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

A FAMILLE ROSE PORCELAIN 'ELEPHANT' SNUFF BOTTLE, 1770-1790Published: Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, pp. 98-99, no. 310. An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, Tokyo, 1978, p. 37, no. 65. Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 142-143, no. 58. Bob C. Stevens, Collection of Fine and Important Chinese Snuff Bottles, Part I, 1981, no 60. Exhibited: Tokyo, Mikimoto Hall, An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, 22-31 October 1978, cat. no. 65. China, Jingdezhen kilns. Well-modeled in the form of a recumbent caparisoned grayish-pink elephant with an iron-red and gilt-decorated zun set atop its back on a saddle with a howdah decorated with the ying-yang symbol above crested waves, framed by a diapered gilt border. The gilt copper stopper decorated with five bats encircling a shou symbol with beaded border.Provenance: From the collection of Bob C. Stevens, California. Sotheby's Honolulu, Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part I, 7 November 1981, lot 60. Rachelle R. Holden Collection, New York, acquired from the above. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life. Condition: Fine condition with old wear, mostly to the gilt, and some manufacturing flaws. Minor old repair to mouth rim.Stopper: Gilt copper stopperWeight: 41.6 gDimensions: Height including stopper 47 mm. Diameter neck 15 mm and mouth 6 mm.A good many molded porcelain bottles from the mid-Qing period are of animal, vegetable, or figural forms, and many of these were not reign marked. Several of them would have been inventions of the late Qianlong, and this elephant is likely to be one of them, although an early Jiaqing date is equally plausible. Because of their auspicious symbolism, elephants were moderately common subjects in the Qing palaces. They are known from the eighteenth century in nephrite and from late in the Qianlong reign in imperial yellow glass; it seems highly unlikely that the emperor would not have thought of molding them in porcelain the moment the art form evolved to the point of producing free-standing animal forms.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 25 May 2014, lot 1171Price: HKD 93,750 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A Famille Rose Porcelain 'Elephant and Vase' Snuff Bottle Qing Dynasty, Qianlong PeriodExpert remark: Compare the near identical form, and closely related design and enameling.1770-1790年粉彩“太平有象”鼻烟壺中國，景德鎮。器身塑造為臥象造型，象頭俯臥向後看去，周身裝飾得珠光寶氣，身上蓋著波上滾珠紋毯子，背上有鐵紅色描金尊。 壺蓋鎏金銅，飾五隻蝙蝠，圍成壽字。 出版： 1. Bob C. Stevens，《The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》）》，紐約，1976年，頁98-99，編號310。 2. An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection，東京，1978年，頁37，編號65。 3. Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁142-143，編號58。 4. Bob C. Stevens，《Collection of Fine and Important Chinese Snuff Bottles》，第一部分，1981年，編號 60。 展覽： 1. Tokyo，Mikimoto Hall，An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection，1978年10月22-31日，畫冊編號 65。 來源：Bob C. Stevens舊藏，加利福尼亞；火奴魯魯蘇富比，Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens，Part I，1981年11月，lot 60；紐約Rachelle R. Holden 舊藏，購於上述拍賣。Bob C. Stevens 曾是一位中國鼻烟壺知名收藏家，曾出版過一本書The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），1976年以及1978年。書裏曾記錄過這件拍品。他的藏品的一部分曾在東京Mikimoto Hall（御本廳）展出過。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。 她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相良好，鎏金部分磨損較多，有製造瑕疵，壺嘴邊有小修補。壺蓋：鎏金銅 重量：41.6 克 尺寸：高 （含蓋）47 毫米，頸部直徑15 毫米及壺口直徑6 毫米 由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。

AN IMPORTANT AND RARE BLACK AND TURQUOISE 'CAT' PORCELAIN NIGHTLIGHT, KANGXIChina, 1661-1722. The crouched feline with the tail curled against its haunches, the fur with vivid tiger-like striping, the face neatly detailed with pierced alert eyes and pricked ears, the top of its back with a circular aperture, the interior hollow. The remarkably thin biscuit is superbly modeled overall.Provenance: Charlotte Horstmann & Gerald Godfrey, Ltd., Hong Kong, 7 April 2003. A private collector, acquired from the above, and thence by descent. The interior with three inventory labels. A copy of the previous owner's personal notes, detailing the purchase of the present lot, noting a date of 7 April 2003, and a purchase price of USD 26,000 or approx. EUR 39,600 (converted and adjusted for inflation at the time of writing), accompanies this lot. Charlotte Horstmann (1908-2003) was a legendary art dealer in Hong Kong, widely recognized as one of the three doyennes of the Asian art world, together with Helen Ling in Singapore and Connie Mangskau in Bangkok. She was born in Berlin to missionaries who moved with their daughter to Beijing shortly after her birth. In the 1920s and 1930s, she worked as an interpreter, meeting important art collectors and academics such as John D. Rockefeller Jr. and Lawrence Sickman. She became an antiques dealer in Beijing and in 1950 moved to Bangkok, taking her now-famous collection of Ming furniture with her. In 1955, she moved to Hong Kong and opened a small shop on Ice House Road. Over time, this shop became a destination for stars, politicians, business magnates, and high-ranking government officials from around the world. In 1981, she renamed the shop Charlotte Horstmann & Gerald Godfrey, Ltd., the younger, English-born Godfrey being a partner in the business since its move to Hong Kong in 1955. In 1987, they opened a subsidiary gallery in London, Mayfair.Condition: Excellent condition with only minor old wear, mostly originating from tender caressing over centuries, and minimal manufacturing flaws. The interior with traces of soot. Extremely rare in this magnificent state of preservation, especially when considering the fragility of this item.Weight: 332.5 gDimensions: Length 19.5 cmCat nightlights were made as early as the late Ming period. Two blue and white examples were found in the first Hatcher cargo (sold at Christie's Amsterdam, 14 March 1984, lots 279 and 280). The French Jesuit François Xavier d'Entrecolles (1664 in Lyon - 1741 in Beijing), Chinese name Yin Hongxu, was famously struck by the form on his Kangxi period visit to Jingdezhen, writing, “I have seen a cat painted after life, in the head of which a little lamp was put to illuminate the eyes, and was assured that in the night the rats were terrified by it.”Literature comparison:Compare two related cat nightlights in the collection of the Philadelphia Museum of Art, one with a turquoise glaze dated to the 18th century, accession number 1955-50-345, and the other decorated with famille verte enamels and dated to the Kangxi period, accession number 1955-50-346.Auction result comparison: Type: Related Auction: Christie's New York, 21 January 2009, lot 15 Price: USD 11,250 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: A rare blue and white cat nightlight, Kangxi periodAuction result comparison: Type: Related Auction: Sotheby's New York, 24 January 2014, lot 31 Price: USD 8,750 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Chinese export aubergine and green-glazed biscuit 'cat' night light, circa 1800.康熙出口瓷貓夜燈中國，1661-1722年。貓形夜燈，尾巴蜷縮在一側，虎紋，雙眼警覺，耳朵豎起，背部的頂部有一個圓形的孔，內部是空洞的。非常薄的素胚，整體造型生動。 來源：香港Charlotte Horstmann & Gerald Godfrey 藝廊，2003年4月7日；私人收藏，購於上述藝廊，保存至今。燈内有三個標籤。隨附一份2003年4月7日出具的前任藏家個人注釋副本，買價USD $26,000 ，相當於現在的 EUR 39,600 。 品相：品相極好，只有輕微磨損，可能因爲幾個世紀以來一直小心愛護，缺陷極少。內部有煙灰的痕跡。 重量：332.5 克 尺寸：長 19.5 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A MAGNIFICENT FAMILLE ROSE SGRAFFIATO LIME-GREEN BOTTLE VASE, QIANLONG MARK AND PROBABLY LATE IN THE PERIODExpert's note: Coated in an even and elegant lime-green glaze, this bottle vase is special for its restrained and uncluttered design of vibrantly colored floral sprays. While its color scheme, pattern, and use of the subtle sgraffiato ground are well-rooted in the exuberant porcelain style developed in the 18th century, the sparsely scattered sprays are an innovation and evidence of an attempt at reducing decorative elements to achieve a balanced and refined design, clearly a hallmark of the Qianlong era. While this author agrees with Christie's previous assertion that the vase was probably made during the late Qianlong period, we want to go one step further and state that it is almost certainly of the period, as clearly indicated by the exceptional enameling and great attention to the many details of the blossoms, with meticulously executed calyxes, stamens, and pollen.China, c. 1780-1795. The globular body supported on a spreading foot and rising to a tall cylindrical neck. Finely decorated around the body with blossoming peony, chrysanthemum, and prunus blooms with leafy stalks, reserved on a lime-green sgraffiato ground. The base and interior enameled turquoise. The recessed base with an iron-red six-character seal mark da Qing Qianlong nianzhi and probably late in the period.Provenance: Property of a University Museum, accession number 1960.45 (lacquered to base). Christie's New York, 21 September 2000, lot 411 (the mark erroneously described as “underglaze blue”). Collection of David and Diane Buck, Milwaukee, Wisconsin, USA, acquired from the above. Two old labels to base, one from Christie's, inscribed '9476' (sale number) and '411' (lot number), the other inscribed 'Chinese. 18 c.' 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: Superb condition with minor wear and firing irregularities. The vase slightly leaning.Weight: 1,888 gDimensions: Height 34.2 cmLiterature comparison: The flowers on this vase are similar to those on a turquoise-enameled vase with a gilt Qianlong seal mark from the collection of A.J.B. Kiddell included in the O.C.S. exhibition, The Arts of the Ch'ing Dynasty, London, 1964, no. 213.Auction result comparison: Type: Closely related Auction: Bonhams London, 8 November 2012, lot 80Price: GBP 37,250 or approx. EUR 55,000 converted and adjusted for inflation at the time of writing Description: A famille rose green-ground bottle vase, Qianlong seal mark Expert remark: Note the underglaze-blue Qianlong seal mark and the size (28.2 cm).Auction result comparison: Type: Related Auction: Christie's London, 10 May 2011, lot 292 Price: GBP 37,250 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A famille rose lime-green-ground bottle vase, Jiaqing/Daoguang period, early 19th century Expert remark: Compare the closely related floral decoration on a lime-green sgraffiato ground. Note the size (28.2 cm). 乾隆款黃地粉彩花卉紋長頸瓶，或爲乾隆朝後期中國，約1780-1795年。瓶直口，細長頸，圓鼓腹，矮圈足。通體施淡黃色釉，暗刻圖花紋，如牡丹、菊花與梅花等粉彩花卉紋。瓶內和圈足內施淡綠色釉。圈足内礬紅釉六字款“大清乾隆年製”。年代或為乾隆後期。專家注釋：長頸瓶高雅的淡黃色釉料，花卉紋色彩鮮豔清麗，構圖舒散，顯然是乾隆時代的標誌。 雖然筆者同意佳士得之前的說法，即此瓶可能是乾隆晚期的，但我們想更進一步，說它幾乎可以肯定是那個時期的，比如卓越的琺瑯和花卉紋的細節，精心繪製的花萼和花蕊。 來源：一個大學美術館舊藏，編號 1960.45 (見瓶底)；紐約佳士得2000年9月21日，lot 411 (款錯寫為“青花”)；美國威斯康星州密爾沃基David 與Diane Buck收藏，購於上述拍賣。底部兩個標籤，一個是佳士得拍賣編號“9476”與拍號“411”，另一個上寫著“Chinese. 18 c.”。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：狀況極佳，輕微磨損，燒製不規則。花瓶瓶身微微傾斜。 重量：1,888 克 尺寸：高34.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A JIADING SCHOOL BAMBOO BRUSHPOT, BITONG, SIGNED ZHOU E, 18TH CENTURYOpinion: Finely carved and incised with openwork and undercutting, most cleverly combining high and low reliefs of different colors with a multitude of depth grades and variations of polishes to enhance both contrast and perspectives for the viewer, all exactly as expected from the best of the Jiading school of bamboo carving.China. Carved to one side with two sages seated under a tall gnarled pine tree, wearing loose-fitting robes and short chignons, one pointing to the sky with two fingers, a craggy rockwork table with a potted lingzhi and a teapot with two cups next to them, further detailed with a standing attendant fanning a stove below a teapot. Carved to the other side with a groom and four horses in various poses, including one on its back with its legs in the air.Inscriptions: To one side, 'Zhou E', with seal 'Zhou'.Provenance: Jonathan Bennett, London, United Kingdom. A Hungarian private collector, acquired from the above via the UK auction market. The interior with an old paper label inscribed 'Equipment so when really set-up we […] plenty of recreation'. Jonathan Bennett is an English dealer of Chinese art, specializing in 18th century and earlier porcelain as well as works of art including jades, bronzes, bamboo, and lacquer. He began his career at Sotheby's on New Bond Street and has been an independent dealer for over three decades.Condition: Good condition with minor wear, expected age cracks, some with old fills, minuscule nicks, light scratches. Magnificent patina overall, testifying to how much this bitong was appreciated by scholars over the past centuries.Weight: 281.7 gDimensions: Height 14 cmZhou E (artist name Jiantang) was active during the mid-Qing dynasty and a member of the Jiading School of bamboo carving. During the late Ming dynasty, Jinling and Jiading, both located in Jiangsu Province, became the two key regions for the highest quality of bamboo carving. By the time of the mid-Qing dynasty, Jinling had slowly lost its edge, while Jiading continued on with the heritage of the Three Zhus (Zhu He, Zhu Ying and Zhu Zhizheng) for generation after generation. Around early-Qing, Jiading carvers of bamboo started to combine high and low reliefs of different color to enhance contrast, as can be seen in the present bitong. This specific skill grew more and more sophisticated over time and the levels of depths in protrusion increased from initially one or two to six different grades. After these improvements Jiading eventually became the leading region for the very best bamboo carvings.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 1 June 2011, lot 3865 Price: HKD 800,000 or approx. EUR 132,500 converted and adjusted for inflation at the time of writingDescription: A finely carved bamboo brushpot, late Ming / early Qing dynasty, 17th centuryExpert remark: Note that this brushpot is signed Sansong, which is the signature used by Zhu Zhizheng, a founding member of the Jiading School, and dated by inscription to the Jiacheng cyclical year. Note the striking resemblance of the scene, including the standing attendant fanning a stove below a teapot. Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 31 May 2010, lot 1943 Price: HKD 250,000 or approx. EUR 42,500 converted and adjusted for inflation at the time of writingDescription: An unusual carved and reticulated bamboo brushpot, Qing dynasty, 17th/18th centuryExpert remark: Note that the brushpot is signed Zhong Qian.十八世紀嘉定派周鍔款竹雕筆筒中國。一側雕刻著松下兩位聖人，衣著寬鬆，一個用手指指著天空，正在談笑風生。身旁一個的石桌，桌上一個盆栽靈芝，一個茶壺，旁邊有兩個杯子 ，一位站立的侍者茶壺旁煽著火。 另一面雕刻著一個馬夫和四匹馬，姿勢各異，其中一匹正仰臥著，雙腿懸空戲耍。專家注釋：精雕細刻，局部鏤空，巧妙雕刻，結合紋理和光澤，完全符合嘉定派的竹雕風格。 款識：周鍔；鈴印：周 來源：英國倫敦Jonathan Bennett; 匈牙利私人收藏，通過英國拍賣行購於上述收藏。筆筒內有一個舊紙標籤，上面寫著“Equipment so when really set-up we […] plenty of recreation“。 Jonathan Bennett 是一位來自英國的中國藝術品經銷商，專營十八世紀及更早的瓷器以及玉器、青銅器、竹雕和漆器等古玩。他的職業生涯始於新邦德街的蘇富比，三十多年來一直是一名獨立經銷商。 品相：狀況良好，有輕微磨損，老化裂縫，一些填充物，微小的刻痕和劃痕。整體有自然的包漿，説明了幾個世紀以來此筆筒一直受到原主的喜愛。重量：281.7 克 尺寸：高14 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIODChina, 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).

A FAMILLE ROSE 'HUNDRED DEER' HU-FORM VASE, GUANGXU MARK AND PERIODOpinion: While hu-form vases with the 'hundred deer' motif that date from the 19th century frequently appear on the market, they almost always have apocryphal Qianlong reign marks. The present lot, however, with its fine enameling and large deer-head handles, belongs to the extremely rare group of Guangxu mark and period vases with this motif.China, 1875-1908. The vase of pear shape is finely decorated with a continuous scene of the 'hundred deer' motif depicting a gathering of deer amidst various trees including pine and peach, in a landscape of blue-green rocks and mountains, and a river fed by a waterfall on one side. The neck is flanked by a pair of handles in the form of deer heads with black antlers. The base with a neatly painted iron-red six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From an old European private collection, assembled before 1965. Thence by descent to the last owner.Condition: Very good condition with minor old wear, glaze flaking, shallow surface scratches and firing irregularities, a single hairline (approx. 14 cm long) above the foot, possibly original to the firing process.Weight: 10.3 kg Dimensions: Height 45.3 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.Literature comparison: A Qianlong-marked vase of closely related size (45 cm) in the Beijing Palace Museum is illustrated in The Complete Collection of Treasures of the Palace Museum - 39 - Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Other examples include a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67; one in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86; and another from the Grandidier Collection in the Musee Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1981, vol. 7, pl. 190.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2018, lot 834 Price: USD 47,500 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose 'hundred deer' hu-form vase, Guangxu six-character mark in iron-red and of the periodExpert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm) and that this example also bears the rare Guangxu mark. 光緒款及年代粉彩百鹿尊中國，1875-1908年。圓口，垂腹，圈足。通體施白釉，肩部飾鹿首耳。器身繪粉彩山水苑百鹿圖。畫面中山石、樹葉多以綠彩繪成，施彩濃厚;群鹿、枝幹以赭、黑等彩作畫，群鹿活現，枝幹蒼勁，筆繪生動細膩。底書“大清光緒年製”六字篆書款。專家注釋：十九世紀的粉彩百鹿尊雖然經常出現，但大多都是杜撰乾隆款。此拍品琺瑯精美，鹿首耳，極爲稀有。 來源：歐洲私人舊藏，購於1965年，保存到現任藏家。 品相：品相極好，有輕微磨損、釉料剝落、表面淺劃痕和燒製不規則，足部上方有一條冲線（約 14 厘米長），可能是燒製過程中產生的。 重量：10.3 公斤 尺寸：高45.3 厘米 以鹿為紋飾在中國藝術中有著悠久的歷史，鹿是長壽的仙獸，自然也受到歷代帝王的青睞，這在皇宮常見的百鹿尊上可見一斑。 文獻比較： 一件尺寸非常相近乾隆時期的花瓶(45 厘米)，收藏於北京故宮博物院，見《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》，香港，1999年，圖85。其他例子包括上海博物館的一對花瓶，見《胡惠春先生,王華雲女士捐贈瓷器精品選》，上海，1989年，頁67；另一件收藏於南京博物院，見香港中文大學的聯合展覽《淸瓷萃珍 : 淸代康雍乾官窯瓷器》，1995年，編號86；還有一件來自吉美國立亞洲藝術博物館的Grandidier收藏，見《Oriental Ceramics, The World's Great Collections》，東京，1981，卷7，頁190。由於字數限制，完整中文敘述請至www.zacke.at查看。

A FALANGCAI 'PEONIES AND WUFU' CORAL-GROUND DISH, QIANLONG MARK AND PERIODThe falangcai color palette of the present dish first appeared on Kangxi period yuzhi bowls, such as an example in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, page 4, number 2.China, 1736-1795. Delicately potted, the shallow sides supported on a short tapered foot and rising to an everted rim. The exterior finely painted against a coral ground in rich and vibrant enamels to depict four different peony blossoms interlinked by leafy scrolls and divided by dots and flowerheads. The interior glazed white and neatly decorated in shades of iron-red above the glaze with five bats (wufu), each painted in a slightly different manner and position. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From the collection of Captain Charles Oswald Liddell, acquired in China before 1914 and thence by descent. Born in Edinburgh, Scotland, Captain Charles Oswald Liddell (1854-1941) worked in China from 1877 to 1913. He married Elizabeth Birt in 1880 in Shanghai and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin, and Harbin. Liddell collaborated with A. W. Bahr in an exhibition in Shanghai in 1908, as Chairman of the North China branch of the Royal Asiatic Society and in writing descriptions for it, which were printed by A. W. Bahr in “Old Chinese Porcelain and Works of Art in China” in 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: Prince Chun, the last Regent of the Qing Dynasty, and the private secretary and adviser to Li Hong Zhang. In May 1929, Bluett offered a part of the collection, publishing a catalog of “The Liddell Collection of Old Chinese Porcelain” with 229 entries. One of two Guyuexuan bowls in this exhibition was sold to the Hon. Mountstuart Elphinstone for GBP 150 and was part of the Elphinstone gift to the Percival David Foundation. The second of the two bowls was acquired by Charles Russell, and was subsequently in the collections of Barbara Hutton and Robert Chang, eventually selling in Hong Kong in 2006 for GBP 10,000,000. Condition: Good condition with minor old wear and minimal firing irregularities, the exterior rim with four small and shallow glaze chips and associated touchups. No hidden damages whatsoever (inspected under strong blue light). For a detailed video of the dish taken under blue light, please refer department.Weight: 161.9 g Dimensions: Diameter 15.9 cmAuction result comparison: Type: Related Auction: Christie's Hong Kong, 1 June 2011, lot 4014 Price: HKD 400,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writing Description: A rare famille rose ruby-ground 'bats' dish, Qianlong iron-red six-character seal mark and of the period Expert remark: Compare the similar bat decoration to the interior of the dish, also painted in iron-red, the five bats however more formalized than on the present dish and encircling a shou character. Note the ruby ground, iron-red mark, and smaller size (10.6 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2022, lot 2727 Price: HKD 2,016,000 or approx. EUR 252,500 converted at the time of writing Description: A fine and very rare enameled coral-ground famille rose 'peony' bowl, Qianlong six-character seal mark in underglaze blue and of the period Expert remark: Compare the closely related coral ground and falangcai enamels, more specifically the near-identical leaves, also neatly painted in two distinct shades of green. Compare also the related peony blossoms and the underglaze-blue six-character seal mark. Note the different form and smaller size (11.1 cm).乾隆款與年代珊瑚紅地粉彩牡丹五福紋盤中國，1736-1795年。盤敞口，弧壁，淺腹，圈足。盤內施白釉。外壁珊瑚紅地，粉彩描繪纏枝盛開的牡丹四朵，色澤不一。盤内珊瑚紅色釉蝙蝠五隻。足內施白釉，青花書“大清乾隆年製”篆書款。 本盤的琺瑯彩最早運用在康熙時期的御製碗上，如北京故宮博物院收藏的一個例子，《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》，香港，1999年，頁4，編號2。由於字數限制，完整中文敘述請至www.zacke.at查看。

A YELLOW-GROUND GREEN-ENAMELED 'DRAGON' BOWL, KANGXI MARK AND PERIODChina, 1662-1722. The exterior is masterfully incised and decorated in green enamel with two dragons in pursuit of flaming pearls amidst wispy clouds and flames, below a scrolling foliate band around the rim. The interior shows a central shou character within a double circle, all reserved on an opaque lemon-yellow ground. The recessed base with an underglaze-blue six-character mark da Qing Kangxi nianzhi within a double circle and of the period.Provenance: From the collection of Captain Charles Oswald Liddell, acquired in China before 1914 and thence by descent. Born in Edinburgh, Scotland, Captain Charles Oswald Liddell (1854-1941) worked in China from 1877 to 1913. He married Elizabeth Birt in 1880 in Shanghai and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin, and Harbin. Liddell collaborated with A. W. Bahr in an exhibition in Shanghai in 1908, as Chairman of the North China branch of the Royal Asiatic Society and in writing descriptions for it, which were printed by A. W. Bahr in “Old Chinese Porcelain and Works of Art in China” in 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: Prince Chun, the last Regent of the Qing Dynasty, and the private secretary and adviser to Li Hong Zhang. In May 1929, Bluett offered a part of the collection, publishing a catalog of “The Liddell Collection of Old Chinese Porcelain” with 229 entries. One of two Guyuexuan bowls in this exhibition was sold to the Hon. Mountstuart Elphinstone for GBP 150 and was part of the Elphinstone gift to the Percival David Foundation. The second of the two bowls was acquired by Charles Russell, and was subsequently in the collections of Barbara Hutton and Robert Chang, eventually selling in Hong Kong in 2006 for GBP 10,000,000.Condition: Remarkably good condition commensurate with age, with only minor wear and firing irregularities such as dark spots and uncontrolled glaze pooling, one faint hairline to the rim, near-invisible to the naked eye, and two short glaze lines near the rim.Weight: 80.0 gDimensions: Diameter 10.2 cmLiterature comparison: Compare a near-identical Kangxi mark and period yellow-ground green-enameled bowl illustrated in The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enameled Porcelains Plain Tricolored Porcelains, Shanghai, 2009, page 107, no. 88.Auction result comparison: Type: Near-identical Auction: Christie's New York, 23 March 2018, lot 779Price: USD 30,000 or approx. EUR 35,000 converted and adjusted for inflation at the time of writingDescription: A yellow-ground green-enameled 'dragon' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the period Expert remark: Compare the near identical form and size (10.2 cm) as well as the similar enamels, incised decoration, and mark. 康熙款及年代黃地綠彩龍紋碗中國，1662-1722年。碗撇口，深弧壁，圈足，內外均施黃釉為地其上用綠彩繪製紋樣，外壁口沿飾纏枝紋，腹部為雙龍戲珠紋飾。兩條五爪行龍蜿蜒於碗壁之上，身形矯健，龍口大張，雙目圓睜，尖牙外露，鋒利的龍爪游動，如在雲火之間遊走，威猛異常。近足處繪一周如意紋。碗心綠釉圈內配有壽字。器底青花書“大清康熙年製”六字雙行楷書款。來源：Charles Oswald Liddell爵士於1914年之前購於中國，保存至今。。 品相：品相極好，與年齡相符，只有輕微的磨損和燒製瑕疵，如黑斑和釉池，邊緣有一條微弱的冲線，肉眼幾乎看不出，邊緣附近有兩條短的釉線。 重量：80.0 克 尺寸：直徑10.2 厘米文獻比較：比較一件幾乎相同的康熙款及年代黃地綠彩碗，見《故宮博物院藏文物珍品全集‧顏色釉》，上海， 2009年，頁107，編號88。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2018年3月23日，lot 779 價格：USD 30,000（相當於今日EUR 35,000） 描述：康熙款及年代黃地綠彩龍紋碗 專家評論：比較幾乎相同的外型和尺寸 (10.2 厘米) ，以及釉色、裝飾和底部款識。由於字數限制，完整中文敘述請至www.zacke.at查看。

A YUE CELADON-GLAZED FIGURE OF A RAM, WESTERN JIN DYNASTYChina, 265-317. The recumbent animal resting upon its tucked-in hind legs and kneeling forelegs, with a robust rump, the voluminous body incised with wings, a curvaceous spine and short tail, its raised head pierced with a circular aperture on top, detailed with bulging eyes and lop ears encircled by distinct horns. Provenance: Canadian trade. Condition: Very good condition commensurate with age, extensive old wear, shallow surface scratches and other traces of use, manufacturing flaws such as pitting, brown spots and glaze recesses, the glaze crackling is intentional, one ear is reattached, with an associated small chip. Weight: 892 g Dimensions: Length 19.8 cmApplied overall with an olive-green glaze suffused by a dense network of crackles, except for the bottom of the four feet where the naked ware is revealed, partially burnt to a dark orange tone in the firing.Expert's note: This charming piece belongs to a group of playful vessels made for the scholar's desk that was produced in kilns in northern Zhejiang and southern Jiangsu province. Vessels of this form have been unearthed from Three Kingdoms (220-265) and Jin (265-420) dynasty tombs, suggesting that they were highly treasured by their owners.Literature comparison: Compare two related rams in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures in the Palace Museum. Porcelain of the Jin and Tang Dynasties, Hong Kong, 1996, pls. 30 and 31. Compare one in The Tsui Museum of Art, Hong Kong, published in Chinese Ceramics I, Neolithic to Liao, Hong Kong, 1991, pl. 58, and another in the Ashmolean Museum, Oxford, illustrated in Michael Sullivan, Chinese Ceramics, Bronzes and Jades in the collection of Sir Alan and Lady Barlow, London, 1963, pl. 71a. A similar ram is also illustrated in The Complete Works of Chinese Ceramics, volume 4, Shanghai, 2000, pl. 163, together with an example without incised lines on the body, excavated from Shaoxing, Zhejiang province, pl. 164. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 25 November 2014, lot 1025Price: HKD 1,360,000 or approx. EUR 194,000 adjusted for inflation at the time of writingDescription: A 'yue' celadon-glazed ram, Western Jin dynastyExpert remark: Compare the closely related form and glaze, including the crackles. Note the slightly smaller size (15 cm), the lack of incisions to mark the fur, and the more elaborate depiction of the head and legs.Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 16 May 2018, lot 68Price: GBP 50,000 or approx. EUR 64,000 adjusted for inflation at the time of writingDescription: A 'yue' celadon-glazed ram, Western Jin dynastyExpert remark: Compare the closely related form and glaze as well as the related size (18 cm). Note that the incision work to mark the fur is slightly more elaborate, as well as the horns and hoofs.西晉越窯青釉臥羊中國，265-317年。羊臥伏狀，昂首平視，耳下可見彎曲的圓角。體態肥碩可愛。背部飾對稱的線條紋。腹部淺刻戳點和條紋，似羽翼張揚。線條流暢，造型優美。羊首上端開一圓洞。此器釉色青綠，晶瑩潤澤。釉厚處色調較深，釉薄處則淺淡，整體效果晶瑩明澈，四足底部露胎，呈深橙色。 來源：加拿大古玩交易市場。 品相：品相非常好，與年齡相稱，表面有大量劃痕、磨損和使用痕跡，製造缺陷如褐色斑點、釉面開片，一耳重新銜接過，帶有小磕損。 重量：892 克 尺寸：長19.8 厘米 專家注釋：這件擺件屬於浙江北部和江蘇南部越窯生產的器皿。 三國（220-265）和晉（265-420）代的墓葬出土了這種形式的器皿，表明它們受到主人的高度重視。 文獻比較：比較兩件相近的臥羊，見北京故宮博物館編，《故宮博物院藏文物珍品全集·晉唐瓷器》，香港，1996年，頁30-31。比較另一件臥羊，見香港藝術館編，Chinese Ceramics I, Neolithic to Liao, Hong Kong，1991年，頁58。另一件收藏於牛津的Ashmolean Museum，見Michael Sullivan編，Chinese Ceramics, Bronzes and Jades in the collection of Sir Alan and Lady Barlow，倫敦，1963年，頁71a。一件相似的臥羊，見《中國陶瓷全集》，輯四，上海，2000年，頁163。同本書另一件沒有刻紋的臥羊，出土於浙江江蘇，頁164。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SONGHUA INK STONE, BOX AND COVER, QIANLONG MARK AND PERIODChina, 1736-1795. The soft grayish-green ink stone is of magnificent quality with distinct striations and deeply carved with a lingzhi-shaped well. The outline conforms with the highest possible precision to that of the shallow box and cover, which in turn is finely carved on the top through the grayish-green outer layer to the purplish-brown under layer with two crested cranes perched on the trunk of a gnarled pine tree, the burls in the wood superbly sculpted, the pine leaves and the cranes' plumages neatly incised.The base of the inkstone incised in a line with a four-character seal mark Qianlong nianzhi and of the period.Provenance: Mrs. Walter Sedgwick, collection no. 307, as per old label to base, and thence by descent. Probably Sotheby's London after 1968 and from there into a French collection. Parisian trade, acquired from the above. Mrs. Walter Sedgwick (1883-1967) was an English collector of Chinese art who came from a family of architects. Quite unusually at the time, she collected independently of her husband who was a barrister with little interest in Chinese art. She lent many pieces to the 1935-36 Chinese exhibition at the Royal Academy. Soame Jenyns described her as a collector of impeccable taste and in 1953 dedicated his book 'Ming Pottery and Porcelain' to her. She donated and bequeathed Chinese objects to the British Museum from 1933 to 1968 and was a generous benefactor to the British Museum, the Fitzwilliam in Cambridge, and the Victoria & Albert Museum. After her death, her collection was sold off by Sotheby's London beginning in 1968. Mrs. Sedgwick was the aunt of Professor Jessica Rawson.Condition: Excellent condition with only minor wear and traces of use.Weight: 243.6 gDimensions: Length 9 cmExpert's note: The present lot was no doubt made during the Qianlong period, a fact illuminated by a Songhua ink stone, box, and cover dated to the Republic period at Christie's Hong Kong, 9 October 2019, lot 270. Although this later example appears quite similar to the present lot at first glance, it quickly becomes evident that it does not even remotely show the same exceptional skill and attention to detail. Closer study reveals a vast number of small yet striking differences, including the two cranes, which lack the crests and open beaks, as well as the pine leaves, which lack the raised edges of their central circles, and last but not least the Imperial mark itself, which is by far not as neatly incised.Songhua stone, for its color, quality and ease of grinding the ink, was one of the preferred materials for making inkstones for the scholar's table during the Qing dynasty. Chi Jo-hsin in 'A study of the Sunghua Inkstone Tradition', Special Exhibition of Sunghua Inkstone, National Palace Museum, Taipei, 1993, page 38, notes that 'during the Qianlong period, an inventory of inkstones in the Imperial Household was compiled. Of the more than two hundred entries, six sunghua inkstones with imperial reign marks of the K'ang-hsi, Yung-cheng and Ch'ien-lung periods are recorded, five of which are in the collection of the National Palace Museum.'Design on inkstones often imitated fine paintings and it is known that the Qianlong emperor commissioned his court painters to design the lids of many of his inkstones. Shapes of the ink pool and cover also became more varied during the Qianlong emperor's reign, when new shapes in the form of peaches, crescent-moons and flowers were introduced alongside the traditional circular, octagonal and oblong shapes.In Qianlong's poetry collection 'Shengjing tuchan zoayang shier shou' (Twelve Miscellaneous Poems on the Native Products of Shengjing), the emperor praises the stone as 'Songhua yu' (Songhua jade) and mentions that it is the product of the Yuantong River in Jilin province in northeast China and can be used for making inkstones.Zhou Nanquan notes in 'Songhuashi yan' (Songhua Inkstone), Wenwu, 1980, no. 1, pages 86-87, that Songhua stone was used for the production of imperial inkstones from the early to mid-Qing dynasty. Zhou further notes that in the 39th year of Qianlong's reign (corresponding to 1774), official records mention a total of 120 Songhua stone pieces, whether worked or as raw material, in the Palace collection.Records from the fourth day of the twelfth month of the 39th year of Qianlong's reign note that on three occasions, raw material amounting to 38 pieces from Jilin province, was sent to the palace and, out of five stone pieces, eight inkstones and their boxes were made. It was customary with Songhua stone from the palace to have the inkstones in original boxes of the same material, usually using the different stratified colors. Currently there are eighty Songhua inkstones in the Palace Museum collection, of which ten are attributed to Kangxi, sixteen to Yongzheng, thirteen to Qianlong, nine to Jiaqing, one to Daoguang and five to Guangxu's reigns.Literature comparison: A related ink stone, box, and cover was included in Selected Treasures of Chinese Art, Hong Kong, 1990, cat. no. 238. A related Qianlong inkstone and cover of rectangular shape, also carved with pine trees and cranes, was included in the Special Exhibition of Songhua Inkstone, National Palace Museum, Taipei, 1993, cat. no. 57.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 2931 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A Songhua ink stone, box and cover, Qianlong incised four-character seal mark and of the period Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and four-character seal mark incised in a line. Note the similar size (9.6 cm). Further note that this example arguably does not show the same exceptional skill and attention to detail as the present inkstone.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 23 October 2005, lot 23 Price: HKD 2,696,000 or approx. EUR 517,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of QianlongExpert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (10 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 23 October 2005, lot 149 Price: HKD 1,912,000 or approx. EUR 367,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of Qianlong Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, cranes, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (9.5 cm).乾隆款及年代松花硯中國，1736-1795年。由於字數限制，完整中文敘述請至www.zacke.at查看。

A WUCAI 'DRAGON AND PHOENIX' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. With deep rounded sides rising to an everted rim, the exterior is painted with two phoenixes descending between green and iron-red dragons pursuing 'flaming pearls' amidst flower sprigs, below a band of the Eight Buddhist Emblems alternating with ruyi heads joined by a blue line. The interior with a medallion enclosing five iron-red bats (rare) as well as a double line border below the rim. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.C.186. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition with only minor wear and minimal firing irregularities. The rim with a minuscule filled chip and associated hairline.Weight: 270.0 g Dimensions: Diameter 15.4 cmLiterature comparison: The decorative format of the present bowl is inspired by Kangxi prototypes. Compare two Kangxi-marked examples of different sizes illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, nos. 135-136. A Qianlong-marked example of similar size to the present example is also illustrated, ibidem, no. 158. Another Qianlong example is in the Nanjing Museum, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, page 282.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 May 2013, lot 1923 Price: HKD 870,000 or approx. EUR 133,000 converted and adjusted for inflation at the time of writingDescription: A fine wucai 'dragon and phoenix' bowl, Qianlong six-character seal mark and of the period Expert remark: Note the similar size (15 cm) and the dragon motif inside the bowl, compared to the five iron-red bats design of the present bowl.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 11 September 2019, lot 928 Price: USD 68,750 or approx. EUR 74,500 converted and adjusted for inflation at the time of writingDescription: A wucai 'dragon and phoenix' bowl, Qianlong seal mark and periodExpert remark: Note the smaller size (13 cm) and the interior centering a roundel with an iron-red dragon, compared to the five iron-red bats design of the present bowl.乾隆款及年代五彩龍鳳呈祥碗中國，1736-1795年。敞口，弧壁，圈足，碗形周正。如意雲頭紋與佛教八寶紋作邊飾。腹部繪龍鳳穿花紋兩組，龍一紅一綠，其旁襯以菊花、芙蓉花。碗心青花雙圈内繪製五隻紅色蝙蝠。底書“大清乾隆年製”三行六字篆書款，展示 “龍鳳呈祥”之意。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.C.186。品相：狀況良好，只有輕微磨損和輕微燒製瑕疵，碗沿有微小的磕損修飾和相關冲線。 重量：270.0 克 尺寸：直徑 15.4 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A VERY LARGE AND EXTREMELY RARE CIZHOU PAINTED ARROW VASE, TOUHU, MING DYNASTYPublished: Michael B. Weisbrod, Inc., From Kilns of Kings and Commoners, 1990, New York, page 68, catalog number 27.Opinion: Except for a similar yet smaller example in the British Museum, the present lot seems to be the only surviving example of a group of Cizhou Touhu vases, probably made for Imperial use during the mid-15th to mid-16th century. The curator of the British Museum, Rebecca Harrison-Hall, comments on the rare vessel as follows: “Two earlier arrow vases of this shape, made of bronze, were excavated from a tomb (M.13) in Pinghu county, Sichuan province. Archaeologists believe that the tomb belonged to the father of the scholar Wang Xi (1405-52) or to one of Wang Xi's father's wives. A number of bronze and iron arrow vases have been collected by Professor Jessica Rawson for the British Museum for future publication. The style of figure painting relates closely to that of blue-and-white wares of the Jiajing period, which were made at Jingdezhen.”China, 15th-16th century. The compressed globular body supported on a low, thick foot and rising to a tall, slightly waisted neck, flanked at the top by two tubular arrow holes, the mouth and each of the arrow holes with thick lipped rims. The exterior densely decorated in brown and black painting above a cream-colored slip.Provenance: Warren E. Cox (1895-1977), New York, USA. A private collection in New York, USA, acquired from the above after 1977. A private collector in Toronto, Canada, acquired from the above. Michael B. Weisbrod, Inc., New York, acquired from the above in 1990. An important North American collection, acquired from the above. Warren Earle Cox (1895-1977) was an important New York antiques dealer and an authority on porcelain and pottery from around the world. His two-volume work “The Book of Pottery and Porcelain” became a standard reference in the field.Condition: Superb condition commensurate with size and age. Some old wear and firing flaws, including open bubbles, firing cracks, pitting, and dark spots, all as expected for Ming dynasty Cizhou wares. Minor glaze flaking along the rims and base with associated small touchups. Minuscule losses, nicks and shallow surface scratches.Weight: 6,386 gDimensions: Height 43.6 cmThe neck masterfully painted with shaped reserves enclosing sages dressed in loose-fitting robes seated amid trees, clouds, and lotus, all below scholar's rocks and plantain leaves as well as a band of ruyi-heads and above bands of key-fret and scroll. The body with a band of lotus petals at the shoulder, above a band of peony blossoms and scrolling vines, and a band of Buddhist lions striking different poses and divided by their ribboned brocade balls, with a scroll band above the foot. The arrow holes with floral diaper.Arrow vases were made for a drinking game called 'touhu', which had been popular among elite men and women from the Spring and Autumn period (770-476 BC). Players threw arrows into bronze or ceramic vases with narrow tubular necks at prescribed intervals, each player equidistant from the vase. The winner successfully projected all his arrows into the vase and the loser was forced to drink at each miss. Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Literature comparison: Compare a closely related Cizhou painted touhu, 40 cm high, dated to the Ming dynasty, circa 1522-1566, in the collection of the British Museum, museum number 1937,0716.74.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2017, lot 1174 Price: USD 68,750 or approx. EUR 77,500 converted and adjusted for inflation at the time of writingDescription: A painted Cizhou jar, Yuan dynasty Expert remark: Compare the related manner of painting showing similar figures within shaped reserves. Note, however, that the present arrow vase is much rarer, of more elaborate form and decoration, and slightly larger than this jar (35 cm). 明代罕見磁州窯彩繪投壺中國，十五至十六世紀。長直頸、兩側貫耳，圓鼓腹，足底露胎，刮痕粗顯，胎質堅硬，色呈淺灰。唇口、内壁和外壁罩白釉，色澤乳白微黃。外壁彩繪人物、神獸以及纏枝花卉等紋樣。 出版：Michael B. Weisbrod，Inc.，From Kilns of Kings and Commoners，1990年，紐約，頁68，畫冊第27號。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A FAMILLE ROSE 'BUTTERFLY AND FLOWERS' SAUCER DISH, YONGZHENG MARK AND PERIODOpinion: It has become exceedingly difficult to find 18th century 'boneless' wares in a good state of preservation, regardless of form or size. But being able to offer such a large dish, with such a finely painted Yongzheng mark, and from the period, with such vibrant colors, and in such pristine condition overall, just feels like a once-in-a-lifetime event!China, 1723-1735. Delicately potted, the shallow rounded sides rising from a straight and high foot to a gently everted rim. The interior finely painted in 'boneless style' with bright enamels to depict a butterfly fluttering amid leafy and flowering stems of chrysanthemum and peony with two still-closed buds. The recessed base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi within a double circle and of the period.Provenance: A Scottish private collection. Condition: Magnificent condition commensurate with age. Only minor old wear and tiny firing irregularities. The foot rim with two minor nicks. A Yongzheng-era porcelain dish in such well-preserved condition must be considered extremely rare.Weight: 256.9 gDimensions: Diameter 19.8 cmThe combination of flowers and butterflies to decorate Chinese porcelain can be seen from as early as the Ming dynasty's Yongle reign, when it was used on blue and white wares, such as the pear-shaped vase in the Sir Percival David collection, British Museum, London, illustrated by R. Scott, Elegant Form and Harmonious Decoration: Four Dynasties of Jingdezhen Porcelain, London, 1992, p. 38, no. 25. The combination of butterflies and flower sprays painted in overglaze enamels on porcelain, however, became particularly popular at the Imperial Court during the Yongzheng reign, following the development of the famille rose palette of enamel colors, see a famille rose bowl, Yongzheng mark and period, decorated with roundels enclosing butterflies and flowers, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, vol. 39, Hong Kong, 1999, pp. 78-9, no.68.This bowl is an early example of the new confidence among painters during the reign of Yongzheng to increasingly handle areas of multiple color without using formal borders for separation. This technique is known as 'boneless style', because there virtually is no inner skeleton to the design. In the present lot for example, the pink and white colors of the large peony flower are not separated by any lines. This technique was not widely used, most likely because it was too difficult to implement on a mass production scale. It represented a great challenge to the artists, where unskilled painters would require outlines to complete their sections of decoration, and if not handled well, would give the impression that the piece was unfinished.The fluttering butterfly depicted on this dish emphasizes the fragile, shimmering beauty of the wings. Designs of butterflies suggest duplication of an auspicious wish, since the character for butterfly is a homophone for 'repeat'. It also is a homophone with 'die' meaning 'Over seventy or eighty years of age', and thus expresses a wish for longevity. Butterflies also symbolize happiness in marriage and everlasting romantic love. The latter interpretation is due to a number of traditional Chinese stories in which butterflies play a significant part. Feng Menglong (1574-1646), for example, narrates the popular story of the 'butterfly lovers' Liang Shanbo and Zhu Yingtai, who are transformed into butterflies after death. The philosopher Zhuangzi's famous dream of being a butterfly also made them symbols of the boundary between dream and reality.Literature comparison: Compare a related famille rose saucer dish with butterflies and peonies, also with a Yongzheng mark and of the period, 29.7 cm diameter, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021.Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3061 Price: HKD 920,000 or approx. EUR 135,000 converted and adjusted for inflation at the time of writingDescription: A famille-rose saucer dish, mark and period of Yongzheng Expert remark: Compare the closely related manner of painting with similar peony, chrysanthemum, and two-color leaves. Note the slightly smaller size (18.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2013, lot 218 Price: USD 81,250 or approx. EUR 101,500 converted and adjusted for inflation at the time of writingDescription: A pair of famille-rose dishes, Yongzheng mark and period Expert remark: Compare the closely related subject and manner of painting with similar peony, chrysanthemum, two-color leaves, and butterfly. Note the smaller size (15.1 cm) and that the lot is a pair of dishes. 雍正款及年代粉彩花蝶戀紋小碟中國，1723-1735年。胎薄體輕，盤心以沒骨畫法繪牡丹、萱草高低錯落，彩蝶翩翩，畫面生動，風格清新雅緻，敷彩鮮豔。圈足内雙圈青花六字款“大清雍正年製”。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A FAMILLE ROSE MODEL OF A PAIR OF QUAILS, QING DYNASTYChina, 19th century. The birds perched side by side, their heads slightly turned towards one another, their wings finely molded and plumage neatly painted in pale shades of blue, green, and black, the eyes detailed with red dots, all supported on an oval base painted in bright enamels with leafy peony sprays against a red-dotted ground, the interior glazed turquoise.Provenance: A French private estate. Christie's Paris, 8 December 2021, lot 196 (label to base), unsold.Condition: Very good condition with minor wear and firing irregularities, a shallow minor chip to the top of the base, occasional light scratches.Weight: 1,338 g (excl. stand) and 1,958 g (incl. stand)Dimensions: Length 28.5 cm (the model) and 29.5 cm (the stand)With a well carved and fitted wood stand dating from the same period. (2)Quails are known for their courage, while the word for quail in Chinese ('an') provides a homophone for the word for peace. Two quails can be read as shuang an, or 'double peace', and thus, these birds appear as a pair on paintings, porcelains, and textiles from as early as the Song dynasty.Literature comparison: Compare a related, slightly later porcelain figure of a quail, dated ca. 1910-1930, in the collection of the Victoria & Albert Museum, accession number C.36-1962.清代一對粉彩鵪鶉中國，十九世紀。鵪鶉一對並排而坐，很親暱地頭對頭，翅膀造型精巧，細節精緻，使用淺藍色、綠色和黑色描繪；眼睛上點綴著紅色的圓點，底座呈橢圓形，紅點為地，飾琺瑯彩綠葉牡丹。底足內綠松石色釉。 來源：法國私人收藏；巴黎佳士得，2021年12月8日，見底部標籤，流拍。 品相：狀況極好，有輕微磨損和燒製不規則，底座頂部有輕微的磕損，局部有輕微劃痕。 重量：不含底座1,338 克，含底座1,958 克 尺寸：長 28.5 厘米(鵪鶉) ，底座29.5 厘米 匹配木製底座，來自同一時期。 在古代“鵪”和“鶉”本是兩種鳥。鵪鶉之“鵪”與安全、安康、安居、安詳之“安”的諧音，因此又具有“事事平安”和“安居樂業”的象徵意義。一對鵪鶉早在宋代就經常出現在繪畫、陶瓷以及織物上。 文獻比較： 比較一件相近的1910-1930年琺瑯彩鵪鶉，收藏於維多利亞與亞伯特博物館，編號C.36-1962。

A COPPER-RED GLAZED TAZZA, YONGZHENG MARK AND PERIODOpinion: Copper-red wares were a fixture of the Imperial household during the Yongzheng era, with dishes, bowls and cups of various sizes appearing much more frequently than stem cups let alone tazzas. On top of that, the present lot comes in pristine condition and with immaculate provenance, making it even rarer, and a notable highlight in even the most advanced collection of monochrome wares. Dating from the early heyday of Imperial production, around the time of Tang Ying's arrival at Jingdezhen in 1728, where he was appointed by the Yongzheng Emperor to supervise the porcelain manufacture, the present lot is a powerful testimonial as to why monochrome wares became so popular among the most sophisticated scholars of modern day China.China, 1723-1735. Superbly potted, the shallow rounded sides rising from a splayed hollow foot encircled by a molded bamboo node. The exterior glazed in a rich and warm red, the interior and base glazed white. The base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi and of the period.Provenance: Sotheby's London, 25 May 1965, lot 168. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum (1968-2022), collection number Q.8.08. A copy of the sale result list for the Sotheby's auction on 25 May 1965, stating the buyer as 'Wou', accompanies this lot. 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: Some old wear and firing irregularities, such as dark spots, a glaze bubble to the well, small firing cracks, and minimal fritting. A minuscule chip to the rim with associated fill and hairline. The glaze with a splendid, unctuous feel. Refer department for or a video shot under strong blue light, confirming the overall fine condition.Weight: 752.8 gDimensions: Diameter 20.9 cmAuction result comparison: Type: Closely relatedAuction: Sotheby's New York, 11 September 2019, lot 635Price: USD 40,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: A copper-red glazed stembowl, Yongzheng seal mark and periodAuction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2013, lot 1554 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A copper-red-glazed stem bowl, Yongzheng six-character mark in underglaze blue in a line and of the periodAuction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 May 2021, lot 2991 Price: HKD 500,000 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A sacrificial-red glazed stem bowl, Yongzheng six-character mark in a line in underglaze blue and of the period雍正款及年代霽紅釉高足碗中國，1723-1735年。碗敞口，淺弧腹，下承中空高足，圈足外撇，圈足外壁起凸棱一道，形似竹節。碗內與圈足內部施白釉，色澤瑩潤，光亮潔淨；外施紅釉，釉面均勻。高圈足內近底處用青花“大清雍正年製”六字款。 專家注釋：雍正年間，霽紅器多為皇室用品，各種大小的盤、碗、杯比高腳杯出現的頻率要高得多，更不用說高足碗。 最重要的是，本拍品完好無損，來源可循，因此顯得更加稀有，同時也是單色釉器皿收藏中的一個亮點。 此拍品應該是1728年唐瑛到景德鎮受雍正皇帝之命督製瓷器之時的產品，那時為御制瓷器盛世之初，這件拍品有力地證明了單色瓷器為何如此盛行。 來源：1965年5月25日倫敦蘇富比，lot 165。吳權博士收藏；吳蓮伯美術館，館藏編號 Q.C.186。由於字數限制，完整中文敘述請至www.zacke.at查看。

A MAGNIFICENT POWDER-BLUE AND GILT-DECORATED ROULEAU VASE, KANGXI PERIODChina, 1662-1722. Of cylindrical form, the neck with a galleried rim, gilt-decorated with two larger rectangular panels depicting pheasants perched on a rock and surrounded by chrysanthemums, prunus, and peonies, further with four smaller panels of square and circular shape, each with auspicious flowers, all above a dense floral diaper pattern. The upper rim with a key-fret border, and a lappet band above the foot. The interior covered in white.Provenance: From a private collection on the East Coast, North America. A notable private collector in Kensington, London, United Kingdom, acquired from the above. Sotheby's London, Important Chinese Art, 3 November 2021, lot 170, bought in at a net reserve of GBP 30,000 or EUR 37,500 converted and adjusted for inflation at the time of writing. Condition: Excellent condition with minor old wear and some firing irregularities, light surface scratches, minuscule fritting to the rim. The gilt is particularly well preserved.Weight: 4,626 g Dimensions: Height 47.8 cmBlue monochromatic wares with gilt decoration first appeared in the Yuan dynasty. During the Kangxi period it was the custom to spray the cobalt oxide onto the porcelain which gave an attractive, mottled quality to the wares. More often than not, the powder blue was further ornamented with gilt-painted decoration, the cool metallic tones contrasting effectively with the rich mottled blue as witnessed on this vase.Literature comparison: Compare a closely related powder blue rouleau vase with gilt decorations, with a Kangxi mark and of the period, in the collection of the Metropolitan Museum of Art, accession number 79.2.153.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2015, lot 457Price: USD 125,000 or approx. EUR 153,500 converted and adjusted for inflation at the time of writingDescription: A gilt-decorated powder-blue-ground rouleau vase, China, Qing dynasty, Kangxi period (1662-1722)Expert remark: Compare the near identical form and decoration as well as the similar size (46.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.康熙霽藍釉描金棒槌瓶中國，1662-1722年。盤口，短直頸，圓折肩，圓筒狀長腹，圈足。通體施霽藍釉，描金錦地。腹部開光，描金繪製了牡丹、梅花與菊花等富貴花卉，雉鷄栖息在樹下。畫面富貴華麗，細節生動。 來源：北美東海岸私人收藏；英國倫敦肯辛頓知名私人收藏，購於上述收藏；2021年11月3日倫敦蘇富比Important Chinese Art, lot 170, 底價GBP 30,000 ，相當於現在的EUR 37,500。 品相：狀況極佳，有輕微磨損和一些燒製不規則、表面淺劃痕、邊緣有微小熔塊。描金保存得極好。 重量：4,626克 尺寸：高47.8厘米 霽藍釉描金紋瓷器最早出現於元代。康熙年間，有將氧化鈷噴在瓷器上的工藝，使瓷器具有誘人的斑駁質感。更多時候，霽藍釉被描金進一步裝飾，金色與這個花瓶上豐富的斑駁藍色形成鮮明對比。 文獻比較： 比較一件非常相近的康熙款及年代霽藍釉描金棒槌瓶，收藏於大都會藝術博物館，編號79.2.153。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月19日，lot 457 價格：USD 125,000（相當於今日EUR 146,500） 描述：清代康熙霽藍釉描金棒槌瓶 專家評論：比較幾乎相同的外型、描金和尺寸 (46.5厘米)。

'THE TEA SHOP', QING DYNASTYChina, probably Canton, 19th century. Ink and watercolor on silk. Depicting a tea warehouse, one room with workers sorting the tea on long tables, while the tea is packed into large boxes in the background. In the front there is a salesroom with various signs, the crowded room with salesmen selling tea to customers, all within a coastal area (most likely Canton), with mountains in the background and two sailing boats.Inscriptions: The signs show the name of the tea shop, 'Yushen chahao', and the different kinds of tea which are for sale.Provenance: Belgian trade. Condition: Very good condition with minor wear, little foxing.Dimensions: Image size 63.5 x 52.3 cm, Size incl. mounting 70.8 x 59.5 cm In the early seventeenth century, the Dutch India Company introduced Chinese tea to Europe, creating a global market that remains today. Farmers all over China grew tea as one of various crops on their small land holdings. These crops were then transported across mountains to wholesale centers where dealers from China and Europe gathered to select the teas they wanted. The tea was further transported to ports. On its arrival, a second selection process took place, with agents acting for the various companies, delivering their goods to European and American countries.Primarily produced for export in the late 18th and early 19th centuries in the thriving port of Guangzhou, gouache images of tea, silk, and porcelain production were popularly produced by studios of artists. While illustrating Chinese commerce and agricultural modes of production, these aesthetics of the opaque gouache painted images would mimic the appearance of oil on canvas, with the entire surface covered with color, and abandoning the Chinese tradition of leaving the sky or water unpainted. The present silk painting, however, is painted in a decidedly Chinese style and focuses on the tea shop itself, instead of the production of tea, and is thus a rare example.Auction result comparison:Type: RelatedAuction: Christie's London, 7 November 2019, lot 37Price: GBP 90,000 or approx. EUR 113,000 converted and adjusted for inflation at the time of writingDescription: Chinese School, circa 1820, Tea production - a set of twelve paintingsExpert remark: Note the lot consists of twelve paintings清代外銷畫《製茶商鋪》中國，十九世紀，可能來自廣東，絹本設色。水墨繪製了一個製茶商鋪，可見工人們在分揀茶葉與包裝茶葉。與後院緊鄰著的是一個茶鋪，牆上畫滿了各種茶葉名字，生意興隆。鋪子臨水，可見傳統山水畫意。 來源：比利時私人收藏。 品相：狀況極好的條件，輕微磨損、褐變。 尺寸：畫面63.5 x 52.3 厘米，總70.8 x 59.5 厘米 十七世紀初，荷蘭印度公司將中國茶葉引入歐洲，創造了一個延續至今的中國茶葉市場。中國各地的茶農種茶，來自中國和歐洲的經銷商聚集茶鄉挑選茶葉，選出來的茶葉會在港口進行第二次選擇，然後代理商將茶葉送到歐美國家。外銷畫產生並興盛於十八、十九世紀，集中在廣州十三行一帶。為迎合西方社會熱衷中國趣味和風尚，廣州畫師採用西方的繪畫顏料和技法，繪製帶有中國風情的圖畫，銷售給來華的洋人。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2019年11月7日，lot 37 價格：GBP 90,000（相當於今日EUR 113,000） 描述：1820年一組十二幅《製茶商鋪》 專家評論：請注意此組畫有十二幅。

A MONOCHROME YELLOW-GLAZED BOTTLE VASE, TIANQIUPING, QING DYNASTYChina, 1644-1912. The globular body surmounted by a tall, slightly waisted tubular neck, covered overall in a rich yellow glaze stopping unevenly above the bare foot rim, the base and interior with a white glaze.Provenance: From a private collection in Cambridgeshire, United Kingdom, acquired before 1990. An old photography of the vase in the collector's home, portrayed together with the family cat, in its original frame, accompanies this lot. Condition: Very good condition with minor old wear, shallow surface scratches and some expected manufacturing flaws such as dark spots, minimal pitting, glazes recesses and some irregularities to the foot rim.Weight: 2,666 g Dimensions: Height 34.8 cmAuction result comparison:Type: Closely relatedAuction: Christie's New York, 1 July 2021, lot 259Price: USD 7,500 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A Chinese yellow-glazed porcelain bottle vase, Qing dynasty, 19th centuryExpert remark: Compare the closely related form and rich yellow glaze. Note the smaller size (20.9 cm) and the apocryphal Chenghua mark.Auction result comparison:Type: Related Auction: Christie's New York, 1 July 2021, lot 243Price: USD 13,750 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A pair of Chinese yellow-glazed porcelain baluster vases Expert remark: Compare the closely related rich monochrome glaze. Note the larger size (48.2 cm), apocryphal Kangxi marks, and that the lot comprises a pair.清代單色黃釉天球瓶中國，1644-1912年。瓷胎天球瓶，直口，長頸部向下微斂，寬圓肩，碩圓腹，矮圈足。通體施黃釉，底足和瓶内施白釉。 來源：英國康橋郡，購於1990年前。隨附一張老照片，上可見藏家家中放在書架旁的天球瓶以及藏家的貓。 品相：狀況極好，有輕微的磨損、表面淺劃痕和一些預期的製造缺陷，例如黑點、釉面凹陷和圈足一些不規則之處。 重量：2,666克 尺寸：高34.8厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年7月1日，lot 259 價格：USD 7,500（相當於今日EUR 7,500） 描述：清代十九世紀黃釉瓶 專家評論：比較非常相近的外型和濃厚的黃色釉料。請注意尺寸較小 (20.9厘米) ，以及此瓶為成化款。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2021年7月1日，lot 243 價格：USD 13,750（相當於今日EUR 13,500） 描述：清代十九世紀一對黃釉瓶 專家評論：比較非常相近的濃厚單色釉。請注意尺寸較大 (48.2厘米)，為康熙款，以及此瓶為一對。

A BLUE AND WHITE 'DRAGON' DISH, JIAQING MARK AND PERIODChina, 1796-1820. The shallow rounded sides rising from a short tapered foot to an everted rim, vividly painted to the interior in inky tones of cobalt-blue with a central medallion enclosing a five-clawed dragon writhing among flames and reaching for a flaming pearl, within a double-line border repeated at the rim, the reverse with two dragons striding in the same pursuit, enclosed by double-line borders below the rim and above the foot. The recessed base with an underglaze-blue six-character seal mark da Qing Jiaqing nianzhi and of the period.Provenance: From the collection of Seymour Stein, New York. Seymour Stein (b. 1942) is an American entrepreneur and music executive. He co-founded Sire Records and signed bands that became central to the new wave era of the 1970s and 80s, including the Talking Heads, the Ramones, and The Pretenders. His most famous discovery was Madonna, whom he signed in 1982. Ice-T wrote about Stein in his autobiography, stating: “He's cut from that cloth of the old-time music executives like Clive Davis, but he's way more eccentric... Just a little more bizarre, a bit more avant-garde, more of an edgy cat.” Seymour Stein started collecting art in his early twenties, when he worked for Polydor records. During his breaks, he started to explore Sotheby's nearby showroom on London's New Bond Street and occasionally bought Chinese porcelain. “Antiques seemed like a natural partner for records,” he wrote. “You had to learn genres, meet dealers, spot details, figure out value, and above all, find the treasures.” Speaking of Mr. Stein, Madonna noted, “In art, as well as music, Seymour has always been ahead of the trends.”Condition: Good condition with only minor wear and minimal firing irregularities, the rim with three near-invisible and very short hairlines. Please request a detailed condition report video, shot under strong blue light, for further documentation of the condition of this lot.Weight: 317.0 g Dimensions: Diameter 19.5 cmAuction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 May 2014, lot 642 Price: HKD 100,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A fine blue and white 'dragon' dish, seal mark and period of Jiaqing Expert remark: Note the smaller size (16.5 cm)嘉慶款與年代青花開光龍紋盤中國，1796-1820年。敞口弧壁，圈足，胎質堅致白皙，釉汁瑩潤如玉。盤心開光立龍戲珠圖，外壁對稱飾趕珠龍紋，雲龍蒼健兇猛。畫面極為疏朗，筆觸細膩，青花髮色淡雅明快。圈足底青花篆書“大清嘉慶年製”款。 來源：紐約 Seymour Stein收藏。Seymour Stein (生於1942年) 是一位美國企業家和音樂主管。他與人共同創立了 Sire 唱片，並簽約了1970 年代和 80 年代新浪潮時代重要樂隊，包括 Talking Heads、Ramones 和 The Pretenders。他旗下最著名藝人是麥當娜，他與其1982 年簽約。Ice-T 在自傳中寫到了Stein，稱：“他脫離了像克萊夫戴維斯這樣的舊時代音樂高管，但他更加古怪......只是更奇異一點，更前衛一點，更像一隻前衛的貓。”Seymour Stein 在 20 歲時收集藝術品，當時他為 Polydor 唱片公司工作。休息期間，他頻繁拜訪位於倫敦新邦德街附近的蘇富比陳列室，偶爾購買中國瓷器。“古董似乎是記錄的天然夥伴，”他寫道。“你必須學習流派、會見經銷商、發現細節、找出價值，最重要的是，找到寶藏。” 談到Stein先生，麥當娜指出：“在藝術和音樂方面，Seymour 一直走在潮流的前面。”品相：狀況良好，只有輕微磨損和極少的燒製不規則，邊緣有三個幾乎看不見的非常短冲綫。請索取詳細的在強藍光下拍攝的狀況報告視頻，以進一步瞭解拍品詳細情況。 重量：317.0 克 尺寸：直徑19.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年5月26日，lot 642 價格：HKD 100,000（相當於今日EUR 15,000） 描述：清嘉慶青花「趕珠雲龍」圖盤，《大清嘉慶年製》款 專家評論：請注意尺寸較小(16.5 厘米)。

A PAIR OF LARGE 'FAUX-BOIS' JARDINIERES, IMITATING HUANGHUALI, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795)Opinion: This pair of jardinières, made in imitation of Huanghuali wood, was purchased by the current owner at Sotheby's New York in March 2015 for a final price of USD 181,250 against a pre-sale estimate of USD 25,000-35,000. One reason for the intensive competition at this auction may have been that while Sotheby's dated the jardinières to the 19th century, bidders seem to have had a slightly divergent perception of the actual age of this lot. And indeed, there are two very recent scientific findings that speak clearly for a time of origin in the Qianlong period instead of the 19th century:Firstly, Trompe l'Oeil porcelains were primarily produced in the Qianlong reign period, and not in the 19th century. For a detailed scientific consideration of this fact, including respective data analysis, see the webinar by Chih-En Chen, Lecturer of Chinese and East Asian art history at the University of Toronto, held in December 2021 for members of the Oriental Ceramic Society, titled “Feminine Space and Playthings: Recontextualization of Trompe l'Oeil Porcelain in High Qing China”. The corresponding section of the video starts at minute 16:00.Secondly, the strictly realistic and nature-oriented manner of imitating the Huanghuali wood with enamels on porcelain, particularly visible in the characteristic 'ghost eyes' found on the present jardinières, is untypical of the 19th century. As Chih-En Chen explains in detail, starting in minute 19:00 of the video, 'realistic' imitations of wood in Faux Bois porcelains were predominantly made during the 18th century, while 'unrealistic' or abstracted designs of wood emerged only in the 19th century. As we know, during the 18th century artists often imitated one material using another, but were always looking for rather subtle and inconspicuous ways to do so. Likewise, the ostentatious creations from the 19th century constitute a stark contrast to the humble, nature-oriented mindset of the 18th century.These aforementioned two facts lead this author to the conclusion that the present jardinières are in fact older than previously stated by Sotheby's, and without much - if any - doubt were made during the 18th century.Link for the video:https://www.orientalceramicsociety.org.uk/feminine-space-and-playthings-recontextualization-of-trompe-loeil-porcelain-in-high-qing-china-ca-1683-1839-ce (available to OCS members only)Finally, please note that Mr. Chih-En Chen has invested a sheer unfathomable amount of time into the research of Trompe l'Oeil decor in High Qing China - and especially Faux Bois - an effort for which we do not only have the deepest respect but also will remain eternally grateful to Mr. Chih-En Chen. For this reason, we highly recommend watching the video of Chih-En Chen's seminar, it is worth the while. At the time of the Sotheby's sale in 2015, however, none of the substantial scientific findings shown in the video by Mr. Chih-En Chen were available to the public, a fact that explains why Sotheby's experts had to be more cautious in dating the present jardinières. Superbly potted, the tapering sides of each of the two jardinières are finely and boldly enameled to resemble wooden planks, including many details and aspects of the grain such as the characteristic knotholes, with the two raised bands encircling the body neatly painted to mimic the look of rope.The recessed circle in the center of the base is set between two drainage holes and glazed white, each with a very large underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Also note the finely modeled and ruyi-shaped feet of each jardinière.The neatly executed painting of the wood imitation, including distinct peaks and ghost eyes, is inspired by the pronounced grain of huanghuali wood, which was highly prized as a material for furniture in the late Ming and early Qing dynasties, including brush pots or tubs similar to the present jardinières.Provenance: Sotheby's New York, 21 March 2015, lot 684, sold for USD 181,250 or approx. EUR 221,500 converted and adjusted for inflation at the time of writing. A copy of the invoice from Sotheby's New York, dated 21 March 2015, is accompanies this lot. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Very good condition, especially when considering the size and age of these jardinières, with minor old wear and some firing irregularities, shallow surface scratches, the feet with small chips and minor losses to enamels, one jardinière with small chips to one section of the base. Dimensions: Diameter 45.7 cm(2)Literature comparison: Compare a closely related unmarked faux-bois jardinière dated to the Yongzheng or Qianlong periods, in the collection of the Palace Museum, Beijing, accession number Gu154796, and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, no. 235. Two similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, are illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 317, pl. 146, and Gugong Qing ci tulu - Kangxi yao, Yongzheng yao - Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97, respectively.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 4 October 2011, lot 17Price: HKD 8,000,000 or approx. EUR 1,365,000 converted and adjusted for inflation at the time of writing Description: A rare faux-bois jardiniere, seal mark and period of Yongzheng Expert remark: Compare the closely related form and decoration, though the wood is treated more naturalistically than on the present lot and the interior shows yellow enamel in imitation of an oilcloth lining. Note the Yongzheng mark found on this lot instead of the Qianlong mark on the present jardinières.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.一對乾隆款大型仿木紋釉花盆由於字數限制，完整中文敘述請至www.zacke.at查看。

A CHINESE YELLOW PORCELAIN VASE. 7ins high.

A CHINESE DRIP GLAZE CIRCULAR PORCELAIN BEEHIVE BRUSH POT. 4.5ins diameter.

A CHINESE PINK GLAZE PORCELAIN BOWL six character mark to base, 14cm diameter.

A VERY LARGE CHINESE SANCAI PORCELAIN JAR, decorated with dragons beneath a band of lotus and scrolling vine, with six-character mark to shoulder. 34cm diameter.

A CHINESE IRON RED GROUND PORCELAIN DISH painted with green dragons on stylised waves. 24.5cm diameter.

A CHINESE WUCAI PORCELAIN TWIN HANDLED MOON FLASK decorated with a central dragon. 29cm high.

A CHINESE FAMILLE VERTE PORCELAIN BOTTLE VASE painted with dragons and the flaming pearl of wisdom. 24.5cm high.

A LARGE CHINESE WUCAI PORCELAIN VASE painted with fish and algae. 38cm high.

FOUR CHINESE BLUE AND WHITE PORCELAIN TEA CADDIES.

A SMALL CHINESE THREE-COLOUR PORCELAIN STEM CUP.

A Chinese late Qing porcelain snuff bottle painted dragons amongst the waves with agate set lid and Cheng Hua mark to base

A collection of Chinese porcelain boxes, ginger jars, vases and a teapot

A Chinese porcelain suantouping vase, the lavender glazed body with splashes of red around the garlic mouth, 35.5cmIn good condition.

A Chinese porcelain blessings bowl, painted with four prominent characters on a cash ground, between lotus flowers, tendrils and ruyi on a blue ground, apocryphal four character Kangxi marks, 14.7cm diaIn good condition with no faults.

Two Chinese porcelain sang de boeuf vases, a tianqiuping example, 17cm, the other with applied mask & ring handles, 16.5cm; and a Jian style bowl, 13.4cm diaAll in good condition.

Two Chinese blue & white porcelain chargers, Qing, 18th century and later, each painted with peony, leaves and tendrils, the smaller charger with apocryphal six character Chenghua mark, 34.5cm & 39cmThe Chenghua marked dish with rim fritting and some small glaze cracks, rings out nicely. The larger charger has a 4cm hairline crack and a small rim chip to the underside of the rim, otherwise it is in good condition.

A Chinese porcelain tea bowl and stand, painted with iron red dragons facing a flaming pearl amongst blue clouds, four character Yuyan Shuwu mark, bowl 4cm high, 5.1cm dia, saucer 12.4cmBoth pieces are in good condition.

A Chinese porcelain blue and white ewer, of Persian influence, painted with bands of lotus flowers and scrolling tendrils with bands of lappets, apocryphal four character Yongle mark, 31cmIn good condition. Crazing is artificial applied pre glaze.

A Chinese porcelain blue and white ginger jar, Qing, late 19th century, painted with a continuous landscape, a double blue concentric ring to the underside, 21cm highIn good condition.

A Chinese famille rose porcelain bowl, Qing, 19th century, the interior with turquoise ground, the exterior painted with two dragons chasing a flaming pearl and Fenghuang amongst clouds, between bands of ruyi heads and clouds, with gilt rim, apocryphal Yongzheng zhuanshu seal mark, 17.9cm dia, 6.5cm highIn good condition, with no obvious faults.

A Chinese porcelain famille verte dragon vase, of double gourd form, painted with two dragons writhing amongst clouds, the lower dragon with a long stem of lingzhi issuing from its mouth, above rocks and spuming waves, apocryphal six character Kangxi mark, 23.5cmIn good condition throughout.

A group of Chinese blue & white export porcelain, all with landscape decoration, comprising two oval shallow dishes, 32.7cm & 36.5cm; a large platter with Fitzhugh border, 41.7cm wide; a large dished platter, 38cm; two butter pots & covers, 12.5cm & 15.5cm dia; two small stands and a cover,The large rectangular basin has a crack on the rimThe spare butter pot cover has a very small chip to the rimThe butter pot stand that corresponds to the pot and cover has some fritting at the edges.Both small stands have severe fretting around the rim, with some glaze rubbing on the inner rim.

A Chinese porcelain cong vase, of typical form, with elephant mask & ring handle, apocryphal six character Xianfeng mark, 29cmIn good condition throughout.

A Chinese porcelain Famille verte ginger jar & cover, painted with a dragon amongst fiery clouds above spuming waves and rocks, 25cmIn good condition.

A Chinese porcelain famille verte vase, of slightly waisted form with flared rim, painted with an immortal and attendant, a verse to the rear, 17cm high; a double gourd vase with dripped olive green glaze with splashes of red, 21.5cm; and two green glazed vases, 14cm & 14.5cmAll appear to be in good condition with no obvious faults visible.

A collection of Chinese export blue & white porcelain plates, Qing, 18th century, comprising a large platter painted with peony within a border bamboo, fruiting vines and peony, 31.5cm; a pair of dished plates, 22.3cm dia; three soup plates and seven dinner plates, the majority with floral decoration

A Chinese porcelain dragon bowl, painted with three dragons chasing a pearl through fiery clouds against a black ground, apocryphal six character Yongzheng mark, 16cm diaIn good condition.

A Chinese celadon porcelain vase,with relief moulded blue and white shi sghi amongst clouds, 24cm; and a tianqiuping vase, decorated with an anhua dragon amongst red clouds, 28.5cmBoth items in good condition.

A large Chinese porcelain brush washer, of beehive form, painted with two dragons & fenghuang amongst lotus flower and leaf scrolling tendrils against a yellow ground, between ruyi head and spuming wave bands, apocryphal Yongzheng zhuanshu mark, 12.5cm high, 15.9cm diaThe glaze crazed throughout but generally in good condition with no obvious chips or restoration.

A collection of Chinese blue & white porcelain, Qing, 19th century and later, comprising a dragon bowl with four character kangxi mark, 19.7cm dia, on wood stand; a bowl painted with a procession of trades people, four character mark, 15.2cm dia; a pair of dragon vases, 21cm; a miniature vase and cover with applied chilong, 10.7cm high; cups, saucers, a miniature vase and a cup and cover. Qty: 14One large vase with breaks and losses to the rim. A small vase with breaks and losses to the rim. The Kraak style cup marked Jade/Precious broken in two and glued and the corresponding saucer has a piece broken off and glued back in place. The other saucer also has a glued section. The cover of the small cup has rim chips and the cup has an inverted Y shape crack. The bowl with figures has a fine 3cm vertical hairline rim crack. Faults visible in online images.

A Chinese porcelain famille verte bowl and cover, painted with a writhing dragon amongst spuming waves, the underside of the bowl painted with sprigs of peaches, apocryphal six character Kangxi markIn good condition.

A collection of Chinese blue & white export porcelain, Qing, 18th/19th century, comprising five octagonal soup bowls, 22.7cm dia; and fifteen octagonal shaped dinner dishes, 19.3cm - 23cm

A Chinese porcelain export blue & white tureen & cover, Qing, 18th century, the domed cover with applied scroll handle, painted with a landscape, the tureen with rabbit head handles and painted with a pagoda beneath a pine tree opposite a fenced garden, on a raised foot, the tureen 30.5cm dia; and an export octagonal tureen and cover, the domed cover with pomegranate knop, painted with floral sprigs, the tureen with rabbit head handles and painted with a deer within a landscape of pine tree, peony, a lingzhi and dwelling, the tureen 28.5cm dia (all measurements excluding handles)The octagonal cover has been broken in two and with Eastern rivet repair. Otherwise all other items in good condition.

A Chinese porcelain ten thousand blessings bowl, painted with Buddhist symbols on a yellow ground, between leiwen and petal bands, apocryphal four character Kangxi mark, 16.5cm diaIn good condition.

A Chinese porcelain wucai bowl, painted with the eight immortals, above a band of waves, apocryphal six character Guangxu mark, 11.5cmNo obvious faults. In good condition.

A pair of large Chinese style porcelain vases and covers, the covers with stylised shi shi knops, the shoulder with applied masks, painted with panels of prunus, cranes and pine trees, pheasants and lotus flowers and a bird with tree peony, above further panels of birds and auspicious flowers, on a ground of lotus pods and leaves, the rims with an applied brass strip, 55cmOf little age, in good condition throughout.

A Chinese porcelain bowl, painted throughout with peaches, blossom and red bats, apocryphal four character Yongzheng mark, 15.3cm diaIn good condition with no obvious faults.

A Chinese porcelain famille rose jardiniere, painted with a scene likely to be The Cowherd & the Weaver Girl, the reverse painted with assorted treasures, 18cm high, 23cm diaIn good condition throughout.

A Chinese porcelain famille verte bitong, of waisted cylindrical form,painted with numerous scholars playing Go, the Qin and viewing scrolls, apocryphal Kangxi mark, 16.5cmGenerally in good condition, some glaze rubbing to the rim.

A Chinese porcelain blue & white Cranes bowl, painted with a variety of cranes and bats above spuming waves, apocryphal six character Guangxu mark, 18.5cm dia, 9.5cm highIn good condition.