There are 34370 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe12 BOTTLES SOUTH AFRICAN, CHINESE AND JAPANESE ROSÉ WINEChâteau Mercian 2 x Kikyogarara Merlot 2020; Darling Cellars 2 x Old Bush Vines Cinsaut 2021; Spier 2 x The Yellowwood Organic 2021; Château Changyu Moser 2 x Longyu M6 Blanc de Noir 2021; Xige Estate 2 x Jade Dove 2019; Xinnjiang Tiansai 2 x Skyline Of Gobi Tiansai 2020
Seltene Cloisonné-Vase mit 'taotie' und Lotosdekor in 'hu'-FormChina, ca. 17./ 18. Jh.H. 35 cmBirnenförmiger Körper auf hohem ausgestelltem Fuß. An dem weiten und taillierten Hals zwei emaillierte taotie-Maskengriffe mit losen Ringen. Der Korpus dekoriert mit breiten Bändern mit taotie, Lotus, Ranken, acht Schatzsymbolen und hängende Blätter. Alle emailliert in hellem Türkis, Kobaltblau, Gelb, Rot, Grün und Weiß.Ehemals Europäische Privatsammlung, erworben vor 2007 - Altersspuren, partiell leicht berieben, im Bauchbereich partiell rest. - Vgl. Hu-Vase desselben Typus versteigert bei Sotheby's New York, Imperial Cloisonné & Jade: Chinese Art from the Brooklyn Museum, 17. März 2021, Lot 16
Jadeschnitzerei eines Drachen 'Long'China, wohl östliche Zhou-Dynastie, 481-256 v.Chr.B. 8,9 cmAus gelbbräunlicher, durchscheinender Jade mit geringen rötlichen Anteilen, in Form eines offenen Rings, wobei sich der schlanke Körper des Drachen in der Mitte umbiegt und an der Innenseite des Rings zum Kopf zurückkehrt, auf beiden Seiten mit Spiralmuster versehen.Aus der Sammlung Zeileis, in den 1980er- und 90er-Jahren gesammeltVgl.: Masterworks of Chinese Jade, Palastmuseum Taipeh, 1973, Nr. 11Publiziert in: Friedrich Georg Zeileis, 'Ausgewählte Chinesische Jade aus sieben Jahrtausenden', Gallspach, 1994, Nr. 170, S. 208-209. - Minim. alte Best. oder Unebenheiten entlang des Rückens
Bogenförmige Jadeschnitzerei 'Huang'China, wohl östliche Zhou-Dynastie, ca. 471-256 v.Chr.L. 7,9 cmHellgrau-grünliche, durchscheinende Jade mit braunen Bereichen und drei Perforationen am oberen Rand, eine Seite mit modellierten Spiralmustern, die anderen mit gravierten Skizzierungen für schlangenförmigen Dekor, jedoch nicht ausmodelliert, die rechte äußere Ecke abgeflacht aufgrund von Einschlüssen in der Jade.Aus der Sammlung Zeileis, in den 1980er- und 90er-Jahren gesammeltPubliziert in: Friedrich Georg Zeileis, 'Ausgewählte Chinesische Jade aus sieben Jahrtausenden', Gallspach, 1994, Nr. 195, S. 236, außerdem publ. in: Chinese Jade Carving, Hong Kong, 1983, Catalogue of the 8th Festival of Asian Arts, S. 94, Nr. 73 - Minim. Altersspuren
Feine kaiserliche Vase in 'Hu'-FormChina, unterglasurblaue Qianlong-Siegelmarke und PeriodeH. 48,5 cmDer robuste, eiförmige Körper, der auf einem gespreizten Fuß ruht, schwingt sich zu einem taillierten Hals und einem umgedrehten Rand auf, der mit zwei Taotie-Masken-Henkeln besetzt ist, an denen Scheinringe aufgehängt sind, hell bemalt in tiefen Kobalttönen, akzentuiert durch den 'heaped- and piled'-Effekt, mit einem breiten Band aus verschlungenen Lotusblüten, wobei die großen Blüten in einem abwechselnden Doppelregister getragen werden, wobei die obere Reihe jeweils eine der Bajixiang mit Bändern trägt. Der Hals ist von einem Band aus vierblättrigen zackigen Motiven umgeben, die durch Blumenzweige geteilt und von einer Lotosrolle umwickelt sind, der Sockel ist mit Blütenblättern eingefasst, alles zwischen einem Band aus stürmischen Wellen, das den Rand und den Fuß umgibt, der Sockel ist in Unterglasurblau mit einer Sechs-Zeichen-Siegelmarke beschriftet.Sammlung Dr. Rainer Kreissl (1924 - 2005), laut Überlieferung ein persönliches Geschenk von Mao Tse Tung an den tschechischen Staatspräsidenten Antonín Zapotocký (1884 - 1954) - Bedeutende süddeutsche Privatsammlung, vor 1990 gesammelt Diese Vase beeindruckt durch ihre Größe, die feine Ausformung und die fein ausgeführte Dekoration. Sie stellt eines der schönsten Porzellandekors dar, das von Ming-Keramiken beeinflusst, aber an den zeitgenössischen Geschmack der Qianlong-Zeit angepasst wurde. Der Dekor ist auch wegen der Brillanz des Kobaltblaus bemerkenswert, das die hohen Ressourcen und die technische Exzellenz der Töpfer widerspiegelt, die in den kaiserlichen Brennöfen in Jingdezhen unter der Leitung von Chinas berühmtestem Superintendenten Tang Ying arbeiteten. Es ist bekannt, dass der Qianlong-Kaiser Künstler, die für den Hof töpferten, mit der Herstellung anspruchsvoller und auffälliger Stücke beauftragte, wobei er oft mehr Wert auf die prunkvollen Aspekte der Produktion und die Virtuosität der Handwerkskunst legte. Unter seiner Anleitung ermöglichten die Verfeinerung des Materials und die Fortschritte in der Handwerkskunst den Töpfern, ihr Repertoire zu erweitern. Die Herstellung großer Gefäße und die Komposition eines komplexen Designs erforderten viel Überlegung und Geschick, um ein harmonisches Gesamtprodukt wie das vorliegende Stück zu schaffen. Dies erforderte beträchtliches Fachwissen, und der Töpfer hat sich ausgiebig bei archaischen Stilen und Formen bedient und dabei ein Stück geschaffen, das sowohl traditionsreich als auch innovativ ist. Der Verweis auf das archaische Bronze-Hu-Gefäß ist eine direkte Antwort auf den Qianlong-Kaiser, der ein großer Kenner und Sammler von archaischen Bronzen, Jade und Kunstwerken war. Er war auch ein begeisterter Anhänger des tibetischen Buddhismus, so dass Verweise auf Symbole wie das Bajixiang zu seinen Lieblingsmotiven gehört haben dürften. Jedes Symbol - das Rad des Gesetzes, die Muschel, die Siegesstandarte, der Sonnenschirm, der Lotus, die Vase, der Zwillingsfisch und der endlose Knoten - wurde sorgfältig über einer Lotusblüte mit Shou-Zeichen in der Mitte dargestellt, so dass ein höchst glücksverheißendes und visuell ansprechendes Gefäß entstanden ist. Eine ähnliche Vase ist in 'Chinese Porcelain - The S.C. Ko Tianminlou Collection, Hong Kong, 1987, auf Taf. 58 abgebildet, wo Julian Thompson das Design als "Höhepunkt der langen Umwandlung des Stils des frühen 15. Jahrhunderts" beschreibt, wobei alle Dekorationsbänder, mit Ausnahme der Quatrefoils auf der Schulter, von Designs aus dem 15. Jh. Eine weitere Vase dieses Typs, die sich im Aurora Art Museum, Taipeh, befindet, ist in 'Appreciation of Blue and White Porcelains', Taipeh, 2008, Abb. 52, publiziert; es handelt sich um eine Vase, von der man annimmt, dass sie aus den königlichen Sammlungen von Schloss Windsor stammt und von Königin Mary an Sir Ralph Harwood, K.C.B., überreicht wurde, K.C.V.O., einst Finanzsekretär von König Georg V. und Kontrolleur des königlichen Haushalts, geschenkt wurde, wurde am 7. Juni 1994; Lot 358 bei Sotheby's in London versteigert. Eine dritte Vase war in der Ausstellung Anthology of Chinese Art der Min Chiu Society, Hongkong, 1985, zu sehen (Kat. Nr. 185) - Schön erhalten
Sehr seltene Bronzeplakette mit TürkiseinlagenChina, Ende Xia/Anfang Shang-Zeit, 16.-15.Jh. v.Chr.15,7x11,1(10)cmLeicht gewölbte Bronzeplatte mit Dekor einer Tiermaske bzw. eines kauernden Tieres in Aufsicht und kleinen, überwiegend quadratischen Türkiseinlagen. Der genaue Verwendungszweck dieser Platte ist unklar. Drei vergleichbare Exemplare wurden zwischen 1981-86 bei Ausgrabungen in Erlitou, Provinz Henan, in den Arealen V und VI (Gräber Nr. 4, 11 + 57) gefunden, darunter ist die Plakette aus Grab 11 aus der späten Erlitou-Phase (ca. 16.-15. Jh. BC), die bereits in die frühe Shang-Zeit überleitet, der vorliegenden Schmuckplatte sehr ähnlich sowohl in Dekor als auch in Größe. Zwei der drei Plaketten wurden in Brusthöhe der Bestatteten gefunden, und man bezeichnet in der Literatur diese Plaketten deshalb als Brustschmuck. Die Vermutung, dass es sich bei der Plakette mit den Türkiseinlagen und wohl auch dem in der vorangehenden Katalognummer vorgestellten mondsichelförmigen Anhänger um Teile des Zaumzeuges für Pferde handeln könnte, wie von Loehr und Poor und anderen angenommen, scheint aus verschiedenen Gründen nicht mehr haltbar zu sein: 1. durch die Fundumstände der in wissenschaftlichen Ausgrabungen in Erlitou gefundenen Exemplare, sie lagen neben der Brust des Bestatteten bzw. direkt neben dem Toten. 2. konnten bisher in Erlitou und anderen Gräbern der Erlitou-Kultur bzw. der Xia-Dynastie (c. 1900-1500 BC) keine Pferdebestattungen oder Streitwagen gefunden werden, und 3. finden sich Türkiseinlagen auf Bronzeobjekten in Nordchina nach der Erlitou-Periode erst wieder in der späten Shang-Zeit (c. 1600-11th C. BC). Auffallend bei allen gefundenen Beispielen, wie auch bei den beiden hier vorgestellten Objekten, ist der erstaunlich guteErhaltungszustand der Türkiseinlagen! Bronze mit grüngrauer Korrosion und Türkiseinlagen.Aus einer bedeutenden Privatsammlung, laut Angaben des Eigentümers seit ungefähr 1920 im Besitz seinerFamilie, versteigert Nagel, 17.5.2006, Lot 803 und nun aus dem Nachlass des KäufersVgl. Loehr, Max: Relics from Ancient China from the Collection of Dr. Paul Singer, New York, 1965, no. 19; Poor, Robert J.: Ancient Chinese bronzes, ceramics and jade in the Collection of the Honolulu Academy of Arts, Honolulu, 1975, no. 13; Zhongguo meishu quanji, Gongyi meishu bian, vol. 4, Qingtong qi; (“Vollständige Sammlung chinesischer Kunst / Complete collection of Chinese art”, “Vollständige Sammlung Kunsthandwerk/ Complete collection of applied arts”), vol. 4, (“Bronzeobjekte / Bronze objects”), Peking: Wenwu chubanshe, 1985, no. 3, plate 3 (1981 in Erlitou, Prov. Henan, ausgegraben); Bagley, Robert W.: Shang ritual bronzes in the Arthur M.Sackler Collections, vol. I of Ancient Chinese bronzes in the Arthur M. Sackler Collections, Washington/Cambridge: The Arthur M. Sackler Foundation and Harvard University Press, 1987, Fig.11, p. 67, Turquoise-inlaid bronze plaque from Erlitou, L: 14,2 cm (gleiche Plakette wie bei Qingtong qi, 1985, no. 3, abgebildet); Gems of China’s Cultural Relics, Peking: Cultural Relics Publishing House, 1992, no. 87;Catalogue of the Miho Museum (South Wing), Miho: The Miho Museum, 1997, no. 77; Croes, Gisele: From ancient kingdoms to imperial China, Brüssel: Arts d’Extröme-Orient, 1998, p. 22+23, Bronze and turquoise plaque, 15,1 x 10,3 cm (schlichter in der Gestaltung); Yang, Xiaoneng (ed.): The golden age of Chinesearchaeology - Celebrated discoveries from the People’s Republic of China, Washington: Board of Trustees, National Gallery of Art, 1999, p. 140 + no. 38, p.146+147 stammen aus Erlitou, Yanshi, Prov. Henan und werden in die Periode II der Erlitou-Kultur datiert, c. 1800-1700 v. Chr.)
Feines liegendes Pferd aus seladonfarbener JadeChina, 17./ 18. Jh.L. 17,5 cm/ H. 10,2 cmDer Stein ist in Form eines liegenden Pferdes modelliert, dessen Kopf und Mähnenhals über die Schulter zurückgelegt sind, wobei drei Hufbeine unter den Körper geklemmt sind, und der linke Vorderlauf angewinkelt ist. Der lange Schweif verläuft neben dem linken Hinterbein, das Haar an Mähne und Schweif ist mit feinen Gravuren versehen, der Stein hat einen grün-braunen Seladon-Ton. Gewicht: 1,088 kg.Aus einer alten süddeutschen Privatsammlung, durch Erbschaft in den 1950er und Erwerbungen in den 1960er bis in die 1980er Jahre ergänzt Das Pferd hat eine lange Geschichte als Symbol für Macht, Energie und Prestige in China. Jadeschnitzereien von Pferden stammen vermutlich aus der Tang-Dynastie und spiegeln die mächtigen Steinskulpturen von Pferden wider, die an den Geisterstraßen gefunden wurden, sowie die Keramikpferde, die in Gräbern gefunden wurden. Ein liegendes Pferd aus grauer Jade, das auf die späte Ming- oder frühe Qing-Dynastie datiert wird und dessen Kopf nach links gewandt ist, dessen rechtes Vorderbein jedoch am Knie angewinkelt ist, ist abgebildet bei J. Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, S. 376, Nr. 26:19. Ein weiteres verwandtes, aber kleineres (8,3 cm langes) Jade-Pferd ist abgebildet in Zhongguo yuqi quanji - Sui Tang Ming, Hebei, 1994, Bd. 5, S. 169, Nr. 244 - Wenige sehr kleine Bestoßungen
CHINESE PALE CELADON JADE BI PLAQUE POSSIBLY LATE WARRING STATES / EARLY HAN DYNASTY carved and reticulated with dragon and phoenix within scrolls and ruyi heads, with russet inclusions, buff finish13cm diameterIn overall good condition. Surface wear throughout. Small chips to one section of the rim. Additional images now available.
A Chinese hardwood carving, probably 20th century, modelled as a gnarled lingzhi fungus, inset with miniature jade figures and hare, length 67cm (repaired), with a wood stand.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Chinese jade pendant, modern, carved in relief with a seated Buddha, with silver mount and suspension loop, length 7.3cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Chinese pale celadon jade diminutive jar and cover, 20th century, of two-handled rectangular censer form on tapering legs, height 6.4cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An assorted collection of 925 silver necklace pendants. The lot to include a rounded amethyst cabochon with Ohm symbol to front, oval cut blue lapis lazuli pendant, simulated red cinnabar depicting a phoenix & flower, an oval pale green jade cabochon with Chinese character to front & a green bowenite pierced & carved panel. All marked 925. Total weight approx 50.3g. Largest measures approx 6.5x4.5cm.
Three items of Chinese jewellery to include a 9ct gold pendant in the form of script, height 2.5cm, approx 2.6g, a carved jade pendant in the form of a pair of carp, on white mount, height 5cm, and an oval jade pendant with gold plated script to the front and back, in gold plated oval mount, height 4.5cm (3).
A FINE WHITE GLAZED BEEHIVE WATER POT, TAIBAIZUN, LATE QING DYNASTYChina, 19th century. Well potted with rounded sides rising to a short flaring rim, molded with three archaistic dragon roundels on the body, and covered with a translucent white glaze.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear and firing irregularities.Weight: 412.2 g Dimensions: Height 9.4 cm, Diameter 12.6 cmThe recessed base with an apocryphal six-character mark da Qing Kangxi nianzhi.Literature comparison:Compare a related waterpot illustrated by J. Ayers, Chinese Ceramics: The Koger Collection, p. 167, pl. 139, where the glaze is described as “moon-white” and the medallions are of “a dragon biting another creature, and a bat”.清末白釉太白尊中國，十九世紀。太白尊小口微撇，短頸，圓肩，豐底內凹。通體施白釉。外壁三組團螭紋。 來源：已故Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損和燒製不規則。 重量：412.2 克 尺寸：高 9.4 厘米，直徑 12.6 厘米 圈足内有“大清康熙年製”款。 文獻比較： 比較一件相近的太白尊，見J. Ayers，《Chinese Ceramics: The Koger Collection》，頁167，圖139。此件太白尊得釉色被描述為「月白色」，飾有「龍和蝙蝠紋」。
A GOLD AND SILVER-INLAID 'FIGHTING BEARS' BRONZE MAT WEIGHT, WARRING STATES TO HAN DYNASTYOpinion: While bronze mat weights from the Warring States Period or the Han dynasty are rarer and rarer to come across on the market, it has nowadays become almost impossible to find one with such well preserved and detailed inlay work. The drama of the depiction has been copied over and over during later periods, and for all kinds of purposes, but it has never been achieved again to the extent found in the present lot.China, 5th century BC to 2nd century AD. Boldly cast as two ferocious bears locked in combat, one biting into his opponent's back as this one roars in anguish with his tongue outstretched. Finely inlaid in gold and silver, the two animals with scroll and geometric decoration as well as subtle detailing to their bodies, the sides of the circular base with a scroll band between line borders.Provenance: From a noted private collector in the Pacific Northwest, USA.Condition: Superb condition, commensurate with age. Wear, signs of weathering and erosion, corrosion, malachite and cuprite encrustation, nicks, scratches, losses and cracks. The gold and silver inlays exceptionally well-preserved. A bronze weight of around 2,000 years of age or more in such well-preserved condition must be considered exceedingly rare.Weight: 590.0 gDimensions: Diameter 6.7 cm, Height 5 cmWith a velvet-padded silk storage box. (2)Mat weights crafted from precious materials such as bronze and jade, often gilded or inlaid with gold, silver or gemstones, were produced in sets of four and served a practical function of anchoring down woven mats for seating. Mats and corner-weights were believed to have been used at banquets, even those laid out in tombs. Inlaid animal-form weights were discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels.The sculptural depiction of animals in combat was introduced to China from the nomadic and semi-nomadic cultures of Central Asia, the Eurasian steppes, and the Ordos region, and was an innovation particular to the Warring States and Han dynasty periods. During the early Western Han dynasty, the imperial Shanglin zoological park and hunting reserve adjacent to the walled city grew in size and importance. Conceived as a microcosm of the empire, it allowed the emperor and his courtiers to observe and study the various species of plants and animals known at the time. The site also served as a venue for orchestrated animal combat for the entertainment of the court.Literature comparison: Compare a closely related silver and gold-inlaid bronze mat weight from the Han dynasty depicting a ram and tiger, illustrated by Jenkins, Mysterious Sprits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, page 60, and now in the collection of the Portland Art Museum. Compare a pair of related bronze figures of tigers, with similar gold and silver inlay, but of larger size (29 cm), dated to the Warring States period, illustrated by Christian Deydier, Oriental Bronzes, XXIIIe Biennale des Antiquaires, Paris, September 2006, pages 10-21.Auction result comparison:Type: Related Auction: Christie's New York, 16 September 2010, lot 886 Price: USD 182,500 or approx. EUR 240,000 converted and adjusted for inflation at the time of writingDescription: A Rare Gold and Silver-Inlaid Bronze Tiger-Form Weight, Eastern Han Dynasty (25-220 AD) Expert remark: Compare the similar size (6.7 cm) and purpose, and the inlay in gold and silver.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 13 October 2021, lot 3674 Price: HKD 441,000 or approx. EUR 57,500 converted and adjusted for inflation at the time of writingDescription: An inscribed gold and silver-inlaid bronze weight, Han dynastyExpert remark: Compare the closely related subject matter, dynamic posture, and size (6.8 cm). Note the different decoration, albeit still employing gold and silver inlay.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2022, lot 7 Price: USD 88,200 or approx. EUR 86,500 converted at the time of writingDescription: A gold, turquoise and malachite-inlaid bronze weight, Early Western Han dynastyExpert remark: Compare the closely related subject matter, gold inlay, and size (6.9 cm). Note the use of turquoise and malachite inlays. 戰國至漢代錯金銀“斗熊”銅席鎮中國，公元前五世紀至公元二世紀。銅鎮作兩隻正在打架的熊造型，一隻熊正雙目圓睜，雙耳後抿，寬鼻闊嘴，回首咆哮；另一隻咬住對手的後背。細部刻畫入微。通體採用錯金銀工藝。形小而氣勢雄渾，造型生動自然，十分精緻。專家注釋：戰國或漢代的青銅席鎮在市場上越來越少見，幾乎找不到一件保存完好且鑲嵌工藝如此精湛的青銅席鎮。 來源：美國太平洋西北部知名私人收藏。 品相：狀況極佳，與年代相符。有磨損、風化和侵蝕、紅綠色結殼、刻痕、劃痕、缺損和裂縫的跡象，金銀鑲嵌保存完好，實爲罕見。 重量：590.0 克 尺寸：直徑6.7 厘米，高5 厘米 天鵝絨襯墊的真絲儲物盒。(2) 席鎮多由銅和玉石等材料製成，通常鎏金或錯金銀或鑲嵌寶石，一般一套為四件，古人就在蓆子的四角放置鎮，用來壓席，席鎮便應運而生。在漢代中山王劉勝的妃子竇琬（公元前 113 年逝世）的墓中發現了的動物形席鎮以及食物和酒器。戰鬥中的動物造型是從中亞、歐亞草原和鄂爾多斯地區的游牧和半游牧文化傳入中國的，戰國和漢代的創新。西漢初期，毗鄰城牆的皇家上林園和狩獵區的規模和重要性日益增加，為皇帝和他的朝臣可以觀察和研究當時已知的各種動植物提供了機會。當時還出現了動物打鬥場所，供娛樂消遣。文獻比較：比較一件非常相近的漢代公羊和老虎錯金銀銅席鎮，見Jenkins，Mysterious Sprits，Strange Beasts，《Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection》，波蘭，2005年，頁60，現收藏於波蘭藝術博物館。比較一對相近的戰國時期老虎青銅席鎮，相似的錯金銀，但尺寸較大(29 厘米)，見Christian Deydier，《Oriental Bronzes，XXIIIe Biennale des Antiquaires》，巴黎，2006年9月，頁10-21。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2010年9月16日，lot 886 價格：USD 182,500（相當於今日EUR 240,000） 描述：東漢錯金銀老虎銅席鎮 專家評論：比較相似的尺寸(6.7 厘米)和目的，以及錯金銀裝飾。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2021年10月13日，lot 3674 價格：HKD 441,000（相當於今日EUR 57,500） 描述：漢代銅錯金銀熊虎鎮紙 《日利千金富》銘款 專家評論：比較非常相近的主題、動作姿態和尺寸 (6.8 厘米)。請注意不同的裝飾，但仍然採用錯金銀的製作方式。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2022年3月22，lot 7 價格：USD 88,200 （相當於今日EUR 86.500） 描述：西漢初期銅錯金嵌寶虎獵羊形鎮 專家評論：比較非常相近的主題、鑲嵌金和尺寸 (6.9 厘米)。請注意綠松石和孔雀石鑲嵌的使用。
A PALE GREEN JADE 'CLOUD-SCROLL' PENDANT, HONGSHAN CULTUREChina, c. 4000-3000 BC. Well carved and pierced, the stylized cloud scroll with subsidiary elements protruding from the four corners, pierced with two circular apertures for suspension. The translucent stone of a pale green tone with pale brown shadings and icy inclusions.Provenance: From the estate of Ivar Bjoernberg. One side with an old label, '91'. Ivar Bjoernberg (1934-2021) was a noted art director from Stockholm, Sweden. He was friends with Victoria Lindstroem, a reputed dealer and collector of Chinese art, also based in Stockholm at the time. Bjoernberg worked at her gallery at a young age and when he eventually started his own collection, she mentored him. His collection was an academic one and it showed his keen eye, discerning taste and great passion for the aesthetics of Chinese art. Condition: Very good condition with ancient wear, tiny nicks and nibbles here and there, signs of weathering and erosion, the stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Some of the small 'grooves' appearing on the surface of this jade may be a result of weathering due to long-time burial, rather than intentional carving.Weight: 81.5 g Dimensions: Length 13.2 cmThe Hongshan culture, from which this plaque comes, remained unknown until the 1980s. Centered in northeastern China, it is known for large ceremonial structures built with rocks, graves lined with stone slabs, and distinctively shaped jades that were often the sole goods found in tombs. Judging from the holes on its back and on the top center, this piece may have been an ornament, however, its exact function cannot be deciphered until more archaeological evidence becomes available.Literature comparison: Compare a related jade cloud-scroll plaque, 9.8 cm wide, also attributed to the Hongshan culture, in the Metropolitan Museum of Art, accession number 2009.176.Auction result comparison: Type: Related Auction: Sotheby's London, 4 November 2021, lot 386 Estimate: GBP 25,000 or approx. EUR 32,000 converted and adjusted for inflation at the time of writing Description: A jade 'cloud scroll' pendant, Neolithic period, Hongshan culture Expert remark: Compare the related form and color of the jade. Note the size (12 cm).紅山文化青玉勾雲形佩中國，約西元前 4000-3000年。此器以勾轉型式為主體，週邊突出，從四個角突出輔助拱形部分，形成勾雲形， 頂部穿有圓形孔。 半透明的青玉，赤褐色紋理和陰影以及白色絮狀物。 來源：知名瑞典斯德哥爾摩藝術經銷商Ivar Bjoernberg (1934-2021)舊藏，一面有舊標籤“91”。他與著名的中國藝術品經銷商和收藏家Victoria Lindstroem是好友，後者當時也居住在斯德哥爾摩。 Bjoernberg 年輕時在她的畫廊工作，當他最終開始自己的收藏時，她給了他很多建議。他的收藏是學術性的，顯示了他敏銳的眼光、挑剔的品味和對中國藝術美學的極大熱情。 品相：狀況極好，有磨損，微小的刻痕、風化和侵蝕的跡象，帶有天然內含物和裂縫的石料，其中一些可能隨著時間的推移發展成細小的裂紋。這塊玉石表面出現的一些細小“溝槽”，可能是長期埋藏風化所致，並非刻意雕琢。 重量：81.5 克 尺寸：長13.2 釐米 文獻比較： 比較一件相近的紅山文化風格玉勾雲佩，9.8毫米寬，收藏於大都會藝術博物館，館藏編號2009.176。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2021年11月4日，lot 386 估價：GBP 25,000（相當於今日EUR 32,000） 描述：新石器時期紅山文化玉勾雲佩 專家評論：比較相近的外形和玉石顏色。請注意尺寸(12毫米)。
A GREEN JADE CEREMONIAL BLADE, NEOLITHIC PERIODChina, 3rd millennium BC. Of trapezoidal form with a straight upper edge and beveled lower edge, drilled with three apertures along the upper edge. The translucent stone of a pale green tone with grayish-white and brown shadings and cloudy inclusions.Provenance: From the estate of Ivar Bjoernberg. One side with an old label, '10'. Ivar Bjoernberg (1934-2021) was a noted art director from Stockholm, Sweden. He was friends with Victoria Lindstroem, a reputed dealer and collector of Chinese art, also based in Stockholm at the time. Bjoernberg worked at her gallery at a young age and when he eventually started his own collection, she mentored him. His collection was an academic one and it showed his keen eye, discerning taste and great passion for the aesthetics of Chinese art. Condition: Very good condition with ancient wear as well as tiny chips and nibbles which have smoothened over the centuries. Natural inclusions.Weight: 164.2 g Dimensions: Length 17.2 cmExpert's note: Jessica Rawson in Chinese Jade from the Neolithic to the Qing, British Museum, 1995, p. 184, discusses jade ceremonial blades and how they evolved from stone reaping implements.新石器時代青玉匕中國，西元前三千年。呈梯形，上緣直，下緣斜，沿上緣鑽三個孔。 淺青綠色調的半透明玉料，帶有灰白色和棕色陰影和絮狀物。 來源：知名瑞典斯德哥爾摩藝術經銷商Ivar Bjoernberg (1934-2021)舊藏，一面有舊標籤“10”。他與著名的中國藝術品經銷商和收藏家Victoria Lindstroem是好友，後者當時也居住在斯德哥爾摩。Bjoernberg 年輕時在她的畫廊工作，當他最終開始自己的收藏時，她給了他很多建議。他的收藏是學術性的，顯示了他敏銳的眼光、挑剔的品味和對中國藝術美學的極大熱情。 品相：狀況極好，有磨損以及經過幾個世紀磨平的細小磕損。 天然內沁。 重量：164.2 克 尺寸：長17.2 厘米
A GREEN JADE 'BIRD' PENDANT FRAGMENT, WESTERN ZHOU DYNASTY China, 1100-1000 BC. The flat stone carved in the form of a stylized bird, each side with grooves forming the wings and tail. The opaque jade of a grayish-green color with areas of white calcification.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. E.3.21A-H. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Condition commensurate with age. Old wear, weathering and erosion, nibbling, some chips and losses. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 7.2 g Dimensions: Length 7.6 cm Expert's note (added 20.2.2023): Jades such as the present lot can be dated to as early as the Shang Dynasty. It has been theorized that they were once made as adornments and supports for elaborate lacquer vessels imitating the designs of ritual bronzes (see image section). None of these complete vessels have ever been found. This original intended use eventually fell out of fashion with the repurposing of these archaic examples for bodily adornment. See Qian Yang's thesis: The Circulation of Jades in Early China (Late Neolithic - Eastern Zhou, ca. 4500 -221 B.C.). Literature comparison: Compare a closely related jade plaque, described as a fish, Western Zhou dynasty, in the Metropolitan Museum of Art, accession number 24.51.7. Compare a closely related jade plaque of a bird, in the British Museum, accession number 1947,0712.465, and illustrated in J. Rawson, Chinese Jades from the Neolithic to the Qing, British Museum, 1995, p. 227, fig. 1, where she notes that during the Western Zhou dynasty, the tail became more horizontal and looks more like a 'fish' tail, such is the case for the present lot.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 26 May 2021, lot 127Price: HKD 56,700 or approx. EUR 6,900 converted and adjusted for inflation at the time of writingDescription: A celadon jade 'bird' pendant, Western Zhou dynastyExpert remark: Compare the related form and grooves. Note the much smaller size (5.3 cm).西周鳥形玉珮中國，公元前1100-1000 年。珮呈扁片狀，以陰刻線技法雕琢側面梟鳥造型，可辨羽翅與鳥尾。玉質，局部淺褐色沁與白色鈣化。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 E.3.21A-H。吳權(1910-1997)博士 曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。 品相：品相良好，有磨損、風化和侵蝕、磕損、刻痕和缺損，具有天然裂紋的石料，隨著時間的推移，其中一些可能已經發展成細小的裂紋。 重量：7.2 克 尺寸：長7.6 厘米 文獻比較： 比較一件非常相近的西周玉雕魚，收藏於大都會藝術博物館，館藏編號24.51.7。比較一件非常相近的玉鳥 ，收藏於大英博物館，館藏編號1947,0712.465，見J. Rawson，《Chinese Jades from the Neolithic to the Qing》，大英博物館，1995年，頁227，圖1；他在書中指出，在西周時期，鳥尾巴會被雕刻地較水平，看起來更像一條“魚”尾巴，這就是本拍品的情況。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2021年5月26日，lot 127 價格：HKD 56,700（相當於今日EUR 6,900） 描述：西周青白玉鳥形珮 專家評論：比較相近的外形和凹槽。請注意尺寸小很多(5.3 厘米)。
A SMALL PALE CELADON JADE 'HUMAN FIGURE' ORNAMENT, HUANG, WESTERN ZHOU DYNASTYChina, 1100-771 BC. The arched ornament is neatly carved in relief depicting two human faces on both ends, with intertwining dragon bodies. The translucent stone is of a pale celadon tone with one larger area of creamy-white calcification as well as cloudy white inclusions and dark specks.Provenance: From the estate of Ivar Bjoernberg. One side with an old label, '76'. The low collector's number on the present lot indicates a rather early acquisition date of the present lot, given the commonly known size of Bjoernberg's complete collection, probably around 1980/90 or even earlier. Ivar Bjoernberg (1934-2021) was a noted art director from Stockholm, Sweden. He was friends with Victoria Lindstroem, a reputed dealer and collector of Chinese art, also based in Stockholm at the time. Bjoernberg worked at her gallery at a young age and when he eventually started his own collection, she mentored him. His collection was an academic one and it showed his keen eye, discerning taste and great passion for the aesthetics of Chinese art. Condition: Very good condition with ancient wear, tiny chips and nibbles which have smoothened over the centuries, signs of weathering and erosion. The surface of this jade feels remarkably soft and unctuous, a result of centuries of handling and appreciation, indicating an excavation that took place a long time ago.Weight: 23.3 g Dimensions: Length 8.8 cmExpert's note: The unusual motif on this ornament, depicting two human faces with intertwining dragon bodies, can be found on a small number of Western Zhou jades. The closest example is a jade huang with similar human-dragon motifs in the Palace Museum Collection, illustrated in Zhongguo yuqi quanji 2, Shang & Western Zhou, Shijiazhuang, 1993, plate 292. A rectangular jade ornament, in the Palace Museum Collection, bears a related single human-dragon motif and is illustrated ibidem, plate 280. Also compare a closely related but significantly more calcified jade huang from the Yangdetang collection, illustrated in Teng Shu-p'ing, Collectors' Exhibition of Archaic Chinese Jades, National Palace Museum, Taipei, 1999, plate 129, and a related jade huang depicting two intertwining dragons with similarly combed hair, dating to the early Western Zhou period, excavated in Tengxian in Shandong province, and illustrated in Zhongguo meishu quanji 9, yuqi, Beijing, 1986, plate 83.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 2746 Price: HKD 7,060,000 or approx. EUR 903,000 converted and adjusted for inflation at the time of writing Description: A very rare white jade 'human figure' ornament, huang, Western Zhou dynasty Expert remark: Compare the closely related form and decoration with similar human faces and intertwining dragon bodies. Note the larger size (11.1 cm). Also note the remarkably well-preserved condition of this example, with significantly less calcification than the present lot.西周青白玉人面紋璜中國，公元前1100-771 年。弧形玉璜兩端雕刻工整，浮雕人面，龍身纏繞。半透明的玉料呈淡青色調，有較大面積的乳白色鈣化以及白色絮狀物和黑色斑點。 來源：斯德哥爾摩藝術經銷商Ivar Bjoernberg (1934-2021年)舊藏。一面有舊標籤 '76'。鑑於眾所周知Bjoernberg完整收藏的的規模，本拍品的收藏家編號表明本拍品的收購日期相當早，可能在 1980/90 年左右甚至更早。Ivar Bjoernberg他與著名的中國藝術品經銷商和收藏家Victoria Lindstroem是好友，後者當時也居住在斯德哥爾摩。 Bjoernberg 年輕時在她的畫廊工作，當他最終開始自己的收藏時，她給了他很多建議。 他的收藏是學術性的，顯示了他敏銳的眼光、挑剔的品味和對中國藝術美學的極大熱情。品相：狀況非常好，有磨損、細小的磕損，幾個世紀以來已經變得光滑，有風化和侵蝕的跡象。這塊玉的表面摸起來非常柔軟瑩潤，說明這是很久以前的發掘。 重量：23.3 克 尺寸：長 8.8 厘米 專家注釋：這件飾物的圖案奇特，描繪了龍身交織的兩張人面，最接近的例子是故宮博物院收藏的一件類似人龍圖案的玉璜，見《中國玉器全集2 - 商西周》，石家莊，1993年，圖版292。故宮博物院收藏的長方形玉器，帶有 一個相似的單一人龍圖案，插圖同上，圖版 280。還比較了養德堂收藏的一件鈣化程度明顯更高的玉璜，插圖見 Teng Shu-ping，《Collectors' Exhibition of Collectors' Exhibition of Archaic Chinese Jades》，臺北故宮博物館，台北，1999 年，圖版 129，以及一件相似的玉皇，描繪了兩條纏繞在一起的龍，可追溯到西周早期，出土於山東省滕縣，並附有插圖《中國美術全集 9 - 玉器》，北京，1986年，圖 83。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年11月29日，lot 2746 價格：HKD 7,060,000（相當於今日EUR 903,000） 描述：西周白玉雙人面紋璜 專家評論：比較非常相近的外形和人面龍身裝飾。請注意尺寸較大 (11.1 厘米)，以及此玉璜保存完好，鈣化程度明顯低於我們的玉璜。
A GRAY AND BLACK NEPHRITE JADE FIGURE OF A HORSE, MING DYNASTYChina, 17th century. Well carved as a recumbent horse with the legs tucked in. The head is turned backwards with the mane falling on either side of the arched neck, and the tail is flicked onto the left rear haunch. The semi-translucent stone is of a pale gray tone with cloudy inclusions, dark veins, and black patches and shadings.Provenance: S. Bernstein & Co., Jade & Oriental Art, San Francisco, 23 August 2004. A private collection in Bethesda, Maryland, USA, acquired from the above. A copy of a description document from S. Bernstein & Co., signed and sealed by Sam Bernstein and confirming the dating above, as well as a copy of the original invoice, dated 23 August 2004 and stating a purchase price of USD 14,000 or approx. EUR 20,500 (converted and adjusted for inflation at the time of writing), accompany this lot. Sam Bernstein is an internationally recognized specialist dealer in Chinese antiquities. He has authored thirteen volumes on Chinese art including The Emperor's Jade Suit and Chinese Jade: The Immortal Stone. Over the past twenty-five years, Mr. Bernstein has gained experience in forming some of the greatest collections of Asian art in the world. Both of his parents were passionate collectors of Asian art and traveled extensively throughout Europe and the Far East. In 1991, Mr. Bernstein founded S. Bernstein & Co., Jade and Oriental Art, a gallery in San Francisco located in the historic Fairmont Hotel, which specializes in museum quality Chinese jade and related arts.Condition: Very good condition with minor old wear, few light surface scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 197.2 g (excl. base) and 245.7 g (incl. base)Dimensions: Length 8.5 cm (the jade) and 9.1 cm (the base)With a fitted wood base and a padded box. (3)The horse has a long history as a symbol of power, energy, and prestige in China. Jade carvings of horses are thought to originate in the Tang dynasty, reflecting the powerful stone sculptures of horses found on Spirit Roads and the pottery horses found in tombs.Auction result comparison:Type: Related Auction: Christie's New York, 20 September 2013, lot 1683 Price: USD 56,250 or approx. EUR 67,000 converted and adjusted for inflation at the time of writing Description: A well-carved grey-green jade figure of a recumbent horse, 17th/18th century Expert remark: Compare the closely related pose and incision work. Note the different color and larger size (15.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 3056 Price: HKD 500,000 or approx. EUR 66,000 converted and adjusted for inflation at the time of writing Description: A jade recumbent horse, Ming dynasty Expert remark: Compare the closely related eyes, mane, tail, and ears, as well as the similar size (9.4 cm). Note the slightly different pose and mostly russet color.明代灰黑玉臥馬中國，十七世紀。臥馬表滿佈絲霧狀黑褐色沁，玉質溫潤，觸手細膩，包漿潤潤。玉馬倒地嬉戲，臥馬兩耳圓潤，肢體健碩，骨肉豐滿，回首向背。 來源：2004年8月23日舊金山S. Bernstein & Co.玉器與東亞藝術藝廊；美國馬里蘭州貝塞斯達私人收藏，購於上述藝廊。隨附一份藝廊Sam Bernstein親筆簽署並蓋章的描述文件，以及一份原始發票複印件，時間爲2004年8月23日，價格爲USD 14,000，相當於現在的EUR 20,500。Sam Bernstein是國際公認的中國古物專業經銷商。他撰寫了十三卷有關中國藝術的著作，包括《The Emperor's Jade Suit》和《Chinese Jade: The Immortal Stone》。在過去的二十五年裡，Bernstein先生積累了豐富的亞洲藝術收藏的經驗。他的父母都是亞洲藝術的熱情收藏家，並在歐洲和遠東多次旅行。1991 年，Bernstein先生在舊金山歷史悠久的Fairmont酒店創立了 S. Bernstein & Co., 玉器與東亞藝術藝廊，專門研究博物館品質的中國玉器及相關藝術品。 品相：狀況非常好，有輕微的磨損，輕微的表面劃痕和刻痕，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細小的裂縫。 重量：197.2 克 (不含底座) 與245.7 克(含底座) 尺寸：長 8.5 厘米 (玉) 與9.1 厘米 (底座) 配有合身的木質底座和帶襯墊的盒子。(3) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年9月20日，lot 1683 價格：USD 56,250（相當於今日EUR 67,000） 描述：十七或十八世紀灰青玉臥馬 專家評論：比較非常相近的姿勢和雕刻。請注意玉石不同顏色和尺寸較大 (15.2 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年11月29日，lot 3056 價格：HKD 500,000（相當於今日EUR 66,000） 描述：明代玉臥馬 專家評論：比較非常相近的眼睛、鬃毛、尾巴和耳朵，以及相似的尺寸（9.4厘米）。請注意此玉馬的姿勢略有不同，顏色大多為赤褐色。
A GRAY JADE FIGURE OF A MYTHICAL BEAST, 17TH CENTURYChina. The recumbent beast carved with its feet tucked under the body, the bushy ruyi-shaped tail swept to the side, the face incised with two almond-shaped eyes above a wide nose, the ears and muscular limbs detailed with scroll designs. The translucent stone of a pale gray tone with dark gray specks and cloudy inclusions.Provenance: From an old English private collection, and thence by descent in the same family. Old label to the wood stand reading 'Siberian jade of Chinese workmanship. Recumbent dragon. Late 17th cent. 27'. Condition: Excellent condition with minor old wear and possibly some microscopic nicks here and there, near-invisible to the naked eye. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks. The wood stand with minor wear and few nicks. Weight: 132.4 g (excl. base), 158.7 g (incl. base) Dimensions: Length 7.2 cm With a well-carved and fitted wood stand dating to the later Qing dynasty. (2)Auction result comparison:Type: RelatedAuction: Sotheby's London, 4 November 2009, lot 15Price: GBP 7,500 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A carved jade mythical beast, Ming dynastyExpert remark: Compare the closely related manner of carving with similar scroll designs to the ears and limbs. Note the slightly different pose.十七世紀灰玉雕神獸中國。臥獸埋雕足於身下，濃密的如如意狀的尾巴掃向一側，臉龐上刻著兩隻杏仁狀的眼睛，寬鼻，肌肉矯健。 淺灰色的半透明玉石，帶有深灰色斑點和絮狀物。 來源：英國私人老收藏，保存在同一家族至今。木底座上標籤'Siberian jade of Chinese workmanship. Recumbent dragon. Late 17th cent. 27'（西伯利亞玉，中國雕刻，臥龍，十七世紀末，27） 品相：狀況極佳，有輕微的磨損，一些微小的肉眼幾不可見的刻痕。玉石有天然的内沁和裂縫，其中一些已經發展成細小的細縫。木架有輕微磨損和少量刻痕。 重量：132.4 克 (不含底座), 158.7 克 (含底座) 尺寸：長7.2 厘米 鏤空雕刻晚清木底座。拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2009年11月4日，lot 15 價格：GBP 7,500（相當於今日EUR 12,500） 描述：明代玉雕神獸 專家評論：比較非常相近的雕刻風格，例如：帶有蜷曲紋路的耳朵和四肢。請注意姿勢稍微不同。
A CELADON JADE 'TURTLE' SEAL, 17TH CENTURY China. The square seal surmounted by a turtle standing foursquare, its minuscule head almost entirely retreated into the large shell with neatly incised carapace, the tail trailing to the ground, the seal face left plain. The translucent stone of a celadon tone with russet veins, dark specks, and cloudy white inclusions.Provenance: Adrian M. Joseph, c. 2003. British private collection, acquired from the above. Adrian Malcolm Joseph started studying and collecting Chinese ceramics during the late 1950s. He published various important papers and books including Ming Porcelains: Their Origins and Development (1971) and Chinese and Annamese Ceramics found in the Philippines and Indonesia (1973). He and his wife Phyllis began collecting Japanese art in the late 1960s, initially acquiring ceramics from important dealers such as Shimojo in Tokyo. Joseph became a Director of Hugh Moss Ltd. in the 1970s.Condition: Very good condition with minor wear, minuscule nicks, natural weathering.Weight: 42.7 gDimensions: Size 2.8 x 2.8 x 2.6 cmAuction result comparison: Compare a related black and gray jade seal of a tortoise, 3 cm high, dated Ming dynasty or earlier, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part IV on 20 March 2015, lot 739, sold for USD 6,000 (part lot, together with a brown jade seal depicting a mythical beast). Compare a white jade seal depicting a bixi, 4 cm wide, dated to the late Ming dynasty, at Christie's Hong Kong in The Pavilion Sale on 6 October 2015, lot 47, sold for HKD 68,750.十七世紀青玉龜鈕印中國。方形印上雕刻龜形鈕，小小的腦袋幾乎完全縮進了龜殼裡，甲殼整齊切割，尾巴垂在地上。印面光滑，青色半透明玉石，帶有赤褐色的脈紋和白色絮狀物。 來源: Adrian M. Joseph, 約2003年；英國私人收藏，購於上述收藏；Adrian Malcolm Joseph 在 1950 年代後期開始研究和收集中國陶瓷。 他發表了多篇重要論文和著作，包括《Ming Porcelains: Their Origins and Development》（1971）和《Chinese and Annamese Ceramics found in the Philippines and Indonesia》（1973）。 他和他的妻子Phyllis在 1960 年代後期開始收集日本藝術品，最初是從東京的 Shimojo 等重要經銷商處購買陶瓷。 Joseph 在 1970 年代成為 Hugh Moss Ltd. 的董事。 品相: 狀況極好，輕微磨損，小劃痕，自然風化。 重量: 42.7 克 尺寸: 2.8 x 2.8 x 2.6 厘米 拍賣結果比較: 比較一件相近的明代或更早的灰白玉雕龜鈕印，高3 厘米 ，見紐約佳士得 The Collection of Robert Hatfield Ellsworth Part IV 2015年3月20日 lot 739, 售價USD 6,000 (與另一件褐色瑞獸鈕玉印一起)；比較一件明末白玉雕瑞獸，寬 4 厘米，見香港佳士得The Pavilion Sale 2015年10月 6日 lot 47, 售價HKD 68,750。
A CHICKEN BONE JADE 'CHILONG' BELT HOOK AND BUCKLE, MING DYNASTY China, 16th-17th century. Each of rectangular form and carved in openwork with coiled chilong, the hook terminating in a dragon head which fits perfectly into the semicircular loop on the buckle. The semi-translucent stone is of a distinct cream tone with dark veins and cloudy inclusions.Provenance: David Baker, London, United Kingdom. Established in 1978, David Baker Oriental Art is known for early ceramics, jades and works of art from China, Japan, and Korea. Baker was also instrumental in the founding of Asian Art in London in 1998.Condition: Very good condition with minor old wear and some nibbling to edges. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Good, naturally grown patina with a smooth feeling overall.Weight: 31.0 g (the buckle) and 36.6 g (the hook)Dimensions: Length 4.7 cm (the buckle), 5 cm (the hook), and 8.5 cm (when attached together)Auction result comparison: Compare a related white and russet jade belt hook and buckle, of similar form and also carved with a chilong and dragon-head hook, dated to the 17th century, at Sotheby's Hong Kong in The Muwen Tang Collection Of Chinese Jades on 30 November 2016, lot 45, sold for HKD 56,250 (part-lot, together with a smaller jade ornament). 明代雞骨玉螭龍紋帶扣一對中國，十六至十七世紀。方形帶扣用整塊玉套雕而成，分子扣和母扣，正面鏤雕兩隻盤螭，方形玉扣上浮雕一龍首，將兩扣相連，開合自如。半透明的玉料具有獨特的奶油色調，帶有深色的紋理和絮狀物。 來源：倫敦David Baker收藏，創建於 1978。David Baker 東方藝術收藏中以中國、日本和韓國的早期陶瓷、玉器和藝術品而聞名。 Baker還在1998 年創立的倫敦亞洲藝術中心發揮了重要作用。品相：狀況極好，有輕微的磨損，邊緣有一些輕微的磨損。 具有天然裂紋的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。包漿細膩，整體感覺光滑。 重量：帶扣31.0 克，帶鈎36.6 克 尺寸：帶扣長4.7 厘米，帶鈎5 厘米，合在一起為 8.5 厘米 拍賣結果比較：比較一件相近的十七世紀白玉螭龍紋帶扣，見香港蘇富比The Muwen Tang Collection Of Chinese Jades 2016年11月30日 lot 45, 售價HKD 56,250。
A FINE PALE CELADON AND CHESTNUT BROWN JADE 'MONKEYS AND PEACH' GROUP, 18TH CENTURYChina. Intricately and imaginatively depicted with an adult monkey gently embracing a young in its right arm, both holding a peach, the young further with a ruyi scepter in his left raised hand, the scepter suspending a long band with a jade chime, all naturalistically carved with wrinkled foreheads and the adult monkey with protruding spines finely detailed with incised hairs. The translucent stone of a pale celadon tone with areas of chestnut-brown and grayish white, interspersed with few dark speckles.Provenance: From the private collection of Anthony Gustav de Rothschild. Gifted to his daughter Renee Robeson. Thence by descent within the same family. Anthony Gustav de Rothschild (1887-1961) was born in London as the third youngest of three sons of the banker Leopold de Rothschild. He studied at the University of Cambridge and became the managing partner of the N M Rothschild & Sons banking house after the death of his father. De Rothschild inherited his father's passion for collecting, starting to collect Chinese jade and works of art after a trip to China in 1911. Most of his objects were assembled during the 1920s and 1930s. The present lot belongs to a group of important jades which Rothschild gifted to his eldest daughter Renee Louise Robeson (1927-2015) before he eventually donated the family home to charity. Condition: Good condition with expected old wear, the feet with a few small nicks, the stone with natural inclusions and fissures, some of which may have developed into hairline cracks. The wood stand with minor wear.Weight: 428.0 g (excl. base), 464.4 g (incl. base) Dimensions: Height 11.9 cm (excl. stand), 13.4 cm (incl. stand)With a fitted, carved, and lacquered wood stand dating from the late Qing dynasty to the Republic period. (2)This jade carving of monkeys exemplifies the masterful craftsmanship achieved in the jade ateliers during the 18th century. The craftsman would have assessed the unusual jade stone composed of the rare contrasting pale celadon and chestnut-brown tones, utilizing the fine natural material to create the exceptionally skillful carving.Homophones for monkey, hou, include the Chinese words for 'nobleman', 'high official', and 'descendants'. The monkey therefore represents the wish for the success of one's descendants. The representation of monkey and peach also relates to the legendary figure of Sun Wukong, also known as the Monkey King, who became notorious for stealing the peaches of immortality. Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 April 2013, lot 3209Price: HKD 475,000 or approx. EUR 72,500 converted and adjusted for inflation at the time of writingDescription: A pale celadon and brown jade 'monkey' group carving, Qing dynasty, 18th centuryExpert remark: Compare the related motif, color of the jade, and fine carving. Note the slightly smaller size (9.2 cm).Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 27 November 2007, lot 1557Price: HKD 2,287,500 or approx. EUR 420,000 converted and adjusted for inflation at the time of writingDescription: A fine brown and white jade group of two monkeysExpert remark: Compare the related motif and color of the jade. Note the slightly larger size (15 cm).Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 29 November 2016, lot 14Price: HKD 1,250,000 or approx. EUR 170,000 converted and adjusted for inflation at the time of writingDescription: A very fine white and brown jade carving of four monkeys, 18th centuryExpert remark: Compare the related motif and color of the jade. Note the slightly smaller size (8.8 cm).十八世紀青白玉雙猴擺件中國。一隻大猴子輕輕地抱者一隻小猴子，兩隻猴子一起拿著一個桃子。小猴子的左手舉著如意。猴子神情生動，雕刻得活靈活現。淺青色半透明玉料，有褐色和灰白色區域，少量黑色斑點。 來源： Anthony Gustav de Rothschild私人收藏，送給他的女兒Renee Robeson，保存在同一家族至今。Anthony Gustav de Rothschild (1887-1961) 出生於倫敦，是銀行家Leopold de Rothschild 三個兒子中的老三。他就讀於劍橋大學，在父親去世後成為 NM Rothschild & Sons 銀行的管理合夥人。De Rothschild 繼承了父親對收藏的熱情，1911 年到中國旅行後開始收藏中國玉器和藝術品。他的大部分物品都是在二十至三十年代收集的。本拍品屬於他贈予其長女（1927-2015年）的一組重要玉器中的一件。他最終將家庭住宅捐贈給了慈善機構。 品相：品相良好，有磨損，足部有一些小刻痕，玉料有天然內沁和裂隙，其中一些已經發展成細裂紋。木架有輕微磨損。 重量：428.0 克 (不含底座)，464.4 克 (含底座) 尺寸：高 11.9 厘米 (不含底座)，13.4 厘米 (含底座) 清末民初漆木雕木底座。 (2) 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2013年4月7日，lot 3209 價格：HKD 475,000（相當於今日EUR 72,500） 描述：清十八世紀巧色青白玉雕「靈猴捧壽」佩 專家評論：比較相近的主題、玉石顏色和精細的雕刻。請注意尺寸稍小(9.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2007年11月27日，lot 1557 價格：HKD 2,287,500（相當於今日EUR 420,000） 描述：十八世紀棕白色雙猴擺件 專家評論：比較相近的主題、玉石顏色。請注意尺寸稍大(15 厘米)。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2016年11月29日，lot 14 價格：HKD 1,250,000（相當於今日EUR 170,000） 描述：十八世紀白玉巧色雕靈猴獻壽擺件 專家評論：比較相近的主題、玉石顏色。請注意尺寸稍小(8.8 厘米)。
A PALE CELADON FIGURE OF A BOY WITH A HOBBY HORSE, 18TH CENTURYChina. Carved as a striding boy holding the reins of the hobby horse with one hand, the other holding a leafy lotus stem. The translucent stone of a pale celadon color with faint russet patches and veins, and cloudy white inclusions.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear, minuscule nibbling to the base, the lotus flower with a small chip. The stone with natural imperfections and fissures, some of which may have developed into small hairline cracks over time.Weight: 74.0 g Dimensions: Height 65 cmExquisitely modeled in the round to depict a boy astride a hobby horse, the reins of which he lovingly clutches whilst slinging stems of lotus over his shoulder, this carving captures the playful ease and charm of the subject. Images of boys playing with a hobby horse form part of the popular 'boys at play' and 'Hundred Boys' subjects that emerged during the Song dynasty. This theme is symbolic of the Confucian ideal for the education and advancement of many sons, a wish further emphasized by the lotus he carries which is a homophone of 'continuous' and creates the rebus 'May you continuously give birth to sons'. As the boy is depicted riding a hobby horse, this conveys the further wish for it to come quickly as 'to be on top of a horse' means 'immediately'.Literature comparison:Compare a related carved jade figure of a boy, but holding a rattle instead of a lotus stem, in the collection of the Museum of East Asian Art, Bath, collection number BATEA 1218. Compare also a related jade figure of a boy holding a lantern on a pole, in the collection of the Metropolitan Museum of Art, accession number 2015.500.5.14.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 30 November 2016, lot 158Price: HKD 525,500 or approx. EUR 72,500 converted and adjusted for inflation at the time of writingDescription: A superb pale celadon jade 'boy and hobby horse' carving, Qing dynasty, 18th century十八世紀青白玉騎馬上任童子珮中國。圓雕一童子騎於玩具馬上，圓頭圓腦，頭頂髮髻，雙眼細瞇喜笑顏開。上衣及長褲衣紋褶皺自然，右手拿著一朵蓮花。馬顯得溫順可愛。青白玉細膩瑩潤。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損，底部有輕微的磕損，蓮花帶有小磕損。玉料具有天然缺陷和裂縫，其中一些可能隨著時間的推移發展成細小的裂縫。 重量：74.0 克 尺寸：高65 厘米 通體琢刻細膩，匠心獨運，人物栩栩如生。男孩玩木馬是宋代流行的“嬰戲圖”和“百子圖”中的一部分。男童玩馬也取意即將出官入仕，平步青雲，玩趣十足。 文獻比較： 比較一件相近的騎馬上任童子玉珮，男童手上拿著蓮花，收藏於巴斯東亞藝術博物館，收藏編號BATEA 1218。比較一件相近的騎馬上任童子玉珮，男童手上拿著燈籠，收藏於大都會藝術博物館，編號2015.500.5.14。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2016年11月30日，lot 158 價格：HKD 525,500（相當於今日EUR 72,500） 描述：清十八世紀青白玉雕連生貴子把件
A 'SASH-TIED QIN' JADE PENDANT, QING DYNASTYChina, 1644-1912. Of qin form, well detailed in low relief with hui (note markers), strings, and a cash motif at one end, the musical instrument wrapped in a brocade cloth fastened by a cord and sash. The underside carved with a circular and square reserve and tied string ends. One side with two drilled holes for suspension as a pendant. The translucent stone of a pale celadon tone with a distinct russet vein, and faint brown shades.Provenance: French trade. Condition: Very good condition with minor old wear and some microscopic nicks here and there. The stone with natural fissures and inclusions.Weight: 60.6 g Dimensions: Length 8.5 cm The guqin is a plucked seven-string Chinese musical instrument. It has been played since ancient times and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as highlighted by the quote “a gentleman does not part with his qin without good reason,” as well as being associated with the ancient Chinese philosopher Confucius. It is sometimes referred to by the Chinese as 'the father of Chinese music' or 'the instrument of the sages'. Traditionally, the instrument was simply referred to as the 'qin' but by the twentieth century the term had come to be applied to many other musical instruments as well. The prefix 'gu' (meaning 'ancient') was later added for clarification. Thus, the instrument is called 'guqin' today.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 29 May 2019, lot 2939Price: HKD 81,250 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A carved white jade qin, Qing dynasty, 18th centuryExpert remark: Compare the closely related form and decorations on the qin, as well as the related size (10.6 cm)清代琴形玉佩中國，1644-1912年。琴形，淺浮雕，有徽（音符標記）、琴弦和末端的錢幣圖案。琴包裹在陰線雕刻出來的織錦布中，用同樣雕刻出來的繩子固定。底面刻有圓形和方形內凹和繫繩末端。一側有兩個鑽孔，用懸掛作為吊墜。 淺青色半透明玉料，帶有明顯的赤褐色紋理。 來源：法國古玩交易。 品相：狀況極好，有輕微的磨損和一些細微的劃痕，有天然裂縫和內沁。 重量：60.6 克 尺寸：長 8.5 釐米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2019年5月29日，lot 2939 價格：HKD 81,250（相當於今日EUR 11,000） 描述：十八世紀清代琴形玉珮 專家評論：比較非常相近的外型和琴形雕刻，以及相近尺寸(10.6 釐米)。
A WHITE JADE MUGHAL-STYLE LOBED BOWL, 18TH CENTURYChina. The shallow washer with petal lobed sides, barbed rim, flanked by scrolling handles with foliate incision work, supported on a sturdy foot with a recessed and rounded base. The translucent stone of an even white color with cloudy white inclusions.Provenance: From a private collector in England who has been collecting Chinese jades for over 20 years.Condition: Very good condition with minor wear, few minuscule chips, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine, smooth polish with an unctuous feel overall.Weight: 61 g Dimensions: Width 9.3 cm (across handles)Literature comparison: The simplistic and elegant carving style of this bowl is clearly inspired by that of 17th-century Mughal and 18th-century Hindustan jade bowls, such as the imperially inscribed Hindustan white jade bowl of circular form in the collection of the National Palace Museum, Taipei, included in the exhibition, Great National Treasures of China, Kaohsiung City, Taiwan, 1994, no. 69. Compare a related Mughal-style jade floral bowl with an inscription by the Qianlong Emperor, 21.6 cm wide, dated to the 18th century, in the Metropolitan Museum of Art, accession number 02.18.762.Auction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2001, lot 25 Price: USD 28,200 or approx. EUR 45,500 converted and adjusted for inflation at the time of writing Description: A Mughal style white jade lobed bowl, 18th centuryExpert remark: Compare the closely related color, polish, lobed body, and foot. Note the larger size (17.5 cm).十八世紀白玉蒙兀兒風格花口盞中國。花口盞，淺腹，帶倒鉤的邊緣，雙耳帶有葉狀切口，淺圈足。均勻白色的半透明玉料，含有白色絮狀物。 來源：英國私人收藏，超過二十年的中國玉器收藏歷史。 品相：狀況極好，有輕微磨損與磕損，玉石有天然裂縫，其中一些可能隨著時間的推移發展成細小的裂紋。抛光精美，白玉瑩潤。 重量：61 克 尺寸：寬 9.3 厘米 (雙柄之間) 文獻比較： 此碗的雕刻風格簡潔大方，顯然是受到了十七世紀蒙兀兒和十八世紀痕都斯坦風格碗，例如印有皇家銘文的痕都斯坦白玉圓形碗，收藏於台北故宮博物館，見《國之重寶特展圖録 : 國立故宮博物院預祝建院七十週年高雄市特展紀盛》，1994年，編號69。比較一件相近的十八世紀乾隆款青玉蒙兀兒風格花口盞，寬21.6 厘米，大都會藝術博物館，館藏編號 02.18.762。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2001年3月20日，lot 25 價格：USD 28,200（相當於今日EUR 45,500） 描述：十八世紀白玉蒙兀兒風格花口盞 專家評論：比較非常相近的顏色、拋光、花瓣口和足。請注意尺寸較大(17.5 厘米)。
A BLACK AND WHITE JADE 'ARCHAISTIC' AXE-FORM OPENWORK PENDANT, 18TH CENTURYChina. Finely carved in the form of an axe-form bell detailed with a band of archaistic dragons below neatly incised ruyi heads forming a beast head, all surmounted by a bi disk and a pair of confronting chilong. The translucent stone of an attractive white tone with veins and patches of black.Provenance: From a notable English private collector of Chinese jades. Sotheby's London, 16 June 2020, lot 241, sold for GBP 3,750 or approx. EUR 5,360 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. A copy of the original invoice from Sotheby's, dated 16 June 2020, accompanies this lot. Condition: Excellent condition with minor wear, microscopic nibbling, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 85.2 gDimensions: Height 12.2 cmWith a fitted silk box. (2)Auction result comparison: Compare with a related white jade pendant, also in the form of an axe-form bell, of considerably smaller size and dated to the 18th/19th century, at Sotheby's Hong Kong in Fine Chinese Ceramics and Works of Art on 8 October 2013, lot 3329, sold for HKD 225,000.十八世紀仿古黑白玉鏤空雕斧式佩中國。鏤空雕刻斧形玉佩，龍紋與如意紋，斧頂一個玉璧和一對面對面的螭龍。 半透明的玉石，具有迷人的白色間帶有黑色的紋理和斑點。 來源：英國知名中國玉器私人收藏。倫敦蘇富比2020年6月16日，lot 241，售價GBP 3,750（相當於今日EUR 5,000）。一個私人收藏購於上述拍賣。拍品隨附蘇富比2020年6月16日發票複印本。 品相：狀況極佳，有輕微磨損，細微的磕損，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：85.2 克 尺寸：高12.2 厘米 拍賣結果比較：一件相近鐘形白玉佩，尺寸稍小，十八至十九世紀，見香港蘇富比 Fine Chinese Ceramics and Works of Art拍場2013年10月8日 lot 3329, 售價HKD 225,000。
Loading...
