A Chinese white and black jade group of the calligrapher Wang Xizhi seated by a goose, 18th century, the figure of Wang Xizhi depicted in a relaxed contemplative pose with a calligraphy brush over his shoulder, seated by a goose, rockwork and lingzhi fungus. Wang’s fondness for geese is reflected in the famous story where he copied the Daoist classic Daodejing [the classic of the Dao and of virtue] for a priest in exchange for a white goose and he is also known to have gained inspiration from natural forms, including the graceful necks of geese, 9.7cm across, carved zitan wood stand***CONDITION REPORT***Provenance - the former owner collected jades and snuff bottles in the 1960s and early 1970s while living and working in Hong Kong.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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A Chinese bamboo and hongmu ‘scholars’ brushpot, bitong, 18th century, carved in high relief and openwork with the scene of scholars and attendants standing on a cliff amid bamboo and trees, a boat containing two figures and scholarly objects below them, hongmu mounted rim and base with three shaped feet, 16.5cm high, 13.5cm wide at base***CONDITION REPORT***Two age splits to the hongmu rim, numerous age splits to the bamboo on the upper third of the brushpot, one tiny wormhole near the rim. A few age splits to the lower third of the brush pot, the hongmu base loose but a good fit.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
This beautiful piece is an example of the vibrant and bold style of F. N. Souza. This mixed media on paper work measures 10" x 6.8" and showcases Souza's signature style of heavily textured brush strokes and vivid use of color. This piece is sure to make a statement in any collection and is a must-have for any F. N. Souza fan.F. N. Souza is considered one of the most important Indian modern artists of the 20th century. He was a founding member of the Progressive Artists' Group in Bombay and is known for his daring and expressive style that often explored taboo themes. Souza's works are highly sought after by collectors and have sold for record-breaking prices at international auctions. As one of India's most recognized artists, an F. N. Souza piece is a wise investment for any art collector.
This beautiful piece is an example of the vibrant and bold style of F. N. Souza. This mixed media on paper work measures 10" x 6.8" and showcases Souza's signature style of heavily textured brush strokes and vivid use of color. This piece is sure to make a statement in any collection and is a must-have for any F. N. Souza fan.F. N. Souza is considered one of the most important Indian modern artists of the 20th century. He was a founding member of the Progressive Artists' Group in Bombay and is known for his daring and expressive style that often explored taboo themes. Souza's works are highly sought after by collectors and have sold for record-breaking prices at international auctions. As one of India's most recognized artists, an F. N. Souza piece is a wise investment for any art collector.
WW2 Third Reich Heer M40 Stalhelm Steel Hemet with camo finish. Thick brush painted field grey with a brush painted mid brown disruptive camo pattern. Shell only no liner. Liner band is present and is a size 57. Two split pins present. Named to rim in white paint "U. Ofz. Becker". Complete with original unmarked chinstrap.
An Elizabeth II cased silver mounted Dressing Table Set, by W G Sothers Ltd., the hand mirror and smaller brush hallmarked Birmingham 1963, the large brush, 1958, with engine turned and foliate decoration, the corresponding comb with silver mount only, together with an associated replacement comb, damaged, in presentation case.
A Chinese blue & white two-handled vase decorated with figures, Artemisia leaf to the underside, 15cms high; together with a blue & white brush holder, 13cms high; and a blue & white vase decorated with a bird amongst foliage, 15cms high (3).Condition ReportBoth handles on the two-handled vase have been restored, the brush pot is in good overall condition, the blue & white vase has a large crack to the body.
Nameplate THE NORTH YORKSHIRE MOORS RAILWAY ex British Railways Class 31 Diesel numbered 31428 built by Brush in 1960 as works number 235 and originally numbered D5635. Named in 1988 at Grosmont Station by David Mitchell MP Secretary of State for Transport. Nameplates removed in March 1992. Rectangular cast aluminium, face lightly restored, measures 73in x 17.75in.
Nameplate BEN NEVIS ex British Railways Class 60 Diesel 60029 built by Brush Traction Loughborough as works number 931 in 1990. Nameplates were applied when built and removed in August 1997 and the locomotive renamed Clitheroe Castle. Rectangular cast aluminium in as removed condition measures 39.5in x 9.75in. One of the best mountain names in the class. Note this is the other side to the one we sold in November 2021.
Worksplate BRUSH TRACTION ENGLAND No. 348 1962 ex British Railways diesel Class 47 originally numbered D1506 becoming 47407 February 1974. Allocated new to 34G Finsbury Park January 1963. Named Aycliffe November 1984 to May 1988. Withdrawn from Immingham August 1990 due to severe fire damage. Stored at Doncaster Works, Scunthorpe and Frodingham depot where it was cut up by staff from MRJ Phillips, Llanelly December 1995. Oval cast aluminium, face restored. Measures 9.5in x 5.75in.
Worksplate BRUSH TRACTION ENGLAND No. 147 1959 ex British Railways diesel Class 31 originally numbered D5548 becoming 31130 May 1974. Allocated new to 32B Ipswich September 1959. Named Calder Hall Power Station July 1992 to June 1997. Stored at Crewe Diesel Depot Aug 1997 until sold for preservation June 1999 to the Battlefield Line, Shackerstone. Loco now based on the Avon Valley Railway and name reapplied. Oval cast aluminium, face restored. Measures 9.5in x 5.75in.
Worksplate BRITISH RAILWAYS CREWE BUILT 1965 POWER EQUIPMENT BY BRUSH ELECTRICAL ENGINEERING COMPANY LTD AND SULZER ex British Railways diesel Class 47 originally numbered D1649 becoming 47535 April 1974. Allocated new to 86A Cardiff Canton Jan 1965. Named University of Leicester May 1982 to May 1995 and Saint Aidan September 1995 to July 1997. Withdrawn from Bescot February 1999, it was cut up by staff of HNRC at Old Oak Common April 2004. Rectangular cast aluminium, face restored. Measures 13in x 6.5in.
Nameplate CIR MHOR ex British Railways Class 60 Diesel 60030 built by Brush Traction Loughborough as works number 932 in 1990. Nameplates were applied when built and removed in June 1997. Rectangular cast aluminium in as removed condition measures 33.5in x 9.75in. Cir Mhor is a mountain on the Isle of Arran and is also known as the Matterhorn of Arran.
Worksplate BRITISH RAILWAYS DERBY BUILT 1962 POWER EQUIPMENT BY BRUSH ELECTRICAL ENGINEERING COMPANY LTD AND SULZER ex British Railways Diesel Class 46 originally numbered D152 then 46017 in 1974. Allocated new to 17A Derby and withdrawn from Laira in 1984. Scrapped at BREL Swindon in 1985. Rectangular cast aluminium face restored with 46017 painted on the back, measures 13in x 6.5in.
Worksplate BRUSH TRACTION LOCOMOTIVE No. 1101 1995 ex British Railways electric Class 92 92045. After numerous tests it was taken into service at Crewe ETD December 1995 and named Chaucer. Stored at Brush, Loughborough April 2001 for nearly twenty years becoming a parts donor until moving recently for further storage to Worksop. Rectangular engraved aluminium in basically as removed condition with some touching up to the screw holes. Measures 9.75in x 5.75in.
Nameplate EASTERN STAR ex British Railways Diesel Class 47 numbered 47733 built by Brush in 1964 as works number 527. Originally numbered D1765 then 47170 in 1974, 47582 in 1981 and 47733 in 1995. Named at York station in 1995 by driver Collyn Roberts and removed on withdrawal in 2004. Scrapped at EMR Kingsbury in 2008. Rectangular cast aluminium in as removed condition measuring 65in x 10in. Complete with original DB authenticity certificate.
Worksplate BRITISH RAILWAYS CREWE BUILT 1966 POWER EQUIPMENT BY BRUSH ELECTRICAL ENGINEERING COMPANY LTD AND SULZER ex British Railways diesel Class 47 in the number range D1100-D1106 later 47298, 47518-523 and D1984-D1999 later 47282-47297. Rectangular cast aluminium in good condition, measures 13in x 6.5in.
A MUGHAL-STYLE AGATE 'CHRYSANTHEMUM' BRUSH WASHER AND STAND, QING DYNASTYChina, 18th-19th century. The rounded sides rising from a recessed foot to an incurved rim, finely carved with raised ridges to imitate chrysanthemum petals, flanked by loop handles surmounted by blossoms and suspending loose-ring handles, the ring-form stand supported on three short feet. (2) Provenance: Swiss trade. Condition: Very good condition with minor wear, small nibbles here and there, and two natural fissures. The stand with a few small chips and nicks, and minor nibbling to the feet.Weight: 162.1 g (excl. stand), 196 g (incl. stand) Dimensions: Length 13.2 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 19 September 2014, lot 1307Price: USD 10,000 or approx. EUR 12,000 converted and adjusted for inflation at the time of writingDescription: A pair of agate bowls and stands, Qing dynasty, 19th century Expert remark: Compare the closely related form, handles, color of the stone, and stands. Note the slightly smaller size (11.8 cm) and that the lot comprises a pair.Auction result comparison:Type: RelatedAuction: Bonhams London, 12 May 2011, lot 186Price: GBP 14,400 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A fine Mughal-style agate brush washer, early 18th centuryExpert remark: Compare the related form, handles, and color of the stone. Note the slightly larger size (14.5 cm) and lacking stand.清代蒙兀兒風格瑪瑙菊瓣紋筆洗與底座中國，十八至十九世紀。筆洗成菊瓣紋，雙耳雕刻成小雛菊狀，每邊各有一個活環，通體晶瑩柔潤 。底座上三足。(2) 來源：瑞士古玩交易。 品相：狀況極好，有輕微磨損，大面積磕痕，還有兩條天然裂縫。底座有一些小缺口，輕微磨損。 重量：162.1 克 (不含底座)，196 克 (含底座) 尺寸：長13.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年9月19日，lot 1307 價格：USD 10,000（相當於今日EUR 12,000） 描述：十九世紀一對瑪瑙筆洗和底座 專家評論：比較非常相近的外形、雙耳、瑪瑙顏色和底座。請注意尺寸稍小(11.8 厘米) ，以及此為一組。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2011年5月12日，lot 186 價格：GBP 14,400（相當於今日EUR 24,000） 描述：十八世紀初期蒙兀爾風格瑪瑙筆洗 專家評論：比較相近的外形、雙耳、瑪瑙顏色。請注意尺寸稍大(14.5 厘米) 沒有底座。
A SUPERB FAMILLE ROSE 'KINGFISHER AND LOTUS' PLAQUE, CHINA, STUDIO OF CHENG YITING (1895-1948)Superbly and delicately enameled with two kingfishers perched on a rock below a large wilting lotus leaf amid further leaves, a bud, and two blossoms, a stream in the background. With a lengthy inscription as well as the artist's signature and seal.Inscriptions: Upper left, signed 'Zhushan Cheng Yiting, painted in Peigu-Zhai' and inscribed 'In the Spring in the style of Nansha Laoren [Jiang Tingxi, 1669-1732]'. Two seals of the artist, 'Yiting' and 'Cheng yin'. Provenance: Bonhams Knightsbridge, 3 November 2014, lot 478 (described as “After Cheng Yiting”, and together with another plaque), sold for GBP 3,125 or approx. EUR 4,400 (converted and adjusted for inflation at the time of writing). A Swedish private collector, acquired from the above, and thence by descent. Condition: Very good condition with minor wear and firing irregularities, few light scratches. The hardwood frame with expected age cracks, nicks and losses, and traces of use.Dimensions: Size 62 x 31 cm (excl. frame)With a fine hardwood frame and brass fitting from the period. (2)This masterfully painted plaque represents a new style pursued by porcelain artists upon the fall of the Qing dynasty. With imperial orders discontinued, craftsmen in the porcelain center of Jingdezhen were released from the constraints of the court and eagerly sought to develop new markets. In 1928, eight of the leading artists formed a group called Yueman hui (Full Moon Society), because they met to exchange ideas during the full moon. This group later became known as Zhushan Bayou (Eight friends of Zhushan), comprised of Cheng Yiting, Wang Qi, Deng Bishan, Wang Dafan, Wang Yeting, He Xuren, Bi Botao, Xu Zhongnan, and Tian Hexian.Cheng Yiting (1895-1948), a native of Leping, Jiangxi province, began learning to paint on porcelain at the age of sixteen at the Jiangxi Ceramics School in Poyang. In 1925 he moved from Jiujiang to Jingdezhen and set up his own business before traveling to Shanghai in 1931 to study under the Zhe School artist, Cheng Zhang (1869-1938). It was during this period that his skills greatly improved and developed the exquisite bird and flower painting style for which he is most famous.Jiang Tingxi (1669-1732) was a noted Chinese painter, and an editor of the 5020-volume encyclopedia Gujin Tushu Jicheng (Complete Collection of Ancient and Modern Writings and Charts), which was published in 1726 and had been compiled by Jiang and Chen Menglei during the reigns of the Kangxi and Yongzheng Emperors. As an official painter and grand secretary to the imperial court, Jiang used a wide variety of artistic styles and focused particularly on paintings of birds and flowers. He was also proficient in calligraphy and his works influenced several later painters. Apart from cultural activity, as a holder of the jinshi degree, Jiang performed important duties in the Qing government's Office of Military Finance, on par with Zhang Tingyu (headed by Yinxiang, the Yongzheng Emperor's brother). He was born in Changshu, Jiangsu. Besides the name Yangsun, he was also known by the pseudonym Nansha.Literature comparison: For an overview of the artists' plaques depicting birds amongst lotus and chrysanthemum, see those from the Muwentang Collection published in Simon Kwan, Chinese Porcelain of the Republic Period, Hong Kong, 2008, nos. 44, 45, 47, 49, and 50. Compare also two related plaques which were included in the exhibition Brush and Clay. Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990, cat. nos. 47 and 48.Auction result comparison: Type: Closely related Auction: Heritage Auctions, New York, 19 March 2019, lot 78195 Price: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writing Description: A Chinese Enameled Porcelain Plaque, 20th century, seal reading “Cheng Yiting” Expert remark: Compare the closely related subject, style, enamels and manner of painting, most notably the similarly wilted leaves. Note the much smaller size (36.8 x 23.9 cm).Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2012, lot 350 Price: GBP 79,250 or approx. EUR 116,250 converted and adjusted for inflation at the time of writing Description: A famille rose rectangular plaque, Republic period, signed and sealed Cheng Yiting Expert remark: Compare the related style, enamels and manner of painting with similar wilted leaves. Note the smaller size (39.5 x 26.7 cm).程意亭(1895-1948) 粉彩《翠鳥荷花》瓷板畫長條形邊框，框體雕飾花卉紋，畫心繪盛開的荷花、荷葉、翠鳥。粉紅的荷花、碧綠的荷葉下，一對翠鳥立於石上。一翠鳥聚精會神的凝視著水面，一翠鳥回首觀望，被他物所吸引。 款識：不妨翠鳥偷窺，為種荷花葉數莖。春仲撫南沙老人大意，翥山程意亭寫於佩古齋；鈴印：意亭，程印 來源：騎士橋邦翰思2014年11月 3日 lot 478 (描述爲程意亭風格，與其他幾件瓷板一起)，售價 GBP 3,125 或相當於 EUR 4,400 (根據通貨膨脹率)；瑞典私人收藏，購於上述拍賣，保存至今。 品相：狀況極好，有輕微磨損和燒製瑕疵，輕微劃痕。硬木框有年代裂縫、刻痕和缺損，有使用痕跡。 尺寸：62 x 31 厘米 (不含框) 同期硬木框與銅扣。(2)
A WHITE AND BROWN JADE 'LOTUS, CRAB AND MILLET' BRUSH WASHER AND MATCHING WOOD STAND, 18TH CENTURYChina. Exquisitely carved as a furled lotus leaf, finely detailed with veins, the curled stem serving as the foot and handle of the vessel, one side carved with a clambering crab. The superbly polished translucent stone of a pure white tone with pale sugar brown shadings and few russet inclusions and veins.Provenance: An old English private collection. A Hungarian private collection, acquired from the above. Condition: Very good condition with minor wear and few tiny nibbles. The stone with natural fissures, some of which have developed into small hairline cracks over time. The wood stand with minor wear, few expected age cracks, and small losses.Weight: 203.7 g (the washer) and 84.2 g (the stand) Dimensions: Length 11 cmThe matching wood stand, probably huali, lacquered and finely carved in openwork as two lotus leaves borne on curled stems further issuing lotus pods and millet stalks. (2)This brush washer is an exceptional example of the level of carving achieved by craftsmen in the 18th century. From the exquisitely detailed veins of the lotus leaf and modeling of the crab, to the fluid naturalistic form of the leaf, the carving has been expertly positioned and composed within the pebble to ensure minimal wastage and the clever incorporation of the brown portion of the stone to highlight the crab and stem.Lotus-leaf brush washers and water droppers were popular from the Ming dynasty, and were produced in various materials including porcelain, agate, bronze and jade. Such vessels are an example of the ideal natural world that was miniaturized and brought into the scholar's studio. These perfect representations of nature, which encompassed a range of objects including boulder carvings, brush pots and brush washers, proved a means of inspiration and escape for the scholar who was caught in the day-to-day duties of officialdom. An old name in Chinese for crab was jia, a reference to the creature's shell, and the word for lotus is lian.Such scenes were also imbued with auspicious meaning. Together, the crab and lotus formed the rebus lian ke jia di, meaning 'first place in consecutive examinations'. The lotus is also called hehua, and the common name for crab, xie, also combines to form the phrase hexia which means 'harmony'.Expert's note: It is rare to find a brush washer in white and brown jade, as this combination of colors was usually reserved for figural jades. The lapidary has masterfully utilized the different shades of the stone and polished it to a high translucency to further heighten the awe-inspiring effect, and even added a matching stand which strikingly complements the depiction, altogether leaving no doubt that the present lot was made during the 18th century. Literature comparison: Compare a related jade “cup” carved as a lotus leaf surmounted by a crab, dated to the Kangxi period, in the Cleveland Museum of Art, accession number 1952.501.十八世紀白玉褐斑蓮葉筆洗中國。筆洗成捲曲荷葉形，葉紋清晰，卷莖為器足和柄，一側刻有小蟹。表面光滑，呈純白色，帶有淺棕色斑紋和少量赤褐色絮狀物及紋理。 來源：英國私人舊藏；匈牙利私人收藏購於上述收藏。 品相：品相極好，有輕微磨損，具有天然裂隙的石料，隨著時間的推移，其中一些已經發展成細小的裂紋。木架有輕微磨損，輕微老化裂縫，小缺損。 重量：203.7 克 (筆洗)，84.2克 (底座) 尺寸：長11 厘米 配套的木架，可能是花梨木，上漆並精美鏤空，兩片荷葉承載在捲曲的莖上，其間可見蓮藕和花苞(2)
'SCHOLARS ON A BOAT', BY FU BAOSHI (1904-1965), DATED 1962Ink and watercolors on paper, laid down on paper. Superbly painted in the artist's characteristic style, mostly eschewing outlines in his dappling of the brush and ink washes while still meticulously rendering each element with distinctive purpose. Depicting two scholars seated in a boat, two fishing baskets at their side, floating along a calm stream below thick clouds, the riverbank with leafy and barren trees.Inscriptions: Upper right, 'View in the country, painted by Baoshi in Nanjing in May of the Year of Renyin (corresponding to 1962)'.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate.Condition: Some wear and minor soiling, losses, creasing. The paper with areas of minor corrugation. The mounting with creasing and small tears to edges.Dimensions: Image size 32.4 x 34 cm, Size incl. mounting 40 x 52 cmFu Baoshi (1904-1965) was a Chinese painter from Xinyu, Jiangxi Province. Credited with revolutionizing Chinese ink painting, Fu is perhaps the most original figure painter and landscapist of China's modern period, and one of the most important artists of the 20th century overall. In 1933, Fu went to Japan to study the History of Oriental Art at the Tokyo School of Fine Arts. After returning to China, he taught in the Art Department of Central University (today Nanjing University). At this time, Fu developed a new style, smoothly incorporating foreign ideas and techniques, and began creating boldly individualistic yet sometimes strongly nationalistic work. He also sought to revive early schools of realist depiction that made greater use of color and ink wash. His most important and acclaimed works of landscape painting employed skillful use of inking methods, such as washing, rubbing or dotting, creating a distinct style that encompasses a sheerly enormous range of varieties, but all within strict traditional rules. His detailed paintings of miniature figures remain unmatched to this day, due to his remarkably delicate and thus inimitable brushstrokes.Auction result comparison:Type: Related Auction: Christie's Hong Kong, 1 December 2020, lot 1065 Price: HKD 8,650,000 or approx. EUR 1,051,000 converted and adjusted for inflation at the time of writing Description: Fu Baoshi (1904-1965), Returning Boat Expert remark: Note the much larger size (61.2 x 49.7 cm)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 27 May 2014, lot 1608 Price: HKD 3,640,000 or approx. EUR 521,000 converted and adjusted for inflation at the time of writing Description: Fu Baoshi (1904-1965), Scholar Resting on a Boat Expert remark: Note the larger size (53 x 49.2 cm).傅抱石款《郊外所見》，1962年紙本水墨設色。兩位文人坐在船上垂釣，興致正濃，身後有漁簍，順著平靜的溪流漂浮著。河岸上綠樹成蔭。意境蕭疏。構圖不求滿密，乾淨利索，取得了形簡意賅的藝術效果。 款識：郊外所見，抱石記于南京壬寅五月；鈴印：抱石之作 來源：英國伯克郡，據説購於私人舊藏。 品相：有一些磨損和輕微污漬、缺損、摺痕，紙面局部有較小波紋區域，裝幀邊緣有摺痕和小撕裂。 尺寸：畫面32.4 x 34 厘米，總40 x 52 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2020年12月1日，lot 1065 價格：HKD 8,650,000（相當於今日EUR 1,051,000） 描述：傅抱石《風雨同舟》 專家評論：請注意尺寸大很多(61.2 x 49.7 厘米) 。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2014年5月27日，lot 1608 價格：HKD 3,640,000（相當於今日EUR 521,000） 描述：傅抱石《文人棲於舟》 專家評論：請注意尺寸 (53 x 49.2 厘米)較大。
AN IMPERIAL FAMILLE ROSE 'BOYS AT PLAY' PORCELAIN SNUFF BOTTLE, DAOGUANG MARK AND PERIODChina, Jingdezhen kilns, 1821-1850. Of flattened globular form, rising from an oval foot ring, surmounted by a cylindrical neck, finely enameled, and picked out in gilt and iron-red. Each side depicting a scene with eight boys playing, some boys holding twigs, flowers, a scepter, brush, and Buddhist emblems on poles, and each dressed in fine robes with ornamental designs. The recessed base with an iron-red four-character mark Daoguang nianzhi and of the period.Provenance: From an Austrian private collection, assembled prior to 1990. Condition: Very good condition with minor wear, mostly to the iron-red and gilt, few small nicks, and minuscule chips to the foot. The stopper with minor nibbling.Stopper: CarnelianWeight: 39.2 gDimensions: Height including stopper 66 mm. Diameter neck 17 mm and mouth 7 mm.The number eight is believed to be one of the luckiest numbers in China since it is associated with wealth. 'Eight' in Chinese is pronounced 'ba' and sounds similar to 'fa' as in 'facai', meaning 'well-off' or 'becoming rich in a short time'. The subject of boys or children was very popular in decorative arts of the Ming and Qing dynasties. Together with the number eight the motif of boys may represent a wish for an abundance of offspring and wealth.Auction result comparison:Type: RelatedAuction: Sotheby's London, 18 May 2018, lot 388Price: GBP 2,375 or approx. EUR 3,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose enameled porcelain snuff bottle, Daoguang seal mark and period (1821-1850)Expert remark: Compare the closely related form and motif. Note the missing gilt accents, the lower quality of the painting, and the slightly smaller size (55 mm).道光款及年代粉彩嬰戲圖鼻煙壺中國，景德鎮，1821-1850年。直頸，扁平圓形壺身，橢圓形圈足。精美的琺瑯，描金和礬紅彩勾勒。每面描繪八個男孩玩耍的場景，一些男孩手持樹枝、鮮花、毛筆和佛徽；童子們都穿著精美衣袍。圈足内礬紅彩“道光年製”四字款。 來源：奧地利私人收藏，建立於1990年前。 品相：狀況極好，有輕微磨損，主要是礬紅彩和鎏金，輕微小刻痕，足部有微小缺口，壺蓋有輕微磕損。 壺蓋：紅玉髓 重量：39.2 克 尺寸：含壺蓋高66 毫米. 頸部直徑17 毫米，壺口直徑 7 毫米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2018年5月18日，lot 388 價格：GBP 2,375（相當於今日EUR 3,500） 描述：清道光粉彩百子圖鼻煙壺 《道光年製》款 專家評論：比較非常相近的外形和主題。請注意沒有鎏金，且繪畫品質較低，以及尺寸較小 (55 毫米)。
A PALE CELADON JADE 'BAT AND LOTUS' DOUBLE BRUSHWASHER, BIXI, 1750-1850China. The washer is carved in the shape of two curled lotus leaves borne on leafy stalks and with furled rims, a bat perched above a bud between the larger and smaller leaf, the stalks issuing lotus buds and pod, the underside finely incised with veins. The translucent stone of a pale celadon color with few minor russet and cloudy white inclusions and with a fine polish.Provenance: British private collection. The base with a collector's number, '159039-15'. Condition: Good condition with minor wear, few small chips to exposed areas.Weight: 139.0 g Dimensions: Length 11.4 cmExpert's note: While lotus-form washers are a well-known design, this variation with two leaves serving as a 'double washer' is quite rare.Auction result comparison:Type: RelatedAuction: Sotheby's London, 7 November 2012, lot 388Price: GBP 10,000 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: A carved jade 'lotus' brushwasher, Qing dynasty, 18th/19th centuryExpert remark: Compare the related form and color of the jade. Note the size (17.8 cm).Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 15 October 2021, lot 100Price: EUR 5,056 or approx. EUR 5,500 adjusted for inflation at the time of writingDescription: A white jade 'frog on lotus leaf' double brush washer, bixi, QianlongExpert remark: Compare the related form, furled rim, and size (12.3 cm). Note the color of the jade.1750-1850年青白玉蝙蝠荷花雙聯筆洗中國。雙聯筆洗雕刻成兩片捲曲的荷葉，邊緣捲起，一隻蝙蝠棲息在大葉和小葉之間的花苞上；莖上長荷花苞和蓮藕。半透明的淺青色玉料，帶有少量輕微的赤褐色和白色絮狀物。筆洗表面拋光細膩，玉質瑩潤。 來源：英國私人收藏，底部有收藏編號 '159039-15'。 品相：狀況良好，輕微磨損，裸露區域有輕微磕損。 重量：139.0 克 尺寸：長11.4 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2012年11月7日，lot 388 價格：GBP 10,000（相當於今日EUR 16,000） 描述：清十八/十九世紀青白玉荷葉形洗 專家評論：比較相近的外形和玉石顏色。請注意尺寸(17.8 厘米)。 拍賣結果比較： 形制：相近 拍賣：維也納Galerie Zacke，2021年10月15日，lot 100 價格：EUR 5,056（相當於今日EUR 5,500） 描述：乾隆時期白玉青蛙荷葉筆洗 專家評論：比較相近的外形、邊緣翻捲和尺寸(12.3 厘米)。請注意玉石顏色。
'NEW YEAR'S FISH', BY LI KUCHAN (1899-1983)China. Ink on paper. Depicting an underwater scene with a catfish and another fish, well painted in the artist's characteristic bold and spontaneous style.Inscriptions: Upper left, inscribed 'Good fortune for the year', one seal, 'Li Ying zhi yin'. Provenance: British trade. Condition: Good condition with minor wear, a central crease, minor creasing to the edges, little soiling, and foxing. Dimensions: Size 63.8 x 44.8 cmLi Kuchan (1899-1983) was a renowned Chinese painter, calligrapher, and art educator who specialized in free-stroke brush paintings. Li was born in Gaotang, Shandong, into a poor family and had to take up hard labor in order to pay for art school in Beijing. In 1923, he began to study under Qi Baishi (1864-1957) and was considered his best student. Later, Li began to work as an art teacher, and taught at the Central Academy of Fine Arts from 1950 until his death in 1983. He specialized in bird-and-flower paintings using the free and spontaneous 'xieyi' style (freehand brushwork used in traditional Chinese painting).The fish is closely linked to Chinese New Year traditions. The word for fish, 'yu', is a homophone for the Chinese word wish and abundance, thus they often represent the wish for abundance in the New Year. It is also used to symbolize richness, plenty, surplus, luck, prosperity, and happiness.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 12 September 2012, lot 2078Price: USD 4,750 or approx. EUR 6,000 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1899-1983) FishExpert remark: Compare the closely related motif, vivid brushstroke, and size (62.2 x 39.4 cm)李苦禪 (1899-1983) 款《長年大利圖》中國，紙本水墨。描繪了一條鯰魚和一條鱖魚水中嬉戲場景，藝術家特有的大寫意風格。 款識：長年大利，禪；鈴印：李英之印 來源：英國古玩交易。 品相：品相良好，有輕微磨損，中央有摺痕，邊緣有輕微摺痕，輕微污漬和起皺。 尺寸：63.8 x 44.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2012年9月12日，lot 2078 價格：USD 4,750（相當於今日EUR 6,000） 描述：李苦禪《連年有餘圖》水墨紙本 專家評論：比較非常相近的主題、鮮活的筆觸和尺寸(62.2 x 39.4 厘米)。
A LONGQUAN CELADON ARROW VASE, TOUHU, SOUTHERN SONG DYNASTYChina, 1127-1279. Delicately potted, the pear-shaped body supported on a short tapered foot and rising to a long slender neck flanked by a pair of tubular handles. Covered overall in a rich vitreous glaze of soft sea-green color, save for the unglazed foot rim revealing the ware burnt to orange in the firing.Provenance: The J. M. Hu, Zande Lou Collection. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with expected old wear and minor firing irregularities, including glaze recesses and other minuscule glaze faults. The neck is slightly leaning. The unglazed areas of the ware burnt to orange in the firing.Weight: 149.2 gDimensions: Height 12.3 cmThe form of this vase is based on arrow vases, or touhu, the primary accessory of a drinking game which involved throwing all of one's arrows into the mouth of the vessel. The loser was assessed a penalty drink for every errant throw. This game had been popular among elite men and women from the Spring and Autumn period (770-476 BC) onwards. In line with emerging trends of antiquarianism and archaism, the game was revived during the Song dynasty and touhu vases, made in various materials including bronze, cloisonne, and ceramic, remained popular throughout the Ming dynasty and later.Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Too small to actually be used in the drinking game, the present vase was probably intended to hold a single branch, a small flower, or an incense stick.Literature comparison: A pair of related Longquan arrow vases, of slightly larger size and with wider necks, was recovered from the tomb of the Yuan calligrapher Xian Yushu (1251-1302), see Zhang Yulan, Hangzhoushi faxian Yuandai Xian Yushu mu, Wenwu, 1990:9, page 24, figures 11-12. A similar vase was included in the exhibition, The Scholar as Collector: Chinese Art at Yale, Yale University Art Gallery and China Institute in America, New York, 2004, page 18, figure 8.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1081 Price: USD 27,720 or approx. EUR 26,000 converted at the time of writing Description: A Longquan celadon 'arrow' vase, Southern Song dynasty Expert remark: Compare the related pear-shaped form and soft sea-green glaze. Note the size (16 cm).Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1033 Price: USD 119,700 or approx. EUR 113,000 converted at the time of writing Description: A small Longquan celadon bowl, Southern Song dynasty Expert remark: Compare the almost identical vitreous sea-green glaze and the similarly designed foot rim, also burnt to orange in the firing. Note that this bowl was previously also in the J. M. Hu Collection.南宋龍泉青瓷投壺中國，1127-1279年。胎體緊密，細長頸，頸部有對稱貫耳，豐腹下垂，圈足。通體覆蓋著柔和的青釉，足緣露胎，在燒製中成橙色。
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