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A FRAMED VINTAGE CHINESE PAINTED PORCELAIN TILE, 20TH CENTURY. Depicting two ladies dressed in robes sat in garden. With calligraphy in carved and pierced wood frame. Frame 40cm x 32cm.Minor nicks to right side of frame. Porcelain tile in good overall condition.

MACID AYRAL (1891-1961), FRAMED TURKISH NASKH SCRIPT, MID 20TH CENTURY. A fine example of calligraphy in two panels on a single page, illustrated with rose spray and foliage, with passage from the Quran. Signed and dated 1380 AH corresponding to 1960 AD. Total frame size 39cm x 29cm. Framed and glazed.Provenance: Acquired by the vendor in the 1980's. With a valuation paper from Phillips & Jollys Auctioneers in Bath late 1980s.

A LARGE KAKEMONO, NAKABAYASHI GOCHIKU (1827-1913). Ink calligraphy on paper in scroll. Nakabayashi was known as one of the best Japanese calligraphers in the Meiji period. After learning calligraphy in Edo, he went to China to research the technique of Chinese calligraphy. Signed with three red seal marks. In protective wooden box. Artwork 134cm x 53cmAcquired in Japan between 1986-89.

Chinese Yixing rice bowl and cover with calligraphy and foliage decoration, 23cm diameter

'SCHOLARS ADMIRING A WATERFALL', XI GANG (1746-1803)China. Ink and watercolor on paper. Depicting two scholars and their attendant resting on a cliff near a waterfall that literally emerges from the mist. The attendant fanning the oven to heat water for tea, while the scholars enjoy the monumental scenery. Mounted to a dark blue brocade frame with carved hardwood finials, possibly Zitan.Inscriptions: Top right signed 'in Qiantang, by Meng Tiesheng' and three seals 'Tiesheng'. Provenance: New York trade. Condition: Very good condition with minor wear, little soiling, staining, some creasing, foxing, browning, and few wormholes. The mount with small losses. Dimensions: Image size 169.4 x 94.6 cm, Size incl. mounting 201.5 x 105.7 cmXi Gang (1746-1803) was a renowned seal carver and painter in the mid-Qing Dynasty. He was born in Qiantang (present-day Hangzhou). His style name was Chunzhang and his pseudonym Tiesheng. Other names include Hezhusheng and Mengquan Waishi. His specialty was monumental yet delicately executed landscapes and his style is representative of the Southern School. He was also talented in prose and calligraphy.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 25 November 2014, lot 1086Price: HKD 112,500 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: Xi Gang (1746-1803), Landscapes after Old MastersExpert remark: Compare the related motif. Note that the lot comprises eight leaves, the size being 21 x 16.6 cm each.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 26 May 2008, lot 1274Price: HKD 87,500 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: Xi Gang (1746-1803), The Bodhisattva GuanyinExpert remark: Compare the manner in which the rocks, trees and figures are executed. Note the size (125 x 31.7 cm).奚岡(1746-1803)《觀瀑圖》中國。紙本水墨設色。描繪文人與其隨從在瀑布附近的懸崖上休息。侍者搧著爐子燒水泡茶，文人則在觀瀑。 款識：錢塘蒙鐵生 來源：紐約古玩交易。 品相：狀況極好，有輕微磨損、少量污漬、染色、一些摺痕、起毛、褐變和少量蟲洞。裝裱有少量缺損。尺寸：畫面169.4 x 94.6 厘米，總201.5 x 105.7 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2014年11月25日，lot 1086 價格：HKD 112,500（相當於今日EUR 17,500） 描述：清奚岡《仿古山水》 專家評論：比較相近主題。請注意此組畫有八幅，每幅畫尺寸為21 x 16.6 厘米。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2008年5月26日，lot 1274 價格：HKD 87,500（相當於今日EUR 16,500） 描述：清奚岡《觀音菩薩》 專家評論：比較岩石、樹木和人物描繪風格。請注意尺寸(125 x 31.7 厘米)。

AN INSIDE-PAINTED 'LOTUS AND SCHOLAR'S ROCK' SNUFF BOTTLE, BY ZHOU LEYUANChina, 1890. Finely painted in pale watercolors and black ink to one side with lotus blossoms and leaves blowing in the wind below a short inscription and to the other with a scholar's rock, a vase with flowering prunus branches, a jardiniere, and a kettle.Inscriptions: To one side, 'Yinxiu shanfang Zhuren qingshang Gengyin shouxia Zhou Leyuan you' (Curiosity by the scholar of the Yinxiu Shanfang Studio). In the summer of Gengyin year [corresponding to 1890]. Zhou Leyuan). One large seal.Provenance: From an old English private collection, acquired in China during the early 20th century and thence by descent to the last owner.Condition: Excellent condition with only minor old wear and some manufacturing imperfections to the glass.Stopper: Mottled green and brown jade.Weight: 30.7 gDimensions: Height including stopper 60 mm. Diameter neck 15 mmThe flattened, rounded and rectangular body supported on an oval spreading foot and rising to a cylindrical neck.Zhou Leyuan is the founder of the popular Beijing school of painting. His career spanned the period 1881 to 1893. Every single artist of the first phase of the school owed a considerable debt to Zhou, and most began their careers by copying his style and signing his name. Some even devoted most of their careers to producing copies of his work. Hugh Moss has described Zhou Leyuan as “the single most important artist in the entire field of inside-painted snuff bottles”.Expert's note: There is always evidence of Zhou's compositional brilliance in his mature works, exemplified here, where the lotus blowing in the wind is perfectly balanced with both the inscription, in Zhou's fluent and elegant calligraphy, and the large seal. The placing of the lines of calligraphy forms a vertical counterpoint, together with the seal, to counteract the void left by the dispersed lotus. In Chinese painting, which, in its mature phase from the Song/Yuan period onwards, incorporates what became known as the 'Three Perfections' (poetry, calligraphy and painting) in a single artistic expression, the seals act both as lexical content and as calligraphy and, as such extend the function of the calligraphy itself, but apart from that they also allow an additional formal element, their bright vermilion acting as a counterpoint to the black of the calligraphy and the blank space of the surface to which they are added. In this case, to extend the vertical element of the calligraphy, it was necessary to use a larger seal on the lower left side. These rare larger seals are mostly confined to Zhou's middle period. Later, particularly after 1890 and until he ceased to paint in 1893, his compositions became more complex, often filling the available space to a greater extent, reducing the need for larger seals to balance sparser compositions. A similarly sophisticated compositional elegance is exhibited on the other side, where we find Zhou's favorite subject of auspicious and scholarly objects, neatly arranged, but without any calligraphy or inscription whatsoever.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 25 May 2011, lot 109 Price: HKD 84,000 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: An inside-painted glass 'auspicious objects' snuff bottle, Zhou Leyuan, dated 1888Expert remark: Compare the similarly painted scholar's rock and vase with prunus branches.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 November 2012, lot 11 Price: HKD 312,500 or approx. EUR 48,500 converted and adjusted for inflation at the time of writing Description: An inside-painted glass 'crane and landscape' snuff bottle, Zhou Leyuan, dated 1892Expert remark: Compare the similarly sophisticated interplay between the bamboo growths, the rock, the moon, the calligraphy and the large seal on the backside of this bottle with the front side of the present lot.周樂元内畫鼻烟壺中國，1890年。腹部兩面繪製，淺色水墨設色精心繪製，一面是荷塘，另一面繪以博古圖為主題，可見花瓶、盆景及香爐等物，其瓶中插梅，寓意清雅高潔。 款識：飲秀山房主人清賞，庚寅首夏周樂元作 來源：英國私人老收藏，二十世紀初購於中國，在同一家族保存至最後一任主人。 品相：狀況極佳，只有輕微的磨損和玻璃的一些製造缺陷。 壺蓋：玉 重量：30.7克 尺寸：含蓋總高60毫米，頸部直徑15毫米 鼻烟壺扁瓶式，平口，口微敞，溜肩，直壁，橢圓型圈足。由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。

A 'HEART SUTRA' SOAPSTONE SEAL WITH MICROSCOPIC INSCRIPTION, 17TH CENTURYChina. Of elongated rectangular form, the upper edges rounded, masterfully incised to one side in a very fine and almost microscopic calligraphy with an extract of the Heart Sutra. The slightly translucent stone of a pale celadon color with cloudy white inclusions.Inscriptions: One side incised with an extract of the Heart Sutra. The seal face with 'Hai Nie'.Provenance: British trade. One side with an illegible old label. Condition: Very good condition with minor wear, few small nicks and chips to the edges, and light surface scratches.Weight: 78.8 g Dimensions: Height 7.1 cm The inscribed text is known as the Prajnaparamita sutra, or Heart Sutra, which was translated into Chinese in the 7th century by the pilgrim monk Xuanzang on the orders of Emperor Gaozong (reigned 649-683 AD). One of the principal scriptures of the Madhyamika school of Buddhism founded by the great Buddhist philosopher Nagarjuna (c. 100-200 BC), the Heart Sutra expounds that through true wisdom, one may realize the emptiness of this world and so achieve Enlightenment.The Heart Sutra, propagating total denial of the reality of the phenomenal world, is one of the most important Mahayana texts and became a popular script for copying, probably partly due to its brevity. Such copying had the dual function of serving as a calligraphic exercise and representing an act of devotion.Literature comparison: Compare a pair of soapstone seals with similar microscopic inscriptions, dated to the mid to late 17th century, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 84-85, no. 43.十七世紀皂石雕刻《心經》中國。長方體，上邊緣呈圓形，一側巧妙地刻有非常精細的《心經》摘錄。略帶半透明的淺青色石料，帶有白色絮狀物。 款識：海涅 來源：英國古玩交易，一面有難以辨認的舊標籤。 品相：狀況極好，輕微磨損，邊緣有小刻痕和磕損，表面有輕微劃痕。 重量：78.8 克 尺寸：高7.1 厘米 文獻比較： 比較一對十七世紀中至末期皂石印，有相近微小雕刻的款識，見Gerard Tsang和Hugh Moss，《Arts from the Scholar's Studio》，香港大學美術博物館，香港，1986年，頁84-85，編號43。

'HEART SUTRA', BY PU RU (1896-1963)China. Ink on paper, with a red silk brocade frame and mounted as a hanging scroll. Calligraphy written in regular script with the heart sutra (Xinjing), signed and with two seals, the paper with gold flakes.Inscriptions: Lower left signed, 'by Xishan yishi Pu Ru', two seals, 'Pu Ru zhiyin' and 'Xinshe'Provenance: British trade. Condition: Good condition with some wear, discoloration of the paper due to bleeding of the silk frame, the frame with tears, creases, and minor material loss.Dimensions: Image size 66.1 x 31.9 cm, Size incl. mounting 175.4 x 43.3 cmThe Heart Sutra, propagating total denial of the reality of the phenomenal world, is one of the most important Mahayana texts and became a popular script for copying, probably partly due to its brevity. Copying of the sutra, such as seen in the present lot, had the dual function of serving as a calligraphic exercise and representing an act of devotion.Pu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 23 March 2018, lot 1382Price: USD 31,250 or approx. EUR 35,500 converted and adjusted for inflation at the time of writingDescription: Pu Ru 1896-1963, Calligraphy in regular scriptExpert remark: Note the size (92.9 x 53.3 cm)溥儒款《般若波羅蜜多心經》中國，灑金紙，掛軸。楷書《般若波羅蜜多心經》。 款識：西山逸士溥儒敬寫 鈴印：溥儒之印；心畲 來源：英國古玩交易。 品相：狀況良好，有一些磨損，絲綢襯底滲色導致紙張變色，有撕裂、摺痕和輕微缺損。 尺寸：畫面66.1 x 31.9 厘米，總175.4 x 43.3 厘米 《般若波羅蜜多心經》是大乘佛教表達空性和般若波羅蜜觀點的經典，虔誠抄寫《心經》既是書法練習，又可以靜心，還是虔誠的表現。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2018年3月23日，lot 1382 價格：USD 31,250（相當於今日EUR 35,500） 描述：溥儒《正氣歌》 專家評論：請注意尺寸(92.9 x 53.3 厘米)

A PAIR OF LONGQUAN CELADON VASES, MEIPING, MING DYNASTYChina, 1368-1644. Heavily potted, the high-shouldered bodies tapering to spreading feet, surmounted by short necks with everted rims, the sides freely carved with broad bands of peony scroll framed by bands of stiff petals. Covered overall in a glaze of sea-green tone except for the unglazed foot rims burnt orange in the firing. The circular wooden stands carved in openwork with floral designs and vines.Provenance: Sydney Moss Ltd, London, United Kingdom. A British private collection, by repute acquired from the above (invoice not available). Sydney Moss Ltd is a London based art gallery. The company was established in 1910 and focuses on Chinese and Japanese works of art, including paintings, calligraphy, and objects in “the scholar's taste”. It is one of the longest-lived family-owned Asian art dealerships in the West, and the oldest in London. Condition: Fair condition, commensurate with age, with extensive old wear. One vase with a small chip to the rim and minor hairline cracks at the foot. The other with minor losses and an associated old repair to the rim. Both slightly leaning and with distinct signs of use and age.Weight: 559.1 g and 566.7 g Dimensions: Height 16.2 cm and 16.6 cmWith a carved wood stand. (4)Literature comparison:Compare the very similar meiping of the same period illustrated by Zhao Zigang, Qinqci Qinbaicai Zhenpin (The Treasury of Green and Qingbai Wares), Guangzhou, 1997, col. pl. 149. An uncarved Longquan meiping dated to the Yuan dynasty of nearly identical shape, including the collared shoulder and beveled foot, is illustrated in An Anthology of Chinese Art, Min Chiu Society Silver Jubilee Exhibition, Hong Kong, 1985, no. 146. A meiping with similar carved decoration, formerly in the Hirota Collection and now in the Tokyo National Museum, is illustrated in Oriental Ceramics, The World's Great Collections, vol. 1, Tokyo, 1982, no. 107. Auction result comparison:Type: RelatedAuction: Christie's New York, 30 March 2005, lot 322Price: USD 18,000 or approx. EUR 26,500 converted and adjusted for inflation at the time of writingDescription: An unusual longquan celadon carved bottle, Meiping, Yuan/early Ming dynasty, 14th-15th centuryExpert remark: Compare the closely related form, floral design, and glaze. Note the similar size (18.4 cm) and that the lot comprises a single vase.明代一對龍泉青釉暗刻梅瓶中國，1368-1644年。梅瓶侈口，直頸、豐肩、斂腹，造形優美。器身主體以暗刻卷葉花卉紋，肩部和腹部下方修飾蕉葉紋。通體施青釉，釉汁濃厚肥潤。足緣未上釉，成橘色。圓形木架採用鏤空雕刻，飾有花卉圖案和藤蔓。來源：英國倫敦Sydney Moss Ltd藝廊；英國私人收藏，據説購於上述藝廊（發票遺失）。Sydney Moss Ltd是一家位於倫敦的藝廊。該藝廊成立於 1910 年，專注於中國和日本的藝術品，包括文人繪畫、書法和物品。它是西方歷史最悠久的亞洲藝術品家族式經銷商之一，也是倫敦最古老的藝術品經銷商之一。 品相：狀況良好，與年齡相稱，有大量磨損。一個花瓶邊緣有一個小缺口，腳上有輕微的冲線。 另一個有輕微的磕損和邊緣的小修。兩者都略微傾斜，並帶有明顯的使用和年齡跡象。 重量：分別為559.1 克與566.7克 尺寸：高分別為16.2 厘米與16.6 厘米 木雕底座。 文獻比較： 比較非常相似的同年代梅瓶，見Zhao Zigang，《The Treasury of Green and Qingbai Wares》，廣州，1997年，編號149。一件幾乎相同外型元代龍泉梅瓶，有豐肩和足部外撇的設計，見《中國文物集珍》，香港，1985年，編號146。一件相似的暗刻梅瓶，早年收藏於Hirota Collection，現藏於東京國立博物館，見Oriental Ceramics，《The World's Great Collections》，卷一，東京，1982年，編號107。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2005年3月30日，lot 322 價格：USD 18,000（相當於今日EUR 26,500） 描述：十四至十五世紀元至明初龍泉青釉暗刻梅瓶 專家評論：比較非常相近外型、卷葉花卉紋和釉面。請注意相似的尺寸(18.4 厘米) 和此拍品僅有一梅瓶。

A SILK PAINTING OF BO LE WITH HORSES, AFTER ZHAO MENGFU (1254-1322)China, Qing dynasty, 18th-19th century or earlier. Ink and color on silk. Depicting the famous groom riding a horse with a pale chestnut color and light gray mane, an unsaddled, white-spotted brown horse with dark mane walking beside them, its muzzle with a green harness suspending a red tassel.Inscriptions: Upper left, signed 'Zi Ang', and one seal, 'Zhao shi Zi'Ang'. Lower right, two seals. Provenance: From an old Austrian private collection, by repute acquired ca. 1970, and thence by descent. The backside with cut-out text from an old auction catalog, in the German language, attributing the painting to the Yuan dynasty. Condition: Good condition with some wear, tiny losses, few tears, minor soiling and creases, some old restorations around the edges.Dimensions: Image size 33.4 x 29.1 cm, Size incl. frame 42 x 41 cmMatted and framed behind glass.Bo Le, the legendary horse tamer from the Spring and Autumn period (771 - 476 BC) is depicted in this painting. He was a famous judge of horses and invented equine physiognomy. The motif of Bo Le judging horses eventually became a metaphor for the recruitment of able government officials. Zhao Mengfu (1254-1322), also known as Zhao Zi Ang, was a Chinese painter of the Yuan dynasty who excelled in Chinese painting, calligraphy, poetry, and music. He was particularly famous for his paintings of horses, which he used as a symbolic plea for the proper use of scholarly talent by the new Mongol administration. Kublai Khan personally recruited him for high state services in 1286. During the reign of Emperor Buyantu Khan, he was among the most influential figures at court. As an eleventh-generation descendant of Emperor Taizu, Zhao was also a Song prince by birth.Literature comparison: Compare a related painting of a groom with horse, by Zhao Mengfu, 1296-1359, in the collection of the Metropolitan Museum of Art, accession number 1988.135.Auction result comparison:Type: RelatedAuction: Bonhams London, 9 November 2017, lot 83Price: GBP 27,500 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A painting of Bo Le with horse, after Zhao Mengfu, Ming Dynasty or laterExpert remark: Note the similar size (29 x 38.9 cm) and the attribution to a follower 趙孟頫款《伯樂相馬》中國，清代，十八至十九世紀或稍早。絹本設色。描繪了著名伯樂騎著一匹淺栗色的馬。一匹沒有鞍的、白色斑紋的棕色馬，黑色的鬃毛，在旁邊走著。 款識：子昂；印：趙氏子昂。右下方另有兩印。 來源：奧地利私人舊藏 ，據説購於1970年前後，保存至今。背面可見一德語拍賣行文字，認爲此畫為元代。 品相：狀況良好，有一些磨損、微小的缺損、輕微撕裂、污漬和摺痕，邊緣有一些修復。 尺寸：畫面33.4 x 29.1 厘米，總 42 x 41 厘米玻璃裝框。 文獻比較： 比較一件相近趙孟頫人馬圖（1296年-1359年），收藏於大都會藝術博物館，編號1988.135。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2017年11月9日，lot 83 價格：GBP 27,500（相當於今日EUR 37,000） 描述：明或更晚趙孟頫（傳）伯樂相馬 設色絹本 專家評論：請注意尺寸相似(29 x 38.9 厘米) ，以及出自趙孟頫追隨者之手。

'TOAD', BY PAN TIANSHOU (1897-1971) AND ZHANG ZONGXIANG (1882-1965)China. Ink on a paper folding fan. Finely painted to depict a toad with large eyes and distinct feet perched on a rock. The reverse with a poem in cursive script.Inscriptions: To the front, signed 'Shouzhe', dated 1956, two seals of the artist, and dedicated to Wang Lifu (1911-2014). To the reverse, signed 'Zhang Zongxiang', with another dedication to Wang Lifu, and two seals of the artist. The fan frame dated to the Dinghai year (corresponding to 1947).Provenance: Wang Lifu (1911-2014). Thence by descent within the family and subsequently to the last owner. Wang Lifu was a Chinese revolutionary and government official, who joined the Chinese Communist Party in 1937. He later served as a Director of the Foreign Affairs Office, and the Deputy Secretary of the Party Leadership Group.Condition: Good condition with minor wear and soiling, few small tears, minimal losses and traces of usage.Dimensions: Length 49.5 cm, Height 18 cm (the painting) and 30 cm (the frame)Pan Tianshou (1897-1971) was a Chinese painter and art educator. He was born in Guanzhuang, Ninghai County, Zhejiang Province. He studied Chinese traditional painting with Wu Changshuo, and built the foundation of Chinese traditional painting education. He was persecuted during the Cultural Revolution until his death in 1971.Auction result comparison:Type: RelatedAuction: Poly International, 4 December 2020, lot 670Price: CNY 5,750,000 or approx. EUR 866,000 converted and adjusted for inflation at the time of writingDescription: Toad (1963) by Pan TianshouExpert remark: Compare the closely related motif.Auction result comparison:Type: RelatedAuction: Poly International, 17 October 2020, lot 1902Price: CNY 575,000 or approx. EUR 86,500 converted and adjusted for inflation at the time of writingDescription: Orchid & calligraphy (1962) Pan Tianshou and Zhang Zongxiang潘天壽《蛙聲滿田圖》張宗祥書中國。成扇紙本水墨。一面靈蛙伏於石上，墨韻濃重、焦淡相滲疊，以凝煉和沉健的線條將青蛙的姿態描寫得栩栩如生。構圖精簡而意遠。青蛙身體朝向畫外，似要躍出畫面，畫面的右側有行草書題寫的自作詩，錯落有致。另一面可見張宗祥為王黎夫草書題詩。 款識：江南水滿田，蛙閣閣，聲連天。歌頌禾黍豐收，年年復年年。一九五六年夏日，黎夫同志 屬，壽者。鈴印：壽者、阿壽。張宗祥 (1882-1965) 草書詩一首，黎夫同志正；鈴印：張宗祥印、冷僧。扇骨上可見“丁亥夏日行人唐雲寫於邏思齋”（應爲1947年）。 來源：王黎夫 (1911-2014) 收藏，在同一家族保存直至最後一任藏家。王黎夫曾是中國共產黨幹部，後曾任浙江省人民政府外事辦公室原主任。 品相：狀況良好，磨損和輕微污漬，少量撕裂，損失和使用痕跡極少。 尺寸：長49.5 厘米，高18 厘米 (畫) ，成扇高 30 厘米 拍賣結果比較： 形制：相近 拍賣：北京保利拍賣，2020年12月4日，lot 670 價格：CNY 5,750,000（相當於今日EUR 866,000） 描述：潘天壽《蛙聲滿田圖》 專家評論：比較非常相近的形制。 拍賣結果比較： 形制：相近 拍賣：北京保利拍賣，2020年10月17日，lot 1902 價格：CNY 575,000（相當於今日EUR 86,500） 描述：潘天壽與張宗祥的成扇

AN INSCRIBED RUBY-RED GLASS SNUFF BOTTLE, 1750-1850Published: Robert Kleiner, 'The Tuyet Nguyet Collection of Snuff Bottles and Saucers', Arts of Asia, November-December 1998, pp. 53, no. 21.China. Of flattened rectangular form with rounded edges, the long sides each with a raised oval panel neatly incised with a poetic inscription, the short sides each with a raised oblong panel.Expert's note: Many monochrome glass snuff bottles were incised with poems and inscriptions, adding to their attraction for the literati class during the Qing dynasty. This is a good example, the raised panels providing an ideal platform for the incision work, which is of spectacular quality and shows fine gilding as well.Inscriptions: With a poem by Li Yifu, Tang Dynasty “She (the goddess of the Luo river) takes the moon as her fan and the clouds as her dress. She dances and looks at her image mirrored by the river.”Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Excellent condition with minor wear, few light surface scratches.Stopper: Glass in imitation of jadeiteWeight: 31.0 g Dimensions: Height including stopper 64 mm. Diameter neck 15 mm and mouth 8 mmAuction result comparison:Type: RelatedAuction: Christie's New York, 19 September 2007, lot 689Price: USD 21,250 or approx. EUR 25,900 converted and adjusted for inflation at the time of writingDescription: A Very Rare Ruyi Guan Inscribed Ruby-Red Glass Snuff BottleExpert remark: Compare the closely related color and calligraphy. Note the different form.1750-1850年寶石紅料詩文鼻烟壺中國。扁平長方形，溜肩，邊緣圓潤，兩面開光雕刻詩文。 出版：Robert Kleiner，〈The Tuyet Nguyet Collection of Snuff Bottles and Saucers〉，《Arts of Asia》，1998年11-12月，第53頁，編號21。 專家注釋：許多單色玻璃鼻烟壺上刻有詩句和款識，這就是清代一個很好的例子。 款識：鏤月成歌扇，裁雲作舞衣。自憐回雪影，孤到（應是“好取“）洛川歸。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相優良，小磨損，表面輕微劃痕。壺蓋：仿翡翠玻璃料 重量：31.0 克 尺寸：高 （含蓋）64 毫米；頸部直徑15 毫米 及瓶口直徑8 毫米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年9月19日，lot 689 價格：USD 21,250（相當於今日EUR 25,900） 描述：如意館造寶石紅料詩文鼻烟壺 專家評論：比較非常相近的顏色和書法。請注意外型不同。

'LION AT REST', MUGHAL EMPIRE1526-1857. Watercolors on paper. The resting lion reclining in a bamboo grove within a rocky landscape under dark wispy clouds, raising his hind legs while lightly crossing the fore paws in one of his natural poses. The beast's face shows a fierce expression with wild eyes and pricked ears, the mouth agape revealing sharp teeth and a long tongue. The fur, mane, and bushy end of the tail finely executed with meticulous linework. Provenance: English trade, acquired by the last owner at auction in the United Kingdom within the last ten years. Old label 'CA b' to lower left corner. Condition: Good condition with some wear, minor soiling, creasing, few small losses, one repaired tear (approx. 8 cm long) to left edge, further minor tears to edges, the upper margin with old masking tape.Dimensions: Size 47 x 69 cmThe Mughal Empire was an early-modern empire that controlled much of South Asia between the 16th and 19th centuries. For some two hundred years, the empire stretched from the outer fringes of the Indus river basin in the west, northern Afghanistan in the northwest, and Kashmir in the north, to the highlands of present-day Assam and Bangladesh in the east, and the uplands of the Deccan plateau in south India.The Mughal artistic tradition, mainly expressed in painted miniatures, as well as small luxury objects, was eclectic, borrowing from Iranian, Indian, Chinese and Renaissance European stylistic and thematic elements. Mughal emperors often took in Iranian bookbinders, illustrators, painters and calligraphers from the Safavid court due to the commonalities of their Timurid styles, and due to the Mughal affinity for Iranian art and calligraphy. Miniatures commissioned by the Mughal emperors initially focused on large projects illustrating books with eventful historical scenes and court life, but later included more single images for albums, with portraits and animal paintings displaying a profound appreciation for the serenity and beauty of the natural world. For example, Emperor Jahangir (reigned 1605-1627) commissioned brilliant artists such as Ustad Mansur (active 1590-1624) to realistically portray unusual flora and fauna throughout the empire.Literature comparison: Compare a closely related miniature painting of a lion at rest, dated ca. 1585 and attributed as “one of the early works of Mansur”, 20.3 x 15.2 cm, in the Metropolitan Museum of Art, accession number 1985.221.

'TWO GALLOPING HORSES', BY XU BEIHONG (1895-1953), DATED 1948China. Masterfully painted in a highly expressive manner with bold and vivid brushstrokes, characteristic for the artist, using exclusively black ink against a pure white background. Note the scattered remnants of preliminary sketch work below the final painting, and the distinct horizontal imprints from the edges of the supporting board - both peculiarities occasionally found on works from this artist.Inscriptions: on the upper left, “in the 37th year” (of the Republic of China, corresponding to 1948), and signed “Beihong”.Provenance: From the collection of Dr. Ivan Vodopija, acquired in China during a work trip for the WHO, according to a source familiar with the collection, and thence by descent to the last owner. Dr. Ivan Janko Vodopija (1925-2021) was a noted Croatian physician and expert in tropical medicine and vaccines. He worked for the World Health Organization (WHO) and conducted ground-breaking clinical research on vaccines in many countries. From 1995 to 2002, he was the President of the National Health Council of Croatia and in 2004, he was credited by the WHO for his significant contribution to eradicating polio. Dr. Vodopija was a passionate and eclectic collector of fine art, particularly paintings, and would frequently acquire works during his lengthy stays in foreign countries. Condition: Very good condition with minor wear, minimal soiling, little creasing. The silk brocade mounting with significant losses, possibly due to insect activity.Dimensions: Image size 109 x 40.5 cm, Size incl. mounting 165 x 51.5 cmWith a silk brocade frame and mounted as a hanging scroll with wooden handles.Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings to become one of the most sought-after, admired and influential painters of China. One of his well-known works, the “Cultivation of the peaceful Land”, sold for 27.4 million euro in 2011 and therefore ranks among the most expensive paintings in the world. After the founding of the People's Republic of China in 1949, Xu became President of the Central Academy of Fine Arts and chairman of the China Artists Association. Xu Beihong, together with Zhang Shuqi and Liu Zigu, were called the "Three Masters of Jinling (Nanjing)." Xu Beihong was a master of both oil and ink paintings. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasized the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one most responsible for the direction taken in the modern Chinese Art World.During his career Xu Beihong painted many pictures of horses in various postures. During the Sino-Japanese War (1937-1945) these images became particularly important, both as symbolic representations of China's strength and perseverance as well as for fund raising to support the war effort. While Xu's equines are characteristically powerful, vibrant, and rendered with anatomical precision, only his best examples have such detailed musculature and brushstrokes that suggest a play of light across the horse's torso, as seen on the anterior horse of the present work. It is quite exceptional to find an example where Xu took the time to paint two galloping horses in a rather small format as opposed to just a single horse. The close attention to modeling that is particularly visible in the heads reveals Xu's skill as a draughtsman and his interest in using Western techniques to enhance Chinese traditional paintings.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2019, lot 1136 Price: USD 375,000 or approx. EUR 421,000 converted and adjusted for inflation at the time of writing Description: Xu Beihong 1895-1953, Galloping Horse Expert remark: Note the significantly larger size (93.7 x 152.7 cm) and that the painting depicts a single horseAuction result comparison: Type: Related Auction: Sotheby's New York, 17 March 2016, lot 1187Price: USD 47,500 or approx. EUR 57,500 converted and adjusted for inflation at the time of writing Description: Xu Beihong, Galloping Horse Expert remark: Note the significantly smaller size (25.5 x 45.5 cm) and that the painting depicts a single horse徐悲鴻款《奔馬圖》，1948年中國，紙本水墨，掛軸。 款識：三十七年始寒，悲鴻 來源：Dr. Ivan Vodopija收藏，被世衛組織派去中國公務之時購買，據熟悉該系列的消息人士稱，此畫一直被保存至最後一位繼承人。Dr. Ivan Janko Vodopija (1925-2021年) 是克羅地亞著名的醫生，也是熱帶醫學和疫苗方面的專家。他曾在世界衛生組織 (WHO) 工作，並在多個國家開展了開創性的疫苗臨床研究。從 1995 年到 2002 年，他擔任克羅地亞國家衛生委員會主席，並於 2004年因在根除脊髓灰質炎方面做出的重大貢獻而被世界衛生組織稱讚。Vodopija 醫生是一位美術收藏家，尤其是繪畫，他在國外逗留期間經常會收藏作品。品相：狀況極好，小磨損，輕微污漬和摺痕。錦地裝幀上有大損失，可能是蟲咬所致。 尺寸：畫面109 x 40.5 厘米，總165 x 51.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

'ADMIRING THE WATERFALL' FU BAOSHI, DATED 1963China. Black ink and watercolors on paper. Depicting a scholar with a cane standing below a monumental waterfall, his head raised in awe towards the cliff. Silk brocade frame and mounted as a hanging scroll.Expert's note: Fu Baoshi reached his first artistic peak during his stay in Chongqing. Inspired by the geographical eccentricity of the location, he painted a series of landscapes and waterfalls which later became known as the “Landscapes of Jingangpo” - the mountain suburb of his residence. During his later years, he kept painting variations of these landscapes, including the present work, further improving the emotional density of the scenes. As Fu recalled, “There is a myriad of breath-taking scenery surrounding Jingangpo. Everywhere you look, fenben [artist's sketch books and preparatory drawings] exist in abundance. Those who live in the Southeast [Chongqing is located in the Southwest] cannot and dare not embrace this realm made possible only by the local misty atmosphere and the majestic peaks.”The composition of the present work emphasizes grandeur and monumentality. Technically, Fu Baoshi mostly eschews outlines and utilizes dappling of the brush and ink washes. In spite of the first impression, each element is rendered meticulously and with distinctive purpose. The distant rocks with atmospheric effect on the very top of the work contrast with the near and clear ones on the bottom. The seeming disorder of the falling waters, upon closer examination, is consisted of logically cascading waterflows seeking ways between protruding rock spires. A giant tree is rising above the cliff on the left. Near the bottom stands a lofty scholar, halting to admire the wonders of nature that take his breath away. Fu Baoshi uses flesh color to accent the head of the minuscule figure and razor sharp minuscule brushstrokes for the staff and the outlines of the robe, which do not shy a tenfold magnifying, adding vitality and a point of entry for the viewers to experience this pictorial world vicariously. The minuscule figure further highlights the colossal towering peaks and waterfalls.Fu Baoshi's family later reminisced about their time there: “Jingangpo, where we lived, was a typical mountain district of Sichuan province. Villages are scattered in layers of mountains and hills, where streams, bamboo groves, thickets, and forests are ubiquitous. And in the mountains there are the secluded ancient temples. In the summer, fog and mist frequently permeates the air, causing one to lose one's direction. However, this type of scenery was beloved by father [Fu Baoshi] the most.” The present work, in every way, exemplifies the finest of Fu Baoshi's waterfalls.Inscriptions: Upper right 'Fu Baoshi in Nanjing, May 1963', one seal 'Baoshi zhi yin'. Lower left, one collector's seal 'Yang Qilin suocang shuhua'.Provenance: From the collection of Yang Qilin, Singapore. Collector's seal 'Yang Qilin suocang shuhua' to lower left of painting. Thence by descent to the auction market, a noted private collector acquired from the above. Yang Qilin (1917-1998), was born in Chao'an, Guangdong Province, and later lived in Singapore. During his lifetime he collected more than 1,000 calligraphies and paintings, among them many highly important works. Together with Huang Manshi, Liu Zuochu and Chen Chuchu, he was known as the "Four Great Collectors of Paintings and Calligraphy in Singapore". Condition: Excellent condition with minor wear and traces of age, and few small creases to the mounting.Dimensions: Image size 51.5 x 28.5 cm, Size incl. mounting 201.5 x 46.7 cmThe finely polished hardwood scroll handles are probably carved from ebony. Fu 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: Closely relatedAuction: Sotheby's Hong Kong, 1 October 2018, lot 1319Price: HKD 3,240,000 or approx. EUR 438,500 converted and adjusted for inflation at the time of writingDescription: Fu Baoshi, Expedition to the WaterfallExpert remark: Note the size (96.5 x 37 cm)Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 8 July 2020, lot 1074Price: HKD 812,500 or approx. EUR 104,500 converted and adjusted for inflation at the time of writingDescription: Fu Baoshi (1904-1965), Viewing WaterfallExpert remark: Note the size (69 x 33 cm)傅抱石款《觀瀑圖》，1963年中國，紙本設色，掛軸。散鋒皴擦水口的山石，透過其佈局襯托出流水的質感和動勢，構圖滿密，瀑布飛泉依山勢曲折而下，水勢湍急。一人立于石台之上，沉浸在震耳欲聾的水聲中，暢然忘返。由於字數限制，完整中文敘述請至www.zacke.at查看。

'SCHOLAR UNDER PINE TREE', BY ZHANG DAQIAN (1899-1983) AND PU RU (1896-1963), DATED 1946China. Ink and watercolors on paper, mounted as a hanging scroll. Depicting a scholar dressed in a long flowing robe, his head covered by a cowl and turned towards the towering, gnarled pine tree, holding a wood cane in his left.Expert's note: Zhang Daqian and Pu Ru are well known for their collaborative paintings. They were good friends and their seemingly disparate styles complemented each other very well, as evidenced by this superb painting. Together they created several scroll paintings as well as fan paintings. While the tree is clearly painted by Pu Ru in his characteristic style, the scholar undoubtedly is by Zhang Daqian, a subject the master painted many times during his long-lasting career, always displaying his brilliant technical abilities to their full extent. Zhang Daqian often lamented that while it is easy to paint fair ladies, it is difficult to portray great man. Zhang saw depicting a gentleman scholar as most challenging - the figure had to be without bitterness, without coarseness, without effeminacy, and instead be poised and carefree, like the great historical figures of bygone times.Inscriptions: Upper left, signed 'Shuren Zhang Daqian', and two seals, 'Zhang Yuan' and 'Daqian'. Center right, signed, 'Xishan Yishi Pu Ru', inscribed and signed, 'dedicated to Mr. Zhuming, made by Zhang Daqian', dated, 'on an autumn day in the year of Bingxu (corresponding to 1946)', and two seals, 'Pu Ru Zhi Yin' and 'Xinshe'.Provenance: From a noted private collector. Condition: Very good condition with minor wear and minimal soiling, the mounting with little creasing.Dimensions: Image size 78 x 48.5 cm, Size incl. mounting 200.5 x 60.2 cmPu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power, and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Zhang Daqian (1899-1983) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Chang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon. He affected the long robe and long beard of a traditional Chinese scholar.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2016, lot 1260Price: HKD 875,000 or approx. EUR 118,000 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (1899-1983) and Pu Ru (1896-1963), Scholar and PineExpert remark: Compare the closely related composition, the layers and folds of the robe, and use of color. Note the size (108 x 67.5 cm)Auction result comparison:Type: Closely relatedAuction: China Guardian Auctions, Beijing, 15 August 2020, lot 198Price: CNY 1,058,000 or approx. EUR 154,500 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (1899-1983) and Pu Ru (1896-1963), Hermit under pineExpert remark: Compare the closely related composition, use of colors, and pose of the scholar. Note the size (95.7 x 50 cm).1946年張大千及溥儒款《松下高士》中國，紙本設色，掛軸。描繪一位身著飄逸長袍的文士，向后轉向一棵參天松樹，左手拄著一根木杖。 專家注釋：張大千和溥儒曾是好友，經常合作作畫，看似截然不同的風格卻相得益彰。這幅《松下高士》就證明瞭這一點。溥儒畫的那棵松樹，而文士無疑是張大千的作品。這位大師在漫長的繪畫生涯中多次畫做過類似的題材，始終將他精湛的技藝展現得淋漓盡致。張大千常感嘆，畫淑女容易，畫偉人難。 他描繪君子文人是最有挑戰性的——人物必須沒有苦澀、沒有粗俗，而是像過去的偉大歷史人物一樣沉著。 款識：蜀人張大千爰；竹銘先生屬張大千作此高士為補之，丙戌秋日西山逸士溥儒並記鈴印：張爰，大千；溥儒之印，心畲 來源：知名私人收藏。 品相：狀況極好，小磨損，少量髒污，幾乎沒有摺痕。 尺寸：畫面 78 x 48.5 厘米, 總 200.5 x 60.2 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看

A CARVED CINNABAR LACQUER ZHADOU AND COVER, 18TH CENTURYChina. The zhadou has a wide everted rim carved on top with lotus flowers within a ruyi-head border and incised on the underside with leafy lotus sprays below ruyi heads, all above the slightly rounded sides carved with hexagonal floral diaper. The domed cover is carved en suite around a circle of petal lappets at the base of the semispherical imitation-amber glass finial. The interior and base are entirely covered in black lacquer. Provenance: From a noted French private collection. Condition: Good condition with old wear, expected age cracks, few losses, some nicks here and there. Fine, naturally grown patina overall.Weight: 174.0 gDimensions: Diameter 14.6 cmExpert's note: The Sanxitang (Three Treasures Hall) was a private study of the Qianlong Emperor. It was so named because it was used to house his favorite three pieces of calligraphy, “Timely Clearing after Snowfall” by Wang Xizhi, “Mid-Autumn” by Wang Xianzhi, and “A Letter to Boyuan” by Wang Xun. The hall also houses a closely related zhadou along with a number of other important scholar's objects made during the period.Literature comparison:Lacquer zhadou with covers of this type appear to have been carved with various decorations, and have rims of various shapes. One carved with the sanduo and dated to the Qianlong period is illustrated by S. Kwan in Chinese Lacquer, Hong Kong, 2010, pp. 290-91, no. 103. Also illustrated, page 290, is a photograph from the Sanxitang in which a similar zhadou and cover are shown. Another related example carved with flower scroll, dated 18th century, in the Shenyang Palace Museum, is illustrated by R. L. Thorpe in Son of Heaven: Imperial Arts of China, Seattle, 1988, page 96, no. 28.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2012, lot 1710 Price: USD 10,000 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A carved red lacquer zhadou and cover, 18th century Expert remark: Compare the closely related form and manner of carving with similar lotus blossoms, petal lappets, and hexagonal floral diaper. Note the similar size (15.3 cm) and lack of a finial.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 16 October 2021, lot 454 Price: EUR 12,008 or approx. EUR 13,000 adjusted for inflation at the time of writingDescription: A carved cinnabar lacquer zhadou and cover, mid-Qing Expert remark: Compare the closely related form and manner of carving with similar ruyi-head rim, lotus blossoms, petal lappets, and hexagonal floral diaper. Note the similar size (15 cm) and gilt bronze finial.十八世紀剔紅纏枝蓮紋渣斗中國。渣斗寬邊折沿如意紋，蓋上剔紅纏枝蓮紋，渣斗外壁錦地紋。蓋上仿琥珀琉璃鈕。渣斗內黑漆。 來源：法國知名私人收藏。 品相：狀況良好，有磨損和年齡裂縫，邊緣有缺損，大面積刻痕，整體包漿細膩。 重量：174.0 克 尺寸：直徑 14.6 厘米 專家注釋：三希堂，古時是清高宗弘曆即乾隆帝的書房。 “三希”即“士希賢，賢希聖，聖希天”，士人希望成為賢人，賢人希望成為聖人，聖人希望成為知天之人，也就是鼓勵自己不懈追求，勤奮自勉。書房名為“三希堂”，乾隆十一年（公元1746年）間在此收藏了晉朝大書法家王羲之的《快雪時晴帖》、王獻之的《中秋帖》和王珣的《伯遠帖》。在乾隆帝的三希堂裏曾存放了一件相似的渣斗和其他文房用品。 文獻比較： 這種類型的帶蓋渣斗，有各種雕刻和裝飾，並有各種形狀的邊框。一件乾隆時期三多渣斗，見S. Kwan，《Chinese Lacquer》，香港，2010年，頁290-91，編號103；也見頁290，一張三希堂的照片裡有相似的渣斗。 另一件相近的十八世紀花纏枝渣斗，收藏於瀋陽博物館，見R. L. Thorpe，《Son of Heaven: Imperial Arts of China》，西雅圖，1988年，頁96，編號28。 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 1710 價格：USD 10,000（相當於今日EUR 12,500） 描述：清十八世紀剔紅花卉紋渣斗 專家評論：比較非常相近的外型和花卉雕刻、寬邊折沿如意紋、六邊形花紋。請注意相似的尺寸(15.3厘米) ，但蓋上沒有鈕。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN INSIDE-PAINTED ROCK CRYSTAL 'TROMPE L'OEIL' SNUFF BOTTLE, BY MA SHAOXUAN (1867-1939), DATED 1898Published:Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 314-315, no. 139 (erroneously stating the bottle was once in the Mary and George Bloch Collection)China. Of flattened form, with slightly concave top, finely painted on the interior on one main side with a collection of old, tattered and inscribed paper items, including envelopes, books and rubbings, the reverse painted with an excerpt from a Tang dynasty historical chronicle.Inscriptions: Signed 'Ma Shaoxuan', one seal, and dated to the third month of the Wuxu year (corresponding to 1898) Provenance: Robert Kleiner, London, 1992. Rachelle R. Holden Collection, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '244' to the base. Robert Kleiner (1948-2014) was an important expert on Chinese snuff bottles, beginning his long career at Sotheby's Chinese Art department in London. Along with Hugh Moss and Bob Hall, Robert Kleiner became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject 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 only minor old wear. A few small scattered inclusions in the crystal.Stopper: Pink tourmaline stopper, black plateletWeight: 66.6 g Dimensions: Height including stopper 75 mm. Diameter neck 19 mm and mouth 6 mm.The calligraphy on the reverse side of this bottle is transcribed from the famous Tang stele by Ouyang Xun called Jiu Cheng Gong li quan ming (The Sweet Spring of Jiucheng Palace). Ouyang Xun (AD 557-641) was one of the four masters of the early Tang. The paintings on the other side include burnt and torn examples of the Jin Hui Dui and a fan-shaped painting by Yun Shouping, calligraphy from the book entitled Zuo Zhong Tang (a famous general), a torn book entitled Si Shu (essential reading for scholars), and an envelope inscribed You Shanghai Ji (posted from Shanghai).Ma Shaoxuan (1867-1939) was one of the most technically accomplished artists of the Beijing school of painting, which was first started by Zhou Leyuan and included other leading artists such as Ding Erzhong, Ye Zhongsan and Ziyizi. Ma's famous monochromatic portrait bottles of leading Qing officials and personalities were highly sought after among the influential minority of his day and continue to be among the most coveted of all inside-painted bottles. Executed only in black ink, with the use of vermillion solely for seals, each portrait is a technically impeccable, photographic likeness of the sitter. Ma's extraordinary renown led to his being commissioned in 1911 to paint two portraits of the young Xuantong Emperor.Literature comparison:Compare a closely related rock crystal snuff bottle by Ma Shaoxuan, illustrated by Nancy Berliner, The 'Eight Brokens'. Chinese Trompe-l'oeil Painting, Orientations, February 1992, p. 70.Auction result comparison:Type: Near identicalAuction: Christie's New York, 24 March 2011, lot 1578Price: USD 20,000 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: An inside-painted glass snuff bottle, signed Ma Shaoxuan, dated start of the hot season in the jihai year, corresponding to 1899Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2013, lot 1088Price: USD 40,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writingDescription: A rare inside-painted rock crystal snuff bottle, Ma Shaoxuan (1867-1939), Beijing, probably 1905 1898年馬少宣款水晶内畫鼻烟壺中國。壺直口，豐肩，長方扁圓腹，橢圓形圈足。壺體為無色透明水晶為材，施以內繪技法，一面內畫彩色字畫殘片 。另一面楷書節錄唐歐陽詢書《九成宮醴泉銘》：“維貞觀六年孟夏之月，皇帝避暑乎九成之宮，此則隨之仁壽宮也，冠山抗殿，絕壑為池。節錄”。書法字體挺拔剛健，工整俊秀。 出版：Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁314-315，編號139 (錯誤認爲瓶子曾經在瑪麗和喬治布洛赫收藏中) 。 款識：馬少宣作；鈴印「少宣」 來源：1992年紐約 R. Holden 收藏購於購於倫敦Robert Kleiner & Co. Ltd.藝廊。底部可見Rachelle Holden 收藏標籤，上有編號 '244'。英國私人收藏，購於倫敦Robert Kleiner & Co. Ltd.藝廊。隨附一份2000年11月20日開具的發票副本，確認了相關描述和斷代。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN IMPERIAL SCROLL-SHAPED ZITAN BOX AND COVER, QIANLONGChina, 1736-1795. Naturalistically carved as three stacked scrolls, the upper scroll with a neatly incised lozenge diaper pattern in deep relief, the lower two with similarly executed floral and wan-symbol patterns, respectively. Each of the three with a bone-inlaid plaque imitating a label, meticulously engraved with gilt inscriptions identifying the paintings once contained in the box, all framed by a remarkably fine silver-inlaid T-scroll border, and cleverly decorated with further inlays to imitate the clasps and scroll handles. The sides again meticulously carved and painted to imitate the scroll ends. The interiors delicately padded with lozenge-diapered Imperial yellow silk.Inscriptions: The upper scroll box, 'Poetic Ideas from the Imperial Jiguang Temple, painted by Qian Weicheng, calligraphy by Liang Shizheng'. The lower left scroll, 'Poetic Ideas of the Imperial Jade Belt Bridge, painted by Xu Yang, calligraphy by Wang Yudun'. The lower right scroll, 'Poetic Ideas on the Boat Journey to Spring, painted by Dong Bangda, calligraphy by Liang Shizheng'.Provenance: British trade. Condition: Very good condition with some old wear and traces of usage, also to the interior, light surface scratches, minuscule age cracks, nicks and losses. The gilt to the incised inscriptions slightly worn off. The textiles to the inside slightly faded, with loose thread and minor creases.Weight: 1,194 g Dimensions: Length 27.8 cm This exquisitely conceived box is remarkable for the combination of zitan wood, gilt bone inlays, and silk textiles which all have been carefully assembled resulting in a harmonious design overall. Skillfully modeled to simulate three scrolls, such elaborate curiosity pieces are rare and would have enjoyed a place of prestige in an elegant scholar's studio or even an Imperial palace.The Qianlong Emperor's love of painting and calligraphy fueled the development of boxes for such treasured items. The characteristics of these containers included the use of choice materials, the preferences being zitan, carved lacquer, cloisonne, and bamboo, due to their durability and fine quality which would complement the painting and calligraphy. The shape and decoration of these containers were also carefully considered to reflect both their contents and the imperial authority. Scroll boxes in the form of either three or five stacked scrolls were made in a variety of materials and demonstrate the importance given to packaging during the Qianlong reign.The paintings contained in such scroll boxes were usually made by well-known court painters and the boxes usually depict the title on the cover. The present box is decorated with three meticulously carved inlaid plaques imitating labels, each inscribed with the title of a famous painting, all three by court painters known to be active during the reign of Qianlong. One is a landscape depicting the Yudai bridge by Xu Yang, another a landscape painting of the Jiguang temple by Qian Weicheng, the last a painting of a boat by Dong Bangda.Literature comparison:Boxes made to imitate scrolls were popular in the Qianlong period and were made in various materials and designs. Compare the near-identical scroll-form box made of zitan and inlaid ivory, and the one in carved red lacquer, both in the Palace Museum, Beijing, and illustrated in The Sumptuous Art of Imperial Packaging, Macau, 2000, pp. 30-31, nos. 2 and 3.Compare an imperial carved cinnabar lacquer scroll box and cover, dated to the Qianlong period (1736-1795), at Christie's New York, 19 March 2009, lot 589. Compare a gilt-bronze and cloisonne enamel covered box, dated to the Qianlong period, at Sotheby's Paris, 16 June 2022, lot 141. Compare a hardwood scroll shaped box and cover, dated to the Qing dynasty, at Sotheby's London, 6 November 2013, lot 73.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2018, lot 3413 Estimate: HKD 500,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writingDescription: A pair of ivory-inlaid zitan scroll-shaped boxes and covers, Qing dynasty, 18th centuryExpert remark: Compare the closely related form, inlays, and decorations. Note that this lot comprises two boxes.乾隆御製紫檀卷軸蓋盒中國，1736-1795年。紫檀卷軸刻雷紋、團花紋與萬字紋，嵌象牙，象牙上刻所裝書畫名稱等畫名。可開啓。此包裝的造型采用卷軸冊頁式，製作精美。盒内襯雷紋黃地絲綿。 款識：御制玉帶橋詩意，徐揚畫，汪由敦書；御制積廣詩意，錢維城畫，梁詩正書；御制舟行春興詩意，梁詩正書，董邦達畫。 來源：英國古玩交易。 品相：狀況極好，有一些磨損和使用痕跡，內部也有輕微的劃痕，微小的老化裂縫、刻痕和缺損。鎏金略有磨損，内襯略微褪色，線鬆散，有輕微摺痕。 重量：1,194 克 尺寸：長 27.8 厘米 紫檀木、鎏金象牙以及絲綢紡織品的組合使盒子顯得尤爲珍貴，整體設計和諧，深受文人雅士甚至皇宮之中所推崇。由於字數限制，完整中文敘述請至www.zacke.at查看。

'A SPRING OFFERING WITH AN ANCIENT GUI AND A STONE RUBBING OF A MYTHICAL BEAST', BY WU CHANGSHUO (1844-1927) AND ZHU CHENG (1826-1900)China. Ink and watercolors on paper, mounted as a hanging scroll. Superbly painted with a vibrantly colored flower growing from a leafy stem inside an ancient gui bronze vessel above a stone rubbing depicting a legendary bovine animal surrounded by astrological symbols, below a lengthy inscription.Inscriptions: Center right, 'Qingshan Qiaosu Cheng', and one seal, 'Zhu Cheng Zhi Yin'. Upper left, a text about the rubbing and the legendary animal it depicts, signed 'Changshuo Wu Junqin', and two seals, 'Wu Jun Zhi Yin' and 'Cang Shi'.Provenance: From a noted private collector. Condition: Excellent condition with only minor wear and minimal soiling to mounting.Dimensions: Image size 99.7 x 32.5 cm, Size incl. mounting 181 x 47 cm Wu Changshuo (1844-1927) was a prominent Chinese painter, calligrapher, and seal artist of the late Qing Period. Initially, he devoted himself to poetry and calligraphy with a strong interest in early scripts. He also led the Xiling Seal Art Society, an academic organization for Hangzhou-based seal artists. Only later did he consider himself a painter associated with the 'Shanghai School'. As a painter, he was noted for helping to rejuvenate the art of painting flowers and birds.Expert's note: The calligraphy, the gui and the stone rubbing are by Wu Changshuo, whereas the flower is by Zhu Cheng. Artprice, the world-leading art database, has recorded a total of eight other noted artists from the period with whom Zhu Cheng (aka Zhu Menglu) had similar collaborations during his accomplished career. Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 27 November 2012, lot 1259Price: HKD 500,000 or approx. EUR 79,000 converted and adjusted for inflation at the time of writingDescription: Wu Changshuo (1844-1927), Bamboo and BronzeExpert remark: Compare the closely related motif. Note the smaller size (68.5 x 33.8 cm)吳昌碩與朱偁款《土缶富貴花圖》中國，紙本設色，掛軸。牡丹綻放盛開，花朵艷麗，在枝壯葉茂的映襯下顯得風姿綽約。牡丹栽种在一土缶里，下方为缶之拓片。 款識：左上：土缶雖無字，是漢是晉莫能必，然出土與黃龍磚同穴，其古可知。先師藐公嘗顔予齋曰缶廬。予亦珍若璆琳，不肯輕示人，而富貴人皆不以缶為室寳。翔兄命工拓出，補以富貴花，深恐遽有豪攫者，茲特其先兆耳。昌碩吳俊卿。鈴印：吳俊之印；蒼石右上：青山樵叟偁；鈴印：朱偁之印 來源：知名私人收藏。 品相：品相良好，只有輕微的磨損和裝幀處小污漬。 尺寸：畫面99.7 x 32.5 厘米, 總181 x 47 厘米 專家注釋：書法、缶、拓片以及牡丹花為朱偁合作完成，兩位同爲晚清海派花鳥畫大師。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年11月27日，lot 1259 價格：HKD 500,000（相當於今日EUR 79,000） 描述：吳昌碩 (1844-1927)《竹與青銅器》 專家評論：比較非常相近的主題。請注意尺寸較小 (68.5 x 33.8 厘米)。

Qianlong Period Interest. Calligraphy Brush From the Qianlong Period. Approx Size 16 Inches In length.

Qianlong Period Interest. Calligraphy Brush From the Qianlong Period. Approx Size 14 Inches In length.

An unusual Chinese porcelain jar, 20th century, with tubelined style decoration, the neck with small clouds above the shoulder with relief moulded calligraphy which partially reads, Da Ming Yongle... Inner Palace...., above the eight immortals with attributes painted in green and aubergine, standing upon clouds against a blue ground, a band of fiery clouds to the base, 23cmNo apparent damage

A Japanese patinated bronze meiping vase, early 20th century Meiji/Taisho period, bearing a religious inscription to the body, 18 cm high. Together with a Chinese bronze archaic form Jue, 12 cm high and a Japanese bronze baluster vase, Taisho period or later, with gamebirds amongst stands of bamboo, 22 cm high.Qty: 3The larger vase with slightly misshaped rim and small knocks and indents. One duck missing its head and neck.The Jue has a leaning handle, but otherwise in good condition.The smaller vase with calligraphy has an indent to the rim and a couple oftiny indents to the shoulder.

Ulfert Wilke (German/American, 1907-1987). Silkscreen on paper depicting one of Wilke's famous abstract expressionist "calligraphy" designs in red and white, 1967. Signed in pencil and dated along the lower right; inscribed "Artist Proof" along the lower left.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 28 in x width: 19 1/2 in. Framed; height: 34 3/4 in x width: 25 3/4 in.

Nja Mahdaoui (Tunisian, b. 1937). Ink on paper abstract calligraphy painting. Signed along the lower right. Further signed along the verso and inscribed "52. Av. Liberte. La Narsa. Exposition, Ecole [illegible] Dec. 1981."Described as a "choreographer of letters," Mahdaoui has also been credited as an inventor of abstract calligraphy as his designs resemble Arabic letters but lack literal meaning. He has also been associated with the Hurufiyah art movement.Sight; height: 27 in x width: 19 in. Framed; height: 28 in x width: 20 in.

Group of 23 carved seals with a seal book by Chinese artist Fei Gongxing born in 1880 and active in the Republic of China. The seal book is dated winter of 1933, prefaced and commented by several scholars. A number of seals match the prints in the book. These seals were carved by the artist for his own use. The calligraphy and paintings within the book are colophons. The title slip and first inscription are by a friend of the artist, Zhu Dianyi, and is dated 1934.(Seals) Height ranges from 1/4 in to 1 1/2 in; width ranges from 1/2 in to 1 1/2 in; depth ranges from 1/4 in to 1 1/2 in.

Li Yimang (Chinese, 1903-1990). Hanging calligraphy scroll painting, ink on paper. Marked with two red artist's seals along the lower left.Huaxin; height: 31 3/4 in x width: 17 in. Overall; height: 60 1/2 in x width: 20 in.

Su Shi (Chinese, b. 1935). Calligraphy scroll painting, ink on paper. Signed and dated 1999.Huaxin; height: 16 1/2 in x width: 25 in. Overall; height: 57 in x width: 26 1/4 in.

Toko Shinoda (Japanese, 1913-2021). Lithograph on paper titled "Spring", ca. 1980, depicting loose abstract Sumi-e brushstrokes. Pencil signed, titled, and numbered 25/30 along the lower left.Shinoda is best known for her abstract Sumi paintings and prints created by fusing traditional East Asian calligraphy techniques with Abstract Expressionism. She pushed the boundaries of traditional calligraphy and introduced abstraction and dynamism to the art that placed her at the forefront of her field.Sight; height: 25 3/4 in x 19 3/4 in. Framed; height: 33 in x 26 1/2 in.

Toko Shinoda (Japanese, 1913-2021). Lithograph on paper titled "Verdure," depicting loose abstract Sumi-e brushstrokes and a green square. Pencil signed, titled, and numbered 2/35 along the lower left.Shinoda is best known for her abstract Sumi paintings and prints created by fusing traditional East Asian calligraphy techniques with Abstract Expressionism. She pushed the boundaries of traditional calligraphy and introduced abstraction and dynamism to the art that placed her at the forefront of her field.Sight; height: 12 3/4 in x width: 9 3/4 in. Framed; height: 19 1/4 in x width: 15 1/2 in.

AN ISLAMIC GOLD INLAID STEEL FOLDING QURAN STAND, with bands of calligraphy, 31cm wide (when opened).

AN ISLAMIC STEEL AXE HEAD, with silver inlaid calligraphy, 21cm at the widest point.

A LARGE ISLAMIC ENGRAVED STEEL LOCK, with bands of calligraphy and spring-operated locking system, 28cm wide

A FINE ISLAMIC YELLOW AGATE INSCRIBED TABLET, with very finely engraved calligraphy, 8.5cm x 8.5cm.

A FINE LARGE PERSIAN PAINTING ON PAPER, depicting a standing figure in tradition attire, the robes finely detailed with gilt work foliate decoration and calligraphy, image 29cm x 18.5cm.

IN THE MANNER OF LANG SHI NING: A LARGE SCROLL PAINTING ON PAPER depicting a horse with columns of calligraphy, with twelve red seal marks, image 109cm x 68cm.

AN ISLAMIC BRASS TWIN HANDLE URN, with engraved decoration and panels of calligraphy, the handles formed as serpents, 35cm high.

AN OTTOMAN HAND PAINTED COTTON SHIRT, the front with various colour panels decorated with calligraphy and geometric design, the reverse with large circular calligraphic panel.

AN ISLAMIC GREEN SILK TEXTILE, embroidered with bands of calligraphy, 150cm x 85cm.

A GOOD ISLAMIC QAJAR ENGRAVED AND CHASED BRONZE BOWL, the rim engraved with a band of calligraphy above scrolling foliate decoration, 20cm diameter.

A VERY LARGE ISLAMIC EMBROIDERED WIRE TEXTILE, with central arched motif with calligraphy and further panels and roundels of calligraphy, 288cm x 158cm.

A GOOD CHINESE FOLDING FOUR PANEL SCREEN, the panels with a painting of birds and native flora, with calligraphy and red seal mark to the top right of the painting, the screen fully opened measuring 152cm x 90cm.

Painted calligraphy panel Islamicdecorated with lines of calligraphy set against foliate design, painted on paper, framed, 74cm x 29.5cm

Set of four miniaturesIndian, 17th/18th Centurythe front framed depicting tiger hunts, the backs with calligraphy, all set in one frameProvenance:Robert Sadler CollectionAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Group of miniaturesIranian, 20th Centuryto include a pair of hunting scenes chasing deer, framed and glazed, 25cm x 14.5cm, a manuscript page with circular panel to the centre depicting a court scene surrounded by calligraphy, framed and glazed, 16.5cm x 14cm and a framed picture of a peacock (4) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Portrait of a Qajar gentlemanIranian, wearing a Terme jacket with handwritten text, watercolour, framed and glazedSome staining to the calligraphy panel on the bottom. Some staining on the outer mount but doesn't affect the image

Group of three miniaturesIranian, 20th Centuryeach depicting courtly scenes, with calligraphy to the top and bottom of each painting, framed and glazed, 22.5cm x 13cm (3)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Chinese blue and white calligraphic bottle vase, Xuantong (1909-11) mark, vertilinear calligraphy throughout the body and neck, height 22.5cm

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."Lost in a Deep forest and found a way out", 2022.Mixed media (acrylic and spray) on canvas.Enclosed certificate issued by the artist.Measurements: 100 x 120 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the rooftop of the Zapadores Museum in Madrid.

ZAO WOU KI (Beijing, 1921 - Nyon, Switzerland, 2013).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 gsm Vélin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.Zao Wou Ki is the second most sought-after post-war artist in the world and the sixth most expensive of all time. In the first half of 2018, his sales were only behind those of stars such as Picasso, Monet, Modigliani and Andy Warhol. At the end of 2018, one of his paintings was sold for 56.5 million euros at auction at Sotheby's. The work made Wou-Ki the most expensive Asian artist in history.Zao Wou Ki was born into a Franco-Chinese family and grew up in a highly cultured environment, interested in the arts and sciences. He studied calligraphy as a child, an aspect that would influence his mature work, and later trained in painting at the Hangzhou College of Fine Arts from 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he followed the artistic courses of Émile Othon Friesz and came into contact with the contemporary artistic avant-garde. He began to experiment with lithography, a technique which he eventually mastered, following his contact with Desjobert. He holds a solo exhibition at the Galerie Creuze in May 1949, with a presentation written by Bernard Dorival, curator of the Musée National d'Art Moderne. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organising an exhibition at the Galerie Pierre for June, thus laying the foundations for a close collaborative relationship that would last six years. He held regular exhibitions at the Pierre Gallery and met I. M. Pei and his wife Eileen, opening his circle of exhibitions in Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. His painting is eminently abstract and colourist, strongly influenced by the work of Paul Klee, for its expressionist and emotive abstraction. He tends to work with large masses of intense and contrasting colour, often creating works of large dimensions, as well as diptychs or triptychs. They are often explosions of colour, germinal "big bangs", the origin of a world in creation, as we can see in this lithograph. Delicate patches of blue and mauve intermingle with some grey tones.

CHU KO (China, 1931).Untitled, 1992, from the series "Olympic Suite".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Size: 63 x 90 cm.Chu Ko, pseudonym Yuan Te-Hsing, was born in Hunan, China. Chu was a central figure in the Taiwanese modern art movement as a poet, art critic, painter and sculptor. As a young man he was already known in the Taiwanese art community, mainly for his intelligence and self-taught talent. He often published his literary works in newspapers, magazines and art criticism magazines. When Chu was 35 years old, he started working at the National Palace Museum. He spent thirty years researching bronzes, through which he published important studies of ancient art. Chu Ko became interested in painting and calligraphy, and became a devotee of fine art from the age of 50. His works are abundant and stunning in style, which has made him one of the most important modern Taiwanese artists.The Olympic Suite consists of 50 lithographs and silkscreen prints chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism.

Anatole France. Madame de Luzy. Illustrations en couleurs de Gustave Adolfe Mossa. Mit einem Originalaquarell, 4 ganzseitigen Pochoir-Tafeln und zahlreichen pochoirkolorierten Holzstichen im Text, sowie 4 teils kolorierten Extrasuiten mit Wiederholung der Illustrationen auf verschiedenen Papieren teils mit Remarquen. 43, 3 S. u. Extrasuite. 8° Grüner Maroquineinband mmit weinroten Lederintarsien und goldgeprägten Fileten und Symbolen, sowie goldgeprägten RTitel, Innendeckel in weinrotem Maroquin mit goldgeprägter Filete, Stehkantenfileten Signiert: M. Blin. Im Hldr. Schuber. Monod 4916. - Eins von 30 Exemplaren der Vorzugsausgabe auf Japan mit dem Originalaquarell und den vier Extrasuiten. - Im Haupteil insgesamt 32 graphische Beiträge darunter ganzseitige Tafeln, Vignetten und Buchschmuck. Die Extrasuite mit der Wiederholung dieser Beiträge auf verschiedenen Papieren mit Remarquen. Der Text in attraktiver Kalligraphie. - Wohlerhalten. With an original watercolour, 4 full-page pochoir plates and numerous pochoir coloured wood engravings in the text, as well as 4 partly coloured extra suites with repetition of the illustrations on different papers partly with remarques. Green morocco binding with wine-red leather inlays and gilt fillets and symbols, as well as gilt Spine title, inner cover in wine-red morocco with gilt fillet, standing edge fillets signed: M. Blin In a hldr. slipcase. One of 30 copies of the special edition on Japan with the original watercolour and the four extra suites. - In the main part a total of 32 graphic contributions including full-page plates, vignettes and book decorations. The extra suite with the repetition of these contributions on different papers with remarques. The text in attractive calligraphy. - Well preserved.

Kaiser Franz I. Lehrlingsordnung für die deutschen Schuster der Stadt Roznava (Rozsnyo, Rosenau, Rosnovia) in der heutigen Slowakei. Mit eigenhändiger Unterschrift von Kaiser Franz I. (1768-1835). Wien 28.11 1825. 11 Bll. (je ca. 35 x 27 cm), tls. Pergament, tls. Bütten. 4°. Rötlicher Samteinband (stark gebräunt) mit gedrechselter Siegelkapsel mit rotem Siegel (berieben, bestoßen, Siegelkapsel mit Altersriss). Prächtig und kunstvoll ausgeführtes Adelsdiplom in Fraktur mit feiner Kalligraphie und zusätzlicher bestätigender Signatur von Franz Ferdinand Graf Kinsky, sowie des Taxators- Das Dekret behandelt Lehrjungen, Gesellen und die Obliegenheiten der Meister, sowie Verordnungen über die Bestattung, die Versorgung der Witwen und die Wahl und Zusammenkünfte der Zünfte. - Buntpapierbezug der Innendeckel stellenw. beschabt, 1 Bl. lose, in den Rändern angeschmtzt u. etwas braun- bzw. fingerfleckig, sonst insgesamt schöne und dekorative Handschrift. Apprentice order for the German shoemakers in Roznava handsigned by Emperor Fransicus I. Fine calligraphy on parchment with the emperors seal. - 1 leaf loose, margins soiled and somewhat brown or fingerstained, otherwise overall good condition.

A Chinese black ink Calligraphy Scroll, Signed, in fitted case. (1)

A pair of attractive 20th Century Chinese white ground porcelain Cups, each with floral decoration and calligraphy, the base with six character marks inside double blue circles, approx. 5cms (2") high. (2) Provenance:   Important Private Irish Collection, Co. Wicklow

A pair of large early Chinese earthenware and glazed Pots, each with calligraphy design, approx. 35cms (14") high, some wear. (2) Provenance:  Formerly from the Collections at No. 9 Fitzwilliam Square, & Tassagart House, Saggart, Co. Dublin.

Chinese blue and white brush pot, painted with landscape scenes and calligraphy, character mark to base, 15cm high

Chinese Republic period brush pot, painted with a landscape scene, calligraphy to the reverse, seal mark to the base, 15.5cm highGood condition

A Chinese soapstone desk seal with carved lion-dog handle, 4” high; & two similar soapstone seals with carved & pierced handles and incised with landscapes & calligraphy, 3” & 4½”.