A MOLDED AND YELLOW-GLAZED PORCELAIN 'EAR OF CORN' SNUFF BOTTLE, LATE QING TO REPUBLIC PERIODChina, 1860-1940. The biscuit is naturalistically modeled in the form of an ear of corn with a rounded mouth and circular foot rim, covered overall in a yellow glaze save for the rim.Provenance: Eldred's, East Dennis, Massachusetts, USA, 27 August 2004. Collection of Cynthia G. Locke, acquired from the above and thence by descent. A copy of the original stamped and signed invoice from Eldred's, dated 27 August 2004, accompanies this lot. 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: Very good condition with minor old wear and expected manufacturing irregularities, such as tiny nicks and minuscule pitting.Stopper: Pink quartzWeight: 36.5 gDimensions: Height including stopper 80 mm. Diameter neck 12 mm and mouth 7 mm. Literature comparison: A closely related porcelain snuff bottle, also dated 1860-1940, 7 cm high, was exhibited by Bonhams San Francisco in the San Francisco Bay Area Snuff Bottle Collectors Exhibition, 25-29 October 2022, item 80.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 December 2021, lot 1093 Price: HKD 11,340 or approx. EUR 1,400 converted and adjusted for inflation at the time of writing Description: A green-glazed porcelain 'corn' snuff bottle, Qing dynasty, 19th centuryExpert remark: Compare the closely related form and size (7 cm). Note the different color and lost stopper.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 22 June 2010, lot 2046Estimate: USD 1,000 or approx. EUR 1,300 adjusted for inflation at the time of writing Description: A porcelain snuff bottle, Late Qing/Republic PeriodExpert remark: Compare the closely related form, color, and size (7 cm). 清末民初玉米穗鼻煙壺中國，1860-1940年。鼻煙壺呈玉米穗狀，壺口圓潤，圈足，除口沿外通體施黃釉，十分可愛。 來源：美國馬薩諸塞州東鄧尼斯Eldred's,藝廊，2004年8月27日；Cynthia G. Locke私人收藏，購於上述藝廊，保存至今。隨附一份藝廊2004年8月27日出具的蓋章並簽名的發票複印件。Cynthia Graser Locke (1923-2019年) 是一位住在美國馬薩諸塞州達克斯伯裡的鼻煙壺收藏家。她是國際中國鼻煙壺協會的活躍成員，環遊世界去參加協會的許多會議。 品相：狀況極好，有輕微的磨損和製造缺陷，例如微小的刻痕和點蝕。 壺蓋：粉紅石英 重量：36.5 克 尺寸：含壺蓋高80 毫米，頸部直徑12 毫米及壺口直徑 7 毫米 文獻比較： 一件非常相近的1860-1940 黃釉模製瓷胎玉米形鼻煙壺，高7 釐米，展覽於舊金山邦瀚斯《San Francisco Bay Area Snuff Bottle Collectors Exhibition》，2022年10月25-29日，編號80。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比， 2021年12月3日，lot 1093 價格：HKD 11,340（相當於今日EUR 1,400） 描述：清十九世紀瓷胎綠釉玉蜀黍形鼻煙壺 專家評論：比較非常相近的外形和尺寸(7 釐米)。請注意不同的顏色和壺蓋。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2010年6月22日，lot 2046 估價：USD 1,000（相當於今日EUR 1,300） 描述：清末民初玉米穗鼻煙壺 專家評論：比較非常相近的外形、顏色和尺寸(7 釐米)。
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AN IRON-RED ENAMELED SGRAFFIATO PORCELAIN 'DRAGON' SNUFF BOTTLE, 1820-1900China. Of rounded rectangular form, its cylindrical neck incised with a key-fret band, slightly convex lip, glazed interior, painted around the side walls in iron-red with a five-clawed dragon diving through incised waves, all above a border of further wave patterns surrounding a gently tapered oval foot ring, the recessed base decorated with a dragon head among stylized clouds.Provenance: Galerie Allain, Paris, February 1944 (according to an ancient family ledger inspected by Cabinet Portier, Paris, France, during their appraisal of the complete de Strycker estate; this ledger remains in the possession of the de Strycker family and may not be copied). Collection of Robert and Isabelle de Strycker, acquired from the above and thence by decent in the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Condition: Very good condition with minor old wear and some firing irregularities. The stopper with a minor nick.Stopper: Jadeite Weight: 52.7 g Dimensions: Height including stopper 73 mm. Diameter neck 17 mm and mouth 7 mm. The body of the dragon on the present bottle is painted in a fashion that is partially interrupted and covered by incised wave patterns, creating a dynamic effect in presenting a mighty dragon charging through turbulent seas.Literature comparison:Compare a closely related snuff bottle from the Collection of Brooks and Dorothy Cofield, illustrated on the cover of The International Chinese Snuff Bottle Society Journal, August 2015. Compare a related snuff bottle in the Victoria & Albert Museum, accession number C.446&STOPP-1926. Compare a related snuff bottle illustrated by Hugh Moss, Chinese Snuff Bottles From the Collection of the Rt. Hon. The Marquess of Exeter, K.C.M.G., 1974, p. 37, fig. C.31.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 14 March 2016, lot 6004Price: USD 2,125 or approx. EUR 2,500 converted and adjusted for inflation at the time of writing Description: An enameled and incised porcelain 'dragon' snuff bottle, 1820-1900Expert remark: Note the size (6.4 cm). 1820-1900年軋道礬紅彩龍紋鼻煙壺中國，扁平壺，直頸，溜肩，橢圓圈足。瓶內外施釉，外壁粉彩繪製五爪雲龍，一面龍頭碩大，瞠目回望，從暗紋所刻雲中探出，鬃發後揚，氣勢磅礴；另一面可見龍尾，兩側有龍爪在雲中顯現。 來源：巴黎Allain藝廊，1944年2月 (根據法國巴黎 Cabinet Portier 在對整個 de Strycker 莊園進行評估時檢查過的一份家族帳本所記載；該帳本仍由 de Strycker 家族所有，不得複製)。品相：狀況極好，有輕微磨損和一些燒製不規則。壺蓋帶有小刻痕。 壺蓋: 翡翠 重量：52.7 克 尺寸：含蓋高 73 毫米，頸部直徑17 毫米與壺口直徑7 毫米。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
A LARGE FAMILLE ROSE 'COWHERD AND WEAVER MAIDEN' SNUFF BOTTLE, IMPERIAL, JINGDEZHEN KILNS, DAOGUANG FOUR-CHARCTER MARK AND OF THE PERIODExpert's note: Remarkable attention to detail has been paid to the scene depicted on this bottle. The robes of Niulang for example are masterfully enameled with floral medallions showing incredibly fine detail. The magpies carry Zhinu and her attendant on brightly colored clouds, which confirms that this is the scene in the famous story where the two lovers eventually re-unite.China, 1821-1850. Masterfully painted in crisp polychrome enamels, gilt and iron red on a white ground with a continuous scene from the tale of the cowherd and the weaver maiden. The work shows Niulang wearing finely enameled and gilt robes atop his ox riding towards two maidens, Zhinu and her attendant, who are being carried down by magpies on brightly colored clouds. The compressed body is further decorated with a gilt band above the tall foot and another along the ring of the circular mouth.Provenance: German trade. By repute acquired from a private estate. Condition: Superb condition with expected wear from handling, some minor firing irregularities, and rubbing to the gilt.Weight: 132.3 g Dimensions: Height 9 cm. Diameter of the neck 19 mm and mouth 9 mm. The base with an iron red four-character mark Daoguang nian zhi and of the period.The story of the cowherd and the weaver maiden is a Chinese folk romance which originated from worship of celestial phenomena. It became very popular during the Daoguang period and tells of a young cowherd named Niulang (literally 'the cowherd,' representative of the star Altair) who came across seven celestial sisters bathing in a lake. Encouraged by his mischievous ox, Niulang stole the women's clothes and hid, watching for them to come out of the water. The sisters elected the youngest and most beautiful sister Zhinu (literally 'the weaver girl,' representative of the star Vega) to retrieve their garments. Zhinu agrees to retrieve them but realized she had been espied. Knowing Niulang had seen her nakedness, Zhinu decided to marry the cowherd after he proposed, enamored with her beauty. Both fell deeply in love and had two children. However, after the Goddess of Heaven discovered that Zhinu had married a mere mortal, she became outraged. The Goddess ordered Zhinu to return to heaven, and in an alternative version the Goddess forces Zhinu back to her former duty of weaving colorful clouds which she had neglected to do while living on earth. Heartbroken from the loss of Zhinu, Niulang's ox instructed Niulang to put him to death and don his hide, which would enable Niulang to go up to Heaven and find his wife. In grief Niulang did as instructed, sneaking into heaven with the help of his ox's hide. His act enraged the goddess who created a river in the sky to separate the two lovers, thus creating a divide between Altair and Vega. However, once a year the magpies would take pity on the two lovers and carry them in the sky to see each other. Auction result comparison: Type: Related Auction: Christies New York, 17 Sept 2008, lot 21 Price: USD 13,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: An Enameled Porcelain Snuff Bottle, Imperial, Jingdezhen Kilns, Daoguang Four-Character Seal Mark (1821-1850) Expert remark: Compare the technique of enameling, quality of painting, molding of the ware, mark and style. Note the smaller size (5.8 cm). 道光款及年代粉彩《牛郎織女》鼻煙壺，御用景德鎮窯中國，1821-1850年。圓柱體頸部，溜肩，鼓腹，圈足。白地琺瑯彩、鎏金和礬紅釉通景描繪牛郎織女相識的場景。牛郎正站在牛旁邊，向兩位神女拱手；另一面，織女們站在五彩祥雲上，四周喜鵲飛舞。圈足内有礬紅色四字款“道光年製"。 來源：德國古玩交易，據説來自一個私人莊園。品相：品相極好，磨損、一些輕微的燒製不規則，以及鎏金磨損。 重量：132.3 克 尺寸：高9 厘米，頸部直徑19 毫米及壺口直徑9 毫米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2008年9月17日，lot 21 價格：USD 13,750（相當於今日EUR 16,500） 描述：道光款及年代景德鎮御用琺瑯鼻煙壺 專家評論：比較琺瑯技巧、繪畫材質、模型、款識和風格。請注意尺寸較小(5.8 厘米)。
A WHITE-GLAZED JAR, TANG DYNASTYChina, 618-907. Of globular form, the body rising from a narrow foot to voluminous rounded shoulders with a short waisted neck surmounted by a rolled rim. The interior and exterior covered in a translucent creamy white glaze above a white slip. Parts of the lower body and the flat base unglazed, thus exposing the pale buff body with its characteristic pinkish hue.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age, showing some old wear and minor manufacturing irregularities, including glaze recesses and dark spots. Expected glaze flaking, minor losses, light scratches.Weight: 1018.1 gDimensions: Height 16.5 cm Literature comparison:Compare a related jar in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, Tokyo, 1996, no. 90; and in Mayuyama, Seventy Years, Tokyo, 1976, p. 83, no. 219. Compare a related white-glazed pottery jar illustrated by Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, pp. 138-139, no. 229. Compare four related jars of varying sizes (14.3 to 25.5 cm. high), illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 97, pl. 261 and p. 83, pls. 219-22.Auction result comparison: Type: Closely relatedAuction: Christie's 29 March 2006, lot 394Price: USD 3,600 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A white-glazed baluster jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (20.9 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 20 March 2023, lot 4Price: USD 7,013 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: Two white glazed pottery vessels, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.5 cm) and that this lot also comprises a shallow bowl.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 24 Mar 2023, lot 1002Price: USD 6,300 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A glazed white ware jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.4 cm). 唐代白釉罐中國，618-907年。侈口，短頸，豐胸，弧腹，平底。 通體覆蓋著半透明的白色釉。足部無釉，露淺黃色胎。來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。 品相：品相良好，有一些磨損和輕微的製造缺陷，包括釉面凹陷和黑點，輕微缺損與劃痕。 重量：1018.1 克 尺寸：高 16.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2006年3月29日，lot 394 價格：USD 3,600（相當於今日EUR 5,100） 描述：唐代白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(20.9厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2023年3月20日，lot 4 價格：USD 7,013（相當於今日EUR 6,500） 描述：唐白陶萬年罐及白陶壁足碗各一 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.5厘米)，以及此有一件淺碗。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2023年3月24日，lot 1002 價格：USD 6,300（相當於今日EUR 5,900） 描述：唐白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.4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
A HENAN RUSSET-SPLASHED BLACK-GLAZED JAR, NORTHERN SONG TO JIN DYNASTYChina, 960-1234. The globular body rising from a short straight foot to a cylindrical neck with a lipped rim, set with a pair of strap handles. Covered to the horizontally ribbed interior and the exterior with a lustrous black glaze splashed with russet around the rim and handles, the glaze falling well short of the foot and pooling attractively in thick drops to reveal the buff-colored body.Provenance: From the collection of Grahame Clarke, and thence by descent within the same family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Very good condition with expected old wear and manufacturing irregularities, including glaze recesses, the foot chipped.Weight: 776.9 gDimensions: Height 10.8 cm Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 15 September 2018, lot 1414Price: USD 9,375 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: A russet-splashed black glazed jar, Northern Song/Jin dynastyExpert remark: Compare the related form and glaze with similar pooling and russet splash. Note the size (11.6 cm). 北宋至金河南黑釉鐵鏽斑雙耳罐中國，960-1234年。直口，削肩，雙繫耳，圈足。內外施有光澤的黑釉，邊緣和雙耳有鉄鏽斑色釉，釉料到罐身中間不問形成釉滴，露出淺黃色的身體。足下露胎。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 Highland Stoneware。 在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況非常好，有磨損和製造不規則，包括釉面凹陷、腳部缺口。 重量：776.9 克 尺寸：高 10.8 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2018年9月15日，lot 1414 價格：USD 9,375（相當於今日EUR 10,500） 描述：北宋 / 金黑釉醬斑雙繫罐 專家評論：比較相近的外形和褐黑色滴釉釉面。請注意尺寸(11.6厘米)。
A LARGE LOBED QINGBAI GLAZED PORCELAIN BOWL, SONG DYNASTYChina, 960-1279. Of conical form supported on a short straight foot rising to a gently everted rim. The rounded sides divided into six petal lobes by notches around the rim. The interior carved and combed with foliate designs, covered overall in a smooth grayish-straw glaze save for the base.Provenance: From the collection of Teddy Hahn, Darmstadt, and thence by descent to the present owner. Theodor “Teddy" Hahn (1933-2012) was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been."Condition: Very good condition with minor wear and manufacturing irregularities including pitting and dark spots. Some crackling and minor glaze lines. Few shallow chips to foot.Weight: 387.5 gDimensions: Diameter 18.1 cm Expert's note: Among the Fujian Qingbai, there is an interesting group of thinly potted bowls with more elaborately carved and combed floral or wave motifs. They usually have a straw color or grayish-white glaze and are characterized by pooling of glaze near the inner and outer rim and sometimes even the inner and outer wall. It has been argued that the glaze is intended to imitate the ivory Ding glaze with the typical pooling of teardrop-like effect. The Minqing Yi kiln has been identified as the major place that produced such bowls. Substantial quantities were recovered from the Nanhai 1, the Indonesian Java wreck, and the Philippines Breaker Shoal wreck.Literature comparison:Compare a related bowl of similar form, associated with the Tongan kilns of Fujian, dated to the 13th century, exhibited by the Southeast Asian Ceramics Society, and illustrated in Chinese Celadons And Other Related Wares in Southeast Asia, Singapore, 1979, pp. 156-157, no. 78, pls. 66-67. Compare closely related bowls from the cargo of the Nanhai no. 1 shipwreck, illustrated in the Nanhai Ship No. 1 1989-2004 Excavation Report, p. 434-436.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 26 Jun 2019, lot 6Price: USD 5,625 or approx. EUR 6,200 converted and adjusted for inflation at the time of writingDescription: A carved Qingbai bowl, Song dynastyExpert remark: Compare the closely related form and similar carving. Note the size (19.7 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2013, lot 1508Price: USD 11,875 or approx. EUR 14,500 converted and adjusted for inflation at the time of writingDescription: A Qingbai carved deep conical bowl, Southern Song dynastyExpert remark: Note the size (19.7 cm). 青白釉刻花葵口碗中國，960-1279年。葵口外翻，淺弧腹，圈足。碗内暗刻卷葉紋，整體施淺灰色白釉，圈足内露胎。 來源：德國達姆施塔特Teddy Hahn收藏，並由其後裔傳承。Theodor “Teddy" Hahn 是一位著名且受人尊敬的根付和其他亞洲藝術品收藏家。他花了很多時間在博物館研究世界早期文化，對雕塑特別感興趣。之後他開始收集，並說道：“我不知何故知道這將對我的生活產生深遠的影響。我是多麼正確啊。 我是多麼高興啊。" 品相：狀況極好，有輕微磨損和製造缺陷，包括凹坑和黑點，一些裂紋和輕微的冲線，足部細微磕損。 重量：387.5 克 尺寸：直徑18.1 厘米文獻比較： 比較一件相近的十三世紀相似外形福建同安窯碗，展覽於《Southeast Asian Ceramics Society》，見《Chinese Celadons And Other Related Wares in Southeast Asia》，新加坡，1979，頁156-157，編號78，圖66-67。比較非常相近的青白瓷碗，出土於南海1號沈船，見南海1號沈船考古報告之一-1989-2004年調查，頁434-436。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年6月26日，lot 6 價格：USD 5,625（相當於今日EUR 6,200） 描述：宋青白釉刻花盌 專家評論：比較非常相近的外形和相近的雕刻。請注意尺寸(19.7厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月20日，lot 1508 價格：USD 11,875（相當於今日EUR 14,500） 描述：南宋青白釉牡丹紋笠式花口盌 專家評論：請注意尺寸(19.7厘米)。
A QINGBAI LOBED CUP AND STAND, SONG DYNASTYChina, 960-1279. Delicately potted, the cup with deep sides rising from a short flared foot to an everted foliate rim with six notches. The matching stand with a hexa-lobed rim and stepped pedestal in the center, all resting on a trefoil-pierced and petal-shaped foot. Both covered overall with a translucent glaze of aquamarine tone. (2)Provenance: From the private collection of a European gentleman.Condition: Superb condition with minor old wear and firing irregularities, the glaze with recesses and some crackling.Weight: 76.1 g (the cup) and 206.9 g (the stand)Dimensions: Diameter 10.9 cm (the cup) and 14.1 cm (the stand), Height 8.8 cm (the cup and stand) Expert's note: The present lot is distinguished by its superb condition, showing only expected wear, glaze crackling, and some firing irregularities. A Qingbai cup and stand of this quality and age, being around 1,000 years old, should be considered rare.Literature comparison:Compare a related cup and stand, excavated from a Northern Song tomb in the city of Nanchang, in 1985, discussed by Chen Baiquan, 'The Development of Song Dynasty Qingbai Wares from Jingdezhen', in The Porcelains of Jingdezhen - Colloquies on Art & Archaeology in Asia, No. 16, R. Scott (ed.), Percival David Foundation, London, 1993, p. 16, pl. 6. Compare a related qingbai cup stand, dated to the Northern Song dynasty, included by Mayuyama & Co. Ltd, in the exhibition catalog, Song Ceramics, 2014, p. 49, no. 31. Compare a related qingbai cup and stand from the Baur collection, illustrated in John Ayers, Chinese Ceramics in the Baur Collection, vol. 1, Geneva, 1968, pl. A120. Compare a related cup and stand in the Eugene Bernat collection, included in the exhibition Chinese Ceramics of the Sung Dynasty, Currier Gallery of Art, Manchester, 1959, cat. no. 66, and illustrated in Sir Harry M. Garner and Margaret Medley, Chinese Art in Three-dimensional Colour, vol. III, London, 1969, p. 210, reel 29, no. 3. Compare a related cup and stand in the Muwen Tang collection, included in the exhibition Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 103. Compare a cup and stand from the Toguri Museum, Tokyo, illustrated in Chugoku toji meihin zuroku ('Chinese Ceramics in the Toguri Collection'), Tokyo, 1988, no. 50. Compare a related Qingbai bowl and stand, Song dynasty, 11th-12th century, in the British Museum, illustrated by S.Pierson, Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties, London, 2002, no. 55.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 22 March 2023, lot 731Price: USD 13,970 or approx. EUR 13,000 converted at the time of writingDescription: A Qingbai lobed cup and stand, Southern Song dynastyExpert remark: Compare the closely related form and glaze. Note the related size (14.7 cm).Auction result comparison: Type: Closely relatedAuction: Bonham's London, 12 May 2022, lot 162Price: GBP 10,838 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A Qingbai-glazed tea bowl and a stand, 12th centuryExpert remark: Compare the closely related form and glaze. Note the related size (14.5 cm).Auction result comparison: Type: Closely relatedAuction: Christie's Hong Kong, 3 December 2021, lot 2806Price: HKD 225,000 or approx. EUR 27,500 converted and adjusted for inflation at the time of writingDescription: A Qingbai foliate rim cup and cup stand, Northern Song dynastyExpert remark: Compare the closely related form and glaze. Note the related size (14.7 cm). 宋代青白荷葉口杯及底座中國，960-1279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
A MONUMENTAL BLUE AND WHITE 'KRAAK' CHARGER, WANLI PERIODChina, 1572-1620. The rounded sides supported on a short foot and rising to a flared and barbed rim. Boldly painted in shades of cobalt blue with a central star-shaped panel enclosing a qilin in an animated striding pose with the head turned backward amid rockwork, plantain leaves, swirling clouds, and pines, surrounded by alternating floral designs and brocade patterns. The broad rim is decorated with radiating panels enclosing auspicious treasures and floral sprays separated by further brocade patterns and geometric designs. The exterior with stylized flaming pearls within lappets.Provenance: From an old private collection in Berlin, Germany. Condition: Old wear and firing irregularities, including pitting, glaze recesses, and kiln grit. A small hairline to the rim and a minute chip to the foot. The rim with some fritting inherent to manufacturing. Overall in very good condition, commensurate with age and size, and displaying exceptionally well.Weight: 3,655 g Dimensions: Diameter 50.8 cm Auction result comparison: Type: Closely related Auction: Christie's Amsterdam, 1 April 2009, lot 214 Price: EUR 11,250 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A Chinese late Ming blue and white 'kraak porcelain' charger, circa 1595-1610 Expert remark: Compare the closely related form and decoration, with a related central motif albeit depicting a tiger. Note the smaller size (46.9 cm).Auction result comparison: Type: Closely related Auction: Christie's London, 17 May 2013, lot 1373 Price: GBP 10,625 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: A very large blue and white kraak porcelain charger, Wanli period Expert remark: Compare the closely related decoration and manner of painting with similar panels enclosing precious objects alternating with floral sprays. Note the similar size (52.7 cm). 萬曆時期青花克拉克瓷大盤中國，1572-1620年。克拉克瓷盤敞口外翻，淺弧腹，圈足。盤心繪奔跑中的麒麟，周圍是岩石、芭蕉葉、漩渦雲和松樹。盤內壁可見如意形開光，開光裡有花卉紋與雜寶紋相間。開光之間珍珠紋相隔。紋飾清晰流暢，青花髮色純正，胎體輕薄，製作頗精。 來源：德國柏林私人舊藏。 品相：磨損和燒製不規則，包括麻點、釉面凹陷和窯砂。邊緣處有一條細小的冲線，腳部有一處微小的缺口。邊緣有一些磨損。重量：3,655 克 尺寸：直徑 50.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：阿姆斯特丹佳士得，2009年4月1日，lot 214 價格：EUR 11,250（相當於今日EUR 15,500） 描述：約1595-1610年明晚期青花克拉克瓷大盤 專家評論：比較非常相近的外形和裝飾，相近的主題 ，但中間有一虎紋。請注意尺寸較小 (46.9 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2013年5月17日，lot 1373 價格：GBP 10,625（相當於今日EUR 19,000） 描述：萬曆時期青花克拉克瓷大盤 專家評論：比較非常相近的裝飾、繪畫風格，與花卉交替出現。請注意相似的 尺寸 (52.7 厘米)。
A WUCAI 'THREE BOYS' JAR AND COVER, SHUNZHI PERIODChina, 1644-1661. Of ovoid form, the body decorated in bright enamels of red, green, aubergine, and yellow as well as underglaze-blue with three boys hanging from the stems of peony blossoms amid leafy scroll, framed by line borders, with stylized wave bands above the foot and to the neck, and a band of lotus and peony blossoms borne on leafy scrolling vines at the shoulder.The domed cover similarly decorated with peony sprays and topped by a bud-form finial.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. M.3.2. The base with an old label, 'Apley 173'. 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: The jar in good condition with expected old wear and firing irregularities, including glaze recesses and a firing crack to the base. Light scratches, glaze flakes, minute chips to foot, and a smoothened chip to the rim. The cover with shallow chips and losses.Weight: 2,382 g Dimensions: Height 28.8 cm Boys were a highly auspicious subject in China, representing wishes relating to fertility. Images of boys with blossoming peonies, such as in the present example, emphasized the wish for family success and for sons to achieve a high social rank by passing the imperial examinations.Literature comparison:Compare a related jar and cover illustrated in Michael Butler, Julia Curtis, and Stephen Little, Shunzhi Porcelain: Treasures from an Unknown Reign, pp. 102-103, pl. 10. Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2019, lot 1112 Price: USD 18,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing Description: A wucai 'boys' jar and cover, Shunzhi period Expert remark: Compare the related form, motif, and wucai decorations. Note differently decorated cover. Note the size (38 cm). 順治五彩《三童戲牡丹》蓋罐中國，1644-1661 年。罐身為直口，豐肩，斂腹，圈足，附寶珠頂高圓蓋。罐身五彩琺瑯描繪纏枝牡丹紋，三個男童在卷葉紋間戲耍。上下修飾卷葉紋。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 M.3.2。 品相：罐子狀況良好，有磨損和燒製不規則，包括釉面凹陷和底部的燒製裂紋，輕微劃痕、釉面剝落、腳部微小缺口，以及邊緣平滑缺口。蓋子有淺缺口和缺損。 重量：2,382 克 尺寸：高 28.8 厘米文獻比較： 比較一件相近的蓋罐，見Michael Butler，Julia Curtis和Stephen Little，《Shunzhi Porcelain: Treasures from an Unknown Reign》，頁102-103，圖10。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年9月13日，lot 1112 價格：USD 18,750（相當於今日EUR 20,500） 描述：清順治五彩嬰戲紋蓋罐 專家評論：比較相近的外形、主題和五彩裝飾。請注意不同的裝飾和尺寸(38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
A BLUE AND WHITE SEAL PASTE BOX AND COVER, EARLY QING DYNASTYChina, late 17th - 18th century. The cylindrical body supported on a short foot, finely decorated in shades of cobalt blue to the top of the cover and the recessed base with chrysanthemum blooms borne on leafy scrolling vines, the sides left plain, covered overall with a transparent glaze. Note that the decoration on the cover being repeated on the base is rather unusual.Provenance: Collection of Alfred Julius Forkel, acquired in China before 1910, and thence by descent in the same family. The base with two old labels, 'IV' and '71/51'. Mentioned in the inventory of the collection, p. 71, no. 51, described as 'Kien Lung blau und weiß Farbnäpfchen'. Alfred Julius Forkel (1873-1934) was born in Bavaria to Johann Wilhelm Forkel and Anna Dorothea Forkel. During his life, Forkel worked as a merchant and later as an officer with the Imperial German Navy. His travels as a merchant and as a naval officer took him across the globe. During his time in China, he assembled a large collection of Chinese porcelain and ceramics.Condition: Very good condition with expected old wear, a minor chip to the rim of the cover. Remnants of red seal paste to the interior of the box and cover along with traces of use.Weight: 149.5 gDimensions: Diameter 7 cm Auction result comparison: Type: Related Auction: Sotheby's London, 10 November 2010, lot 92 Price: GBP 6,250 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A blue and white seal paste box and cover, Qing dynasty, Kangxi period Expert remark: Compare the closely related cylindrical form and related cobalt-blue decoration, albeit with a different motif. Note the related size (7.8 cm) and that the lot comprises two additional porcelains. 清初青花印泥盒中國，十七世紀末至十八世紀。印泥盒圓筒形，短圈足。蓋頂青花描繪纏枝菊花紋，側面素面無紋，通體施透明釉。 請注意，蓋子上的裝飾在底座上重複是相當不尋常的。 來源：Alfred Julius Forkel 收藏，1910年前購於中國，在同一家族傳承至今。底座有兩個標籤 “IV"與“71/51"。在藏品清單中提到，第71頁，51號，描述為 “Kien Lung blau und weiß Farbnäpfchen"。Alfred Julius Forkel（1873-1934 年）出生於巴伐利亞，父親是Johann Wilhelm Forkel，母親是Anna Dorothea Forkel。Forkel曾是一名商人，後來成為德意志帝國海軍的一名軍官。因爲工作遠古他走遍了全球。在中國期間，他收藏了大量中國瓷器和陶瓷。 品相：狀況非常好，有磨損，蓋子邊緣有輕微缺口。盒子內部和蓋子上殘留有印泥顔色以及使用痕跡。 重量：149.5 克 尺寸：直徑 7 厘米 拍賣結果比較：形制：相近 拍賣：倫敦蘇富比，2010年11月10日，lot 92 價格：GBP 6,250（相當於今日EUR 12,000） 描述：康熙青花印泥盒 專家評論：比較非常相近的橢圓外形，相近的青花，但不同的主題。請注意相近的尺寸 (7.8 厘米) ，以及此印泥盒和兩件青花瓷器為一組。
A GE-TYPE VASE, FANGHU, FIRST HALF OF THE 18TH CENTURYChina, 1700-1750. Of rectangular section, the pear-shaped body rising from a short slightly spreading foot to a gently waisted neck, the sides flanked by a pair of lug handles, covered overall with a grayish-blue glaze suffused with a matrix of dark gray, gold, and transparent crackle. The thick and vitreous nature of the glaze is typical for the first half of the 18th century. The broad rectangular foot is unglazed, thus revealing the dark brown ware.Provenance: French trade.Condition: Excellent condition with minor old wear and firing irregularities including pitting and distinct glaze recesses near the rim to the interior and exterior.Weight: 820.8 gDimensions: Height 20 cm The crackles on this vase are known as jinsi tiexian (gold thread and iron wire) and were deliberately induced during the cooling process and later highlighted by staining. The glaze and black dressing are conscious imitations of Song-dynasty Ge ware.Literature: See Catalogue of the International Exhibition of Chinese Art, 1935-6, no. 876, in the collection of Sir Percival David. For related Yongzheng examples, see Catalog of the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, no. 63; Lam, Ethereal Elegance: Porcelain Vases of the Imperial Qing, The Huaihaitang Collection, no. 39, pp. 160-1; and Tie, The Complete Collection of Porcelain of Jiangxi Province: Porcelain of the Qing Dynasty (I), p. 113. Note also the Catalogue of a Special Exhibition of Ch'ing Dynasty Monochrome Porcelains in the National Palace Museum, no. 80, for a Guan-glazed example; and Xu, Treasures in the Royalty: The Official Kiln Porcelain of the Qing Dynasty, p. 205, for a rust-glazed version.Auction result comparison: Type: Closely relatedAuction: Christie's Paris, 13 December 2017, lot 69Price: EUR 25,000 or approx. EUR 29,000 adjusted for inflation at the time of writingDescription: A Ge-type vase, Fanghu, Qing dynasty, first quarter of the 18th centuryExpert remark: Compare the related form and closely related glaze, with similar two-tone crackle, and size (19 cm). Note the everted rim and the slightly more spreading foot. 十八世紀上半葉仿哥窯貫耳壺中國，1700-1750年。器規整而不厚重，圓口，直頸，肩上飾貫耳，腹部下垂圓腹，高圈足微外撇。通體施繪仿哥釉，釉面細膩，開片，鐵足。 來源：法國古玩交易。 品相：狀況良好，有輕微磨損和燒製不規則，包括邊緣附近的凹坑和明顯的内外釉面凹陷。 重量：820.8 克 尺寸：高 20 厘米文獻：見圖錄《International Exhibition of Chinese Art》，1935-6年，編號876，收藏於Sir Percival David。一件相近的雍正方壺，見《清康雍乾名瓷》，故宮博物院，編號63。Lam，《Ethereal Elegance: Porcelain Vases of the Imperial Qing，The Huaihaitang Collection》，編號39，頁160-1。Tie，《The Complete Collection of Porcelain of Jiangxi Province: Porcelain of the Qing Dynasty (I)》，頁113。請注意一件官窯方壺，《清康雍乾名瓷》，編號80。一件銹釉方壺，Xu，《Treasures in the Royalty: The Official Kiln Porcelain of the Qing Dynasty》，頁205。 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2017年12月13日，lot 69 價格：EUR 25,000（相當於今日EUR 29,000） 描述：清十八世紀初仿哥釉貫耳壺 專家評論：比較相近的外形和非常相近釉面，有兩種不同顏色的裂紋，以及尺寸(19厘米)。請注意緣口外翻和足部外撇。
A PAIR OF YELLOW-GROUND BLUE-ENAMELED 'LONGEVITY' DISHES, TONGZHI MARK AND PERIODChina, 1861-1874. Each with shallow rounded sides supported on a short foot, finely decorated to the interior with a central shou character encircled by three concentric bands of further shou characters, one dish with 43 shou characters and the other with 42 shou characters in total, all reserved on an even lemon-yellow ground. The exteriors left white, the recessed bases each with an iron-red six-character mark da Qing Tongzhi nianzhi and of the period. (2)Provenance: London trade.Condition: Very good condition with minor wear and manufacturing irregularities, minor rubbing and small losses to gilt and enamels.Weight: 59.3 and 58.4 gDimensions: Diameter 10 cm (each) Literature comparison: Compare a related dish with gilt shou characters on a coral-red-ground, with a Tongzhi mark and of the period, illustrated in Treasures in the Royalty: The Offical Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 436.Auction result comparison:Type: Closely relatedAuction: Christie's London, 14 May 2019, lot 286Price: GBP 8,125 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: Three yellow-ground blue-enameled 'Shou' vessels, the cup and saucer: Tongzhi four character marks in iron-red and of the period (1861-1874)Expert remark: Note that this lot comprises a cup, saucer, and bowl, all of a closely related design. Note the size (the largest 15.2 cm). 同治款及年代一對黃地藍彩百壽碟中國，1861-1874年。盤敞口，淺弧壁，圈足。裡飾黃釉地藍彩篆書“壽"字紋，以盤心團“壽"字為中心，由里向外排列三周，每週字數不同，但書寫疏密一致。外壁飾白釉地。足內施白釉書紅彩 “大清同治年製" 六字楷書款。 (2) 來源：倫敦古玩交易。 品相：狀況非常良好，有輕微磨損和製造不規則、輕微摩擦，以及鍍金和琺瑯的少量缺損。 重量：分別59.3 克與58.4克 尺寸：直徑各10 厘米 文獻比較： 比較一件相近的同治款及年代珊瑚紅底鎏金壽字紋盤，見《Treasures in the Royalty: The Offical Kiln Porcelain of the Chinese Qing Dynasty》，上海，2003年，頁436。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2019年5月14日，lot 286 價格：GBP 8,125（相當於今日EUR 12,500） 描述：清同治黃地藍彩壽字紋杯及碟、清光緒黃地藍彩壽字紋碗 專家評論：請注意此為一杯、一醬碟和一碗一組，以及非常相近的設計。請注意尺寸(最大的為15.2厘米)。
A 'QIANJIANG CAI' ENAMELED 'LUSH FORESTS AND HIGH BAMBOO' PLAQUE, BY JIN PINQING (1862-1908)Expert's note: Qianjiang cai or 'pastel palette' enamels reflected the late Qing potter's increasing inability to produce the more technically demanding vibrant colors of the earlier High Qing or the later Republic period. To borrow a modern aphorism however, the determined late Qing artisans turned this 'bug' into a 'feature' - notably the dreamlike faintness of these colors became popular with the melancholy intelligentsia of the time and led to masterworks by the best, with Cheng Men (1833-1908) and Jin Pinqing (1862-1908), the painter of the present lot, being the most renowned.The rectangular plaque painted in orange, green, and blue tones with thinly applied enamels depicting a forest landscape with hills and mountains, bamboo groves and pine trees in the foreground. Two scholars sit conversing in a field while a third approaches them on foot, two houses with a tranquil river running beside it which disappears into the mountains. The plaque with a lengthy dedication written by Wang Fengchi (1824-1898), a scholar and official who was friends with Jin Pinqing and often collaborated with him on porcelain paintings.Inscriptions: Top center, titled 'Lush Forests and High Bamboo', signed 'written by Jin Pinqing', two seals. Top left, inscribed 'Some time ago in the Yijin Studio in the capital, I saw an ink painting by the master Wang Jian from Taicang with a lush forest. The landscape was quite unique. The [present] painting was painted for me by Pinqing in the style of porcelain paintings from Zhushan. The paintings complement each other. The ink style is so gentle and mild like a breath of air. The [original] painting was done in the Spring of the Year of Dingchou [corresponding to 1877] in the third year of the Guangxu era. I am very touched, thus I wrote this dedication. Wang Fenchi.'Provenance: Boston trade. Acquired from a private estate.Condition: Good condition with minor wear and firing irregularities, some of the enamels slightly faded and with minor rubbing and minimal losses, and light surface scratches. Weight: 2,651 gDimensions: Image size 26.3 x 40.7 cm. Size incl. frame 34.1 x 48.6 cm. With an associated gilt wood frame. (2)Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Auction result comparison: Type: RelatedAuction: Christie's London, 16 May 2014, lot 1254Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A large circular famille rose 'landscape' plaque, late 19th/20th century, dated Bingzi year, corresponding to 1874Expert remark: Note the size (47.6 cm diameter).Auction result comparison: Type: RelatedAuction: Bonhams San Francisco, 11 December 2015, lot 2291Price: USD 21,250 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A qianjiangcai enameled plaque, dated by inscription to 1894Expert remark: Note the size (55.2 cm). 金品卿(1862-1908) 淺絳彩《茂林脩竹》瓷板瓷板由王鳳池（1824-1898）所題，他是一位學者兼官員，與金品卿是好友，經常合作創作瓷畫。畫面筆力瀟灑，設色清麗。 款識: 品卿金誥寫；前在京都詒晉齋，見太倉王遠照先生有《茂林修竹》墨綃一幅，覺蘭亭風景皆入筆妙。此黟山品卿居士以珠山瓷笺寫寄吾宗。逢卿刺史，以補映帶者。覺筆墨間亦含惠風和暢之致。是幅成於光緒三年丁丑暮春之初，愚見而動幽情，書此訂再暢敘。王鳳池。來源：波士頓貿易，購自私人莊園。 品相：狀況良好，有輕微磨損和燒製不規則，一些琺瑯輕微褪色，有輕微摩擦、缺損，以及輕微的表面劃痕。 重量：2,651 克 尺寸：畫面26.3 x 40.7 厘米，總 34.1 x 48.6 厘米. 配有金漆木框。 (2)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
A FAMILLE ROSE 'HUNDRED DEER' (BAI LU) HU-FORM VASE, LATE QING TO EARLY REPUBLIC PERIODChina, 1850-1930. The pear-shaped body supported on a spreading foot, the shoulder set with a pair of dragon handles decorated in iron-red and gilt, the body finely enameled with a herd of deer amid pine and peach trees, all in a verdant landscape dotted with lingzhi mushrooms. The recessed base with an apocryphal iron-red six-character mark da Qing Qianlong nianzhi. Provenance: London trade.Condition: Excellent condition with minor wear and firing irregularities.Weight: 11.7 kgDimensions: Height 46 cm The 'hundred deer' motif (not literally; 100 is a conventional number indicating abundance) was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, because it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China. The deer is also associated with Daoism and the Star God of Longevity, Shoulao, while the inclusion of peaches and lingzhi in the decoration is further symbolic of longevity. As such, the subject matter on the present vase alludes to a multitude of auspicious connotations.Deer were considered supernatural creatures in premodern China, and they appear frequently in scenes of immortals and magical lands. The imposing composition on the present lot also carries a second layer of meaning thanks to wordplay: the term for one hundred deer (bai lu) is a homonym for bailu: the economic, cultural, and social benefits that could accrue during an official career. The theme can thus be read as a wish to attain a position in government.Lingzhi is the sacred fungus of immortality that grows on the trunks or roots of trees including the pine. The lingzhi does not decay like other fungi but instead becomes woody and thus can survive for a long time. For this reason, it has become associated with longevity. Deer are reputed to be the only animals able to find lingzhi. Deer are sometimes shown holding the lingzhi in their mouth.Literature comparison:For a related vase from the Qing Court collection preserved in the Palace Museum, Beijing, see The Complete Collection of Treasures of the Palace Museum, Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Compare a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67. Compare a related vase in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86. Compare a related vase in the Grandidier Collection in the Musee Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1981, vol. 7, pl. 190.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 September 2022, lot 1063Price: USD 27,720 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A famille rose 'hundred deer' vase, late Qing dynastyExpert remark: Compare the closely related form, famille rose decoration, archaistic dragon handles, hundred deer motif, apocryphal Qianlong mark, and size (47 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 27 November 2019, lot 123Price: HKD 212,500 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A famille rose 'hundred deer' vase, 20th centuryExpert remark: Compare the closely related form, famille rose decoration, archaistic dragon handles, hundred deer motif, apocryphal Qianlong mark, and size (45 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 September 2016, lot 944Price: USD 40,000 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose 'hundred deer' vase, Republic periodExpert remark: Compare the closely related form, famille rose decoration, archaistic dragon handles, hundred deer motif, and apocryphal Qianlong mark. 清末民初粉彩百鹿尊中國，1850-1930年。圓口，垂腹，圈足。通體施白釉，肩部飾螭龍耳。器身繪粉彩山水苑百鹿圖。畫面中山石、樹葉多以綠彩繪成，施彩濃厚; 群鹿、枝幹以赭、黑等彩作畫，群鹿活現，枝幹蒼勁，筆繪生動細膩。底書“大清乾隆年製"六字篆書款。 來源：倫敦古玩交易。 品相：狀況良好，有輕微磨損和燒製不規則。 重量：11.7 公斤 尺寸：高46 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
A LARGE FAMILLE-ROSE 'SHOULAO AND THE EIGHT IMMORTALS' VASE, SHENDETANG ZHI MARKChina, 1830-1930. Of baluster form, the body is finely painted with a continuous scene depicting the Eight Immortals in a garden with craggy rockwork and a gnarled towering pine. He Xiangu holds her lotus flower next to Lu Dongbin, holding his fly whisk with his sword sheathed on his back, and the elderly Zhang Gua, holding his tube-shaped bamboo drum. Zhongli Quan holds his fan next to young Han Xiangsi, who plays his flute. An attendant holds a basket of flowers behind Cao Guojiu and his castanets who watches Li Tieguai as whisps of red smoke rise from the double gourd strung to his back.Inscriptions: The base with an iron-red four-character mark, 'Shendetang zhi' (Hall of Prudent Virtue).Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.2.50. An old label to the interior of the vase reads, 'KW N2.50.' 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: Good condition with old wear and minor firing irregularities, some rubbing and flaking to the enamels, and minute chips to the foot. Overall displaying exceptionally well.Weight: 3,717 g Dimensions: Height 46.1 cm Shendetang ('Hall of Prudent Virtue') is a hall mark associated with a range of fine porcelains made for the Hall of Prudent Virtue, a summer residence of the Emperor Daoguang. The Daoguang Emperor was known as a prudent, kind, and frugal ruler, investing heavily in the dilapidated Old Summer Palace (yuanmingyuan). The financial review of the Yuanmingyuan in 1824 showed significant surplus left over, which enabled Daoguang to construct the Shendetang ('Hall of Prudent Virtue') within the Old Summer Palace. This became his new living quarters in 1830. Daoguang porcelain inscribed with the Shendetang mark can be dated between 1831 and 1850 and is often characterized by their novel designs.Auction result comparison: Type: RelatedAuction: Sotheby's London, 18 January 2023, lot 88Price: GBP 75,600 or approx. EUR 88,500 converted at the time of writingDescription: A small famille-rose 'immortals' bowl Qing dynasty, 19th centuryExpert remark: Compare the related decor, manner of enameling, and the Shendetang mark. Note the different form and the smaller size (14.5 cm).Auction result comparison: Type: RelatedAuction: Bonhams Edinburgh, 15 November 2012, lot 337Price: GBP 17,500 or approx. EUR 31,500 converted and adjusted for inflation at the time of writingDescription: A mirrored pair of famille rose vases, bearing four character hall mark, Republic periodExpert remark: Compare the related decoration and Shendetang mark. Note the smaller size (23 cm), and that the lot comprises a pair. 大型粉彩《壽老與八仙》賞瓶，慎德堂款中國，1830 -1930 年。 侈口，直頸，通景描繪山間八仙群會場景，何仙姑手捧荷花，呂洞賓背劍執飛拂，張果老手持魚鼓，漢鍾離拿著扇子，旁邊是吹笛子的韓湘子，身後曹國舅拿著響板，藍采荷提著花籃，還有鐵拐李背著葫蘆。 款識：礬紅釉四字款“慎德堂" 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.2.50。瓶底有一個標籤 'KW N2.50.'。品相：狀況良好，有磨損和輕微的燒製不規則，琺瑯有一些摩擦和剝落，足部有微小的缺口。 重量：3,717 克 尺寸：高 46.1 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
A MOLDED AND CARVED 'DRAGON' FAMILLE ROSE PORCELAIN SNUFF BOTTLE, SIGNED LIQUAN, CHINA, 1853-1864Of pear shape with a wide mouth, finely carved and molded and brightly enameled to depict a fierce five-clawed dragon in high relief with sinuous scaly body chasing a flaming pearl amid colorful swirling clouds. The base with a neatly painted iron-red four-character mark.Inscriptions: To the base, 'Liquan zi zhi' (made by Liquan himself).Provenance: Collection of John Ault. Robert Kleiner & Co. Ltd., London, United Kingdom, 2005. A private collection in the United Kingdom, acquired from the above. A copy of the original invoice from Robert Kleiner & Co. Ltd., dated 5 July 2005, confirming the dating above, and stating a purchase price for the present lot of GBP 4,250 or approx. EUR 10,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. John Ault (d. 2014) was a British intelligence officer, novelist, and avid collector of Chinese snuff bottles. Robert Kleiner (1948-2014) was an important expert of Chinese snuff bottles, beginning his long career at Sotheby's in London. Along with Hugh Moss and Bob Hall, he became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles.Condition: Very good condition with only minor old wear, few expected manufacturing irregularities, remnants of gilt around the mouth. The jade stopper with natural fissures.Some rubbing to enamels.Stopper: Celadon jadeWeight: 72.5 g Dimensions: Height incl. stopper 74 mm. Diameter neck 21 mm and mouth 11 mm Expert's note: Only one other bottle with the mark “made by Liquan himself" has been recorded, see Robert Kleiner, Chinese Snuff Bottles, The White Wings Collection, 1997, number 81. Several near-identical bottles do exist, however, these are all molded only (and not additionally carved) and bear the mark Guangyao neizao “made in the official kilns". It is likely that the whole series was made during the Taiping Rebellion (1853-1864), when the Imperial kilns and surrounding areas were under the control of the rebels, raising considerable problems of protocol in marking porcelains. As Robert Kleiner explains, it is possible that Liquan was the director of the kilns during this time. There is only one further molded and carved version known, but this one is signed Rongjing zuo (made by Rongjing), lacks the enamels, is in the Victoria and Albert Museum since 1883, and was illustrated by Helen White, Snuff Bottles from China, The Victoria and Albert Museum Collection, page 243, number 1. The signature on this bottle also lacks the term for “himself" which could mean that Rongjing may not have been as important as Liquan. It also seems likely that only the carved bottles bear the “made by" marks, while the more common molded bottles bear the official kiln mark.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 25 April 2004, lot 822 Price: HKD 95,600 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing Description: A molded famille rose porcelain snuff bottle, 1851-1865 Expert remark: Compare the closely related form and decoration. Note the 'Guanyao neizao' (made by the official kilns) mark and the size (60 mm). Also note that this is the more common, molded only version. 1853-1864年粉彩堆塑龍紋鼻煙壺，“子靜自製"款梨形，廣口，堆塑精美，明亮琺瑯彩，描繪一條矯健的五爪龍，龍身蜿蜒，雲中戲珠。 款識：子靜自製 來源： John Ault 收藏；Robert Kleiner & Co. Ltd.，英國倫敦，2005 年；英國私人收藏，購自上述機藝廊。隨附 Robert Kleiner & Co. Ltd. 於 2005年 7 月 5 日開具的原始發票副本，確認了斷代，以及當時的售價為 4,250 英鎊或約 10,000 歐元（在撰寫本文時已根據通貨膨脹進行換算和調整）。John Ault（2014 年去世）是一位英國情報官員、小說家和中國鼻煙壺收藏家。Robert Kleiner（1948-2014）是一位重要的中國鼻煙壺專家，他在倫敦蘇富比中國藝術部門度過漫長的職業生涯。他與Hugh Moss和Bob Hall一起成為Mary 與 George Bloch收藏的重要顧問，Robert撰寫並製作了他們的第一個鼻煙壺目錄。 品相：狀況非常好，只有輕微磨損，壺口部周圍有鎏金殘留，壺蓋帶有天然裂紋。部分琺瑯有摩擦。 壺蓋：青玉 重量：72.5 克 尺寸：總高 74 毫米，頸部直徑21 毫米，壺口11 毫米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2004年4月25日，lot 822 價格：HKD 95,600（相當於今日EUR 17,500） 描述：1851-1865年官窯內造粉彩鼻煙壺 專家評論：比較非常相近的外形和裝飾。請注意'官窯內造'款和尺寸 (60毫米)。請注意這是更常見的、僅模製的版本。
A LARGE BRONZE HEAD OF BUDDHA, YUAN - EARLY MING DYNASTY, CHINA, 14TH-15TH CENTURYExpert's note: The head of the Buddha reflects profound contemplation. It was undoubtedly a component of a larger statue, approximately 70-80 cm in height, and probably salvaged after the remaining parts of the statue were destroyed in a fire. There are slight indications of fire damage on the right side of the deity's face, serving as a testament to this incident. The partially closed eyes capture the essence of Buddha's meditation, while the intricately carved facial features highlight his vibrant serenity and inner tranquility.The massively cast head is flanked by elongated earlobes, surmounted by an ushnisha and covered with a multitude of snail shell curls in high relief. The face shows prominent brows, heavy-lidded eyes, and a sharp nose above the bow-shaped lips outlining a indulgent smile.Provenance: Jacques Barrere, Paris, France. A copy of the signed expertise from Jacques Barrere Art D'Extrême Orient, dated 10 November 1999, confirming the dating 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 and size, showing significant old wear and weathering, minimal corrosion, and expected casting flaws. Some dents, losses, and minor fire damage. Magnificent naturally grown patina overall.Weight: 11.4 kgHeight: Height 18 cm (excl. base) and 32 cm (incl. base) Mounted on an associated base. (2)Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 20 March 2019, lot 680Price: USD 137,500 or approx. EUR 150,000 converted and adjusted for inflation at the time of writingDescription: A large bronze figure of Shakyamuni Ming Dynasty, 16th-17th centuryExpert remark: Note the size of the complete figure here is 54.6 cm, resulting in a size of 14.5 cm for the head itself, which is smaller than the present lot with a height of 18 cm. 十四至十五世紀元至明初大型銅佛陀頭像圓臉，表情寧靜，半閉的柳葉形眼睛，狹窄的鼻樑，柳葉形眉。笑容慈祥，側面長耳垂，螺髻。 來源：法國巴黎Jacques Barrere; 此拍品附有Jacques Barrere Art D'Extrême Orient 藝廊於 1999 年 11 月 10 日簽署的專業意見的副本，確認了上述日期。Jacques Barrere藝廊位於巴黎市中心的聖日耳曼德佩區。自1969年以來，它一直舉辦展覽以推廣和保護遠東藝術。該藝廊專注於中國雕塑、考古、陶瓷和裝飾藝術，以及日本藝術品和瓷器，也定期展出來自犍陀羅、印度或東南亞的雕像藝術。Jacques Barrere曾經擁有的藏品現在分佈在世界各地的重要博物館中，包括吉美博物館、賽努奇博物館和上海博物館。Barrere 藝廊經常參加馬斯特里赫特 TEFAF 博覽會。 品相：狀況良好，顯示出明顯的磨損和風化、輕微腐蝕和鑄造缺陷，一些凹痕、缺損和輕微的火災損壞。自然包漿。 重量：11.4 公斤 尺寸：高18 厘米 (不含底座)，32 厘米 (含底座) 配置底座（2）拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月20日，lot 680 價格：USD 137,500（相當於今日EUR 150,000） 描述：明十六 / 十七世紀銅釋迦牟尼佛坐像 專家評論：此像的完整尺寸為 54.6 厘米，頭部尺寸為 14.5 厘米，比本拍品的高度 18 厘米要小。
A GILT BRONZE FIGURE OF AMITAYUS, QIANLONG NINE-CHARACTER MARK AND OF THE PERIOD, DATED 1770China. Superbly cast seated on a rectangular throne raised on openwork floral vertical splayed frames, his legs crossed in dhyanasana, the hands lowered in dhyana mudra, the deity wearing an elaborate high foliate crown and ornate jewelry, his loosely flowing robes spilling over the edge, centered by a flowerhead. All framed by a separately cast flaming mandorla inserted to the back of the base.Inscribed: The lower front edge of the throne is neatly incised with a nine-character mark da Qing Qianlong Gengyin jingzao, ('Respectfully made in the Year of Gengyin of the Qianlong Period of the Great Qing'), corresponding to 1770 and of the period.Provenance: From an old Hungarian private collection. An inscription to the back of the base, “DA[…]." Condition: Good condition with expected old wear and casting irregularities, few minor losses, small dents, wear and rubbing to gilt, remnants of red and blue pigment to the hair and headdress. Magnificent patina overall, the gilding quite well preserved.Weight: 1,188 g Dimensions: Height 21 cm Expert's note: Amitayus was among the most popular deities from the Tibetan Buddhist pantheon in the Qing dynasty, particularly in the Qianlong period. Emblematic of longevity, large numbers of figures were commissioned in gilt-bronze and porcelain by the Qianlong Emperor for the occasion of the Empress Dowager Chongqing's 60th, 70th, and 80th birthdays. The date of the present figure coincided with Empress Dowager's 80th birthday.Auction result comparison: Type: Closely related Auction: Christie's London, 19 July 2007, lot 114 Price: GBP 9,000 or approx. EUR 19,500 adjusted for inflation at the time of writing Description: A Chinese gilt bronze figure of Amitayus, Qianlong mark and period with Geng Yin cyclical date equating to 1770Expert remark: Compare the closely related form, technique and size (20.1 cm).Auction result comparison: Type: Closely related Auction: Christie's London, 17 May 2013, lot 1494 Price: GBP 10,625 or approx. EUR 18,500 adjusted for inflation at the time of writing Description: A Chinese gilt bronze dated figure of Amitayus, Qianlong incised nine-character mark with cyclical date, Geng Yin, corresponding to 1770, and of the periodExpert remark: Compare the closely related form, technique, pigments, and size (21.3 cm). 1770年銅鎏金無量壽佛坐蓮像，乾隆九字款及年代中國。無量壽佛結跏趺坐坐於梯形鏤空台座上，手結禪定印平行曡放在雙膝上，頭戴寳冠，臂飾寶釧，著袒右肩衣。肩上和手臂上掛著一條飄帶，上面裝飾著精美的珠寶。背光呈葫蘆狀，外飾火焰紋，頭光及身光部分透空。 銘文：“大清乾隆庚寅年敬造"楷書款 來源： 匈牙利私人舊藏，底座背面刻有銘文 “DA[…]." 品相：狀況良好，有磨損和鑄造不規則性，輕微缺損，小凹痕，鎏金磨損，頭髮和頭飾上有紅色和藍色顏料的殘留。整體包漿自然，鎏金保存完好。 重量：1,188 克 尺寸：高 21 釐米 專家注釋：無量壽佛造像是清代尤其是乾隆時期藏傳佛教中最受推崇的造像之一。乾隆皇帝為慶賀太后六十歲、七十歲和八十歲生日而敬獻了大量的鎏金和瓷器人物祝壽。此雕像的日期恰逢太后八十大壽。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2007年7月19日，lot 114 價格：GBP 9,000（相當於今日EUR 19,500） 描述：1770年乾隆庚寅款及年代阿彌陀佛鎏金銅像 專家評論：比較非常相近的外形、技巧和尺寸(20.1 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2013年5月17日，lot 1494 價格：GBP 10,625（相當於今日EUR 18,500） 描述：1770年乾隆庚寅款及年代阿彌陀佛鎏金銅像 專家評論：比較非常相近的外形、技巧、顏料和尺寸(21.3 釐米)。
A PAIR OF MONUMENTAL GILT AND RED LACQUERED WOOD FIGURES OF BUDDHIST LIONS, LATE QING DYNASTYChina, 19th century. Both modeled standing in mirror image, the female with a pup clambering at her feet and the male with a pierced brocade ball, and each with a ball in their mouths. The fierce lions with deeply incised curly manes, mouths agape revealing sharp teeth, and a collar around the neck suspending bells. The rectangular stepped base carved with openworked dragons and petal lappets. (2)Provenance: From the private collection of Lu Xiaguang, and thence by descent. Lu Xiaguang (1906-1994) was a Chinese painter who became a protege of Xu Beihong in 1929 and learned oil painting in the Western style. On Xu's advice, he studied painting at the Ecole des Beaux-Arts in Paris and the Royal Academy of Belgium, after which he returned to Paris. He copied famous paintings from various schools in the Louvre, studied with great concentration, and collected paintings, art objects, and antiques. In 1984, he established the Lu Xiaguang Studio in Paris, which contributed to the cultural exchange between China and France. In 1993, Lu Xiaguang donated his life's work and his art collection of cultural relics, calligraphy, and painting to the People's Republic of China. His works and collection are permanently displayed in the Zhejiang Provincial Museum in Hangzhou. Condition: Good condition with old wear, expected age cracks, flaking and abrasions to lacquer, nicks, scratches, chips and losses. Minor old repairs. Fine, naturally grown patina overall - displaying exceptionally well.Dimensions: Height 145 cm and 148.5 cm Buddhist lion statues are an architectural decoration in front of an entrance to a temple, palace, business, tombs, and home. They are always found as a pair; one male with a ball under his right paw and one female with a cub under her left paw. These guardian lions are thought to protect the building from harmful spiritual influences and harmful people that might be a threat. The male lion guards the exterior of the building, while the female is in charge of the building's interior. The cub represents the continuity of protection.Lions are not native to China, and although live animals were brought to the Chinese court by foreign embassies since at least the Han dynasty (206 BC - AD 220), they were always exotic rarities. In India, the lion is intimately associated with Buddhism, considered a symbol of strength and protector of the Dharma, the Buddhist law, and with the growing popularity of the Buddhist religion during the Tang dynasty (618-907), pairs of lion figures were increasingly placed in front of Buddhist temple gates as guardian animals.The Yongle Emperor's international diplomacy efforts brought China once more in direct contact with foreign lands, their animals, plants and other exotica in the early Ming dynasty. The court welcomed foreign embassies and the Muslim seafarer and diplomat, Court Eunuch Zheng He (c. 1371-1435), embarked on seven extensive maritime expeditions to ports throughout Asia and as far as Africa, which continued into the Xuande reign. At this time, lions were apparently so little known in China that Ma Huan (c. 1380-1460), Zheng He's Muslim interpreter who accompanied him on three voyages, left us a contemporary account describing them in detail: “The lion has a body which resembles a tiger's in shape; it is a dark-yellow color, without stripes; it has a large head and a broad mouth; the tail tapers to a point, which has a lot of hair, black and long, like a tassel; the noise of its roar is like thunder. All the beasts, when they see it, fall down and dare not rise; it is indeed the king among the beasts" (J.V.G. Mills, ed., Ma Huan, Ying-yai Sheng-lan. The Overall Survey of the Ocean's Shores [1433], Hakluyt Society, London, 1970, reprint Bangkok 1997, p. 158-159).Although lions were among the exotic animals that had been brought to China already by some Timurid embassies, and on occasion were received as tribute by Zheng He's delegation, they were rare and desirable enough to be specially purchased on these voyages and be brought back to the court: during the sixth expedition in the Yongle reign, for example, when in 1421 the ships stopped in Aden (ibid., p. 50 and 159), and during the seventh voyage in the Xuande reign, when in 1431 a division of the fleet went to Mecca, where it had, among other things, brought porcelain items as gifts (ibid., p. 51 and 178). 清末一對紅漆描金太獅中國，十九世紀。母獅左前爪抬高摟著著一隻小幼崽，雄性右脚罩著一個花球。獅子火焰狀捲毛，嘴裏還叼著一個小球，雕刻手法細緻，神態生動可愛。(2) 來源：呂霞光私人收藏，傳承至今。呂霞光（1906-1994），中國畫家，1929年師從徐悲鴻，學習西洋油畫。在徐的建議下，他先後在巴黎美術學院和比利時皇家學院學習繪畫，之後返回巴黎。他在盧浮宮臨摹各流派的名畫，潛心研究，收藏繪畫、藝術品、古董。1984年在巴黎成立呂霞光工作室，為中法文化交流做出了貢獻。1993年，呂霞光將其畢生心血收藏的文物、字畫捐贈給中國。他的作品和收藏陳列於杭州浙江省博物館。 品相：狀況良好，有磨損、老化裂紋、剝落和漆面磨損、刻痕、劃痕和缺口，有小修。整體包漿細膩。 尺寸：分別高145 厘米與148.5厘米
A SMALL QINGBAI CENSER AND COVER, NORTHERN SONG DYNASTYChina, 960-1127. Standing on a short tapered foot, the deep rounded sides carved with overlapping petals. The domed cover of the incense burner is pierced with three rows of apertures encircling the central bud finial, all above an openworked pattern of radiating petals. The white ware of the censer and cover is glazed with a vitreous, bubble-suffused pale-blue glaze.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974, he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts. Condition: Very good condition with minor old wear and expected firing irregularities, few shallow chips, some of which have smoothened over time.Weight: 158.8 g Dimensions: Height 8.9 cm Literature comparison: Compare a related Qingbai censer with an openwork cover, 6 cm high, dated to the Northern Song dynasty, in the Art Institute of Chicago, accession number 2013.190. Compare a related tripod censer with pierced cover which was excavated in 1981 from a site near Jingdezhen in Boyang county and is now in the Jiangxi Provincial Museum, illustrated in Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty), Volume 8, Shanghai, 2000, no. 171. Compare a related Qingbai censer, illustrated in Selected Masterpieces of the Manno Collection, Osaka, 1988, no. 84. Compare a related Qingbai openwork censer, illustrated in Chinese Ceramics from the Meiyintang Collection, Volume I, London, 1994, page 329, no. 611. 北宋青白小蓋爐中國，960-1127年。香爐的圓蓋中央有花蕾鈕，穿有三排小圓孔。爐身外壁刻有重疊花瓣紋。香爐通體施青白色釉，釉色瑩潤。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008年 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014年）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 高land Stoneware。在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況極好，有輕微磨損、製造不規則和小缺口。 重量：158.8 克 尺寸：高 8.9 厘米 文獻比較: 比較一件相近的北宋青白小蓋爐，高6 厘米，收藏於芝加哥藝術博物館，館藏編號2013.190。比較一件相近的三足爐，1981年出土於景德鎮 ，現藏於江西博物館，見《Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty)》，卷8，上海，2000年，編號171。比較一件相近 Qingbai censer，illustrated in Selected Masterpieces of the Manno Collection，Osaka，1988，編號84. 比較一件相近的青白小蓋爐 ，見《Chinese Ceramics from the Meiyintang Collection》，卷 I，倫敦，1994年，頁329，編號611。
A BLUE AND WHITE 'PEONY, PHOENIX AND LONGMA' VASE, MEIPING, CHINA, 14TH-15TH CENTURYFinely painted in ample detail and neatly graduated shades of cobalt blue with a continuous undulating stem bearing four large peony blooms, each with furled petals. The stem growing spiky leaves on scrolling vines, all elaborated in stark contrasts of manifold pale and soft blue tones with innumerable minuscule dots of blackish blue, all between narrow bands of classic scroll and double lines. This main frame is beneath a masterfully painted band of phoenix and longma outlined in deep blue, detailing the fine scales, feathers, wings and tails of these mythical creatures, all enclosed by densely flowering lotus blossoms, and beneath a band of scroll design which encircles the short upright neck with its flared mouth rim. The base with a wide border of rectangular lappets. The broad shoulders elegantly tapering to a slightly splayed foot.Provenance: Belgian trade. Acquired from the estate of a noble family in Belgium, where it has been for quite some time, by repute. Condition: Old wear and weathering. Expected firing flaws, such as glaze gaps and recesses, glaze crackling, minute firing cracks, extensive pitting, minor kiln grit, and a circumferential luting line below the shoulder. One glaze recess is revealing some of the original blue color below the thick and somewhat opaque layer of transparent glaze above. The lower section with a single crack, which has become black over time. The base and the lip have been excised so that the vase could fit into a mounting. This was probably done in the 18th-19th century, shortly after the vase made its way to Europe. The mounting was then removed again, probably during the 20th century, and the base and lip were restored accordingly. This restoration was carried out a long time ago, for that the fills at the lip have turned yellow, now standing out against the original color of the ware.Weight: 4,224 g Dimensions: Height 43.2 cm This elegant meiping is a classic example of early Chinese blue and white porcelain. The form is well-proportioned and the vessel sturdily yet elegantly potted. It is decorated in rich and well-graduated cobalt blue which had to be imported at great expense during this period. The banded design makes good use of the extensive canvas provided by the vase's form. The three major decorative bands are in pleasing contrast to one another. They include four of the most successful motifs of the 14th century: longma and phoenix, the bold peony scrolls, and the lappet panels.The longma is an auspicious creature that, according to legend, is said to represent gratitude. During the Xuande reign it was introduced as a principal decoration and has been a popular subject ever since. While depictions of longma on porcelain from this period are quite common, earlier versions of it are quite rare to find.Literature comparison:Compare the form of the present lot and the longma and phoenix designs with several examples from the 14th century in Toji Taikei, Vol. 41, Gen no Sometsuke, by Yabe Yoshiaki, Publisher Heibonsha, Tokyo, Japan, 1974.For the form:Nr. 37, blue and white vase, Meiping, height 34.6 cmFor the phoenix: Nr. 38, blue and white ''peony and scroll'' vase, Meiping, height 43.7 cmNr. 66, blue and white ''seahorse and phoenix'' vase, same item as Nr. 59, height 25.4 cmFor the longma: Nr. 8, blue and white ''seahorse'' plate, diameter 47 cm, Topkapı Palace MuseumNr. 59, blue and white ''seahorse and phoenix'' vase, same item as Nr. 66, height 25.4 cm 十四至十五世紀青花牡丹神獸梅瓶敞口，折沿，細長頸，扁鼓眶，圈足。青花精美四朵牡丹卷葉紋。青花色彩柔和，間雜黑藍色斑點。肩部滿飾卷草紋與神獸如鳳凰與龍馬，精美描繪了這些神話生物的鱗片、羽毛、翅膀和尾巴。下方是開光芭蕉紋内描繪卷草紋。 來源：比利時古玩交易，購於比利時貴族家庭，據説曾在家族裏很長時間。 品相：磨損和風化，有燒製缺陷，例如釉面凹陷和裂紋，大面積的凹坑、較小的窯砂，以及肩部下方的凹痕。一個釉槽在透明釉層下露出了一些原始的藍色。下部有一條裂紋，隨著時間的推移已經變黑。底座和邊緣已被切除，以便花瓶可以安裝到支架中。 這可能是在上十八世紀至十九世紀完成的，即花瓶傳入歐洲後不久。隨後，可能是在二十世紀，支架再次被拆除，底座和唇緣也相應修復。這次修復是很久以前的事情了，因為唇部的填充物已經變黃，現在在器物的原始顏色的襯托下顯得很突出。 重量：4,224 克 尺寸：高 43.2 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
AN EARLY FAHUA-GLAZED 'LOTUS' JAR, GUAN, WITH FOUR LION-MASK HANDLES, MING DYNASTYExpert's note: The lion mask-handles in such high relief are extremely rare in fahua-glazed Guan jars of this type. While they did exist with other styles of fahua vessels, like the stools at Sotheby's referenced in the literature comparison below, no other jars of this type are recorded in public or private collections. China, late 15th to early 16th century. Heavily potted with a baluster body supported on a short tapered foot and rising to a short waisted neck with a galleried rim. The exterior is slip decorated and brightly glazed in blue, turquoise, aubergine, yellow, and cream with two egrets, one standing and the other flying, in a lotus pond with blossoms, buds, and leaves, in the back with a small butterfly, all above crashing waves. The shoulder encircled by a band of lotus scroll and applied with four pierced lion-mask handles that once suspended loose bronze rings, below a band of foliate scroll to the neck.Provenance: From the Langlois Collection. Jean-Marie-Charles Langlois (1896-1949) arrived in Vietnam in 1920, where he served as the principal engineer for the Indochinese railways until 1949. As a sinophile who spoke fluent Mandarin, he built an important collection of Asian works of art. In 1949, he was imprisoned by the Viet Minh during a train attack and executed on the same day. His wife and two sons came back to Burgundy near Dijon, France, bringing Jean Langlois' collection with them. Once in France, his family continued to buy Asian works of art on the French art market, thus paying tribute to Jean Langlois's memory.Condition: The raised slip is remarkably well preserved. The jar remains in its absolutely original condition with no restorations of any kind. Obvious glaze losses as seen on images, some of them smoothened. Old wear, expected firing flaws, shallow surface scratches and tiny nicks. Displaying exceptionally well, despite its age of roughly half a millennia.Weight: 4,451 g Dimensions: Height 28.8 cm The term 'fahua' may derive from the Chinese term 'fenhua', meaning 'powdered decoration' and refers to a group of medium-fired glazes developed in the late 15th century on the basis of the Yuan Dynasty liu li glazes (see Q. Wang, A Dictionary of Chinese Ceramics, Shanghai, 1989, p. 220). Due to the very liquid nature of the glazes, the variously colored areas are isolated from one another by clay walls which tend to vary in thickness.Variations in the vivacity of the colors applied, as well as different shapes and subjects of decoration, may be attributed to different eras of production (see D. Lion-Goldschmidt, Ming Porcelain, London, 1978, p. 127). On this matter, Lion-Goldschmidt also notes that the early fahua wares tend to feature motifs of lotus rising from water, as well as cranes, birds, and figures. The author further points out that complimentary decoration on fahua, i.e. that found on necks, rims, and feet, also relates to the designs, found on late 15th century blue and white wares. Egrets or cranes provide a homonym for 'lu' ('a path'), alluding to attainment. When this imagery is combined with flowering lotus (lian) it forms the rebus, 'Yilu lianke' ('May you pass your exams one after another'). Literature comparison:Compare a related pair of fahua-glazed stools also decorated with egrets in a lotus pond and applied with similar lion-mask handles suspending gilt-bronze rings, 44 cm high, dated to the Ming dynasty, at Sotheby's Paris, 11 April 2018, lot 305.Auction result comparison: Type: Closely related Auction: Sotheby's London, 13 May 2015, lot 289 Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writing Description: A large fahua 'lotus' jar, Guan, Ming dynasty Expert remark: Compare the related guan form, lotus pond decoration, and fahua glaze. Note the associated wood cover and that the jar is restored to the neck unlike the present lot which is in absolutely original condition. 明代琺華釉蓮花罐中國，十五世紀末至十六世紀初。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
A LARGE AND RARE 'QILIN, MYTHICAL HOUND AND BUDDHIST LION' JAR, MING DYNASTY, JIAJING PERIOD, 1521-1567Expert's note: The combination of iron-red and green glazes was utilized primarily during the Jiajing period (1521-1567). According to Daisy Lion-Goldschmidt in Ming Porcelain, New York, 1978, page 164, in her discussion of the 'Red-and-Green' Group, this palette would come to dominate polychrome porcelains, eventually leading to the appearance of famille verte during the second half of the seventeenth century.China. The ovoid body is supported on a flat base and rises to a short and slightly flared neck with a lipped rim. Boldly painted in green, red, and aubergine enamels with three lobed panels enclosing a mythical hound, a Buddhist lion and a Qilin, each with a long snout and standing foursquare amid foliage and rockwork depicted in profile and facing the viewer, surrounded by floral sprays, all beneath a band of phoenixes and peony blossoms below the rim decorated with lingzhi sprays. Covered overall with a finely crackled transparent glaze of a pale-ivory tone, the interior with a dark brown glaze.Provenance: The J. M. Hu, Zande Lou Collection. An old, padded silk box fitted to the vase accompanies the lot. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art. Condition: Remarkably well preserved, commensurate with age. Expected old wear and firing irregularities, including some burst bubbles, firing cracks, tiny bumps, pitting, dark spots, and glaze recesses. Occasional light scratches. Minor chips to base, mostly smoothened over time. Small hairlines. Displaying exceptionally, due to its size and excellent condition.Weight: 13.5 kg Dimensions: Height 40 cm Literature comparison:Compare a related red and green enameled porcelain 'min yao' dish donated by R. Soame Jenyns, 30.3 cm in diameter, dated to the Ming dynasty, likely Jiajing, in the British Museum, registration number 1951,1010.1. Compare a related polychrome enameled jar decorated with horses, with a Jiajing mark and of the period, 18 cm high, in the Metropolitan Museum of Art, accession number 1991.253.58.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2023, lot 1036 Price: USD 32,760 or approx. EUR 30,000 converted at the time of writing Description: A very rare green and red-enameled 'fish' jar, Ming dynasty, 16th century Expert remark: Compare the related form and decoration. Note the different motif and smaller size (24.8 cm high). 嘉靖開光麒麟太獅罐中國。罐小口，豐肩，鼓腹，平足。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
A DEHUA LOTUS-LEAF-FORM BRUSH WASHER, CHINA, 17TH CENTURYExpert's note: The present lot has an age of at least 350 years and is preserved in an absolutely superb condition, which must be regarded as extremely rare, given its overall fragility.Delicately modeled in the form of a furled lotus leaf, set with a stem issuing from one side of the rim, an attendant bud extending across the base while the other sprig elegantly loops over towards the center of the leaf. The washer is applied overall with a distinct ivory-white glaze.Provenance: Collection of Major Edward C. Radcliffe, and thence by descent in the same family. Listed in the family archive as 'X3'. Copies of a drawing of the present lot and handwritten notes from the Radcliffe family archive, reading 'X3. Drawn by nightlight. Far better in every respect but drawn to give you an idea. It's amazingly delicate.' and 'X3. Washer, white porcelain with form of an upturned lotus leaf. Blanc de chine. Mr. Morgan wrote and told me that.' accompany this lot. Major Edward Copleston Radcliffe (1898-1967) served as a company commander with the British Expeditionary Force in France. He was wounded during the withdrawal at Dunkirk while holding the line at Calais. In 1948, he emigrated to South Africa for retirement as a successful artist. His collection became renowned only after his death, when several Imperial Chinese works of art were found in his house. Brian John St. Martin Morgan (1930-2018) joined Bluett & Sons in 1954, where he became a director of the company. He also was president of the British Antiques Dealers' Association for a time. Condition: Excellent condition with expected minor old wear and firing irregularities. A microscopic nick to the rim. A small area of the rim has been polished, probably inherent to production.Weight: 75.4 g Dimensions: Length 12.2 cm, Height 3.9 cm Literature comparison:Compare a closely related brush washer, 3 cm high, dated 18th century, in the British Museum, registration number PDF.417. Compare a related brush washer from the Edward T. Chow collection, sold at Sotheby's London, 23 June 1981, lot 303, and again at Sotheby's Hong Kong, 20 November 1985, lot 232.Auction result comparison: Type: Near identical Auction: Christie's New York, 19 March 2015, lot 409 Price: USD 35,000 or approx. EUR 41,500 converted and adjusted for inflation at the time of writing Description: A small Dehua lotus-leaf-form brush washer, late Ming-early Qing dynasty, 17th century Expert remark: Compare the closely related form and glaze. Note the size (10.5 cm). 十七世紀德化荷葉形筆洗精美的捲曲的荷葉，莖從邊緣的一側伸出，與花蕾延伸到底部，而另一根小枝則優雅地環繞到葉子的中心。筆洗通體施象牙色白釉，造型別致，栩栩如生。 來源：Edward C. Radcliffe少校收藏，在同一家族保存，在家庭檔案中“X3"。隨附當前拍品的圖畫副本以及Radcliffe家族檔案中的手寫筆記副本。Edward Copleston Radcliffe（1898-1967 年）曾擔任駐法英國遠征軍連長。他在敦克爾克撤退時在加萊堅守陣地時受傷。1948年，他作為一名成功的藝術家移民到南非退休。直到他死後，他的收藏才開始聞名，當時在他的家裡發現了幾件中國御製藝術品。Brian John St. Martin Morgan (1930-2018) 於 1954 年加入 Bluett & Sons，並成為該公司的董事。他還曾擔任過英國古董經銷商協會主席。 品相：狀況良好，有輕微磨損和燒製不規則。邊緣有一個微小的缺口。邊緣的一小部分區域已被拋光，可能是生產過程中固有的。 重量：75.4 克 尺寸：長12.2 厘米, 高 3.9 厘米 文獻比較： 比較一件非常相近的十八世紀筆洗，3 釐米高，收藏於大英博物館，館藏編號PDF.417。比較一件相近的筆洗，收藏於Edward T. Chow收藏，見倫敦蘇富比，1981年6月23日，lot 303，以及見香港蘇富比，1985年11月20日，lot 232。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2015年3月19日，lot 409 價格：USD 35,000（相當於今日EUR 41,500） 描述：明末/清初德化白釉荷葉形洗 專家評論：比較非常相近的外形和釉面。請注意尺寸 (10.5 釐米)。
A large Japanese satsuma type figure, of an immortal, 43.5cm high; a Japanese satsuma dish, Meiji period, 21cm diameter; a pair Japanese vases, as Koi; a pair of Chinese bottle vases; a Chinese blanc de chine figure; a late 18th century Chinese porcelain bowl, painted in underglaze blue with rural scene; etc, qty
HENRY DORÉ "Researches into Chinese superstitions" translated from the French with notes historical and explanatory by M. Kennelly, SJ volumes 1, 3, 5 and 7 published Tusewei Printing Press Shanghai 1914 and 1922 together with various other books mainly on the subject of art and antiques to include a guide to the early Christian and Byzantine antiquities published by The British Museum, EDWIN ATLEE BARBER "Artificial soft paste porcelain" published Doubleday Page and Company 1907 the colour drawings of Thomas Rowlandson published Watson Guptill Publications Inc, New York 1947, a book on furniture in German etc (14 volumes total)
A Chinese porcelain bowl, the interior with medallion and bat decoration in oxide red with gilt lining, the outer body decorated with various figures in a garden setting on an oxide red ground raised on a circular foot bearing blue underglazed Quinlong seal mark 15.2 cm diameter x 7 cm high together with a Chinese famille rose tea bowl and cover, the cover bearing seal mark in oxide red over glaze (both AF)
A collection of various Chinese and other porcelain, including a blue and white mug with waterside landscape and pagoda decoration and intertwined branch handle (A/F), 10.5 cm diameter x 13 cm high, a celadon glazed jardiniere with blossom decoration, 27 cm diameter x 20 cm high and a 19th Century Chinese porcelain plate with floral garden decoration within an oxide red band (very damaged) 26.5 cm diameter, a Chinese blue and white oval tureen lid decorated with willow pattern 24.8 cm x 19.8 cm and a Chinese crackle glazed porcelain vase with reliefwork dragon decoration in matt brown bearing seal mark to base 60.5 cm high (for restoration - very damaged) together with various other bowls / dishes, etc.
THREE ITEMS OF CHINESE CERAMICSVarious dates Comprising; a tapered celadon glaze vase from the Vung Tau cargo, circa 1690, Christie's label to base, 20.5cm high; a cylindrical pottery wine cup and cover, probably Eastern Han dynasty, 12cm high; a white glazed porcelain jar with lug handles, Song/Yuan dynasty, 11.25cm high. Provenance: the celadon glazed vase with Robert McPherson, London, (4)Celadon vase- some adhered kiln grit to one side, approx. 2cm by 1cm. some chipping around the foot. Black painted inventory number to base.Overall crazing to the glaze.Wine cup and cover- the cup with a number of rim chips, the largest approx 2cm by 1cm. The cover with minor rim chips. Partial brown glaze to cup and cover.White ware jar - restoration to one of the lugs. some glaze cracks to sides. Restoration to base
A GROUP OF CHINESE BLUE AND WHITE PORCELAINLate 18th century and later Comprising; a small export shaped oval dish painted with a river landscape, 26cm wide; a jar painted with double happiness symbols and lotus, 17.5cm high; a jar painted with a river landscape, 20.5cm high; a small bottle vase painted with double happiness symbols, 14.5cm high and a small circular cosmetic box and cover painted with lotus flowers, 8cm diameter (6)Shaped oval dish- good conditionJar with happiness symbols- good conditionJar with river landscape- some specking to the glazeSmall bottle vase- small glaze flaw to side, approx. 2mm. squareBox and cover- some small chips around footrim
Patience E Bishop -(1891-1927) An early 20th century still life watercolour painting in gilt frame with notation verso and date. To depict a table setting featuring 18th century Chinese porcelain bowl to centre with fuchsia's within and carnations atop a book with volumes of leather bound books behind. Signed to the corner by the artist. Measures 39cm x 84cm.
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