We found 106012 price guide item(s) matching your search

A contemporary Chinese porcelain panel, housed in a pierced and floral decorated hardwood surround, 120 x 36.5cmVery good condition - reproduction.

A Chinese blue & white glazed porcelain ginger jar, decorated in the prunus pattern, height 19cm, together with another similar, height 22cmThe larger jar with light marks and wear, firing cracks to base. The smaller jug with hairlines to underside. Light marks and firing marks to glaze throughout.

Two 20th century Chinese blue & white porcelain bowls, each dia. 26cm

A 20th century Chinese Canton porcelain bowl, dia. 26cm, together with a similar charger, dish, and carved hardwood stand (4)

A Chinese porcelain vase and cover, enamel decorated with flowers, height 32cm

A modern Chinese blue & white porcelain garden seat, height 37cm

A Chinese porcelain jardiniere, enamel decorated with flowers, h.24.5cmIn good condition

A near pair of 19th century Chinese export porcelain plates, each having a central urn of flowers within further floral border, in shades of cobalt blue, iron red and gilt, dia. 22cmBoth free from cracks or restoration, both with chips to underside.

A near pair of Chinese export porcelain ginger jars and covers, each decorated in the prunus pattern having four character mark verso, height 15cmBoth in good condition without marks, chips or restoration.

A collection of ceramics to include a Victorian Copeland vase, a Chinese porcelain dish etcChinese plate - Considerable wear to surface. Paintwork has a nasty repair approx 6cm by 4cm, badly glued.Copeland vase - a few nibbles to the rim and a little rubbed/grubby.

A Chinese porcelain famille vert vase

A Chinese porcelain blue & white octagonal "Dragon" vase, 16'' tall.

A Chinese porcelain platter with "leopard and elephant" armorial design, a/f. circa, 1780.

A Chinese export porcelain Nyonya jar and lid for the Straits market, with mark to base.

A quantity of four Chinese Famille rose porcelain items including two brush parts, one reign marked, and two 18th century items, all a/f.

A Benjarong Thai market Chinese porcelain pedestal presentation dish, early 19th century, richly decorated in raised polychrome enamels and a further Benjarong presentation dish with painted decoration, 4 1/4'' and 4 3/4'' diameter.

A selection of Chinese porcelain wares to include Famille Rose bowl, blue and white platter etc

An early 19th century English porcelain apple green ground teapot and cover, painted with panels of 'Cotton Mill, Cromford, Derbyshire'; and 'Wirksworth Manor', 12.5cm high; together with a pair of Art Deco pottery candlesticks; an Austrian pottery figure; and a Chinese blue and white porcelain inset box and cover. (5)

A small group of Chinese porcelain, (mostly Qing). (5)

A collection of Chinese and Japanese porcelain tea bowls and miniature vases. (16)

A group of Chinese and Japanese porcelain, to include famille rose and Imari; together with similar works of art. (13)

A Chinese Porcelain Jar and Cover, 19th century, painted in famille rose enamels, with a red bird and peonies, caligraphy inscription to the reverse on a hardwood plinth; together with a pair of similar small balluster vases, with flowers and butterflies on turquoise grounds, Qianlong mark but not of the period and a 20th century earthern wear stool, as three elephants

A Chinese Porcelain Ginger Jar, 17th century, painted in underglaze blue, with lotus flowers and Buddhistic caligraphy between lappet borders, 18cmCover lacking, free from chips, cracks and repair, some glaze scratches. 

A Chinese Porcelain Nanking Cargo Waste Bowl, Cafe au Lait ground and painted in underglaze blue with peonies, 16.5cm diameter, and a Chinese Porcelain ogee tea bowl and saucer (2)Bowl - with a firing flaw to thr rim causing a hairline. Some light scratches to the interior and exterior. Teabowl - with a chipped foot. Otherwise OK.

A Group of Miscellanous Decorative Items including an early 20th century Chinese watercolour, on rice paper with silk border of a theatre production, and other oriental items, 20th century teawares German painted porcelain , silver plate bottle coasters etc

LARGE CARLTON WARE GINGER JAR & COVER OTHER CERAMICS AND OBJECTS decorated with scenes depicting pagodas and foliage, marked to base, along with another Carlton Ware jar and cover, as well as two 20th Century Japanese porcelain pieces and a twin handled dish, several 20th Century Chinese bowls and matching vase, a silver plated tankard and two Indian white metal miniature shoesginger jar 21cm high including lid

CHINESE PORCELAIN BOWL AND COVER AND OTHER ITEMS decorated with flowers and foliage in iron red/colour pattern, along with a wooden box, miniature scent bottle and two Chinese figuresQty: 6

19TH CENTURY CHINESE PORCELAIN TEA POT AND OTHER ASIAN CERAMICS the tea pot decorated with a figural scene, surrounded by flowers, foliage and a butterfly, complete with lid, along with an 18th century saucer, Qianlong period 1736 - 1795, a 19th century tea pot and a resin figure on onyx base, two blue and white spoons, as well as a Japanese cloisonne vase depicting flowers and a landscape, also a Japanese Imari tea potChinese tea pot 10.2cm high (including lid)Qty: 8Fireing marks to the soup spoons and the tea pot, damage to the rim of the other teapot, scratches to the vase, no other visible damage to this lot.

A Near Pair of Chinese Porcelain Baluster Vases with Associated Covers, Qianlong marks but 19th century, painted in underglaze blue with landscapes, 28cm, together with a pair of Similar plates, Qianlong, with river landscpaes, another pair of dishes with figures in garden landscapes, a glass scent bottle painted inside out with tigers, a Japanese porcelain Arita vase and an Imari fluted dish (one tray)Vase - in good condition. Near Pair of Vases - with some firing flaws and paint scratches otherwise good condition. Unassociated ginger jar cover - broken. Scent Bottle - with some very light surface scratches but otherwise good. Pair of Blue and White Plates - fully restored. Other pair of blue and white plates - with hairline cracks and chips to both. Imari Plate - good condition.

A Doulton Lambeth Stoneware Ewer, by George Tinworth (a.f); together with assorted early 19th century English porcelain Imari teawares, a similar pair of blue printed coffee cans and saucers, a Sevres style jardiniere with blue celeste ground and painted with exotic birds within floral garlands, and a Samson small jardiniere after a Chinese original (two trays)Imari: Sugar Bowl - cracked knop, handle lacking, crazed and stained throughout with rubbing. Unassociated Imari Cover - with a large loss. Hairline cracks. Imari Teapot - with poorly repaired spout and losses also. Chipped knop. Some paint scratches to the teapot and stand. Twin-Handled Sugar - repaired and chipped knop. Crazing and rubbing. Two teacups with stapled repairs to handles. All items with some slight discolouration and rubbing. Cachepot - hairline crack running almost the entire circumference of the foot. One or two paint scratches and some rubbing.

Rockingham cup and saucer, pattern no. 1473, c1838-42, 18th century Chinese teapot (a/f), Sitzendorf porcelain figural group and other ceramics in one box

19th century Chinese porcelain bottle vase, painted in blue with a lady and three boys in a garden setting, four character mark beneath, H36cm

Set of six Chinese porcelain side plates, each decorated in polychrome enamels with a Cockerel, Chicken and Chicks in an exterior setting, with printed marks for Jiangxi, Jingdezhen, Min Ci, Factory 2, D18.5cm together with four graduated Chinese turquoise glazed ducks, H23cm max (10)

Crown Ducal Chintz pattern lamp, porcelain table lamp hand-painted with wild flowers, Chinese famille rose vase, now converted to a table lamp, together with other vintage lamps (7)

A SUPERB FAMILLE ROSE 'KINGFISHER AND LOTUS' PLAQUE, CHINA, STUDIO OF CHENG YITING (1895-1948)Superbly and delicately enameled with two kingfishers perched on a rock below a large wilting lotus leaf amid further leaves, a bud, and two blossoms, a stream in the background. With a lengthy inscription as well as the artist's signature and seal.Inscriptions: Upper left, signed 'Zhushan Cheng Yiting, painted in Peigu-Zhai' and inscribed 'In the Spring in the style of Nansha Laoren [Jiang Tingxi, 1669-1732]'. Two seals of the artist, 'Yiting' and 'Cheng yin'. Provenance: Bonhams Knightsbridge, 3 November 2014, lot 478 (described as “After Cheng Yiting”, and together with another plaque), sold for GBP 3,125 or approx. EUR 4,400 (converted and adjusted for inflation at the time of writing). A Swedish private collector, acquired from the above, and thence by descent. Condition: Very good condition with minor wear and firing irregularities, few light scratches. The hardwood frame with expected age cracks, nicks and losses, and traces of use.Dimensions: Size 62 x 31 cm (excl. frame)With a fine hardwood frame and brass fitting from the period. (2)This masterfully painted plaque represents a new style pursued by porcelain artists upon the fall of the Qing dynasty. With imperial orders discontinued, craftsmen in the porcelain center of Jingdezhen were released from the constraints of the court and eagerly sought to develop new markets. In 1928, eight of the leading artists formed a group called Yueman hui (Full Moon Society), because they met to exchange ideas during the full moon. This group later became known as Zhushan Bayou (Eight friends of Zhushan), comprised of Cheng Yiting, Wang Qi, Deng Bishan, Wang Dafan, Wang Yeting, He Xuren, Bi Botao, Xu Zhongnan, and Tian Hexian.Cheng Yiting (1895-1948), a native of Leping, Jiangxi province, began learning to paint on porcelain at the age of sixteen at the Jiangxi Ceramics School in Poyang. In 1925 he moved from Jiujiang to Jingdezhen and set up his own business before traveling to Shanghai in 1931 to study under the Zhe School artist, Cheng Zhang (1869-1938). It was during this period that his skills greatly improved and developed the exquisite bird and flower painting style for which he is most famous.Jiang Tingxi (1669-1732) was a noted Chinese painter, and an editor of the 5020-volume encyclopedia Gujin Tushu Jicheng (Complete Collection of Ancient and Modern Writings and Charts), which was published in 1726 and had been compiled by Jiang and Chen Menglei during the reigns of the Kangxi and Yongzheng Emperors. As an official painter and grand secretary to the imperial court, Jiang used a wide variety of artistic styles and focused particularly on paintings of birds and flowers. He was also proficient in calligraphy and his works influenced several later painters. Apart from cultural activity, as a holder of the jinshi degree, Jiang performed important duties in the Qing government's Office of Military Finance, on par with Zhang Tingyu (headed by Yinxiang, the Yongzheng Emperor's brother). He was born in Changshu, Jiangsu. Besides the name Yangsun, he was also known by the pseudonym Nansha.Literature comparison: For an overview of the artists' plaques depicting birds amongst lotus and chrysanthemum, see those from the Muwentang Collection published in Simon Kwan, Chinese Porcelain of the Republic Period, Hong Kong, 2008, nos. 44, 45, 47, 49, and 50. Compare also two related plaques which were included in the exhibition Brush and Clay. Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990, cat. nos. 47 and 48.Auction result comparison: Type: Closely related Auction: Heritage Auctions, New York, 19 March 2019, lot 78195 Price: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writing Description: A Chinese Enameled Porcelain Plaque, 20th century, seal reading “Cheng Yiting” Expert remark: Compare the closely related subject, style, enamels and manner of painting, most notably the similarly wilted leaves. Note the much smaller size (36.8 x 23.9 cm).Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2012, lot 350 Price: GBP 79,250 or approx. EUR 116,250 converted and adjusted for inflation at the time of writing Description: A famille rose rectangular plaque, Republic period, signed and sealed Cheng Yiting Expert remark: Compare the related style, enamels and manner of painting with similar wilted leaves. Note the smaller size (39.5 x 26.7 cm).程意亭(1895-1948) 粉彩《翠鳥荷花》瓷板畫長條形邊框，框體雕飾花卉紋，畫心繪盛開的荷花、荷葉、翠鳥。粉紅的荷花、碧綠的荷葉下，一對翠鳥立於石上。一翠鳥聚精會神的凝視著水面，一翠鳥回首觀望，被他物所吸引。 款識：不妨翠鳥偷窺，為種荷花葉數莖。春仲撫南沙老人大意，翥山程意亭寫於佩古齋；鈴印：意亭，程印 來源：騎士橋邦翰思2014年11月 3日 lot 478 (描述爲程意亭風格，與其他幾件瓷板一起)，售價 GBP 3,125 或相當於 EUR 4,400 (根據通貨膨脹率)；瑞典私人收藏，購於上述拍賣，保存至今。 品相：狀況極好，有輕微磨損和燒製瑕疵，輕微劃痕。硬木框有年代裂縫、刻痕和缺損，有使用痕跡。 尺寸：62 x 31 厘米 (不含框) 同期硬木框與銅扣。(2)

A FAMILLE ROSE 'PIPA' WALL VASE, LATE QING DYNASTY TO REPUBLIC PERIODChina, 1850-1949. Finely modeled as a pipa wrapped in a green pouch, enameled with a dense network of blue, green, and red scrolling vines issuing lotus, chrysanthemums, peonies, and other flowers, tied with a red sash decorated with gilt swastika and shou symbols. The pipa painted in a dark brown and neatly dotted in gilt to the top.Provenance: Dr. Ma Luk, Hong Kong, and thence by descent in the same family. A private collection, Arizona, USA, acquired from the above. Dr. Ma Luk (1883-1963) graduated from the Hong Kong College of Medicine and became one of the leaders of the local medical community in Hong Kong. After spending a few years working for the Chinese Public Dispensary, he had the rare distinction of being the first Chinese doctor to join a European group practice in 1908, Drs. Fitzwilliams and Allan. He later started his own clinic in Central District and gradually expanded it into a large group practice, the Ma Luk Sun Hospital. Dr. Ma was also a director of the newly formed Yeung Wo Nursing Home in 1922. He served the Hong Kong Chinese Medical Association as vice president from 1933-1934 and was also active as the Chairman of the Chinese Club. He was admitted to the Order of St. John for his long service for the St. John Association and Brigade. Dr. Ma Luk was an important art collector and patron. Condition: Minor old wear, a single restored break, and little glaze flaking.Weight: 798 g Dimensions: Height 28.6 cmLiterature comparison: The design of covering vessels with what appears to be textile packaging can usually be found on famille rose vases, for example, see a blue-and-white vase decorated with a famille rose design imitating drape brocade tied in a knot around the vase, in the Palace Museum, Beijing, illustrated in The Imperial Packing Art of the Qing Dynasty, Beijing, 2000, pl. 66. The effect of this decoration is the skillful blending of two materials, silk and porcelain.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 28 November 2019, lot 100Price: HKD 200,000 or approx. EUR 24,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose 'pipa' wall vase, Republican periodExpert remark: Compare the closely related form and decoration. Note the similar size (31.5 cm), fitted wood stand, and added wooden pegs.清末民初粉彩琵琶壁瓶中國，1850-1949年。精美的琵琶造型，包在綠色包袱中，繪有密集的纏枝蓮花、菊花、牡丹和其他花朵紋，包袱上係著紅色描金蝴蝶結，裝飾有卍字和壽字紋。琵琶成深褐色，頂部鎏金。 來源：香港Ma Luk 醫生私人收藏，在同一家族保存至今；美國亞利桑那州私人收藏，購於上述收藏。Ma Luk (1883-1963) 醫生畢業於香港醫學院，成為香港本地醫學會領袖之一。在中國公立醫局工作了幾年後，他成為 1908 年第一位加入歐洲集體執業的中國醫生。後來，他在中環開設了自己的診所，並逐漸擴展為大型團體診所，即馬六新醫院。馬醫生亦於1922年出任新成立的楊和護養院院長。1933-1934年任香港中華醫學會副會長，亦積極擔任華人會主席。由於長期為聖約翰協會和旅服務，他被授予聖約翰勳章。Ma Luk醫生是一位重要的藝術收藏家和讚助人。 品相：輕微的磨損，小修補，少量的釉面剝落。 重量：798 克 尺寸：高28.6 厘米 文獻比較： 在粉彩花瓶上通常可以看到用看似紡織品包裝的容器覆蓋容器的設計，例如，一件藍白色花瓶飾有粉彩設計，仿垂墜錦緞在花瓶周圍打結，收藏於北京故宮博物院，見《清代宮廷包裝藝術》，北京，2000年，圖66。這種裝飾的效果是將絲綢和瓷器這兩種材料巧妙融合。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2019年11月28日，lot 100 價格：HKD 200,000（相當於今日EUR 24,500） 描述：民國粉彩琵琶式轎瓶 專家評論：比較非常相近的外形和裝飾。請注意相似的尺寸(31.5釐米)、木底座和木釘。

A FAMILLE VERTE BARREL-SHAPED TEAPOT AND COVER, KANGXI PERIODChina, ca. 1700. The body decorated with bosses to the upper and lower rim. The wide, slightly domed lid with a bud-shaped finial. The teapot painted in emerald- and apple-green, yellow, iron-red, and aubergine enamels to one side with a prunus branch and to the other with blossoming peonies. The cover decorated with flowering branches encircled by a diapered band interspersed with auspicious symbols. The elegantly curved spout decorated with flames in iron-red.Provenance: Philip Suval, Inc., New York, 1993. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from Philip Suval, New York, dated 11 June 1993, describing the piece as a famille verte drum shaped teapot and cover, dating it to the Kangxi period, ca. 1700, and stating a purchase price of USD 3,000 or approx. EUR 6,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Philip Suval Inc. was a noted art gallery, operating from at least 1879 in Southampton, New York, with an additional two locations listed in Manhattan by 1930. They are still in business today, specializing in antique ceramics. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Condition: Good condition with minor old wear and expected manufacturing flaws, including dark spots and pitting. The handle with a minuscule hairline.Weight: 547.1 g Dimensions: Length 18.9 cm, Height 11.1 cmLiterature comparison:Compare a related famille verte barrel shaped teapot, with a replaced spout, Kangxi period, in the collection of the Minneapolis Institute of Art, accession number 98.90A,B.Auction result comparison:Type: RelatedAuction: Bonhams London, 6 November 2008, lot 166Price: GBP 3,600 or approx. EUR 6,600 converted and adjusted for inflation at the time of writingDescription: A famille verte powder-blue-ground barrel-shaped 'flowers' teapot and cover, Kangxi periodExpert remark: Compare the closely related barrel-form, decoration, and size (11 cm). Note the powder blue glaze.康熙硬彩開光花卉紋茶壺中國，約1700年。壺體呈直筒式，前有短曲流，流口斜平切，扳彎曲，平壺蓋，鈕做頂珠狀。壺身上下各有一圈寶珠紋，中間開光五彩描繪富貴花卉紋。一側繪有桃樹，另一側繪有盛開的牡丹。壺蓋上描繪花樹。 來源：紐約Philip Suval，Inc.藝廊，1993年；Richard 與 Maxine Markell購於上述藝廊。隨附1993年6月11日原始發票複印本，描述年代為康熙時期，約1700年，價格為USD 3,000 或相當於 EUR 6,000 (根據通貨膨脹率)。Philip Suval Inc.藝廊是一家知名藝廊，至少從 1879 年開始在紐約南安普頓開展業務，到 1930 年在曼哈頓另外兩個地點。他們今天仍在營業，專門從事古董陶瓷。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：狀況良好，有輕微磨損和製造缺陷，包括黑點和點蝕，手柄有細裂紋。 重量：547.1 克 尺寸：長18.9 厘米，高 11.1 厘米 文獻比較： 比較一件相近的康熙粉彩開光花卉紋茶壺，壺口被替換，收藏於明尼阿波利斯美術館，館藏編號98.90A,B。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2008年11月6日，lot 166 價格：GBP 3,600（相當於今日EUR 6,600） 描述：康熙粉彩藍地開光花卉紋茶壺 專家評論：比較非常相近的桶形、裝飾和尺寸(11 厘米)。請注意此壺為藍釉。

A RARE BLUE AND WHITE 'EIGHT IMMORTALS' BEAKER VASE, GU, KANGXI PERIODChina, 1662-1722. The vase is well painted in bright blue tones with ogival-shaped reserves, each enclosing one of the Eight Immortals, four on the neck, two on the convex mid-section, and two on the lower body, all reserved on a diaper ground between various decorative borders.Provenance: From an old French private estate. Condition: Very good condition with some old wear and shallow surface scratches overall, scattered firing irregularities such as pitting, glaze recesses, dark spots. The cobalt-blue with small areas of firing-related fading, as expected from this group. The vase slightly leaning.Weight: 2,740 g Dimensions: Height 43.7 cmThe Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Popular during the Tang and Shang dynasties, these Eight Immortals were said to live on a group of five islands in the Bohai Sea. Their stories were first recorded by the Ming dynasty poet Wu Yuantai. Their status as fabled folk icons makes them well-known in popular culture.Literature comparison: A similarly decorated blue and white baluster vase, dated to the Kangxi period, is illustrated in Blue and White Porcelain with Underglazed Red III: Complete Collection of Treasures of the Palace Museum, vol. 36, Hong Kong, 2000, page 33, no. 27.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2014, lot 2132 Price: USD 37,500 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A blue and white beaker vase, Kangxi period Expert remark: Compare the closely related form, subject, decoration with similar panels, geometric bands, and diapered ground. Note the identical size (43.7 cm). Also compare the cobalt-blue with small areas of firing-related fading, as expected from this group.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 18 September 2007, lot 273 Estimate: USD 30,000 or approx. EUR 41,000 converted and adjusted for inflation at the time of writingDescription: A rare blue and white yen-yen vase, Qing dynasty, Kangxi period Expert remark: Compare the closely related subject and decoration with similar panels, geometric bands, and diapered ground. Note the size (45.7 cm) and phoenix tail form.康熙時期罕見青花開光八仙人物花觚中國，1662-1722年。撇口，口沿下收，鼓腹，圈足。口內素白，外壁以錦地青花裝飾，頸部開光四位八仙中的人物，腹部兩位，腳部兩位。 來源：法國私人老收藏。 品相：狀況極好，整體有一些磨損和淺劃痕，分散的燒製不規則性，如點蝕、釉面凹陷、黑點。青花有小面積的燒製相關褪色。花瓶微微傾斜。 重量：2,740 克 尺寸：高 43.7 厘米 文獻比較： 一件相似的康熙青花觚，見《Blue and White Porcelain with Underglazed Red III: Complete Collection of Treasures of the Palace Museum》，卷36，香港，2000年，頁33，編號27。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年3月21日，lot 2132 價格：USD 37,500（相當於今日EUR 45,500） 描述：清康熙青花錦地開光八仙圖花觚 專家評論：比較非常相近的外形、主題、外壁相似的錦地青花裝飾。請注意幾乎相同的尺寸(43.7 厘米)。比較小區域的琺瑯有褪色。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2007年9月18日，lot 273 估價：USD 30,000 （相當於今日EUR 41,000） 描述：康熙青花鳳尾瓶 專家評論：比較非常相近的主題、外壁相似的錦地青花裝飾。請注意尺寸 (45.7 厘米) ，以及鳳尾的外形。

A BLUE AND WHITE 'NINE PEACHES' BOWL, JIANGXI PORCELAIN COMPANY, FIRST HALF OF 20TH CENTURYChina, Jingdezhen. Molded with a curving rim that arches inward above the floor of the shallow well. Vividly painted in crisp shades of cobalt blue with gnarled leafy branches bearing nine large peaches. The countersunk base with the six-character studio mark.Inscriptions: To the base, 'Jiangxi Ciye Gongsi'.Provenance: From a German private collection. Condition: Excellent condition with minor wear and minimal firing irregularities.Weight: 106 g Dimensions: Diameter 11.2 cmPeaches have traditionally been associated with Daoism and longevity. In mythology, the goddess Xiwangmu, the Queen Mother of the Western Paradise, owned a vast peach orchard, and it was said that anyone who ate the fruit would become immortal. As such, peaches are considered sacred and auspicious, and when used as a decorative motif, convey wishes for longevity and good fortune.The number nine is considered auspicious in Chinese astrology and folk beliefs. Representing the fullest expression of yang, nine is closely associated with heaven in that it evokes infinity, partly because it was the product of three times three, the most basic unit of three being heaven, earth, and man, and partly because the number nine is a homophone with the word 'jiu', meaning eternity.The Jiangxi Porcelain Studio (or Jiangxi Ciye Gongsi) is the most well-known Chinese porcelain studio of the first half of the 20th century, located in Jingdezhen. It was established in 1910 as a large semi-government company funded by private owners and the five provinces of Hebei, Hubei, Jiangsu, Anhui, and Jiangxi. It is located near the Zhushan - the Pearl Hill - adjacent to the former Imperial porcelain workshops. It is often said that the Jiangxi Porcelain Company of the early 20th century replaced the Imperial kilns, making porcelains for the court in the last years of the Qing Dynasty.二十世紀上半葉青花“九桃“碟，江西瓷業公司款中國，景德鎮。敞口，弧壁，圈足内凹。胎質潔白細膩，釉面光潤，盤心裝飾九桃紋，一桃枝於盤內蜿蜒曲折，枝繁葉茂，共結九顆果實。此盤構圖疏密有致，繪畫精細工巧，青花濃淡相間。 款識：江西瓷業公司 來源：德國私人收藏。 品相：狀況極佳，輕微磨損與少量燒製不規則現象。 重量：106 克 尺寸：直徑11.2 厘米 江西瓷業公司是二十世紀上半葉最知名的中國瓷器公司，位於景德鎮。它成立於1910年，是一家由私人業主和河北、湖北、江蘇、安徽、江西五省共同出資的大型半政府公司。它位於珠山附近，毗鄰前皇家瓷器作坊。二十世紀初，江西瓷業公司取代御窯，在清朝末年為宮廷燒製瓷器。

A WHITE AND BROWN JADE 'LOTUS, CRAB AND MILLET' BRUSH WASHER AND MATCHING WOOD STAND, 18TH CENTURYChina. Exquisitely carved as a furled lotus leaf, finely detailed with veins, the curled stem serving as the foot and handle of the vessel, one side carved with a clambering crab. The superbly polished translucent stone of a pure white tone with pale sugar brown shadings and few russet inclusions and veins.Provenance: An old English private collection. A Hungarian private collection, acquired from the above. Condition: Very good condition with minor wear and few tiny nibbles. The stone with natural fissures, some of which have developed into small hairline cracks over time. The wood stand with minor wear, few expected age cracks, and small losses.Weight: 203.7 g (the washer) and 84.2 g (the stand) Dimensions: Length 11 cmThe matching wood stand, probably huali, lacquered and finely carved in openwork as two lotus leaves borne on curled stems further issuing lotus pods and millet stalks. (2)This brush washer is an exceptional example of the level of carving achieved by craftsmen in the 18th century. From the exquisitely detailed veins of the lotus leaf and modeling of the crab, to the fluid naturalistic form of the leaf, the carving has been expertly positioned and composed within the pebble to ensure minimal wastage and the clever incorporation of the brown portion of the stone to highlight the crab and stem.Lotus-leaf brush washers and water droppers were popular from the Ming dynasty, and were produced in various materials including porcelain, agate, bronze and jade. Such vessels are an example of the ideal natural world that was miniaturized and brought into the scholar's studio. These perfect representations of nature, which encompassed a range of objects including boulder carvings, brush pots and brush washers, proved a means of inspiration and escape for the scholar who was caught in the day-to-day duties of officialdom. An old name in Chinese for crab was jia, a reference to the creature's shell, and the word for lotus is lian.Such scenes were also imbued with auspicious meaning. Together, the crab and lotus formed the rebus lian ke jia di, meaning 'first place in consecutive examinations'. The lotus is also called hehua, and the common name for crab, xie, also combines to form the phrase hexia which means 'harmony'.Expert's note: It is rare to find a brush washer in white and brown jade, as this combination of colors was usually reserved for figural jades. The lapidary has masterfully utilized the different shades of the stone and polished it to a high translucency to further heighten the awe-inspiring effect, and even added a matching stand which strikingly complements the depiction, altogether leaving no doubt that the present lot was made during the 18th century. Literature comparison: Compare a related jade “cup” carved as a lotus leaf surmounted by a crab, dated to the Kangxi period, in the Cleveland Museum of Art, accession number 1952.501.十八世紀白玉褐斑蓮葉筆洗中國。筆洗成捲曲荷葉形，葉紋清晰，卷莖為器足和柄，一側刻有小蟹。表面光滑，呈純白色，帶有淺棕色斑紋和少量赤褐色絮狀物及紋理。 來源：英國私人舊藏；匈牙利私人收藏購於上述收藏。 品相：品相極好，有輕微磨損，具有天然裂隙的石料，隨著時間的推移，其中一些已經發展成細小的裂紋。木架有輕微磨損，輕微老化裂縫，小缺損。 重量：203.7 克 (筆洗)，84.2克 (底座) 尺寸：長11 厘米 配套的木架，可能是花梨木，上漆並精美鏤空，兩片荷葉承載在捲曲的莖上，其間可見蓮藕和花苞(2)

A SMALL ROBIN'S EGG GLAZED 'ARCHAISTIC' BASIN, 18TH CENTURYChina. The vessel of flattened circular form, the exterior finely molded with mask handles suspending mock rings, framed by recessed bands below an incurved rim and short foot, covered overall with an opaque turquoise glaze densely mottled in bright and dark blue save for the broad unglazed foot rim encircling the countersunk base.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. The base lacquered with an old inventory number, 'AMA-3081', and further with two old labels, '3081' and 'Art Ancien de Chine & Extrême-Orient Geneve. 4237/2. K. Lung 1736' Condition: Good condition with some wear and expected traces of use, the interior with light surface scratches, tiny glaze recesses. One side with a thin, barely visible hairline.Weight: 170.4 g Dimensions: Width 10 cm (at the widest points)As early as the Song dynasty, the Imperial court was fascinated with archaic objects and many wares were produced in imitation of ancient forms. The shape of the present censer, although flattened, is reminiscent of bronze containers known as lian, which were among the ritual implements aimed to present food and drink offerings to the ancestors during the Han dynasty. As such, the present censer may not only be emulating the bronze prototype, but also the ceramic form of the Northern Song dynasty, as exemplified by a Ruyao tripod incense burner from the Qing Court collection, illustrated in Porcelain of the Song Dynasty (I): The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, p. 2, no. 1.The 'Robin's egg' glaze represents a significant technical innovation of the Yongzheng period (1723-35) attributable to Tang Ying (1682-1756), the greatest porcelain superintendent in Chinese history. The Yongzheng Emperor, who initiated many revivals of earlier ceramic techniques, was particularly enamored with the variegated Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. In order to have the glazes recreated or imitated, Tang Ying sent his trusted assistant from the imperial kilns in Jingdezhen, Jiangxi province, on study trips to the Jun region in Henan province to learn from the local potters and even went as far as having ceramic raw materials mined in the Jun area transported over thousands of kilometers to Jingdezhen. Among the many types of glazes derived from those efforts are mottled purple ones such as the flambe variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed Lu Jun or Oven Jun, i.e., a Jun glaze fired in low-temperature ovens instead of high-temperature kilns (see Jingdezhen Institute of Ceramic Archaeology et al, The Cultures of Porcelain Superintendents and Jingdezhen, conference volume, Nanchang, 2011). The 'robin's egg' glaze is mentioned on a stele in Jingdezhen, inscribed by Tang Ying, as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the Imperial court. Its color is described as intermediate between the glazes of the Shiwan kilns of Foshan, Guangdong, and those used by the Yixing kilns in Jiangsu for their zisha tea pots, but having a better and more beautiful flow.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 November 2013, lot 234 Price: HKD 600,000 or approx. EUR 91,000 converted and adjusted for inflation at the time of writing Description: An archaistic robin's-egg glazed vase, cong, 18th centuryExpert remark: Compare the related glaze and archaistic design. Note the size (height 14.4 cm). Auction result comparison: Type: Related Auction: Sotheby's London, 3 November 2021, lot 9 Price: GBP 5,292 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A 'robin's egg'-glazed 'double-peach' washer, Qing dynasty, 18th/19th centuryExpert remark: Compare the related glaze. Note the similar size (length 9.6 cm).十八世紀爐鈞釉仿古小盆中國。扁平圓形器皿，外壁中央環紋，兩側饕餮輔首啣環，弧形邊沿，底足未上釉，内凹處有釉，通體施不透明綠松石色爐鈞釉。 來源：瑞士日内瓦私人收藏，建立於上世紀六十年代，保存至今。這個收藏重要的一部分長期在日内瓦亞非博物館展出。底部有收藏編號AMA-3081，以及另外兩個標籤 '3081'與 'Art Ancien de Chine & Extrême-Orient Geneve. 4237/2. K. Lung 1736' 。 品相：品相良好，有一些磨損和使用痕跡，內部有輕微的劃痕，微小的釉面凹陷。一側有細的、幾乎看不見的裂紋。 重量：170.4 克 尺寸：寬 10 厘米 (最寬處)

A LUDUAN-FORM BRONZE CENSER, MING DYNASTYChina, 1368-1644. Finely cast standing foursquare, the chest of the hollow body with a long strip of scaling, the sides with swirls and stylized ruyi-heads, flanking a short tail. The hinged cover rendered in the form of a single-horned head with bulging eyes, scrolling mane, and funnel-shaped ears, the mouth wide open revealing tongue and teeth.Provenance: Galerie Gross, Wiesbaden, Germany, 12 December 1980. An old German private collection, according to the family acquired from the above, and thence by descent. Condition: Very good condition with expected old wear and casting irregularities. The hinge original and remarkably well-preserved, thus functioning properly. A few minuscule nicks and small dents. Naturally grown, rich and very dark patina overall.Weight: 4,612 g Dimensions: Height 30 cm (excl. base, incl. pegs) and 33.5 cm (incl. base)With an old wood base. (2)The throne of the Emperor of China in the Hall of Supreme Harmony in the Forbidden City in Beijing has two incense burners shaped as luduan, the legendary auspicious creatures who can travel 18,000 li (9,000 km) in a single day and speak all world languages. A legend says that a luduan once appeared to Genghis Khan and convinced him to abandon his efforts to conquer India.Luduan are mythical creatures with strong lion bodies, a single horn and the paws of a bear. They are believed to have the ability to foretell the future, give life to the good, and kill the evil. According to legend, they were originally known as 'jiaoduan', and their name changed to 'luduan' because the character for 'lu' matched their appearance better. Known as guardians of enlightened rulers, luduan were said to appear in areas where a wise and virtuous leader was present.The auspicious nature of luduan was particularly appropriate for the purpose of these censers. Cast with hinged or removable heads, they were made for burning incense and smoke would emerge from the beast's mouth, animating and empowering the sculpture. As Chuimei Ho and Bennet Bronson note in their discussion of a pair of Qianlong cloisonne enamel examples from the Palace Museum, Beijing, included in the exhibition 'Splendors of China's Forbidden City, The Glorious Reign of Emperor Qianlong' by The Field Museum, Chicago, 2004, these burners were traditionally valued at the Imperial Court, as with their open mouths and smoke billowing forth, they were a reminder to the emperor that he should always be receptive to honest advice (see page 37).The origin of incense burners of this form is difficult to determine. An example attributed to the Song dynasty was recovered from the Ming dynasty tomb of the scholar-official Zhang Shupei (1552-1615) in Tonglian, Sichuan (Wenwu, 1989, no. 7, pp 45-46, figs 14-16). Mythical beast incense burners, however, became a popular model only from the Xuande period onwards. A censer in the form of a mythological animal was included in the painting 'Enjoying Antiquities' by Du Jin (ca. 1467-1505), where two scholars are depicted scrutinizing a selection of antiquities (illustrated in Through the Prism of the Past, Antiquarian Trends in Chinese Art of the 16th to 18th Century, National Palace Museum, Taipei, 2003, catalog no. I-44). A drawing of a similar beast is also published in the Shizu zhai jian pu (Ten Bamboo Studio Catalogue of Letter Paper Designs), a woodblock printed book of stationery papers from 1645, compiled by Hu Zhengyan and illustrated in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, volume 1, Hong Kong, 1978, page 179, figure 15. Its popularity continued well into the Kangxi reign, when censers of this form were made in a variety of media, including porcelain, cloisonne enamel, and bronze.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 4 April 2017, lot 60 Price: HKD 350,000 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A Rare Bronze Luduan-Form Censer, Yuan-Ming Dynasty (1279-1644)Expert remark: Note the similar size (35.2 cm) Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 3 June 2015, lot 2870 Price: HKD 275,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: A Bronze Luduan-Form Censer and Cover, Late Ming Dynasty, 17th CenturyExpert remark: Note the smaller size (23 cm)明代甪端銅香薰中國，1368-1644年。銅香薰，作獨角甪端形象，昂首傲立，蹲伏狀。雙目圓瞪，發須如火焰紋，前胸配以纓絡鈴鐺，身體兩側有如意狀紋飾，頭部與身體相分開。腹部中空，設計巧妙。體態飽滿圓潤。 來源：德國威斯巴登Galerie Gross藝廊，1980年12月12日；一個德國私人收藏，在同一家族保存至今。 品相：狀況極好，有磨損和鑄造不規則現象。原始鉸鏈且保存完好，因此可以正常使用。一些微小的刻痕和小凹痕。自然包漿細膩。 重量：4,612 克 尺寸：高 30 厘米 (不含底座，含釘子)，33.5 厘米 (不含底座) 木底座。(2)

A JUN-TYPE FLAMBE-GLAZED DISH, CHINA, 18TH CENTURYOpinion: The beautiful glaze that transitions from a deep purple at the rim to a light blue around the cavetto in very thin, uniform streaks is characteristic of Qianlong-period flambe wares.The shallow rounded sides rising from a short foot to an everted rim. The interior glazed in a deep purplish-red that suffuses to a pale blue, the well with copper-green splashes, some of which have darkened significantly over time. The thick glaze thinning towards the rim to reveal the fine white porcelain. The foot neatly polished.Provenance: From the collection of Dr. Frederick Whiting (1861-1946), mostly assembled before 1930, and thence by descent in the same family. The base with an old label, '46'. An 1890 graduate of the University of Vienna, Austria, Dr. Whiting was a Fellow of the American College of Surgeons and a member of the New York Academy of Medicine. He was a recognized collector of American paintings and Chinese porcelains, and a respected author, having written numerous scientific articles as well as a book on surgical techniques titled 'The Modern Mastoid Operation'.Condition: Very good condition with minor wear and firing irregularities original to manufacture. The foot smoothened in some areas, probably inherent to manufacturing, due to the uneven glaze dripping along the foot rim which is expected from this type of ware.Weight: 494.7 gDimensions: Diameter 17.6 cmAlso known as transmutation ware, flambe porcelains came to being thanks to early Imperial interest in the glazes of antiquity. Flambe porcelains are a direct result of Jingdezhen potters' attempts to re-create the famous Junyao of the Song dynasty. The splashes of metallic blue, purple, and reddish-brown are the results of the transmutation of colloidal copper, iron, or other metallic minerals in the glaze surface. Is it very common for these wares, being fired in high temperatures, for the glaze to overrun at the base and require grinding after firing.Literature comparison: Compare a closely related flambe-glazed dish of similar form and exhibiting the same characteristic streaking to the glaze, 26 cm diameter, also dated to the 18th century, in the Metropolitan Museum of Art, accession number 91.1.388. It is interesting to note that Dr. Whiting was in New York around the time of the Metropolitan's acquisition of their dish (1891) and may have had a chance to see it during his lifetime. Compare a related jun-type lavender-glazed dish, Ming Dynasty, 17.5 cm diameter, dated 1400-1435, in the British Museum, registration number 1936,1012.88.Auction result comparison:Type: RelatedAuction: Christie's, New York, 18 March 2009, lot 556.Price: USD 134,500 or approx. EUR 170,000 converted and adjusted for inflation at the time of writingDescription: A very rare early Ming Jun-type dish, Yongle/Xuande period, first quarter 15th centuryExpert remark: Acquired around the same 1890 period, this dish shows a continuous interest in the replication of Jun ware from an even earlier period. Compare the similar colors and related size (17 cm), demonstrating that there is a clear canon being followed by the Ming and Qing potters.十八世紀仿鈞窯變釉盤折沿，淺弧腹，淺圈足。盤內釉面呈深紫紅色，逐漸泛出淡藍色，盤中央花樣綠斑，隨著時間的推移，其中一些已經明顯變暗。邊緣釉面變薄，露出精美的瓷胎。圈足被打磨良好。美麗的釉面從邊緣的深紫色過渡到淺藍色，形成非常細、均勻的條紋，這是乾隆時期燒製瓷器的特徵。 來源：Dr. Frederick Whiting (1861-1946) 收藏, 大多藏品購於1930年前, 在同一家族保存至今。底座有一個老標籤 '75'。 Whiting 博士於 1890 年畢業於奧地利維也納大學，是美國外科醫學院的院士，也是美國耳科學會、紐約耳科學會和紐約醫學院的成員。Whiting博士還是許多俱樂部的成員，其中包括紐約運動俱樂部、丁香谷杆槍俱樂部、世紀協會和康涅狄格州辛辛那提協會。他是一位公認的美國繪畫和中國瓷器收藏家，也是一位受人尊敬的作家，撰寫了大量科學文章以及一本名為《The Modern Mastoid Operation》的外科技術書籍。 品相：狀況極好，有輕微磨損和燒製瑕疵。足部在某些區域變得光滑，這可能是製造所固有的。 重量：494.7 克 尺寸：直徑 17.6 厘米

A PAIR OF 'POMEGRANATE' AND 'CAMELLIA' PORCELAIN PLAQUES IN PARCEL-GILT SILVER FRAMES, MING DYNASTYChina, the porcelain 15th - 16th century, the frames from the Qing dynasty. Each plaque of fan shape and finely painted, one with pomegranates borne on leafy vines, the second depicting blossoming camellia flowers, each within a silver frame surmounted by two qilin, with a gilt band decorated with birds and vines against a ring-punched ground, and inlaid with tourmaline and sapphire matrix cabochons. (4)Provenance: Formerly in a European private collection. Condition: Very good condition with minor wear, light surface scratches, small dents, some inlays missing.Weight: 3,643 g and 3,649 g Dimensions: Size 32.7 x 45.5 cm (each)Expert's note: The parcel-gilt silver frames date from circa 1780-1880 and boast a superb quality of craftsmanship as well as an inspired design, the neatly inlaid semi-precious stones adding further to their singularity, overall indicating the possibility of an imperial connection.The camellia is native to China where it has a rich national history, particularly in the southwest region. In Chinese belief, it represents the union between two lovers. The delicately layered petals represent the woman, and the calyx (the green leafy part of the stem that holds the petals together) represents the man who protects her. The pomegranate with its many seeds is viewed as a symbol of having multiple sons who are expected to continue the family line. The pairing of camellia and pomegranate thus represents a wish for a happy marriage with many offspring.Literature comparison:Compare a blue and white bianhu vase with camellia motif, dated to the Yongle period, in the Shanghai Museum, ID number CI00000173. Compare a blue and white bowl painted with pomegranates in the center, with a Xuande mark and of the period, in the Metropolitan Museum of Art, accession number 1991.253.39.明代一對石榴與茶花陶瓷掛屏中國，瓷屏十五至十六世紀，清代鎏銀屏框。瓷板成扇形，青花繪製，一面是纏枝石榴紋，另一面是纏枝茶花紋。鑲銀框，框上有麒麟掛扣，銀框鑲嵌碧璽和藍寶石。(4) 來源：歐洲私人收藏。 品相：狀況極好，有輕微磨損與表面劃痕、小凹痕、一些鑲嵌物缺失。 重量：分別爲3,643克與3,649克 尺寸：分別爲32.7 x 45.5 厘米 專家注釋：鎏銀框的年代約為 1780-1880 年，精湛的工藝和設計，整齊鑲嵌的寶石增加了獨特性，很可能為御用。 文獻比較： 比較一件永樂景德鎮窯青花山茶紋扁壺，藏於上海博物館，編號CI00000173。比較一件宣德款及年代石榴紋青花碗，收藏於大都會藝術博物館，館藏編號1991.253.39。

A BLUE AND WHITE GINGER JAR AND COVER, TRANSITIONAL PERIOD, CHINA, C. 1643-1645Of ovoid form, finely painted in shades of cobalt blue with shaped panels enclosing floral sprays and butterflies against an ice-crack ground with scrolling leafy lotus sprays, below a band of pendent drops of alternating size, the cylindrical cover with a broad band of precious objects to the sides and leafy lotus sprays to the flat top, all against ice-crack grounds and divided by line borders.Provenance: Michael Hatcher, recovered from the 'Hatcher wreck' in 1983. Christie's Amsterdam, 14 March 1984. Felix Tikotin, acquired from the above and thence by descent. The base with an old label, 'The Hatcher Collection. Christie's Amsterdam. 14-03-1984'. Michael Hatcher (b. 1940) is a British explorer and marine salvor who specialized in salvage work in the South China Sea. In 1981 he was involved in investigating the wreck of the Dutch submarine K XVII. He is especially known for his recovery of large quantities of Chinese porcelain from the VOC ship Geldermalsen (known as the 'Nanking cargo') which was sold at auction by Christie's in Amsterdam in 1986. Previously, he had discovered another ship in the South China Sea, which became known as the 'Hatcher wreck'. A part of the cargo salvaged in this wreck was sold at Christie's Amsterdam in March 1984, including the present lot. Condition: Excellent condition with minor wear and firing irregularities, including kiln grit to the base, the mouth rim with a small smoothened area, probably inherent to manufacture. The exterior with surface alteration consistent with objects from maritime salvage.Weight: 2,896 g Dimensions: Height 30 cmThe present ginger jar was recovered among some 25,000 vessels found on the wreck of an unidentified Asian ship in the South China Sea. This ship is known as the 'Hatcher wreck' after Captain Michael Hatcher who discovered her in 1983. There is no written record testifying to the exact year of her sinking but the covers of two oviform jars inscribed in underglaze blue with a cyclical date corresponding to 1643 make fairly precise dating of the wreck possible. The cargo primarily consisted of two types of blue-and-white porcelain made at Jingdezhen at the end of the Ming dynasty - late variations of 'kraak' ware and examples of a 'transitional' style characterized by landscape motifs and naturalistic plants and birds. The ship may have been on its way to Indonesia, carrying also spices, silk and other commodities for sale to the Dutch whose East India Company had offices in Batavia (modern Jakarta). Chinese junks sailing to Batavia or Bantam varied in size from 200 to 800 tons. The journey out was made over three weeks during December and January and the return trip took place in June and July.Auction result comparison: Type: Related Auction: Christie's London, 12 November 2004, lot 216 Price: GBP 3,824 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A blue and white ginger jar and cover, KangxiExpert remark: Compare the closely related form and decoration with similarly shaped panels enclosing floral sprays against an ice-crack ground. Note the smaller size (25.5 cm) and the fact that this jar is somewhat later than the present lot.約1643-1645年間青花開光花卉紋蓋罐短頸，豐肩，腹下斂；青花冰裂紋地，纏枝蓮紋和蝴蝶；兩面葉形開光，裏面描繪菊花紋。短頸無釉，圈足未上釉，露胎。 來源：Michael Hatcher，1983年從 'Hatcher 沉船' 找到；阿姆斯特丹佳士得，1984年3月14日；Felix Tikotin購於上述拍賣，保存至今。底部有一舊標籤 'The Hatcher Collection. 阿姆斯特丹佳士得. 14-03-1984'。Michael Hatcher (出生於 1940年) 是英國探險家、海上救助員，專門在南海從事打撈工作。1981 年，他參與調查荷蘭潛艇 K XVII 的殘骸。他因從 1986 年在阿姆斯特丹佳士得拍賣會上出售的 VOC 船 Geldermalsen（被稱為“南京船貨”）中回收了大量中國瓷器而聞名。此前，他還在中國南部發現了另一艘船，後來被稱為“海切爾沉船”。1984 年 3 月，在這艘沉船中打撈出的部分貨物在佳士得阿姆斯特丹拍賣行出售，包括本批貨物。 品相：狀況極佳，有輕微磨損和燒製不規則，包括底部有窯砂，口緣有一個小的平滑區域，可能是製造所固有的。 重量：2,896 克 尺寸：高30 厘米

A 'QIANJIANG CAI' ENAMELED 'SEVEN MONKEYS' PLAQUE, STUDIO OF PAN TAOYU (1887-1926)China, Jingdezhen. The rectangular plaque painted in green and blue tones with seven monkeys frolicking, each with a comical and mischievous expression, a pair with a young seated below a tree playing the flute and pointing upwards, a young monkey playing with a lamp at the tree top, and two monkeys perched on a branch holding a stick trying to reach out to another monkey hanging on a tendril.Inscriptions: Center left, inscribed 'Guanyin fenghou' (a wish for a speedy promotion), one seal of the artist, 'Gu huan' (ancient joy).Provenance: From the private collection of a doctor, Connecticut, USA. Condition: Very good condition with some old wear and little rubbing. The frame with few small nicks and scratches.Weight: 3,340 g Dimensions: Image size 40.8 x 25.3 cm, Size incl. mounting 47.8 x 32.3 cmIn a hardwood frame with metal mount, both from the period. (2)Gu huan (ancient joy) is the studio name that belongs to Pan Taoyu (1887-1926), a porcelain master from Jingdezhen. The emergence of the market for fine decorative art porcelains was an important development and brought a fresh and vibrant energy to porcelain making in China during the Republic period. Pan Taoyu was one of the most important pioneers and masters of porcelain painters in the early 20th century. With his superb ability to depict delicate fine shadings, Pan achieved excellence in painting a wide range of objects on porcelain, including figures, landscapes, and bird-and-flowers motifs. Among Pan Taoyu's students are Wang Yeting, Liu Yucen and Cheng Yiting, all important members of the celebrated 'Eight Friends of Zhushan' group who were among the best fencai masters of the Republic period. Pan Taoyu died young, and very few of his personal works survived.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.Monkeys are a popular motif in Chinese art. Shown together with the inscription, they symbolize the wish for immediate success or a speedy promotion of young candidates.Literature comparison: Examples of Pan Taoyu's personal porcelain paintings are illustrated by Simon Kwan, Chinese Porcelain of the Republic Period, The Muwen Tang Collection Series, Hong Kong, 2008, p. 68-73, and on the cover. Auction result comparison:Type: RelatedAuction: Bonhams London, 10 November 2011, lot 569Price: GBP 361,250 or approx. EUR 641,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of enameled fan-shaped plaques, circa 1900-1920, signed by Pan Taoyu (circa 1887-1926)Expert remark: Note that the lot comprises two fan-shaped plaques and that these are personal (not studio) works by the master. Note also the much larger size (54 cm). 潘匋宇(1887-1926)淺絳彩《卦印封侯》瓷板中國，景德鎮。長方，此橫幅作品以一角構圖，繪樹上樹下幾隻靈猴或是掛於樹間，或是在樹下戲耍。樹上有一隻手正努力把一個印掛在樹上。畫法細膩，樹枝凹凸斑駁處著意用粉彩渲染，色澤由暗漸明，可見是經過層層暈染方成，極富立體感。以靈猴裝飾瓷器，明清時較為少見，但從晚清民國的瓷器鳥獸畫來看，藉著吉祥“封侯”之寓意，在作品中繪以雅趣。 款識：卦印封候；鈴印：古歡 來源：美國康涅狄格州醫生私人收藏。 品相：狀況極好，有一些磨損和少量磨損。木框上有一些小劃痕。 重量：3,340 克 尺寸：畫面40.8 x 25.3 釐米，總47.8 x 32.3 釐米 硬木框金屬架，應爲來自同期。

A RARE WHITE GLAZED 'TOAD' WATER DROPPER, JOSEON DYNASTYKorea, 19th century or earlier. Modeled as a squatting toad with forelegs pressed together, an octagonal opening at the back and a small hole pierced at the mouth, the surface with white, raised bosses suggestive of the knobby skin of a toad, the eyes highlighted in a dark turquoise glaze, the base unglazed. Provenance: The Antique Square, Hong Kong, the 1980s-1990s. A private collection in the United Kingdom, acquired from the above. An undated brochure from the Antique Square is accompanying this lot. Note that this brochure bears a manual inscription, where the present lot is erroneously described as Chinese. Condition: Very good condition with minor old wear, some traces of usage and manufacturing flaws including small fire cracks.Weight: 55.4 g Dimensions: Length 7 cmWith a padded silk box and cover. (2) Literature comparison:Compare a related toad-form water dropper, illustrated in Byung-Chang Rhee, in Masterpieces of Korean Art - Yi Dynasty Ceramics, Tokyo, 1978, pl. 445, page 390. Compare a related toad-form water dropper, illustrated in Seo Hyowon, Bunwon Porcelains / Late Joseon Blue and White, Gyeonggi, Gyeonggi Ceramics Museum, 2009, no. 60.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 22 September 2020, lot 246Price: USD 22,500 or approx. EUR 24,500 converted and adjusted for inflation at the time of writingDescription: A white porcelain toad-form water dropper, Joseon dynasty (19th century)Expert remark: Compare the closely related form, glaze, and decoration. Note the size (8.5 cm).朝鮮王朝罕見白釉蟾蜍水丞韓國，十九世紀或更早。造型獨特，水丞堆塑蟾蜍狀，前腿併攏，背部有一個八角形開口，嘴部有一個小孔，表面有白色凸起，如蟾蜍一般，眼睛通過深綠松石色釉突出，底座未上釉。 來源：香港古玩廣場，上世紀八十至九十年代；英國私人藏家購於上述藝廊。隨附一本來自香港古玩廣場的未註明日期的小冊子。 請注意，這本小冊子有手寫文字，並錯誤地將此拍品描述為中國古董。 品相：狀況非常好，有輕微的磨損，一些使用痕跡和製造缺陷，包括燒製小裂紋。 重量：55.4 克 尺寸：長7 厘米 絲襯蓋盒 (2) 文獻比較： 比較一件相近的蟾蜍水丞，見Byung-Chang Rhee，《Masterpieces of Korean Art - Yi Dynasty Ceramics》，東京，1978年，圖445，頁390。比較一件相近的蟾蜍水丞，見Seo Hyowon，《Bunwon Porcelains / Late Joseon Blue and White》，京畿道，收藏於Gyeonggi Ceramics Museum，2009年，編號60。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2020年9月22日，lot 246 價格：USD 22,500（相當於今日EUR 24,500） 描述：王朝十九世紀白釉蟾蜍水丞 專家評論：比較非常相近的外形、釉面和裝飾。請注意尺寸(8.5 厘米)。

A BLUE AND WHITE 'KRAAK' PORCELAIN DISH, WANLI PERIODChina, 1573-1619. Finely potted with rounded sides rising to a barbed rim, decorated in underglaze blue to the center with a goose standing on a riverbank below leafy stems of lotus flowers. The cavetto further painted with alternate roundels enclosing Buddhist symbols and peach stems. The reverse with floral panels. Covered overall in a thick transparent glaze.Provenance: Swedish trade. The base with an old collector's note 'Ming Wan-Li 1573-15 […]'. Condition: Very good condition with minor wear and manufacturing flaws including kiln grit and pitting, minor fritting to the rim and foot.Weight: 331.9 g Dimensions: Diameter 20.8 cmAuction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 3 October 2012, lot 288Price: EUR 3,500 or approx. EUR 4,300 adjusted for inflation at the time of writingDescription: A Chinese blue and white 'kraak porselein' dish, Wanli (1573-1619)Expert remark: Compare the related motif, barbed rim, and similar size (20.5 cm)萬曆青花克拉克瓷開光盤中國，1573-1619年。克拉克瓷盤敞口外翻，淺弧腹，圈足。青花描繪，盤沿開光内可見花卉以及佛教符號紋，盤中央描繪荷塘畔的鵝。反面開光描繪花卉。整體覆蓋著厚厚的透明釉。 來源：瑞典古玩交易，底部可見老藏家注釋 'Ming Wan-Li 1573-15 […]'。 品相：狀況極好，有輕微磨損和製造缺陷，包括窯砂和點蝕，邊緣和足部有輕微磨損。 重量：331.9 克 尺寸：直徑 20.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：阿姆斯特丹佳士得，2012年10月3日，lot 288 價格：EUR 3,500（相當於今日EUR 4,300） 描述：萬曆青花克拉克瓷開光盤 專家評論：比較相近的主題、盤沿，以及相似的尺寸 (20.5 厘米)。

A GUAN-TYPE CONG-FORM ARCHAISTIC VASE, 18TH CENTURYChina. Of archaic jade form, the straight-sided square section body rising from a short foot to a narrow tapering circular neck, finely molded in shallow relief with two vertical bars down each side, and alternating shorter and longer horizontal bars down the four corners. Covered overall in a thick pale-gray glaze suffused with a network of golden and black crackles, masterfully controlled so that they emphasize the archaic form of the vessel.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa. Condition: Very good condition with minor wear and firing irregularities, intentional crackling, one tiny nick to the mouth. The foot slightly smoothened, probably inherent to manufacture. Weight: 255.8 g Dimensions: Height 11.8 cmExpert's note: One feature that sets the present Guan-type cong-form vase apart from later examples is the masterly control of the two-tone crackle, with the dark lines accentuating the form of the vase and the smaller, golden network highlighting the molded decoration. This level of precision on such an inspired yet simple design is not found on any Chinese porcelain later than the 18th century. Literature comparison: Compare the guan-type vase of this shape and decoration illustrated in Monochrome Porcelain (Beijing): The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, page 221, pl. 199.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 September 2014, lot 161 Price: USD 15,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A 'Guan'-type cong vase, Qing dynasty, 18th centuryExpert remark: Compare the closely related form and thick glaze with similar two-tone crackle. Note the near-identical size (13.6 cm).十八世紀仿官釉琮形瓶中國。玉琮形瓶，圓口、方腹、圈足，四面凸起橫直條紋。通體覆蓋著一層厚厚的淺灰色釉，上面佈滿了金絲鐵線紋，更加突出了古玉琮的風格。 來源：Felix Tikotin收藏，在同一家族保存至今。Felix Tikotin (1893-1986) 是一位建築師、藝術收藏家，也是中東第一家日本藝術博物館的創始人。他出生在德國格洛高的一個猶太家庭，他的祖先隨拿破崙從俄羅斯一個名叫提科欽的小鎮返回。他在德勒斯登長大，第一次世界大戰後前往日本旅行，並立即愛上了它的文化。1927 年 4 月，他在柏林開設了自己的第一家藝廊。二戰時，整個家庭在大屠殺中倖存下來。1950 年代，Tikotin 慢慢恢復了他作為日本藝術品經銷商的活動。 他非常成功，在歐洲和美國各地舉辦展覽。當他在 1956 年第一次訪問以色列時，他決定把他的大部分收藏都捐贈給以色列。1960 年，Tikotin 日本藝術博物館在海法開放。 品相：狀況極好，有輕微磨損和燒製不規則、刻意開片，口上有一個小缺口。腳部稍微光滑，可能是製造所固有的。 重量：255.8 克 尺寸：高 11.8 厘米 專家注釋：這件仿官釉琮形瓶有別於後世之作的一大特徵是對雙色裂紋的巧妙控制，深色線條突出瓶形，較小的金色網紋突出模壓紋飾。 在十八世紀以後的任何中國瓷器上，都找不到這種精確度。 文獻比較： 比較仿官釉琮形瓶和裝飾，見《故宮博物院藏文物珍品全集．顏色釉》，香港，1999年，頁221，圖199。

SEVEN 'SILK PRODUCTION' PAINTINGS, AFTER JIAO BINGZHEN (FL. 1689-1726), QING DYNASTYChina, 18th-19th century. Ink and watercolors on paper. Each skillfully painted to illustrate a different stage of silk production, including the preparation and inspection of twig frames and trays for the silkworms and mulberry leaves, as well as the loading and weighing of baskets filled with silkworm cocoons and the soaking of such cocoons in order to free the silk. Provenance: English trade. Condition: Good condition with minor wear, soiling, and creasing.Dimensions: Image size 25.5 x 25 cm (each)Each painting is matted and framed. (14)Didactic images of silk and rice production first appeared in Chinese culture around 1145 with the Southern Song dynasty court painter Lou Shou (1090-1162). Accompanied by poetic inscriptions describing the individual steps of production, these imperially sponsored images demonstrated the Emperor's interest in fostering sound agricultural and sericulture practices for these key economic engines and sources of food and clothing for the nation, as well as government revenue through taxation.In the seventeenth century, the Kangxi Emperor commissioned the court artist Jiao Bingzhen (fl. 1689-1726) to create a new edition of the Gengzhi tu, which was published as woodblock printed albums in 1696. As a result of the book's wide distribution, the imagery from the 1696 edition soon began appearing in a variety of media, on porcelain vases, lacquer screens, fine embroidery, and paintings, as seen in the present lot.Literature comparison: An album of woodblock prints, with 46 illustrations on the cultivation of grain and silk, commissioned by the Kangxi Emperor, dated 1696, is in the British Museum, registration number 1949,0709,0.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 27 January 2014, lot 397 Price: USD 7,500 or approx. EUR 8,600 converted and adjusted for inflation at the time of writing Description: A set of six Chinese silk production pictures, 19th century Expert remark: Note the similar sizes (23.7 x 24.1 cm) and that the lot comprises six album leaves, each with two pictures, four of which are framed.Auction result comparison: Type: Closely related Auction: Christie's London, 14 May 2019, lot 178 Price: GBP 11,250 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: Formerly attributed to Jiao Bingzhen (fl. 1689-1726), Sericulture Expert remark: Note the size (30.4 x 26.6 cm) and that the lot comprises an album of 24 leaves, twelve of which are closely related paintings, the other twelve with calligraphy reproducing the text of the Kangxi Emperor's poems inscribed on Jiao Bingzhen's original paintings.清代《蠶織圖》中國，十八至十九世紀，紙本設色。描繪中國南方蠶織戶養蠶、下蠶、繅絲生產的過程。 來源：英國古玩交易。 品相：狀況良好，有輕微磨損、污漬和摺痕。 尺寸：畫面分別為25.5 x 25 厘米 裝框。(14)文獻比較： 一組1696 年康熙皇帝委託製作的版畫畫冊，共 46 幅有關種植糧食和絲綢的插圖，收藏於大英博物館，館藏編號 1949,0709,0.1。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年1月27日，lot 397 價格：USD 7,500（相當於今日EUR 8,600） 描述：十九世紀一組六幅《製絲綢過程》 專家評論：請注意相似的尺寸 (23.7 x 24.1釐米)，以及此為六幅畫。 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 178 價格：GBP 11,250（相當於今日EUR 14,500） 描述：焦秉貞款（fl. 1689-1726）《蠶業》 專家評論：請注意尺寸(30.4 x 26.6釐米) 。這是一本24頁的畫冊，其中十二幅是密切相關的繪畫，另外十二幅是複製康熙皇帝在焦秉貞原畫上題寫的詩文。

AN IMPERIAL FAMILLE ROSE 'BOYS AT PLAY' PORCELAIN SNUFF BOTTLE, DAOGUANG MARK AND PERIODChina, Jingdezhen kilns, 1821-1850. Of flattened globular form, rising from an oval foot ring, surmounted by a cylindrical neck, finely enameled, and picked out in gilt and iron-red. Each side depicting a scene with eight boys playing, some boys holding twigs, flowers, a scepter, brush, and Buddhist emblems on poles, and each dressed in fine robes with ornamental designs. The recessed base with an iron-red four-character mark Daoguang nianzhi and of the period.Provenance: From an Austrian private collection, assembled prior to 1990. Condition: Very good condition with minor wear, mostly to the iron-red and gilt, few small nicks, and minuscule chips to the foot. The stopper with minor nibbling.Stopper: CarnelianWeight: 39.2 gDimensions: Height including stopper 66 mm. Diameter neck 17 mm and mouth 7 mm.The number eight is believed to be one of the luckiest numbers in China since it is associated with wealth. 'Eight' in Chinese is pronounced 'ba' and sounds similar to 'fa' as in 'facai', meaning 'well-off' or 'becoming rich in a short time'. The subject of boys or children was very popular in decorative arts of the Ming and Qing dynasties. Together with the number eight the motif of boys may represent a wish for an abundance of offspring and wealth.Auction result comparison:Type: RelatedAuction: Sotheby's London, 18 May 2018, lot 388Price: GBP 2,375 or approx. EUR 3,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose enameled porcelain snuff bottle, Daoguang seal mark and period (1821-1850)Expert remark: Compare the closely related form and motif. Note the missing gilt accents, the lower quality of the painting, and the slightly smaller size (55 mm).道光款及年代粉彩嬰戲圖鼻煙壺中國，景德鎮，1821-1850年。直頸，扁平圓形壺身，橢圓形圈足。精美的琺瑯，描金和礬紅彩勾勒。每面描繪八個男孩玩耍的場景，一些男孩手持樹枝、鮮花、毛筆和佛徽；童子們都穿著精美衣袍。圈足内礬紅彩“道光年製”四字款。 來源：奧地利私人收藏，建立於1990年前。 品相：狀況極好，有輕微磨損，主要是礬紅彩和鎏金，輕微小刻痕，足部有微小缺口，壺蓋有輕微磕損。 壺蓋：紅玉髓 重量：39.2 克 尺寸：含壺蓋高66 毫米. 頸部直徑17 毫米，壺口直徑 7 毫米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2018年5月18日，lot 388 價格：GBP 2,375（相當於今日EUR 3,500） 描述：清道光粉彩百子圖鼻煙壺 《道光年製》款 專家評論：比較非常相近的外形和主題。請注意沒有鎏金，且繪畫品質較低，以及尺寸較小 (55 毫米)。

A RARE 'JUN-IMITATION' WATERPOT, PINGGUOZUN, KANGXI PERIODOpinion: No other examples of this specific glaze type, combined with this specific form and mark, appear to have come on the market. The unique imitation Jun ware purplish-red glaze, derived from copper, combined with the simple apple-form and auspicious artemisia leaf mark, firmly places the jar within the Kangxi period. The high age of the jar is further cemented by its early provenance.China, 1662-1722. Delicately potted, the 'apple jar' is of compressed globular form with an inverted rim, covered overall in an elegant purplish-red, somewhat experimental glaze, attractively and irregularly pooling below the mouth and transmuting to a bluish celadon, building a distinct line of glaze drops in remarkably high relief around the central body. The white base with an underglaze-blue artemisia leaf mark.Provenance: From the collection of Dr. Frederick Whiting (1861-1946), mostly assembled before 1930, and thence by descent in the same family. The base with an old label, '75'. An 1890 graduate of the University of Vienna, Austria, Dr. Whiting was a Fellow of the American College of Surgeons and a member of the American Otological Society, the New York Otological Society, and the New York Academy of Medicine. Dr. Whiting was also a member of numerous clubs, among others the New York Athletic Club, the Clove Valley Rod and Gun Club, the Century Association, and the Society of Cincinnati in the State of Connecticut. He was a recognized collector of American paintings and Chinese porcelains, and a respected author, having written numerous scientific articles as well as a book on surgical techniques titled The Modern Mastoid Operation.Condition: Excellent condition with minor wear and firing irregularities, with a subtle orange tinge to the foot rim and stained craquelure to the interior. Dimensions: Height 6.4 cm (excl. stand), Diameter 8.5 cmWeight: 237 g (excl. stand)With a finely carved zitan stand. (2)When the Kangxi Emperor came to the throne, he immediately began to show an interest in the production of porcelain and encouraged the potters to experiment, improve and rediscover earlier techniques. One of those rediscoveries was the attempt at replicating Jun ware of the Song Dynasty, remarkable for its thick luscious glaze of intense coloration which can vary from light to deep turquoise blue splashed with purplish-red derived from copper. The splashes added a flamboyant effect, which had an immense appeal to the literati and nobility of the time. The present lot seems to be one of the rather early prototypes from this group.During the early Qing dynasty, up until the early 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 artemisia leaf marks.康熙時期罕見仿鈞釉蘋果尊中國，1662-1722年。器呈侈口，無頸、圓腹，器口頸若果蒂下凹於圓腹之中，底內凹。器體小巧玲瓏，豐滿圓潤。全器施玫紅色仿均釉，近足部成淺藍色，釉色流淌和緩且變化自然。圈足內施白地青花蒿葉款。 專家注釋: 市場上似乎沒有這種特殊釉面類型的例子，並帶有這種特殊款識標記。獨特的仿鈞窯玫紅色釉料，以銅為原料，結合簡潔的蘋果形和吉祥的蒿葉款，所以此罐應來自康熙時期。 來源：Dr. Frederick Whiting (1861-1946) 收藏，大多藏品購於1930年前，在同一家族保存至今。底座有一個老標籤 '75'。 Whiting 博士於 1890 年畢業於奧地利維也納大學，是美國外科醫學院的院士，也是美國耳科學會、紐約耳科學會和紐約醫學院的成員。 Whiting博士還是許多俱樂部的成員，其中包括紐約運動俱樂部、丁香穀杆槍俱樂部、世紀協會和康涅狄格州辛辛那提協會。 他是一位公認的美國繪畫和中國瓷器收藏家，也是一位受人尊敬的作家，撰寫了大量科學文章以及一本名為《The Modern Mastoid Operation》的外科技術書籍。 品相：品相極佳，有輕微磨損和燒製不規則，足緣略帶橙色，內部有裂紋。 尺寸：高 6.4 釐米 (不含底座)，直徑 8.5 釐米 重量：237 克 (不含底座) 紫檀雕刻底座。 (2)

A LARGE LONGQUAN 'TRIGRAM' TRIPOD CENSER, YUAN TO MING DYNASTYChina, 13th to 15th century. Heavily potted, the deep flaring sides rising from a flat base and set over three short cabriole legs, the exterior molded with a band of Bagua trigrams between two raised fillets and freely carved with foliate scrolls, the well with a central aperture framed by a raised disc underneath, covered overall in an even sea-green celadon glaze save for the areas around the aperture, partly burnt to orange in the firing.Provenance: Sir Alan Campbell, probably acquired in Beijing between 1956 and 1957, and thence by descent within the same family. Sir Alan Campbell (1919-2007) was an English diplomat. His father Hugh Campbell was a silk merchant and the Director of Ilbert & Co, Shanghai. Sir Alan joined the Foreign Office in 1946 and served in Singapore and China. From 1956 to 1957, he was in Beijing as Head of Chancery at the British Legation. He inherited his interest in Chinese porcelain from his parents and was a keen collector. Sir John Addis, the British Ambassador to China from 1972 to 1974 and an authority on Ming porcelain, likely advised him on purchases from the Beijing merchants they both bought from. Condition: Good condition commensurate with age, with some wear and manufacturing flaws including firing cracks, glaze recesses, kiln grit, and a burst bubble smoothened in the kiln, one foot with a small loss and old repair. The central aperture is clearly intentional and original to the piece, as evidenced by the glaze inside.Weight: 4,042 g Dimensions: Diameter 25.2 cmLiterature comparison:Compare to a similarly decorated censer in the National Palace Museum, Taipei, illustrated in Longquan Celadon of the Ming Dynasty, Taipei, 2009, pp. 226-227, no. 124.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 11 September 2019, lot 783Estimate: USD 15,000 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A large celadon-glazed 'longquan' 'trigram' tripod censer, Ming dynastyExpert remark: Compare the closely related form, decorations, glaze, and aperture in the well. Note the larger size (30.5 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 29 March 2022, lot 559Price: USD 18,900 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: A 'Longquan' celadon-glazed 'eight trigrams' censer, Yuan dynasty Expert remark: Compare the closely related form, decorations, glaze, and aperture in the well. Note the smaller size (21.7 cm).元至明大型龍泉八卦紋三足爐中國，十三至十五世紀。爐口大於底，斜腹，下承三獸足，中出圓形台，中間有圓孔。器身施青釉，釉色古樸。外壁刻花卉紋，上下裝飾弦紋，腹部飾數道凸起的八卦紋飾。圓臺露胎，成橙色。 來源：Alan Campbell爵士收藏，可能在1956 至1957間購於北京，在同一家族保存至今。Alan Campbell (1919-2007年) 爵士曾是一位英國外交官。他的父親 Hugh Campbell是一位絲綢商人和上海 Ilbert & Co 的董事。Alan Campbell爵士於 1946 年加入外交部，曾在新加坡和中國任職。1956年至1957年，他在北京擔任英國使館大使館主任。他從父母那裡繼承了對中國瓷器的興趣，是一位忠實的收藏家。1972 年至 1974 年間擔任英國駐華大使的John Addis爵士是明代瓷器方面的權威人士，很可能向他推薦他從北京商人那裡購買的物品。 品相：品相極好，年代久遠，有一些磨損和製造缺陷，包括燒製裂紋、釉面凹陷、窯砂和氣泡，一隻腳有小缺損和舊修。 中央的開孔顯然是這件拍品原始狀況，內部的釉料證明了這一點。 重量：4,042 克 尺寸：直徑 25.2 厘米 文獻比較： 比較一件相似裝飾的三足爐，收藏於台北故宮博物館，見《明代龍泉窯青瓷》，台北，2009年，頁226-227，編號124。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年9月11日，lot 783 估價：USD 15,000（相當於今日EUR 17,000） 描述：明龍泉窰青釉八卦紋奩式爐 專家評論：比較非常相近的外形、裝飾、釉面和圓臺。請注意尺寸 (30.5 厘米)較大。

A FAMILLE VERTE 'LADIES' DISH, KANGXI PERIODChina, 1661-1722. The shallow dish with scalloped rim, boldly painted in gilt and bright enamels of emerald-green, apple-green, yellow, red, and aubergine, as well as iron-red. The central roundel depicting two court ladies in a garden beside a prunus tree, a table with antique treasures to their right, encircled by a band of floral sprays interspersed with four cartouches enclosing Buddhist lions and auspicious objects. The rim painted with gilt and iron-red lappets. Provenance: From the private collection of Richard and Maxine Markell. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Their earliest works date from the beginning of the Qing dynasty, and generally reflect the Western taste for the famille verte and famille rose wares of the Kangxi, Yongzheng, and Qianlong reigns. Condition: Very good condition with only minor old wear and manufacturing flaws including pitting and dark spots, and minor fritting.Weight: 495.5 g Dimensions: Diameter 23.7 cmAuction result comparison:Type: Closely relatedAuction: Christie's New York, 26 January 2015, lot 65Price: USD 9,375 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A famille verte dish, Kangxi periodExpert remark: Compare the closely related form, motif, rim, and glaze. Note the larger size (38 cm).康熙硬彩開光人物圖盤中國，1661-1722年。折沿，淺圓腹，描金，明亮的五彩琺瑯，盤中央開光描繪了花園中的兩位婦人，右邊是一張擺放著古董珍寶的桌子；盤壁飾纏枝花卉紋以及佛獅和八寶紋。盤沿描金。 來源：Richard 與 Maxine Markell私人收藏。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。 Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：品相極好，只有輕微的磨損和製造缺陷，包括點蝕和黑點。 重量：495.5 克 尺寸：直徑 23.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年1月26日，lot 65 價格：USD 9,375（相當於今日EUR 11,500） 描述：康熙時期硬彩開光人物圖盤 專家評論：比較非常相近的外形、主題、盤沿和釉面。請注意尺寸較大 (38 厘米)。

A HUANGHUALI THREE-DRAWER DESK, 19TH CENTURYChina. The top is set in a rectangular frame above three drawers, each with metal handle and keyhole, raised on square-section legs terminating in hoof feet with a low stretcher centered by two overlapping circles.Provenance: Valdemar's Castle, TÃ¥singe, Denmark, previously in the Baron's sleeping room (LS I 01). A private collection in Germany, acquired from the above. Valdemar's Castle was commissioned in 1639 by King Christian IV and was intended as the home for his son Valdemar Christian, who died before the castle was completed. In 1677, Denmark's great naval hero Admiral Niels Juel (1629-1697) was given the title to the castle and the land on TÃ¥singe after his victory over Sweden in the Battle of Køge. The estate was transferred to him as payment for the Swedish ships captured in the battle. Here, his family has remained for 12 generations and almost 350 years. The present owner, Baron Juel-Brockdorff, who is the 11th generation of the Juel family, took over his childhood home from his father in 1971 and resides in the castle with his wife and family. The family's collection includes important paintings, furniture, weaponry, and porcelain from all over the world. Condition: Very good condition with expected age cracks, small splits, minor losses, a repair to the central drawer, small nicks, some shallow surface scratches, old wear, and traces of use. Superb, naturally grown patina. Dimensions: Height 91 cm, Width 126.4 cm, Depth 55.2 cmLiterature comparison: A related example, dated to the early 18th century, is illustrated in R.H. Ellsworth, Chinese Furniture, New York, 1974, p. 226, fig. 139. Auction result comparison:Type: RelatedAuction: Christie's New York, 19 March 2021, lot 753Price: USD 72,500 or approx. EUR 72,000 converted and adjusted for inflation at the time of writingDescription: A huanghuali three-drawer desk, late Qing dynastyExpert remark: Compare the related form and wood. Note the similar size (81.4 x 138.5 x 61.6 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 29 March 2006, lot 271Price: USD 28,800 or approx. EUR 38,500 converted and adjusted for inflation at the time of writingDescription: A huanghuali six-drawer partners' pedestal desk, 18th/19th centuryExpert remark: Compare the related form, wood, and openwork details. Note the larger size (88.3 x 182.8 x 86.4 cm).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.十九世紀黃花梨三屜桌中國。桌面攢邊打槽鑲獨板面心，桌面下幾寸處格肩裝橫豎材，造抽屜架，另以兩根短柱間隔，設三具抽屜。抽屜臉光素，中間安銅把手。方腿直足，上下同樣粗細。 來源：丹麥措辛厄島Valdemar城堡，放置在男爵的睡房裏 (LS I 01)；德國私人收藏。Valdemar城堡於1639 年由國王克利斯蒂安四世下令建造，並打算作為他的兒子Valdemar Christian的家，他在城堡完工前就去世了。1677 年，丹麥偉大的海軍英雄海軍上將Niels Juel（1629-1697 年）在克厄海戰中戰勝瑞典後，獲得了措辛厄城堡和土地的所有權。財產被轉移給他，作為在戰鬥中俘獲瑞典船隻的報酬。在這裡，他的家族已經延續了十二代，將近 350 年。現任主人 Juel-Brockdorff 男爵是 Juel 家族的第十一代傳人，他於 1971 年從父親手中接管了他兒時的家，與妻子和家人一起居住在城堡中。 該家族的藏品包括來自世界各地的重要繪畫、傢俱、武器和瓷器。品相：狀況極好，有老化裂縫、小裂縫、輕微缺損、中央抽屜有小修補、小刻痕、小劃痕、磨損和使用痕跡。自然細膩的包漿。 尺寸：高 91 厘米，寬126.4 厘米，深 55.2 厘米 文獻比較： 一件相近的十八世紀初期例子，見R.H. Ellsworth，《Chinese Furniture》，紐約，1974年，頁226，圖139。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2021年3月19日，lot 753 價格：USD 72,500 （相當於今日EUR 72,000） 描述：晚清黃花梨三屜書桌 專家評論：比較相近的外形和木頭材質。請注意相似的尺寸(81.4 x 138.5 x 61.6 厘米)。Ɏ: 此物品含有象牙、犀牛角、龜甲，或某些類型的熱帶木材，出口到歐盟之外需要申請CITES證書。此類物品通常無法出口到歐盟以外的國家，包括英國。 

A POLYCHROME STUCCO HEAD OF A NOBLE DAOIST BEAUTY, SONG DYNASTYChina, 12th century. Finely modeled with small pursed lips, straight nose and elegantly-shaped eyes, with painted eyelid folds and eyebrows, the forehead with a recessed urna, the delicate features framed by the well-proportioned ears with fine floral earrings and upswept hair secured by a tiara decorated with applied florets and clouds.Provenance: J.A.N. Fine Art, London, 2003. A European private collection, acquired from the above. A copy of the original invoice, dated 9 June 2003, dating the present lot to the Song dynasty, 12th century, and stating a purchase price of GBP 4,250 or approx. EUR 8,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. J.A.N. Fine Art is a noted art gallery specializing in Chinese, Japanese, Korean, Himalayan, and Southeast Asian ceramics, porcelain paintings, and works of art. The company was first established in 1977 in Tokyo, Japan by Kikue Shimizu and has been located on Kensington Church Street in London, United Kingdom for over thirty years. Many of their pieces originate from Japanese collections and have museum-established provenance. Condition: Good condition, commensurate with age. Expected old wear and weathering, obvious losses, nicks, minor structural fissures, small touch-ups. Good, naturally grown patina overall. Displaying exceptionally well.Weight: 7,580 g (excl. stand) Dimensions: Height 37.5 cm (excl. stand) and 48 cm (incl. stand)Mounted on an associated stand. (2)Expert's note: The style of the tiara and smaller ears point to the head belonging to a Daoist figure rather than a Buddhist bodhisattva, as bodhisattvas are usually depicted with long pendulous earlobes.Literature comparison: For examples of Song and Yuan dynasty female figures, see Chai Zejun and Chai Yumei, Shanxi gudai caisu (Ancient Stucco Sculptures of Shanxi), Beijing, 2008, pp. 236-242, 244-247, and 264-267.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 September 2015, lot 426 Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A polychrome stucco head of a female attendant, China, Jin / Yuan dynastyExpert remark: Compare the closely related expression with similar features, hairstyle, urna, and tiara. Note the similar size (40.5 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 23 March 2022, lot 291 Price: USD 31,500 or approx. EUR 30,000 converted at the time of writing Description: A polychrome-painted lacquered stucco head of a bodhisattva, Song - Yuan dynastyExpert remark: Compare the related expression and features, hairstyle, urna, and tiara. Note the larger size (52.5 cm).宋代彩繪灰泥道教人物頭像中國，十二世紀。人物面容細節精美，噘著嘴，挺鼻，秀眼，雙眉之間有一個凹形的白毫，頭部和耳朵佩戴精美首飾。 來源：倫敦J.A.N. Fine Art藝廊，2003年；歐洲私人收藏，購於上述藝廊。隨附一份2003年6月9日出具的原始發票的複印件，斷代為宋代，十二世紀，售價為GBP 4,250 ，相當於EUR 8,000 (根據現在的通貨膨脹)。J.A.N. Fine Art 藝廊是一家以中國、日本、韓國、喜馬拉雅、東南亞陶瓷、瓷畫、工藝品為主的知名藝廊。該藝廊於 1977 年由 Kikue Shimizu在日本東京成立，之後來到英國倫敦，三十多年來一直位於英國倫敦的肯辛頓教堂街。他們的許多藏品都來自日本的收藏品，並有博物館確定的出處。 品相：品相良好，舊磨損和風化，明顯的缺損、刻痕、輕劃痕和一些修補。良好、自然生長的包漿，整體狀況良好。 重量：7,580 克 (不含底座) 尺寸：高 37.5 厘米 (不含底座) ，48 厘米 (含底座) 配置支架底座。 (2) 專家注釋：頭飾的樣式和較小的耳朵表明人物為道教人物而非佛教菩薩的頭部，因為菩薩的耳垂通常長長的。 文獻比較： 一件宋至元婦女像，見柴澤俊，《山西古代彩塑》，北京，2008年，頁236-242，244-247和 264-267。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年9月16日，lot 426 價格：USD 11,250（相當於今日EUR 13,500） 描述：金 / 元彩塑侍女首像 專家評論：比較非常相近的表情、髮型、白毫和頭冠。請注意尺寸(40.5 厘米)較小。

A VERY LARGE 'ROBIN'S EGG' ENAMELED AND GILT PORCELAIN FIGURE OF AMITAYUS, QIANLONG TO JIAQING PERIODChina, 1736-1820. Heavily potted, seated in dhyanasana on a cloth draped over a rectangular plinth with a shaped recessed gilt panel above a dragon emerging from crashing waves. His hands are lowered in dhyana mudra and holding an alms bowl. He is wearing long flowing robes opening at the chest adorned with a beaded jeweled necklace. His serene face with heavy-lidded eyes, gently arched brows, a circular urna, and bow-shaped lips. His hair elegantly falling in tresses over the shoulders and piled up into a topknot surmounted by a jewel behind the foliate tiara. The cloth, base, robe, hair, and jewels enameled in robin's egg with details picked out in turquoise and blue. The face, torso, hands, feet, tiara, and dragon gilt. Provenance: From an old German private collection, acquired in the 1970s and 80s. Thence by descent. Condition: As expected, the tips of the tiara, topknot, fingers, earrings and dragon's horns are restored to perfection. Further with glaze recesses, flaking and abrasions. Microscopic remnants of pigment which indicate that the figure was painted at some stage. Gilt porcelain figures of such a large size are usually restored to a much wider extent, due to their fragility, and it is therefore exceedingly rare to find one in such a well-preserved state overall.Weight: 5,156 g Dimensions: Height 43.5 cmExpert's note: Gilt porcelain figures of bodhisattva were produced from the Qianlong period onwards. The inspiration for such figures may have come from Ming dynasty bronze prototypes, such as the Xuande period gilt-bronze figure currently in the Berti Aschmann Foundation, Museum Rietberg, illustrated in On the Path to Enlightenment, Zurich, 1995, no. 72. An unmarked example, dated to the Xuande period, is in the V&A collection, no. 275&A-1898.Literature comparison: For a related 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, pg. 54, no. 12Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 52 Price: USD 68,750 or approx. EUR 80,000 converted and adjusted for inflation at the time of writing Description: An unusual enameled and gilt-decorated figure of a bodhisattva, Qing dynasty, 18th / 19th centuryExpert remark: Compare the closely related robin's egg enamels, gilt decoration, and face. Note the related size (40 cm). Note the different pose and base. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 May 2008, lot 578 Price: HKD 960,000 or approx. EUR 169,000 converted and adjusted for inflation at the time of writing Description: A rare enameled figure of a kneeling bodhisattva, QianlongExpert remark: Compare the closely related robin's egg enamels, gilt decoration, and face. Note the much smaller size (29 cm) as well as the different pose and base.乾隆至嘉慶時期爐鈞釉描金無量壽佛坐蓮像中國，1736-1820年。此尊無量壽佛結跏趺坐穩坐於波濤之上，一條金龍從水中探出；雙手施禪定印，托缽；高螺發，面龐圓潤，耳大垂肩，額際寬廣，慈眉善目，表情溫和慈祥；頭戴五葉佛冠，項配瓔珞，更顯法相尊嚴。其面部及身體露膚處均施金釉，佛冠、瓔珞及綬帶等則以金釉和爐鈞釉搭配裝飾，瓔珞處採用爐鈞釉以仿松石、青金石的效果，絢爛多姿，富麗堂皇。 來源：德國私人舊藏，購於上世紀七十至八十年代，保存至今。 品相：頭飾、高髻、手指、耳環和龍角的尖端都已恢復。有釉面凹陷、剝落和擦傷。輕微的顏料殘留表明該造像曾經經過彩繪。如此巨型的鎏金瓷像，由於其易碎性，修復範圍通常要大得多，因此，整體保存如此好的造像極為罕見。 重量：5,156 克 尺寸：高43.5 厘米

AN ENAMELED PORCELAIN CLUSTER OF LYCHEES, SERVING AS A BRUSHREST, QING DYNASTYChina, 1644-1912. Naturalistically modeled from soft paste porcelain as two ripe lychees borne on a leafy branch, the fruits finely painted in a deep pink tone, the leaves in dark green transforming to a pale yellow, and the gnarly branch in variegated shades of brown with dark green accents. A seal mark to the branch.Provenance: British trade. Condition: Very good condition with minor wear.Weight: 89.6 g Dimensions: Length 5.8 cmIn China, lychees are a symbol of love and romance. According to legend, Emperor Tang Minghuang of the Tang Dynasty was in love with Yang Guifei, one of the most beautiful women and the Emperor's favorite concubine. Yang's preferred fruit was lychee. At the time, it was not available in the capital where they lived. The Emperor would therefore send his men all the way to South China to fetch the fruit for his beloved mistress. Lychee fruits, to date, are held in high regard in China. In fact, many varieties of lychees are named after wealthy and influential Chinese families. Lychees are often a motif in Chinese art where they can be seen in paintings, porcelain ware, cinnabar lacquer, and jade carvings amongst others.清代荔枝筆擱中國，1644-1912年。兩顆紅紅荔枝長在樹枝上，果實被細緻地塗成深紅色，葉子從深綠色轉變為淡黃色，樹枝呈棕色和深綠色，活靈活現。樹枝上有款記。 來源：英國古玩交易 品相：品相良好，有輕微磨損。 重量：89.6 克 尺寸：長5.8 厘米 在中國，荔枝是愛情和浪漫的象徵。相傳，唐朝的皇帝唐明皇爲了楊貴妃，派人千里迢迢去南國運來荔枝。荔枝經常是中國藝術的主題，在繪畫、瓷器、漆器和玉雕等中都可以看到荔枝。

A ROBIN'S EGG GLAZED BRUSHPOT, BITONG, 18TH CENTURYChina. Of cylindrical form with straight sides rising to an incurved rim, and supported on a tall, gently rounded and unglazed foot, applied all over with a mottled turquoise and blue glaze.Provenance: British trade. Condition: Very good condition with expected wear to glaze, few traces of use, and small manufacturing flaws. Some black ink stains to the interior, probably from previous usage as a brush pot.Weight: 689.3 g Dimensions: Height 13.1 cmThe 'Robin's egg' glaze represents a significant technical innovation of the Yongzheng period (1723-35) attributable to Tang Ying (1682-1756), the greatest porcelain superintendent in Chinese history. The Yongzheng Emperor, who initiated many revivals of earlier ceramic techniques, was particularly enamored with the variegated Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. In order to have the glazes recreated or imitated, Tang Ying sent his trusted assistant from the imperial kilns in Jingdezhen, Jiangxi province, on study trips to the Jun region in Henan province to learn from the local potters and even went as far as having ceramic raw materials mined in the Jun area transported over thousands of kilometers to Jingdezhen. Among the many types of glazes derived from those efforts are mottled purple ones such as the flambe variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed Lu Jun or Oven Jun, i.e., a Jun glaze fired in low-temperature ovens instead of high-temperature kilns (see Jingdezhen Institute of Ceramic Archaeology et al, The Cultures of Porcelain Superintendents and Jingdezhen, conference volume, Nanchang, 2011). The 'robin's egg' glaze is mentioned on a stele in Jingdezhen, inscribed by Tang Ying, as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the Imperial court. Its color is described as intermediate between the glazes of the Shiwan kilns of Foshan, Guangdong, and those used by the Yixing kilns in Jiangsu for their zisha tea pots, but having a better and more beautiful flow.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 28 November 2011, lot 455Price: HKD 187,500 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A robin's egg brushpot, mid-Qing dynastyExpert remark: Compare the closely related form and glaze. Note the size (11.1 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 September 2014, lot 907Price: USD 21,250 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A 'robin's egg'-enameled brush pot, 18th-19th centuryExpert remark: Compare the closely related form and glaze. Note the size (10.7 cm). Note also that the hammer price far exceeded the low estimate of USD 3,000 only, somewhat insinuating that bidders may have found an 18th-century date to be more likely.十八世紀爐鈞釉筆筒中國，圓筒形，口部微寬於足部，淺圈足，器形小巧。筆筒通體遍施爐鈞釉，釉汁自然流淌，繁密斑駁，呈現藍、紫和綠色。 來源：英國古玩交易。 品相：品相極好，釉面有磨損，輕微使用痕跡與製造缺陷。內部有一些黑色墨水漬，可能是以前用作筆筒時留下的。 重量：689.3 克 尺寸：高13.1 厘米 爐鈞釉創於清雍正年間，盛行於雍正、乾隆二朝，歸功於中國歷史上最偉大的瓷器主管唐英（1682-1756 年）。多次復興早期陶瓷技術的雍正皇帝特別喜歡宋朝（960-1279 年）和明朝（1368-1644 年）的雜色鈞釉。為了重製或仿製釉料，唐英派江西景德鎮御窯親信到河南鈞州學習，向當地陶藝家學習，甚至還製作了陶器。 鈞區開采的原材料，千里迢迢運到景德鎮。在這些努力衍生出的眾多類型的釉中，有斑駁的紫色釉料，如窯變釉，以及斑駁的綠松石釉料，如爐鈞釉，因低溫爐內燒成仿宋鈞釉而得其名。釉中含有粉劑，故而釉厚不透明。釉面結晶呈色多種，深淺不一，可呈現之顏色有紅，藍，紫，綠，月白等，並熔於一體。拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2011年11月28日，lot 455 價格：HKD 187,500（相當於今日EUR 31,000） 描述：清中期爐鈞釉筆筒 專家評論：比較非常相近的外形和釉面。請注意尺寸(11.1 厘米)。

A RARE WUCAI 'MONTH' CUP, KANGXI MARK AND PERIODChina, 1662-1722. Delicately potted with deep rounded sides rising from a short foot to a flared rim, superbly enameled around the exterior with a red-flowering peach tree with small blossoms among scant leaves, representing the third month, the reverse inscribed in underglaze blue with a poem followed by a seal mark, the recessed base with an underglaze-blue six-character mark da Qing Kangxi nianzhi and of the period.Inscriptions: To one side, 'Fenghua xinshe yan / shijie jiuchun nong' (The swallow returns when the blossoms sway in the breeze / It is the season in late spring when farmers return to their fields). One seal, 'Shang' (appreciation). Provenance: From the collection of Carl Gustav Kjellin, acquired in Shanghai during the 1940s, and thence by descent in the family. Carl Gustav Kjellin (1910-1990) was a Swedish diplomat who was stationed in China until 1945 and thereafter at the Swedish embassy in Tokyo. He acquired most of his collection of Chinese porcelain and works of art during his time in Asia. Condition: Perfect condition with only minor wear. Minimal firing irregularities, including a microscopic glaze blister of less than 2 mm to the rim. Weight: 28.5 g Dimensions: Diameter 6.5 cmThis finely potted cup is one of the so-called 'month cups', made at the imperial kilns during the Kangxi reign. One was made for each month of the lunar calendar. As in the case of the current example, these cups are so thinly potted that the blue of the inscription on the exterior can be seen through the porcelain from the interior of the vessel. Their decoration is characterized by very delicately painted decoration in underglaze blue and wucai enamels. Each of the cups has on one side a floral design appropriate to a particular month, and on the other side a poem which complements the design. Each of the cups also bears an underglaze blue seal character after the poem, which can be read as 'shang' (appreciation).Literature comparison: Compare a closely related cup included in the Oriental Ceramic Society exhibition Enamelled Polychrome Porcelain of the Manchu Dynasty (1644-1912), London, 1951, cat. no. 253. The Percival David Foundation in London has one of the few complete sets of cups for all twelve months, now in the collection of the British Museum, registration number PDF.815. The design on the current cup is very similar to the third month cup in the Percival David Foundation and bears the same poem, see Rosemary Scott, For the Imperial Court - Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp. 82-83, no. 23. The Palace Museum, Bejing owns at least two sets, illustrated in Chugoku toji zenshu (Complete works on Chinese ceramics), Kyoto, 1981-86, vol. 21, pl. 61, and in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 65, no. 48. One is in the Idemitsu Museum of Art, Tokyo, illustrated in Idemitsu Bijutsukan zohin zuroku, Chugoku toji (Chinese Ceramics in the Idemitsu Collection), Tokyo, 1987, pl. 221. One set in the Hong Kong Museum of Art was included in the exhibition 'The Wonders of the Potter's Palette', Qing Ceramics from the Collection of the Hong Kong Museum of Art, 1984-5, cat. no. 15.Auction result comparison: Type: Near identical Auction: Sotheby's London, 6 November 2019, lot 149 Price: GBP 112,500 or approx. EUR 149,000 converted and adjusted for inflation at the time of writing Description: A rare wucai 'month' cup, Kangxi mark and period Expert remark: Compare the near identical form, decoration, enamels, and size (6.5 cm).Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 May 2013, lot 1911 Price: HKD 2,670,000 or approx. EUR 393,000 converted and adjusted for inflation at the time of writing Description: A fine famille verte 'peach blossom' cup, Kangxi six-character mark within double-circles and of the period Expert remark: Compare the near identical form, decoration, enamels, and size (6.5 cm). Note that the enamels on this month cup are described as 'famille verte'. It appears that for these month cups, the terms 'famille verte' and 'wucai' are interchangeable, however to this author, the term 'wucai' seems more accurate due to the presence of underglaze-blue decoration. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 April 2012, lot 45 Estimate: HKD 18,000,000 or approx. EUR 2,756,000 converted and adjusted for inflation at the time of writing Description: An extremely rare set of twelve wucai 'month' cups, marks and period of Kangxi Expert remark: Note that this lot comprises a complete set of twelve wucai month cups, the third month cup being near identical to the present lot.康熙款五彩桃花花神杯中國，1662-1722年。撇口、深腹、淺圈足、胎體輕薄、器型精巧絕倫，造型規整優美，胎質乳白、器薄如紙、晶瑩剔透；外壁用一年十二個月中的三月桃花來裝飾，並配以相應的詩句。圈足青花“大清康熙年製”六字款。 款識：風花新社鷰，時節舊春農；印：賞 來源：Carl Gustav Kjellin私人收藏，購於上世紀四十年代，之後在同一家族保存至今。Carl Gustav Kjellin (1910-1990) 是一名瑞典外交官，1945 年之前出使中國，此後在瑞典駐東京大使館工作。他收藏的大部分中國瓷器和藝術品都是在亞洲期間獲得的。 品相：狀況完美，只有輕微磨損。燒製不規則性，如邊緣小於 2 毫米的微觀釉泡。 重量：28.5 克 尺寸：直徑 6.5 厘米