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'PEKINGESE DOG', MID-QING DYNASTYChina, 18th - early 19th century. Ink and watercolors on paper. Depicting a Pekingese dog with black and white fur standing foursquare with an upturned tail on a grassy ground, the face with an alert expression, round ochre eyes, and bushy ears.Provenance: The personal collection of Robert Rousset. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019. Condition: Good condition with some wear, little creasing, minor soiling, small touchups, few repairs, and minor tears. The frame with minor wear.Dimensions: Image size 50.7 x 48.5 cm, Size incl. mounting 64.8 x 62.8 cmFramed behind glass. (2)The Pekingese breed originated in China and could only be owned by members of the Chinese Imperial Palace. A consort of the Daoguang Emperor, Lady Chang of the prominent Manchu Heseri clan, was a lover of dogs and particularly enamored with Pekingese. According to Geoffrey R. Sayer (Tao Ya or Pottery Refinements, London, 1959, page 123, no. 722) “Cheng Miao [the Daoguang Emperor] was fond of pigeons, his exalted concubine was fond of little dogs.”During the Second Opium War, in 1860, the Old Summer Palace in Beijing was occupied by a contingent of British and French troops. The Xianfeng Emperor had fled with all of his court to Chengde. However, the elderly Consort Chang remained. When the British and French troops entered, she committed suicide. She was later found surrounded by her five Pekingese. They were removed by the Allies before the Summer Palace was burnt to the ground.John Hart Dunne, Captain of the 99th Regiment of Foot, who participated in the Second Opium War and ransacked the Summer Palace, gifted one of these Pekingese to Queen Victoria in April 1861, writing to her in a letter: “This little dog was found by me in the Palace of Yuan-Ming-Yuan near Peking on the 6th of October 1860. It is supposed to have belonged to either the Empress, or one of the ladies of the Imperial Family. It is a most affectionate and intelligent little creature - it has always been accustomed to being treated as a pet and it was with the hope that it might be looked upon as such by Her Majesty and the Royal Family that I have brought it from China.” (David Matthews, Jo Lee Magazine, November 2002, page 18). Rather insensitively, the Queen and first owner of a Pekingese in the West named her new pet 'Looty'.清代中期《哈巴狗》中國, 十八至十九世紀，紙本水墨設色。一隻北京哈巴狗，毛色黑白相間，尾巴上翹，立於草地上，面帶警惕之色，圓溜溜的眼睛，毛茸茸的耳朵。 來源：Robert Rousset私人收藏，直到Jean-Pierre Rousset繼承。 品相：狀況良好，有一些磨損、少量摺痕、輕微汙漬、小修補和輕微撕裂。框架有輕微磨損。 尺寸：畫面50.7 x 48.5 釐米, 總 64.8 x 62.8 釐米 玻璃裝框。 (2)

AN IMPERIAL JADE-INLAID CINNABAR LACQUER WALL VASE INSCRIBED WITH A POEM BY HONGLI (1711-1799), QIANLONG PERIODThe poem inscribed on the jade plaque was composed by Hongli (1711-1799), better known as the Qianlong Emperor (reigned from 1736-1795). It is recorded in Qing Gaozong yuzhi shiwen quanji (Anthology of Imperial Qianlong Poems and Texts), volume 3, juan 58, page 19, figure 1, and can be translated as follows:Jade carved into flowers are fragrant like orchids,Between the garden steps, a few are elegantly planted.Who knows their essential beauty?Youdu, once asked this, answered with "Xie An".China, 1736-1795. Finely cast from gilt-bronze into baluster form flattened on one plane, mounted on the body with a shaped yellowish-celadon jade plaque inscribed in clerical script with a thirty-one-character Imperial poem, all surrounded by superbly carved blossoms of peony, chrysanthemum, and prunus borne on leafy branches against a diaper ground, framed by bands of prunus blossoms below the neck and above the foot, the neck flanked by two short tubular handles incised with scroll.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.J.111. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Superb condition with expected minor wear, few minuscule nicks, the back with light surface scratches, the wood base with a small chip. Fine, naturally grown patina overall.Weight: 512.2 g Dimensions: Height 18.6 cmMounted on a short wood base, probably zitan and dating from the same period. (2)Hongli was the fourth son of Yongzheng and born to Noble Consort Xi. He was adored by his grandfather, the Kangxi Emperor, and some historians argue to this day that Kangxi appointed Yongzheng as his successor only because Hongli was his favorite grandson. One of China's eternal visionaries, Kangxi is said to have spotted the singular leadership talent of the later Emperor Qianlong in Hongli when he was still a child. In 1796, the Qianlong Emperor abdicated in favor of his son, the Jiaqing Emperor, in a filial act so as not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase ranks among the most unusual and rarest examples produced during the Qianlong reign, as it combines gilt-bronze, cinnabar lacquer and carved jade.Expert's note: Carved cinnabar lacquer and gilt-bronze wall vases combined with jade inlays are very rare. The examples that come up for auction now and then almost invariably have condition issues such as strong wear to the gilding, losses and cracks to the lacquer, cracks or - worse - replacements to the jade inlays, and others. The pristine condition of the present wall vase makes it not just exceptionally rare, but literally unique. Literature comparison: Compare a pair of wall vases in the National Palace Museum, Taipei, included in the museum's exhibition The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, 2014, pl. II-48 (fig. 1), where the author notes that 'Lacquerware with jade inlay on a copper body is very rarely seen'.Also compare two boxes, one rectangular, the other chime-shaped, both inset with jade plaques, in the Palace Museum Beijing, illustrated in Carved Lacquer in the Collection of the Palace Museum, Beijing, 1964, cat. nos. 313 and 315. Compare a jade plaque inset in a cinnabar lacquer moon flask, similarly incised with a Qianlong seal mark and of the period, at Christie's Hong Kong, 27 April 1997, lot 21.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 25 April 2004, lot 19 Price: HKD 744,000 or approx. EUR 139,000 converted and adjusted for inflation at the time of writing Description: A very rare jade inlaid cinnabar lacquer wall vase, Qing dynasty, Qianlong periodExpert remark: Compare the closely related (and extremely rare) combination of carved lacquer and jade with an Imperial poem. Note the similar size (18 cm). Also note that the jade plaque on this example has several cracks, whereas on the present example it is in perfect condition.乾隆時期御製剔犀鑲玉刻御詩壁瓶中國，1736-1795年。鑲鎏金銅，剔犀掛瓶，頸部左右分別有一貫耳。瓶身錦地纏枝花卉紋，瓶身中央鑲嵌玉牌，上雕刻一首御詩。

A PAIR OF LOTUS-SHAPED WATER POTS, CHINA, EARLY 19TH CENTURYOf globular form with three rows of petals issuing from a coiled stem at the base, the upper rim with small green petal tips, the exterior finely enameled in delicately graduated shades of pink, the interior covered in a turquoise glaze, one waterpot with a turquoise base, the other with a bright green base. (2)Provenance: Alistair Sampson Antiques Ltd., London, 1997. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from Alistair Sampson Antiques Ltd., London, dated 24 February 1997, describing the lot as a pair of lotus-shaped waterpots, dated to the early 19th century, accompanies this lot. Alistair Sampson (1929-2006) was a lawyer, noted antiques dealer, and humorist. After completing military service in the Royal Navy, he practiced law, specialized in criminal and family law, and was appointed a judge's marshal. By his own account, Sampson was a collector almost all his life, specializing in Leeds creamware. In 1969, he made the long-pondered change to become a dealer, focusing on seventeenth and eighteenth-century English pottery and opened a shop on Brompton Road where he sold antiques from all over the world, ranging from paintings to metalwork to Western and Chinese 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. 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 minor wear to the enamels, and manufacturing flaws including few glaze recesses, and little pitting.Weight: 69.3 g and 73.8 g Dimensions: Height 4.7 cm and 4.6 cmAuction result comparison:Type: RelatedAuction: Christie's New York, 23 January 2012, lot 373Price: USD 3,500 or approx. EUR 4,400 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese export lotus-form waterpots, 19th centuryExpert remark: Compare the related form and color. Note the sizes (11 cm).十九世紀初一對蓮花形水丞成球形花苞狀，三層蓮瓣，邊緣有綠色花瓣尖，精美細膩的漸變的粉色釉，內部覆蓋著綠色釉，一個圈足内淺綠色，另一個為亮綠色。 來源：倫敦Alistair Sampson Antiques Ltd.藝廊，1997年；Richard 與Maxine Markell購於上述藝廊。隨附一份1997年2月24日Alistair Sampson Antiques Ltd.藝廊出具的原始發票複印本，認爲這對水丞為十九世紀初。Alistair Sampson (1929-2006年) 是一名律師、著名的古董商和幽默家。在皇家海軍服完兵役後，他從事法律工作，專攻刑法和家庭法，並被任命為法官元帥。根據他自己的說法，他幾乎一生都是一名收藏家，專攻利茲白釉器皿。1969 年，他做出了深思熟慮的轉變，成為一名專注於十七和 十八 世紀英國瓷器的經銷商，並在 Brompton Road 開了一家商店，出售來自世界各地的古董，從繪畫到金屬製品，再到西方和中國的陶瓷。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：狀況極好，琺瑯有輕微磨損，製造缺陷如少量釉面凹陷和點蝕。 重量：分別69.3 克與73.8 克 尺寸：高 4.7 厘米與4.6 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年1月23日，lot 373 價格：USD 3,500（相當於今日EUR 4,400） 描述：十九世紀一對中國出口蓮花形水丞 專家評論：比較相近的外形和顏色。請注意尺寸 (11 厘米)。

A POWDER-BLUE GLAZED DISH, KANGXI PERIODPublished & Exhibited: Jan Wirgin, Kang-Hsi porcelain: selected objects from Swedish collections, Museum of Far Eastern Antiquities, Stockholm, 1974, no. 67, page 94, plate 15a.China, 1662-1722. The shallow rounded sides with molded ribs as well as a flared and barbed rim, overall covered in a vibrant powder blue glaze save for the rim and underside. The base with an artemisia leaf mark within a double circle painted in underglaze blue.Provenance: From the collection of Professor Jan Wirgin (1932-2020). The base with an old label from the Museum of Far Eastern Antiquities 'OEstasiatiska Museet Utst. 1973, Nr 67'. Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, serving first as a curator and then between 1981-1998 as its director. Furthermore, he published numerous articles during his time as the editor of the Museum's Bulletin. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most-read books for students of Chinese art history in Sweden.Condition: Very good condition with minor wear, the rim with a minuscule hairline and microscopic frits. Manufacturing flaws including dark spots, pitting, and kiln grit.Weight: 325.1 g Dimensions: Diameter 20.3 cmAuction result comparison:Type: RelatedAuction: Bonhams San Francisco, 19 June 2012, lot 6298AEstimate: USD 4,000 or approx. EUR 5,000 converted and adjusted for inflation at the time of writingDescription: A small powder blue glazed porcelain dish, 18th centuryExpert remark: Compare the related powder-blue glaze. Note the slightly smaller size (16 cm) and the fact that this dish is not barbed.康熙粉青釉葵口盤中國，1662-1722年。淺圓盤，葵口，折沿，圈足内施白釉，盤身覆蓋粉藍色釉。圈足青花雙圈蒿葉紋。出版&展覽：Jan Wirgin，《Kang-Hsi porcelain: selected objects from Swedish collections》，瑞典斯德哥爾摩東亞博物館，1974年，編號67，頁94，圖15a。 來源：Jan Wirgin (1932-2020) 教授收藏。底部有斯德哥爾摩東亞博物館標籤 “OEstasiatiska Museet Utst. 1973，Nr 67” 。Jan Wirgin先生曾在斯德哥爾摩大學學習古典漢語和藝術史。之後，他進入斯德哥爾摩東亞博物館，先是擔任策展人，然後在 1981 年至 1998 年間擔任博物館館長。此外，他在擔任東方博物館公報的編輯期間，發表了大量文章。其中，最著名的是《中國藝術史》（1972）一書，至今仍是瑞典中國藝術史學生最重要的書籍之一。 品相：狀況非常好，輕微磨損，邊緣有細小的細紋和微小的熔塊。製造缺陷，包括黑點、麻點和窯砂。 重量：325. 尺寸：直徑 20.3 厘米拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年6月19日，lot 6298A 估價：USD 4,000（相當於今日EUR 5,000） 描述：十八世紀小型粉青釉盤 專家評論：比較相近的粉青釉。請注意尺寸稍小(16 厘米) ，以及此盤盤沿沒有葵口。

A PAIR OF EGGSHELL FAMILLE ROSE FOLIATE-RIMMED 'CHICKEN' CUPS, YONGZHENG TO EARLY QIANLONGChina, 1723 - c. 1750. Delicately potted, each with deep rounded sides supported on a tapered foot and rising to a gently everted petal-lobed rim, the exterior finely decorated in bright enamels with a rooster perched on craggy rockwork beside a cricket amid leafy peony blossoms and aster, the interior with a peony spray. (2)Provenance: From a private collection in North London, United Kingdom, and thence by descent within the same family. The previous owner ran a Chinese grocery store in the 1970s and 1980s, which notoriously had a cabinet of fine Chinese porcelain. Condition: Good condition with minor wear and firing irregularities. The first cup with two minor hairlines. The second cup with one minor hairline and few tiny nicks to the foot.Weight: 46.8 g and 44.3 g Dimensions: Diameter 8.8 cm (each)Auction result comparison: Type: Closely related Auction: Christie's New York, 15 September 2016, lot 931 Price: USD 12,500 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: A famille rose cup and saucer, Yongzheng-Qianlong periodExpert remark: Compare the closely related form, decoration with similar enamels, subject, and size (8.7 cm). Note that the lot comprises only one cup, along with a similarly decorated saucer.雍正至乾隆早期一對粉彩小鷄杯中國，1723 - 約1750年。薄胎緊致，花口略外撇，弧腹，圈足。杯外壁琺瑯精心描繪，一隻公雞站立在岩石上，旁邊是一隻蟋蟀，周圍牡丹花和紫苑盛開，杯内纏枝牡丹紋。 來源：英國倫敦北部私人收藏，在同一家族保存至今。前任藏家在七十年代和八十年代經營著一家中國雜貨店，以擁有精美的中國瓷器櫃而聞名。 品相：品相良好，有輕微磨損和燒製不規則。一個杯子有兩條細裂紋，第二個杯子有一條細裂，足部有一些細小的刻痕。 重量：分別爲46.8克與44.3克 尺寸：直徑分別為8.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2016年9月15日，lot 931 價格：USD 12,500（相當於今日EUR 14,500） 描述：清雍正/乾隆粉彩牡丹公鷄圖盃連托盤 專家評論：比較非常相近的外形，飾有相似的琺瑯彩、主題和尺寸 (8.7 厘米)。請注意此杯和一件相似裝飾的醬碟。

'CATS AT PLAY', MING DYNASTY, 1368-1644China, c. 15th-16th century. Ink and watercolors on very fine silk. Exquisitely painted with two cats in a landscape with leafy wild chrysanthemums and grasses, one mischievously grinning as it mounts the other from behind and places one of its paws on the other cat's head, who shows a rather disgruntled expression. Their mostly white fur is superbly rendered, their bushy tails in black and reddish-brown, respectively.Provenance: The personal collection of Robert Rousset. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019.Condition: Good condition with some wear, soiling, few tiny losses. The old mounting with small chips to edges, wear and traces of use. Dimensions: Image size 32.6 x 25 cm, Size incl. mounting 43.7 x 49.5 cmThe ancient Chinese referred to cats as 'li-nu', which means a wild cat that has been tamed and domesticated. Since antiquity, cats have been employed by people in their familiar roles as pets and mouse catchers, but they sometimes have also served as models for artists, leaping into the world of art for all to see.Throughout much of its history, China has been an agricultural-based country, planting and raising grains and animals. Although the cat does not traditionally figure as one of these animals, The Book of Rites, written at the time of Confucius nearly 3,000 years ago, mentions a sacrificial offering to the cat made by the emperor at the end of every year in gratitude to the cats that protect the fields of grain by catching the hordes of rats and mice. Although the ancient Chinese did not venerate the cat as a deity like the ancient Egyptians, the rat-catching cat protecting grains was the annual recipient of a special ceremony of gratitude and thus enjoyed a status that indeed was higher than other household fowl or domesticated animals.It is commonly said that 'dogs bring wealth' and 'cats bring position'. The character for 'cat' in Chinese is also a homonym for “octogenarian”, so it is an auspicious metaphor blessing for long life and therefore an appropriate subject in painting. Several painters of cats have been mentioned in art historical texts, from the Tang to the Qing dynasties and beyond.Among all the Chinese emperors, Emperor Huizong of Song (1082-1135; reigned 1100-1125) is the most famous cat lover. There are multiple cat paintings that are thought to be original works by Huizong, including one which is considered to be an exceptionally detailed piece, handed down by the Mito branch of the Tokugawa clan.Expert's note: This work exemplifies a popular style of Ming painting developed from techniques established in the Song dynasty by imperial court artist Li Di (active 12th century). The plump contours of the cats' bodies are evoked with diffuse color washes, and their soft-textured fur is then meticulously rendered in painstaking brushwork.Literature comparison: Compare two related Ming-dynasty paintings of cats in the National Palace Museum, Taipei, one with similar wild chrysanthemums painted by the Xuande Emperor, image number K2A000421N000000000PAA, and the other by Shang Xi (fl. ca. 1430-1440), image number K2A002125N000000000PAA.Auction result comparison: Type: Related Auction: Christie's London, 6 November 2018, lot 160 Price: GBP 25,000 or approx. EUR 34,000 converted and adjusted for inflation at the time of writing Description: Anonymous, Ming (1368-1644), Cats and Butterflies Expert remark: Compare the closely related subject, style, and technique. Note the larger size (60.4 x 96.5 cm).明代《貓戲圖》中國，約十五至十六世紀，絹本水墨設色。精美繪有兩隻貓在花草叢中戲耍，一隻惡作劇地咧嘴笑著從後面騎上另一隻貓，一隻爪子放在另一隻貓的頭上，另一隻貓的表情頗為不悅。工筆細細描畫，濃密的尾巴分別是黑色和紅棕色。 來源：Robert Rousset私人收藏，直到Jean-Pierre Rousset繼承。 品相：狀況良好，有一些磨損、汙漬，微小缺損。木框邊緣有磕損、磨損和使用痕跡。 尺寸：畫面32.6 x 25 釐米，總43.7 x 49.5 釐米

A LARGE AND VERY HEAVY BLUE AND WHITE 'HUNDRED DEER' JARDINIERE, MING DYNASTYChina, 1368-1644, second half of the 16th to early 17th century. Sturdily potted, of conical form, finely painted to the exterior in various shades of underglaze blue with a mountain landscape depicting one hundred deer amid scrolling clouds, rockwork and trees. The upper rim with a border of meandering vines interspersed with blossoms, and a double line above the foot.Provenance: Wiltshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Good condition, commensurate with age, showing extensive old wear, surface scratches, and manufacturing flaws including glaze recesses, pitting, firing flaws, and firing cracks, all exactly as expected from a large porcelain jardiniere from this period. Displaying exceptionally well.Weight: 38.9 kg Dimensions: Height 51.6 cm, Diameter 58.9 cmThe 'hundred deer' motif was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, as it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China.In the troubled times of the late Ming dynasty emperors were particularly keen for evidence of Heaven's blessing on their rule. Hu Zongxian (1512-1565) for example, submitted a memorial to the Jiajing emperor on the sighting of a rare white deer - a good omen for the superstitious Jiajing emperor - for which Hu was richly rewarded. Jars such as the present lot, decorated with deer, were particularly favored at Court during the second half of the 16th century and early 17th century.Literature comparison: Compare a related Wanli 'hundred deer' jar in the collection of the Musee Guimet, Paris, illustrated in Alexandre Hougron, La Céramique Chinoise Ancienne, Paris, 2015, page 138. Compare a pair of blue and white jars and covers of related design, in the Museum of Far Eastern Antiquities, Stockholm, illustrated in Oriental Ceramics, volume 8, pl. 247, and by D.Lion-Goldschmidt, Ming Ceramics, New York, 1978, page 187, no. 183.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 25 May 2022, lot 457Price: HKD 126,000 or approx. EUR 15,500 converted at the time of writingDescription: A large blue and white 'hundred deer' jardiniere, Ming dynasty, Wanli periodExpert remark: Compare the related motif. Note the much smaller size of only 34.5 cm.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 3 November 2022, lot 145Price: GBP 69,600 or approx. EUR 81,000 converted at the time of writingDescription: A rare large blue and white 'hundred' deer jar, WanliExpert remark: Compare the closely related motif and near-identical size (55 cm). Note the different form.明代大型青花百鹿紋花盆中國，十六世紀下半葉至十七世紀初。胎體結實，圓錐形花盆。外壁用深淺不一的青花精心描繪山景，百鹿在山間跳躍。盆沿飾纏枝花卉紋，足部一道雙線紋。 來源：英國維特郡古玩交易，據説購於私人收藏。 品相：品相良好，磨損、表面劃痕和製造缺陷，例如釉面凹陷、點蝕和燒製裂紋。 重量：38.9 公斤 尺寸：高 51.6 厘米，直徑 58.9 厘米“百鹿”圖非常流行，具有重要的象徵意義。鹿的題材在中國藝術中有著悠久的歷史，因為“鹿”與“祿”同音。因此，“百鹿”圖寓意成功。 明朝，胡宗憲（1512-1565 年）因看到一頭稀有的白鹿而上奏嘉靖皇帝，這對迷信的嘉靖皇帝來說是個好兆頭，胡宗憲為此得到賞賜。十六世紀下半葉和十七世紀初，宮廷特別青睞鹿紋罐，例如本拍品。 文獻比較： 比較一件相近萬曆百鹿罐 ，收藏於巴黎Musee Guimet，見Alexandre Hougron，《La Céramique Chinoise Ancienne》，巴黎，2015年，頁138。比較一對相近設計的青花罐，收藏於斯德哥爾摩東亞Museum of Far Eastern Antiquities，見Oriental Ceramics，第8卷，圖247；見D.Lion-Goldschmidt，《Ming Ceramics》，紐約，1978年，頁187，編號183。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，25 5月 2022年，lot 457 價格：HKD 126,000（相當於今日EUR 15,500） 描述：明萬曆青花百鹿缸 專家評論：比較相近的主題。請注意尺寸較，只有34.5 厘米。

A PAIR OF 'QIANJIANG CAI' ENAMELED 'PEACOCK AND CRANE' VASES, BY MA QINGYUN, DATED 1920China. Each of bottle form with bulbous body surmounted by a cylindrical neck with straight rim, painted in bright enamels with a peacock and a pair of cranes perched on craggy rocks, with peonies and a gnarled pine tree. One side with a poetic inscription and signature. The bases with iron-red maker's marks. (2)Inscriptions: To one side, signed 'by Ma Qingyun in Changjiang', dated 'in the Summer of the Year of Gengshen' (corresponding to 1920), inscribed 'The most beautiful woman compares to a peony, the Emperor glanced at her with pleasure, the beauty just, like a gentle wind in spring, removed of all resentment, in Chenxiang pavilion the Emperor and his concubine lean against the fence', and 'the poem titled Qingbingdiao by Li Qinglian'. To the base, 'Ma Qingyun xie hua Yawan'.Provenance: From a noted Hungarian private collection. Condition: Very good condition, minor wear, light scratches, and manufacturing flaws including firing cracks, dark spots, and minuscule fritting. One vase with a hairline along the base.Weight: 3,762 g and 3,892 g Dimensions: Height 34.6 cm and 34.5 cmThe inscription on the present vases is an excerpt from the poem Qingbingdiao, written by Li Qinglian, also known as Li Bai (701-762), one of China's most famous poets from the Tang dynasty. The poem comprises three sections and illustrates the supposed love story between Emperor Xuanzong and his consort Yang Guifei, one of the Four Beauties of ancient China. According to some historical accounts, the Emperor and Yang Guifei would enjoy a nighttime celebration of peony viewing whenever the peonies were in full bloom. During one celebration, the Emperor was displeased with the selection of music and called for Li Bai to write a song. Li Bai, who was supposedly drunk during this time, rapidly composed this poem that pleased the Emperor.Ma Qingyun was a painter, poet, and literary artist who was active from the late Guangxu period into the Republic period.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 13 March 2012, lot 3464Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A pair of polychrome enameled porcelain baluster vases, Republic periodExpert remark: Compare the related Qianjiang style, motif, poem, and seal mark. Note the different form and sizes (58 cm).馬慶雲款一對淺絳彩花鳥賞瓶，1920年中國，長頸瓶，溜肩鼓腹，圈足外撇。淺絳彩描繪孔雀和一對仙鶴站在松下假山上，牡丹盛開。另一面書寫李白詩。圈足鈴印“馬慶雲畫雅玩”。 款識：名花傾國兩相歡，常得君王帶笑看。解釋春風無限恨，沉香亭北倚闌干。庚申夏右？李青蓮 清平調 則于昌江客邸馬慶雲寫之意 。 來源：知名匈牙利私人收藏。 品相：狀況非常好，有輕微磨損、劃痕和製造缺陷如燒製裂紋、黑點和微小的熔塊。其中一個花瓶底部有冲線。 重量：分別為3,762克與3,892克 尺寸：高34.6 厘米與 34.5 厘米 馬慶雲是活躍於光緒末年至民國時期的畫家、詩人、文學家。拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年3月13日，lot 3464 價格：USD 15,000（相當於今日EUR 17,500） 描述：民國一對淺絳彩賞瓶 專家評論：比較相近淺絳彩、主題、詩和印。請注意不同的外形和尺寸(58 厘米)。

A RARE BLUE-GROUND POLYCHROME-DECORATED 'DRAGON' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. Superbly potted with deep rounded sides rising from a straight foot to a gently flared rim, the exterior vividly enameled with two ferocious dragons, one in green enamel, the other iron-red, racing through green, yellow and iron-red flames in pursuit of flaming pearls positioned above cruciform clouds, resting on a band of overlapping petals, all reserved on a washed underglaze-blue ground, the interior with a central medallion enclosing a similar green dragon. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in North Yorkshire, United Kingdom. Condition: Very good condition with expected wear and shallow surface scratches, minimal firing irregularities, few barely visible glaze lines. Weight: 227.8 g Dimensions: Diameter 14 cmLiterature comparison: A Kangxi-marked bowl of this same design was included in the exhibition Joined Colors, Decoration and Meaning in Chinese Porcelain, Ceramics from Collectors in the Min Chiu Society, Hong Kong, illustrated by L.A. Cort and J. Stuart, Catalogue, Hong Kong, 1993, p. 84, pl. 13. Qianlong-marked bowls of this type are relatively rare, examples include one sold at Christie's New York, 28 March 1996, lot 363, and another at Sotheby's Hong Kong, 1 December 1977, lot 648.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 May 2013, lot 1924 Price: HKD 870,000 or approx. EUR 132,000 converted and adjusted for inflation at the time of writing Description: A rare blue-ground polychrome-decorated 'dragon' bowl, Qianlong six-character seal mark and of the periodExpert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in excellent condition. Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 28 May 2014, lot 3456 Price: HKD 475,000 or approx. EUR 72,000 converted and adjusted for inflation at the time of writing Description: A Rare Blue-Ground Polychrome-Decorated 'Dragon' Bowl, Qianlong Six-Character Seal Mark and of the Period (1736-1795)Expert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in restored condition.乾隆款及年代罕見青花藍地紅綠彩龍紋碗中國，1736-1795年。胎體緊緻，碗口略外撇，深弧腹。碗外壁青花藍地，分別用紅彩與綠彩描繪兩條矯健雲龍戲珠，被綠色、黃色和鐵紅色火焰環繞。腹底飾一圈重疊花瓣紋。碗內開光内藍地綠彩雲龍。足底青花“大清乾隆年製”款。 來源：英國北約克郡私人收藏。 品相：品相極好，有磨損和表面劃痕，製造瑕疵，少量不明顯的釉面裂紋。 重量：227.8 克 尺寸：直徑14 厘米 文獻比較： 一件相同設計康熙款碗，見Joined Colors，《Decoration and Meaning in Chinese Porcelain，Ceramics from Collectors in the Min Chiu Society》，香港，見L.A. Cort和J. Stuart，圖錄，香港，1993年，頁84，編號13。一件乾隆款碗，售於Christie's New York，1996年3月28日，lot 363，以及售於香港蘇富比，1977年12月1日，lot 648。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2013年5月29日，lot 1924 價格：HKD 870,000（相當於今日EUR 132,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗品相極佳。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2014年5月28日，lot 3456 價格：HKD 475,000（相當於今日EUR 72,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗曾修復過。

A GUAN-TYPE LONGQUAN TRIPOD CENSER, LIAN, SOUTHERN SONG DYNASTYPublished: Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 332.China, 1127-1279. The cylindrical body is encircled by three sets of raised bow-string bands, comprised of two ribs above the three foliate-molded ruyi-head supports, three encircling the mid-body and three below the flat inward-canted mouth rim. The censer is covered overall with a rich, finely crackled, bluish-green glaze which thins slightly on the rim and raised decoration, the unglazed edge of the tapering rim on the underside burnt orange in the firing.Provenance: The Jiyuanshanfang Collection. Currently housed on New York's Upper East Side and originally founded upon an old family collection, a comprehensive catalog of the Jiyuanshanfang collection titled “Song Ceramics: The Eight Kiln Groups” was published in 2008 with a foreword written by Li Zhiyan, Research Fellow at the Beijing Palace Museum. Another contributor to this catalog was Martin Lorber, formerly Director of Sotheby's New York. Jiyuanshanfang's first exhibition was held in 2012 at the Morris Museum in New Jersey. In 2015, Jiyuanshanfang lent early Chinese ceramics to a large-scale exhibition at the Norton Museum of Art in Palm Beach, Florida, titled “High Tea: Glorious Manifestations - East and West”.Condition: Good condition commensurate with age, showing expected old wear, traces of usage and shallow surface scratches. Some firing irregularities, the rim with a short hairline and associated microscopic loss, the foot rim with a tiny crack, one ruyi foot with an old kintsugi repair. The interior with remnants of calcification and russet discoloration to the crackle, consistent with temporary use as a jardiniere.Weight: 808.3 g Dimensions: Diameter 14 cmThe shape of the present censer originates from archaic bronze lian vessels, which were among the ritual implements aimed to present food and drink offerings to the ancestors during the Han dynasty. This archaistic shape was also produced in the Ruyao glaze during the Northern Song period as exemplified in a related Ruyao tripod incense burner from the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (I), Hong Kong, 1996, p. 2, no. 1. Ceramic vessels of this form are often molded with bow-strings around the body, such as the well-known Northern Song Ru censer in the Percival David Collection, illustrated in Sekai Toji Zenshu, vol. 12, Tokyo, 1977, p. 70, no. 62.Expert's note: The glaze on this censer is a particularly good example of the attractive bluish-green tone characteristic of the finest Longquan glazes of the guan type.Literature comparison: A closely related Longquan tripod censer, in the collection of the Hangzhou Archaeological Bureau, is illustrated by Zhu Boqian (ed.), Celadons from Longquan Kilns, Taipei, 1998, p. 149, no. 116. A small Longquan censer of similar form was discovered in 1991 in Suining, Sichuan province, amongst a cache of ceramics dating from the late Southern Song period, and is illustrated in Newly Discovered Southern Song Ceramics, A Thirteenth-Century “Time Capsule”, Tokyo, 1998, p. 32, no. 23.Auction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2018, lot 527 Price: USD 62,500 or approx. EUR 71,500 converted and adjusted for inflation at the time of writingDescription: A Longquan celadon tripod censer, Southern Song dynasty Expert remark: Compare the closely related form, with similar bow-string bands, ruyi feet, inward-canted rim, and bluish-green glaze. Note the similar size (14.7 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2002, lot 151 Price: USD 204,000 or approx. EUR 325,000 converted and adjusted for inflation at the time of writingDescription: A rare Longquan celadon ribbed censer, Southern Song dynasty Expert remark: Compare the closely related form, with similar bow-string bands, ruyi feet, inward-canted rim, and finely crackled bluish-green glaze. Note the similar size (14.3 cm).南宋龍泉窯仿官釉弦紋三足爐中國，1127-1279年。爐口沿較寬，直壁，圈足，足下承三個雲頭形足，三足與圈足在同一平面。器身凸起弦紋。通體施青釉，釉面開片，沿口略薄，圈足端無釉，呈橙色。出版: 《宋瓷八大窯系一覽——吉緣山房藏品》，美國加州，2008年，頁332。 來源：吉緣山房收藏；美國知名私人收藏購於上述收藏。 品相：品相良好，可見磨損與使用痕跡，表面有淺劃痕。一些燒製不規則現象，邊緣有短細裂紋和相關的細微缺損，足部邊緣有微小裂縫，一個如意足有金繼修復。內部有鈣化殘留物和裂紋的黃褐色變色，表明此器可能曾被用作花盆。 重量：808.3 g 尺寸：直徑14 厘米

A FAMILLE ROSE 'DOCTOR'S VISIT' DISH, BY CORNELIUS PRONK, EARLY QIANLONG PERIODChina, circa 1738-1740. The shallow dish painted in gilt and bright enamels after a design by Cornelius Pronk entitled 'The Doctor's Visit to the Emperor', the central roundel with a scene of four Chinese noblemen conversing in a fenced garden below a blossoming tree, a large Ming dish on the table before them and a peacock at their side, enclosed by a gilt border with geometrical design, the rim with fish encircled by scalloped green bands, interspersed with birds standing in grasses and diaper pattern, the rim lined in gilt.Provenance: S. Marchant & Son, London, 1999. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from S. Marchant & Son, London, dated 10 June 1999, describing the piece as a famille rose plate painted after a design by Cornelius Pronk with the scene of the 'doctor's visit', dating it to the Yonzheng period, 1723-1735, and stating a purchase price of GBP 6,500 or approx. EUR 15,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Label 'Marchant London Yongzheng 1723-1735' to base. S. Marchant & Son was founded in 1925 by Samuel Sydney Marchant (1897-1975). It held a large stock of Asian art, but also dealt in arms and armor, paintings, and continental porcelain. In 1953, Richard Marchant joined his father and from that time onwards the partnership specialized in Asian art. Nowadays the company's focus is on Imperial Chinese Ming and Qing porcelains, jades, cloisonne, pottery, and works of art. Condition: Very good condition, the enamels still fresh and crisp, minor wear to the gilt and enamels mostly along the rim, and manufacturing flaws including pitting, dark spots, glaze recesses, and light warping.Weight: 522 g Dimensions: Diameter 25.8 cmThe scene, entitled 'The Doctors' or 'The Doctors Visiting the Emperor', was designed by Pronk in 1735 and sent to China in 1736, arriving only at the end of 1737. The finished products were sent back to the Netherlands at the end of 1738 and in 1739. A second, simpler version of the design with only three figures was sent to China in 1739. This scene was originally designed after a motif in traditional Chinese iconography, illustrating the legend of the woodcutter Wang Shi who encountered three Daoist gods playing chess in a cave.Only one of Cornelis Pronk's four official commissions for the Dutch East India Co., an original watercolor design, can still be seen in the Rijksmuseum, Amsterdam. While the experiment in commissioned designs was quickly discontinued, dinner sets, tea pieces and large jars with covers were made with the 'The Doctors' motif. See C.J.A. Joerg, Porcelain and the Dutch China Trade, pp. 99-101, and Howard & Ayers, op. cit., pp. 193-194.Literature comparison:Compare a near identical Pronk 'Doctor's visit' dish, ca. 1738, in the collection of the Victoria and Albert Museum, accession number C.43-1912.Auction result comparison:Type: Near identicalAuction: Christie's New York, 17 January 2019, lot 541Price: USD 6,875 or approx. EUR 7,700 converted and adjusted for inflation at the time of writingDescription: A famille rose 'Pronk doctors' large dish, Qianlong period, circa 1738-1740Expert remark: Compare the near identical design, crisp enamels, and gilt embellishments. Note the size (32.1 cm).乾隆早期粉彩眾博士圖中國，約1738-1740年。折沿，淺盤，圈足。盤面正中開光粉彩描繪由荷蘭的畫家考納利·普朗克（Cornelis Pronk）設計的《眾博士圖》。四位博士，其中三位圍坐在放有青花瓷盤的桌子周圍，另外一位博士站在他們身後高談闊論。畫面左邊圍欄上站立著一隻孔雀，右側的樹木枝頭上棲息著一隻鳥。折沿繪有水禽一組，其間飾以菱形開光，內各飾一條顏色各異的魚。盤邊裝飾六片黃色花口形菱花錦地紋。 來源：倫敦S. Marchant & Son藝廊，1999年；Richard 與 Maxine Markell，購於上述藝廊。隨附一份S. Marchant & Son 1999年6月10日出具的原始發票複印件，上面描繪此盤粉彩描繪仿考納利·普朗克（Cornelis Pronk）設計的《眾博士圖》，為雍正時期，1723-1735年，售價GBP 6,500 ，相當於EUR 15,500 (根據現今通貨膨脹率)。底部可見標籤 'Marchant London Yongzheng 1723-1735' 。S. Marchant & Son藝廊由 Samuel Sydney Marchant(1897-1975) 與1925年成立。該藝廊擁有大量亞洲藝術品，同時也經營武器和盔甲、繪畫和瓷器。1953 年，Richard Marchant加入了他父親藝廊行列，從那時起，藝廊專門從事亞洲藝術。 如今，該藝廊的重點是中國明清宮廷瓷器、玉器、景泰藍、陶器和工藝品。品相：狀況極好，琺瑯仍然鮮艷，邊緣的描金和琺瑯有輕微磨損，製造缺陷包括點蝕、黑點、釉面凹陷和輕微翹曲。 重量：522 克 尺寸：直徑 25.8 厘米

A FAMILLE VERTE BRUSHPOT, BITONG, KANGXI PERIODChina, c. 1700. Well potted, of cylindrical form with straight sides finely decorated to the exterior in bright enamels with a court lady and young boy playing in a fenced garden amid blossoming flowers, gnarled trees, and craggy rockwork as well as a stool behind the lady. The base with an unglazed ring between the foot rim and countersunk center.Provenance: Arts et Decors, Zurich, Switzerland, 1991. A private collection in Berlin, Germany, acquired from the above. The base with an old label, 'J10N000'. A copy of a signed “Pedigree” certificate from Arts et Decors, dated 11 September 1991, confirming the dating above, accompanies this lot. Arts et Decors was a noted gallery in Zurich run by Marguerite Iseli-Mooser, who has been described as the “Grand Dame” of the Swiss antique trade. The gallery was a hot spot among international collectors of 18th-century French furniture for many decades. After her retirement in 2004, Koller conducted a single owner sale of her inventory and part of her private collection, which also included Chinese porcelain of the 18th and 19th centuries. Condition: Good condition with minor old wear and some firing irregularities. The mouth and foot rim with minor fritting and associated small touchups and fills.Weight: 657 g Dimensions: Height 11.8 cmAuction result comparison: Type: Closely related Auction: Christie's London, 6 November 2013, lot 970 Price: GBP 11,250 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A Chinese famille verte brush pot, bitong, Kangxi periodExpert remark: Compare the closely related form, decoration, and subject. Note the size (12.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 18 March 2014, lot 431Price: USD 23,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A famille-verte cylindrical brushpot, Qing dynasty, Kangxi periodExpert remark: Compare the closely related form, decoration, subject, and size (13.3 cm).康熙硬彩人物場景筆筒中國，約1700年。筆筒成圓柱體。外壁用明亮的琺瑯精美描繪園中人物場景，一位夫人正和小男童戲耍，四周鮮花盛開，假山樹木林立，婦人身後還有一張凳子。圓底未上釉。 來源：瑞士蘇黎世Arts et Decors藝廊，1991年；德國柏林私人收藏，購於上述藝廊。底座有老標籤 'J10N000'。隨附一份Arts et Decors 藝廊由 “Pedigree” 簽名的證書複印本，時間爲1991年9月11日，確認時間約爲1700年。Arts et Decors 藝廊是蘇黎世知名藝廊，Marguerite Iseli-Mooser經營，被譽為瑞士古董貿易的“貴婦人”。幾十年來，該藝廊一直是十八世紀法國家具國際收藏家最喜歡的藝廊。 2004年她退休後，Koller 將她的存貨和部分私人收藏進行了拍賣，其中還包括十八世紀和十九世紀的中國瓷器。品相：狀況良好，有輕微磨損和一些燒製不規則。邊緣有輕微小修補和填充。 重量：657 克 尺寸：高11.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2013年11月6日，lot 970 價格：GBP 11,250（相當於今日EUR 16,500） 描述：康熙粉彩人物場景筆筒 專家評論：比較非常相近的外形、裝飾和主題。請注意尺寸(12.5 厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2014年3月18日，lot 431 價格：USD 23,750（相當於今日EUR 27,000） 描述：清康熙五彩人物圖筆筒 專家評論：比較非常相近的外形、裝飾、主題和尺寸 (13.3 厘米)。

A RARE BRONZE FIGURE OF UMA, ANGKOR WAT STYLE, KHMER EMPIRE, 12TH CENTURYExpert's note: The finely cast details of the face, clothing and jewelry are all indicative of the Angkor period. Uma was a favored goddess in Khmer Angkor, and while sandstone representations of the goddess abound, bronze devotional figures of Uma are considerably rarer.Well cast standing upon a simple square plinth with her hands extended. Her pleated sampot is suspended from a charm-embellished belt and a central sash that tapers off in a distinct fishtail shape. She is ornamented in fine jewelry, including a collar necklace, bracelets, armbands, earrings, and an ornate diadem.Provenance: The personal collection of Robert Rousset, acquired in the 1950s-1970s. Thence by descent to Jean-Pierre Rousset (1936-2021). The underside with an old label, 'C. 1085'. Robert Rousset (1901-1982) was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. Condition: Very good condition, commensurate with age. Extensive wear, losses, nicks, scratches, dents, a crack to the lower sampot, signs of weathering and erosion, and encrustations. No hidden damages. Magnificent malachite green patina, naturally grown overall.Weight: 547 g (incl. base) Dimensions: Height 17.8 cm (excl. base) and 20.5 cm (incl. base)Mounted on an associated modern base. (2) Auction result comparison: Type: Closely related Auction: Christie's New York, 23 July 2020, lot 36 Price: USD 8,125 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Uma, Khmer, Angkor period, Angkor Way [sic] style, 12th century Expert remark: Note the near-identical size (18.5 cm)

A FAMILLE ROSE 'RECLINING LADY' SNUFF BOTTLE, LATE 18TH TO EARLY 19TH CENTURYChina, 1780-1840. Molded and painted to depict a reclining woman holding a handkerchief in her left hand and resting her chin in the palm of her right hand, her bound feet peeking out from her trousers, one foot forming the stopper.Provenance: From a noted French private collection. Condition: Very good condition with minor wear to gilt and enamels as well as minimal firing irregularities.Stopper: PorcelainWeight: 30.6 g Dimensions: Height including stopper 91 mm. Diameter neck 15 mm and mouth 8 mmOne of the popular figural molds of the mid-Qing period was of a reclining woman. In practically every case, the foot of the extended leg forms the stopper, granting somewhat constrained access to the interior by way of the hollow leg. None of the reclining-woman bottles is dated to any particular reign. The enamels generally would accord with the Jiaqing period, or a little later in some particular cases. The general impression gained from the group of figure-form molded porcelains is that they began at the same time as other molded types in the last years of the Qianlong reign, flourished in the Jiaqing, and tailed off during the Daoguang period to settle into the regular, occasional production of later-Qing types. There seems to have been a shift in focus during the early Daoguang period from molded porcelain bottles to individually carved ones, which may have been one reason for their decline.This model, despite its apparent innocence to the Western eye, would probably have been considered erotic by the Chinese. The bound feet of women in pre-modern China were considered erotic, because they were specific to women, embodied feminine charm and beauty, and were practically never seen.Literature comparison:For similar molded examples, see three illustrated by M.C. Hughes, The Blair Bequest. Chinese Snuff Bottles from the Princeton University Art Museum, Baltimore, 2002, no. 297-299.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 27 May 2013, lot 107Price: HKD 125,000 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose porcelain 'reclining lady' snuff bottle, Qing dynasty, late 18th / early 19th centuryExpert remark: Compare the closely related pose, and enamelsAuction result comparison:Type: Closely relatedAuction: Bonhams New York, 22 March 2011, lot 35Price: USD 14,640 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: An enameled 'reclining lady' porcelain snuff bottle, 1780-1820Expert remark: Compare the closely related pose, enamels, and size (10.8 cm)十八世紀末至十九世紀初粉彩“睡美人”鼻煙壺中國，1780-1840年。鼻煙壺呈一婦人斜臥，左手執帕，右手托腮，一足從褲中探出，另一足為壺蓋。 來源：法國知名私人收藏。 品相：狀況非常好，鎏金和琺瑯有輕微磨損，細微燒製不規則。 壺蓋：陶瓷 重量：30.6 克 尺寸：含蓋高91毫米，頸部直徑15 毫米，壺口 8毫米 清代中期流行的鼻煙壺造型之一是睡美人，即成臥姿的婦人，一足作爲壺蓋。目前還無法確定睡美人鼻煙壺可以追溯到哪一個統治時期。琺瑯彩鼻煙壺盛於嘉慶時期，個別情況稍晚一些。人物造型的陶瓷起於乾隆末年，盛於嘉慶，道光年間漸趨衰落。道光初期，鼻煙壺製作的重心似乎已經從模製瓷瓶轉移到單獨雕刻的瓶上，這可能是它們衰落的原因之一。睡美人鼻煙壺儘管在西方人眼中看起來很純樸，但中國人可能會認為它很情色。古時中國女性的小腳被認為是色情的，因為它們是女性特有的，體現了女性的魅力和美麗，幾乎不會被生人看見。文獻比較： 一件相似的鼻煙壺，見M.C. Hughes，《The Blair Bequest : Chinese Snuff Bottles from the Princeton University Art Museum》，巴爾的摩，2002年，編號297-299。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2013年5月27日，lot 107 價格：HKD 125,000（相當於今日EUR 19,500） 描述：清十八世紀末 / 十九世紀初 粉彩「臥姿仕女」鼻煙壺 專家評論：比較非常相近的姿勢和琺瑯。

AN EXCEEDINGLY RARE PAIR OF INCISED YELLOW-GLAZED 'FLORAL MEDALLION' BOWLS, KANGXI MARKS AND PERIODChina, 1662-1722. Each bowl is incised on the exterior with four floral roundels divided by cloud scrolls above petal lappets around the foot, the interior with another floral medallion in the center enclosed within a double circle, covered inside and out with an egg-yolk yellow glaze, save for white base. Each bowl with an underglaze-blue six-character mark within a double circle da Qing Kangxi nianzhi and of the period. (2)Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. Each bowl with an old collection label, 'VWS'. One bowl with an old label, '62'. French trade, acquired from the above. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Superb condition with only minor wear and firing irregularities: The first bowl with a faint glaze line to the rim, the second bowl with three faint glaze lines to the rim, all of which are inherent to the manufacture. None of these glaze lines are visible to the naked eye, or even under the strongest blue light. Also, they are not noticeable to the touch.Weight: 162.1 g and 147.6 g Dimensions: Diameter 12 cm (each)Literature comparison: Compare a closely related yellow-glazed incised bowl, 12 cm high, also with a Kangxi mark and of the period, sold at Christie's London, 13 December 1976, lot 55, and illustrated by Regina Krahl, Chinese Ceramics from the Gulexuan Collection, p. 128, no. 97. A bowl of this design from the Elphinstone collection in the Percival David Foundation, London, is listed in the Foundation's Illustrated Catalogue of Ming and Qing Monochrome Wares, London, 1989, no. A599. Another bowl of this design from the Kostolany collection was included in the exhibition Monochrome Porcelain of the Ming and Manchu Dynasties, Oriental Ceramic Society, London, 1948, cat. no. 188.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 26 November 2014, lot 3291 Price: HKD 325,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: An incised yellow-enameled 'floral medallion' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the periodExpert remark: Compare the closely related form, decoration, Kangxi mark, and size (11.8 cm). Note that the lot comprises only one bowl.康熙款及年代一對黃釉暗刻團花碗中國，1662-1722年。碗直口，深腹，圈足略高，器型規整。內外滿施黃釉為地。口沿外及足牆均飾兩道弦紋，外壁以暗刻技法飾四朵團花，間以如意雲紋，近底足刻變體蓮花瓣紋，紋飾簡潔生動。圈足內白地青花雙圈“大清康熙年製”款。 (2) 來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。每個碗上都有一個收藏舊標籤 'VWS'；一個碗上有標籤 '62'；法國古玩交易，購於上述收藏。 品相：品相極佳，只有輕微磨損和燒製不規則：一個碗的邊緣有一條微弱的釉裂，第二個碗的邊緣有三條輕微的釉裂，這些釉紋沒有一條是肉眼可見的，甚至在最強烈的藍光下也是如此。此外，它們觸摸起來並不明顯。 重量：分別爲162.1克與147.6克 尺寸：直徑12 厘米 (每個)

A MOLDED AND ENAMELED CICADA-FORM PORCELAIN SNUFF BOTTLE, 1800-1850China, Jingdezhen kilns. The bottle molded in the round with realistic detail, the insect's eyes and legs painted in black, its wings in blue enamel and its thorax highlighted with brown enamel stripes.Provenance: From an old private collection in the United Kingdom, acquired in Shanghai and Hong Kong from the 1930s onwards, and thence by descent. Condition: Excellent condition with minor wear and firing flaws, little rubbing to enamels.Stopper: JadeiteWeight: 44.6 gDimensions: Height incl. stopper 82 mm. Diameter mouth 7 mmThe cicada is a symbol of immortality because it has a long life cycle of up to seventeen years. It also became a symbol of extended youth and of happiness on account of its joyous chirping.Literature comparison: The group of molded porcelain cicada-form snuff bottles to which this example belongs first appeared in the early nineteenth century. For another very similar example from the Caretti Collection, see H. Moss, Chinese Snuff Bottles No. 5, p. 59, fig. 43. See other examples and versions in Chinese Snuff Bottles No. 4, p. 5, top, center; and R. Hall, Snuff Bottles IX, no. 8. The molded porcelain model may have evolved from jade cicada-form bottles which were popular at the Court during the eighteenth century. See Moss, Graham and Tsang, The Art of the Chinese Snuff Bottle: The J & J Collection, nos. 7 and 8; and Moss, Graham and Tsang, A Treasury of Chinese Snuff Bottles, Vol. 1, Jade, nos. 58 and 59.Auction result comparison:Type: Near identical Auction: Christie's New York, 19 March 2008, lot 245 Price: USD 9,375 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: An enameled molded porcelain cicada-form snuff bottle, Jingdezhen kilns, 1800-1850 Expert remark: Note the size (7.5 cm), which is the same length as the present snuff bottle excluding the stopper.1800-1850年堆塑彩繪蟬形鼻煙壺中國，景德鎮。瓶身為蟬形，細節逼真，蟬的眼睛和腿塗成黑色，翅膀為藍色琺瑯，胸部則用棕色琺瑯條紋描繪。 來源：英國私人收藏，藏品為上世紀三十年代購於上海和香港，保存至今。 品相：品相極佳，有輕微磨損和燒製缺陷，琺瑯有輕微磨損。 壺蓋：翡翠 重量：44.6 克 尺寸：含壺蓋高82 毫米，壺口直徑 7 毫米 蟬自古是長生不老的象徵，因為它的生命週期長達十七年之久。而它歡快的鳴叫聲，也使它成為青春和幸福的象徵。 文獻比較： 本例所屬的瓷製蟬形鼻煙壺群，最早出現於十九世紀初。其他相似的例子來自Caretti Collection，見H. Moss，《Chinese Snuff Bottles No. 5》，頁59，圖43。見另一件例子《Chinese Snuff Bottles No. 4》，頁5；R. Hall，《Snuff Bottles IX》，編號8。堆塑瓷器可能是從十八世紀宮廷流行的玉蟬形瓶演變而來的。見Moss，Graham和Tsang，《The Art of the Chinese Snuff Bottle: The J & J Collection》，編號7和8; 以及見Moss，Graham和Tsang，《A Treasury of Chinese Snuff Bottles》，卷1，〈Jade〉，編號58和59。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，19 3月 2008年，lot 245 價格：USD 9,375 EUR 12,500 （相當於今日） 描述：1800-1850年堆塑彩繪蟬形鼻煙壺 專家評論：請注意尺寸(7.5 厘米)，幾乎和我們的拍品一樣長。

AN ARCHAISTIC SPINACH-GREEN JADE 'TAOTIE' BANGLE, LATE MING DYNASTYChina, 16th - early 17th century. Well carved in low relief around the exterior sides with a continuous design of five taotie masks framed by horizontal and vertical key-fret borders. The opaque stone of a dark green tone with gray veins and icy inclusions.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. The interior sides with an old label, '327'. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art.Condition: Excellent condition with some old wear, natural inclusions, and microscopic nicks here and there. Good, unctuous feel overall.Weight: 120.6 g Dimensions: Diameter 8.3 cmAuction result comparison: Type: Related Auction: Christie's New York, 21 March 2013, lot 813 Price: USD 8,750 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A greenish-yellow and brown jade bangle, Ming dynasty Expert remark: Compare the closely related form, manner of carving with similar key-frets, and size (8.3 cm).明末碧玉饕餮紋手鐲中國，十六至十七世紀初。外壁淺浮雕五個饕餮紋，深綠色不透明石料，帶有灰色紋理和內沁。 來源：Robert Rousset私人收藏, 購於1935年前，保存至Jean-Pierre Rousset。內有舊標籤'327'。Robert Rousset曾是商船的無線電通信官。 他是法國巴黎的中國藝術市場最傑出的先驅之一。他的父親是一名保險代理人，會帶他去 Hôtel Drouot拍賣行，孩提時代他就開始購買藝術品。他對亞洲藝術的真正熱情始於 1920 年代，當時清朝沒落，他與瑞典著名亞洲藝術史學家和鑑賞家 Osvald Siren 一起被派往北京。隨後，他成為二十世紀初由 Blazy 兄弟在巴黎創立的 Compagnie de la Chine et des Indes 旗下中國古董的主要合作者之一。1929 年股市崩盤後，他有機會收購了這家公司。在他負責瓷器的妹妹 Suzanne的帶領下，他們發展了這項業務，並成為法國最重要的經銷商之一，向最大的博物館，包括吉美博物館和大都會藝術博物館，出售古董。品相：狀況極佳，有一些磨損、天然內含物和微小刻痕。整體感覺細膩。 重量：120.6 克 尺寸：直徑8.3 釐米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2013年3月21日，lot 813 價格：USD 8,750（相當於今日EUR 10,000） 描述：明青玉銅錢紋鐲 專家評論：比較非常相近的外形，相似的雷紋雕刻和尺寸(8.3毫米)。

A VERY FINE FAMILLE ROSE 'BOYS AT PLAY' VASE, MEIPING, REPUBLIC PERIODChina, 1912-1949. Of ovoid form tapering towards the foot, surmounted by a short waisted neck, finely painted in gilt, iron-red, and bright enamels, with boys playing music and performing with masks in a garden scene, further depicting rockwork with lingzhi, a prunus tree, and violet chrysanthemums, the foot with a gilt rim.Provenance: From a private collection in San Francisco, United States, acquired in the 1990s. Dr. Neill Kendall, acquired from the above. Christie's South Kensington, 14 May 2010, lot 415, sold for GBP 8,750 or approx. EUR 15,000 (converted and adjusted for inflation at the time of writing). A private collection, United Kingdom, acquired from the above. Dr. Neil Kendall's interest in Chinese porcelain was sparked while studying in Hong Kong as a medical student. He started his collection in the 1990s with the help of Peter Wain, a noted Asian art dealer. Kendall's collection specialized in the finest Republic period pieces from master potters and porcelain painters, but also included Yixing ware. Condition: Only minor wear to the enamels. A long hairline to body and shoulder, stabilized.Weight: 427.5 g Dimensions: Height 20.3 cmThe recessed base with an apocryphal blue-enameled four-character mark Yongzheng nianzhi. Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 1 June 2011, lot 4027Price: HKD 112,500 or approx. EUR 18,500 converted and adjusted for inflation at the time of writingDescription: A fine famille rose 'boys' vase, Hongxian iron-red mark within double-squares, Republic periodExpert remark: Compare the related form, fine painting, motif, and enamels. Note the size (24.8 cm).民國粉彩《嬰戲圖》瓶中國，1912-1949年。瓶口微撇，短頸，圓肩，肩以下漸收，圈足。粉彩描金，描繪園中童戲，一群兒童在敲鑼打鼓，另一個童子頭戴面具，正蹲在樹下，手中拿著一根長棍，上面挂著紅蝙蝠。場景生動活潑，稚趣可愛。 來源：美國舊金山私人收藏，購於上世紀九十年代；Dr. Neill Kendall購於上述收藏；南肯辛頓佳士得，2010年5月14日，售價 GBP 8,750或 EUR 15,000 (根據通貨膨脹率)；英國私人收藏，購於上述拍賣。Dr. Neil Kendall對中國陶瓷的興趣是在香港讀醫科的時候產生的。他於 1990 年代在著名亞洲藝術品經銷商Peter Wain 的幫助下開始收藏。Kendall的藏品專注於民國時期陶瓷，但也包括宜興瓷器。品相：琺瑯只有輕微磨損，瓶身和肩部有細長裂紋。 重量：427.5 克 尺寸：高 20.3 厘米 圈足内青花“雍正年製”四字款。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2011年6月1日，lot 4027 價格：HKD 112,500（相當於今日EUR 18,500） 描述：民國粉彩庭院嬰戲圖瓶，礬紅雙方框四字楷書款 專家評論：比較相近的外形、精美的繪畫、主題和琺瑯。請注意尺寸(24.8 厘米)。

A GOLD AND SILVER-INLAID BRONZE ARCHAISTIC STEAMER, SONG TO MING DYNASTYChina, 960-1644. Heavily cast, the upper cauldron with two upright loop handles to the rim, decorated with interlocking scroll and confronting stylized phoenixes. The sides with three animal masks flanked by confronting phoenixes divided by short flanges, above pendent stiff leaves, all reserved on leiwen grounds. The shoulders of the three legs cast with stylized large-eyed animal masks, decorated with scroll and lozenge designs. The bronze with a rich, solid, naturally grown, dark patina with scattered malachite encrustations.Provenance: From the personal collection of Dr. David McCay, and thence by descent in the same family. Dr. David McCay was an English physician and later surgeon general with the Indian Medical Service in Bengal, India. He was sent to China during the Boxer Rebellion and served as an army doctor at the Siege of Peking. While in India, he wrote a book titled Investigations on Bengal Jail Dietaries. Upon his retirement, he returned to England with his collection of Chinese bronzes, cloisonne, and porcelain. After his death, his wife gifted his favorite piece, a highly important Wanli garlic mouth vase, among other items, to the Victoria and Albert Museum, accession number CIRC.23-1950, where it remains to this day.Condition: Very good condition with expected old wear, traces of age and usage, some casting irregularities, small nicks and losses, light scratches, the undersides of the feet with tiny old fills. The gold inlays are fresh and in very good condition overall. The silver inlays have darkened over time and show expected tarnish. However, we chose not to clean the silver inlays, so to preserve the piece's impressive natural appearance.Weight: 5,200 g Dimensions: Height 31.5 cmReferring to the importance of reverence to the past in Chinese art, Ulrich Hausmann writes:“Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable, so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. Generations of painters and calligraphers [...] spent a lifetime studying these inscriptions. What could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.” (Quote from Ulrich Hausmann, Later Chinese Bronzes: In Search of Later Bronzes in Documentary Chinese Works of Art: In Scholars' Taste, Ed. Paul Moss, Sydney L. Moss, London, 1983, page 233, requoted again by Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, The Oriental Ceramic Society of Hong Kong and the Fung Ping Shan Museum, University of Hong Kong, 1986, cat. no. 161.)Expert's note: The present steamer is quite likely to date from the Song dynasty, because the earliest archaistic bronzes generally tend to be the closest in form and design to their archaic prototypes. This is clearly the case here, as shown by the two literature comparisons below, which prove that the present lot is very much in the spirit of its Shang and Western Zhou paragons. The example from the National Palace Museum, Taipei, even has gold and silver inlays just like our vessel, which is unusual for such an early piece. Another important aspect is the superb, naturally grown patina on the present lot with its distinct malachite encrustations. This is beyond doubt not a patina from the late Ming or early Qing dynasty: It not only does closely resemble that of ancient bronzes, but with its unique appearance, reminiscent of savage elementary forces rather than the genteel creations of later periods, essentially makes this bronze an archaic vessel of its own merit.Literature comparison: Compare a closely related prototype for this steamer, also with gold and silver inlays, dated to the Shang dynasty, in the National Palace Museum, Taipei, image number K1A002369N000000000PAB. A related prototype, lacking gold and silver inlays, dated to the Western Zhou dynasty, 11th-10th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.352a-b, is illustrated by Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Vol. IIB, Massachusetts, 1990, pp. 342-344, no. 33.Auction result comparison: Type: Related Auction: Bonhams London, 11 November 2010, lot 139 Price: GBP 31,200 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A large archaistic bronze tripod steamer, yan, probably Song dynastyExpert remark: Compare the closely related form with similar legs cast with animal masks. This steamer is however vastly inferior to the present lot as it lacks the gold and silver inlays and the design is overall less lively. Note the larger size (44.5 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 1 December 2022, lot 694 Price: USD 37,800 or approx. EUR 35,000 converted at the time of writing Description: An archaistic copper-inlaid bronze tripod censer (Ding), Ming dynastyExpert remark: Compare the related form with similar legs cast with animal masks. This censer is however vastly inferior to the present lot, not only because the inlays are merely copper, but also because it completely lacks the cauldron found on the present lot. Also note the significantly smaller size (16.7 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 14 May 2014, lot 252 Price: GBP 80,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the related size (30.2 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 October 2014, lot 3350 Price: HKD 2,680,000 or approx. EUR 380,000 converted and adjusted for inflation at the time of writing Description: A large gold and silver-inlaid bronze incense burner, gui, late Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the similar size (28.5 cm).宋至明代銅錯金銀三足銅甗中國，960-1644年。 來源：Dr. David McCay收藏，在同一家族保存至今。品相：狀況極好，有磨損和使用痕跡、一些鑄造不規則、小刻痕和缺損、輕微劃痕、腳底面有微小的填充物。錯金部分整體狀況非常好。錯銀部分變暗並顯示出光澤。

A FAMILLE ROSE PLAQUE OF ZHONG KUI, BY WANG QI (1884-1937), DATED 1931China. The plaque of rectangular form, painted in bright enamels and iron red to depict Zhong Kui looking in the mirror at his ugly countenance, a pottery vessel and bamboo laying on the ground, with a bat flying above.Inscriptions: Upper left, signed 'Xichang Wang Qi, painted in Zhushan', inscribed 'I am ugly in my life and have no shame in my heart, why should I be scared to look wild in the mirror', dated 'In the autumn of the Year of Xinwei' (corresponding to 1931), and inscribed 'painted in the style of Wang Shen'. Two seals, 'Xichang Wang Qi', and 'Taomi'.Provenance: From a private collection in New York, USA, acquired on 30 July 1997 by the previous owners 'Margaret and Donald' on the way to boarding the 'Yangtze Paradise' for a cruise from Wuhan to Chongqing. The inscription on the back confirms the provenance information and describes the plaque as depicting a 'Chinaman who failed his states exam because of his ugliness, so he kills himself after looking in the mirror and becomes one of the guards to fight off evil spirits'. Condition: Very good condition with minor wear. The frame with expected age cracks, few small nicks, and light scratches.Dimensions: Image size 36 x 25.5 cm, Size incl. mounting 50 x 37.4 cmIn a wooden frame with metal mount, most likely original to the artwork. (2)Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based on famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years Wang more and more developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work.According to folklore, Zhong Kui took part in the state-wide imperial examinations held in the capital city. Though Zhong Kui attained great academic success and top honors in the state exams, his rightful title of 'Zhuangyuan' (top-scorer) was stripped from him by the emperor because of his disfigured and ugly appearance. In anger and fury, Zhong Kui committed suicide by hurling himself against the palace gates until his head was broken, whereupon Du Ping, his friend, had him laid to rest. During the divine judgment after his death from suicide, Yanluo Wang (the Chinese Underworld Judge) saw much potential in Zhong Kui, intelligent and smart enough to score top honors in the imperial examinations but condemned to the capital of hell because of the strong grievance. Yama thus gave him the title of the king of ghosts and tasked him to hunt, capture, take charge of and maintain discipline and order among all ghosts. Auction result comparison:Type: RelatedAuction: Bonhams London, 8 November 2012, lot 345Price: GBP 8,750 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: An enameled rectangular plaque, cyclically dated Xinwei year (AD 1931), signed and sealed Wang QiExpert remark: Compare the similar form, material and figural motif. Note the similar size (38.4 x 25.2 cm).Auction result comparison:Type: RelatedAuction: Bonhams Sydney, 27 May 2012, lot 45Price: AUD 15,600 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A framed enameled rectangular plaque of a monk enjoying a bucket of wine, attributed to Wang Qi (1884 - 1937), Republic periodExpert remark: Compare the similar form, material and figural motif. Note the similar size (38.3 x 25 cm).Auction result comparison:Type: RelatedAuction: Bonhams Sydney, 27 May 2012, lot 44Price: AUD 14,400 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A framed enameled rectangular plaque of Bodhidharma crossing the Yangtze River, attributed to Wang Qi (1884 - 1937), Republic periodExpert remark: Compare the similar form, material and figural motif. Note the similar size (37 x 24 cm).王琦粉彩《鍾馗》瓷板畫中國，長方瓷板，畫面裏鍾馗照鏡，臉部明暗關係清晰，筆法細膩，衣衫以玻璃白為底色，再罩以淡藍色。線條簡略流暢，準確凝練，以乾筆皺藍袍層次變化微妙，一隻紅色蝙蝠在空中飛舞。 款識：平生貌醜心無愧，何懼猙獰對鏡看，龍集辛未初秋上浣，仿黃慎之筆意。西昌匋迷散人王琦寫於珠山客次；鈴印：西昌王琦，匋迷。來源：美國紐約私人收藏，購於1997年7月30日；之前的所有者 Margaret 與 Donald搭乘武漢至重慶遊輪“長江天堂”號途中。背面的款識證實了出處資訊，並將瓷板描述為“一個中國人因醜陋而未能通過考試，因此他在照鏡子後自殺，並成為一名與惡魔搏鬥的衛士”。 品相：狀況極好，有輕微磨損。框架有預期的老化裂紋、少量小劃痕和輕微劃痕。 尺寸：畫面36 x 25.5 釐米，總 50 x 37.4 釐米 木框，很可能是原件。(2)

A RARE, LARGE AND POWERFUL JADE FIGURE OF A BIXIE, MID-WESTERN HAN DYNASTY - EARLY SIX DYNASTIES PERIODExpert's note: The magnificent polish and remarkably unctuous feel overall are a distinctive testimony of many centuries of passionate handling, indicating that this piece may either be a rare heirloom example, or at the least was only buried for a rather short period, and thence handed down from generation to generation of respectful keepers.China, c. 100 BC to 400 AD. Powerfully carved in a prowling pose with the legs and the right haunch tucked under the body and the left extended backward, rigorously pushing the winged body forward. The face with bulging eyes below thick brows and a pair of curved horns, the pierced mouth baring teeth above the distinct goat beard. The body neatly incised with wings, fur markings, and scroll motifs. The softly polished translucent stone is of a pale green and creamy russet-brown tone with distinct chestnut inclusions and russet veining.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. The underside with an old label, 'C. 1085'. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019.Condition: Good condition with minor wear, few tiny nicks and light scratches. A small section of the tail has been reattached. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Export License: A French certificat d'exportation pour un bien culturel, document Nr. 233778, dated 31 May 2022, has been granted by the French government. A copy of the document accompanies this lot.Weight: 183.4 g Dimensions: Length 10 cmJade bixie carvings in the round are extremely rare and precious. There are two jade bixie excavated in the Weiling tomb in Xianyang, Shaanxi province: one is striding upright, with two horns curling backwards along the head (fig. 1), the other is crouching with its head down, with two horns growing closely alongside and bifurcating at the tip (fig. 2). There is an Eastern Han jade bixie (fig. 3) in the Taipei Palace Museum with a long snout resembling either a dragon or a horse, unlike the more common tiger-like bixie with shorter snouts, and closely resembles the griffin of Western Asia.Amongst the very few excavated and heirloom examples of jade bixie, the two examples from the Weiling tomb are dated the earliest, indicating that the production of these bixie carvings in the round began as early as the mid-Western Han dynasty. Although none of the bixie carvings from the Two Han dynasties appear identical to one another, they share these characteristics: Double or single-horned, with lion or tiger head and body, goat beard and bird wings. They are also extremely fierce, powerful in musculature, gallant in stature, carved in the round and decorated with incised decoration, shallow relief, high relief and pierced decoration in precise and neat wheel cuts.Although jade bixie have heads like a lion or a tiger, it is the tiger that most embodies its essence. In the Three Kingdoms period, Zhuge Liang in his military strategy coined the now well-known term 'like a tiger added with wings' to describe a general that excels at deploying his troops. The origin of this phrase can be found in his anthology Zhuge Zhongwuhou wenji, juan 4, edited by Zhang Shu (1781-1847): “Military command is the mandate to lead the three armies, and the authority of the chief commander. A general who has the command of the army and knows the essence of troop deployment to gain the upper hand, is like a fierce tiger that has been given wings and able to travel the four seas, to apply force when he sees fit.”Zhuge Liang's description of an able general as 'a tiger added with wings' is the Han dynasty jade bixie personified.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 21 September 2021, lot 46 Price: USD 107,100 or approx. EUR 107,000 converted and adjusted for inflation at the time of writing Description: A beige and russet jade bixie, Han - Six DynastiesExpert remark: Compare the closely related subject, pose, manner of carving, and russet veining. Note the beige color and much smaller size (7 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2020, lot 40 Price: HKD 2,142,000 or approx. EUR 285,000 converted and adjusted for inflation at the time of writing Description: A Rare Celadon Jade Figure of a Bixie, Eastern Han DynastyExpert remark: Compare the closely related subject, the related pose and manner of carving. Note the different color of the jade and much smaller size (4.8 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 27 September 2021, lot 524 Price: USD 746,000 or approx. EUR 741,000 converted and adjusted for inflation at the time of writing Description: A beige and brown jade figure of a bixie, Ming dynasty or laterExpert remark: Compare the closely related subject, the similar pose and manner of carving. Note the different color of the jade and larger size (12 cm). Also note the original estimate of USD 8,000-12,000 and the market's rather unambiguous response to the conservative dating of this lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2022, lot 2748 Price: HKD 26,850.000 or approx. EUR 3,170.000 converted and adjusted for inflation at the time of writing Description: An Exceedingly Rare and Exceptional Jade Carving of a Mythical Beast, Bixie, Late Western Han Dynasty, c. 1st Century BCExpert remark: Compare the related carving and subject. Note the different color and smaller size (7.2 cm).

A CHINESE PORCELAIN BLUE AND WHITE 'MEIPING' VASE the body decorated with figures in a landscape, 26.5cm high

A CHINESE PORCELAIN CELADON GLAZED LIDDED TRIPOD CENSER 19th century, the lid with a mythical beast finial, the body twin handles (one damaged and repaired), 26cm high

A PAIR OF CHINESE BLUE AND WHITE PORCELAIN LAMP BASES 20th century, of hexagonal section, each previously fitted for electricity and would require rewiring, 33cm high (2)

A CHINESE PORCELAIN 'KRAAK' PLATE typically decorated in underglaze blue with auspicious imagery and precious items in radiating panels, 25cm wide

A CHINESE PORCELAIN BLUE AND WHITE 'DEER' VASE 19th century, with six character mark to the base, 18cm high

Chinese blue and white porcelain baluster or meiping vase, decorated in underglaze blue with figures and a horse in a landscape, seal mark of Kangxi (1662-1722), 33cm high, with two-part carved wooden lotus form stand, and a wooden cover, 45cm high overallPossibly brought back from China by the vendor's ancestor, Leonard Haynes (1909-1949), who worked for the Hong Kong Police Force.

Three Chinese Canton Famille Rose porcelain plates, circa 1800, each painted with peonies in a garden within gilt border, 23cm diameter

Chinese Canton famille vert porcelain pierced sleeve vase, painted with scholar and pupils in a garden with three lines of script to the reverse, fixed to a carved hardwood stand, 12cm diameter x 31cm high (base unable to be inspected)

Chinese Canton Famille Rose porcelain octagonal footed dish, with turqouise glazed interior, the exterior with floral and foliate motifs, unmarked 18cm diameter x 5cm high, and two jade-coloured glazed tea bowls, iron-red seal type marks, 8.5cm rim diameter x 6cm high (3)

Chinese Famille Rose porcelain vase, yuhuchunping, of bulbous footed form with flared neck, incised and painted with peonies on pale green ground, turquoise glazed interior, faint traces of six character mark to base, 34cm high

An English blue and white porcelain cream boat, Bow shape, circa 1750s, reeded and painted with a Chinese landscape in the Lowestoft style, wishbone handle, 11.5cm long

A collection of Chinese export blue and white porcelain, 18th century, including seven various tea bowls painted with landscape patterns, some reeded and gilded, and a lidded jug, baluster form, 13.5cm high (8)

A Chinese blue and white porcelain brush pot, Qing dynasty, octagonal form with the Three Friends of Winter pattern, plants and poems to each panel, blue four character script mark, paper label for 'Yung-Ching', 13cm high. Note: an almost idendical example resides in the MET, New York

A Liverpool porcelain coffee pot, circa 1780, probably Pennington, baluster form with foliate double C scroll handle and fluted spout, painted with a blue and white Chinese landscape, 26cm high

A Chinese porcelain dragon decorated saucer dish 18cm diameter, 6 character mark, three Victorian pottery child's plates, jelly mould, Nao figure, etcRubbing to the pattern and a chip to the rim of the bowl. Some kiln grit to the rim of the base

A pair of Chinese silver smokers stands, circa 1900, stamped 'C.J. Co, Sterling'. Each with a dragon decorated matchbox holder on a circular ashtray with three cigarette holders, height 10.5cm, diameter 11.5cm, weight 144 and 162 grams. (2)'C.J.Co' were the China Jewellery Company who were active in Shanghai between 1875 and 1920. Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.

A Chinese famille rose porcelain bowl, 20th century. With spurious paper label, the pink enamelled floral decorated ground with four roundels enclosing foliage, with blue and white interior, height 6.7cm, diameter 15cm.David Lay - lot 144.Some loss of decoration to the edge, though this may have been natural in the decoration process. No other condition issues. Please view extra images.www.davidlay.co.uk/auction/lot/lot-144---a-chinese-famille-rose-porcelain-bowl-20th-century/?lot=107734&so=0&st=144&sto=0&au=215&ef=&et=&ic=False&sd=0&pp=24&pn=1&g=1

A Chinese blue and white porcelain baluster vase, late 19th century With four character Kangxi mark, height 28cm, width 10.5cmHairline to neck, nibbles to lid rim

A Chinese blue and white porcelain tazza, late 19th century. each roundel enclosing a character mark, height 6cm, diameter 13cm.

A Chinese porcelain famille verte saucer, Republic period. Decorated with verse, diameter 10cm.

A Chinese famille rose porcelain tea bowl and saucer, 18th century. Saucer diameter 11.8cm, tea bowl diameter 7.5cm and a Chinese famille rose porcelain bowl, 18th century, height 6.5cm, diameter 14.3cm.tiny nibbles/wear on saucer and tea bowl rim. Larger bowl has a 5cm hairline.

Four Chinese famille rose porcelain rice bowls, mid 20th century. Circular red mark to base, height 5.5cm, diameter 12.5cm. (4)

A Chinese blue ground porcelain vase, 19th century. In the Kangxi style, decorated with fish, blue double rings, height 45.5cm, width 18cm.old damage and repairs to the rim and neck. A crack which stretches the diameter of the vase which has been repaired. Please view extra images.

Two Chinese porcelain coffee cups, 18th century. Each painted with an animal and figures in a landscape, height 6.5cm, diameter 6cm and 5.7cm. (2)From a Private Collection, purchased from a Country House Sale, Devon, mid 1980s.

A Chinese famille verte porcelain footed bowl, 19th century. Decorated with dragons and cloud scrolls, height 11.5cm, width 16.5cm.

A Chinese porcelain meiping vase, Qianlong seal mark. The polychrome enamels depicting butterflies amongst pumpkins, height 24cm, width 11cm.

A Chinese travelling trunk, probably pig skin and another smaller. Early 20th century, each with brass mounts, handles red paper label with calligraphy, largest height 28cm, width 45cm, depth 31cm. (2)Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.

A pair of Chinese famille rose porcelain jardinieres on stand, 20th century. Hongxian iron-red four-character marks, of pail form, decorated with flowering broughs, insects and flowers, size of jardiniere 12cm, diameter 14.5cm, stand height 3cm, diameter 13cm.

A Chinese Canton porcelain coffee pot and cover, late 19th century. Painted with figures in an interior setting and armorial, height 25cm, width 26cm.A short firing fault can be seen inside but not outside and some gilt rub. 

A pair of Chinese blue and white porcelain cylindrical vases, late 19th century. Decorated with birds amongst foliage, with four chartacter Kangxi mark, height 16cm.

A Chinese blue and white porcelain bowl, 18th century. Height 8cm, diameter 17.5cm and a Chinese blue and white porcelain bowl, 19th century, with four character mark, height 7.5cm, diameter 18cm. (2)

A Chinese yellow glazed porcelain jar, Jiaqing six character mark. Decorated with phoenix and flowering vines, height 14.5cm, diameter 16cm.There is an old repair and a noticeable piece missing at top. Wear to the foot. Please see added images on our website. 

Thirteen works on the culture and history of China. STEPHEN W. BUSHELL. 'Chinese Art,' two volumes, large paper edition, 104 illustrations, printed for His Majesty's Stationary Office by Wyman and Sons, London, 1905; AENEAS ANDERSON. 'A Narrative of the British Embassy to China, in the year 1792, 1793, and 1794...,' third edition, debound front board, clean and tight textblock, J. Debrett, London, 1796; JOHN FRANCIS DAVIS. 'Sketches of China; Partly During an Island Journey of Four Months, Netween Peking, Nanking, and Canton; With Notices and Observations Relative to the Present War,' two volumes, Vol I lacks front board with loose spine cloth panel, clean and tight textblocks, Charles Knight & Co, London, 1841; THOMAS TAYLOR MEADOWS. 'The Chinese and Their Rebellions,' original cloth, loss to top spine panel, fold out map frontis, Smith, Elder & Co, London, 1856; F. L. HAWKS. 'A Sketch of Chinese History,' original cloth, Kelly and Walsh, Shanghai, 1903; W. SOMERSET MAUGHAM. 'the Gentleman in the Parlour,' new impression, staining to original cloth, some spotting, William Heinemann, London, 1930; With five other works. (13)Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.

Six works about Mandarin and Shanghainese. ARTHUR H. SMITH. 'Proverbs and Common Sayings from the Chinese, Together with Much Related and Unrelated Matter, Interspersed with Observations on Chinese Things-in-General,' spotting throughout, The American Presbyterian Mission Press, Shanghai, 1902; F. L. HAWKS POTT. 'Lessons in the Shanghai Dialect,' original cloth with loss to spine, The American Presbyterian Mission Press, Shanghai, 1907; With four other works. (6)Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.Please see images of the 'four other works' online.

Two Chinese Tek Sing shipwreck cargo blue and white porcelain plates. Each with a certificate of authenticity and Nagel auction stickers, diameter 16.5cm and 16cm. (2)

A Chinese export porcelain 'Mandarin Palette' bowl, 18th century. With figural garden terrace scenes, height 6.5cm, diameter 14.5cm and a Japanese Satsuma crackle glaze vase, circa 1900, height 19cm, diameter 11cm. (2)

A Chinese porcelain dish, 18th century. Painted with a figure on the back of a cow and a mountainous river scene in the background, diameter 11.7cm.From a Private Collection, purchased from a Country House Sale, Devon, mid 1980s.

A pair of Chinese export blue and white porcelain tea bowls and dishes, Qianlong. With figural famille rose decoration, diameter of saucer 11.5cm, height of bowl 4cm, diameter 7.5cm. (4)No condition issues.

A Chinese famille rose porcelain teapot, 19th century. Painted with figures playing musical instruments, height 10cm, width 19cm and two Chinese export blue and white teapots, 18th century. (3)From a Private Collection, purchased from a Country House Sale, Devon, mid 1980s.