Lot

77

A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795)

In Asian Art Holiday Sale

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A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 1 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 2 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 3 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 4 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 5 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 6 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 7 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 8 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 9 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 10 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 11 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 12 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 13 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 14 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 15 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 16 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 17 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 18 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 19 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 20 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 21 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 22 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 1 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 2 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 3 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 4 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 5 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 6 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 7 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 8 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 9 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 10 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 11 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 12 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 13 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 14 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 15 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 16 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 17 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 18 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 19 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 20 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 21 of 22
A PAIR LARGE 'FAUX-BOIS' JARDINIERES, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) - Image 22 of 22
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† A PAIR OF LARGE 'FAUX-BOIS' JARDINIERES, IMITATING HUANGHUALI, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) 一對乾隆款大型仿木紋釉花盆
Opinion: This pair of jardinieres, made in imitation of Huanghuali wood, was purchased by the current owner at Sotheby's New York in March 2015 for a final price of USD 181,250 against a pre-sale estimate of USD 25,000-35,000. One reason for the intensive competition at this auction may have been that while Sotheby's dated the jardinieres to the 19th century, bidders seem to have had a slightly divergent perception of the actual age of this lot. And indeed, there are two very recent scientific findings that speak clearly for a time of origin in the Qianlong period instead of the 19th century:

Firstly, Trompe l'Oeil porcelains were primarily produced in the Qianlong reign period, and not in the 19th century. For a detailed scientific consideration of this fact, including respective data analysis, see the webinar by Chih-En Chen, Lecturer of Chinese and East Asian art history at the University of Toronto, held in December 2021 for members of the Oriental Ceramic Society, titled “Feminine Space and Playthings: Recontextualization of Trompe l'Oeil Porcelain in High Qing China”. The corresponding section of the video starts at minute 16:00.

Secondly, the strictly realistic and nature-oriented manner of imitating the Huanghuali wood with enamels on porcelain, particularly visible in the characteristic 'ghost eyes' found on the present jardinieres, is untypical of the 19th century. As Chih-En Chen explains in detail, starting in minute 19:00 of the video, 'realistic' imitations of wood in Faux Bois porcelains were predominantly made during the 18th century, while 'unrealistic' or abstracted designs of wood emerged only in the 19th century. As we know, during the 18th century artists often imitated one material using another, but were always looking for rather subtle and inconspicuous ways to do so. Likewise, the ostentatious creations from the 19th century constitute a stark contrast to the humble, nature-oriented mindset of the 18th century.

These aforementioned two facts lead this author to the conclusion that the present jardinieres are in fact older than previously stated by Sotheby's, and without much - if any - doubt were made during the 18th century.

Link for the video:
https://www.orientalceramicsociety.org.uk/feminine-space-and-playthings-recontextualization-of-trompe-loeil-porcelain-in-high-qing-china-ca-1683-1839-ce
(available to OCS members only)

Finally, please note that Mr. Chih-En Chen has invested a sheer unfathomable amount of time into the research of Trompe l'Oeil decor in High Qing China - and especially Faux Bois - an effort for which we do not only have the deepest respect but also will remain eternally grateful to Mr. Chih-En Chen. For this reason, we highly recommend watching the video of Chih-En Chen's seminar, it is worth the while. At the time of the Sotheby's sale in 2015, however, none of the substantial scientific findings shown in the video by Mr. Chih-En Chen were available to the public, a fact that explains why Sotheby's experts had to be more cautious in dating the present jardinieres.

Superbly potted, the tapering sides of each of the two jardinieres are finely and boldly enameled to resemble wooden planks, including many details and aspects of the grain such as the characteristic knotholes, with the two raised bands encircling the body neatly painted to mimic the look of rope.

The recessed circle in the center of the base is set between two drainage holes and glazed white, each with a very large underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Also note the finely modeled and ruyi-shaped feet of each jardiniere.

The neatly executed painting of the wood imitation, including distinct peaks and ghost eyes, is inspired by the pronounced grain of huanghuali wood, which was highly prized as a material for furniture in the late Ming and early Qing dynasties, including brush pots or tubs similar to the present jardinieres.

Provenance: Sotheby's New York, 21 March 2015, lot 684, sold for USD 181,250 or approx. EUR 221,500 converted and adjusted for inflation at the time of writing. A copy of the invoice from Sotheby's New York, dated 21 March 2015, accompanies this lot. A notable private collector in Kensington, London, United Kingdom, acquired from the above.
Condition: Very good condition, especially when considering the size and age of these jardinieres, with minor old wear and some firing irregularities, shallow surface scratches, the feet with small chips and minor losses to enamels, one jardiniere with small chips to one section of the base.

Dimensions: Diameter 45.7 cm

(2)

Literature comparison:
Compare a closely related unmarked faux-bois jardiniere dated to the Yongzheng or Qianlong periods, in the collection of the Palace Museum, Beijing, accession number Gu154796, and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, no. 235. Two similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, are illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 317, pl. 146, and Gugong Qing ci tulu - Kangxi yao, Yongzheng yao - Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97, respectively.

Auction result comparison:
Type: Related
Auction: Sotheby's Hong Kong, 4 October 2011, lot 17
Price: HKD 8,000,000 or approx. EUR 1,365,000 converted and adjusted for inflation at the time of writing
Description: A rare faux-bois jardiniere, seal mark and period of Yongzheng
Expert remark: Compare the closely related form and decoration, though the wood is treated more naturalistically than on the present lot and the interior shows yellow enamel in imitation of an oilcloth lining. Note the Yongzheng mark found on this lot instead of the Qianlong mark on the present jardinieres.

13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.


一對乾隆款大型仿木紋釉花盆

由於字數限制,完整中文敘述請至www.zacke.at查看。

† A PAIR OF LARGE 'FAUX-BOIS' JARDINIERES, IMITATING HUANGHUALI, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795) 一對乾隆款大型仿木紋釉花盆
Opinion: This pair of jardinieres, made in imitation of Huanghuali wood, was purchased by the current owner at Sotheby's New York in March 2015 for a final price of USD 181,250 against a pre-sale estimate of USD 25,000-35,000. One reason for the intensive competition at this auction may have been that while Sotheby's dated the jardinieres to the 19th century, bidders seem to have had a slightly divergent perception of the actual age of this lot. And indeed, there are two very recent scientific findings that speak clearly for a time of origin in the Qianlong period instead of the 19th century:

Firstly, Trompe l'Oeil porcelains were primarily produced in the Qianlong reign period, and not in the 19th century. For a detailed scientific consideration of this fact, including respective data analysis, see the webinar by Chih-En Chen, Lecturer of Chinese and East Asian art history at the University of Toronto, held in December 2021 for members of the Oriental Ceramic Society, titled “Feminine Space and Playthings: Recontextualization of Trompe l'Oeil Porcelain in High Qing China”. The corresponding section of the video starts at minute 16:00.

Secondly, the strictly realistic and nature-oriented manner of imitating the Huanghuali wood with enamels on porcelain, particularly visible in the characteristic 'ghost eyes' found on the present jardinieres, is untypical of the 19th century. As Chih-En Chen explains in detail, starting in minute 19:00 of the video, 'realistic' imitations of wood in Faux Bois porcelains were predominantly made during the 18th century, while 'unrealistic' or abstracted designs of wood emerged only in the 19th century. As we know, during the 18th century artists often imitated one material using another, but were always looking for rather subtle and inconspicuous ways to do so. Likewise, the ostentatious creations from the 19th century constitute a stark contrast to the humble, nature-oriented mindset of the 18th century.

These aforementioned two facts lead this author to the conclusion that the present jardinieres are in fact older than previously stated by Sotheby's, and without much - if any - doubt were made during the 18th century.

Link for the video:
https://www.orientalceramicsociety.org.uk/feminine-space-and-playthings-recontextualization-of-trompe-loeil-porcelain-in-high-qing-china-ca-1683-1839-ce
(available to OCS members only)

Finally, please note that Mr. Chih-En Chen has invested a sheer unfathomable amount of time into the research of Trompe l'Oeil decor in High Qing China - and especially Faux Bois - an effort for which we do not only have the deepest respect but also will remain eternally grateful to Mr. Chih-En Chen. For this reason, we highly recommend watching the video of Chih-En Chen's seminar, it is worth the while. At the time of the Sotheby's sale in 2015, however, none of the substantial scientific findings shown in the video by Mr. Chih-En Chen were available to the public, a fact that explains why Sotheby's experts had to be more cautious in dating the present jardinieres.

Superbly potted, the tapering sides of each of the two jardinieres are finely and boldly enameled to resemble wooden planks, including many details and aspects of the grain such as the characteristic knotholes, with the two raised bands encircling the body neatly painted to mimic the look of rope.

The recessed circle in the center of the base is set between two drainage holes and glazed white, each with a very large underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Also note the finely modeled and ruyi-shaped feet of each jardiniere.

The neatly executed painting of the wood imitation, including distinct peaks and ghost eyes, is inspired by the pronounced grain of huanghuali wood, which was highly prized as a material for furniture in the late Ming and early Qing dynasties, including brush pots or tubs similar to the present jardinieres.

Provenance: Sotheby's New York, 21 March 2015, lot 684, sold for USD 181,250 or approx. EUR 221,500 converted and adjusted for inflation at the time of writing. A copy of the invoice from Sotheby's New York, dated 21 March 2015, accompanies this lot. A notable private collector in Kensington, London, United Kingdom, acquired from the above.
Condition: Very good condition, especially when considering the size and age of these jardinieres, with minor old wear and some firing irregularities, shallow surface scratches, the feet with small chips and minor losses to enamels, one jardiniere with small chips to one section of the base.

Dimensions: Diameter 45.7 cm

(2)

Literature comparison:
Compare a closely related unmarked faux-bois jardiniere dated to the Yongzheng or Qianlong periods, in the collection of the Palace Museum, Beijing, accession number Gu154796, and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, no. 235. Two similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, are illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 317, pl. 146, and Gugong Qing ci tulu - Kangxi yao, Yongzheng yao - Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97, respectively.

Auction result comparison:
Type: Related
Auction: Sotheby's Hong Kong, 4 October 2011, lot 17
Price: HKD 8,000,000 or approx. EUR 1,365,000 converted and adjusted for inflation at the time of writing
Description: A rare faux-bois jardiniere, seal mark and period of Yongzheng
Expert remark: Compare the closely related form and decoration, though the wood is treated more naturalistically than on the present lot and the interior shows yellow enamel in imitation of an oilcloth lining. Note the Yongzheng mark found on this lot instead of the Qianlong mark on the present jardinieres.

13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.


一對乾隆款大型仿木紋釉花盆

由於字數限制,完整中文敘述請至www.zacke.at查看。

Asian Art Holiday Sale

Sale Date(s)
Lots: 1-274
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§ 1) The auction shall be carried out in accordance with the provisions of the rules of procedure of GALERIE ZACKE©, SZA VERSTEIGERUNGEN UND VERTRIEBS GMBH, MARIAHILFERSTRASSE 112, 1070 WIEN (hereinafter referred to as the company) as well as in accordance with sections 244-246 of the GEWERBEORDNUNG [Industrial Code] of 1994. The auction shall be carried out on commission. The auctioneer shall be entitled to withdraw lots exceptionally, to conduct the auction deviating from the order of the catalog numbers and to offer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has missed a bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue auctioning the item. The figures stated in the catalog shall be the highest bid in Euro (€) expected by the respective expert. As a rule, the bid shall be increased by 10% of the last bid. (See table of the bidding increments).

 

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§ 7) The buyer should take acquired items into possession, as far as possible, immediately or after the end of the auction. Items which have been fully paid for shall be handed over in our show rooms in GALERIE ZACKE, MARIAHILFERSTRASSE 112, 1070 VIENNA. If a deferred purchase price is not paid within the set period, the company shall be entitled to auction the item again in order to recoup its claim from the defaulting auction buyer. In this case, the defaulting auction buyer shall be liable to the company for the total loss of commission incurred by the company due to the re-auctioning as well as for any default interest and storage charges.

 

§ 8) The company shall be entitled to a lien on all items of the buyer irrespective of whether the buyer bought them within the scope of an auction or in free sale or the company secured ownership of these items otherwise. This lien shall serve to secure all current and future, qualified, limited and unmatured claims to which the company is entitled and which result from all legal transactions concluded with the buyer.

 

§ 9) The items received for auction will be exhibited and may be viewed prior to the auction. In doing so, the company shall give everyone the opportunity to check the nature and the condition of the exhibited items to the extent deemed possible within the scope of the exhibition. Every bidder shall be deemed to act on its own behalf unless it provides a written confirmation saying that it acts as a representative or agent of a well-known principal. The company may refuse bids; this shall particularly apply if a bidder who is unknown to the company or with whom the company has no business connections yet does not provide a security deposit before the auction. However, in principle there shall be no claim to accept a bid. If a bid has been refused, the previous bid shall remain effective.

 

§ 10) The company’s experts evaluate and describe the items received for auction and determine the starting prices unless otherwise stated in the catalog or expert opinion. The information concerning production technique or material, state of preservation, origin, design and age of an item is based on published or otherwise generally accessible (scientific) findings concluded by the company’s expert with the necessary care and accuracy. The company shall warrant to the buyer according to §34-38 of the AGB (Terms and Conditions) that properties are correct provided that any complaints referring to this are made within 45 days after the auction day. Subsequent complaints shall be excluded in principle. The company shall not be liable for any further information in the catalog and expert opinion as well. This shall also apply to illustrations in the catalog. The purpose of these illustrations is to guide the potential buyer during the preview. They shall not be authoritative for the condition or the characteristics of the pictured item. The published condition reports shall only mention defects and damage affecting the artistic or commercial value significantly. Complaints concerning the price shall be excluded upon acceptance of the bid. The company reserves the right to amend the catalog online prior to the auction. These amendments shall also be made public orally by the auctioneer during the auction. In this case, the company shall be liable for the amendment only. All items offered may be checked prior to the auction. These items are used. Any claims for damages exceeding the liability named above and resulting from other material defects or other defects of the item shall be excluded. When making the bid, the bidder confirms that he/she has inspected the item prior to the auction and has made sure that the item corresponds to the description.

 

§ 11) If a customer is not able to participate in an auction personally, the company shall accept purchase orders. These orders may be placed in writing via mail, e-mail, fax, www.zacke.at or a third party bidding platform. In the case of a purchase order placed by phone or orally, the company shall reserve the right to make the performance dependent on a confirmation from the principal communicated in writing. Furthermore, the company shall not be liable for the performance of purchase orders. Equal purchase orders or live bids will be considered in the order of their receipt. Bids which below the estimate shall be exhausted completely. Bids which do not correspond to the increments determined by the company (see bidding increment table) will be rounded up to the next higher increment. The table of these increments can be sent upon request. The written bid (purchase order) must include the item, the catalog number and the offered top bid limit which is quoted as the amount of the acceptance of the bid without buyer’s commission and without taxes. Ambiguities shall be carried by the bidder. A purchase order which has already been placed may only be cancelled if the written withdrawal is received by the company at least 72 hours prior to the beginning of the auction.

 

§ 12) The company may refuse a purchase order without explanation or make its execution dependent on payment of a security deposit. In the event of an unsuccessful order, such a deposit will be reimbursed by the company within 5 working days. Processing of purchase orders is free of charge.

 

§ 13) Every seller shall in principle be entitled to withdraw the items offered for auction until the start of the auction. Therefore, it is impossible to assume liability or to give warranty for the actual offering.

 

§ 14) Paid items must be collected within 30 days after payment. Items which have not been collected may be re-offered without further communication at the starting price from the recent auction reduced by 50%. Items which have not been collected within 30 days after the auction or for which the company does not receive any proper shipping instructions stating the type of shipping and the address of dispatch (independent of a possibly placed purchase order) shall be stored at the owner’s risk. Furthermore, the company shall be entitled to store items which have been purchased at auction and paid but not collected at the buyer ś risk and expense, including the costs for an insurance, with a forwarding agency. It shall be understood that the provision concerning the re-auctioning of unpaid and paid but not collected items must also apply to items not exhibited or stored on the premises of the company. The ownership shall be transferred to the buyer at the time of handing over the issuing note.

 

§ 15) In the case of mixed lots with a starting price of less than EUR 350.00, the company shall not warrant for the completeness or correctness of the individual items within a mixed lot.

 

§ 16) A registration for a bid by telephone for one or several items shall automatically represent a bid at the estimate price of these items. If the company cannot reach a bidder by telephone, it will bid on behalf of this bidder up to the estimate price when the respective lot is up for auction.

 

§ 17) Payments made to the company by mistake (through the payer ś fault) (e. g. due to miscalculation of the exchange rate by the payer) or payments made to the company for the same invoice several times shall be compensated in form of a credit note for goods for an indefinite period of time. The repayment of such payments in cash shall be excluded.

 

§ 18) Certain auction lots may exist several times (multiples). In such a case, the auctioneer may accept a second, third or even more bids from the underbidder(s). In this case, the text in the catalog and not the illustration shall be exclusively binding with regard to the warranty.

 

§ 19) The company reserves the right to assign to the buyer all rights and obligations resulting from the contractual relationship between the company and the seller by way of a respective declaration, as well as to assign to the seller all rights and obligations resulting from the contractual relationship between the company and the buyer by way of a respective declaration, in each case in terms of a complete assignment of contract with the result that the contractual relationship - following the submission of the aforementioned declarations by the company – shall exclusively be between the seller and the buyer, all of which is in accordance with the basic model of the commission agreement. Buyers and sellers shall already now give their explicit consent to this contract assignment.

 

§ 20) The place of performance of the contract brought about between the company on the one hand and the seller as well as the buyer on the other hand shall be the place of business of the company. The legal relationships and contracts existing between the company, the sellers and the buyers shall be subject to Austrian law. The company, the sellers and the buyers shall agree to settle all disputes resulting from, concerning and in connection with this contract before the territorially competent court of Vienna.

 

§ 21) The export of certain art objects from Austria shall require a permit from the Bundesdenkmalamt [Federal Monuments Office]. The company will orally provide information about art objects for which such export permit will probably not be granted at the beginning of the auction.

 

§ 22) Whenever making a bid, whether personally or via an agent, in writing, online, telephone, or in any other way, the bidder fully and unconditionally accepts the Terms of Auction, the ‘Important Information’ section in the auction catalog, the Terms and Conditions (AGB) of Galerie Zacke, §1-48, the Fee Tariff, and the Bidding Increments table, all as published on www.zacke.at on the day of the auction.

See Full Terms And Conditions

Tags: Kangxi, Ming, Ruyi, Porcelain