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Lot 72
A LARGE BLUE AND WHITE 'HUNTING SCENE' DISH, KANGXI PERIOD 康熙時期青花開光《狩獵圖》大盤China, 1662-1722. The shallow rounded sides rising from a short tapered foot to a wide flaring rim. Finely painted to the interior with equestrian hunters brandishing spears, swords, and a bow and arrow, amid craggy rockwork and two white hares, encircled by a diaper border and a band of alternating birds and floral sprays between lines.Provenance: From a private collection in London, United Kingdom.Condition: The rim with extensive frits, some with associated old repairs, and a small hairline (only visible under strong blue light), the foot with some fritting as well.Weight: 1,580 gDimensions: Diameter 36.3 cmThe rim with rectangular reserves divided by diaper borders and enclosing birds and flowers, encircled by another diaper border. The exterior rim with evenly spaced floral sprays. The base with a parasol mark in a shaped reserve within a double circle.During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus marks and double circles. The mark found on the present lot, in the form of a parasol, an important Buddhist symbol, appears to be very rare but is clearly part of the same group.Auction result comparison: Compare a related blue and white dish with a hunting scene, with a Chenghua mark and also dated to the Kangxi period, at Christie's Amsterdam in Chinese Ceramics and Works of Art on 3 May 2005, lot 182, sold for EUR 9,600. Compare also a related blue and white brushpot painted with a hunting scene, with a Xuande mark and also dated to the Kangxi period, at Christie's New York in Important Chinese Ceramics and Works of Art on 24 September 2021, lot 802, sold for USD 125,000. 康熙時期青花開光《狩獵圖》大盤中國，1662-1722年。折沿，淺腹，圈足。盤内中央開光描繪馬上狩獵圖，獵人揮舞著長矛、劍和弓箭，追趕著兩隻野兔。四周開光描繪花鳥卷葉紋。來源：英國私人收藏。 品相：邊緣有大量熔塊，有一些相關舊時修復，還有一條細小的裂紋（僅在強藍光下可見），足部也有一些熔塊。 重量：1,580 克 尺寸：直徑36.3 厘米 拍賣結果比較: 比較一件相近的成化款康熙時期青花《狩獵圖》大盤，見阿姆斯特丹佳士得Chinese Ceramics and Works of Art 2005年5月3日 lot 182, 售價EUR 9,600；另一件宣德款康熙時期的青花《狩獵圖》筆筒，見紐約佳士得Important Chinese Ceramics and Works of Art 2021年9月 24 日lot 802, 售價USD 125,000。
Lot 100
A PORCELAIN WATER POT, WITH MATCHING BRONZE SPOON AND WOOD STAND, QING DYNASTY 清代青花釉裏紅纏枝蓮紋蝙蝠水丞China, 18th-19th century. Of compressed globular form with a short straight neck, painted in underglaze blue and copper red, the neck encircled by a ruyi shaped border, the shoulders with a ring of ten stylized bats above a diapered floral band, surrounded by a dense pattern of red dots, the lower half with four stylized lotus flowerheads amid scrolling vines. The recessed base with a single-line circle in underglaze blue against a creamy-white crackled ground.With a finely carved wood stand and an elegantly curved bronze spoon showing an open worked and cloud-shaped terminal, all most likely dating from the same period and therefore a rare set. (3)Provenance: From the collection of David and Diane Buck, Milwaukee, Wisconsin, USA. The base with an old collector's label inscribed 'Buck'. Prof. Emeritus David Douglas Buck (born 1936) is an American scholar of Chinese history who worked as a professor at the University of Wisconsin-Milwaukee from 1972 until his retirement. He received his PhD from Stanford University and has written several books on Chinese history, including “Urban Change in China: Politics and Development in Tsianan Shantung 1890-1949”. Condition: Very good condition with minor wear and manufacturing flaws, including pitting and dark spots, the base with minuscule nicks and light surface scratches. The wood stand with some wear, few nicks, and a minor old repair to one foot. The bronze spoon in superb condition with a fine patina overall.Weight: 121.3 g (excl. base and spoon), 174.7 g (total) Dimensions: Diameter 9.2 cm Literature comparison: Compare a remotely related Yongzheng-marked ruby-red glass waterpot with a related curved metal spoon terminating in a dragon head at Sotheby's Hong Kong, 2 May 2005, lot 549.Auction result comparison:Type: Remotely relatedAuction: Christie's Hong Kong, 28 November 2012, lot 2403Price: HKD 400,000 or approx. EUR 64,500 converted and adjusted for inflation at the time of writingDescription: A carved white jade water pot and metal spoon, Qing dynasty, 18th centuryExpert remark: Compare the related form and bat motif of the water pot, and related curved metal spoon. Note the different size (5.2 cm) and that the water pot is carved from white jade.清代青花釉裏紅纏枝蓮紋蝙蝠水丞中國，十八至十九世紀。短直頸，鼓腹，圈足。青花釉裏紅，頸圍青花如意紋帶，肩部一圈釉裏紅點為地，由十隻蝙蝠組成的紋飾；腹部以上為一圈菱形花紋飾帶，腹部以下纏枝蓮紋。圈足内藍花單圈。相配的銅勺和木底座。 來源：美國威斯康星州密爾沃基David 與Diane Buck收藏。底部有收藏標籤，上寫“Buck”字樣。Emeritus David Douglas Buck (出生於1936) 教授是一位美國中國歷史學者，1972 年至退休，一直在威斯康星大學密爾沃基分校擔任教授。他在斯坦福大學獲得博士學位，並撰寫了多本關於中國歷史的書籍，包括《Urban Change in China: Politics and Development in Tsianan Shantung 1890-1949”》（中國的城市變遷：1890-1949 年山東天安的政治與發展）。 品相：狀況極好，有輕微磨損和製造缺陷，包含點時和黑點，底座有微小的刻痕和輕微的表面劃痕。木架有一些磨損和刻痕，一隻腳有輕微的修理。銅勺狀況極佳，整體帶有細膩包漿。 重量：121.3 克 (不含底座和小勺)，總174.7 克 尺寸：直徑9.2 厘米 文獻比較： 比較一件稍微相近雍正款寶石紅水丞，有相近的龍首金屬小勺，見香港蘇富比，2005年5月2日，lot 549。 拍賣結果比較： 形制：稍微相近 拍賣：香港佳士得，2012年11月28，lot 2403 價格：HKD 400,000（相當於今日EUR 64,500） 描述：清十八世紀白玉雕蝠紋桃形水丞及金屬龍首勺 專家評論：比較相近的外型、蝙蝠主題和相配的金屬小勺。請注意尺寸不同 (5.2 厘米) ，以及此水丞為白玉雕。
Lot 75
A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIOD 乾隆款及年代青釉暗刻纏枝蓮紋瓶China, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).乾隆款及年代青釉暗刻纏枝蓮紋瓶中國，1736-1795年。圈足内六字篆書款“大清乾隆年製”。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 5
A BRONZE 'XINIU' MIRROR STAND AND 'LION AND GRAPEVINE' MIRROR, MING AND TANG DYNASTY 明代犀牛望月銅鏡架，唐代海獸葡萄銅鏡China, 1368-1644 (the mirror stand) and 618-907 (the mirror). The stand well cast, the recumbent beast with a long curved horn flanked by a pair of funnel-shaped ears, its head turned back, the spine supporting a mirror stand in the form of a crescent-shaped moon above a cloud cluster. The mirror of circular form and finely cast in the center with a crouching beast-form loop encircled by lions amid grapevines, and in the outer field with various birds and animals amid further grapevine below a foliate border. (2)Provenance: From the collection of Carl Johan Claëson (1879‑1963) and Greta Claëson (1887‑1978), and thence by descent in the family to the last owner. A copy of a picture taken c. 1950 in the appartment of the Claëson family, showing the present Xiniu bronze already together with the present Tang dynasty mirror, is accompanying this lot.Condition: Very good condition with minor wear and casting flaws, few minuscule nicks, tiny dents, occasional light scratches and losses.Weight: 1,091 g (the mirror stand) and 450.3 g (the mirror)Dimensions: Length 20.5 cm (the mirror stand), Diameter 13.6 cm (the mirror)The design of a Xiniu gazing at the moon appears for the first time in the Song dynasty and remains popular through the 13th and 14th centuries, appearing on Dingyao and Yaozhou bowls and dishes as well as textiles and elsewhere in Chinese decorative arts. A fine example is the Xiniu porcelain vase, Kangxi mark and period, in the present catalog, number 75.The Xiniu theme is discussed at length by Wirgin, in Sung Ceramic Designs, B.M.F.E.A., No. 42, Stockholm, 1970, pp. 196-198. According to Wirgin, the term hsi-niu (xiniu) meant rhinoceros in ancient Chinese texts, but the rhinoceros became extinct in the post-archaic period, and by the Song dynasty the xiniu had become a beast of legend, known only through literary references. The design of a xiniu gazing at the moon in Chinese ceramics and porcelains illustrates the popular myth that the beast magically “communicates with the sky” through its horn. The magical powers attributed to this horn continued to gain in popularity during later periods. Supernatural, medicinal and other valuable properties were attributed to it by Daoist adepts and medicine men, including the reputation for its powerful effect as an aphrodisiac. This eventually led to the production of rhinoceros horn bowls and cups in the 17th century, a category of decorative art unique to China.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 6 April 2016, lot 3670 Price: HKD 162,500 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A bronze 'xiniu' mirror stand, Ming dynastyAuction result comparison: Type: Closely related Auction: Christie's New York, 20 September 2013, lot 1481 Price: USD 12,500 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A bronze 'lion and grapevine' circular mirror, Tang dynasty Expert remark: Note the identical size (13.6 cm)明代犀牛望月銅鏡架，唐代海獸葡萄銅鏡中國，鏡架1368-1644 年，銅鏡618-907年。鑄造精美，犀牛為俯臥狀，前蹄支地，似欲撐起上半身，後蹄自然壓於身下，回首望向背部由如意雲紋托起的月牙。牛首有角，雙眼有神。圓形銅鏡，伏獸鈕，弦紋高圈將鏡背紋飾分為內外兩區，內區高浮雕六隻海獸環繞鏡鈕、在葡萄葉蔓之間攀援嬉戲的瑞獸。瑞獸間飾以舒卷纏繞的葡萄枝蔓。外區飾一周同向環繞的瑞獸和鸞鳥。鏡緣處飾一周花卉紋。 來源：Carl Johan Claëson (1879‑1963) 與 Greta Claëson (1887‑1978) 收藏，在同一家族保存到最後一任主人。隨附一張拍攝於約1950年在克萊森家的公寓照片的複本，展示了現在的犀牛鏡架和鏡子。 品相：狀況極好，有輕微磨損和鑄造缺陷，微小的刻痕和凹痕、局部輕微的劃痕和缺損。 重量：鏡架1,091 克，銅鏡450.3 克 尺寸：鏡架長 20.5 厘米，銅鏡直徑 13.6 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 53
A RARE GREEN-GLAZED BELL-SHAPED CUP, TANG DYNASTY 罕見唐代綠釉仰鐘杯China, 618-907. Of deep, rounded form with everted rim, supported on a flared circular foot, the exterior impressed with three concentric bands of dimpled circles, the interior with splashed green glaze forming diagonal stripes, covered overall with a green glaze.Provenance: From an old Rhenish private collection, Germany, assembled during the 1980s and 1990s. Condition: Some ancient wear, few chips to rim and foot, and minor touch-ups. Commensurate with age and exactly as expected from an authentic Tang dynasty excavation.Weight: 81.5 g Dimensions: Height 5.7 cmLiterature comparison:Compare a closely related amber glazed cup, dated to the 8th century, Tang dynasty, the interior glazed green, in the collection of the Victoria and Albert Museum, accession number FE.162-1974. A similarly glazed cup decorated with bands of impressed circles is in the Seligmann Collection, illustrated by R. L. Hobson, Chinese Pottery and Porcelain, vol. I, Pottery and Early Wares, London, 1915, pl. 11, fig. 1.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 September 2005, lit 184Price: USD 8,400 or approx. EUR 12,000 converted and adjusted for inflation at the time of writingDescription: A rare small amber and green-glazed impressed pottery bell-shaped cup, Tang dynasty (618-907)Expert remark: Compare the near identical form, decorations, and green glaze stripes to the interior, as well as the related height (6.4 cm). Note the amber glaze to the exterior.罕見唐代綠釉仰鐘杯中國，618-907年。仰鐘杯直口，底內收，圈足。器形規整，綠釉瑩潤。器身上下三道橫道，上有螺旋紋。杯内垂直綠釉斑。 來源：德國萊茵私人老收藏，建立於上世紀八十至九十年代。 品相：一些老磨損，邊緣和足部有少量磕損，輕微的修補，與年齡相稱，完全符合唐代考古發掘的預期。 重量：81.5 克 尺寸：高5.7 厘米 文獻比較： 比較非常相近的唐代八世紀琥珀釉仰鐘杯，內壁上綠釉，收藏於維多利亞和阿爾伯特博物館，館藏編號FE.162-1974。一件類似的仰鐘釉杯，裝飾有圓環帶，收藏於Seligmann Collection，見R. L. Hobson，Chinese Pottery and Porcelain，卷一，《Pottery and Early Wares》，倫敦，1915年，頁11，圖1。拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2005年9月20日，lot 184 價格：USD 8,400（相當於今日EUR 12,000） 描述：罕見唐代琥珀釉和綠釉仰鐘杯 專家評論：比較幾乎相同的外型、裝飾、內部有綠色釉面條紋，以及相似的尺寸(6.4 厘米)。請注意外部的琥珀釉。
Lot 113
A FAMILLE ROSE PORCELAIN PAINTING OF TAO YUANMING (365-427), BY WANG QI (1884-1937) 王琦款粉彩陶淵明采菊瓷板China. The plaque of rectangular form, painted in polychrome enamels and iron-red to depict the poet Tao Yuanming kneeling, one hand resting on his knee, his head raised toward the left, a bamboo cane and double gourd laying in front of him, and a basket with flowers to his right. A poem related to the scene, the artist's signature, and two seal marks at the upper left corner.Inscriptions: Upper left, signed 'Xichang Wang Qi'. Two seals, 'Xichang Wang Qi' and 'Taomi'. Provenance: From the property of a Gentleman in London, United Kingdom. Condition: Very good condition with minor wear and manufacturing flaws, the top right corner with a small chip to the reverse.Weight: 1,918 g Dimensions: Size 36.7 x 24.6 cmTao Yuanming (365-427) was a Chinese literati and politician who was one of the best-known poets during the Six Dynasties period. He spent much of his life in reclusion in the countryside writing poems in which he often reflected on the pleasures and difficulties of life, as well as his decision to withdraw from civil service. 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 upon 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.Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 14 April 2022, lot 34Price: USD 16,562 or approx. EUR 15,700 converted and adjusted for inflation at the time of writingDescription: A Pair of Figural Porcelain Plaques Depicting Tao Yuanming and Li Bai Expert remark: Compare with this porcelain plaque, also depicting Tao Yuanming, but by He Xuren. Note that He Xuren was also a member of the Eight Friends of Zhushan, the school of porcelain painters of Wang Qi. Also note that the sale result is for two plaques.王琦款粉彩陶淵明采菊瓷板中國。彩繪鐵紅，繪製詩人陶淵明一手搭膝，頭向左轉，手前擺著一根竹杖和雙葫蘆，在他的右邊有一個裝著菊花的籃子。畫面光影富於變化，有西洋繪畫暈染技法，立體感強。 款識：西昌王琦；鈴印：西昌王琦、陶迷來源：英國倫敦紳士收藏。 品相：狀況極好，有輕微磨損和製造缺陷，右上角背面有一個開片。 重量：1,918克 尺寸：36.7 x 24.6厘米 拍賣結果比較： 形制：相近 拍賣：洛杉磯邦瀚斯，2022年4月14日，lot 34 價格：USD 16,562（相當於今日EUR 15,700） 描述：一對陶淵明和李白人物瓷板 專家評論：比較亦是描繪陶淵明的瓷板，但為何許人所繪。請注意何許人也是珠山八友，與王琦為同一個瓷版畫學派。請注意此件有兩塊瓷板。
Lot 24
A BRONZE 'LUDUAN' WEIGHT, 17TH CENTURY 十七世紀青銅甪端鎮紙China. Cast crouching on its rear haunches, the head turned upwards with a single horn, bulging eyes and wide flaring nostrils, the mouth open to reveal sharp fangs and teeth, wearing a bell collar, the body decorated with stylized wings.Provenance: An English private collector, by repute acquired from Paul Bromberg (inventory number B4 according to a collection label, now lost). Paul Bomberg is a contributing editor of the Arts of Asia and a fellow of the Royal Asiatic Society. He has lived in Asia since 1985 and contributed to several books, including Bencharong and Chinaware in the Court of Siam (2011), the Royal Porcelain from Siam: Unpacking the Ring Collection (2013), and Thai Silver and Niello Ware (2019). Condition: Very good condition with minor traces of use, old wear and some casting flaws, minor nicks here and there. Good, naturally grown patina overall.Weight: 216.3 g Dimensions: Height 5.2 cm Literature comparison:Compare a closely related paperweight in the form of a luduan in the collection of Paul Bromberg, dated to the Ming dynasty (1368-1644), published by Paul Bromberg, Later Chinese Bronze Paperweights, Arts of Asia, Autumn 2021, no. 25.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 29 May 2019, lot 709Price: HKD 47,500 or approx. EUR 6,000 converted and adjusted for inflation at the time of writingDescription: A bronze 'luduan' paperweight, late Ming dynastyExpert remark: Compare the closely related pose and decorations as well as the related size (6.1 cm).十七世紀青銅甪端鎮紙中國，昂首傲立，蹲伏狀。雙目圓瞪，炯炯有神，發須盤結，前胸配以纓絡鈴鐺，腹部兩側浮雕如意雲頭紋、火焰紋等。體態飽滿圓潤。全器包漿厚實凝重，形制古樸。 來源：英國私人收藏，據説購於Paul Bromberg 處 (根據收藏標籤有收藏編號B4 ，現已遺失)。Paul Bomberg 是《亞洲藝術》的特約編輯，也是皇家亞洲學會會員。他自 1985 年起居住在亞洲，並為多本著作做出了貢獻，包括關於暹羅宮廷中的 Bencharong 和瓷器（2011 年）、《the Royal Porcelain from Siam: Unpacking the Ring Collection》（2013 年）和《Thai Silver and Niello Ware》（2019 年）。 品相：品相極好，有輕微使用痕跡，磨損和一些鑄造缺陷，局部有輕微的刻痕。整體良好，自然生長的包漿。 重量：216.3 克 尺寸：高5.2 厘米 文獻比較： 比較一件非常相近的明代(1368-1644)甪端鎮紙，見Paul Bromberg，〈Later Chinese Bronze Paperweights〉，《Arts of Asia》，2021年秋天，第25號。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2019年5月29日，lot 709 價格：HKD 47,500（相當於今日EUR 6,000） 描述：明末青銅甪端鎮紙 專家評論：比較相近姿勢的甪端和裝飾，以及尺寸 (6.1 厘米)。
Lot 158
Two Chinese porcelain Qing Dynasty blue and white baluster shaped vases and covers. One decorated with clouds, dragons chasing flaming pearls, the matched cover with dog of fo finial, H27cm, the other vase of similar height decorated with two panels with figures, with four character marks to base, matched cover Condition Report: Right hand vase in photo; lid has a chip to its rim. Vase itself appears to be in good condition with marks and wear in places commensurate with age and previous use, Left hand vase in photo; Previous crack, break and repair the underside of the lid. Vase itself has a small chip to its top rim, with firing imperfections visible in places.
Lot 198
A 19th century Chinese porcelain and gilt-metal mounted egg-shaped sewing etui. The porcelain painted with calligraphic script verses, figures and scrolls, the chased gilt-metal mounted interior fitted with a pair of scissors, a thimble marked 1 Lets Patent, a ruby tinted faceted glass bottle and stopper, an ivory gaming counter and other implements (restoration to porcelain, the top detached from mounts), approx. 7cm high CITES REGISTRATION ACCEPTED
Lot 242
A Chinese famille rose porcelain cafe-au-lait ground jar and cover. Qing Dynasty, painted with shaped panels of pink chrysanthemums and flower sprays (cracked) 20.5cm high Condition Report: Star crack to underside of the lid. Minor chips and wear to the rims in places. Two vertical cracks to bowl running full length of the bowl. Minor chips to the foot rim and firing imperfections in places.
Lot 2400
A late 18th century Chinese export blue and white porcelain matched tea and coffee service, underglaze decorated with Chinese landscapes within a gilt border, comprising five tea bowls, eleven coffee cups and eleven saucers (27)Gilt is rubbed throughout.All five tea bowls have small chips to the rims.One tea bowl also has two hairline cracks.Three saucers are good.Six saucers have small chips to the rim.Two saucers are both chipped and cracked.Six teacups are good.One teacup has had the handle reattached.Two teacups have small chips to the rim.Two teacups are cracked and chipped.
Lot 2401
A collection of 18th century Chinese blue and white porcelain, to include a near pair of octagonal serving dishes, a shaped serving dish, a circular dish and a twin handled cup (5) Twin handle cup – no apparent faults.Wavy bordered dish – two minor chips to the rim.Circular dish – minor chip to the rim and hairline to the reverse.Octagonal dish with clear border – quite nobbled to the rim, rubbed to the glaze on right of border.Octagonal dish with diaper border – glaze very rubbed around the border, nibbled to the edges.
Lot 22
A group of five comprising: a Chinese porcelain bowl and cover decorated in underglaze blue with buildings, foliage and rockwork; an 18th / 19th century Chinese porcelain beaker decorated in a chequer pattern; a pair of early 20th century cobalt-blue vases with silver-mounted rims; a small millefiori-style paperweight.
Lot 238
A mixed lot comprising:4 modern paperweights;4 cloisonné enamel bijouterie boxes;two fine French Limoges oval-shaped boxes hand-decorated with flowers and musical instruments; a chest-shaped porcelain box and cover and a small oval example;a Chinese bowl painted with a shubunkin fish; a late 19th century tulip-shaped uranium glass vase on a sliver-plated base;a very fine hat-shaped Limoges porcelain box hand-gilded and decorated with various flowers.
Lot 1142
An Early XX Century Chinese Porcelain Ginger Jar and Cover, of ovoid form decorated with scrolls ad vases of flowers, 21cm high; A Chinese Circular Bowl, painted in panels with floral sprays, 22.5cm diameter (A/f). (3)Lot 1142 - Bowl - 8cm crack running down from top with chip, pitting and some staining. Ginger Jar - cover has 4cm chip and crack running across - glued together. Base - firing cracks and pitting.
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