影響。 我是多麼正確。 以及我有多開心。” 出版：Sydney L. Moss Ltd, Escape from the Dusty World: Chinese Paintings and Literati Works of Art”, 倫敦, 1999年，編號19。 品相：品相良好，有磨損、輕微劃痕、少量細小的刻痕、自然老化裂縫以及相應的缺損和填充。整體包漿優雅自然。 重量：477.4 克 尺寸：高14.9 厘米, 直徑 14 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比, 2019年9月10日, lot 54 價格：USD 15,000 （相當於今日EUR 16,000） 描述：十八世紀清代竹雕人物筆筒 專家評論：比較相近的雕刻，例如雲與樹下的小舟。請注意，此筆筒構圖比較密集，而筆筒比較窄，沒有任何銘文或簽名。
A CHAMPLEVE AND ENAMEL WALL VASE, GUANGDONG TRIBUTE TO THE IMPERIAL COURT, QIANLONGChina, 1736-1795. Of flattened form, the gilt bronze baluster body supported on a short spreading foot and rising to a flared neck, the mouth and foot rims are three-lobed. Inlaid at the center with a haitang-shaped and finely enameled plaque neatly painted with two court ladies seated in a lush garden with willows, rockwork, and flowers, one playing the flute. The plaque is encircled by raised kuilong executed in champleve enamel, the foot and base of the neck with similar kuilong and with an enameled taotie mask below the mouth.Provenance: From a North German private collection, assembled before 2007.Condition: The canton enamel plaque with small repairs to lost enamels, the vase further with some dents and nicks, light surface scratches, manufacturing flaws such as expected pitting, minor old wear to gilt. Overall presenting remarkably well, the condition consistent with age.Weight: 579.2 gDimensions: Height 21 cmThe back with a circular aperture within a rectangular recess for wall suspension.Palace archival records confirm that significant quantities of enamel and champleve wares were produced in the Guangdong province with a wide range of designs that included luxurious and eye-catching pieces such as the present wall vase. Yang Boda notes the high quality of champleve wares made in Guangzhou, the capital of the province, adding that they were 'second to none during the whole Qing dynasty' (see Tributes from Guangdong to the Qing Court, Chinese University of Hong Kong, 1987, page 54). During the 18th century, Guangzhou had become an important artistic center as craftsmen active there were in very close contact with European missionaries and traders bringing to China new and innovative techniques. Wares made in these foreign techniques were highly coveted by the Imperial household, especially during the Qianlong era, hence a number of such champleve wares were sent as tribute gifts from Guangdong to the Imperial court in Beijing. During the reign of the Qianlong Emperor, the manufacture of champleve, cloisonne and painted enamel products flourished to achieve its most sophisticated level in both range and quality.Expert's note: Champleve wall vases only seldomly appear on the market. The present lot - with its unique addition of a finely enameled plaque - seems to have no comparable examples found in private or public collections and hence must be considered exceedingly rare.Auction result comparison:Type: RelatedAuction: Bonhams London, 13 May 2010, lot 401Estimate: GBP 15,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A fine champleve enamel and gilt-bronze baluster wall vase, late QianlongExpert remark: Compare the related champleve enameling and similar kui dragons. Note that this vase is of almost the same size (18.3 cm) but lacks the canton enamel plaque.Auction result comparison:Type: Remotely relatedAuction: Christie's Hong Kong, 29 May 2013, lot 2068Price: HKD 3,150,000 or approx. EUR 475,500 converted and adjusted for inflation at the time of writingDescription: A very rare Imperial champleve and gilt-bronze archaistic vase, hu, QianlongExpert remark: Note that this is not a wall vase and of significantly larger size (39.3 cm) than the present lot乾隆内填琺瑯壁瓶，廣東進貢中國，1736-1795年。扁瓶形，撇口，束頸，豐肩，下收腹，底足外撇。頸部中央一道弦紋。瓶身開光鑲嵌精美琺瑯瓷牌，兩位仕女坐在園中柳樹下，四周鮮花環繞，假山亭子。開光周圍是用内填琺瑯描繪夔龍紋和饕餮紋。 來源：德國北部私人收藏，購於2007年之前。 品相：琺瑯面有小修復，花瓶有一些凹痕和刻痕，表面有輕微劃痕，製作瑕疵，例如麻點、鎏金的輕微磨損。整體狀況良好，與年齡相吻合。 重量：579.2 克 尺寸：高21 厘米 背面帶有矩形凹槽，圓形孔，用於牆壁懸掛。由於字數限制，完整中文敘述請至www.zacke.at查看。
AN IMPORTANT AND RARE UDAYANA-STYLE FIGURE OF MAITREYA, LATE YUAN DYNASTY - HONGWU PERIODOpinion: The present statue is stylistically very similar to an important gilt-bronze figure of Maitreya, which can be pinpointed by radiocarbon dating of organic material in its core to a quite narrow timeframe from the late Yuan dynasty to the Hongwu period. The distinct U-shaped folds, elongated undulating sleeves, and flared hems, as well as the characteristic hairstyle, all indicate that the two figures were made at more or less exactly the same time, around the years 1350-1380. The image is superbly carved standing with his right hand raised in abhaya mudra, the deity portrayed with a serene and meditative countenance below an urna, framed by a pair of long pendulous earlobes and hair neatly swept over the ushnisha, clad in a long robe with elongated sleeve openings and accentuated overall with pronounced folds and undulations, the garment loosely clinging to the gently rounded outlines of his stomach and legs and ending in a flaring hem above the bare feet. Provenance: A Belgian private collection. Condition: Good condition, commensurate with age and presenting remarkably well, especially when considering the high age of this statue. Extensive wear and expected natural age cracks. Minor flaking and crackling to lacquer. Light surface scratches, minuscule nicks, some losses. Possibly few minor old touchups here and there.Weight: 787.9 g Dimensions: Height 31.2 cmMaitreya, Buddha of the Future Age, governs two perfected worlds: Tusita Heaven, which he currently inhabits, and Ketumati, an ideal realm conducive to the pursuit of enlightenment where he will serve as the teaching Buddha. The Maitreya's hands are held in abhaya and varada mudras, embodying a message of the coming salvation of all sentient beings.As the Yuan dynasty crumbled amidst famine, floods and general unrest, the anti-Mongol slogan of Han Shantong, Grand Patriarch of the White Lotus sect, was a call to arms and rebellion. Central to Han's belief structure was the idea that Buddha Maitreya had finally manifested in the world as the successor to Buddha Shakyamuni. Shortly after Han's demise in 1351, Zhu Yuanzhang, also a member of the White Lotus sect, emerged as the leader of the ethnic Han Chinese rebelling against the Mongol-led Yuan dynasty. In 1368, he eventually proclaimed himself as the Hongwu Emperor of the newly established Ming dynasty. It was during this period that images of Buddha Maitreya, such as the present lot, were depicted almost exclusively in the distinct Udayana style which gained increased popularity.The formulaic rendering of the U-shaped folds of the robe is one of the most interesting iconographic features of the present figure. This is known as Udayana, an ancient name for the early Gandharan region now in the present-day Swat Valley, Pakistan, from which similarly robed images of Maitreya first originated. This distinctive style of dress had transmitted along the Silk Road all the way to China and appeared there as early as the fourth century, as exemplified by the gilt-bronze seated Buddha Shakyamuni illustrated by H. Munsterberg, in Chinese Buddhist Bronzes, New York, 1988, page 37, fig. 1, which bears an inscription dated to 338 AD.Literature comparison:Compare a closely related wood figure, dated to the Ming dynasty, in the collection of the Metropolitan Museum of Art, accession number 41.115.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 October 2017, lot 3135 Price: HKD 24,100,000 or approx. EUR 3,263,000 converted and adjusted for inflation at the time of writing Description: A magnificent and monumental gilt-bronze standing figure of Maitreya, Yuan dynasty - Hongwu periodExpert remark: Compare the closely related U-shaped folds, elongated undulating sleeves, and flared hems as well as the distinct hairstyle. Note that this lot came with a Carbon-14 test of the core which was consistent with the dating above. Note the much larger size (116.8 cm) and the fact that this statue is made from bronze, not wood.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2010, lot 1959 Price: HKD 3,020,000 or approx. EUR 526,500 converted and adjusted for inflation at the time of writing Description: A very rare early Ming gilt-bronze standing figure of Maitreya, Yongle incised six-character mark and of the period Expert remark: Compare the closely related U-shaped folds and elongated undulating sleeves. Note that this lot is made from gilt-bronze, not wood, and that it bears a Yongle mark and dates from the period. Also note the smaller size (16.5 cm). Eventually note that the image lacks the distinct Udayana hairstyle, probably because it was made a few decades later than the present lot.元末至洪武朝重要烏仗那式彌勒佛木雕像 造像身軀豐滿，姿態高貴，右手施無畏印，佛面微笑頭髮整齊地披在烏尼沙上，佛像通肩式之外袍，自肩膀垂直而下，佛像身形高挑，裙褶疊曲有序，氣韻生動，神彩宛如書法揮毫。由於字數限制，完整中文敘述請至www.zacke.at查看。
A MAGNIFICENT POWDER-BLUE AND GILT-DECORATED ROULEAU VASE, KANGXI PERIODChina, 1662-1722. Of cylindrical form, the neck with a galleried rim, gilt-decorated with two larger rectangular panels depicting pheasants perched on a rock and surrounded by chrysanthemums, prunus, and peonies, further with four smaller panels of square and circular shape, each with auspicious flowers, all above a dense floral diaper pattern. The upper rim with a key-fret border, and a lappet band above the foot. The interior covered in white.Provenance: From a private collection on the East Coast, North America. A notable private collector in Kensington, London, United Kingdom, acquired from the above. Sotheby's London, Important Chinese Art, 3 November 2021, lot 170, bought in at a net reserve of GBP 30,000 or EUR 37,500 converted and adjusted for inflation at the time of writing. Condition: Excellent condition with minor old wear and some firing irregularities, light surface scratches, minuscule fritting to the rim. The gilt is particularly well preserved.Weight: 4,626 g Dimensions: Height 47.8 cmBlue monochromatic wares with gilt decoration first appeared in the Yuan dynasty. During the Kangxi period it was the custom to spray the cobalt oxide onto the porcelain which gave an attractive, mottled quality to the wares. More often than not, the powder blue was further ornamented with gilt-painted decoration, the cool metallic tones contrasting effectively with the rich mottled blue as witnessed on this vase.Literature comparison: Compare a closely related powder blue rouleau vase with gilt decorations, with a Kangxi mark and of the period, in the collection of the Metropolitan Museum of Art, accession number 79.2.153.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2015, lot 457Price: USD 125,000 or approx. EUR 153,500 converted and adjusted for inflation at the time of writingDescription: A gilt-decorated powder-blue-ground rouleau vase, China, Qing dynasty, Kangxi period (1662-1722)Expert remark: Compare the near identical form and decoration as well as the similar size (46.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.康熙霽藍釉描金棒槌瓶中國，1662-1722年。盤口，短直頸，圓折肩，圓筒狀長腹，圈足。通體施霽藍釉，描金錦地。腹部開光，描金繪製了牡丹、梅花與菊花等富貴花卉，雉鷄栖息在樹下。畫面富貴華麗，細節生動。 來源：北美東海岸私人收藏；英國倫敦肯辛頓知名私人收藏，購於上述收藏；2021年11月3日倫敦蘇富比Important Chinese Art, lot 170, 底價GBP 30,000 ，相當於現在的EUR 37,500。 品相：狀況極佳，有輕微磨損和一些燒製不規則、表面淺劃痕、邊緣有微小熔塊。描金保存得極好。 重量：4,626克 尺寸：高47.8厘米 霽藍釉描金紋瓷器最早出現於元代。康熙年間，有將氧化鈷噴在瓷器上的工藝，使瓷器具有誘人的斑駁質感。更多時候，霽藍釉被描金進一步裝飾，金色與這個花瓶上豐富的斑駁藍色形成鮮明對比。 文獻比較： 比較一件非常相近的康熙款及年代霽藍釉描金棒槌瓶，收藏於大都會藝術博物館，編號79.2.153。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月19日，lot 457 價格：USD 125,000（相當於今日EUR 146,500） 描述：清代康熙霽藍釉描金棒槌瓶 專家評論：比較幾乎相同的外型、描金和尺寸 (46.5厘米)。
A RARE GUAN-TYPE VASE, HU, QIANLONG MARK AND PERIODChina, 1736-1795. The ovoid body supported on a thick spreading foot and tapering to a waisted flared neck, set to either side with a lion-head-form loop handle over a molded mock ring handle at the shoulder, applied overall in a thick bluish-gray glaze suffused with a bold network of steel gray and pale gold crackles stopping at the unglazed foot ring dressed in a dark brown wash in imitation of Song dynasty guan ware. The recessed base with an underglaze-blue six-character mark da Qing Qianlong nianzhi and of the period.Provenance: Swiss trade. Condition: Fine condition overall with wear and firing irregularities, shallow surface scratches, the rim with a small chip and associated minor old repair. Please request further detail images as well as a video, shot under strong blue light, for accurate documentation of the condition of the present lot.Weight: 6,002 gDimensions: Height 37 cmThe crisply molded lion-form loop handles on the present piece are striking, varying from the usual shallow applied lion-mask handles with pendent rings or the rarer elephant-head loop handles. The bold feature is a charming 18th-century innovation on a vase that in both form and glaze references two well-known early accomplishments of Chinese art: the iconic hu form derived from the great bronzes of the Shang dynasty and the rich crackled glaze of the famed Guan wares of the Southern Song dynasty. The official or Guan ware was produced for the court in the capital, Hangzhou, in Zhejiang province. Laohudong in southern Hangzhou appears to have been the most important Guan kiln creating wares with an attractive crackled glaze, a version of which is seen on the present piece. The crackle was purposefully made utilizing refined technical skill to calibrate a cooling rate for the wares that would produce the different layers of fissures and allow them to be filled with two to three different colors. The present piece with its two tones references the jinsi tiexian (gold thread and iron wire).Such a pointed allusion to the past served to both pay homage to the past while simultaneously noting the technical achievements of the present. Archaism enjoyed a major revival during the height of the Qing dynasty under the Yongzheng and Qianlong emperors. The combination of a precious glaze and ancient form suggests a deep appreciation and respect for the past, together with the want for its preservation.Auction result comparison: Type: Near-identical Auction: Sotheby's New York, 17 March 2015, lot 287 Price: USD 87,500 or approx. EUR 107,500 converted and adjusted for inflation at the time of writing Description: A rare Guan-type vase, Hu, Qianlong seal mark and period Expert remark: Compare the identical form, two-tone crackled glaze, and extremely rare lion-form loop handles. Note the smaller size (30 cm).乾隆款及年代仿官釉雙耳壺中國，1736-1795年。仿漢壺尊形制，鼓腹，外撇圈足。頸部兩側有獅首耳，通體及足內均施仿官釉，釉面開片紋。胎體優美，造型素雅，猶可辨趙宋遺韻。圈足内六字篆書款“大清乾隆年製”。 來源：瑞士古玩交易。 品相：整體狀況良好，磨損和燒製不規則，表面淺劃痕，邊緣有小磕損和相應小修。請聯繫部門詢問更多細節圖片以及在強藍光下拍攝的視頻，以準確查看當前拍品的狀況。 重量：6,002 克 尺寸：高37 厘米 這件作品上造型清晰的獅首耳特別引人注目，與通常帶有活環的獅首或較罕見的象首耳不同。此器的造型、釉色都極似宋代的作品，是仿古之作。清雍正時期對宋代五大名窯的仿製取得了空前的成就，摹古水平極高。此時所仿製的宋代官窯釉面或有冰裂紋或無片紋，其紋呈白色或鐵色。胎色黑，頗能體現宋代官窯 “紫口鐵足”的特色，在清代文獻中被稱為“鐵骨大觀”。拍賣結果比較： 形制：幾乎相同 拍賣：紐約蘇富比，2015年3月17日，lot 287 價格：USD 87,500（相當於今日EUR 107,500） 描述：清乾隆官式瑞獸耳壺 《大清乾隆年製》款 專家評論：比較幾乎相同的外型、雙色調的釉面開片，以及罕見的獅首耳。請注意尺寸較小 (30 厘米)。
A LARGE GILT BRONZE 'WILLOW LEAF' GUANYIN, BHAISAJYARAJA AVALOKITESHVARA, MING DYNASTYChina, 16th century. Finely cast seated in dhyanasana, the hands held in karana mudra, her left holding a bowl of elixir. She is wearing long flowing robes with well carved folds and neatly incised floral hems, and is richly adorned with fine jewelry. Her serene face with heavy-lidded downcast eyes and full lips forming a subtle smile, flanked by long pendulous earlobes suspending elaborate earrings.Provenance: From an old private collection in Paris, France, and thence by descent. French trade, acquired from the above. Condition: Superb condition. Some old wear, minor casting flaws, few minuscule nicks and light scratches. The gilt is well-preserved overall. The separately cast willow twig in her right is lost. Note that all exposed areas, and particularly the delicate crown, show no losses or signs of repair whatsoever. Fine, naturally grown patina. A 16th-century gilt-bronze figure in such magnificent condition is extremely rare.Weight: 6,729 g (excl. stand)Dimensions: Height 36 cm (excl. stand) and 41 cm (incl. base)The neatly incised hair falling elegantly in strands over the shoulders and tied up into a high chignon behind the open worked foliate crown centered by a small image of the Buddha Amitabha.With an old fitted wood base dating from the Qing dynasty. (2)According to the Lotus Sutra, Avalokiteshvara can take any form necessary to save sentient beings. Thirty-three manifestations of Avalokiteshvara are mentioned and are known to have been very popular in Chinese Buddhism as early as the Sui and Tang Dynasties. The present lot depicts the bodhisattva in a manifestation known as Bhaisajyaraja Avalokiteshvara, or the 'Willow Leaf' Guanyin in Chinese. In this form, the bodhisattva holds a vial or bowl of elixir in the left and a stalk of willow leaves in the right, which was cast separately for the present statue and is now lost. The willow has evil dispelling properties and is used to sprinkle the elixir over devotees, which is believed to cure all physical and spiritual illnesses. This iconographic form was popular among devotees wishing for good health.Buddhist gilt-bronze figures were produced almost from the beginning when Buddhism was embraced by various courts of China's division after the Han dynasty. Until the Tang dynasty, however, they remained very small. One of the earliest developments away from small votive images took place in the Khitan Liao dynasty, when statues not only became bigger but also developed stylistically towards a more sculptural aesthetic. During the early Ming period the court took complete control of their production, and a distinct classic style was devised that would determine the design of all future Buddhist gilt-bronze images, including the present lot.Auction result comparison:Type: Closely related Auction: Sotheby's Paris, 11 December 2018, lot 81 Price: EUR 50,000 or approx. EUR 57,000 adjusted for inflation at the time of writing Description: Statuette de Guanyin en bronze dore, dynastie Ming Expert remark: Compare the closely related pose, expression, robes, jewelry, hair, and crown. Note the smaller size (32 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 7 November 2018, lot 66 Price: GBP 100,000 or approx. EUR 135,500 converted and adjusted for inflation at the time of writing Description: A lacquered parcel-gilt bronze figure of Guanyin, Ming dynasty, 16th century Expert remark: Compare the related pose, expression, robes, jewelry, hair, and crown. Note the larger size (47 cm) and that the statue has only partial gilding. 明代大型楊柳觀音鎏金銅像中國，十六世紀。觀音結跏趺坐，左手托淨瓶，右手當胸持楊柳枝作拋灑甘露的手勢。面相豐頤，曲眉似彎月與鼻樑相連，眼瞼較寬，神態慈和寧靜；雙眼微合，俯視前方；頭戴花冠，冠葉雕刻精細，冠正面有化佛阿彌陀佛。身軀雄健，體態優美，整體莊嚴神聖而又慈祥親切。胸前飾瓔珞，下身著高束腰及胸長裙，衣紋厚重，自然流暢，衣緣鏨刻大朵花紋飾樣，雕刻精細，紋飾清晰，鮮明的漢地造像裝飾風格。整體形態端莊。 來源：法國私人舊藏；法國古玩交易，購於上述收藏。品相：狀況極好，一些磨損，輕微的鑄造缺陷，一些微小的刻痕和輕微的劃痕，鎏金整體保存極好，右手中原先拿的柳枝遺失。請注意，造像沒有任何修復跡象。細膩自然的包漿。如此精美的明末鎏金造像極為罕見。由於字數限制，完整中文敘述請至www.zacke.at查看。
A BLUE AND WHITE 'DRAGON' DISH, JIAQING MARK AND PERIODChina, 1796-1820. The shallow rounded sides rising from a short tapered foot to an everted rim, vividly painted to the interior in inky tones of cobalt-blue with a central medallion enclosing a five-clawed dragon writhing among flames and reaching for a flaming pearl, within a double-line border repeated at the rim, the reverse with two dragons striding in the same pursuit, enclosed by double-line borders below the rim and above the foot. The recessed base with an underglaze-blue six-character seal mark da Qing Jiaqing nianzhi and of the period.Provenance: From the collection of Seymour Stein, New York. Seymour Stein (b. 1942) is an American entrepreneur and music executive. He co-founded Sire Records and signed bands that became central to the new wave era of the 1970s and 80s, including the Talking Heads, the Ramones, and The Pretenders. His most famous discovery was Madonna, whom he signed in 1982. Ice-T wrote about Stein in his autobiography, stating: “He's cut from that cloth of the old-time music executives like Clive Davis, but he's way more eccentric... Just a little more bizarre, a bit more avant-garde, more of an edgy cat.” Seymour Stein started collecting art in his early twenties, when he worked for Polydor records. During his breaks, he started to explore Sotheby's nearby showroom on London's New Bond Street and occasionally bought Chinese porcelain. “Antiques seemed like a natural partner for records,” he wrote. “You had to learn genres, meet dealers, spot details, figure out value, and above all, find the treasures.” Speaking of Mr. Stein, Madonna noted, “In art, as well as music, Seymour has always been ahead of the trends.”Condition: Good condition with only minor wear and minimal firing irregularities, the rim with three near-invisible and very short hairlines. Please request a detailed condition report video, shot under strong blue light, for further documentation of the condition of this lot.Weight: 317.0 g Dimensions: Diameter 19.5 cmAuction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 May 2014, lot 642 Price: HKD 100,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A fine blue and white 'dragon' dish, seal mark and period of Jiaqing Expert remark: Note the smaller size (16.5 cm)嘉慶款與年代青花開光龍紋盤中國，1796-1820年。敞口弧壁，圈足，胎質堅致白皙，釉汁瑩潤如玉。盤心開光立龍戲珠圖，外壁對稱飾趕珠龍紋，雲龍蒼健兇猛。畫面極為疏朗，筆觸細膩，青花髮色淡雅明快。圈足底青花篆書“大清嘉慶年製”款。 來源：紐約 Seymour Stein收藏。Seymour Stein (生於1942年) 是一位美國企業家和音樂主管。他與人共同創立了 Sire 唱片，並簽約了1970 年代和 80 年代新浪潮時代重要樂隊，包括 Talking Heads、Ramones 和 The Pretenders。他旗下最著名藝人是麥當娜，他與其1982 年簽約。Ice-T 在自傳中寫到了Stein，稱：“他脫離了像克萊夫戴維斯這樣的舊時代音樂高管，但他更加古怪......只是更奇異一點，更前衛一點，更像一隻前衛的貓。”Seymour Stein 在 20 歲時收集藝術品，當時他為 Polydor 唱片公司工作。休息期間，他頻繁拜訪位於倫敦新邦德街附近的蘇富比陳列室，偶爾購買中國瓷器。“古董似乎是記錄的天然夥伴，”他寫道。“你必須學習流派、會見經銷商、發現細節、找出價值，最重要的是，找到寶藏。” 談到Stein先生，麥當娜指出：“在藝術和音樂方面，Seymour 一直走在潮流的前面。”品相：狀況良好，只有輕微磨損和極少的燒製不規則，邊緣有三個幾乎看不見的非常短冲綫。請索取詳細的在強藍光下拍攝的狀況報告視頻，以進一步瞭解拍品詳細情況。 重量：317.0 克 尺寸：直徑19.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年5月26日，lot 642 價格：HKD 100,000（相當於今日EUR 15,000） 描述：清嘉慶青花「趕珠雲龍」圖盤，《大清嘉慶年製》款 專家評論：請注意尺寸較小(16.5 厘米)。
A CAMEO AGATE SNUFF BOTTLE, OFFICIAL SCHOOL, 1740-1840Published:Hugh Moss, Chinese Snuff Bottles of the Silica or Quartz Group, London, 1971, p. 58, no. 149Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 148-149, no. 61China. Well hollowed, of flattened form, rising from an ovoid foot to a straight cylindrical neck, the pale gray stone cleverly carved utilizing the brown and light gray markings to depict a sage and his attendant under a pine tree with a ruyi shaped cloud floating at the top left, the reverse with a horse tethered to a post and a sun drifting amid clouds, incised with a ri character (for 'sun'). The rockwork extending from above the base around the bottle. The work finely detailed and incised. The translucent stone of a pale gray color with brownish black and gray inclusions. Provenance: Squadron Leader S. B. Johnston. Hugh M. Moss, Hong Kong, acquired from the above. Gerd Lester, New York, acquired from the above. Rachelle R. Holden, New York, acquired from the above in 1981. A collector's label from Rachelle Holden with inventory number '48' to the base. S. B. Johnston was an English pilot for the Royal Air Force, who was promoted from Flight Lieutenant to Squadron Leader in 1968. Gerd Lester was a passionate collector of snuff bottles who wrote many articles for Arts of Asia. Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with minor old wear and possibly microscopic nibbles.Stopper: CoralWeight: 57.2 g Dimensions: Height including stopper 67 mm. Diameter neck 16 mm and mouth 6 mm.A tethered horse forms the rebus 'Can catch the wind', indicating that this would be an encouraging and complimentary gift for someone of still undiscovered talent.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1560Price: USD 25,000 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A finely carved cameo agate snuff bottle, official school, 1740-1840Expert remark: Compare the closely related form and utilization of the dark markings, the color of the agate and the fine incision work, as well as the size (60 mm). 1740-1840年瑪瑙巧雕人物鼻烟壺中國。掏糖良好，寬肩微削，橢圓形圈足，圓柱形短頸，平唇。褐色半透明石頭，利用焦糖色斑紋，巧妙雕刻，一面描繪松樹下的聖賢和他的侍從，左上角飄浮如意祥雲；反面是拴在柱子上的馬和祥雲，雲中刻有“日”字。雕刻細緻入微，淺灰色半透明瑪瑙，帶有棕黑色和灰色內含物。出版：Hugh Moss，《Chinese Snuff Bottles of the Silica or Quartz Group》，倫敦，1971年，頁58，編號149。 Rachelle Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁148-149，編號61。 來源：S. B. Johnston少校舊藏；香港Hugh M. Moss購於上述收藏；紐約Gerd Lester購於上述收藏；紐約Rachelle R. Holden1981年購於上述收藏。底部可見Rachelle Holden收藏編號“48”。S. B. Johnston是英國皇家空軍的一名飛行員，1968 年從飛行中尉晉升為少校。Gerd Lester 是一位熱情的鼻烟壺收藏家，為亞洲藝術雜誌撰寫了許多文章。Hugh Moss (出生於1943) 是一位中國藝術方面的作家、經銷商、藝術家、收藏家，也是中國鼻烟壺界的權威。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：極好的品相，有輕微磨損，有細微磕損。 壺蓋：珊瑚 重量：57.2 克 尺寸：高 （含蓋）67 毫米，頸部直徑16 毫米及壺口直徑6 毫米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1560 價格：USD 25,000（相當於今日EUR 32,000） 描述：1740-1840年造辦處作瑪瑙巧雕鼻烟壺 專家評論：比較非常相近的外型和利用深色斑紋雕刻，瑪瑙的顏色和巧雕，以及尺寸(60 毫米)。
18ct gold amethyst and round brilliant cut diamond cluster ring, amethyst approx 8.00 carat, total diamond weight approx 1.30 caratCondition Report:Approx 8.95gm, size O-P, overall head =19.5mm x 20mm, amethyst = 12.9mm x 14mm x depth 8.7mm, a few light surface nibbled/scratches otherwise good condition
DOROTHY BRUCE PAI (AMERICAN/SCOTTISH),KIPPFORDink & watercolour on paper, signed and titledimage size 28cm x 40cm, overall size 42cm x 54cm Mounted, framed and under glass.Note: Dorothy Bruce was born in Wisconsin, USA, gaining her Bachelor of Art from the Minneapolis School of Art, now The Minneapolis College of Art and Design.She travelled extensively in the States and Australia, participating in Group Shows, before holding a one-woman Exhibition in Brisbane, Australia. She has lived and worked in Scotland for over 40 years, painting the landscapes and coastal scenes that are so distinctive to this country. The continually changing light and austerity of much of the Northern Highlands and the West Coast of Scotland are recurring themes in much of her work. During these years she has enjoyed numerous one-woman shows on the West Coast, Glasgow, Edinburgh, Aberdeen and Aberfeldy, plus Group Exhibitions throughout Scotland, including The Royal Society for Painters in Watercolour.
DOROTHY BRUCE PAI (AMERICAN/SCOTTISH),KIRKCUDBRIGHTink & watercolour on paper, signed and titledimage size 28cm x 40cm, overall size 42cm x 54cm Mounted, framed and under glass.Note: Dorothy Bruce was born in Wisconsin, USA, gaining her Bachelor of Art from the Minneapolis School of Art, now The Minneapolis College of Art and Design.She travelled extensively in the States and Australia, participating in Group Shows, before holding a one-woman Exhibition in Brisbane, Australia. She has lived and worked in Scotland for over 40 years, painting the landscapes and coastal scenes that are so distinctive to this country. The continually changing light and austerity of much of the Northern Highlands and the West Coast of Scotland are recurring themes in much of her work. During these years she has enjoyed numerous one-woman shows on the West Coast, Glasgow, Edinburgh, Aberdeen and Aberfeldy, plus Group Exhibitions throughout Scotland, including The Royal Society for Painters in Watercolour.
* IRENE LESLEY MAIN (SCOTTISH b. 1959),RADIANCEoil on board, signed and dated 1981, titled and dated label versoimage size 54cm x 77cm, overall size 68cm x 91cm Framed and under glass. Artist's label verso. Note: Irene Lesley Hope Main was born in Glasgow. She studied Drawing and Painting at the Glasgow School of Art from 1976 until graduating in 1980 (under Donaldson, Robertson, Shanks and Rae), the Patrick Allan-Fraser School of Art at Hospitalfield to which she won a scholarship in Italy. She has travelled extensively throughout Europe, America and Africa and has exhibited widely in one-person and group exhibitions in the United Kingdom, Europe and America. Main is a full-time painter, a winner of the Hiram Walker Award and the Lauder Award, and has studios in Glasgow, Athens and Brodick, Isle of Arran. The artist has been strongly influenced by the Scottish Colourists (in particular, J. D. Fergusson) and the Glasgow School, with its emphasis on light and shade, use of colour and sensuous handling of paint, and traditional pursuit of academic excellence. Her great love of nature underpins her joie de vivre and essential optimism, of which her work is a direct and fluent complement and statement. Lesley Main's work is well-known, and is in public and private collections world- wide, including those of: H.R.H. Diana, Princess of Wales; Allied Irish Bank; Argyll Group; Australian Capital Equity; Bank of Ireland; British Petroleum; Charterhouse Development Capital; Citicorp Scrimgeour Vickers International; Clyde Port Authority; Commonwealth Development Corporation; Robert Fleming Holdings; Henry Ford Foundation; G. K. Goh; Gouldens; Iomart Group; Lam Soon Group; Lanitis Development; Lithgow Group; John Makepeace; Mercury Asset Management; Metropole Group; Prudential Corporation; BWD Rensburg; Royal Bank of Scotland; Save and Prosper; Scottish Arts Council; Herbert Smith; South African Department of Foreign Affairs; Standard Life; Deloitte Touche; University of Strathclyde; Warwick Arts Trust; Yarrow.
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950),STILL LIFE WITH HEN & CORMORANToil on canvas, signed, titled label versoimage size 77cm x 77cm, overall size 95cm x 95cm Framed. Artist's label verso.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
ERNI UPTON FRSA,TRAIGH NA CRICHE, NORTHWEST IONAoil on canvas, signed, titled versoimage size 51cm x 101cm, overall size 78cm x 128cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).
ERNI UPTON FRSA,SAORSA ASHORE, RUDHA CHINN MHOR, ARDMINISH, GIGHAoil on canvas, signed, titled versoimage size 42cm x 52cm, overall size 62cm x 72cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).
ERNI UPTON FRSA,OYSTERCATCHERS, PORT DUNAIN, NORTHWEST IONAoil on board, signed, titled versoimage size 26cm x 31cm, overall size 45cm x 50cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).
ERNI UPTON FRSA,JURA FROM KINTYREoil on board, signed, titled versoimage size 27cm x 37cm, overall size 41cm x 51cm Framed.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).
* GEORGE BIRRELL (SCOTTISH b. 1950),BLUE HARBOUR, CRAILmixed media on paper, signed and dated 1981, titled versoimage size 26cm x 26cm, overall size 41.5cm x 41.cm Mounted, framed and under glass.Note: Born and brought up in the west end of Glasgow, George Birrell trained at the Glasgow School of Art between 1967 and 1971. After graduating, he then went on to teach art and design in Scottish schools for the next decade, before turning to paint full time in 1980. After visiting the East Neuk in Fife for the first time when he was fifteen, George became fascinated by the small fishing villages of this part of Scotland, which were so different to anywhere else that he had experienced before. George made it his artistic mission to revisit these villages and he is well known for his characteristic interpretations of their architecture, alleys, and harbours. None of the places that he paints actually exist, but instead his paintings are created from different memories pulled together into one piece. In recent years, he has been using these same skills to produce refreshing interpretations of the distinctive light, colour, and pattern typical of the south of France. George Birrell exhibits in galleries throughout the UK and enjoys a reputation as one of his generation's most popular artists.Condition is good overall. Additional images have been uploaded to our website.
* GEORGE BIRRELL (SCOTTISH b. 1950),TOWN OVER THE WALL, CRAIL mixed media on paper, signed and dated 1981, titled versoimage size 24cm x 24cm, overall size 41.5cm x 41.cm Mounted, framed and under glass.Note: Born and brought up in the west end of Glasgow, George Birrell trained at the Glasgow School of Art between 1967 and 1971. After graduating, he then went on to teach art and design in Scottish schools for the next decade, before turning to paint full time in 1980. After visiting the East Neuk in Fife for the first time when he was fifteen, George became fascinated by the small fishing villages of this part of Scotland, which were so different to anywhere else that he had experienced before. George made it his artistic mission to revisit these villages and he is well known for his characteristic interpretations of their architecture, alleys, and harbours. None of the places that he paints actually exist, but instead his paintings are created from different memories pulled together into one piece. In recent years, he has been using these same skills to produce refreshing interpretations of the distinctive light, colour, and pattern typical of the south of France. George Birrell exhibits in galleries throughout the UK and enjoys a reputation as one of his generation's most popular artists.Condition is good overall. Additional images have been uploaded to our website.
* DAVID JOY, UNTITLED oil on canvasimage size 91cm x 168cm, overall size 95cm x 171cm Framed.Note: David Joy is a Scottish professional wildlife illustrator. Respected and admired for his many talents, David is also a seascapes artist, golf historian and author. Hailing from St Andrews he lives in a 15th century country cottage on the fringe of this great Scottish town. His artwork is displayed and sold worldwide. David’s Seascapes are of locations around Fife. David’s latest project is an extensive series of seascapes capturing his day to day observations of the ever changing atmosphere of Scotland’s east coast light, using the foreshore of the North Sea from the Firth of Forth to St Andrews Bay and the Eden Estuary as his inspiration.
* DAVID JOY,UNTITLED oil on canvasoverall size 55cm x 160cm Unframed.Note: David Joy is a Scottish professional wildlife illustrator. Respected and admired for his many talents, David is also a seascapes artist, golf historian and author. Hailing from St Andrews he lives in a 15th century country cottage on the fringe of this great Scottish town. His artwork is displayed and sold worldwide. David’s Seascapes are of locations around Fife. David’s latest project is an extensive series of seascapes capturing his day to day observations of the ever changing atmosphere of Scotland’s east coast light, using the foreshore of the North Sea from the Firth of Forth to St Andrews Bay and the Eden Estuary as his inspiration.
* PETER HOWSON OBE (SCOTTISH b. 1958),INTO THE LIGHToil on canvas, signedimage size 120cm x 90cm, overall size 140cm x 110cm Framed and under glass.Note: A classic large Howson composition with a title to match. In The Scottish Contemporary Art Auction of 21st August 2022, lot 70 "Crucifixion" by Peter Howson sold for £11,250 (hammer) and almost as impressively, lot 115 "Gorlitz" in the same sale, a small (23 x 30cm) mixed media drawing on paper by him sold for £1400 (hammer).Condition is good overall.
* CHRIS BUSHE RSW (SCOTTISH b. 1958),RED SKIESoil on boardimage size 62cm x 87cm, overall size 74cm x 99cm Framed and under glass.Note: Born in Perthshire, Chris Bushe is one of Scotland’s greatest living landscape painters. Initially, he studied Archaeology and Ancient History at Edinburgh but from his earliest years he has responded to his fascination with the landscape around rural Aberdeenshire. He was accepted at Gray’s School of Art in the 1980s and forged a career painting landscapes very much in his own style and at odds with the fashionable conceptualism of the day. His paintings have won him a plethora of awards at national exhibitions. His work can be found in the corporate collections of Murray International Metals, Premier Property Group, Aberdeen Hospitals Trust, Grampian Regional Council, Edinburgh Hospitals Trust, Scottish Life, the Royal Bank of Scotland, Scottish & Newcastle, Dundee City Council, Bulthaup, University of Stirling, Turnberry Hotel and Centrica. His many awards include the Morton Fraser Milligan, Russell Flint Trust, Glasgow Arts Club Fellowship, Scottish Arts Club Awards, the RSW Council Award, the RSW McManus Galleries Purchase Prize, the RSW Fotheringham Gallery Award and the RSW The Walter Scott Award. Most recently, Chris has had considerable success at The Discerning Eye winning both the Founder’s £2500 Purchase Prize in 2015 and ING £5,000 Purchase Prize in 2016. In Scotland, his principal gallery is the prestigious Open Eye Gallery (Edinburgh) where he enjoyed his most recent (widely praised) solo show "Chasing Light" (4th - 25th June 2022).Condition is good overall.
* SHEILA MACLEOD ROBERTSON RSMA (BRITISH 1927 - 2020),WEST COAST, BARRA, HEBRIDESoil on board, signed, titled label versoimage size 29cm x 39cm, overall size 43cm x 53cm Framed. Handwritten artist's label verso.Note: Born to Scottish parents in London, Sheila Macleod Robertson was a noted painter in oils of marines, seascapes and coastal scenes. Trained at Watford and the Central School of Art & Design, London. She quickly developed a particular interest in the light and mood of sea, coast and landscape. Held many successful solo shows in London and Scotland, including at The McEwan Gallery. Elected member, Royal Society of Marine Artists 1969, also professional member, St Ives Society of Artists. To increase her knowledge of weather and sea conditions of the western seaboard she cruised as a crew member on an ocean yacht. Her work, produced mainly with a palette knife, was regularly exhibited at the RI, ROI & RSMA. When not sailing, she lived in Edinburgh before retiring to Hertfordshire.Condition is good overall, with no visible signs of restoration, damage, or known issues.
* STEPHEN BROWN RBA,SUMMER HAZEoil on canvas, signed and titled verso image size 46cm x 50cm, overall size 58cm x 61cm Framed.Label verso: Royal West of England Academy Exhibition.Note: Stephen Brown was born in Chard Somerset in 1947. As a young artist he studied contemporary art at the Somerset College of Art. Later in the 1970's he trained and worked alongside artist Patrick Larking RP ROI. As a result, Stephen came to admire and respect such artists as Sickert, George Clausen and Augustus John, all of whom had taught and befriended Larking while he was studying at the Royal Academy of Art. Stephen Brown was elected a member of the Royal Society of British Artists (RBA) in 1997. This was after a recommendation from Ken Howard RA, an admirer of Stephen Brown's contemporary paintings. At the beginning of 2003 he was elected membership of The Small Paintings Group. Brown has exhibited at the Royal West of England Academy since 1980 and the Royal Academy of Art Summer Exhibitions from 1990. Brown's paintings can also be found at The New English Art Club Art Exhibitions and the Royal Society of British Artists. Painting almost exclusively in oils Stephen Brown is constantly drawn to painting subjects near his Devon home. Brown is a master at depicting the hazy warm Summer Days in the Devon, Wiltshire and more recently Gloucestershire fields. Stephen is also a tremendous Marine artist producing atmospheric paintings with the distinctive shimmering light of British beaches and coastal scenes. Stephen Brown has published numerous articles on oil painting for International Artist Magazines. He has also participated in the BBC production Art-The Big Event where Rolf Harris led a team of artists to paint a giant replica of Constable's The Hay Wain. Brown exhibits at the Red Rag Gallery and at other leading UK galleries.
Two Nikon 35mm film SLR cameras, quantity of lenses and associated accessories. Nikon F3 SLR with DE-2 eye level finder, and a Type K rangefinder focusing screen. Serial number 1659254. Dressed in a genuine Nikon leather travel case. Also includes a Nikon FE SLR with standard Type K rangefinder focusing screen, serial number 3944288. Accompanied with a third-party soft leather travel case. 5 Nikkor lenses, and two third-party lenses in Nikon F-Mount. Nikkor S.C 50mm f1.4 prime lens; Nikkor 24mm f2.8 prime lens; Nikkor 28mm f2.8 prime lens, Micro Nikkor 55mm f2.8 macro lens; Nikkor Q Auto 135mm f2.8 prime telephoto lens; Sigma 28-200mm Macro f3.5-5.6; Vivitar 75-205mm Close Focusing zoom telephoto lens. Also includes a Nikon Speelight SB-16 flash unit, and a Vivitar 283 flash unit. To also include a Nikon Photomic T Meter System for an F body SLR and a Paillard Bolex 18-5 L Super cine film projector. All AF and untested. Optically, the lenses are fair to very good. Some light salt crystals to one, some minor coating scratches present to another. All have responsive aperture blades and are free of oil marks.
Two silver napkins rings and a silver Sherry label. Both napkin rings with personal engravings. Fluted napkin ring hallmark for Boardman, Glossop and Co of Sheffield, date mark for 1897. Second napkin ring with makers initials RR, hallmarks indistinct, but feint outline of Lion Passant discernible. Sherry label with Richards and Knight maker’s mark, hallmarked to London, 1976. Good condition overall, very light tarnishing from polishing.
Colour Change Fluorite Ring, a 6ct square cushion cut, sapphire blue, fluorite, which changes colour to a vibrant purple in UV, candlelight or incandescent light; fluorite being one of very few gemstones to have this property which visibly resembles colour change sapphire; here set with three graduated white topaz to each shoulder in platinum vermeil and silver with a scroll work gallery; size O
Late C19th/early C20th Watkins and Doncaster light mahogany collectors specimen cabinet, the glazed door opening to reveal 20 glazed drawers containing collection of many varieties of small and miniature Yorkshire moths, one drawer empty incl. Ghost Moth, Map Wing Swift etc . H125cm, W55cm, L50cm
SONNY ROLLINS. Four rare 12" longplays. 'Perspectives: And a set with the Modern Jazz Quartet,' 32-035 (PRLP 7029A), Master Release, some damage to spine of sleeve, light scratched to otherwise vg disc, purchased by the vendor in 1958; 'The Sound Of Sonny Rollins,' RLP 12-241, Riverside Records, Deep Grove Redress, some finger soiling, loss of text to rear of sleeve, near fine disc, 1957; 'The Cutting Edge,' M-9059, Master Release, US, near fine disc, 1974; 'Falling in Love With Jazz,' M-9179, fine condition, 1989. (4)
JAZZ and NEW ORLEANS JAZZ. Twelve 12" vinyl albums. MILES DAVIS. 'Sketches of Spain,' CBS 32023, repair to sleeve, lacks inner sleeve, vg disc, 1960; 'Kind of Blue,' CS 8163, reissue, near mint, 2016; CHARLIE PARKER. 'Nows the Time,' MGV-8005, reissue, lacks inner sleeve, near mint, 2016; LOUIS ARMSTRONG. 'His Greatest Years,' PMC 1140/1142/1146/1150, four volumes, repair to sleeves, large chip to disc of vol 3, light scratches; with five others including an American import volume 2 'Sidney Bechet' published by Blue Note Records (lacks sleeve). (12)
BOB DYLAN. A reportedly signed LP and five others. 'The Times They Are A-Changing,' signature by marker to front cover, reportedly signed after a gig at Earls Court in 1981 (previous owner letter), CBS 6225, graphite inscription to inner sleeve, VG disc, 1964; 'Street Legal,' CBS 86067, worn and rubbed cover disc G to VG, 1978; 'Self Portrait,' CBS 66250, worn and rubbed cover, owner signature in ink, some paper stuck to otherwise G disc, 1970; 'Blood on the Tracks,' CBS 69097, cover rubbed to edges, light scratches to G disc, 1975; 'Planet Waves,' ILPS 9261; worn and rubbed cover with a split to the bottom, G disc, 1974; 'Before The Flood,' IDBD 1, worn cover rubbed to edges, light scratches to an otherwise G disc, 1974. (6)Dear Mr Fullwood,Thank you for your enquiry and interest in this lot.Photographs have now been uploaded to be viewed on our website.Kind regards,Guy Harandon
DAVID BOWIE - Thirteen 12" albums and singles. 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars,' SF 8287, cover and inner sleeve rubbed, vg disc, 1972; 'Hunky Dory,' SF 8244, rubbed edges, faded, spotting to lyric sheet, g to vg disc, 1972; 'Space Oddity,' LSP-4813, rubbed over, lacks inner sleeve, disc g to vg, 1972; 'Aladdin Sane,' LSP 4852, some light staining, vg disc, 1976; 'Scry Monsters,' BOW LP 2, vg, 1982; 'Low,' PL 12030, label to cover, vg disc, 1977; With eleven others. (17)
QUEEN and FREDDIE MERCURY - A collection of 12". 'Roger Taylor Interview Germany,' gold disc, QUEEN 10 1991; 'It's a Hard Life,' 12QUEEN 3, picture disc, vg, 1984; 'The Show Must Go On,' 12 QUEENSG 19, some light staining to cover, vg etched disc, 1991; 'Radio Ga Ga (Extended Version),' 12 QUEEN 1, vg, 1984; 'Backchat,' 12 EMI 5325, rubbed edges, light scratching to disc, g, 1982; 'Friends Will Be Friends (extended Version),' 12QUEEN 8, some light scratches to disc, g, 1986; 'Thank God It's Christmas,' 12Queen 5. vg, 1984; 'The Great Pretender (extended version),' 12R6151, light scratches to disc, g to vg, 1987; With seven other 12" singles. (14)
ROCK and POP. Fifty-six 12" albums. PINK FLOYD. 'The Dark Side of the Moon,' SHVL 804, disc is in a fair condition, 1973; BOB DYLAN. 'Blood on the Tracks,' CBS 69097, g to vg disc, 1974; BLACK SABBATH. 'Master of Reality,' VO 6360 050, light scratches to an otherwise vg disc, 1971; ACDC. 'For Those About To Rock,' K50851, fine sleeve, fine disc, 1981; DAVID BOWIE. 'Aladdin Sane,' RS 1001, soiled sleeve, g disc, 1973; With six other Bowie's and forty-five others including Ravi Shankar, Deep Purple, John Lennon, Jethro Tull and Cream's 'Full Cream'.
ROCK and POP 60's, 70's and 80's. Twenty-seven 12" vinyl. THE ROLLING STONES. 'The Rolling Stones' S 17 005-P, lacks poster, g to vg, 1970; 'Beggars Banquet,' SKL 4955, soiling to de-glued cover, light scratches to disc, fair to good, 1968; 'Far Away Eyes,' 12 EMI 2802, worn cover, vg pink disc, 1978; 'Mixed Emotions,' CB 181, vg disc, 1986; THE LONDON SYMPHONY ORCHESTRA. 'Tommy' ODE 99001, 1972; BLACK SABBATH. ' Mob Rules,' 6302 119, rubbed cover, faint scratches to dis, 1981; 'Black Sabbath, VO 6, water damage to cover, side A label peeled, minor scratches to disc, fair, 1970; THE KINKS. 'Lola,' HMA 201, 1964; 'All Day and All of the Knight. Vol 2,' VG201, 1979; 'Sunny Afternoon,' MAL 716, 1967; ACDC. 'If You Want Blood,' K 50532, 1978; ERIC CLAPTON. '461 OCEAN BOULEVARD,' 2479 118, De Luxe, vg to fine, 1974; THE CURE. 'Boys Don't Cry,' SPELP 26, 1980; THE POLICE. 'Zenyatta Mondatta,' AMLH 64831, 1980; 'Synchronicity,' AMLX 63735, 1983; 'Ghost in the Machine,' AMLK 63730, 1981; 'Reggatta de Blanc,' AMLH 64792, 1979; SANTANA. 'Abraxas,' S 64087, 1970; THE WHO. 'The Story of The Who,' 2683 069, select double, 1976; THE VELVET UNDERGROUND. 'The Velvet Underground,' 2354 033, Special edition, 1969; LEONARD COHEN. 'Songs of Love and Hate,' 69004, 1971; NEIL YOUNG. 'Harvest Moon.' K 54005, 1972. (27)
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