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
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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。
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。
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。
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。
A RARE AND IMPORTANT TERRACOTTA HEAD OF BUDDHA SHAKYAMUNIAncient region of Gandhara, Kushan period, 4th-5th century. The large head is superbly modeled with a serene and meditative expression, with almond-shaped eyes below gently arched brows, distinct recessed urna, aquiline nose, and full lips forming a calm, benevolent smile. The wavy hair is surmounted by a domed ushnisha.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n7, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”. Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot. Condition: Very good condition, commensurate with dating and presenting magnificently overall. Some wear and firing flaws, minor nicks, shallow cracks, losses to exposed areas, all hardly noticeable due to a light-colored varnish coating which was applied a long time ago. Overall, fully consistent with the high age of this sculpture. French Export License: Certificat d'exportation pour un bien culturel Nr. 185425 dated 3 July 2017 has been granted and is accompanying this lot.Weight: 7.9 kg (excl. stand) Dimensions: Height 34 cm (excl. stand) and 55 cm (incl. stand)Mounted on an old associated hardwood stand. (2)The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images. The use of hard-fired ceramic instead of stone such as schist became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this size have ever been recorded.The masterfully carved head of Buddha is a fine example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE and embodies an idealized, transcendent male form of an earthly prince. Based on Greco-Roman prototypes, his elegant neck is slightly elongated, and his heavy eyelids frame a pair of almond-shaped eyes, his forehead remaining perfectly uncreased, and there is no tension in his rosebud mouth. While activated with energy, movement and life, the Buddha is simultaneously in a state of otherworldly tranquility.The sculptor has also skillfully referenced Buddha's earlier history as Prince Siddhartha by placing rounded recesses in the elongated earlobes where, as a prince, he would have worn heavy jewelry. This detail reminds the viewer that, while the Prince's past was centered on excess, the absence of material goods – jewelry and fine clothing – emphasizes the Buddha's renunciation of worldly attachments.Compare the face of this Buddha with that of another in the Peshawar Museum (see H. Ingholt, Gandharan Art in Pakistan, 1957, p.113, fig.223). In both examples, the artist has skillfully carved and polished the face to transform it into human skin. While the face of the published image bears a rather formulaic manner, the present work has been carved by a master of naturalism. The softly rounded cheeks give way to hollows on either side, the upper and lower lids are nearly spherical to emphasize the eyes, and the pupils are not carved. The quiet contours and gentle shadows model the flawless structure of the face, encapsulating the eternal youthfulness of the Buddha. Almost androgynous in appearance, the Buddha transcends gender, embodying the perfect balance of masculinity and femininity.Expert's note: This head has a high aesthetic value, illustrious provenance, and is in a beautifully preserved condition. It is an important and rare masterpiece of Gandharan art. Literature comparison: Compare a related but slightly smaller (26.7 cm high) terracotta head of Buddha, dated 3rd-4th century, in the collection of the Metropolitan Museum of Art, accession number 2001.575. Compare a closely related but much smaller (18.4 cm high) terracotta head of Buddha, dated ca. 4th century, in the collection of the Metropolitan Museum of Art, accession number 13.96.4.Auction result comparison: Compare with a related but slightly smaller (28 cm high) terracotta head of a bodhisattva at Christie's New York in Indian and Southeast Asian Art on 19 March 2013, lot 212, sold for USD 75,000. Compare a related but smaller (20.3 cm high) terracotta head of Buddha at Sotheby's New York in Images Of Enlightenment: Devotional Works Of Art And Paintings on 17 September 2014, lot 410, sold for USD 62,500.罕見重要陶土釋迦牟尼頭像健陀羅，四至五世紀。大型佛頭造型優美，沉靜冥思，眉毛下方拱形杏仁狀眼睛，眉間白毫，豐滿的鼻子，溫柔仁慈的笑容。頭髮緊卷，呈螺髻。 科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n7，2016年10月18日，與目前斷代一致。來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Dépêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。品相：狀況很好，尤其是考慮到這件作品的年代。一些燒製瑕疵，輕微的刻痕和凹痕，裸露區域有材料缺損。表面的清漆應爲很久之前所塗，所以現在已經基本看不出來了。總體而言，狀況與該雕塑的年代相符。 法國出口證書: 隨附法國2017年7月3日出具的出口證書Certificat d’exportation pour un bien culturel Nr. 185425。 重量: 7.9 公斤 (不含底座) 尺寸: 高 34 厘米 (不含底座)，總 55 厘米 硬木底座 (2) 拍賣結果比較: 一件相近但稍小 (28 厘米) 陶土菩薩頭像，見紐約佳士得Indian and Southeast Asian Art拍場2013年3月19日 lot 212, 售價USD 75,000；一件相近但更小 (20.3 厘米) 的佛陀陶土頭像，見紐約蘇富比Images Of Enlightenment: Devotional Works Of Art And Paintings拍場2014年9月17日 lot 410, 售價USD 62,500。
AN EXCEPTIONALLY RARE IRON-RED ENAMELED 'WUFU' WATERPOT, QIANLONG MARK AND PERIODChina, 1736-1795. The compressed body supported on a short straight foot and rising to a waisted neck with slightly everted rim. Finely painted to the exterior with five bats in flight. The base with a four-character iron-red mark Qianlong nianzhi and of the period.Provenance: The Ezekiel Collection. Acquired by Marcus Ezekiel. 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 group of Chinese glass and a cabinet of snuff bottles. At his death in 1927 this collection was left to his wife, effectively as a pension fund. In 1930, she sold 225 pieces at Christie's for a little over £5,000, and in 1946 a group of 271 pieces went to Sotheby's, including a number of Song dynasty ceramics. The present lot, however, remained in the collection as a “piece de resistance”, possibly due to its exceptional rarity.Condition: Excellent condition with minor wear and firing irregularities. The foot with a small glaze recess and associated flaw, most likely occurred during the manufacture. The glaze with fine crackling. The base with remnants of black ink probably due to extensive usage.Weight: 67.0 g (excl. base)Dimensions: Width 6.6 cm (at the widest points), Height 4.8 cmWith a finely carved and openworked hardwood base supported on five bracket feet, dating to the Qing dynasty. (2)Five bats (wufu) form the auspicious wish for you to have the Five Blessings, which are old age, wealth, health, love of virtue, and a peaceful death. They were first mentioned in the chapter on Hongfan ('The Great Plan') in the ancient text Shangshu, compiled during the Warring States period (475-221 BC).Expert's note: During the 18th century, a group of fine porcelain objects prominetly depicting the wufu motif were made. However, most of these also show other decorations, making the present waterpot, of fine soft-paste porcelain with a magnificently unctuous feel to the glaze and showing exclusively the five bats, an exceedingly rare example of Imperial Qianlong porcelain.Auction result comparison: Compare a pair of related dishes (15.9 cm diameter), decorated to the interior with five bats and to the exterior with a floral band against a green ground, also with a Qianlong mark and of the period, at Christie's New York in Fine Chinese Ceramics and Works of Art Part I on 14 September 2012, lot 1574, sold for USD 122,500, and a related dish also decorated to the interior with five bats and to the exterior with carps against a cafe-au-lait ground, with a Yongzheng mark and of the period, at Sotheby's Hong Kong in Fine Chinese Ceramics And Works Of Art on 11 April 2008, lot 3064, sold for HKD 967,500. 乾隆款及年代罕見礬紅釉五福水丞中國，1736-1795年。水丞口略外撇，削肩，鼓腹，圈足。肩部及腹部礬紅釉繪製五隻蝙蝠。畫面充滿了古樸的氣息。圈足内書“乾隆年製”篆書款。 來源：Ezekiel收藏。Marcus Ezekiel購置。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重要的中國料器。品相：狀況極佳，有輕微磨損和燒製瑕疵。 足部有一個小的釉面凹陷和相關瑕疵，很可能發生在製造過程中。 釉面有細碎開片。 水丞内有黑色墨水餘留，可能是使用造成的。 重量：67.0 克 (不含底座) 尺寸：最寬處6.6 厘米，高 4.8 厘米 清代鏤空硬木五足底座。 “五福臨門”最早出自戰國《尚書·洪範》。所記載的五福是：“一曰壽、二曰富、三曰康寧、四曰修好德、五曰考終命”。 專家注釋：十八世紀時，出現了一系列以“五福”為主題的精美瓷器。 不過，大部分都是和其他紋飾一起。現在的水丞，使用上等材料，釉面華美，只展示了五隻蝙蝠，這是乾隆御製瓷器中極為罕見。 拍賣結果比較：比較一對乾隆款及年代的綠地五福盤 (直徑15.9 厘米) ，見紐約佳士得Fine Chinese Ceramics and Works of Art Part I 2012年9月14日 lot 1574, 售價USD 122,500 ；一件雍正款及年代醬釉五福鯉魚盤，見香港蘇富比Fine Chinese Ceramics And Works Of Art 2008年4月11日 lot 3064, 售價HKD 967,500。
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Bowmore-30 year oldDistilled and bottled by Morrison's Bowmore Distillery.In presentation case. Transfer printed label design of a sea dragon. Level: filled to 70 cl. Single malt, 43% volume1 ceramic bottleThis lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
A large ceramic table lamp in the Paris style, twin lights above body with twin stylised dolphin handles, all over floral gilt decoration, 84cm high overall including fitment and later wooden plinth base, base 16cm wide; and a pressed brass altar stick, now fitted as a lamp, 94cm high Condition Report: First- unexamined out of frame but superficially seems in fair condition- with no obvious breaks or restoration, gilding is fairly heavily rubbed throughout- and may benefit from a clean Second- will benefit from a clean- traces of gilding to surface but also signs of knocking and wear from handling throughout Condition Report Disclaimer
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