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Lot 26
The Bentley Continental GT was the first car released by Volkswagen AG after their acquisition of the company in 1998. It was unveiled at the 2003 Geneva Motor Show, followed by Le Mans, Goodwood Festival of Speed and the annual Bentley Drivers Club meeting at Silverstone. The car differed significantly from the previous Continental R & T models in terms of its concept; although much of the car is hand-assembled, this Bentley is made in significantly larger numbers than previously. As a result, the price at launch was substantially less than the Continental R, thus exposing the car to a much wider and new customer base as a more affordable car. The Continental GT is equipped with a 6.0 litre, twin-turbocharged W12 engine and produces 552bhp at 6,100rpm and capable of travelling from 0-62mph in an impressive 4.8 seconds. Torsen-based permanent four-wheel drive is standard.This wonderful limited edition model of this popular marque is presented in black with black leather interior. These models were built to celebrate 60 years of hand assembled car production at its historic factory at Crewe, the Diamond Series was a run of just 400 cars worldwide with only 61 cars available for the UK market. It offers unique features to an already high spec, high performance coupe. This is a stunning car powered by the W12 6.0 litre twin turbo engine. One off features is its unique 20 inch, 14 spoke alloy wheels which offer more than a glimpse of the huge carbon ceramic brakes introduced on this model which was a production first for Bentley. Features derived from the Mulliner specification include, drilled foot pedals, knurled chrome and leather gear lever, diamond quilted stitching to seats and doors, including the Bentley name embossed into all seats and an alloy fuel filler cap. Subtle front wing badges and tread plates add to the limited edition feel. This car has been serviced mainly by Bentley dealerships and the invoices for these can be seen in the history file, with its last service being carried out in 2021 by Bradshaw. It also comes with its build sheet and stamped service book.
Lot 72
The fourth generation BMW M3 was announced on the 2007 Geneva Motor Show. It was originally set to be called M4 along with 3 Series coupés and convertibles that were to become the 4 Series but, due to the interest in retaining the M3 line as well as the plan for a separate 4 series line, this change was scrapped. Like the previous M3 generations that introduced a new engine, the fourth generation M3 did the same: the BMW S65 V8 engine producing 414bhp. The E92 M3 coupé inherited a carbon-fibre roof similar to the one used on the E46 CSL. For 2011, the E92 M3 received a model refresh, changes included minor interior trim pieces and LED rear taillights. The new M3 is again available as a four-door saloon, based on the E90 3 Series saloon, but unlike the regular saloons, the M3 version shares the coupé's wide and sculpted front end, including headlights. Although the front-end design of the saloon matches the specific look and high-performance character of the coupé, the side-sills and rear diffuser are tailored for the saloon.This superb, ex Sytner Used BMW example is presented in silver with black leather interior. This lovely convertible M3 comes with air conditioning, electric heated memory front seats, CD player and satellite navigation. It has the desirable DCT Automatic seven speed gearbox with paddle shift and is fitted with a Scorpion rear exhaust box and the car body has had a ceramic coating applied. The present owner has just had the car serviced on 24th/25th February, in accordance to the service book. The car also comes with a new MoT test certificate and a full BMW service history up to and including 2018 and thereafter specialists according to the service indicator. Also, the vendor informs us that it comes with a Motoreasy Plan C (2 year) warranty which is valid until August 1st this year and has not been used to date! This is one of the best examples of this model we have seen and €œwants for nothing€ as they say!
Lot 73
The 996 is the internal designation for the Porsche 911 model manufactured and sold between 1998 and 2005. On its debut, the 996 featured the most significant changes to the Carrera model since its 1963 introduction, namely the water-cooled engine replacing the previously air-cooled unit. Progressively stringent noise regulations, environmental concerns, a higher expectation for refinement and a high-performance, four-valve per cylinder engine made the switch necessary. Other changes included a sleeker body with a more steeply raked windshield and a redesigned interior. The performance characteristics remained superb with reliability at its core. The Targa models now featured a full glass and electronically operated roof. The 996 was another step forward for Porsche, making cars that not only excited their fan base but appealed to those who wanted a comfortable and practical everyday sports car that could sprint to 60 mph in a shade over five seconds.First registered 15th March 2002 this example presented in silver cost £66,608 when new which included cost options such as Porsche stability management, 18 inch Turbo wheels, sound package and painted instrument dials. Delivered to its first owner in Ascot the accompanying service booklet shows 10 main dealer stamps followed by a further 9 services with specialists with accompanying invoices the last with Northway which was a major service with spark plugs in October 2021. We are informed by the vendor that the car also boasts new discs and pads, a recent bore inspection in March 2021, new Bilstein shock absorbers, springs and bump stops and has a modern Apple Play/DAB stereo fitted the original also suppled. Offered with full book pack and an MoT test certificate until September 2022. The previous owner was a mechanical engineer and the attention to detail shows, recently ceramic coated this is a lovely example of the 996 incarnation and viewing is highly recommended.
Lot 643
A NOVELTY INKWELL IN THE FORM OF A HAND-GRENADE complete with white ceramic liner, set to a circular black ceramic base marked 'MEMENTO OF THE GREAT WAR . ACTUAL HAND GRENADE CASTING . AS USED BY THE ALLIES . REG'D NO.651542 1915', overall 12cm high. Condition Report : Base with flake from inner rim. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 1166
A large assorted lot including a 13" painted wooden dial wall timepiece, a ceramic mantel timepiece, longcase clock brass dial plates, a selection of wooden jewellery boxes, longcase clock hood doors, brassware including fire dogs, letter scales, kitchenalia, four gilt picture frames, leather-covered locking deed box, two 19th century writing slopes, a Persian gouache picture of a nobleman and a similar print etc (7 boxes)
Lot 472
A MAGNIFICENT AND RARE CARVED CIZHOU 'FLORAL' BOTTLE VASE, SONG DYNASTYChina, 960-1279. The flaring sides rising from a flat foot with recessed base to a rounded shoulder with waisted neck and everted lip. The upper body is finely carved with a broad band of flowerheads and leafy branches. Covered in a white slip, thinning at the edges to reveal the brown body and stopping in a slightly uneven line above the foot, the rim and recessed base left unglazed, revealing the buff ware.Provenance: Property from a North German private collection, in the family since the 1970s and thence by descent. Old Inventory label '50/0219'. Old collector's label bearing an inscription in brown ink.Condition: Good condition with minor wear and firing flaws. Extensive wear to the slip below the floral band. Some minuscule frits.Weight: 1,740 g Dimensions: Height 35 cmThe mannered diction of the floral band that comprises the main decoration on the current vase was undoubtedly influenced by earlier metalwork. It is a distinct style that appears to have found particular favor in the early part of the Northern Song dynasty. A fragment of another vessel decorated in a similar style was exhibited in Kiln Sites of Ancient China - Recent Finds of Pottery and Porcelain, Oriental Ceramic Society, London, 1980, p. 155, no. 389. This fragment had been found in 1962 at a kiln site at Quhezhen, Dengfengxian, Henan province.Related flower heads with narrow and sharply cut petals also appear on early Northern Song ceramics from kilns which were patronized by the court. They can be seen, for example, on the shoulder of a Ding ware vase excavated in 1969 from the so-called 'underground palace' of a pagoda at the Jingzhongyuan Temple at Dingzhou, Hebei province, illustrated in Treasures from the Underground Palaces - Excavated Treasures from Northern Song Pagodas, Dingzhou, Hebei Province, China, Idemitsu Museum of Arts, Japan, 1997, no. 88. Along with other treasures, this Ding vase was sealed into the base of the pagoda when it was built in AD 995.Literature comparison: A large Cizhou vase decorated with a related stylized floral scroll is in the collection of the Freer Gallery of Art, illustrated by G. Hasebe in Sekai toji zenshu - 12 - Song, Tokyo, 1977, pp. 110-11, no. 109. Compare also an ewer with a related decorative band in the Tokyo National Museum, illustrated in Song Ceramics, Tokyo, 1999, p. 126, no. 8. A related floral scroll also appears on a Yaozhou celadon ewer in the collection of the Asian Art Museum in San Francisco, illustrated by G. Hasebe in Sekai toji zenshu - 12 - Song, Tokyo, 1977, pl. 187.Auction result comparison: Compare a cizhou ewer, 23.5 cm high, carved with a related floral band, dated to the Northern Song dynasty, at Christie's London in Fine Chinese Ceramics and Works of Art on 5 November 2013, lot 398, sold for GBP 380,500. Compare a cizhou baluster vase, 39.6 cm high, carved with a related floral band, dated to the Northern Song dynasty, at Christie's New York in Fine Chinese Ceramics & Works of Art on 19 March 2009, lot 508, sold for USD 194,500. 宋代罕見磁州窯花卉紋梅瓶中國。960-1279年。口細而頸短，豐肩，下收、圈足的立式。瓶至胸部，施白色化妝土，淺雕花卉卷葉紋，邊緣變薄，肩部以下至足部有略微不均勻的線條。邊緣和凹陷的底部露淺黃色胎。 來源：德國北部私人收藏，從上世紀七十年代起在同一家族保存至今。老標籤“50/0219“，用棕色墨水所寫。品相：狀況良好，有輕微磨損和燒製瑕疵。下方大面積磨損，一些微小的熔塊。重量：1,740 克 尺寸：高35 厘米 拍賣結果比較: 比較一件北宋磁州窯罐，高23.5 厘米，相似花卉紋帶，見倫敦佳士得Fine Chinese Ceramics and Works of Art 2013年11月5日 lot 398, 售價GBP 380,500；比較一件北宋磁州窯賞瓶，高39.6 厘米，相似花卉紋，見紐約佳士得Fine Chinese Ceramics & Works of Art 2009年3月19日 lot 508, 售價USD 194,500。
Lot 354
A LARGE AND FINELY CAST RITUAL BRONZE WINE VESSEL, POU, SHANG DYNASTYChina, 12th-11th century BC. The compressed globular body rising from a tall splayed foot to a short tapering neck surmounted by a wide flaring mouth. The central band crisply cast with three taotie patterns each centered by a narrow flange, below a band of confronting kuilong divided by three imposing bovine masks cast in high relief. The foot with two pierced apertures above a band of kuilong, all against a leiwen ground.Provenance: Sotheby's New York, 7 December 1983, lot 49. A private collection in New York, USA, acquired from the above. Christie's New York, 4 June 1992, lot 179. Canadian private collection, acquired from the above. Sotheby's New York, 20 March 2002, lot 18. A noted collector, acquired from the above.Condition: Excellent condition, commensurate with age and presenting extraordinary well with >90% of the intricate design still sharp and crisp, something that is exceedingly rare on the present group of vessels. Minor nicks, dents and surface scratches. Encrustations. A faint short crack to the base. Minor areas of corrosion with associated losses and old fills as well as a single restoration to foot rim, circa 5x5 cm, all precisely visible on the X-ray images provided (are available upon request). Superb dark-green patina overall, naturally grown over millennia.Weight: 6.0 kgDimensions: Diameter 33 cm, Height 26 cmDistinguished by its large size and dignified form, the present pou is a magnificent example of bronze vessels created in the second half of the Shang dynasty (c. 1600-1046 BC). Inspired by ceramic prototypes from the Neolithic era, vessels of this type appeared in the Shang bronze casting repertory around the end of the Erligang phase (c. 1500-1300 BC). They were used as food and wine containers for ritual purposes, before disappearing by the beginning of the Western Zhou dynasty (c. 1046-771BC).Literature comparison: A closely related pou, 26 cm high, with similar cast decoration and similar large bovine masks cast in relief on the shoulder is illustrated by Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington D.C., 1987, page 334, no. 57. Also illustrated, page 337, fig. 57.3, is another closely related pou, 26.5 cm high, in the Musee Cernuschi, Paris. Another closely related pou, 26.2 cm high, is illustrated in Shang Ritual Bronzes, National Palace Museum Collection, Taipei, 1998, pages 388-389, no. 65.Auction result comparison: Compare a closely related pou, 27.9 cm high, also dated 12th-11th century BC, at Christie's New York, in Fine Chinese Ceramics and Works of Art, on 24 March 2011, lot 1239, sold for USD 1,022,500. Compare another closely related pou, 33.1 cm diameter, dated to the late Shang dynasty, with cast repair, at Sotheby's New York, in Important Chinese Art on 21 September 2021, lot 34, sold for USD 252,000.商代大型饕餮紋青銅瓿中國，公元前十二至十一世紀。饕餮紋青銅瓿，圓腹，斂口，圈足上有三個方形孔，流行於商早期至商晚期前段，為古代盛酒器。中央清晰可見三個饕餮紋，饕餮一對炯炯有神、不怒自威的巨目；其下方是夔龍紋；整器以雷紋為地。 來源：紐約蘇富比 1983年12月7日 lot 49；紐約私人收藏，購於上述拍賣；紐約佳士得 1992年6月 4日 lot 179；加拿大私人收藏，購於上述拍賣；紐約蘇富比 2002年3月20日 lot 18；一位知名收藏家，購於上述拍賣。 品相：品相極佳，與年齡相稱，呈現出非凡的品質，其紋飾仍然清晰明快，這在目前的青銅酒器中極為罕見。輕微的劃痕、凹痕和結殼，底部有些微短裂縫。 局部受腐蝕區域帶有相關損失和舊填充物，腳緣處有修復，大約 5x5 厘米。請參考 X光圖像（請聯繫我們團隊）。整體上包漿良好。 重量：6.0 公斤 尺寸：直徑33 厘米，高26 厘米 本瓿以體型大、造型莊重而著稱，是商代下半葉（公元前 約1600-1046 年）青銅器皿的典範。受新石器時代陶瓷原型的啟發，這種器皿出現在二里崗期末期（約公元前 1500-1300 年），用作祭祀禮器，消失於西周初年（約公元前 1046-771 年）。 文獻比較: 一件相近的瓿，高 26 厘米，相似的紋飾，見Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington D.C., 1987, 第 334頁，圖 57；也可見第337頁，圖 57.3, 另一件瓿，高 26.5 厘米，巴黎Museé Cernuschi美術館；以及第三件瓿，高26.2 厘米，見臺北故宮博物院商代Shang Ritual Bronzes, 1998, 第388-389頁, 圖65。 拍賣結果比較：比較一件相近的瓿, 高27.9 厘米，公元前十二至十一世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 2011年3月24 日 lot 1239, 售價USD 1,022,500；比較另一件相似瓿，直徑33.1 厘米，商代末期，有修補，見紐約蘇富比 Important Chinese Art 2021年9月21日 lot 34, 售價USD 252,000。
Lot 374
A LIMESTONE BUDDHIST TRIAD STELE OF GUANYIN, NORTHERN WEI TO TANG DYNASTYChina, 386-907. The stele of ogee arch form. Finely carved in high relief with Guanyin seated in dhyanasana, one hand holding part of her garment and the other resting on her left knee, the serene face with heavy-lidded eyes and full lips, the hair arranged in a high chignon, backed by a florally incised halo.Provenance: The Roger Moss Collection. A copy of an inspection certificate from J & H Surveying Co. Ltd. for a large shipment of Roger Moss' collections and personal effects from Hong Kong to England in 2003, listing the present lot as “338 northern wei stele decorated”, accompanies this lot. C. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Good overall condition fully commensurate with age. The top section of the halo (ca. 4.5 x 9 cm) lost and with an old replacement. Extensive wear, some losses and nicks, structural fissures and minor cracks. The stone with a smooth, unctuous surface and fine patina.Weight: 5.9 kgDimensions: Size 30 x 20 x 7.8 cmGuanyin is flanked by two attendants, each standing on a lotus base and holding a scroll in both hands, also backed by halos. The top with a seated Buddha Amitabha flanked by two chilong.Auction result comparison: Compare a related but much larger (68 cm high) Buddhist triad stele dated to the Tang dynasty at Sotheby's New York, in Images of Enlightenment, Devotional Works of Art and Paintings on 17 September 2014, lot 421, sold for USD 317,000. 北魏至唐朝石灰石雕三聖造像碑 中國，386-907年。此尊龕式造像碑，裝飾精美。中央雕觀音結跏趺坐，一隻手扶著衣袍，其左手置於左膝上。面容安詳，兩眼微微下垂，嘴唇豐滿，髮髻高聳，身後有光背。 來源：Roger Moss收藏。隨拍品附J & H Surveying Co. Ltd.的檢驗證書副本。J & H Surveying Co. Ltd.於2003年將Roger Moss的收藏品和個人物品從香港運往英國，並將本拍品列為 "338 northern wei stele decorated （338號北魏石碑裝飾）"。C. Roger Moss, OBE (1936-2020) 成長於約克郡，一生都在收藏藝術，以收藏唐代及更早時期的中國雕塑而聞名。協和式飛機推出時，他是英國航空公司的財務總監，然後成為香港地鐵的首席財務官。 在此期間，他還擔任過東方陶瓷學會會長。 品相：良好的整體狀況與年齡完全相稱。光背的頂部（約 4.5 x 9 厘米）缺損且帶有舊的修補。 廣泛的磨損、一些缺失和刻痕、結構裂縫和小磕片。石碑表面光滑油潤，帶有精細的包漿。 重量：5.9 公斤 尺寸：30 x 20 x 7.8 厘米 拍賣結果比較：一件相近的但更大型 (高68 厘米) 的唐代三聖石碑，見紐約蘇富比Images of Enlightenment, Devotional Works of Art and Paintings 2014年9月17日 lot 421, 售價USD 317,000。
Lot 511
A ROBIN'S EGG GLAZED 'LANTERN' VASE, ZUN, QIANLONG TO JIAQING PERIODChina, 1736-1820. The body tapers slightly towards the foot and is flanked by a pair of prominently molded handles in the shape of inverted vases below the high shoulder and slightly waisted neck. The vase is covered overall with an opaque turquoise glaze densely mottled in bright and dark blue that also covers the recessed base entirely.Provenance: From a private collection in Hampshire, United Kingdom, by repute acquired in the 1960s.Condition: Excellent condition with minor wear and minimal firing irregularities. Weight: 1,097 gDimensions: Height 22.5 cmVases of this lantern shape, all applied with unusual mock handles of inverted vase shape, originated in the Yongzheng period, when they were made with Guan and Ge-type glazes, such as the two Yongzheng examples in the Palace Museum, Beijing, illustrated by Geng Baochang (ed.), Gugong Bowuyuan cang Qingdai yuyao ciqi (Porcelains from the Qing dynasty Imperial kilns in the Palace Museum collection), Beijing, 2005, pls. 174 and 206. However, during the Qianlong period, the shape became more popular as a vehicle for the robin's egg-blue glaze.The 'Robin's egg' glaze represents a significant technical innovation of the Yongzheng period (1723-35) attributable to Tang Ying (1682-1756), the greatest porcelain superintendent in Chinese history. The Yongzheng Emperor, who initiated many revivals of earlier ceramic techniques, was particularly enamored with the variegated Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. In order to have the glazes recreated or imitated, Tang Ying sent his trusted assistant from the imperial kilns in Jingdezhen, Jiangxi province, on study trips to the Jun region in Henan province to learn from the local potters and even went as far as having ceramic raw materials mined in the Jun area transported over thousands of kilometers to Jingdezhen. Among the many types of glazes derived from those efforts are mottled purple ones such as the flambe variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed lu Jun or Oven Jun, i.e., a Jun glaze fired in low-temperature ovens instead of high-temperature kilns (see Jingdezhen Institute of Ceramic Archaeology et al, The Cultures of Porcelain Superintendents and Jingdezhen, conference volume, Nanchang, 2011). The 'robin's egg' glaze is mentioned on a stele in Jingdezhen, inscribed by Tang Ying, as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the Imperial court. Its color is described as intermediate between the glazes of the Shiwan kilns of Foshan, Guangdong, and those used by the Yixing kilns in Jiangsu for their zisha tea pots, but having a better and more beautiful flow.According to scientific research conducted by the Victoria & Albert Museum and Oxford University, 'robin's egg' glazes are high-lead, low-temperature enamel-type compositions fired in oxidation and are colored largely with copper and opacified with lead arsenate to achieve their extraordinary beautiful effect. See Nigel Wood, Rose Kerr et al, 'An evaluation of the composition and production processes of Chinese “robin's egg” glazes', International Symposium on Ancient Ceramics, Shanghai, 2002, pp. 337-353.Literature comparison: Compare a closely related robin's egg glazed zun, with a Jiaqing mark and of the period, illustrated in The Complete Collection of Treasures of the Palace Museum 37 Monochrome Porcelain, Hong Kong, 1999, p. 211, no. 190.Auction result comparison: Compare a closely related robin's egg glaze lantern vase, with a Qianlong mark and of the period, at Christie's New York in The Studio of the Clear Garden: Chinese Ceramics and Works of Art on 22 March 2018, lot 606, sold for USD 137,500.乾隆至嘉慶時期爐鈞釉燈籠紋尊中國，1736-1820年。釉質呈藍綠小片斑狀，腹部兩側對稱燈籠紋浮雕，圈足。 來源：英國漢普郡私人收藏，據説購於上世紀六十年代。 品相：狀況極佳，輕微磨損，輕微燒製瑕疵。 重量：1,097 克 尺寸：高 22.5 厘米 拍賣結果比較：比較一件相近爐鈞釉燈籠紋尊，乾隆款及年代，見紐約佳士得The Studio of the Clear Garden: Chinese Ceramics and Works of Art 2018年3月22日 lot 606, 售價USD 137,500。
Lot 440
A JADE 'CATFISH' WASHER, 17TH TO 18TH CENTURYChina. Of oval shape with slightly flaring sides supported on a short yet distinct foot, the interior finely carved in high relief with a catfish, the algae in its mouth forming a stylized wan symbol. The exterior with two slightly raised bands incised with diagonal lines. The finely polished, translucent stone is of a grayish-cream tone with dark-brown veins and inclusions.Provenance: The Ezekiel Collection, no. H/131 (old collector's label to base). Purchased by Victor Ezekiel on 13 December 1963. A handwritten and typed note by Victor Ezekiel, stating the collection no. H/131 and the purchase date of 13 December 1963 and describing the piece as 'A pale brownish green jade dish […] with a Catfish with food in its mouth, and stand. […] Probably Ming or earlier', accompanies this lot. The Ezekiel Collection was formed by Marcus Ezekiel (1854-1927) and his son Victor (1905-1976), two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century, and important early members of the Oriental Ceramic Society. In 1975 Rose Kerr, then a young associate curator at the Victoria and Albert Museum, came to David Ezekiel, Victor's son, to select loans for the prestigious Oriental Ceramic Society exhibition "Chinese Jade Throughout the Ages”. Seventeen pieces were selected, the present lot possibly among them, and David Ezekiel was able to take his ailing father, in a wheelchair, to see the exhibition.Condition: Very good condition with minor old wear and nibbling to the rim as well as a microscopic bruise to one end of the algae sprig. With a fine, unctuous feel overall.Weight: 65.4 gDimensions: Length 8.4 cmThe catfish (nian yu) provides a rebus suggesting 'year after year' while the word for fish in Chinese (yu) provides a homonym for 'abundance'. Fish is traditionally eaten on Chinese New Year and during the festival there is a phrase called 'nian nian you yu', which translates as 'every year you have abundance'.Catfish (silurus) eat algae. When depicted in Chinese jade, they are sometimes mistaken for monkfish (lophius), a predator which does not eat algae.Auction result comparison: Compare a related white jade washer with a catfish amid waves, dated 18th-19th century, at Sotheby's London in Fine Chinese Ceramics And Works Of Art on 5 November 2014, lot 286, sold for GBP 12,500, and another with two fish and two boys, dated 18th century, at Sotheby's Hong Kong in Important Chinese Works Of Art on 7 April 2015, lot 3744, sold for HKD 125,000, and a related pale celadon jade bowl with two catfish, dated to the 19th century, of larger size (13.4 cm wide), at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 1 June 2011, lot 3848, sold for HKD 1,340,000. 十七至十八世紀鮎魚紋玉筆洗中國。橢圓形，口外敞，圈足極淺，筆洗内底部巧妙高浮雕鮎魚，魚嘴裡的叼的水藻成卍符號。筆洗外壁有兩條略微凸起的細帶，上面刻有對角線。玉料表面光滑，呈半透明狀，帶有深棕色的紋理和內沁。 來源：Ezekiel收藏，收藏編號H/131（見收藏標籤）。Victor Ezekiel於1963年12月13日購置。隨附一份收藏由Victor Ezekiel 購買時做的注釋的副本，他描述此拍品為“A pale brownish green jade dish […] with a Catfish with food in its mouth, and stand. […] Probably Ming or earlier “ （青綠色玉盤，鮎魚紋，明或更早）。Ezekiel收藏由Marcus Ezekiel (1854-1927) 和他的兒子 Victor (1905-1976) 創立，他們曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。1975年，時任Victoria and Albert Museum美術館年輕副館長的Rose Kerr來找Victor的兒子David Ezekiel，為知名的東方陶瓷協會展覽 "中國歷代玉器 "挑選借展品。共有17件收藏品被選中，本拍品可能是其中之一，David Ezekiel還曾與患病且坐在輪椅上的父親去看展覽。 品相：狀況極好，有輕微的磨損，水藻的一端有輕微的損傷。 整體潤澤光滑。 重量：65.4 克 尺寸：長 8.4 厘米 拍賣結果比較：比較一件十八至十九世紀的鮎魚紋玉筆洗，見倫敦蘇富比Fine Chinese Ceramics And Works Of Art 2014年11月5 日 lot 286, 售價GBP 12,500；另一件十八世紀雙童雙魚紋筆洗，見香港蘇富比Important Chinese Works Of Art 2015年4月7日 lot 3744, 售價HKD 125,000；一件十九世紀青白玉雕雙魚碗，尺寸稍大 (寬13.4厘米), 見香港佳士得Important Chinese Ceramics and Works of Art 2011年6月1日 lot 3848, 售價HKD 1,340,000。
Lot 489
A BLUE AND WHITE 'EIGHT HORSES OF MU WANG' BOWL, KANGXI PERIODChina, 1662-1722. Thinly potted with deep conical sides rising from a tapered foot to an everted iron-washed rim. Finely painted in cobalt blue with the Eight Horses of Muwang frolicking or grazing amid a rocky landscape with pine, willow, and prunus, with seven horses around the exterior and the eighth enclosed within a double circle at the center of the interior. The base with a six-character mark da Ming Jiajing nianzhi within a double circle.Provenance: Butterfield & Butterfield, San Francisco, USA, Fine Asian Works of Art, 19 May 1995, lot 590. A private collector in California, acquired from the above.Condition: Excellent condition with only minor wear and firing flaws.Weight: 286.3 gDimensions: Diameter 16.7 cmWith a silk storage box. (2) The charming scene represents the Eight Horses of King Mu Wang, who reigned during the Zhou dynasty in the 10th Century BC, and these Eight Horses were his favorite chargers which pulled the Emperor's chariot as he progressed about his realm to visit the Goddess Hsi Wang Mu.The present lot belongs to a small yet well recorded group of blue and white bowls, all painted with the eight horses of Mu Wang, and bearing six-character marks da Ming Jiajing nianzhi within a double circle. Note that it has most recently been suggested by some scholars that these bowls might rather date to the Jiajing period (1521-1567) instead of the Kangxi period (1662-1722).Literature comparison: For a pair of dishes with similar iron-painted rims and Jiajing marks, dated to the early Qing dynasty, see Yeo and Martin, Chinese Blue & White Ceramics, Arts Orientalis, Singapore, 1978, p. 248 and pl. 160, nos. 296 and 297. Another bowl of similar form, horse decoration, and Jiajing mark, dated to the later Transitional period is published in Richard Kilburn, Transitional Wares and Their Forerunners, Oriental Ceramic Society of Hong Kong, 1981, p. 148, no. 97. 康熙 “穆王八駿”青花碗 中國，1662-1722年。此碗敞口外撇，碗沿鐵鏽色，斜弧腹，圈足。外壁青花繪八駿圖，駿馬形態各異，畫法精細，青花層次鮮明，濃淡相宜。碗心青花繪滾地馬，給人以疏朗清閒的感覺，情趣鮮明。圈足内雙圈六字款“大明嘉靖年製”。 來源：美國舊金山Butterfield & Butterfield藝廊，1995年5月19日Fine Asian Works of Art， lot 590。一位加利福尼亞私人藏家購於上述拍賣。 品相：狀況極佳，只有輕微的磨損和燒製瑕疵。 重量：286.3 克 尺寸：直徑16.7 厘米 錦盒。(2) 八駿之說始於公元前十世紀的周穆王時期。傳穆王以此八駿駕車，可日行萬里，使之馭以見西王母。現拍品屬少卻有記錄的一組青花碗中的一只，均繪穆王八匹馬，雙圈內“大明嘉靖年製”六字。 請注意，近期有一些學者認爲這些碗可能是來自嘉靖時期（1521-1567）而不是康熙時期（1662-1722）。 文獻比較：一對相似的汎紅色口沿並同有嘉靖款的清代早期的盤子，見 Yeo and Martin, Chinese Blue & White Ceramics, Arts Orientalis, Singapore, 1978, 第248頁圖160, nos. 296 and 297；另一只相近形狀的駿馬圖碗，嘉靖款，過渡期後期，曾出版於Richard Kilburn, Transitional Wares and Their Forerunners, Oriental Ceramic Society of Hong Kong, 1981, 第 148頁, no. 97。
Lot 375
A LIMESTONE TORSO OF BUDDHA, NORTHERN QI DYNASTYChina, 550-577. Finely carved standing with the right hand raised and the left arm lowered along the side of the body, wearing a diaphanous robe delicately carved with drapes falling fluently following the contours of the body.Provenance: From the Roger Moss Collection. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, nicks and scratches, few structural cracks, encrustations.Dimensions: Height 71 cm (excl. stand) and 78.5 cm (incl. stand)Mounted on an associated stand. (2)Expert's note: The sensitivity of carving, the soft garments closely clinging to the body, the crisp treatment of the gracefully draped folds clearly relate this figure to the Northern Qi period.Literature comparison: Compare a closely related example illustrated in The Art of Contemplation, Religious Sculpture from Private Collection, National Palace Museum, Taipei 1997, pl. 27. See also the two figures of similar sizes illustrated in Ancient Chinese Sculpture II, Kaohsiung Museum of Fine Arts, Taiwan 2000, pl. 20 and 21.Auction result comparison: Compare a closely related limestone torso of Buddha, 101 cm high, also dated to the Northern Qi dynasty, at Christie's London, 12 September 2007, lot 164, sold for GBP 24,500. 北齊石灰石立佛殘件中國，550-577年。立佛右臂舉起，左臂低垂，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：Roger Moss收藏。C. Roger Moss, OBE (1936-2020) 成長於約克郡，一生都在收藏藝術，以收藏唐代及更早時期的中國雕塑而聞名。協和式飛機推出時，他是英國航空公司的財務總監，然後成為香港地鐵的首席財務官。在此期間，他還擔任過東方陶瓷學會會長。品相：狀況良好，與年齡相稱。廣泛的磨損、缺損、風化和侵蝕，有刻痕和劃痕，少量結構裂縫、結殼。尺寸：高71 厘米（不含底座），總78.5 厘米 安裝在支架上。(2) 專家注釋：這種“薄衣貼體”的造像風格，展現了印度笈多藝術在中國的流傳影響，是北齊造像的一大特色。文獻比較: 比較一件相近的造像可見The Art of Contemplation, Religious Sculpture from Private Collection, 臺北故宮博物院，臺北1997, 圖 27；兩外兩件造像，相近尺寸，來自Ching-Ya T'ang 與 Shih-yu Shan-fang收藏，見Ancient Chinese Sculpture II, 高雄市立美術館, 台灣2000, 圖20 與21。 拍賣結果比較：比較一件相近的北齊石灰石佛陀身軀，高101 厘米，見倫敦佳士得2007年9月12日 lot 164, 售價GBP 24,500。
Lot 448
A SUPERB PALE CELADON JADE 'MAGNOLIA' VASE, 18TH CENTURYChina. Finely carved as a tall magnolia blossom, the layered petals forming the sides of the vase, borne on an openworked gnarled stem bearing smaller blossoms and buds. The superbly polished, translucent stone is of an almost flawless celadon tone with only few milky inclusions and russet veins. Provenance: The Ezekiel Collection, no. K/32 (old collector's label to one side). Purchased by Victor Ezekiel on 29 November 1957. A copy of a typed and handwritten note by Victor Ezekiel, stating the collection no. K/32 and purchase date of 29 November 1957 and describing the piece as “A pale jade vase, carved as a floral spray with large and small flowers, 5in., Ch'ien Lung, with a stand and case”, accompanies this lot. The Ezekiel Collection was formed by Marcus Ezekiel (1854-1927) and his son Victor (1905-1976), two leading figures in the formative years of Chinese art collecting in London in the 20th century, and important early members of the Oriental Ceramic Society. In 1975 Rose Kerr, then a young associate curator at the Victoria and Albert Museum, came to David Ezekiel, Victor's son, to select loans for the prestigious Oriental Ceramic Society exhibition "Chinese Jade Throughout the Ages”. David was, like his father, generous with loans to the Society's exhibitions, particularly “The World in monochromes” in 2009 (with his grandfather's legendary blanc de chine magnolia cup gracing the back cover of the catalog) and “China Without Dragons” in 2016.Condition: Superb condition, commensurate with age. Minor wear, few microscopic nicks, the stone with natural fissures, some of which may have developed into microscopic hairline cracks over time.Weight: 207.5 g (excl. base)Dimensions: Height 11.8 cm (excl. base) and 14.5 cm (incl. base)With a finely carved, openworked, and fitted hardwood base supported on four ruyi-form feet, dating to the Qing dynasty. (2)The white magnolia, or yulan in Chinese, is an emblem of purity and a pictorial pun to represent the Chinese word for jade, yu. Literature comparison: Compare a related white jade cup in the form of a magnolia blossom in the Royal Ontario Museum, Toronto, illustrated in The T.T. Tsui Galleries of Chinese Art, Hong Kong, 1996, cat. no. 115.Auction result comparison: Compare a closely related pale celadon jade (described as white jade) vase in the form of a magnolia flower, also dated to the 18th century, at Sotheby's New York in The Concordia House Collection: Fine Chinese Jades And Important Works Of Art From A Midwestern Family on 19 March 2007, lot 36, sold for USD 102,000.十八世紀青白玉雕玉蘭花插中國。花插主體為一朵初放的玉蘭花，花瓣層疊，富有層次感，花口做花插，玉蘭花四周雕有幾朵大小不一的花蕾花苞。底部透雕成的枝杈盤結，整體色澤由底部的青向上漸次變白，色澤瑩潤清新。花插整體造型惟妙惟肖，寓意“玉樹臨風”。來源：Ezekiel 收藏，編號 K/32 (花插一面可見標籤 )。Victor Ezekiel 購於1957年11月29日。隨附一份Victor Ezekiel 打字並手寫注釋的檔副本，上面可見他的購買日期和收藏編號，並將此器描述爲 “青白玉花插，雕刻成花狀及大小不一的花蕾，5英寸，乾隆，帶底座和盒子。Ezekiel 收藏由Marcus Ezekiel (1854-1927) 和他的兒子 Victor (1905-1976) 創立，他們曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。1975年，時任Victoria and Albert Museum美術館年輕副館長的Rose Kerr來找Victor的兒子David Ezekiel，為知名的東方陶瓷協會展覽 "中國歷代玉器 "挑選借展品。David和他的父親一樣，慷慨地為協會的展覽提供資助，特別是 2009 年的“The World in monochromes”（目錄封底是他祖父的傳奇白玉蘭杯）和 2016 年的“China Without Dragons” 。品相：狀況極佳，與其年齡相稱。 輕微磨損，輕微小刻痕。有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成微小的髮絲線裂縫。重量：207.5 克 (不含底座)尺寸：高 11.8 釐米 (不含底座)，總14.5 釐米 清代透雕硬木四足底座。 (2)白玉蘭，是純潔的象徵，與玉正好相對應。 文獻比較：一件相似的白玉雕玉蘭杯，見多倫多Royal Ontario Museum, The T.T. Tsui Galleries of Chinese Art, 香港，1996, 目錄圖片號 115。拍賣結果比較：比較一件相似的青白玉 (描述爲白玉) 玉蘭花玉瓶，同樣為十八世紀，見紐約蘇富比The Concordia House Collection: Fine Chinese Jades And Important Works Of Art From A Midwestern Family 2007年3月19日 lot 36, 售價USD 102,000。
Lot 428
A SMALL GLASS 'REALGAR IMITATION' CUP, 18TH CENTURYChina. The deep rounded sides rising from a thick, tapered foot, with a central domed protuberance to the recessed base, to an everted rim. The mostly opaque glass is of bright variegated tones with a distinct pattern of reddish-orange patches and opaque orange borders on a dark-red reserve to the exterior, the interior of a decent cafe-au-lait tone.Provenance: Acquired by Marcus Ezekiel on 27 September 1920, presumably from John Sparks Ltd., London. A copy of a page from Marcus Ezekiel's handwritten ledger, noting the “2 glass cups” purchased on the aforementioned date, accompanies this lot. The Ezekiel Collection was formed by Marcus Ezekiel (1854-1927) and his son Victor (1905-1976), two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century, and important early members of the Oriental Ceramic Society. Marcus Ezekiel formed an extensive collection of Chinese art, mostly ceramics, but with a small yet important group of Chinese glass wares.Condition: Very good condition with minor wear and manufacturing-inherent irregularities, including a pit to one side, the rim with very minor nibbling.Weight: 42.8 gDimensions: Diameter 5.4 cmAuction result comparison: Compare a related realgar glass wine cup, with a Qianlong mark and of the period, at Christie's Hong Kong in Imperial Sale; Important Chinese Ceramics and Works of Art on 29 May 2013, lot 2312, sold for HKD 687,500. 十八世紀仿雄黃料小盅中國。小盅敞口外撇、深腹、圈足。不透明玻璃，明亮的雄黃色調，帶有明顯的紅橙色斑塊紋和不透明橘色邊界，外部保留深紅色，內部則是醬色。 來源：Ezekiel收藏。Marcus Ezekiel購置於1920年9月27日於倫敦 John Sparks Ltd.藝廊。隨附一份Marcus Ezekiel手寫的關於購買日期以及 “2 glass cups” 的注釋複印件。Ezekiel 收藏由Marcus Ezekiel (1854-1927) 和他的兒子 Victor (1905-1976) 創立，他們曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。 Marcus Ezekiel收藏了大量中國藝術品，主要是陶瓷，但也收藏了一小部分中國料器和鼻煙壺。 1927 年他去世時，將這個收藏留給了他的妻子，實際上是作為養老基金。1930 年，她在佳士得拍賣了 225 件，價格略高於 5,000 英鎊，1946 年，271 件去了蘇富比，其中包括一些宋代陶瓷。 然而，目前這件拍品仍保留在收藏中，可能是因為極為罕見的緣故。品相：狀況極好，有輕微磨損和製作時固有的不規則性，包括一側的凹坑，邊緣有非常小的磕損。 重量：42.8 克 尺寸：直徑 5.4 厘米 拍賣結果比較：比較一件乾隆款與年代的雄黃玻璃酒杯，見香港佳士得Imperial Sale; Important Chinese Ceramics and Works of Art 2013年5月29日 lot 2312, 售價HKD 687,500。
Lot 479
A MASSIVE CARVED 'LOTUS' LONGQUAN CELADON CHARGER, EARLY MING DYNASTYChina, 15th-16th century. The broad rounded sides rising from a short foot to a lipped rim, the center of the interior carved with a lotus spray framed by a barbed border and a double line, encircled by a freely carved lotus scroll around the sides. Covered overall in an unctuous olive-green glaze save for a ring at the base burnt orange from firing.Provenance: From a private collection in New York City, USA. Stair and Co., New York, acquired from the above (according to label to base). The base with a fragment of an old handwritten label, referring to a “Col. [….] 8th Hussars” and stating that “the Chinese ceramic expert at the Victoria and Albert Museum pronounced it to be early Ming”.Condition: Excellent condition with ancient traces of use, shallow surface scratches and old wear, all commensurate with age, and expected firing flaws, some with associated minute glaze flakes. An early Ming-dynasty charger of this size in such well-preserved condition must be considered exceedingly rare.Weight: 7.0 kgDimensions: Diameter 47 cmLiterature comparison: Compare two related Longquan dishes, with similar lotus decoration to the present lot, illustrated by Mei-fen Tsai, Green–Longquan Celadon of the Ming Dynasty, National Palace Museum, Taipei, 2009, p. 94, nos. 43 and 44.明初龍泉窯青釉暗刻蓮紋大盤中國，十五至十六世紀。此盤形制較大，敞口，淺腹，圈足。裡外遍施青釉。盤壁均以暗刻花卉紋為飾，中央蓮花紋。胎體厚重，頗具質感，盤形規整。底足露胎燒成橘色。 來源：紐私人收藏；紐約Stair and Co.藝廊，購於上述收藏 (見底足標籤)。底部還有一個已經不清晰的手寫標籤， “Col. [….] 8th Hussars” ，並注明 “the Chinese ceramic expert at the Victoria and Albert Museum pronounced it to be early Ming” （Victoria and Albert Museum美術館中國瓷器專家認爲此盤為明初。） 品相：狀況極佳，有古老的使用痕跡、表面淺劃痕和舊磨損，所有這些都與年齡相稱，還有預期的燒製瑕疵，有些還有微小的釉面開片。 如此大小且保存完好的明代早期大盤，可謂極為罕見。 重量：7.0 公斤 尺寸：直徑47 厘米
Lot 469
A RARE WHITE-GLAZED CIRCULAR INKSTONE, TANG DYNASTYChina, 618-907. The central unglazed grinding surface is encircled by a narrow well, all above an openwork apron formed by sixteen short legs attached to a ring, covered with a finely crackled clear glaze with the exception of the grinding surface and its underside, revealing the buff body.Provenance: From the collection of Karl Emil Strømstad. Old label to base, 'Strømstad 441'. Karl Emil Strømstad was an important Norwegian collector of Chinese ceramics. He has written numerous articles on the subject, including 'Fifty Shades of Green. Den fascinerende celadonkeramikken', and co-founded the Oriental Ceramic Society of Norway (NSOK). A large part of his collection, which he built from the 1960s onwards, was acquired in London.Condition: Superb condition, commensurate with age. Some old wear, traces of use and firing flaws, including dark spots and firing cracks. Minor fritting and few minuscule chips. Remnants of black ink on the grinding surface.Weight: 1,212 gDimensions: Diameter 21 cmAuction result comparison: Compare a closely related but smaller (15.4 cm diameter) white-glazed circular inkstone, also dated to the Tang dynasty, at Christie's Hong Kong in The Pavilion Sale on 6 October 2015, lot 79, sold for HKD 200,000. 罕見唐代白釉百足硯中國，618-907年。圓形，硯面上凸，四周為環形水槽，圈足上有蹄狀柱托起硯面，形成高圈足。外底無釉，露胎處潔白乾淨。圓形硯堂無釉，可以用於研墨。硯體及水槽均施白釉，釉薄光潤。硯邊內凹，形成圓形水渠，用於儲存墨汁。此硯造型獨特，是唐代瓷硯的典型器物。 來源：Karl Emil Strømstad收藏。底部舊標籤“Strømstad 441“。Karl Emil Strømstad 是一位挪威重要的中國陶瓷收藏家。他曾經寫過很多相關文章，包括“Fifty Shades of Green. Den fascinerende celadonkeramikken”，並共同成立挪威東方陶瓷協會 (NSOK)。他的收藏中的大部分都是1960年代購於倫敦。 品相：狀態極佳，與年齡相稱。 一些舊磨損、使用痕跡和燒製瑕疵，包括黑點和燒製裂紋。 輕微的熔塊和一些微小的開片。研磨面殘留黑色墨水。 重量：1,212 克 尺寸：直徑 21 厘米 拍賣結果比較：比較一件相近的但稍小 (直徑15.4 厘米) 的白釉百足硯，同樣為唐代，見香港佳士得The Pavilion Sale 2015年10月 6日 lot 79, 售價HKD 200,000。
Lot 442
A SPINACH-GREEN JADE 'SCHOLARS' BRUSHPOT, BITONG, QIANLONG PERIODChina, 1736-1795. The massive and heavy vessel is of cylindrical form raised on five ogee-bracket feet, the exterior superbly carved and undercut with scholars and boy attendants engaged in various leisurely pursuits in a mountainous landscape with pine, wutong, palm trees, and a pavilion. The translucent stone of a deep green tone with black speckles and few cloudy white inclusions.Provenance: From a French private collection. Condition: Excellent condition with only minor wear and possibly small nicks or losses here and there, which may have smoothened over time.Weight: 2,140 gDimensions: Height 15.5 cm, Diameter 13 cmWith an associated silk box and cover. (2)Impressive for its large size, heavy weight and skillfully carved high relief scene that unravels like a scroll painting with each turn of the vessel, this brush pot is a fine example of the level of expertise achieved in this medium during the Qianlong period. It is carefully composed to depict an animated group of scholars and their assistants engaged in various activities in a lofty landscape. An ethereal and distant world is skillfully captured through the undercutting of the outlines of the rocks and figures, which create dramatic and mysterious contrasts.The decoration of this piece follows in the tradition of Chinese painting with the surface of the vessel treated as a horizontal scroll. With each turn of the pot a scene in the narrative appears, thus making it an object that can be appreciated from different angles. Brushpots were essential tools for the literati and grew in popularity under the Qianlong emperor, who considered himself a great classical scholar, poet, calligrapher and art connoisseur. Apart from his scholarly interests, Qianlong also saw himself as the religious leader of the empire. The subject matter of the retired scholar was one he particularly favored, revealing his desire to combine his personal and private inspirations with his public image.Literature comparison: A spinach green jade brushpot carved with a similar motif was included in the Oriental Ceramic Society exhibition Chinese Jade Throughout the Ages, Victoria and Albert Museum, London, 1975, cat. no. 415, together with one, from the collections of E.L. Paget, Sir J. Buchanan-Jardine, Sir Bernard Eckstein and Sir Jonathan Woolf, cat. no. 413, later included in the exhibition of The Woolf Collection of Chinese Jade, Sotheby's, London, 2013, cat. no. 45. Also compare another similar brushpot in the Palace Museum, Beijing, illustrated op. cit., 1995, pl. 170.Auction result comparison: Compare a near-identical brushpot, also carved and undercut with a continuous scholarly scene, at Sotheby's New York, in Fine Chinese Ceramics and Works of Art, on 18 March 2008, lot 16, sold for USD 433,000. Note the remarkable similarity of the pavilion and palm trees found on both the present lot and this example.乾隆時期碧玉文人場景筆筒中國，1736-1795年。筆筒呈圓柱體，五足，外壁雕刻文人場景。文士們似在飲酒做對問禪，四周松、梧桐、芭蕉、亭台圍繞。深綠色的半透明玉料，帶有黑色斑點和少量白色絮狀内沁。 來源：法國私人收藏。 品相：狀況極好，只有輕微磨損，小劃痕或缺損，隨著時間的推移已經變得平滑。 重量：2,140 克 尺寸：高15.5 厘米, Diameter 13 厘米 配置絲盒。 (2) 此筆筒體積大、重量重，雕工精湛，宛如一幅卷軸，令人贊嘆不已，這是乾隆時期在玉雕方面傑出水平的典範。筆筒外壁描繪了一群充滿活力的學者和他們的童僕，在山水中游玩。通過對岩石和人物輪廓的雕琢，巧妙地捕捉到一個空靈的世界，形成戲劇性和神秘性的對比。這件作品的裝飾藉鑒了中國畫的傳統，將器皿的表面處理成水平捲軸。每每轉動一圈，就會改變場景，從而可以從不同角度欣賞它。筆筒是文人墨客的必備工具，在乾隆皇帝的影響下越來越受歡迎，乾隆自稱是一位偉大的古典學者、詩人、書法家和藝術鑑賞家。除了他的學術興趣，乾隆還認為自己是宗教領袖。這類隱者文士的題材尤其爲他所喜歡，體現了他希望將個人靈感與公眾形象結合起來的願望。文獻比較：一件碧玉筆筒，相似紋樣，可見於Oriental Ceramic Society exhibition Chinese Jade Throughout the Ages, 倫敦Victoria and Albert Museum博物館, 1975, 目錄415, 還有分別來自E.L. Paget、J. Buchanan-Jardine爵士、Bernard Eckstein 爵士與Jonathan Woolf爵士收藏，目錄 413, 之後還參展於倫敦蘇富比的The Woolf Collection of Chinese Jade的2013年的展覽, 目錄號 45. 還有另一件見北京故宮博物院 1995, 圖170。 拍賣結果比較：一件幾乎一模一樣的文人場景筆筒，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2008年3月18日 lot 16, 售價USD 433,000。值得注意的是，在這兩件筆筒上都能看到十分相似的亭臺和芭蕉樹。
Lot 437
A GRAY JADE ARCHAISTIC 'CHILONG' PENDANT, YUAN TO MING DYNASTYChina, 1279-1644 or earlier. Note that Una Pope-Hennessy dated the present lot to “T'ang dynasty or later” in her 1923 reference book “Early Chinese Jades”. Boldly carved as a leaf with an oval perforation in the center, a large chilong with bifurcated tail, funnel-shaped ears, and large bulging eyes clambering on the leaf and entwined through the aperture, looking toward its young perched on the edge of the leaf. The translucent stone is of a gray tone with patches of pale brown color as well as black veins and specks.Provenance: From the collection of Professor J. Norman Collie. Sotheby's London, 9 April 1943, lot 303. Henry Tozer, acquired from the above. Sotheby's London, 26 July 1960, lot 118. Victor Ezekiel, acquired from the above. Professor John Norman Collie (1859-1942) was an English scientist, mountaineer, and explorer. Henry Tozer was an avid enthusiast of Asian Art. His collection included Tang pottery, early Chinese bronzes, later porcelains, jade carvings, and Japanese prints. He was a regular client of Bluett's between 1942-1958. Marcus Ezekiel (1854-1927) and his son Victor (1905-1976) were two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century, and important early members of the Oriental Ceramic Society. Published: Una Pope-Hennessy, Early Chinese Jades, London, 1923, pl. XXXIII, fig. 2, dated to “T'ang dynasty or later”.Condition: Very good condition with only minor old wear, few tiny chips (the largest 3 mm long) to the edge of the leaf. With a good, unctuous feel overall and a nice, naturally grown luster.Weight: 50.1 gDimensions: Length 7.7 cmAuction result comparison: Compare a closely related archaistic jade carved as a thumbring (she), also with a central aperture and two clambering chilong, dated Ming-Qing dynasty, at Sotheby's Hong Kong in Chinese Art on 28-29 November 2019, lot 816, sold for HKD 750,000 (part lot, together with an archaistic huan disk). For later examples, see Bonhams, 5 November 2020, lot 160, sold for GBP 16,312 and Christies, 26 November 2014, lot 3158, sold for HKD 275,000.元明時期玉雕螭龍掛件中國，1279-1644 年或更早。請注意，Una Pope-Hennessy在她1923年出版的 “Early Chinese Jades” 一書中認爲此掛件應爲唐代或更早。玉料被雕刻成一片葉子，中間有一個橢圓形的穿孔，一隻大螭龍，尾巴分叉，耳朵呈漏斗狀，大大的眼睛在葉子上攀爬並纏繞穿過穿孔，望向正趴在葉子邊緣的幼崽 。半透明的石料呈灰色調，帶有淺棕色的斑塊以及黑色的紋理和斑點。 來源： Professor J. Norman Collie收藏。倫敦蘇富比1943年4月 9日lot 303；Henry Tozer購於上述拍賣；倫敦蘇富比1960年7月26日lot 118；Victor Ezekiel購於上述拍賣。Professor John Norman Collie (1859-1942) 曾是一位英國科學家、登山冒險家。Henry Tozer曾是一位亞洲藝術的愛好者。他的收藏中有唐代陶器、早期中國青銅器、晚期瓷器、玉雕和日本版畫。1942-1958 年間，他曾是 Bluett 藝廊的常客。Marcus Ezekiel (1854-1927) 和他的兒子 Victor Ezekiel (1905-1976) 曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。出版：Una Pope-Hennessy, Early Chinese Jades（中國早期玉器），倫敦，1923年，pl. XXXIII, 圖2。 品相：狀況非常好，只有輕微的磨損，葉片邊緣有一些微小的磕損（最大的長3 毫米）。 包漿整體感覺良好、光滑細膩。 重量：50.1 克 尺寸：長7.7厘米 拍賣結果比較：比較一件相近的明代玉雕螭龍扳指，見香港蘇富比Chinese Art 2019年11月28-29日 lot 816, 售價HKD 750,000 (和一件玉環一起)；另見邦翰思2020年11月5日 lot 160, 售價GBP 16,312 ；以及佳士得2014年11月 26日lot 3158, 售價HKD 275,000。
Lot 461
A SPINACH-GREEN JADE 'BEETLE AND LOTUS' WASHER, QING DYNASTYChina, 18th – 19th century. Finely worked as a lotus leaf with inward-curved edges, raised circles and a ruyi design, carved around the rim in openwork with a gnarled leafy stalk bearing a lingzhi sprig and surmounted by a beetle. The translucent, almost transparent stone is of a beautiful spinach-green tone with dark-green and black specks as well as few white and russet inclusions.Provenance: The Victor Ezekiel Collection, acquired before 1970. Marcus Ezekiel (1854-1927) and his son Victor (1905-1976) were two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century, and important early members of the Oriental Ceramic Society. Condition: Excellent condition with minor old wear, the stone with natural fissures, some of which may have developed into minuscule hairline cracks over time. Good, unctuous feel overall.Weight: 53.3 gDimensions: Length 9.3 cmAuction result comparison: Compare a related spinach-green washer carved as a lotus leaf, dated to the 18th century, at Sotheby's London in Asian Art on 17 May 2019, lot 203, sold for GBP 11,000. Compare also a spinach-green jade snuff bottle, also carved as a lotus leaf surmounted by a beetle, dated 1780-1880, at Christie's New York in The Blanche B. Exstein Collection of Chinese Snuff Bottles on 21 March 2002, lot 246, sold for USD 11,163. 清代碧玉連年富甲筆洗中國，十八至十九世紀。精美的荷葉，邊緣向內彎曲，如蓮子紋和如意圖案，邊緣鏤空雕刻，帶有多節的枝幹，靈芝小枝，小甲殼蟲攀爬其上。玉料半透明、幾乎透明的寶石呈美麗的菠菜綠色調，帶有深綠色和黑色斑點，以及少量白色和赤褐色內沁。 來源：Victor Ezekiel收藏，購於1970年前。Marcus Ezekiel (1854-1927) 和他的兒子 Victor Ezekiel (1905-1976) 曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。品相：狀況極佳，輕微磨損，玉料具有天然裂縫，隨著時間的推移，其中一些可能已經發展成微小的裂縫。整體感覺光滑油潤。 重量：53.3 克 尺寸：長 9.3 厘米 拍賣結果比較：比較一件十八世紀菠菜綠蓮葉筆洗，見倫敦蘇富比Asian Art 2019年5月17日 lot 203, 售價GBP 11,000；比較一件1780-1880年菠菜綠玉雕蓮葉甲蟲鼻烟壺，見紐約佳士得The Blanche B. Exstein Collection of Chinese Snuff Bottles 2002年3月21日 lot 246, 售價USD 11,163。
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