A GUAN-TYPE LONGQUAN TRIPOD CENSER, LIAN, SOUTHERN SONG DYNASTYPublished: Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 332.China, 1127-1279. The cylindrical body is encircled by three sets of raised bow-string bands, comprised of two ribs above the three foliate-molded ruyi-head supports, three encircling the mid-body and three below the flat inward-canted mouth rim. The censer is covered overall with a rich, finely crackled, bluish-green glaze which thins slightly on the rim and raised decoration, the unglazed edge of the tapering rim on the underside burnt orange in the firing.Provenance: The Jiyuanshanfang Collection. Currently housed on New York's Upper East Side and originally founded upon an old family collection, a comprehensive catalog of the Jiyuanshanfang collection titled “Song Ceramics: The Eight Kiln Groups” was published in 2008 with a foreword written by Li Zhiyan, Research Fellow at the Beijing Palace Museum. Another contributor to this catalog was Martin Lorber, formerly Director of Sotheby's New York. Jiyuanshanfang's first exhibition was held in 2012 at the Morris Museum in New Jersey. In 2015, Jiyuanshanfang lent early Chinese ceramics to a large-scale exhibition at the Norton Museum of Art in Palm Beach, Florida, titled “High Tea: Glorious Manifestations - East and West”.Condition: Good condition commensurate with age, showing expected old wear, traces of usage and shallow surface scratches. Some firing irregularities, the rim with a short hairline and associated microscopic loss, the foot rim with a tiny crack, one ruyi foot with an old kintsugi repair. The interior with remnants of calcification and russet discoloration to the crackle, consistent with temporary use as a jardiniere.Weight: 808.3 g Dimensions: Diameter 14 cmThe shape of the present censer originates from archaic bronze lian vessels, which were among the ritual implements aimed to present food and drink offerings to the ancestors during the Han dynasty. This archaistic shape was also produced in the Ruyao glaze during the Northern Song period as exemplified in a related Ruyao tripod incense burner from the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (I), Hong Kong, 1996, p. 2, no. 1. Ceramic vessels of this form are often molded with bow-strings around the body, such as the well-known Northern Song Ru censer in the Percival David Collection, illustrated in Sekai Toji Zenshu, vol. 12, Tokyo, 1977, p. 70, no. 62.Expert's note: The glaze on this censer is a particularly good example of the attractive bluish-green tone characteristic of the finest Longquan glazes of the guan type.Literature comparison: A closely related Longquan tripod censer, in the collection of the Hangzhou Archaeological Bureau, is illustrated by Zhu Boqian (ed.), Celadons from Longquan Kilns, Taipei, 1998, p. 149, no. 116. A small Longquan censer of similar form was discovered in 1991 in Suining, Sichuan province, amongst a cache of ceramics dating from the late Southern Song period, and is illustrated in Newly Discovered Southern Song Ceramics, A Thirteenth-Century “Time Capsule”, Tokyo, 1998, p. 32, no. 23.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2018, lot 527 Price: USD 62,500 or approx. EUR 71,500 converted and adjusted for inflation at the time of writingDescription: A Longquan celadon tripod censer, Southern Song dynasty Expert remark: Compare the closely related form, with similar bow-string bands, ruyi feet, inward-canted rim, and bluish-green glaze. Note the similar size (14.7 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2002, lot 151 Price: USD 204,000 or approx. EUR 325,000 converted and adjusted for inflation at the time of writingDescription: A rare Longquan celadon ribbed censer, Southern Song dynasty Expert remark: Compare the closely related form, with similar bow-string bands, ruyi feet, inward-canted rim, and finely crackled bluish-green glaze. Note the similar size (14.3 cm).南宋龍泉窯仿官釉弦紋三足爐中國，1127-1279年。爐口沿較寬，直壁，圈足，足下承三個雲頭形足，三足與圈足在同一平面。器身凸起弦紋。通體施青釉，釉面開片，沿口略薄，圈足端無釉，呈橙色。出版: 《宋瓷八大窯系一覽——吉緣山房藏品》，美國加州，2008年，頁332。 來源：吉緣山房收藏；美國知名私人收藏購於上述收藏。 品相：品相良好，可見磨損與使用痕跡，表面有淺劃痕。一些燒製不規則現象，邊緣有短細裂紋和相關的細微缺損，足部邊緣有微小裂縫，一個如意足有金繼修復。內部有鈣化殘留物和裂紋的黃褐色變色，表明此器可能曾被用作花盆。 重量：808.3 g 尺寸：直徑14 厘米
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A 'CLOUD AND NEBULAE' BRONZE MIRROR, HAN DYNASTYChina, 206 BC to 220 AD. Of circular form, crisply cast in high relief, the central peaked knob surrounded by six tapering spikes, the main field with four large nipples alternating with clusters of smaller nipples joined by scrolls, all within narrow borders below the raised outer border of further joined arcs.Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels to the mirror 'RIE.1976.316' and '73'. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018. Condition: Fine condition, commensurate with age, presenting remarkably well. Extensive wear, weathering, corrosion, and nicks. Superb, naturally grown patina with extensive malachite, azurite, and cuprite encrustations.Weight: 198.2 g Dimensions: Diameter 10.8 cmMirrors of this type are known as 'cloud and nebulae' mirrors because of the type of decoration - clusters of nipples connected by scrolls, which may represent clouds.Literature comparison: Compare the mirror of this type illustrated in Ancient Bronze Mirrors from the Shanghai Museum, Shanghai, 2005, pp. 132-3, no. 30. Another mirror of this type in the Sumitomo Collection, is illustrated in the exhibition catalog, Chinese Bronze Mirrors, Sen-Oku Hakuko Kan, Kyoto, 8 January - 6 March 2011, no. 23. See, also, the similar mirror illustrated by J. Rawson and E. Bunker, Ancient Chinese and Ordos Bronzes, Oriental Ceramic Society, Hong Kong, 1990, no. 161, where the authors note that mirrors of this type were common in China and have been found in various provinces including Sichuan, Shaanxi, Hunan and Jiangsu.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 22 March 2012, lot 1430Price: USD 4,750 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A bronze circular 'cloud and nebulae' mirror, mid-Western Han Dynasty, 2nd century BCExpert remark: Compare the closely related decoration. Note the different size (13 cm) and lack of patina.Auction result comparison:Type: RelatedAuction: Christie's 22 March 2012, lot 1411Price: USD 10,625 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A bronze circular 'cloud and nebulae' mirror, mid-Western Han dynasty, 2nd century BCExpert remark: Compare the related motif. Note the different size (13.4 cm) and lack of patina.漢代星雲紋銅鏡中國，公元前206年至公元220年。圓鏡，連峯鈕，鈕座外為內向十六連弧紋，與鈕座外的連弧紋相對應。其形狀很像天文星象圖，如星雲紋。 來源：Dr. Walter Rieder (1890-1986) 收藏，保存至今。鏡面可見收藏標籤 'RIE.1976.316 與 '73'。Dr. Dr. Walter Rieder 1930 年 10 月至 1951 年 12 月間在山東青島的瑞士東亞傳道部 (SOAM) 任職。該傳道部專門從事教育、文學和慈善工作，而Rieder博士實際上不是神學家或傳教士，而是一位SOAM 附屬高中的數學、物理和科學教師。他的教育原則是“在不同文化之間建立理解”和“在東西方之間架起橋樑”。在青島期間，Rieder博士收藏了種類繁多的中國藝術品。收藏中的物品為了解二十世紀下半葉青島的古玩類型提供了一個獨特的窗口。他的收藏除了展現他對中國藝術的熱情外，還可從中看出Rieder博士與當地藝術家建立的個人友誼，其中一些藝術家是他從教學活動中認識的。 Rieder 博士採用學術方法研究他的收藏。除了他的許多藏品外，有時還可以找到細緻的筆記，詳細介紹其藝術發展史。因此，其收藏成為 Rieder 博士了解中國歷史和文化的窗口。他的收藏曾於 2006年 年和 2018年 年在瑞士因特拉肯美術館館展出。 品相：狀況良好，大面積磨損、風化、腐蝕，有劃痕。極好的、自然生長的包漿，大面積孔雀藍和赤紅色結殼。 重量：198.2 克 尺寸：直徑10.8 厘米
A BLUE AND WHITE POURING BOWL, YI, YUAN DYNASTYChina, 1279-1368. Well potted with rounded sides resting on a slightly concave base, one side set with an outward flaring spout above a small loop handle, the interior painted with a central medallion enclosing a lotus blossom surrounded by leaves, encircled by a diapered band below the rim, the exterior with a broad band of flowerheads borne on sinuous leafy vines, the spout with a cloud, the base left partly unglazed to reveal the ware burnt to orange in the firing. Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa. Condition: Very good condition with some old wear, traces of use and shallow surface scratches, and firing irregularities including kiln grit and some glaze pooling and recess at the rim, the latter smoothened in the manufacturing process.Weight: 223.4 g Dimensions: Length 15.5 cmBowls of this form are known as yi and appear to have been used as pouring vessels together with yuhuchun vases. Chiumei Ho in 'Social Life Under the Mongols as Seen in Ceramics', Transactions of the Oriental Ceramic Society, vol. 59, 1994-95, p. 44, notes that in archaeological contexts they are often found together with such vases and wine cups. This pairing is also depicted in a wall painting from the tomb of Zhang Andabuhua and his wife, which has been dated to 1269 AD and is illustrated in the catalog of the exhibition The World of Khubilai Khan. Chinese Art in the Yuan Dynasty, The Metropolitan Museum of Art, New York, 2010, p. 83, fig. 115.These bowls were also used by Mongols in Iran, as exemplified by the bowl painted in the Enthronement Scene, part of the album Jami al-tavarikh (Compendium of Chronicles), which was commissioned between the reigns of Ghazan (r. 1295-1304) and his brother, OEljeitue (r. 1304-1316), included in the exhibition The Legacy of Genghis Khan, Courtly Art and Culture in Western Asia, (1256-1353), The Metropolitan Museum of Art, New York, 2002, cat. no. 19, fig. 84. The shape was probably copied from metal prototypes and a very similar silver pouring bowl was found together with a silver yuhuchun ping in a hoard at Hefei, Anhui province, which contained items inscribed with a name written in Phagspa characters as well as a date equivalent to 1333, both now in the Anhui Museum Provincial Museum, published in the exhibition catalog 'The World of Kublilai Khan, Chinese Art in the Yuan Dynasty', The Metropolitan Museum of Art, New York, 2010, p. 83, fig. 115.Literature comparison: Several pouring bowls of this form and decorated with various floral designs are illustrated in Zhongguo taoci quanji, vol. 11, Shanghai, 2000, pls. 213-217. One depicting a hare, in the British Museum, is published in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2000, pl. 1:22.Auction result comparison: Type: Closely related Auction: Sotheby's London, 6 November 2019, lot 137 Price: GBP 50,000 or approx. EUR 66,500 converted and adjusted for inflation at the time of writing Description: A blue and white pouring bowl, yi, Yuan dynastyExpert remark: Compare the closely related form and decoration. Note the slightly larger size (18.3 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 May 2021, lot 332 Price: HKD 126,000 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A blue and white 'lingzhi' pouring vessel, yi, Yuan dynastyExpert remark: Compare the closely related form, decoration, and size (15.4 cm).元代青花纏枝蓮紋匜中國，1279-1368年。圓腹，口微歛，平底。沿有流，形呈長方，與腹相連，流下著一小系；流上有一朵雲；器心飾纏枝蓮紋，上；外壁有一圈纏枝花卉紋；白地釉色泛青。口沿無釉。底部部分未上釉，露出在燒製中燒成橙色的器皿。來源：Felix Tikotin收藏，在同一家族保存至今。 品相：品相極好，有一些磨損、使用痕跡和表面淺劃痕，以及燒製不規則，包括窯砂和邊緣的一些釉池和凹槽。 重量：223.4 克 尺寸：長15.5 厘米
AN EXCEEDINGLY RARE PAIR OF INCISED YELLOW-GLAZED 'FLORAL MEDALLION' BOWLS, KANGXI MARKS AND PERIODChina, 1662-1722. Each bowl is incised on the exterior with four floral roundels divided by cloud scrolls above petal lappets around the foot, the interior with another floral medallion in the center enclosed within a double circle, covered inside and out with an egg-yolk yellow glaze, save for white base. Each bowl with an underglaze-blue six-character mark within a double circle da Qing Kangxi nianzhi and of the period. (2)Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. Each bowl with an old collection label, 'VWS'. One bowl with an old label, '62'. French trade, acquired from the above. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Superb condition with only minor wear and firing irregularities: The first bowl with a faint glaze line to the rim, the second bowl with three faint glaze lines to the rim, all of which are inherent to the manufacture. None of these glaze lines are visible to the naked eye, or even under the strongest blue light. Also, they are not noticeable to the touch.Weight: 162.1 g and 147.6 g Dimensions: Diameter 12 cm (each)Literature comparison: Compare a closely related yellow-glazed incised bowl, 12 cm high, also with a Kangxi mark and of the period, sold at Christie's London, 13 December 1976, lot 55, and illustrated by Regina Krahl, Chinese Ceramics from the Gulexuan Collection, p. 128, no. 97. A bowl of this design from the Elphinstone collection in the Percival David Foundation, London, is listed in the Foundation's Illustrated Catalogue of Ming and Qing Monochrome Wares, London, 1989, no. A599. Another bowl of this design from the Kostolany collection was included in the exhibition Monochrome Porcelain of the Ming and Manchu Dynasties, Oriental Ceramic Society, London, 1948, cat. no. 188.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 26 November 2014, lot 3291 Price: HKD 325,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: An incised yellow-enameled 'floral medallion' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the periodExpert remark: Compare the closely related form, decoration, Kangxi mark, and size (11.8 cm). Note that the lot comprises only one bowl.康熙款及年代一對黃釉暗刻團花碗中國，1662-1722年。碗直口，深腹，圈足略高，器型規整。內外滿施黃釉為地。口沿外及足牆均飾兩道弦紋，外壁以暗刻技法飾四朵團花，間以如意雲紋，近底足刻變體蓮花瓣紋，紋飾簡潔生動。圈足內白地青花雙圈“大清康熙年製”款。 (2) 來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。每個碗上都有一個收藏舊標籤 'VWS'；一個碗上有標籤 '62'；法國古玩交易，購於上述收藏。 品相：品相極佳，只有輕微磨損和燒製不規則：一個碗的邊緣有一條微弱的釉裂，第二個碗的邊緣有三條輕微的釉裂，這些釉紋沒有一條是肉眼可見的，甚至在最強烈的藍光下也是如此。此外，它們觸摸起來並不明顯。 重量：分別爲162.1克與147.6克 尺寸：直徑12 厘米 (每個)
A WUCAI GLAZED 'HEAVENLY HORSES' BALUSTER JAR AND COVER, TRANSITIONAL PERIODChina, c. 1640-1660. Of baluster form, the broad shoulders tapering to a flat base, surmounted by a slender cylindrical neck and domed cover, brightly painted in underglaze blue and enamels, with four horses galloping amid auspicious symbols above tall mountain peaks, all reserved on a dense ground of swirling iron-red waves capped with green froth and dotted with plum blossoms, the shoulder with an ice-crack band below a band of stiff leaves to the neck, the domed cover similarly decorated, with a broad rim decorated with an iron-red scroll band, and surmounted by a bud finial.Provenance: British trade. By reputed acquired from a private estate in London. Condition: Good condition with extensive old wear, few small glaze flakes, a hairline to the upper rim of the vessel, and manufacturing flaws including firing cracks, kiln grit, dark spots, fritting and pitting. The wood base with small cracks and an old repair to the legs.Weight: 3,962 g (excl. base) and 4,526 g (incl. base) Dimensions: Height 39 cm (excl. base) and 45 cm (incl. base)With a fitted wood base. (2)Literature comparison:Similar examples of this type are illustrated in E.W. Van Orsoy de Flines, Guide to the Ceramic Collection, Museum Pusat Djakarta, 1969, pl. 60, no. 1816, and A. Du Boulay, Christie's Pictorial History of Chinese Ceramics, New Jersey, 1984, p. 194, nos. 5 and 6.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 24 March 2021, lot 685 Price: USD 12,600 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A wucai 'horse' jar and cover, Qing dynasty, 17th centuryExpert remark: Compare the closely related form, decoration and size (39.3 cm). Note the condition issues.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 September 2007, lot 286Price: USD 17,500 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A wucai baluster jar, transitional period, circa 1640-1660Expert remark: Compare the closely related form and decoration. Note the size (30.7 cm) and missing cover.過渡時期五彩飛馬將軍罐中國，約 1640-1660年。罐身為直口，豐肩，斂腹，平面砂底，附寶珠頂高圓蓋。罐身五彩琺瑯描繪四匹奔騰於山峰之上的駿馬，鐵紅色漩渦紋，其間可見梅花與綠色葉紋；肩部蕉葉紋，肩部幾何紋；罐蓋上可見卷葉紋。來源：英國古玩交易，據説購於倫敦私人舊藏。 品相：品相極好，大面積磨損，少量釉面開片，罐身上緣有細裂線，製造缺陷包括燒製裂紋、窯砂、黑斑、熔塊和麻點。木底座有小裂縫，腿部有舊修。 重量：3,962 克 (不含底座)，4,526 克 (含底座) 尺寸：高39 厘米 (不含底座)，45 厘米 (含底座) 木底座 (2) 文獻比較： 相似形制的例子，見E.W. Van Orsoy de Flines，《Guide to the Ceramic Collection》，Museum Pusat Djakarta，1969年，圖60，編號1816；A. Du Boulay，《Christie's Pictorial History of Chinese Ceramics》，紐澤西，1984年，頁194，編號5和6。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2021年3月24日，lot 685 價格：USD 12,600（相當於今日EUR 13,500） 描述：清十七世紀 五彩海馬雜寶紋蓋罐 專家評論：比較非常相近的外形、裝飾和尺寸 (39.3 厘米)。請注意品相狀況。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2007年9月19日，lot 286 價格：USD 17,500（相當於今日EUR 24,000） 描述：過渡時期五彩將軍罐 專家評論：比較非常相近的外形和裝飾。請注意尺寸 (30.7 厘米)和蓋子遺失。
A GOLD AND SILVER-INLAID BRONZE ARCHAISTIC STEAMER, SONG TO MING DYNASTYChina, 960-1644. Heavily cast, the upper cauldron with two upright loop handles to the rim, decorated with interlocking scroll and confronting stylized phoenixes. The sides with three animal masks flanked by confronting phoenixes divided by short flanges, above pendent stiff leaves, all reserved on leiwen grounds. The shoulders of the three legs cast with stylized large-eyed animal masks, decorated with scroll and lozenge designs. The bronze with a rich, solid, naturally grown, dark patina with scattered malachite encrustations.Provenance: From the personal collection of Dr. David McCay, and thence by descent in the same family. Dr. David McCay was an English physician and later surgeon general with the Indian Medical Service in Bengal, India. He was sent to China during the Boxer Rebellion and served as an army doctor at the Siege of Peking. While in India, he wrote a book titled Investigations on Bengal Jail Dietaries. Upon his retirement, he returned to England with his collection of Chinese bronzes, cloisonne, and porcelain. After his death, his wife gifted his favorite piece, a highly important Wanli garlic mouth vase, among other items, to the Victoria and Albert Museum, accession number CIRC.23-1950, where it remains to this day.Condition: Very good condition with expected old wear, traces of age and usage, some casting irregularities, small nicks and losses, light scratches, the undersides of the feet with tiny old fills. The gold inlays are fresh and in very good condition overall. The silver inlays have darkened over time and show expected tarnish. However, we chose not to clean the silver inlays, so to preserve the piece's impressive natural appearance.Weight: 5,200 g Dimensions: Height 31.5 cmReferring to the importance of reverence to the past in Chinese art, Ulrich Hausmann writes:“Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable, so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. Generations of painters and calligraphers [...] spent a lifetime studying these inscriptions. What could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.” (Quote from Ulrich Hausmann, Later Chinese Bronzes: In Search of Later Bronzes in Documentary Chinese Works of Art: In Scholars' Taste, Ed. Paul Moss, Sydney L. Moss, London, 1983, page 233, requoted again by Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, The Oriental Ceramic Society of Hong Kong and the Fung Ping Shan Museum, University of Hong Kong, 1986, cat. no. 161.)Expert's note: The present steamer is quite likely to date from the Song dynasty, because the earliest archaistic bronzes generally tend to be the closest in form and design to their archaic prototypes. This is clearly the case here, as shown by the two literature comparisons below, which prove that the present lot is very much in the spirit of its Shang and Western Zhou paragons. The example from the National Palace Museum, Taipei, even has gold and silver inlays just like our vessel, which is unusual for such an early piece. Another important aspect is the superb, naturally grown patina on the present lot with its distinct malachite encrustations. This is beyond doubt not a patina from the late Ming or early Qing dynasty: It not only does closely resemble that of ancient bronzes, but with its unique appearance, reminiscent of savage elementary forces rather than the genteel creations of later periods, essentially makes this bronze an archaic vessel of its own merit.Literature comparison: Compare a closely related prototype for this steamer, also with gold and silver inlays, dated to the Shang dynasty, in the National Palace Museum, Taipei, image number K1A002369N000000000PAB. A related prototype, lacking gold and silver inlays, dated to the Western Zhou dynasty, 11th-10th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.352a-b, is illustrated by Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Vol. IIB, Massachusetts, 1990, pp. 342-344, no. 33.Auction result comparison: Type: Related Auction: Bonhams London, 11 November 2010, lot 139 Price: GBP 31,200 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A large archaistic bronze tripod steamer, yan, probably Song dynastyExpert remark: Compare the closely related form with similar legs cast with animal masks. This steamer is however vastly inferior to the present lot as it lacks the gold and silver inlays and the design is overall less lively. Note the larger size (44.5 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 1 December 2022, lot 694 Price: USD 37,800 or approx. EUR 35,000 converted at the time of writing Description: An archaistic copper-inlaid bronze tripod censer (Ding), Ming dynastyExpert remark: Compare the related form with similar legs cast with animal masks. This censer is however vastly inferior to the present lot, not only because the inlays are merely copper, but also because it completely lacks the cauldron found on the present lot. Also note the significantly smaller size (16.7 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 14 May 2014, lot 252 Price: GBP 80,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the related size (30.2 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 October 2014, lot 3350 Price: HKD 2,680,000 or approx. EUR 380,000 converted and adjusted for inflation at the time of writing Description: A large gold and silver-inlaid bronze incense burner, gui, late Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the similar size (28.5 cm).宋至明代銅錯金銀三足銅甗中國，960-1644年。 來源：Dr. David McCay收藏，在同一家族保存至今。品相：狀況極好，有磨損和使用痕跡、一些鑄造不規則、小刻痕和缺損、輕微劃痕、腳底面有微小的填充物。錯金部分整體狀況非常好。錯銀部分變暗並顯示出光澤。
Constance Spry for Stevens and Williams, a Royal Brierley glass flower vase, circa 1930s, optic moulded Campana urn form with everted rim, on plain foot, etched facsimile signature, 15cm high Note: author and florist Constance Spry designed a number of vases in both glass (for Stourbridge manufacturer Stevens and Williams) and ceramic (for Fulham Pottery) to complement her well known flower arrangements and designs, on which she wrote numerous educational books.
Fifteen works on Japanese arts and culture. 'The Beauty of Edo and Meiji. Aesthetic of Doctor Baelz,' exhibition catalogue, pictorial thin card wraps, colour illustrations throughout, errata slip inserted, Linden Museum, Stuttgart, 2009; 'Ceramic Art of Japan,' exhibition catalogue, colour illustrations throughout, Seattle Art Museum, Washington, 1972; JOE EARL. 'An Introduction to Netsuke,' colour illustrations, Her Majesty's Staitionary Office, London, 1982; With twelve other works including exhibition catalogues etc. (15)
Rolex Submariner Wristwatch reference 126613LB from 2022 offered in unused condition with partial stickers includes; display box, outer box, warranty card, sleeve, books, and swing tag.The Rolex five-year international warranty lasts until 2027, the reference 126613LB is part of Rolex's latest Submariner generation and adds a luxury touch to the world's most recognisable dive watch.Case profile has changed from the previous version, with a small tweak to a 41mm diameter and slimmer lugs.Watch looks more seamless when paired with a slightly wider band. The 126613LB has been nicknamed 'Bluesy' due to it's highly coveted dial in vivid electric blue. It is a bi-metal model with 18K yellow gold bezel, crown, hand, markers, and bracelet centre.Despite its transformation from a utilitarian watch to a luxury accessory, the Submariner retains its utility and toughness. It has 300m of water resistance and a scratch-resistant ceramic dive bezel.A steel Oyster bracelet with polished 18K gold centre links is attached to the case. The clasp features a 'Glidelock' extension system. This allows for 20mm of tool-free adjustment which has been one of the best upgrades Rolex has come up with in the last decade.Rolex's latest generation 3235 automatic calibre powers the watch, movement is chronometer-certified and tested to a tolerance of +2 to -2 seconds per day after case. With a power reserve of 70 hours
Tudor Pelagos M25600TN automatic watch. A symbol of adventure, the Pelagos collection watch boasts high performance technical features built for extreme underwater conditions. Driven by Tudor’s trademark MT5612 movement, this Pelagos Men’s Watch beats at a frequency of 28,800 beats/hour or 4Hz and has a power reserve of approximately 70 hours. The sleek black dial sits beneath a scratch resistant and anti-reflective crystal glass, showcasing time with vivid luminous batons. Central to the durable titanium bracelet is a bold black ceramic bezel. Unidirectional, rotatable and featuring incandescent markers, it ensures optimal readability for users, especially in dark, underwater conditions. This confident timepiece is presented within a 42mm titanium and steel case in a satin finish. PRODUCT CODE: 17770446BRAND: TudorWATCH MARKERS: BatonsWATER RESISTANT: 500 MetresSTRAP MATERIAL: TitaniumMOVEMENT: AutomaticDIAL COLOUR: BlackCASE MATERIAL: TitaniumDIAMETER: 42mmBRAND COLLECTIONS: PelagosThis watch comes with spare links, box and international guarantee service card. The last service was completed 03/01/2020
Royal Doulton large prestige figure Princess Badoura HN2081, modelled by H Tittensor, H E Stanton and F Van Allen Phillips, depicting Princess Badoura wearing pink full length dress and carrying Peacock feather fan, seated on the back of an elephant, decorated in coloured enamels and gilt, moulded with dragons and gilt scroll borders, height 53cm x width 43cm. For many years Royal Doulton displayed this special model in their showrooms at Nile Street, Burslem, to demonstrate the artistic and technical virtuosity of their ceramic artists. It was 'Not for Sale' and was used to take orders for this Prestige model - the most expensive piece ever offered by the company. The closing of the Nile Street factory in 2005 released this unique piece into the marketplace. 5cm Firing Crack to bottom right side of dress.
A box of assorted antique & vintage ceramics, to include cheese dish, plates, feeding cups and vases. Lot includes: a pair of Gibson & sons, Burslem, Windsor Art Ware vases; Spode & Coalport plates, Dresden flow blue feeding cup and unmarked ceramic cheese dish with pink rose transfer pattern.
A ceramic Asprey teapot made exclusively for KIDS Charity Gala evening 2003. Designed by Peter Ting for Asprey using drawing from KIDS play sessions, and limited to only 50 pieces. These were placed on each table at the event and auctioned off to the highest. Complete with a copy of the Gala Evening Programme with written provenance for the teapot. Approx. 12cm tall x 29cm tall.
A COLLECTORS CABINET AND CONTENTS, to include a collection of hallmarked silver and ceramic thimble - comprising 11 hallmarked silver examples including an enameled example depicting a squirrel and foliage, approx. 13 ceramic examples and six further examples, together with two hallmarked silver pepperettes and a hallmarked silver salt and spoon etc.
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