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Lot 7714
Three parts Chinese porcelain. Consisting of: 1x Familie verte ginger jar, 19th century, hairline bottom. 1x Small family pink ginger jar with figures in garden decor, with bottom mark. 1x 18th century family verte lidded jar with floral decor, lid glued. Size: 7 - 13.5 cm. In fair/good condition.
Lot 22
Full title: Sixteen Chinese polychrome porcelain snuff bottles and miniature vases, 18/20th C.Description:H.: 9 cm (the tallest bottle) Provenance: A Dutch private collection.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 132
Full title: A Chinese copper-red bottle vase with floral scrolls, QianlongDescription:H.: 30,5 cm Provenance: The collection of Dr. Oliver Impey (1936-2005), displayed in his historically important home Cumnor Place in Cumnor, Oxfordshire. He was Senior Curator in the Department of Eastern Art at the Ashmolean Museum, Oxford, and Reader in Eastern Art at Oxford University. He published several important works on Japanese porcelain, such as 'Japanese export porcelain: catalogue of the collection of the Ashmolean Museum, Oxford', 'Chinoiserie: the impact of Oriental styles on Western art and decoration', 'Treasures of Imperial Japan from the Nasser D. Khalili collection of Japanese art' (as co-author), and more.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 126
Full title: A Chinese famille rose 'Pompadour' pot-pourri jar and cover on a gilt bronze mount, Qianlong, ca. 1745Description:H.: 29 cm (total height) - Dia.: 20 cmH.: 22 cm (excl. the mount) At least two enamelled services and a blue and white service with this pattern are known. These have traditionally been thought to have been made for Madame de Pompadour (1721-64) based on the fish vignettes, which appear related to her maiden name of Poisson (fish), and the eagle vignettes representing her husband, King Louis XV. However, there is no evidence that this is so, and indeed it is thought unlikely that Madame de Pompadour would have drawn attention to her bourgeois family name in this way. Ref.:- Christie's, London, May 12, 2009, for another 'Pompadour' pot-pourri jar and cover. (sold GBP 20.000) (direct link available on rm-auctions.com)- Louis Mezin, Cargoes from China, Porcelain from the Compagnie des Indes in the Musee de Lorient, Lorient, 2004, exhibition catalogue, p. 65 for a further discussion on these services, where the author explains that no mention of such services was discovered in any of the family inventories.- David S. Howard, Choice of the Private Trader, London, 1994, for an example of each of the two enamelled services: no. 271, p. 229, for a bourdaloue of the famille rose service primarily in shades of blue, red and green enamels, and no. 77, p. 89, for a saucer-shaped dish in the palette which is primarily iron-red and green enamels combined with gilt; both pieces were in the Hodroff Collection.- Howard and Ayers, China for the West, vol. II, London and New York, 1978, p. 443, for a further discussion on the pattern, and no. 449, for a plate from the Mottahedeh Collection. The palettes used in both the enamelled services were particularly popular in France during this time, suggesting that it was a French order; judging by the extensive range of rare and lavish forms in addition to those normally found in services, they were probably private orders of considerable importance for persons of considerable wealth. Examples from the services are in the Musee Guimet, Paris, the Musee des Arts Decoratifs, Bordeaux, the Musee de Saint-Omer (from the Dupuis Bequest), and the Musee Grobet Labadit, Marseilles.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 224
Full title: A Chinese famille rose export porcelain 'mythological subject' plate, Yongzheng/QianlongDescription:Dia.: 20 cm - H.: 3,5 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 182
Full title: A pair of Chinese verte biscuit vases resting on Buddhist lions, KangxiDescription:H.: 22,5 cm (incl. stand) H.: 17 cm (each vase) Ref.: - Edgar Gorer and J.F. Blacker, Chinese Porcelain and Hard Stones, vols I-II, London, 1911, Bernard Quaritch, plate 82, where this exact pair is shown. (see added images)- Christie's, New York, Jan. 24, 2005, for a similar pair. (sold USD 13.200) (direct link available on rm-auctions.com) Provenance:- The collection of G.R. Davies, England, before 1913.- Acquired by Edgar Gorer, as part of the collection purchase as described in The Burlington Magazine for Connoisseurs, Vol. 23, No. 123 (Jun., 1913), pp. 162. (see added images) (direct link available on rm-auctions.com)For more information on Edgar Gorer and his importance as a dealer, please refer to the Liverpool Museums' essay. (direct link available on rm-auctions.com)- With Ralph M. Chait Galleries, New York. (each with a label on the base)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 122
Full title: A large Chinese blue and white crackle-glazed 'carps' vase with fine gilt bronze mounts, 18/19th C.Description:L.: 37 cm - H.: 36 cm (incl. mount and base) The porcelain probably 18th C., the refined gilt bronze mounts early 19th C. in Regence-style and of French origin.The interior is equipped with a 19th C. zinc inner jardiniere. The neck is decorated with a frieze of laurel leaves. On each side, we find a stylized clasp in the shape of a chicory leaf supported by two windings on lion's muzzles, the manes with two acanthus leaves. The rings are enclosed in their mouths and take the form of a wreath of laurel leaves. A lambrequin motif ending in a lion's paw surmounts a row of pearls. The base is punctuated by four dice-shaped feet offering a plant motif alternating with guilloche friezes. br>The base of the vase unglazed. Provenance: A French private collection. Ref.:- Sotheby's, Paris, Nov. 17, 2021, for a Kangxi famille verte vase with a related gilt bronze mount. (direct link available on rm-auctions.com)- Sotheby's, Paris, Oct. 2, 2008, for a pair of blue and white Kangxi jars with related gilt bronze mounts. (direct link available on rm-auctions.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 176
Full title: A pair of Chinese famille verte 'Emperor Yang' dishes, KangxiDescription:Dia.: 34,5 cm Provenance:- By repute, from the Collection of Duchess Isabella Lubomirska (nee Czartoryska) (1736-1816), Lancut Castle, Poland.- The Counts Potocki, Lancut Castle, Poland, until circa 1944.- Paul-Louis Weiller (1893-1993), and thence by descent.- An important European private collection. Ref.: - Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp. 30-33.- Emperor Yang of the Sui dynasty (éš‹ç‚€å¸, r. 606-18) is known for many achievements, such as linking the Yellow and Yangzi Rivers with the man-made Grand Canal, leading successful military campaigns expanding the Sui territory, and being accomplished in the arts. Despite those, Emperor Yang is also considered to have brought disaster to the country and misery to the people late in his life with his unwise rule and decadent and debauched lifestyle with his concubines. In the West Park, outside Luoyang, his consorts (wives who ranked lower than his primary wife, the empress) often organised his concubines to do equestrian performances and variety shows to entertain the emperor and please his inflated ego. One of the best known of these vignettes was the procession of Lady Wang Zhaojun (王æ˜å›, c. 52 – c. 15 BCE) in a moonlit night. (Lady Wang Zhaojun was one of the legendary Four Beauties of Ancient China. She had been in the harem of Emperor Yuan of the Western Han dynasty [汉元å¸, 206 BCE – 8 CE]. He eventually sent her off by horseback in a procession to marry a Central Asian tribal chieftain.) The elderly Emperor Yang is often depicted enthusiastically observing his elegant court ladies showing off their riding skills in the spirit of Lady Wang, while anticipating further antics to follow. This scene has often been mistaken as ‘female generals of the Yang family’(æ¨é—¨å¥³å°†) by many art historians. However, Dr Yibin Ni has found that historical woodblock illustrations such as that of the novel Romance of Sui and Tang (éš‹å”演义), and New-Year prints such as Wang Zhaojun’s Galloping Horses (新彩æ˜å›è·‘马) bear similar scenes with clear written titles which reveal that the scene is actually meant to be a cautionary tale for rulers. Chu Renhuo (褚人获)’s Romance of Sui and Tang fictionalises the historical events leading to the fall of the Sui dynasty and the subsequent rise of the Tang. (source: tutuhaoyi.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 293
Full title: A rare Chinese blue and white kraak porcelain dish with Portuguese ships on the rim, WanliDescription:Dia.: 31 cm - H.: 5,5 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 250
Full title: A rare Chinese bronze cylindrical tripod censer with Arabic inscription, Zhengde mark and of the periodDescription:H.: 8 cm - Dia.: 10 cm Weight: 1084 grams Bronze censers decorated with Arabic inscriptions came to influence the making of a distinctive group of heavily potted blue-and-white porcelains, all bearing Zhengde imperial marks on the bases and the body decorated with Arabic or Persian inscriptions. Jessica Harrison-Hall in Ming Porcelain in the British Museum, London, 2001, p. 188, notes that it is possible that these wares 'were used by literate Muslim eunuchs at court or by the emperor, who was fascinated by foreign scripts.' For examples of blue-and-white wares with Arabic or Persian inscription in the British Museum see ibid., pls. 8:3-8:11, including an incense burner (8:11) with six roundels each bearing an Arabic phrase. Two ceramic censers of this shape, also with Arabic inscriptions in panels are illustrated in Kaikodo Journal, XXIV. Material Witness, New York, 2008, p. 166, where it is explained that the form derives from Han period prototypes known as zun or lian which were used for containing wine. Provenance:- A Belgian private collection.- Acquired at TEFAF Maastricht from Galerie Lamy, Brussels, in 2014, accompanied by their certificate of authenticity. (as visible on the Alain Truong blog - link)- A Dutch private collection, before 2010. Ref.:- Sotheby's, New York, March 15, 2017, lot 561, for a similar example with a continuous text band. (sold USD 112.500) (direct link available on rm-auctions.com)- Sotheby's, Hong Kong, April 3, 2012, lot 143, for a very closely related example. (sold HKD 800.000) (direct link available on rm-auctions.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 240
Full title: A rare Chinese blue and white 'Bleu de Hue' tea plate for the royal doctor in the Hue Palace, 御醫正記 seal mark, mid-19th C.Description:Dia.: 15 cm This type of small tea plate was only made by special order, in a very small number, for the office of the royal doctor within the Vietnamese Royal Palace of Hue, in the middle of the 19th C. The base bears a mark in zhuanshu script: 御醫æ£è¨˜, which translates to 'Made as commissioned by the royal doctor' or 'Ngá»± y chÃn ký'. Provenance: - The collection of Thomas Ulbrich, Studio Tho, Hanoi-Berlin. Ref.: Published in: DO SU KY KIEU THOI NGUYEN by Dr. Tran Duc Anh Son (2016), page 210: 'The turtle is the third of the tứ linh (four supernatural creatures) and symbol of longevity, energy and endurance. It is the first of all the creatures that have shells. The carapace on the back of the turtle symbolizes the heavens (the vaulted upper part) and the earth (the flat part below). The turtle appears in various art forms of the Nguyá»…n period, but its image is rarely seen on the porcelain of this period. In the collection of Thomas Ulbrich, there is a tea-saucer marked 御醫æ£è¨˜ (Made as commissioned by the Royal Doctor) in the form of zhuanshu script, with a painting depicting a fairy turtle offering the Luoshu (雒書: rolled letter) in a bookcase to King Wenwang with a poem in Han script.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 143
Full title: A Chinese blue, white and copper red 'crab and fish' dish, KangxiDescription:Dia.: 35 cm Ref.:- Sotheby's, The Jie Rui Tang collection, New York, March 20, 2018, lot 381. (sold USD 68.750) (direct link available on rm-auctions.com)- The aforementioned example, published in Marchant, 'Qing Porcelain from Three Private Collections', Oct. 2019. Provenance:- The collection of a Frenchman initialled R.S.P., named Chevalier de la Legion d’Honneur. He was in Beijing from 1910 to 1918 where he assisted in the founding of the Banque de l'Indochine. He meticulously annotated his purchases. This particular piece was acquired in Beijing in March 1913. (see images 3, 4 and 5)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 187
Full title: An imperial Chinese famille verte cinquefoil jardiniere, Kangxi mark and of the periodDescription:L.: 38 cm - H.: 18,5 cm Provenance:- A Belgian private collection.- Rob Michiels Auctions, Oct. 31, 2020, lot 218. (sold EUR 57.500) (direct link available on rm-auctions.com)- The collection of a Dutch nobleman. Ref.:- Christie's, Hong Kong, May 30, 2012, lot 4101, for a related quatrefoil example with ruyi head-shaped feet. (direct link available on rm-auctions.com) (sold: HKD 1.220.000)- Sotheby's, Hong Kong, June 2015, lot 683, for a slightly larger octagonal example. (direct link available on rm-auctions.com) (sold: HKD 2.360.000)- Sotheby's, New York, September 2012, lot 626, for a large octagonal example. (direct link available on rm-auctions.com) (sold: USD 410.500) Only a small number of jardinieres bearing Kangxi marks are known, mostly in famille verte and doucai palettes. The present piece is striking for its delicately painted motif of birds and flowering trees in the famille verte palette and belongs to a distinct group of sturdily potted Kangxi mark and period jardinieres. Peter Y.K. Lam, in ‘Lang Tingji and the Porcelain of the Late Kangxi Period’, Transactions of the Oriental Ceramic Society, vol. 68, 2003-2004, p. 44, suggests that these jardinieres were produced in the latter years of the Kangxi reign, possibly commissioned for the Emperor’s 70th birthday, which would have occurred in 1723. A related design from the Qing Court Collection, is illustrated in The Complete Collection of Treasures of the Palace Museum, Porcelain in Polychrome and Contrasting Colours, vol. 38, Hong Kong, 1999, cat. no. 95.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 131
Full title: A rare pair of Chinese bottle vases with iron-red design in the style of Venetian glass, KangxiDescription:H.: 24,5 cm Provenance: A French aristocratic collection. Ref.:- The Metropolitan Museum, New York, Accession Number: 1982.27, for a single example. (direct link available on rm-auctions.com) It was one of the highlights in the exposition 'Chinese Export Porcelain at The Metropolitan Museum of Art', which ran from January 14 to July 27, 2003, and is also published in the museum's publications: 'Notable Acquisitions, 1981–1982' (direct link available on rm-auctions.com) and 'Chinese Export Porcelain': The Metropolitan Museum of Art Bulletin, v. 60, no. 3 (Winter, 2003). (direct link available on rm-auctions.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 121
Full title: A pair of Chinese blue, white and copper-red powder blue-ground rouleau vases with fine gilt bronze mounts, Kangxi and 19th C.Description:H.: 55 cm (incl. mount and base)H.: 44 cm (the porcelain)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 214
Full title: A pair of Chinese blue and white plates with the arms of the De Pinto family for the Portuguese market, KangxiDescription:Dia.: 21,5 cm The coat of arms belongs to the De Pinto family. It has five crescents (two-one-two) and the crest of a plume of three ostrich feathers. The arms on several examples differ from the original with inverted crescents and once ovals. The De Pinto family of Portugal bore a white shield with five red crescents, and in blue this should have been painted as blue crescents on a white ground. (Howard & Ayers, 1978, p.63), (Kroes 2007, p.107) The De Pinto family were Jewish and came from Spain and Portugal, arriving in Rotterdam and Amsterdam about the middle of the 17th century. Later, in the third quarter of that century, they also settled in The Hague. The De Pintos became very wealthy and lived in grand style in patrician homes and landed estates. Several members of this family could have commissioned this porcelain, such as David Emanuel (1652-1712) or one of his three cousins: Mozes (c.1654-1729), Aron (died 1718) and Joseph (died 1740). Mozes and Aron lived in The Hague and the famous philosopher Isaac de Pinto (1717-1787) was Aron's grandson. David Emanuel and Joseph both lived in the Sint Antoniesbreestraat in the Jewish quarter of Amsterdam. David Emanuel, the wealthiest member of his family, probably commissioned this armorial service. David Emanuel de Pinto (born Rotterdam, 1652; died Amsterdam, 27 October 1712) inherited his patrician house in Sint Antoniesbreestraat, no.69, from his father Isaac who had bought it in 1651 for fl.30,000. (Kroes 2007, p.107)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 228
Full title: A rare Chinese semi-eggshell famille rose 'rooster' tea cup and saucer, Baiyun Shanren 白雲山人 seal mark, YongzhengDescription:Dia.: 11,5 cm (the saucer)Dia.: 7 cm - H.: 4 cm (the cup) A composite motif of a cockerel and peony represents wealth and success. The first character of the term cockerel in Chinese gong ji is a homophone of the first character of gong ming (official position), and the peony has long been associated with nobleness since the Tang dynasty. Provenance:- An important American private collection. Ref.: - The British Museum, inv. no. PDF A.835, for a set of twelve tea cups and saucers of the same design and measurements and with the same seals, where they are on display. (direct link available on rm-auctions.com) - The Victoria & Albert Museum, accession no. C.1071 & A-1917, for a set which also bears a cyclical date Jiazhen corresponding to 1724, where it is on display. (direct link available on rm-auctions.com) The artist name 'Baiyun Shanren' (Hermit of the White Cloud Mountain) was however mistaken by both museums as 'Baishi Shanren' (Hermit of the White Stone Mountain). Although the aliases 'Baishi' and 'Baiyun Jushi' are both related to one of the earliest and most famous Cantonese enamellers, Tang Jintang (active in the first half of the 18th C.), they can also have been produced by Tang Jintang's studio. For more about the career and style of Tang Jintang, see Gao Yang: 'A Pair of Canton Enamel Porcelain Masterpieces in the Rijksmuseum,' in Aziatische Kunst, October 2018, Vol. 48, No. 2, pp. 54-59. - A. Varela Santos, Uma Coleccao Particular, Yongzheng, A Private Collection, Estoril, Portugal, 2005, pp.16-17, no. 2, for an example which was formerly in the W. Martin-Hurst Collection.- Honey, A Guide to the Pottery and Porcelain of the Far East, Oxford, 1924, p. 90, fig. 128, illustrates a ruby-back saucer painted with a basket of flowers and fruit also in the British Museum. It is signed by the same artist and inscribed 'a Canton picture', indicating that indeed he was working in Guangzhou (Canton).Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 44
A Chinese famille verte porcelain bowl with harbour scene and poem, 6 1/4" dia, a shallow dish, decorated landscape, 5 1/2" dia, a pair of shallow dishes, decorated figures, 5 1/4" dia, and a famille rose rectangular tray, decorated figures, 9 1/2" longCondition:The larger bowl is fine.All three dishes are fine too.The rectangular dish is restored and has decoration losses.
Lot 47
A Chinese blue and white porcelain ewer, a pair of blue and white porcelain vases, a similar dish, a similar paste pot and two other itemsCondition:Small blue and white pot and cover is chipped and cracked.The ginger jar lid has a missing section.Both of the vases have restored top rims.The dish has some deep surface scratches and wear around the top rim.The ewer appears to be okay.
Lot 45
A Chinese famille verte porcelain shallow dish, decorated four boats and figures, four-character mark to base, 9 1/2" dia, and a pair of wave edge dishes, decorated figures, 8 1/2" diaCondition:The two similar dishes have various decoration losses.the famille verte dish has no visible issues.
Lot 101
A PAIR OF LARGE BLUE AND WHITE BEAKER VASES, GU, KANGXI PERIODChina, 1662-1722. Vibrantly painted in shades of cobalt blue with shaped panels enclosing leafy blossoming prunus, peony, aster, and chrysanthemum amid rockwork and grasses. The bulbous midsection framed by hatched designs enclosing prunus blossoms between bowstrings. The interior of the rim with a hatched band. The recessed bases each with an underglaze-blue lingzhi fungus mark within a double circle. (2)Provenance: From an old private estate in Paris, France. A private collector in the United Kingdom, acquired from the above, via the London trade.Condition: Condition commensurate with age, and presenting nicely overall. One vase with a firing crack to the rim and another to the base with an associated old fill. The foot with a small chip and associated old repair, the rim with a near-invisible restoration, c. 5x5 cm in size. The other vase with expected firing cracks, minor chips to the foot, and a hairline to the base and rim.Weight: 3,277 g and 3,608 gDimensions: Height 49 cm (each) Expert's note: During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus and artemisia leaf marks in double circles.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 8 October 2015, lot 261Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A pair of large Chinese blue and white porcelain beaker vases, Kangxi periodExpert remark: Compare the closely related form. Compare the related decoration with similar panels and floral designs as well as the artemisia leaf marks. Note the smaller size (42 cm). Note that one of the vases also has a rim restoration.Auction result comparison:Type: Closely relatedAuction: Christie's London, 29 February 2012, lot 625Price: GBP 12,500 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese blue and white beaker vases, Gu, Kangxi periodExpert remark: Compare the closely related form. Compare the related decoration with similar panels and floral designs as well as the artemisia leaf marks. Note the considerably smaller size (34.3 cm). 康熙一對青花開光花卉紋花觚中國，1662-1722年。撇口，口沿下收，鼓腹，圈足。口內素白，外壁開光青花滿繪花卉山石紋理。圈足内青花雙圈内靈芝紋。 (2) 來源：來自法國巴黎的一處私人老莊園；英國私人藏家通過倫敦古玩交易購自上述莊園。品相：狀況良好。一個花瓶的邊緣有燒製裂紋，另一個花瓶的底部有修補。足部有缺口並有小修。邊緣有小修，尺寸為 5x5 厘米。 另一個花瓶有燒製裂紋，底部有輕微缺口，底部和邊緣有冲綫。 重量：分別3,277 克與3,608克 尺寸：各高 49 厘米 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2015年10月8日，lot 261 價格：USD 15,000（相當今日EUR 17,500） 描述：康熙一對青花開光花卉紋花觚 專家註釋：比較非常相近的外形。比較相近裝飾和花卉圖案，以及艾葉紋。請注意尺寸較小 (42 厘米). ，以及一件花瓶有修補。 拍賣比較： 形制：非常相近 拍賣：倫敦佳士得，2012年2月29日，lot 625 價格：GBP 12,500（相當今日EUR 23,000） 描述：康熙一對青花開光花卉紋花觚 專家註釋：比較非常相近的外形。比較相近裝飾和花卉圖案，以及艾葉紋。請注意尺寸較小 (34.3 厘米)。
Lot 109
A RARE CELADON-GLAZED TEAPOT, YONGZHENG MARK AND PERIODChina, 1723-1735. Exquisitely potted, the tapered body flanked by a rounded half-square handle and a slender spout, covered overall in a superb, unctuous glaze of even celadon tone. The recessed base with an underglaze-blue six-character seal mark da Qing Yongzheng nianzhi and of the period.Provenance: The base with an old collection label, 'Baerwald Collection.' Paul Baerwald (1871-1961) was a German-born Jewish-American banker and philanthropist, who served as treasurer and later chairman of the American Jewish Joint Distribution Committee (JDC). His brother Emil Baerwald lived in Europe, and, as an active collector of Chinese ceramics, he became acquainted with leading Chinese art collectors there, including George Eumorfopoulos and Sir Percival David. Paul likely received much of his collection from Emil, a part of which was exhibited by John Sparks in London in 1937 (An Exhibition of the Paul Baerwald Collection of Chinese porcelain, 15 June - 3 July 1937). Condition: Good condition with minor old wear and small manufacturing irregularities. A minute chip to the rim and few microscopic nicks. The lid is lost.Weight: 1,002.9 g Dimensions: Length 21.3 cm With a fitted silk box. (2)From the Tang dynasty onwards, tea drinking was an activity celebrated in style, but the infusion of tea leaves in a teapot dates only from the Ming dynasty. Until then, powdered tea was mixed with hot water, as in the Japanese tea ceremony, which required different utensils.The striking modernity of this teapot, with its harmoniously proportioned, elliptic dome shape and its clear, geometric lines of handle and spout, is probably derived from it being designed on paper rather than developed on the potter's wheel. The design may be by Tang Ying, later supervisor of the Jingdezhen kilns, who developed styles for Jingdezhen already in the early Yongzheng period, while still working at the Beijing workshops. Simplicity of form and absence of decoration were stylistic trends introduced by him and endorsed by the Emperor, but the radical functionality of this piece, which is not based on earlier models, is remarkable. Its precise shape and even glaze would have made the highest demands on the potters' skills.Literature comparison:Compare a closely related Yongzheng teapot with cover, 12.2 cm high, also with a Yongzheng mark and of the period, in The Palace Museum, Beijing, accession number Gu151943, exhibited by the Royal Academy of Arts and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, p. 256, no. 170. 雍正款及年代青釉茶壺中國, 1723-1735年。壺胎緊致，壺身溜肩，一側半方形執柄，一側細長的流壺，整體覆蓋著均勻的青色釉。圈足内青花六字篆書款“大清雍正年製"。 來源：圈足 内有收藏標籤'Baerwald Collection' 。Paul Baerwald (1871-1961) 是一位出生於德國的猶太裔美國銀行家和慈善家，曾擔任美國猶太人聯合分配委員會 (JDC) 的財務主管，後來成爲主席。他的兄弟Emil Baerwald 居住在歐洲，是一名活躍的中國陶瓷收藏家，他結識了歐洲頂尖的中國藝術收藏家，包括George Eumorfopoulos和 Percival David爵士。 Paul的大部分藏品很可能是從Emil那裡得到的，其中一部分由John Sparks於1937 年在倫敦展出（Paul Baerwald中國瓷器收藏展，1937 年6 月15 日至7 月3 日）。 品相：狀況良好，有輕微磨損和製造缺陷。邊緣有一個微小的缺口和刻痕。蓋子丟失。 重量：1,002.9 克 尺寸：長21.3 厘米 儲備盒絲質内襯(2) 文獻比較： 比較一件非常相近的雍正款及年代茶壺，高12.2 釐米，收藏於北京故宮博物院，館藏編號Gu151943，展覽於Royal Academy of Arts，以及出版於Evelyn S. Rawski和Jessica Rawson，《China: The Three Emperors 1662-1795》，2006年，頁256，編號170。
Lot 119
A BLUE AND WHITE MING-STYLE FLOWER-HOLDER, QIANLONG MARK AND PERIODExpert's note: In an article discussing an exhibition by S. Marchant & Son by D. S. Freedman, "Qing Mark and Period Monochrome and Two-coloured Wares", Arts of Asia, May-June 1992, p. 147, related examples of similar form are referred to as “lotus pod bulb pots," an understandable but quite unique description. The author further explains that blue and white designs may fall under the category of monochromes as they feature a one-color design on a white ground. These differing taxonomies from the 1992 article to today are quite notable, leaving ample room for undiscovered pieces that may still be hidden in private and public collections.China, 1736-1795. Superbly potted, the compressed pear-shaped body supported on a short foot and rising to a waisted neck surmounted by a slightly domed top in the form of a lotus pod pierced with three circular apertures. The exterior is exquisitely decorated in shades of cobalt blue with lotus blossoms and auspicious blooms borne on leafy scrolling vines, above a lappet band encircling the foot and below a band of floral sprays below the top, which is similarly decorated with lotus scroll, all framed by neatly applied double-line borders.The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Provenance: From a private family collection in Cheltenham, United Kingdom. Condition: Superb condition with only minor wear and minimal firing irregularities, the interior with some traces of use.Weight: 252.9 g Dimensions: Diameter 8.4 cm, Height 6.5 cm Vessels of this form, variously described as 'flower holders' or 'incense holders', have been recorded from both the Yongzheng and Qianlong periods. The shape was likely inspired by a type of jarlet, made in bronze and pottery, which was popular during the Tang dynasty (see a sancai-glazed pottery jar from the Erwin Harris collection at Christie's New York, 16 March 2017, lot 877). The Qing potters took this design to new heights with variations in glazes from simple, crackled monochromes to brilliant turquoise examples with slip-molded decoration. While the size of the Qing form tended to remain small, usually under 9 cm, this should not allow them to be overshadowed by larger porcelain works of the period. The compact size would have allowed for easier handling and transport, making them suitable for personal devotion, private altars, and carrying during travel, creating a sense of intimacy and personal connection when using incense to cultivate a relationship with the divine realm. There are few other porcelain works that one could take on a pilgrimage so easily.Literature comparison:For two related examples of similar form, see Robert Jacobsen, Ye Peilan, and Julian Thompson, Imperial Perfection: The Palace Porcelain of Three Chinese Emperors, Kangxi - Yongzheng - Qianlong, Hong Kong, 2004, pp. 240, nos. 74 & 95. Celadon-glazed examples of similar form are illustrated in Monochrome Porcelain, The Complete Collection of Treasures of the Palace Museum, vol. 37, Hong Kong, 1999, no. 187, and Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, vol. 2, no. 869.Auction result comparison: Type: Near identical Auction: Sotheby's Paris, 16 June 2022, lot 204 Price: EUR 30,240 or approx. EUR 31,500 adjusted for inflation at the time of writing Description: A small blue and white 'floral' vase, Seal mark and period of Qianlong Expert remark: Compare the near identical form, decoration, and size (8.3 cm). Note that the present lot boasts an even more accomplished decoration as well as a stronger mark. Also note that this lot has a faint 1.5 cm hairline in the glaze between two of the holes on top of the vase, whereas the present lot is in perfect condition.Auction result comparison:Type: Closely relatedAuction: Christie's, Hong Kong, 30 May 2022, lot 2715Price: HKD 2,016,000 or approx. EUR 239,000 converted and adjusted for inflation at the time of writingDescription: A carved celadon-glazed flower-holder, Qianlong six-character seal mark and of the periodExpert remark: Both this example and the current lot have an extremely compressed form, and while the overall decoration is noticeably different, the molded decoration of the celadon example closely follows the underglaze blue decoration of the current lot. Note the size (7.8 cm). 乾隆款及年代仿明代風格青花花插中國, 1736-1795年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 121
A ROBIN'S-EGG-GLAZED AND GILT PORCELAIN FIGURE OF A BODHISATTVA, QIANLONG TO JIAQING PERIODChina, 1736-1820. The bodhisattva kneeling on a lotus throne with hands held in veneration as a worshiper in a temple, having an elaborate dhoti with strands of tasseled and beaded jewelry, and wearing a five-pointed crown. The neatly modeled, carved, incised and gilt porcelain finely decorated with blue, turquoise, and chestnut-colored glazes.Provenance: The Estate of Allen Abramson, Farmington Hills, Michigan, USA. A notable private collector in Chicago, USA, acquired from the above. Allen Harold Abramson (1929-2016) was an American art and antiques dealer, collector, and author. He opened his first art gallery in 1964 and kept the company of celebrities such as Marlene Dietrich and Josephine Baker, throwing lavish parties at his famous apartment on Detroit's Six Mile Road. He was also an important patron of the controversial Detroit artist William Girard. In his later years, he wrote and published a memoir titled Allen Abramson: The Odyssey (or the Idiocy). Condition: Good condition with old wear and expected firing irregularities. Minute flaking to enamels. The tip of the tiara and chignon as well as both hands show small repairs.The interior with three circular apertures and small firing cracks, all inherent to manufacture. Presenting exceptionally well. Weight: 1,356 g Dimensions: Height 28.8 cm With an old silk storage box. (2)Expert's note: The present lot belongs a series of figures based on original prototypes in bronze, which were produced by Imperial command during the Yongle and Xuande periods and given as diplomatic gifts to Tibetan leaders. For an example of a prototype for the present lot, see a Xuande mark and period gilt-bronze bodhisattva in the Rietberg Museum, illustrated by Helmut Uhlig in On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum of Rietberg Zurich, Zurich, 1995, pl. 72, page 123 (fig.1), where the author suggests that the figure may represent a member of the Chinese imperial family. An unmarked example, dated to the Xuande period, is in the V&A collection, no. 275&A-1898. This piece shows that the robin's egg glaze on the present lot is an ingenious imitation of the colorful cloisonne work on the original prototypes.Literature comparison: For a related porcelain example from the Malcolm MacDonald collection, no. DUROM.1969.358, and now in the Oriental Museum, University of Durham, United Kingdom, see Ireneus Legeza, A Descriptive and Illustrated Catalogue of the Malcolm MacDonald Collection of Chinese Ceramics, London, 1972, p. 122, no. 72. Another enameled porcelain figure of a bodhisattva is illustrated by Lou Pin-heng, Precious Treasures of My Humble House, Taipei, 1988, page 54, no. 12.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 29 May 2008, lot 578Price: HKD 960,000 or approx. EUR 168,000 converted and adjusted for inflation at the time of writingDescription: A rare enameled figure of a kneeling bodhisattva, QianlongExpert remark: Compare the closely related modeling, with similar pose, face, and base, robin's egg enamels, and gilt decoration. Note the closely related size (29 cm).Auction result comparison: Type: Closely related Auction: Sotheby's, New York, 17 March 2015, lot 362 Price: USD 37,500 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A robin's egg glazed and gilded porcelain figure of a bodhisattva, Qing dynasty, 18th / 19th century Expert remark: Compare the closely related modeling, with similar pose, face, and base, robin's egg enamels, and gilt decoration. Note the similar condition issues: “The central peak of the tiara has a restored section to the tip, and two fingers on the figure's left hand, and the thumb on the right have been restored." 乾隆至嘉慶時期鎏金陶瓷菩薩像，局部爐鈞釉中國, 1736-1820年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 122
AN IMPERIAL GILT-DECORATED 'TROMPE-L'OEIL' PORCELAIN VAJRA, CHINA, 18TH CENTURYThe four-pronged porcelain vajra is masterfully glazed in imitation of worn gilt-bronze and splashes of green to simulate malachite encrustations. The prongs extend out of dragon mouths and are flanked by lotus petals. The central band shows a robin's egg glaze with perfect porcelain copies of lapis lazuli and coral cabochon inlays. Provenance: From a Swedish private collection. Condition: Expected old wear, three prongs with small old repairs, some firing irregularities and minor glaze flakes, tiny nicks and losses.Weight: 130.5 g Dimensions: Length 16.4 cm The vajra, a symbol of indestructibility and power, is one of the primary ritual symbols in Tibetan Buddhism. Derived from Sanskrit and translating to both thunderbolt and diamond, the vajra consists of two sets of prongs from which lotus petals emanate, flanking a central sphere. Often used in combination with a bell, which represents feminine wisdom, the vajra symbolizes the masculine attribute of skillful means or compassion.Vajras are considered to be imbued with magic. The famous Manhattan-based Chinese art dealer Robert H. Ellsworth once owned a related bronze vajra and shared an interesting story: It was given to Mr. Ellsworth by a dear friend who, having learned that Mr. Ellsworth was ill, sent the vajra from his personal shrine to Mr. Ellsworth with instructions to sleep with it under his pillow. Two weeks later, Mr. Ellsworth called his friend to report he had made a full recovery. From that point on, the vajra remained on Mr. Ellsworth's bedroom headboard, resting at the feet of a seated yogi.Trompe l'oeil porcelain is a highly unique genre of Imperial porcelain objects made during the Qing dynasty. It refers to porcelain made in decorated imitation of other objects. These objects varied from archer's rings to imitation wood basins, from lacquer boxes to auspicious symbols like this imitation-bronze vajra. During a rare private viewing of Qing trompe l'oeil porcelain at the National Palace Museum, Chih-En Chen delved into the museum archeology behind ten pieces-these include the comparisons given here and more-with the hopes of finding where these objects were found in situ and whether this was inside or outside the Forbidden City. He discovered that many of the pieces were in fact in the Forbidden city and that they were assembled in only five places: the Jingrengong, the Yangxindian, the Yongshougong, the Shouangong, and the Ningshougong. Chen managed to discover a link between all these locations, namely that they were all associated with buildings intended for the women of the court living at the Forbidden City. The only exception to this is Nigshougong, the Qianlong emperor's retirement palace. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 October 2013, lot 3031 Price: HKD 9,640,000 or approx. EUR 1,420,000 converted and adjusted for inflation at the time of writing Description: A rare trompe-l'oeil celadon reticulated vase, seal mark and period of Qianlong Expert remark: This trompe-l'oeil porcelain is made in imitation of nuts and dried fruits on a plate with a porcelain vase. Note the similar expert craftsmanship of the imitation nuts and fruits which are masterfully glazed.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 April 2007, lot 516 Price: HKD 5,360,000 or approx. EUR 950,000 converted and adjusted for inflation at the time of writing Description: An unusual pair of 'famille-rose' trompe-l'oeil wall vases, marks and period of Qianlong Expert remark: These two vases are made in the imitation brocade fabric and wood in form of a pipa instrument tucked inside a brocade bag tied at the neck. Note the similar glazing to imitation wood along the pipa's neck. 十八世紀御製仿真描金陶瓷金剛杵四股陶瓷金剛杵，巧妙模仿鎏金銅表面和綠松石鑲嵌物。四股從龍口伸出，兩側鑲有蓮瓣。中央飾帶上飾有爐鈞釉釉，並配有仿青金石和珊瑚的鑲嵌物。 來源：瑞典私人收藏 品相：磨損，小修，一些燒製不規則和輕微刻痕和缺損。 重量：130.5 克 尺寸：長16.4 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，8 4月 2007年，lot 516 價格：HKD 5,360,000 EUR 950,000 （相當於今日） 描述：乾隆款及年代一對罕見粉彩仿真瓷壁瓶 專家評論：這兩個花瓶是仿錦織物和木材材質，形狀像琵琶，放在錦袋裡。請注意琵琶琴頸上與仿木材質。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 128
A CELADON-GLAZED 'BAMBOO' DOUBLE VASE, THE GILT-BRONZE MOUNTS BY L'ESCALIER DE CRISTALThe ceramics from China, 18th century, the mounts from France, 19th century.Naturalistically modeled in the form of two adjacent bamboo stalks, each with small sprigs of leaves rising from the base and side, a small bird with neatly incised plumage perched on the smaller bamboo vase, looking down on the intricate rockwork minutely detailed with a porous structure. The base fitted with a gilt-bronze mount decorated with bands of grasses and petals.Inscriptions: To the base of the ormolu mount, engraved in cursive script 'Escalier de Cristal Paris'.Provenance: From a private collection in London, United Kingdom. Condition: Very good condition with old wear and expected manufacturing irregularities, including some minute flaking to the ware around the top rim of the larger vase, and light scratches and wear to the base.Weight: 372 g Dimensions: Height 12.9 cm Established in 1802 by Madame Marie Desarnaud (1775-1842), the luxury store of the Maison A L'Escalier de Cristal supplied clocks, lamps, and other art objects to ruling families in Europe. The firm exhibited to great acclaim at the 1819 Exposition des produits de l'industrie and was appointed fournisseur brevete du Roi that same year. The business was located in the Palais Royal, a center of excellence for the high-quality jewelers, silversmiths and manufacturers of Objets de Vertu, for which Paris was renowned. Works from L'Escalier de Cristal were commissioned by French aristocrats, finding their way to many royal family collections including the collection of Tsarina Alexander, wife of Nicolas II, who visited Paris in 1896. The company commissioned manufacturers to supply individual components which were then assembled to the firm's own designs, much in the tradition of the 18th century marchands-merciers from whom they inherited their specialist profession. Famous among the pieces produced by L'Escalier de Cristal is the table de toilette, commissioned by the Duchess of Berry, which is housed in the Louvre Museum today. The atelier continued its success throughout the 19th and early 20th century by collaborating with designers and makers such as Galle and Christofle, until it dissolved in 1923. Today, objects from L'Escalier de Cristal are housed in important public and private collections around the world.Auction result comparison: Type: Closely related Auction: Christie's New York, 28 September 2021, lot 17 Price: USD 22,500 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A celadon-glazed bamboo-form vase, 18th century Expert remark: Compare the closely related form and subject. Note the size (15.2 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 10 September 2019, lot 45 Price: USD 16,250 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: An aubergine-glazed 'bamboo' double vase, Qing dynasty, 18th century Expert remark: Compare the closely related form and subject. Note the different glaze and the size (14 cm).Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 October 2022, lot 722Price: EUR 20,790 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze mounted Chinese turquoise porcelain pot-pourri, the porcelain Kangxi period (1662-1722), the mounts, attributed to L'Escalier de Cristal, Paris, second half 19th century Expert remark: Compare the gilt-bronze mounts by L'Escalier de Cristal on a turquoise-glazed pot-pourri depicting Liu Hai on a toad. Note the size (25 cm). 十八世紀青釉雙竹瓶，L'ESCALIER DE CRISTAL鎏金銅鑲嵌十八世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 138
A COMPLETE SET OF FOUR FAMILLE ROSE 'EIGHT IMMORTALS' PLAQUES, BY WANG QI (1884-1937)China, Republic period, circa 1930. Exquisitely painted in bright enamels, each plaque depicting two of the Eight Immortals wearing fine robes and holding their attributes, with two seals of the artist. (4)Expert's note: The quality of this set is remarkable. The artwork is exquisitely detailed in vivid and confident brushstrokes, very much unlike the countless copies in circulation today. The enamels are exceptionally well fired, with crisp and elegant colors, blended to an overall near-perfect harmony, as found only in a small number of works from the Wang Qi studio. Equally noteworthy is the quality of the hardwood frames, including their fittings and backings, all exhibiting clear signs of age, original to the set and executed to the highest standards, a level of craftsmanship absent in later pieces.Inscriptions: Each plaque with two seals: the first, lower right, 'Wang Qi' and 'Liandan jishi'; the second, lower right, one reading 'Wang Qi'; the third, lower left, 'Xiaoyao' and 'Wang Qi huayin'; and the fourth, lower right, one reading 'Wang Qi'.Provenance: North American trade. By repute acquired from a local estate.Condition: Excellent condition with some old wear and firing irregularities. Little rubbing and flaking to enamels. One plaque with a phosphorescent firing flaw in the upper left corner. The frames with expected traces of use, minor splits and a natural patina.Dimensions: Panel size ca. 55 x 17 cm (each), Size incl. frame ca. 59 x 21 cm (each) The first plaque depicts Li Tieguai leaning on his iron crutch, carrying two gourds on his back, one releasing fumes, standing next to He Xiangu holding a long leafy blossoming lotus stem, under the full moon.The second plaque with Zhongli Quan holding his fan and Lu Dongbin with his sword sheathed to his back, below a flying crane.The third plaque shows Han Xiangsi, with his flute suspending a jade pendant, conversing with Cao Guojiu looking up towards his castanets in the air above.The fourth plaque with the elderly Zhang Guo holding his bamboo rod and standing beside Lan Caihe carrying his basket filled with flowers and lingzhi, below an iron-red bat.The Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Most of them are said to have been born in the Tang or Song Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. Stories of these immortals were first recorded by the Ming dynasty poet Wu Yuantai. Their status as folk icons makes them well-known in popular culture.Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based on famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years, Wang increasingly developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work.His earlier works were characterized by the gongbi style, which employed fine outlines for human figures. However, his style evolved over time, transitioning into a more free style. Wang Qi's artistic journey led him to Jingdezhen in 1901, where he learned porcelain painting and portrait painting from Deng Bishan and Qian Hui An. His talent was recognized when he received the "Supernatural Technique" plate as a gift from the Fuliang County Magistrate in 1916, which significantly boosted his reputation. In 1916, Wang Qi traveled to Shanghai with Wang Dafan to attend the Shanghai Paintings Exhibition, where he encountered the Eight Strange Masters of Yangzhou. Among them, he was particularly impressed by the painting style of Huang Shen, who excelled in painting people, landscapes, and flowers and birds. Wang Qi's background in portrait painting, sculpture, and painting portraits on porcelain, combined with his exposure to Western painting techniques, elevated his porcelain paintings to a new level of artistic accomplishment.Literature comparison: A set of plaques, also painted with the Eight Immortals but in a different arrangement of pairs, is preserved in the China Ceramic Museum, Jingdezhen, albeit unpublished. The Muwentang Collection has a group of famille-rose plaques of different figural subjects painted in a related style by Wang Qi, attributed to the period between 1912-1925, published in Simon Kwan, Minguo ciqi (Chinese Porcelain of the Republic Period), Hong Kong, 2008, pls. 12-19. 王琦款一組四件粉彩八仙掛屏中國，民國，約1930年。木框為套裝原創。(4) 款識：王琦，煉丹濟世；王琦；逍遙，王琦畫印；王琦。 來源：北美古玩交易，據説購於當地舊藏。 品相：狀況良好，有磨損，琺琅輕微摩擦和剝落。一塊掛屏左上角有燒製缺陷。框架有使用痕跡、輕微裂痕和自然包漿。 尺寸：掛屏分別為55 x 17 厘米，總約59 x 21 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 219
A LARGE AND IMPORTANT BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEKhmer Empire, 12th-13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity clad in a short sampot with fishtail pleat and jeweled sash, incised finely with foliate decorations. His hands depicted holding his attributes. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, aquiline nose, an urna, full lips and ears with pendulous earrings.Provenance: Old Spanish private collection, acquired in the 1960s. Old French private collection, acquired from the above in 1998. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 30 September 2005, confirming the dating and provenance above, accompanies this lot. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Good condition commensurate with age. As expected, there is extensive wear, some casting flaws, losses, signs of weathering and erosion, few nicks and shallow surface scratches, fatigue cracks with associate losses and old fills, all as expected from a Khmer bronze of nearly 1,000 years of age. Superb, naturally grown, rich patina with extensive malachite encrustation and faint hues of cuprite.Weight: 3,077 g cm (excl. stand), 3,372 g (including base)Dimensions: Height 40.6 cm (excl. stand), 46 cm (including base) With a modern wood base. (2)Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms, varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. And also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2000, lot 157Price: USD 138,000 or approx. EUR 225,000 converted and adjusted for inflation at the time of writingDescription: An Important Bronze Figure of Avalokiteshvara, Khmer, Koh Ker Style, 10th CenturyExpert remark: Note the similar size (44 cm). Bronze figures from the Khmer empire with a size exceeding 40 cm are extremely rare, which is why this comparison was chosen, although this statue is from Koh Ker and dates to the 10th century.
Lot 220
A LARGE BRONZE FIGURE OF SADASHIVA, ANGKOR PERIOD, BAYON STYLEExhibited: Los Angeles County Museum of Art, USA, according to the expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001.Khmer Empire, late 12th to early 13th century. Standing on a small square plinth in sampada with his arms radiating around him, the five-headed deity is clad in a short sampot with fishtail pleat and jeweled sash, to the back a flared tang. The body finely ornamented in jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem. The five faces finely cast with almond-shaped eyes, an aquiline nose, an urna, and full lips.Provenance: Former Pan Asian Collection. Jacques Barrere, Paris, France, acquired from the above. A copy of a signed expertise from Jacques Barrere Art D'Extrême Orient, dated 9 July 2001, confirming the dating and provenance above, accompanies this lot. The expertise also states a 'replacement value' of 170,000 FF or EUR 37,500, converted and adjusted for inflation. The Jacques Barrere Gallery is located in the heart of Paris, in the Saint-Germain-des-Pres district. Since 1969, it has held exhibitions to promote and preserve Far-Eastern art. The gallery specializes in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese works of art and porcelain. Statuary art from Gandhara, India or South-East Asia is also regularly displayed. Objects once owned by Barrere are now in major museums around the world, including the Guimet, the Cernuschi, and the Shanghai Museum. The Barrere gallery is a regular exhibitor at TEFAF in Maastricht.Condition: Excellent condition, commensurate with age. There is extensive wear, some casting flaws, minor losses, signs of weathering and erosion, small nicks and shallow surface scratches, all as expected from a Khmer bronze of nearly 1,000 years of age. Faint remnants of gilt.Weight: 3,557 gDimensions: Height 38.8 cm Five-headed images of Shiva appear in Khmer Art from the tenth century onwards. This Bayon period bronze of the late twelfth to early thirteenth centuries represents the god in his form as either Sadashiva or Mahesha. Indian texts state that the highest principle of Shiva is transcendent and without form. Sadashiva is considered to represent the god as he begins to assume form in the material world. When fully manifested in the physical world, Shiva is considered as Mahesha. These two forms are characterized by five heads arranged in two tiers, four facing the cardinal directions and the fifth on top, and ten arms each holding an attribute. The primary face is marked with Shiva's characteristic third eye.The five faces are believed to represent earth, water, fire, wind, and sky, or - alternatively - violence (south face), maternity (north face), joy (west face), union (east face), and benevolence (face on top of the head). Sadashiva, a name particularly given to the five-faced and ten-armed Shiva, also directly refers to the benevolence on top of the head. It was introduced from India to the Khmer kingdom in the ninth century during the reign of Jayavarman II.Shaivism was the most prevalent sect of Hinduism and was sponsored by numerous Angkorian kings over the centuries. A well-developed sculptural tradition based around this sect consequently arose and Shiva was depicted in many forms varying from the aniconic linga to large scale images in the round. Five-headed images of Shiva such as this example were executed in both stone and bronze and represent one of the more unique depictions of the deity.Literature comparison:Compare a bronze figure of Sadashiva in Angkor et dix siecles d'art Khmer, Exhibition Catalogue, Paris: Reunion des Musees Nationaux, 1997, pl.111. Compare a closely related Khmer Bayon-style bronze of Shiva as Sadashiva or Mahesha, 28 cm high, dated to the late 12th-early 13th century, in the Asian Civilisations Museum, Singapore, accession number 2015-00374. Also compare a closely related Khmer period bronze of Standing Shiva, dated to the 12th century, in the collection of Miho Museum, Japan. Also compare a closely related Khmer bronze of Sadashiva, dated to circa 12th-13th century, in the Champasak Provincial Museum, Pakse, Laos. Also compare with another Sadashiva idol on display at Bangkok National Museum. Also compare with another figure bronze figure of Shiva with five arms and heads, 35 cm high, in the Musee National de Phnom Penh.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 8 June 2004, lot 437Estimate: GBP 18,000 or approx. EUR 42,500 adjusted for inflation at the time of writingDescription: A large and important bronze figure of a five headed ten-armed deity, probably Sadasiva, Khmer, Angkor Period, Angkor Wat style, 12th CenturyExpert remark: Note the smaller size (32 cm).Auction result comparison:Type: RelatedAuction: Christie's Amsterdam, 10 December 2002, lot 114Price: EUR 33,460 or approx. EUR 52,500 adjusted for inflation at the time of writingDescription: A Khmer, Angkor Vat style, bronze figure of PrajnaparamitaExpert remark: Note the larger size (46 cm).
Lot 274
A CARVED RED OVERLAY SNOWFLAKE GLASS 'DRAGON' BRUSH HANDLE, QING DYNASTYChina, 1644-1912. The red overlay neatly carved against the snowflake ground to depict two scaly dragons writhing along the handle among lingzhi-shaped swirling clouds, the cap carved with crashing waves. Note the high relief and the remarkably fine incision work.Expert's note: Due to the fine incision work and the high relief, this brush handle would fit rather comfortably in the painter's or calligrapher's hand. This is probably the reason why brushes made from overlay glass were quite popular at the time. On the other hand, only one small mishap would be enough for the brush to fall down, break and be irreparably damaged. This fact explains why these overlay glass brushes are so rare.Provenance: From the estate of Sear Hang Hwie Pao (1937-2009). Pao was one of Canada's leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto's trendy Yorkville area from the 1980s to early 2000s.Condition: Excellent condition with minor wear, possibly microscopic nicks, and expected manufacturing irregularities such as air bubbles and other minor flaws inside the glass.Weight: 128.6 gDimensions: Height 18 cm With a silk storage box and cover. (2)Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 September 2009, lot 170 Estimate: USD 3,000 or approx. EUR 3,900 converted and adjusted for inflation at the time of writing Description: A carved red overlay yellow glass 'dragon' brush handle, Qing dynastyExpert remark: Compare the closely related form and design. Note the yellow ground. 清代雪花地套寶石紅色料龍紋筆杆中國，1644-1912年。雪花地套寶石紅浮雕如意祥雲雲中的飛龍，底部波濤起伏。雕刻精細。 專家注釋：精美的筆杆非常適合文人使用。這可能就是當時玻璃筆杆受歡迎的原因。另一方面，這筆杆極易損壞。這也解釋了為什麼這些套料玻璃筆杆如此罕見的原因。 來源：Sear Hang Hwie Pao (1937-2009年) 收藏。Pao是加拿大中國瓷器和藝術品的主要經銷商之一。他和妻子創立了Pao＆Moltke Ltd古玩店，他們的古玩店從1980年代到2000年代初期曾是多倫多時尚的Yorkville地區的熱門店鋪。 品相：狀況極佳，有輕微磨損、微小的刻痕，以及製造缺陷，例如玻璃內部的氣泡和其他小缺陷。 重量：128.6 克 尺寸：高 18 釐米 內襯絲綢蓋盒 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2009年9月16日，lot 170 估價：USD 3,000（相當於今日EUR 3,900） 描述：清代黃地套寶石紅色龍紋筆桿 專家評論：比較非常相近的外形和裝飾。請注意為黃地。
Lot 281
AN EXCEPTIONAL OPENWORK AND RETICULATED IVORY 'HUNDRED BOYS' VASE AND COVER, LATE QING TO REPUBLICChina, late 19th to early 20th century. The ovoid body rising from a waisted foot to a concave neck with an everted rim, meticulously carved with innumerable boys engaging in leisurely pursuits, decorated with key-fret, bat, ruyi-head, leiwen, and floral bands. Provenance: From the private collection of a French diplomat. Condition: The neck with discoloration and extensive crackling to the ivory due to heat influence, areas of touchup limited to the neck, otherwise in superb condition with minor wear, minuscule nicks, and occasional light scratches. The lid slightly paler than the vase.CITES: European Union Certificate number AT 23-B-0294, dated 27.7.2023. Weight: 2,044 g Dimensions: Height 32.6 cm The domed oval cover with a finial in the form of two boys seated on a lotus leaf, one playing the flute and the other gleefully laughing. The present piece is decorated with the subject of the 'Hundred Boys', a very popular motif in porcelain decoration as it symbolizes the Chinese perpetual wish for many sons. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 63, the 'Hundred Boys' theme has its origins in the Western Zhou dynasty when King Wen of the Zhou adopted one son in addition to his ninety-nine sons to complete the number of one hundred.Auction result comparison: Type: Closely relatedAuction: Christie's London, 11 November 2011, lot 1345Price: GBP 32,450 or approx. EUR 60,000 converted and adjusted for inflation at the time of writingDescription: A large carved ivory vase and cover, 19th centuryExpert remark: Compare the closely related vase and cover, possibly from the same workshop, but slightly larger (41 cm), and depicting the immortals as the main subject instead of the hundred boys.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 清末民初象牙鏤空雕嬰戲圖瓶 中國，十九世紀末至二十世紀初。瓶身呈圓柱形，瓶身分層精心雕刻著嬰戲圖，有玩耍的，有玩琴的，有舞龍的，並裝飾著雷紋、蝙蝠與纏枝花卉紋。 來源：法國外交家私人收藏。 品相：頸部因熱影響而變色，表面有大量裂紋，頸部有修補。基本狀況極佳，輕微磨損，小刻痕，局部輕微劃痕。 蓋子比花瓶略微白。CITES:歐盟證書編號AT 23-B-0294，於2023年7月27日發行。 重量：2,044 克 尺寸：高32.6厘米 拍賣結果比較：形制：非常相近拍賣：倫敦佳士得，2011年11月11日，lot 1345價格：GBP 32,450（相當今日EUR 60,000）描述：十九世紀象牙蓋瓶專家評論：比較非常相近的瓶和蓋，或許來自相同作坊，尺寸稍大(41厘米)，並以仙人為主要題材，而不是百童。
Lot 345
A WHITE JADE 'ABSTINENCE' PLAQUE, LATE QING DYNASTYChina, 19th century. The pendant carved and pierced on each side with two confronting kui dragons forming an archaistic scroll that frames the rectangular cartouche at the center. One side with two characters reading 'zhai jie' (abstinence) in Chinese and the other similarly inscribed with the same text in Manchu script. The stone of a good white tone with a few russet inclusions and some dark spots.Provenance: Scottish trade.Condition: Excellent condition with minor wear.Weight: 46.8 gDimensions: Length 6.5 cm (the plaque excl. tassels) With buff strings suspending two tassels, one of cream and the other of lime-green color. These probably date from the earlier 20th century.Small abstinence plaques, inscribed with characters in Mandarin and Manchu meaning 'abstinence', were a physical sign of the ceremonial requirement for abstinence before the worship of ancestors, the Heavens, or other deities. The required abstinence involved refraining from eating meat and fragrant herbs such as onions, chives and garlic, consuming alcohol, and from any intimate acts, and usually lasted for three days. Abstinence plaques were made in various materials, including jade, bamboo, painted enamel, and porcelain. Devotional in origin, the small plaque would have functioned as a private aide-memoire to the wearer to abstain from earthly pleasures but became in itself a thing of beauty to be admired publicly and to enhance the status of the wearer.Auction result comparison: Type: RelatedAuction: Christie's New York, 19 September 2014, lot 1281Price: USD 30,000 or approx. EUR 35,500 converted and adjusted for inflation at the time of writingDescription: A white jade 'abstinence' plaque, Qing dynastyExpert remark: Compare the related form and manner of carving as well as the closely related inscriptions. Note the smaller size (4.4 cm). 清末白玉齋戒牌中國，十九世紀。玉牌長方形，四邊鏤空雕刻，上面雕刻有兩條相對的夔龍。一面中央長方開光，内刻有“齋戒"二字。另一面刻有相同的滿文。白玉帶有一些黃褐色內沁和一些黑點，整體古樸瑩潤。 來源：蘇格蘭古玩交易 品相：狀況良好，有輕微磨損。 重量：46.8 克 尺寸：長 6.5 厘米 (不含流蘇) 淺黃色的繩子懸掛著兩根流蘇，一根是奶油色，另一根是檸檬綠色，可能來自是二十世紀初。拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2014年9月19日，lot 1281 價格：USD 30,000（相當於今日EUR 35,500） 描述：清代白玉刻齋戒佩 專家評論：比較相近的外形、雕刻風格，以及非常相近的款識。請注意尺寸較小(4.4厘米)。
Lot 383
A PUCE-ENAMELED 'LANDSCAPE' SNUFF BOTTLE, REPUBLIC PERIODChina, 1912-1949. Of meiping form with a baluster body supported on a short foot, the broad rounded shoulders surmounted by a short waisted neck and galleried rim with a flat lip. The exterior finely enameled with a vast mountainous landscape, a tranquil river meandering past rocky banks with tall trees and a pavilion, a scholar and his pupil admire a gushing waterfall in the distance, framed by blue-enameled (not underglaze) crashing waves above the foot and a band of alternating pendent trefoils and tassels to the neck.Inscriptions: One side with a poetic inscription, 'The mountains are green all over and reflect in the river / In the sound of a cuckoo, the rain is like the mist'. Three seals.Provenance: From a noted Chinese private collector based in London, United Kingdom.Condition: Very good condition with minor wear and manufacturing irregularities including minor dark spots. Some fritting to the stopper.Stopper: Glazed porcelain (matching) Weight: 65.9 g Dimensions: Height incl. stopper 80 mm, Diameter neck 11 mm and mouth 7 mm The recessed base with an apocryphal blue-enameled four-character mark Qianlong nianzhi.Literature comparison: The present lot takes its inspiration from Qianlong-period puce-enameled snuff bottles decorated with landscapes. Compare a Beijing enamel snuff bottle with a puce-decorated European landscape, Qianlong mark and period, at Sotheby's Hong Kong, 9 April 2006, lot 1812. Compare a Beijing enamel snuff bottle with a puce-decorated landscape, with a Qianlong mark and period, at Sotheby's Hong Kong, 10 February 2021, lot 3016. 民國琺瑯彩紅山水鼻煙壺中國，1912-1949。小口、短頸、豐肩、瘦底、圈足。外壁琺瑯紅彩通景繪山水人物圖。畫面中水面開闊，山石連綿，一位文人和他的學生欣賞遠處瀑布。足部藍彩波浪紋。頸部有一條交替下垂的流蘇紋飾帶。 款識：綠遍山原色滿川，子規聲裏雨如烟。鈴印：旭，印；乾隆年製 來源：英國倫敦的著名中國私人收藏家。 品相：狀況非常好，有輕微磨損和製造缺陷，包括輕微黑點。壺蓋上有些磨損。 壺蓋: 陶瓷 重量：65.9克 尺寸：含蓋高 80 毫米，頸部直徑11 毫米，壺口直徑 7毫米 圈足内藍彩“乾隆年製"紀念款。 文獻比較： 本拍品的靈感來自於乾隆時期的紫琺瑯山水鼻煙壺。比較一件乾隆款及年代北京紫琺瑯歐式山水鼻煙壺，見香港蘇富比，2006年4月9日，lot 1812。比較一件清乾隆銅胎北京畫琺瑯胭脂紅山水鼻煙壺，見香港蘇富比，2021年2月10日，lot 3016。
Lot 385
AN UNUSUAL 'ROBIN'S EGG' GLAZED PORCELAIN SNUFF BOTTLE, CHINA, 1780-1860The cylindrical body supported on a tapered foot and rising to a rounded shoulder surmounted by a waisted neck with a lipped rim. Covered in a turquoise and sapphire-blue 'Robin's Egg' glaze save for the foot, which reveals the white ware. The glaze is of exceptional quality, the turquoise completely even and opaque, the translucent sapphire-blue swirls applied with remarkable precision and density, showing an elegant luster and unctuous feel overall.Provenance: Clare Chu, Asian Art Studio, Los Angeles, California. Cynthia Graser Locke, USA, acquired from the above. A copy of the original invoice from Asian Art Studio, dated 19 November 2003, signed by Clare Chu, accompanies this lot. Note that Clare Chu dated this bottle 1800-1880 in her invoice. Clare Chu has been active in the field of Chinese snuff bottles for 40 years as a gallery owner, curator, auction consultant, lecturer, and writer. She is the author of many articles, books, and snuff bottle catalogs, and has curated exhibitions at the Los Angeles County Museum of Art (2016), and at the Walters Art Museum in Baltimore (2018). In October 2021 she curated an exhibition of over 750 snuff bottles held at the Dr. Sun Yat-Sen Memorial Hall in Taipei. Cynthia Graser Locke (1923-2019) was an American collector of snuff bottles who lived in Duxbury, Massachusetts. She was an active member of the International Chinese Snuff Bottle Society which allowed her to travel the world, attending many of the Society's conventions.Condition: Excellent condition with minor wear and manufacturing flaws. Stopper: Ruby-red glass stopper with a beaded metal rim and spoon. Weight: 45 g Dimensions: Height including stopper 75 mm. Diameter neck 12 mm and mouth 7 mm. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 26 May 2013, lot 106 Price: HKD 125,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A 'robin's egg' porcelain 'double-gourd' snuff bottle, probably Imperial, Qing dynasty, Qianlong / early Jiaqing period Expert remark: Compare the related, but earlier robin's egg glaze. Note the double-gourd form. 1780-1860年爐鈞釉陶瓷鼻煙壺圓柱形壺身，圈足，溜肩。 壺身施綠松石色和寶石藍色的爐鈞釉，足部露出了白色胎。釉色品質卓越，松石色完全均勻不透明，色彩鮮亮，整體呈現出優雅的光澤和盈潤。 來源：加利福尼亞州洛杉磯Clare Chu亞洲藝術藝廊；美國Cynthia Graser Locke，購自上述藝廊。此拍品附有亞洲藝術藝廊於 2003 年 11 月 19 日出具的原始發票副本，並由 Clare Chu 簽名。請注意，Clare Chu 在她的發票中將這件鼻煙壺日期標註為 1800-1880 年。 Clare Chu作為藝廊老闆、策展人、拍賣顧問、講師和作家，活躍在中國鼻煙壺領域40年。她是許多文章、書籍和鼻煙壺目錄的作者，並在洛杉磯縣藝術博物館（2016年）和巴爾的摩沃爾特斯藝術博物館（2018年）策劃了展覽。2021年10月，她在台北國父紀念館策劃了一場展出超過750個鼻煙壺的展覽。Cynthia Graser Locke (1923-2019年) 是一位住在美國馬薩諸塞州達克斯伯里的鼻煙壺收藏家。她是國際中國鼻煙壺協會的活躍成員，她曾環遊世界，參加協會的許多會議。 品相：狀況良好，有輕微磨損和製造缺陷。 壺蓋：寶石紅色玻璃塞，帶有串珠金屬邊緣和勺子。 重量：45 克 尺寸：含蓋高75 毫米，頸部直徑12 毫米及壺口直徑7 毫米. 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2013年5月26日，lot 106 價格：HKD 125,000（相當於今日EUR 18,500） 描述：清乾隆 / 嘉慶初年爐鈞釉葫蘆鼻煙壺或御製 專家評論：比較相近的爐鈞釉面。請注意雙葫蘆的外形。
Lot 386
A MOLDED AND CARVED PORCELAIN 'CABBAGE' SNUFF BOTTLE, CHINA, 1850-1920Crisply molded in the form of a baicai (Chinese cabbage), standing on its top end, the mouth rim formed from the base of the stalk, the leaves carefully articulated with naturalistic veins, a top portion of some folded back as they wilt to reveal the smooth, inner portion of the bud, the exterior finely enameled in shades of green.Provenance: French trade.Condition: Excellent condition with minor wear and firing irregularities, very minor loss to enamel at the rim. Stopper: Glass Weight: 40 g Dimensions: Height including stopper 79 mm. Diameter neck 11 mm and mouth 9 mm. In Hidden Meanings in Chinese Art, T. T. Bartholomew remarks that because of its green (qing) and white (bai) colors, “the Chinese cabbage is a pun for qing and qingbai, both meaning 'without stain', as in a clean personal record." Bartholomew also notes that the second character of the word for cabbage (cai) is a pun for 'wealth', and that the Chinese believe that eating this vegetable will help one gain prosperity.Literature comparison:Compare to two related bottles from the same group in the J & J Collection, illustrated by Moss et. al., The Art of the Chinese Snuff Bottle, vol. 1, no. 245. Comparison between the two bottles reveals that minor details of incised and smaller raised lines were added after the principal features were imposed by the mold. Also compare another related carved white jade cabbage-form bottle in the collection of Denis Low and illustrated by R. Kleiner, Treasures from the Sanctum of Enlightened Respect, p. 68, no. 55Auction result comparison: Type: Near-identicalAuction: Christie's New York, 22 March 2007, lot 58Price: USD 6,000 or approx. EUR 8,100 converted and adjusted for inflation at the time of writingDescription: A molded porcelain cabbage-form snuff bottle, 1850-1920Expert remark: Note the identical form, similar decoration and size (71.8 mm). 1850-1920年堆塑白菜鼻煙壺堆塑雕刻成白菜的形狀，根部朝上成壺口，葉子紋理刻畫自然，皺褶形象生動，綠色琺瑯深淺不一，更顯獨特。 來源：法國古玩交易。品相：狀況極佳，有輕微磨損和燒製不規則，邊緣琺瑯小缺損。 壺蓋：玻璃 重量：40 克 尺寸：含蓋高79 毫米，頸部直徑11 毫米, 壺口直徑9 毫米文獻比較： 比較兩件相近鼻煙壺，收藏於J & J Collection，見Moss編，《The Art of the Chinese Snuff Bottle》，卷1，編號245。比較兩件鼻煙壺，有雕刻和較小凸起線的小細節。比較另一件相近的白玉雕花白菜鼻煙壺，Denis Low收藏，見R. Kleiner，《Treasures from the Sanctum of Enlightened Respect》，頁68，編號55。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2007年3月22日，lot 58 價格：USD 6,000（相當於今日EUR 8,100） 描述：1850-1920年白玉雕花白菜鼻煙壺 專家評論：請注意相同的外形，相似的裝飾和尺寸(71.8毫米)。
Lot 387
A MOLDED AND SANCAI-GLAZED PORCELAIN 'LION AND CUB' SNUFF BOTTLE, 1790-1830China. Modeled as a Buddhist lion sitting upright, its mouth slightly agape revealing sharp fangs, the face molded with a fierce expression and a pair of round bulging eyes above a ruyi-shaped nose, the figure clutching a cub nestling a brocade ball. The felines covered in green, chestnut, and straw-colored glazes.Provenance: From an old Swiss private collection.Condition: Very good condition with minor wear and firing irregularities, a small chip to one paw.Stopper: Pearl and coral stopper Weight: 38.1 g Dimensions: Height including stopper 67 mm. Diameter neck 13 mm and mouth 7 mm. Literature comparison:For a related white glazed snuff bottle, dated 1796-1820, see Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, Vol. 6, Part 2, Arts of the Fire, Hong Kong, 2008, pp. 443-444, no. 1197. Compare a polychrome enamel snuff bottle, ibid. p. 444, fig. 2, which is illustrated in the famous William Bragge Collection Album. 1790-1830年三彩堆塑太獅少獅陶瓷鼻煙壺中國。對塑成一隻太獅，端坐，嘴微張，露出鋒利的獠牙，鼻樑圓鼓，如意鼻，懷抱一幼崽，抱著一個錦球。全身覆蓋著綠色、栗色和草黃色的釉料。 來源：瑞士私人收藏。 品相：狀況極好，有輕微磨損和燒製不規則，一隻爪子上有一個小缺口。 壺蓋：珍珠和珊瑚壺蓋 重量：38.1 克 尺寸：含蓋高67 毫米. 頸部直徑13 毫米 壺口直徑7 毫米文獻比較： 一件相近的1796-1820年白釉面鼻煙壺，見Hugh Moss，《Victor Graham and Ka Bo Tsang，A Treasury of Chinese Snuff Bottles，The Mary and George Bloch Collection》，卷6，第二部分，Arts of the Fire，香港，2008年，頁443-444，編號1197。比較一件的彩釉鼻煙壺，見上書，頁444，圖2，插圖可見於有名的 William Bragge Collection Album。
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