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Click here to subscribeA collection of various eastern ceramics to include a Chinese enamel decorated jar & cover, and a Japanese eggshell porcelain teacup and saucerCondition report: Blue circular pot lid - two small chipsLight blue eggcup - chip to enamelRemaining items have age related marks but look free of restorationPlease see extra pics
A collection of Chinese famille rose porcelain, enamel decorated with chrysanthemums, red enamel six character mark to each pieceCondition report: One mid-sized bowl with small ‘V’ shaped hairline crack to edge.Another with small fine glazing chip to upper edge.The other pieces appear generally good.
A Chinese celadon glazed porcelain jardiniere with white enamel decoration, depicting dragons and cloud scrolls, underglaze six-character Chenghua reign mark, but of later date, 27.5cm highCondition report: Two pieces broken from rim with long associated cracks and 19th century staple repair
A MAGNIFICENT AND RARE CARVED CIZHOU 'FLORAL' BOTTLE VASE, SONG DYNASTYChina, 960-1279. The flaring sides rising from a flat foot with recessed base to a rounded shoulder with waisted neck and everted lip. The upper body is finely carved with a broad band of flowerheads and leafy branches. Covered in a white slip, thinning at the edges to reveal the brown body and stopping in a slightly uneven line above the foot, the rim and recessed base left unglazed, revealing the buff ware.Provenance: Property from a North German private collection, in the family since the 1970s and thence by descent. Old Inventory label '50/0219'. Old collector's label bearing an inscription in brown ink.Condition: Good condition with minor wear and firing flaws. Extensive wear to the slip below the floral band. Some minuscule frits.Weight: 1,740 g Dimensions: Height 35 cmThe mannered diction of the floral band that comprises the main decoration on the current vase was undoubtedly influenced by earlier metalwork. It is a distinct style that appears to have found particular favor in the early part of the Northern Song dynasty. A fragment of another vessel decorated in a similar style was exhibited in Kiln Sites of Ancient China - Recent Finds of Pottery and Porcelain, Oriental Ceramic Society, London, 1980, p. 155, no. 389. This fragment had been found in 1962 at a kiln site at Quhezhen, Dengfengxian, Henan province.Related flower heads with narrow and sharply cut petals also appear on early Northern Song ceramics from kilns which were patronized by the court. They can be seen, for example, on the shoulder of a Ding ware vase excavated in 1969 from the so-called 'underground palace' of a pagoda at the Jingzhongyuan Temple at Dingzhou, Hebei province, illustrated in Treasures from the Underground Palaces - Excavated Treasures from Northern Song Pagodas, Dingzhou, Hebei Province, China, Idemitsu Museum of Arts, Japan, 1997, no. 88. Along with other treasures, this Ding vase was sealed into the base of the pagoda when it was built in AD 995.Literature comparison: A large Cizhou vase decorated with a related stylized floral scroll is in the collection of the Freer Gallery of Art, illustrated by G. Hasebe in Sekai toji zenshu - 12 - Song, Tokyo, 1977, pp. 110-11, no. 109. Compare also an ewer with a related decorative band in the Tokyo National Museum, illustrated in Song Ceramics, Tokyo, 1999, p. 126, no. 8. A related floral scroll also appears on a Yaozhou celadon ewer in the collection of the Asian Art Museum in San Francisco, illustrated by G. Hasebe in Sekai toji zenshu - 12 - Song, Tokyo, 1977, pl. 187.Auction result comparison: Compare a cizhou ewer, 23.5 cm high, carved with a related floral band, dated to the Northern Song dynasty, at Christie's London in Fine Chinese Ceramics and Works of Art on 5 November 2013, lot 398, sold for GBP 380,500. Compare a cizhou baluster vase, 39.6 cm high, carved with a related floral band, dated to the Northern Song dynasty, at Christie's New York in Fine Chinese Ceramics & Works of Art on 19 March 2009, lot 508, sold for USD 194,500. 宋代罕見磁州窯花卉紋梅瓶中國。960-1279年。口細而頸短，豐肩，下收、圈足的立式。瓶至胸部，施白色化妝土，淺雕花卉卷葉紋，邊緣變薄，肩部以下至足部有略微不均勻的線條。邊緣和凹陷的底部露淺黃色胎。 來源：德國北部私人收藏，從上世紀七十年代起在同一家族保存至今。老標籤“50/0219“，用棕色墨水所寫。品相：狀況良好，有輕微磨損和燒製瑕疵。下方大面積磨損，一些微小的熔塊。重量：1,740 克 尺寸：高35 厘米 拍賣結果比較: 比較一件北宋磁州窯罐，高23.5 厘米，相似花卉紋帶，見倫敦佳士得Fine Chinese Ceramics and Works of Art 2013年11月5日 lot 398, 售價GBP 380,500；比較一件北宋磁州窯賞瓶，高39.6 厘米，相似花卉紋，見紐約佳士得Fine Chinese Ceramics & Works of Art 2009年3月19日 lot 508, 售價USD 194,500。
A LARGE BLUE AND WHITE 'HUNTING SCENE' DISH, KANGXI PERIODChina, 1662-1722. The shallow rounded sides rising from a short tapered foot to a wide flaring rim. Finely painted to the interior with equestrian hunters brandishing spears, swords, and a bow and arrow, amid craggy rockwork and two white hares, encircled by a diaper border and a band of alternating birds and floral sprays between lines.Provenance: From a private collection in London, United Kingdom.Condition: The rim with extensive frits, some with associated old repairs, and a small hairline (only visible under strong blue light), the foot with some fritting as well.Weight: 1,580 gDimensions: Diameter 36.3 cmThe rim with rectangular reserves divided by diaper borders and enclosing birds and flowers, encircled by another diaper border. The exterior rim with evenly spaced floral sprays. The base with a parasol mark in a shaped reserve within a double circle.During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus marks and double circles. The mark found on the present lot, in the form of a parasol, an important Buddhist symbol, appears to be very rare but is clearly part of the same group.Auction result comparison: Compare a related blue and white dish with a hunting scene, with a Chenghua mark and also dated to the Kangxi period, at Christie's Amsterdam in Chinese Ceramics and Works of Art on 3 May 2005, lot 182, sold for EUR 9,600. Compare also a related blue and white brushpot painted with a hunting scene, with a Xuande mark and also dated to the Kangxi period, at Christie's New York in Important Chinese Ceramics and Works of Art on 24 September 2021, lot 802, sold for USD 125,000. 康熙時期青花開光《狩獵圖》大盤中國，1662-1722年。折沿，淺腹，圈足。盤内中央開光描繪馬上狩獵圖，獵人揮舞著長矛、劍和弓箭，追趕著兩隻野兔。四周開光描繪花鳥卷葉紋。來源：英國私人收藏。 品相：邊緣有大量熔塊，有一些相關舊時修復，還有一條細小的裂紋（僅在強藍光下可見），足部也有一些熔塊。 重量：1,580 克 尺寸：直徑36.3 厘米 拍賣結果比較: 比較一件相近的成化款康熙時期青花《狩獵圖》大盤，見阿姆斯特丹佳士得Chinese Ceramics and Works of Art 2005年5月3日 lot 182, 售價EUR 9,600；另一件宣德款康熙時期的青花《狩獵圖》筆筒，見紐約佳士得Important Chinese Ceramics and Works of Art 2021年9月 24 日lot 802, 售價USD 125,000。
A ROBIN'S EGG GLAZED 'LANTERN' VASE, ZUN, QIANLONG TO JIAQING PERIODChina, 1736-1820. The body tapers slightly towards the foot and is flanked by a pair of prominently molded handles in the shape of inverted vases below the high shoulder and slightly waisted neck. The vase is covered overall with an opaque turquoise glaze densely mottled in bright and dark blue that also covers the recessed base entirely.Provenance: From a private collection in Hampshire, United Kingdom, by repute acquired in the 1960s.Condition: Excellent condition with minor wear and minimal firing irregularities. Weight: 1,097 gDimensions: Height 22.5 cmVases of this lantern shape, all applied with unusual mock handles of inverted vase shape, originated in the Yongzheng period, when they were made with Guan and Ge-type glazes, such as the two Yongzheng examples in the Palace Museum, Beijing, illustrated by Geng Baochang (ed.), Gugong Bowuyuan cang Qingdai yuyao ciqi (Porcelains from the Qing dynasty Imperial kilns in the Palace Museum collection), Beijing, 2005, pls. 174 and 206. However, during the Qianlong period, the shape became more popular as a vehicle for the robin's egg-blue glaze.The 'Robin's egg' glaze represents a significant technical innovation of the Yongzheng period (1723-35) attributable to Tang Ying (1682-1756), the greatest porcelain superintendent in Chinese history. The Yongzheng Emperor, who initiated many revivals of earlier ceramic techniques, was particularly enamored with the variegated Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. In order to have the glazes recreated or imitated, Tang Ying sent his trusted assistant from the imperial kilns in Jingdezhen, Jiangxi province, on study trips to the Jun region in Henan province to learn from the local potters and even went as far as having ceramic raw materials mined in the Jun area transported over thousands of kilometers to Jingdezhen. Among the many types of glazes derived from those efforts are mottled purple ones such as the flambe variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed lu Jun or Oven Jun, i.e., a Jun glaze fired in low-temperature ovens instead of high-temperature kilns (see Jingdezhen Institute of Ceramic Archaeology et al, The Cultures of Porcelain Superintendents and Jingdezhen, conference volume, Nanchang, 2011). The 'robin's egg' glaze is mentioned on a stele in Jingdezhen, inscribed by Tang Ying, as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the Imperial court. Its color is described as intermediate between the glazes of the Shiwan kilns of Foshan, Guangdong, and those used by the Yixing kilns in Jiangsu for their zisha tea pots, but having a better and more beautiful flow.According to scientific research conducted by the Victoria & Albert Museum and Oxford University, 'robin's egg' glazes are high-lead, low-temperature enamel-type compositions fired in oxidation and are colored largely with copper and opacified with lead arsenate to achieve their extraordinary beautiful effect. See Nigel Wood, Rose Kerr et al, 'An evaluation of the composition and production processes of Chinese “robin's egg” glazes', International Symposium on Ancient Ceramics, Shanghai, 2002, pp. 337-353.Literature comparison: Compare a closely related robin's egg glazed zun, with a Jiaqing mark and of the period, illustrated in The Complete Collection of Treasures of the Palace Museum 37 Monochrome Porcelain, Hong Kong, 1999, p. 211, no. 190.Auction result comparison: Compare a closely related robin's egg glaze lantern vase, with a Qianlong mark and of the period, at Christie's New York in The Studio of the Clear Garden: Chinese Ceramics and Works of Art on 22 March 2018, lot 606, sold for USD 137,500.乾隆至嘉慶時期爐鈞釉燈籠紋尊中國，1736-1820年。釉質呈藍綠小片斑狀，腹部兩側對稱燈籠紋浮雕，圈足。 來源：英國漢普郡私人收藏，據説購於上世紀六十年代。 品相：狀況極佳，輕微磨損，輕微燒製瑕疵。 重量：1,097 克 尺寸：高 22.5 厘米 拍賣結果比較：比較一件相近爐鈞釉燈籠紋尊，乾隆款及年代，見紐約佳士得The Studio of the Clear Garden: Chinese Ceramics and Works of Art 2018年3月22日 lot 606, 售價USD 137,500。
A LONQUAN CELADON-GLAZED RETICULATED TRIPOD CENSER, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. Of cylindrical form, supported on three short feet, the sides with an intricate design of pierced foliate scroll and three evenly spaced flowerheads aligned with the feet. Covered in a rich sea-green glaze thinning at the edges and pooling in the recesses. The well, base, and feet mostly left unglazed, the ivory-white ware burnt to orange along the edges of the glaze.Provenance: The Parry Collection of Chinese Art, London, and thence by descent. The Parry Collection was an important English private collection of Imperial enamel, lacquer, porcelain, and jades, started by Edward Arthur Parry (1879-1946), a barrister by trade, and his wife Angela Parry (nee Scully, 1879-1977) from as early as 1919. Six objects in the Collection were showcased at the International Exhibition of Chinese Art, for which only the world's finest pieces were chosen. The collection has passed down three generations of the Parry family, with many of the pieces having been acquired from the famous London dealers Spink and Bluett's.Condition: Excellent condition with minor old wear, shallow surface scratches, and firing flaws, such as glaze recesses, kiln grit, and firing cracks.Weight: 352.5 gDimensions: Diameter 10.7 cmAuction result comparison: Compare a related Longquan celadon warming bowl, with similar reticulated floral decoration and sea-green glaze, 21.3 cm diameter, dated to the Ming dynasty, at Christie's New York in Fine Chinese Ceramics and Works of Art on 17 March 2017, lot 1171, sold for USD 6,250.明末清初龍泉青釉鏤空筒式三足爐 中國，十七至十八世紀。爐口沿較寬，直壁，足下承三個雲頭形足。器身鏤空雕刻纏枝花卉紋。通體施梅子青釉。爐内底、外底和三足露胎。 來源：倫敦Parry 中國藝術收藏，自此保存至今。Parry收藏是英國重要的御製琺瑯器、漆器、瓷器和玉器私人收藏。1919年，貿易法大律師Edward Arthur Parry（1879-1946) 和他的妻子Angela Parry（原姓 Scully，1879-1977) 開創了這個收藏。該收藏中的六件作品在國際中國藝術展覽會上展出，這個展覽會只選擇了世界上最好的藝術品。該收藏已經在Parry家族傳承了三代人，其中許多藏品都是從著名的倫敦經銷商 Spink & Bluett's 那裡購得。 品相：狀況極佳，有輕微的舊時磨損、表面淺劃痕和燒製瑕疵，如釉面凹陷、窯砂和燒製裂紋。 重量：352.5 克 尺寸：直徑 10.7 厘米 拍賣結果比較：比較一件相近的明代龍泉青瓷花卉紋孔明碗（直徑21.3 厘米），見紐約佳士得Fine Chinese Ceramics and Works of Art 2017年3月17日 lot 1171, 售價USD 6,250。
A LONGQUAN CELADON TRIPOD CENSER, SOUTHERN SONG DYNASTYChina, 1127-1279. The compressed globular body molded with a raised rib at the shoulder connecting to three raised flanges running vertically from the shoulder to each conical foot. The straight neck supporting a flattened everted mouth rim, covered overall with a rich bluish sea-green glaze, thinning slightly over the rim and raised decoration and pooling at the recesses.Provenance: Old French private collection and thence by descent within the same family to the present owner.Condition: Excellent condition with minor wear and firing irregularities, such as dark spots and few pits. General shallow surface scratches.Weight: 320.3 gDimensions: Diameter 10.5 cm, Height 8.2 cmThis shape, inspired by ancient bronze li, was produced during the Southern Song through the Yuan period for the domestic as well as the export market. The thick, translucent glaze is typical of this type of Southern Song Longquan ware, as is the lack of any decoration other than the flanges.Literature comparison: Several Longquan celadon censers of the same shape are published, including several in renowned museum collections. Examples in the Tokyo National Museum and Percival David Foundation, London, are published in Oriental Ceramics, The World's Great Collections, Tokyo, 1982, vol. 1, no. 97, and vol. 6, no. 37, respectively. Others include the example by J. Ayers, The Baur Collection: Chinese Ceramics, vol. I, Geneva, 1972, no. A99; and the National Palace Museum, Taiwan, included in the Illustrated Catalogue of Sung Dynasty Porcelain, Taipei, 1974, no. 12. A larger example (19.7 cm. diam.), found in 1991 in Jinyu village of Nanqiong, Suining city, Sichuan province, is illustrated in Longquan Celadon: The Sichuan Museum Collection, Macau, 1998, pp. 210-11, no. 83.Auction result comparison: Compare a closely related but larger (15 cm diameter) Longquan tripod censer, also dated to the Southern Song dynasty, at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 29 November 2017, lot 2992, sold for HKD 1,000,000, and another of slightly smaller size (12.9 cm) at Sotheby's London in Fine Chinese Ceramics & Works of Art on 6 November 2013, lot 231, sold for GBP 116,500. 南宋龍泉三足爐 中國，1127-1279年。 爐呈鬲形，下承三乳足，上飾凸棱，隱露胎色，形成出筋效果。爐身施海綠色釉，玲瓏端秀。來源：法國私人老收藏，同一家族保存至今直至現任藏家。 品相：狀況極佳，有輕微磨損和燒製不規則現象，例如黑點和少量凹坑。 表面淺划痕。 重量：320.3 克 尺寸：直徑10.5 厘米, 高8.2 厘米 拍賣結果比較：一件相近的但稍大 (直徑15 厘米) 的龍泉三足爐，同樣為南宋，于香港佳士得Important Chinese Ceramics and Works of Art 2017年11月29日 lot 2992, 售價HKD 1,000,000, 另一件 (12.9 厘米) 于倫敦蘇富比 Fine Chinese Ceramics & Works of Art 2013年11月6日 lot 231, 售價GBP 116,500。
A WUCAI 'IMMORTALS' DISH, WANLI MARK AND PERIODChina, 1573-1619. Delicately potted with shallow rounded sides rising from a tapered foot to a flared rim, intricately painted to the interior with a central medallion enclosing Shoulao and two other immortals standing beside gnarled pine trees in a garden landscape with colorful clouds, the cavetto with a foliate meander bearing lingzhi heads supporting stylized Shou characters, painted to the exterior with eight floral sprays between a band of swirls and a double-line border. The recessed base with an underglaze-blue six-character mark da Ming Wanli nianzhi within a double circle and of the period.Provenance: From an important private collection in southern Germany, assembled between 1950 and 1987. Thence by descent.Condition: Very good condition with minor wear and firing flaws, including dark spots and pitting, two tiny chips to the rim with old kintsugi repair.Weight: 131.7 gDimensions: Diameter 14.2 cmExpert's note: This finely enameled piece belongs to a distinct group of porcelain dishes painted in either underglaze blue or wucai enamels with Daoist immortals and a scroll of lingzhi supporting Shou characters on the rim.Literature comparison: Compare a closely related bowl illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, vol. 38, Hong Kong, 1999, no. 43.Auction result comparison: Compare a closely related wucai dish, 12.3 cm diameter, also with a Wanli mark and of the period and depicting Shoulao, at Sotheby's Hong Kong in The Pilkington Collection of Chinese Art on 5 April 2016, lot 47, sold for HKD 1,125,000. Compare a related wucai bowl, 17 cm diameter, also with a Wanli mark and of the period and depicting Shoulao, at Christie's Hong Kong in The Pavilion Sale on 4 October 2018, lot 44, sold for HKD 1,125,000. 萬曆款與年代五彩開光仙人福壽盤中國，1573-1619年。侈口，圓腹淺盤，圈足。盤内紋飾精美，中央開光可見壽老和另外兩個神仙在五彩祥雲的圍繞中，旁邊可見松樹、靈芝與瑞獸。盤沿上壽字紋、雲紋以及花卉紋。圈足内青色雙圈六字“大明萬曆年製”。 來源：一個重要的南德私人收藏，購於1950年至1987年，保存至今。 品相：狀況極好，有輕微磨損和燒製瑕疵，包括黑點和點蝕，邊沿上有兩個小磕損，經過金繼技術修復。 重量：131.7 克 尺寸：直徑 14.2 厘米 專家注釋：這件仙人福壽盤，製作精美，青花五彩琺琅釉繪製仙人、靈芝、卷葉紋以及壽字。文獻比較：比較一件相近的碗，見Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, 第38冊，香港，1999年，圖 43。 拍賣結果比較：比較一件相近的五彩盤，直徑12.3 厘米，同樣有萬曆款和壽老紋飾，見香港蘇富比The Pilkington Collection of Chinese Art 2016年4月5日 lot 47, 售價HKD 1,125,000； 比較一件相近五彩碗，直徑17厘米，同樣有萬曆款與年代以及壽老紋飾，見香港佳士得The Pavilion Sale 2018年10月4日 lot 44, 售價HKD 1,125,000。
A PAIR OF REVERSE-DECORATED CORAL-GROUND 'PEONY AND LOTUS' BOWLS, QIANLONG SEAL MARKS AND OF THE PERIODChina, 1736-1795. Each delicately and thinly potted, with deep rounded and translucent sides rising from a short, slightly spreading foot to an everted rim. Delicately reverse-decorated in a rich iron-red enamel with a row of peony heads, alternating with smaller lotus above a row of lotus blossoms, all borne on interlocked foliate scrolls reserved in white against the opaque coral ground, the interior left undecorated. The recessed white bases with underglaze-blue six-character seal marks da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in New York, USA.Condition: Superb condition with only minor old wear and minimal firing flaws, such as dark spots and minuscule irregularities in the red enamel along the foot. The glaze with a magnificent, unctuous feel overall. In such pristine condition, the present bowls must be considered exceedingly rare.Weight: 139.2 g and 139.5 gDimensions: Diameter 12.9 cm and 13 cmThis exquisite pair of bowls is notable for the meticulously executed floral scroll, which creates a sharp and pleasing contrast against the iron-red ground. While iron red was already used to decorate Cizhou wares in the Jin dynasty (1115-1234), and was adopted at Jingdezhen during the Yuan dynasty, it was only in the 18th century, when all enamels were scrutinized as to their unique properties, that its decorative potential was fully realized. Iron red, which adheres in a thin, opaque layer, allows for razor-sharp lines, which could not be achieved with other enamels that are thicker and glassier. This property makes 'negative' reverse designs most successful, giving them a delicacy which can only rarely be seen on 'positive' paintings above a white ground. The reverse effect, combined with the unique translucency of the pottery, creates a stunning appearance once sunbeams shine through the bowls.Porcelain wares decorated with 'negative' reverse designs on an iron-red ground are the product of the creative genius of Tang Ying (1682-1756), Superintendent of the Imperial kilns during the Yongzheng and early Qianlong periods. A bondservant of the Plain White Banner, who had served at the court from the age of 16, Tang is credited with the introduction of novel techniques and designs at the kilns. Luxuriant floral scrolls against an iron-red ground first appeared on Yongzheng mark and period boxes, but with additional butterflies, such as one in the Palace Museum, Beijing, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, plate 70, and another from the Sir Percival David collection and now in the British Museum, London, published in Margaret Medley, Illustrated Catalogue of Ming Polychrome Wares, London, 1978, plate 163. During the Qianlong period, this reverse-decorated floral design was modified to be used on the outside of bowls, yet without butterflies.Fitted box. (2)Literature comparison: A related bowl with Qianlong mark, in the Percival David Foundation, is illustrated in Oriental Ceramics, The World's Great Collections, vol. 6, Tokyo, 1982, pl. 94. Three related bowls, also with Qianlong marks, in the Ohlmer Collection, Roemer Museum, Hildesheim, are illustrated by U. Wiesner, Chinesisches Porzellan, Mainz am Rhein, 1981, no. 130-2. See S. Marchant and Son, Nineteenth Century Mark and Period Porcelain, London, 7-28 June, 1992, no. 28, for a pair of Qianlong mark and period bowls of identical decoration and size.Auction result comparison: Compare a pair of near-identical bowls (12.8 cm diameter), also with Qianlong seal marks and of the period, of identical form and decoration, at Sotheby's Hong Kong in Marchant – Fifty Qing Imperial Porcelains on 10 July 2020, lot 3131, sold for HKD 1,750,000 (for a pair). Compare a near-identical bowl (12.7 cm diameter), also with Qianlong seal mark and of the period, of identical form and decoration, at Christie's New York in Marchant: Nine Decades in Chinese Art on 14 September 2017, lot 747, sold for USD 93,750. Compare a near-identical bowl (12.7 cm diameter), also with Qianlong seal mark and of the period, of identical form and decoration, at Christie's New York in Fine Chinese Ceramics & Works of Art Part I on 18 March 2016, lot 1625, sold for USD 81,250.乾隆款及年代一對珊瑚紅彩留白纏枝花卉圖碗中國，1736-1795年。撇口、深腹、圈足。內壁光素施白釉，外壁珊瑚紅地留白裝飾，纏枝花卉佈局繁密，花紋留白處以珊瑚紅線條勾勒花莖，描繪細緻，格調秀雅。圈足内青花六字款“大清乾隆年製”。 來源：美國紐約私人收藏。 品相：狀況極佳，只有輕微的磨損和燒製瑕疵，例如黑斑和足部紅色琺瑯中的微小不規則性。釉面整體具有華麗晶瑩。如此品相，極爲珍貴。 重量：分別為139.2 克與139.5 克 尺寸：直徑分別爲 12.9 厘米 與13 厘米這對碗釉色精美，珊瑚紅在金代（1115-1234）已被用於磁州窯器，元代景德鎮也採用了珊瑚紅紅，但直到十八世紀，單色釉的獨特性才被重視並得到充分發展。珊瑚紅在釉上可以產生獨特的效果，在陽光的照耀下，會產生令人驚嘆的效果。 此種珊瑚紅地留白技法始創於清雍正時期，是督陶官唐英（1682-1756）為皇室燒製的專用器。先在白釉上以紅彩勾繪紋飾輪廓，在輪廓外滿填紅彩，形成紅白相應的色彩構圖，是清代獨特的瓷藝品種。此種紋樣創燒自雍正御窯，較之常見的官窯品種更為稀少，彌足珍貴。相應館藏作品請參考北京故宮博物院藏清雍正紅彩地白花蝶蓋盒（參見《故宮珍藏康雍幹瓷器圖錄》，紫禁城出版社、兩木出版社，1989年，頁241，圖70）。另可見倫敦大英博物館Sir Percival David 收藏，見 Margaret Medley, Ming Polychrome Wares, 倫敦1978年，圖163。到了乾隆年代，此紋飾用於碗外壁，並且沒有了蝴蝶。 配套的盒子。(2) 文獻比較：一件相近的同樣有乾隆款的碗，收藏於Percival David Foundation基金會，見Oriental Ceramics, The World's Great Collections, 第6冊，東京 1982年，圖 94。另外三件有乾隆款的碗，收藏於德國 Hildesheim Roemer Museum美術館Ohlmer Collection收藏，見U. Wiesner, Chinesisches Porzellan, Mainz am Rhein, 1981年，圖130-2。見S. Marchant and Son, Nineteenth Century Mark and Period Porcelain, 倫敦，1992年6月7-28日，圖 28, 一對乾隆款及年代的碗，相同紋飾與尺寸。 拍賣結果比較：比較一對幾乎一模一樣的碗 (直徑12.8 厘米)，乾隆款及年代，相同形狀與紋飾，見香港蘇富比Marchant – Fifty Qing Imperial Porcelains 2020年7月10日 lot 3131, 售價HKD 1,750,000 (一對)；比較一件幾乎一模一樣的碗(直徑12.7 厘米)，乾隆款及年代，相同形狀與紋飾，見紐約佳士得Marchant: Nine Decades in Chinese Art 2017年9月14日 lot 747, 售價USD 93,750；比較一件幾乎一樣的碗 (直徑12.7 厘米)，乾隆款及年代，相同形狀與紋飾，見紐約佳士得Fine Chinese Ceramics & Works of Art Part I 2016年3月18日 lot 1625, 售價USD 81,250。
A BRONZE TRIPOD CENSER, SONG YUE LUE MARK, 17TH-18TH CENTURYChina. The censer has a compressed body raised on three conical supports, and a pair of 'bridge'-shaped handles that rise in a graceful curve from the rim. The base crisply cast with a recessed square panel enclosing a three-character mark.Inscriptions: To base, 'Song Yue Lue' (Companion of Pine and Moon).Provenance: Christie's South Kensington, 10 September 1987 (according to collector's notes). Collection of John Burke da Silva, acquired from the above and thence by descent within the same family. A handwritten note by the collector, describing the present lot and recording its purchase from Christie's, accompanies this lot. John Burke da Silva CMG (1918-2003) joined the Foreign Office after the war. The job took him to many parts of the world. His love of Chinese porcelain stemmed from a posting to the Embassy in Rome in 1954, where he happened to stay in a rented flat that housed a large collection of Chinese and Japanese works of art. He studied the subject learning from books and visiting museums, eventually joining the Oriental Ceramics Society in 1960, and serving on their Council and as Honorary Treasurer until 1994.Condition: Very good condition with old wear and some casting flaws, few small nicks and dents, occasional light scratches. Fine, naturally grown patina with areas of dark and malachite encrustation.Weight: 1,177 gDimensions: Diameter 13.7 cm (at the widest points)Auction result comparison: Compare a related bronze censer, 23.5 cm wide, with the same mark and also dated 17th-18th century, at Bonhams London in Fine Chinese Art on 8 November 2018, lot 267, sold for GBP 13,750. Compare a closely related bronze censer, 23.2 cm wide, but with an apocryphal Xuande mark and dated to the 18th century, of near-identical form, at Christie's New York in Fine Chinese Ceramics and Works of Art on 22 March 2013, lot 1284, sold for USD 13,750.十七至十八世紀“松月侶“款青銅橋耳三足爐中國。橋耳流暢，乳足圓碩，爐身豐滿，比例協調，線條爽朗。底鑄”松月侶“ 三字篆書款。. 來源：南肯辛頓佳士得，1987年9月10日 (根據藏家備註)。John Burke da Silva收藏，購於上述收藏并保存在同一家族至今。隨附藏家來源備註。John Burke da Silva CMG (1918-2003) 戰後加入外交部，從而可以環游世界。 他對中國瓷器的熱愛源於 1954 年在羅馬大使館任職時期，當時他碰巧住在一間租來的公寓裡，樓裡面收藏了大量中國和日本的藝術品。他通過書本學習並參觀博物館，最終於 1960 年加入東方陶瓷學會，在其理事會任職並擔任名譽司庫直至 1994 年。 品相：狀況極好，有舊磨損和一些鑄造瑕疵，少量小劃痕和凹痕，局部有輕微劃痕。自然生長的細膩的包漿，帶有深色和孔雀石綠結殼。 重量：1,177 克 尺寸：直徑13.7 厘米 (最寬處) 拍賣結果比較: 比較一件相近的青銅爐，寬 23.5厘米，同一款識，十七至十八世紀，見倫敦邦翰思 Fine Chinese Art 2018年11月8日 lot 267, 售價GBP 13,750 ；比較一件相近的青銅爐，寬 23.2厘米，但有宣德款，十八世紀，相似外形，見紐約佳士得Fine Chinese Ceramics and Works of Art 2013年3月 22日 lot 1284, 售價USD 13,750。
A BLUE AND WHITE 'DRAGON' VASE, KANGXI PERIODChina, 1662-1722. Sturdily yet elegantly potted, the slender ovoid body rising from a short foot with a concave base to a waisted neck with a lipped rim. Finely painted around the exterior in rich tones of cobalt blue with two large, ferocious dragons, each two-horned and five-clawed, sinuously writhing and surrounded by flames, and with neatly rendered scales. The foot and base left unglazed.Provenance: British market, by repute from an old English estate.Condition: Good condition with minor wear and firing irregularities, including dark spots and pitting. The lip with some glaze fritting and small glaze recesses.Weight: 935.9 gDimensions: Height 24.3 cmThe five-clawed dragon continued as an imperial symbol during the Qing dynasty, and its use was even more severely restricted than in the Ming. The rendition of the dragon on the present lot is characteristic of that in the Kangxi period, which is exemplified by a fierce and powerful deameanor giving an impression of authority and majesty, with finely detailed painting of the head and scales. This is a considerable development from the more freely drawn and often more simplified versions of the late Ming dynasty. The full-faced representation of the dragon already existed in Ming times, and became popular in the Qing, but it is from the Kangxi period onwards, as evident from the present lot, that the dragon was imbued with a greater sense of vitality and martial spirit.Literature comparison: A closely related vase, with a Kangxi mark and of the period, is illustrated in Elias, A Dealer's Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi, New York 2013, p. 345, fig. 423. Another closely related example is in the collection of the Shanghai Museum, exhibited in Sovereign Splendour: Imperial Porcelain From Shanghai at the Gemeentemuseum Den Haag, 2011, and illustrated by T.M. Eliëns (ed.), Keizerlijk porselein uit het Shanghai Museum, Zwolle/The Hague 2011. Compare also a vase from the Palace Museum in Beijing, illustrated in Kangxi Yongzheng Qianlong, Hong Kong 1989, p. 23, pl. 6 and another from the Wang Xing Lou Collection, illustrated in Imperial Perfection, The Palace Porcelain of Three Chinese Emperors, Hong Kong 2004, no. 1. For a pair of related vases with Chenghua marks, see Ming and Qing Porcelain from the Collection of the T. Y. Chao Family Foundation, Hong Kong Museum of Art, 1978, cat. no. 85, sold at Sotheby's London, 18 November 1986, lot 83.Auction result comparison: Compare a closely related vase, with a Kangxi mark and of the period, at Christie's Hong Kong in Imperial Chinese Ceramics from the Robert Chang Collection – Jade Shears and Shimmering Feathers on 28 November 2006, lot 1317, sold for HKD 22,520,000. Compare a closely related vase, marked only with a double circle and dated to the Kangxi period, at Bonhams Sydney in Important Asian Art on 22 May 2019, lot 30, sold for AUD 42,700 (approx. EUR 27,000). Note that the Bonhams vase has severe condition issues, including a damaged and repaired neck, and thus the auction result does not adequately reflect the value of the present lot.康熙時期青花龍紋瓶中國，1662-1722年。青花龍紋瓶，瓶口微撇，短頸，圓肩，肩以下漸收，圈足。瓶身青花繪兩條五爪立龍，張牙舞爪，龍身捲曲，威武兇猛，四周火焰圍繞。圈足內露胎。來源：英國古玩市場，據説來自英國私人收藏。 品相：狀況良好，有輕微磨損和燒製瑕疵，包括黑點和點蝕。 唇部有一些釉點和小釉凹槽。 重量：935.9 克 尺寸：高 24.3 釐米 五爪龍在清代是皇室的象徵，其使用的限制比明代還要嚴格。 本拍品的龍紋具有康熙時期的特點，氣勢兇猛，威風凜凜，頭部和鱗片刻畫細緻。 這是明朝後期更自由繪製且通常更簡化的版本一個很大的發展。龍的全臉形像在明代已經存在，在清代開始流行，但從康熙時期開始，按照此拍品的形制，龍被賦予了更大的生命力、戰鬥力和精神。 文獻比較：一個相近的康熙款及年代的青花龍紋瓶，見 Elias, A Dealer's Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi，紐約，2013年, 第345頁，圖423。另一件見2011年上海博物館於海牙市立美術館展覽：Sovereign Splendour: Imperial Porcelain From Shanghai；圖見T.M. Eliëns (ed.), Keizerlijk porselein uit het Shanghai Museum, 兹沃勒/海牙，2011年。比較一件北京故宮博物院藏品，見《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，第23頁，圖6。 比較另一件《清代康雍乾官窯瓷器〈望星樓藏瓷〉》，香港2004年，編號1。一對成化款龍紋見Ming and Qing Porcelain from the Collection of the T. Y. Chao Family Foundation, 香港藝術館, 1978年，圖錄編號85, 售於倫敦蘇富比,1986年11月 18日。 拍賣結果比較：比較一件康熙款及年代的龍紋瓶，見香港佳士得Imperial Chinese Ceramics from the Robert Chang Collection – Jade Shears and Shimmering Feathers 2006年11月28日 lot 1317, 售價HKD 22,520,000；比較一件康熙時期雙圈款龍紋瓶，見悉尼邦翰思Important Asian Art 2019年5月 22日 lot 30, 售價AUD 42,700 (大約EUR 27,000)。請注意邦翰思的這件龍紋瓶品相有問題，有破損和修復，因此，拍賣結果並不能充分反映現拍品的價值。
A FAMILLE ROSE 'SHOULAO' VASE, JUREN TANG MARK, REPUBLICChina, 1912-1949. The ovoid body rising from a spreading foot to a waisted neck with a galleried rim. Painted in bright enamels with gilt highlights to depict Shoulao, wearing voluminous robes, offering a peach to Lan Caihe, holding a long staff with a flower basket and a sack filled with flowers at her sides, a young attendant standing beside Shoulao and carrying his basket, all below two iron-red bats painted to the neck. The base with an iron-red four-character seal mark Juren Tang zhi.Provenance: From an English private collection.Condition: Very good condition with minor wear and firing flaws. Drilled to base.Weight: 984.7 gDimensions: Height 28 cmThe Juren Tang ('Hall where Benevolence Resides') in Zhongnanhai was the building in which Yuan Shikai (1859-1916) lived and also where he had his office around 1915. Yuan Shikai was the first President of the Republic of China and Emperor of the short-lived Empire of China (1915-1916), taking the era name Hongxian. In 1916, Guo Baochang, an antique dealer with a good relation to the court, was appointed to oversee Hongxian's new Imperial porcelain production. The intent from the outset was that the items produced were to be of excellent quality. The biscuit used was very thin, the enamels were sent from the Imperial Workshops and the mark used was a red seal reading Juren Tang zhi. The quality of items produced was reputed to be excellent. Unfortunately during production, because of the very thin biscuit, many objects were damaged. The remaining few perfect pieces were given to the most favored officials and are exceedingly rare today.Yuan Shikai stood down as Emperor on 22 March 1916 and resumed his presidency, dying shortly afterward in June 1916. After his death, production was halted and the kilns were destroyed, but the enamels were stolen by workers who then proceeded to copy the Juren Tang production, marking their pieces Hongxian nianzhi (also Hongxian Yu Chih or Hongxian Yuan Nian), mostly with Kaishu script. The first copies produced were apparently of extremely high quality, as they were still using the imperial biscuit and enamels, but quality fell as the quantity increased and, presumably, the imperial resources were depleted. One opinion has it that all Hongxian marked pieces are made after the actual period, and that the only possibly genuine mark of the Hongxian period are the Juren Tang, if any. Still, from extant pieces it is clear that the porcelain industry was much stimulated at this time and for decades to come, and that pieces of very high quality were made, some of which bear the Hongxian mark while others are marked Juren Tang.Auction result comparison: Compare a related famille rose vase, also depicting Shoulao and with a Juren Tang zhi mark, dated to the Republic period, at Christie's London in Fine Chinese Ceramics and Works of Art on 13 May 2014, lot 402, sold for GBP 37,500. 民國居仁堂款粉彩《壽老》賞瓶 中國，1912-1949年。唇沿，削肩，縮腹，圈足外撇。粉彩描金繪壽老，身穿長袍，手執長杖，高舉仙桃，身側站著侍者。頸部兩隻鐵紅釉蝙蝠。鐵紅釉四字款“居仁堂製”。來源：英國私人收藏。 品相：狀況極好，有輕微磨損和燒製瑕疵。底部鑽孔。 重量：984.7 克 尺寸：高 28 釐米 拍賣結果比較：比較一件民國居仁堂款粉彩壽老紋賞瓶，見倫敦佳士得 Fine Chinese Ceramics and Works of Art 2014年5月13日 lot 402, 售價GBP 37,500。
A RARE UNDERGLAZE-RED POURING BOWL, YI, YUAN TO MING DYNASTYChina, 1279-1644. The deep rounded sides supported on a slightly concave base, rising to a straight rim, one side set with an outward flaring spout above a small loop handle. The interior painted with a central medallion enclosing a lotus bouquet, encircled by a boldly painted scroll band framed by double-line borders, repeated to the exterior. The base partially and the rim fully left unglazed, revealing the grayish-buff ware with a smooth feel. Sturdily potted.Provenance: From a private collection in Boston, Massachusetts. Acquired by the present owner's mother in the United Kingdom during the 1950s, before she immigrated to the USA during the 1960s. Inherited by the last owner in the 1990s.Condition: Very good condition with firing flaws, including the fading of the underglaze-red in some areas and the scattered green iron-oxide spots seen in the center of the interior. Minor wear, the rim with a smoothened chip near the spout and few small nicks.Weight: 245.2 gDimensions: Length 15.3 cm (spout to rim)Pouring vessels of this type, known as yi, were important items of daily life, made in silver and other metals, as well as in Longquan celadon and monochrome white, blue-and-white, underglaze-red decorated and cobalt-blue glazed porcelain.Expert's note: The present pouring bowl shows several attributes that virtually guarantee an age of at least 400-500 years, if not more. The misfired underglaze-red, due to which the color has faded considerably in some areas, and the scattered green iron-oxide spots seen on the lotus bouquet in the central medallion, are clear markers of an early piece, but the extremely smooth feel to the unglazed areas of the pouring bowl should not be ignored either. Finally, the elegantly swung brush strokes, of a simple yet virtuoso quality, speak for themselves.Literature comparison: A similar underglaze-red decorated pouring vessel painted in the center with a wild goose in flight holding a reed, also surrounded by a red band with incised scrolling lines, which in that case have turned a deeper red, was excavated from the hoard of Yuan ceramics at Gao'an, and is illustrated in Gao'an Yuandai jiaocang ciqi, The Porcelain from the Cellar of the Yuan Dynasty in Gao'an, Beijing, 2006, pp. 68-9, and inside the back cover, and was also included in the Metropolitan Museum exhibition, 2010, op.cit., fig. 321.Auction result comparison: Compare a closely related underglaze-red yi, dated early to mid-14th century, at Sotheby's Hong Kong in The Meiyintang Collection, Part V - An Important Selection Of Imperial Chinese Porcelains on 07 April 2013, lot 34, bought-in at an estimate of HKD 900,000-1,200,000, and a related blue and white yi, also painted with a central medallion enclosing a lotus bouquet, dated to the Yuan dynasty, at Sotheby's Hong Kong in Important Chinese Art on 6 November 2019, lot 137, sold for GBP 50,000. 元明時期罕見釉裏紅匜中國，1279-1644年。圓腹，口微歛，平底。沿有流，形呈長方，與腹相連，下有小圓繫。器心飾束蓮紋，蓮花、蓮蓬、茨菰等水草用束帶束上。白地釉色泛青，繪飾殷紅略紫。口沿、器底無釉露胎。 來源：馬賽諸塞州波斯頓私人收藏。藏家的母親於上世紀五十年代購於英國，後來她於上世紀六十年代移民去了美國，最後一位持有人於上世紀九十年代繼承了此拍品。 品相：品相極好，燒製瑕疵，部分釉裏紅褪色，內部中央有散落的綠色氧化鐵斑點。 輕微磨損，流附近的邊緣有一個平滑的缺口，並且有少量小刻痕。 重量：245.2 克 尺寸：長15.3 厘米 (流至邊沿) 專家注釋：這個碗顯示了幾個特徵，幾乎可以證明它已有 400-500 年的歷史，如果不是更久遠的話。 有燒製瑕疵的釉里紅，部分地方褪色明顯，中間的束蓮上散落的綠色氧化鐵斑點，明顯是早期作品的特徵，但手感極其光滑。碗的露胎部位也不應被忽視。最後，細膩的筆觸，簡單而精湛的品質，不言而喻。 拍賣結果比較：比較一件十四世紀中葉釉裏紅匜見香港蘇富比The Meiyintang Collection, Part V - An Important Selection Of Imperial Chinese Porcelains 2013年4月7日 lot 34, 估價 HKD 900,000-1,200,000；一件元代青花蓮紋匜見香港蘇富比Important Chinese Art 2019年11月 6日 lot 137, 售價GBP 50,000。
A WHITE AND RUSSET JADE 'DEER AND LINGZHI' GROUP, 18TH CENTURYChina. Finely carved as a recumbent deer with long, gently curved ears, the antlers terminating in lingzhi heads, a sprig of lingzhi in the deer's mouth, a peach resting on its back, and a fawn nestled up to its mother's side. The translucent stone is of a pure white tone with few yet distinct russet veins and small areas of russet skin.Provenance: From the collection of Robert Youngman and thence by descent. Robert P. Youngman (1940-2018) was an investment advisor, philanthropist, and a great enthusiast of Asian art. In 1976, he founded the investment management firm Granite State Corporation, now known as Griffin Asset Management. Youngman joined the Board of Trustees of Middlebury College in 1980 and served as Chairman of its Board for several years. Besides forming an impressive collection himself, he established endowed funds at his alma mater to support the acquisition and curation of Asian art, and authored two books, one on Chinese porcelain and the other on Chinese jades.Condition: Excellent condition with minor old wear, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Good overall surface feel with a decent, natural luster.Weight: 96.8 g Dimensions: Length 8.2 cmWith a padded silk box and cover. (2)Auction result comparison: Compare a closely related white jade group, also dated to the 18th century and of identical size, at Sotheby's Hong Kong in Important Chinese Works of Art on 7 April 2015, lot 3682, sold for HKD 562,500. 十八世紀白玉鹿啣靈芝 中國。白玉巧雕，結合多種雕刻技法，臥鹿口銜靈芝，靈芝纏卷與鹿角相似，打磨精細。子母鹿形象鮮活逼真，線條優美。整體質地厚潤，雕琢細膩且寓意祥瑞。白玉局部留皮。 來源：Robert Youngman 私人收藏，保存至今。Robert P. Youngman (1940-2018) 是一位投資顧問、慈善家和亞洲藝術愛好者。1976 年，他創立了投資管理公司 Granite State Corporation，現為 Griffin Asset Management。Youngman先生 於 1980 年加入Middlebury College董事會，並擔任董事會主席數年。除了自己的收藏外，他還在母校設立了捐贈基金，支持亞洲藝術的收購和策展，並著有兩本書，一本關於中國瓷器，另一本關於中國玉器。 品相：狀況極佳，有輕微舊時磨損，玉料有天然紋理，隨著時間的推移，其中一些可能會發展成細小的裂縫。整體表面感覺良好，光澤自然細膩。 重量：96.8 克 尺寸：長 8.2 厘米 絲面蓋盒。(2) 拍賣結果比較：比較一件相近的十八世紀白玉擺件，相同尺寸，見香港蘇富比Important Chinese Works of Art 2015年4月7日 lot 3682, 售價HKD 562,500。
A COPPER-RED DECORATED 'DRAGON' WATERPOT, TAIBAI ZUN, QING DYNASTYChina, 1644-1912. Neatly potted with the rounded sides supported on a short foot and rising to a waisted neck, the exterior finely decorated in underglaze copper-red on a white ground with a sinuous dragon chasing a flaming pearl, the porcelain covered overall in a transparent glaze.Provenance: Belgian trade, by repute acquired from a private estate. Condition: Good condition with minor wear and firing irregularities, including pitting and small glaze recesses, the interior with extensive remnants of black ink, the lip smoothened and fitted with a silver rim.Weight: 116.2 gDimensions: Diameter 8 cmAuction result comparison: Compare a related copper-red-decorated vase, 32 cm high, dated to the 18th century, with similarly painted dragons, at Christie's New York in Fine Chinese Ceramics and Works of Art on 15 September 2011, lot 1557, sold for USD 134,500. 清代釉裏紅龍紋太白尊中國，1644-1912年。尊小口微撇，短頸溜肩，鼓腹呈半球形，圈足。器內施白釉。外壁釉裏紅五爪龍戲珠紋。圈足內施白。 來源：比利時古玩市場，據説購於私人收藏。 品相：品相良好，有輕微磨損和燒製瑕疵，包括點蝕和釉面小凹陷，內部有大量黑色墨水餘留，唇部平滑鎏銀。重量: 116.2 克 尺寸：直徑8 厘米 拍賣結果比較：比較一件相近的豇豆紅瓶，高 32 厘米，十八世紀，相似龍紋，見紐約佳士得Fine Chinese Ceramics and Works of Art 2011年9月15日lot 1557, 售價USD 134,500。
A WHITE JADE FIGURE OF A BUDDHIST LION, QING DYNASTYChina, 1644-1912. Well carved in the form of a recumbent lion, with alert eyes and flaring nostrils, its head sharply turned to the right, the body articulated by the raised spine extending to the bushy tail curling around its hind leg. The translucent stone of an even white tone with only few cloudy inclusions.Provenance: From the collection of Robert Youngman and thence by descent. Robert P. Youngman (1940-2018) was an investment advisor, philanthropist, and a great enthusiast of Asian art. In 1976, he founded the investment management firm Granite State Corporation, now known as Griffin Asset Management. Youngman joined the Board of Trustees of Middlebury College in 1980 and served as Chairman of its Board for several years. Besides forming an impressive collection himself, he established endowed funds at his alma mater to support the acquisition and curation of Asian art, and authored two books, one on Chinese porcelain and the other on Chinese jades.Condition: Excellent condition with minor old wear. Good, manually applied surface polish.Weight: 75.3 g Dimensions: Length 6 cmAuction result comparison: Compare a closely related white jade lion, dated to the 17th century, at Sotheby's Hong Kong in Fine Chinese Ceramics & Works of Art on 7 October 2010, lot 2741, sold for HKD 150,000.清代白玉太獅擺件中國，1644-1912年。白玉飽滿圓潤，太獅呈臥姿，雙眉大眼，炯炯有神，寬鼻張口，頭往右轉，右後腿似乎在撓癢，活靈活現。頭部鬃毛呈渦紋狀。細微内沁。來源：Robert Youngman 私人收藏，保存至今。Robert P. Youngman (1940-2018) 是一位投資顧問、慈善家和亞洲藝術愛好者。1976 年，他創立了投資管理公司 Granite State Corporation，現為 Griffin Asset Management。Youngman先生 於 1980 年加入Middlebury College董事會，並擔任董事會主席數年。除了自己的收藏外，他還在母校設立了捐贈基金，支持亞洲藝術的收購和策展，並著有兩本書，一本關於中國瓷器，另一本關於中國玉器。 品相：狀況良好，有輕微舊時磨損。表面抛光良好。 重量：75.3 克 尺寸：長 6 厘米 拍賣結果比較：比較一件相近的十七世紀白玉太獅，見香港蘇富比Fine Chinese Ceramics & Works of Art 2010年10月 7日 lot 2741, 售價HKD 150,000。
A RARE RED LACQUER 'MONGOL HUNT' BOWL, ATTRIBUTED TO ZHOU ZHUChina, 16th-17th century. The deep rounded sides rising from a short straight foot to an everted rim. Deeply carved with a continuous scene of four Mongolian hunters on horseback brandishing spears, one having just killed a wolf with his weapon, riding through a rocky landscape with grass and lingzhi as well as trees including paulownia, willow, and pine, against a floral diaper ground, the interior lacquered black. Provenance: Captain W. F. Collins (1865-1948), Beijing. Bluett & Sons, London, 26 May 1926. The Parry Collection of Chinese Art, London, acquired from the above and thence by descent. The base with an old collector's label, '341', partly obscuring a label from Bluett & Sons below. A copy of the original typed, stamped, and signed invoice from Bluett & Sons, dated 26 May 1926, addressed to “E. A. Parry, Esq.”, dating the present lot to the Ming dynasty, accompanies this lot. Captain Collins (1865-1948), was Bluett's main supplier in China from February 1925 to January 1928. He also sold pieces to John Sparks and other dealers in London and Paris between the 1920s and 1940s. The Parry Collection was an important English private collection of Imperial enamel, lacquer, porcelain, and jades, started by Edward Arthur Parry (1879-1946), a barrister by trade, and his wife Angela Parry (nee Scully, 1879-1977) from as early as 1919. The collection has passed down three generations of the Parry family, with many of the pieces having been acquired from the famous London dealers Spink and Bluett's.Condition: Good condition with old wear, natural age cracks and few minuscule losses to the red lacquer, the black lacquer with several shallow losses to the rim and associated old minor touchups.Weight: 119.0 gDimensions: Diameter 10.7 cmWith a finely carved hardwood stand dating to the Qing dynasty. (2)Lacquer bowls depicting hunting are extremely rare. Although hunting was extolled by early Ming Emperors who had inherited the tradition from the Mongol Yuan as a sign of military prowess and state authority, by the mid and late Ming period it was seen by the literati as a distraction from grave matters of state. The role of hunting became a charged area of contestation, where Ming Emperors and senior court ministers staked claims about rulership, ruler-minister relations, and the role of the military in the polity. The heirless Zhengde Emperor (1505-1521) was particularly passionate about hunting, much to the consternation of his ministers, see D. M. Robinson, Martial Spectacles of the Ming Court, Cambridge MA, 2013, pp. 214-220.Expert's note: Research conducted by Hugh M. Moss of the Water, Pine and Stone Retreat, concerning a red lacquer box and cover carved with a closely related scene of five Mongolian hunters (see Auction result comparison), has found that box “to be a lacquer version of inlaid wooden boxes decorated with a hunting scene and attributed to the 16th century artist Zhou Zhu.” For this reason, we do attribute the present bowl, identical in quality to the aforementioned box, to Zhou Zhu as well.Zhou Zhu is recorded in the writings of the Ming and Qing literati as having worked in Yangzhou in Jiangsu province during the reign of the Jiajing Emperor. He was famous for his perfection of the technique of inlaying a wide variety of precious stones and other materials onto wood and lacquer. What distinguishes Zhou's works from others is his use of a much broader range of material and the complexity of the inlay itself. By skillfully utilizing kaleidoscopic materials to depict extraordinarily vivid scenes adorning precious woods, Zhou pioneered a range of beautifully inlaid works of art distinctive for their three-dimensional quality with eye-catching effects. His work provided inspiration for numerous subsequent interpretations. Literature comparison: Compare a hardstone-inlaid box and cover, attributed to Zhou Zhu and depicting a Mongolian hunting scene, dated by inscription to 1537, at Sotheby's Hong Kong in Water, Pine and Stone Retreat Collection – Scholarly Art on 7 October 2010, lot 2192. See also two related hardstone-inlaid zitan boxes and covers, early Qing dynasty, decorated with equestrian hunting figures, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn, Hong Kong, 2002, nos. 230-231. A similar hunting scene can be found on a two-colored lacquer tray in the Tokugawa Art Museum, Nagoya, illustrated in Karamono. Imported Lacquerwork – Chinese, Korean and Ryukyuan, Selections from the Tokugawa Art Museum, no. 2, Nagoya, 1997, pl. 95, attributed to the Yuan or Ming period.Auction result comparison: Compare a related cinnabar lacquer box and cover, also dated 16th-17th century, attributed to Zhou Zhu, and carved with a similar Mongolian hunting scene, at Sotheby's Hong Kong in Water, Pine and Stone Retreat Collection – Scholarly Art on 7 October 2010, lot 2213, sold for HKD 860,000.周柱風格罕見剔紅狩獵圖碗中國，十六至十七世紀。剔紅碗撇口，直壁深腹，大氣端莊，通體髹紅漆。外壁錦地剔紅裝飾狩獵場景，山石松樹掩映。蒙古服飾人物騎於馬上手持兵器圍獵，為首之人立於馬上持戟殺狼，一人持鞭催馬。馬匹身姿矯健，四足騰空。獵手神情嚴肅，對獵物誌在必得。整器風格古樸雅緻，乃明代剔紅典雅之作。 來源：北京W. F. Collins (1865-1948) 上尉。倫敦Bluett & Sons 藝廊，1926年5月26日。倫敦Parry Collection中國藝術收藏，購於上述藝廊並保存至今。底部可見收藏老標籤“341”，Bluett & Sons 的標籤局部被遮蓋。隨附Bluett & Sons藝廊出具的蓋章發票副本，時間爲1926年5月26日，收件人地址爲 “E. A. Parry, Esq.”。發票上注明此拍品為明代。Collins上尉 1925 年 2 月至 1928 年 1 月期間曾是 Bluett 在中國的主要供應商。他還在 1920 年代至 1940 年代期間向 John Sparks 和倫敦以及巴黎的其他經銷商出售藝術品。Parry收藏是英國重要的御製琺瑯器、漆器、瓷器和玉器私人收藏。1919年，貿易法大律師Edward Arthur Parry（1879-1946) 和他的妻子Angela Parry（原姓 Scully，1879-1977) 開創了這個收藏。該收藏中的六件作品在國際中國藝術展覽會上展出，這個展覽會只選擇了世界上最好的藝術品。該收藏已經在Parry家族傳承了三代人，其中許多藏品都是從著名的倫敦經銷商 Spink & Bluett's 那裡購得。 品相：狀況良好，有舊磨損、自然老化裂縫，紅漆和黑漆的邊緣有幾處輕微的缺失，存在相關的輕微修補。 重量：119.0 克 尺寸：直徑10.7 厘米 清代硬木底座。 (2) 描繪狩獵場景的漆碗極為罕見。明初皇帝繼承了元代蒙古人的狩獵傳統並將其視爲軍事實力和國家權威的標誌。但到了明中後期，文人將狩獵視為國家政治的昏庸，因此出現了激烈的對抗，明朝皇帝和文人集團之間爭奪統治權。 無子嗣的正德皇帝 (1505-1521) 特別熱衷於狩獵，這令他的大臣們大為震驚，參見 D. M. Robinson，Martial Spectacles of the Ming Court，康橋，2013 年，第 214-220 頁。 水松石房主人 Hugh M. Moss 曾經在一個展覽裏展出過一個漆盒，漆盒上有與現拍品相似的狩獵場景 (見拍賣結果比較), 他認爲那個飾有狩獵場景鑲嵌木漆盒是十六世紀周柱的作品（原文“to be a lacquer version of inlaid wooden boxes decorated with a hunting scene and attributed to the 16th century artist Zhou Zhu.” ）。 根據明清時期文字記載，周柱製百寶嵌，有嵌於硬木、嵌於漆器兩種，當時人稱“週制”。他能夠巧妙利用寶石與其他材料本身的特殊性，創作了很多生動的場面，他的技術被稱為“吳中絕技”，清代阮葵生《茶餘客話》記：“周柱治鑲嵌……名聞朝野，信今傳後無疑也。” 文獻比較: 比較一件鑲嵌硬石的蓋盒，傳周柱作品，描繪了蒙古人狩獵場景，1537年，見香港蘇富比Water, Pine and Stone Retreat Collection – Scholarly Art 2010年10月7日 lot 2192. ；另兩件清初紫檀鑲嵌石料的蓋盒，繪製狩獵場景，見《故宮博物院藏文物珍品全集：竹、木、牙、角雕刻》，香港2002年, 第230-231頁。一件相似場景的雙色漆盤見名古屋德川美術館目錄 Karamono. Imported Lacquerwork – Chinese, Korean and Ryukyan, Selections from the Tokugawa Art Museum, no. 2, Nagoya, 1997, pl. 95, 傳爲元明時期。 拍賣結果比較：比較一件相似的紅漆蓋盒，十六至十七世紀，周柱款，相似蒙古人狩獵場景，見香港蘇富比Water, Pine and Stone Retreat Collection – Scholarly Art 2010年10月7日 lot 2213, 售價HKD 860,000。
A VERY LARGE AND MASSIVE SICHUAN POTTERY FIGURE OF A STRIDING HORSE, HAN DYNASTYChina, 206 BC to 220 AD. Powerfully modeled striding with the right leg forward, its strong neck and head poised with open mouth and flaring nostrils, pricked up funnel ears and staring eyes, the haunches incised with stylized muscles and terminating in pronounced hooves, the upturned tail ending in a knob, the bridle with a central mask motif in high relief, the unglazed body of a grayish-brown color.Provenance: Pao & Moltke, Toronto. A distinguished private collection, acquired from the above. Sear Hang Hwie Pao (1937-2009) was one of Canada's leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke, owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto's trendy Yorkville area from the 1980s to early 2000s.Condition: Very good condition overall, commensurate with age. Some repair to legs and other areas as generally expected from Han dynasty excavations of this size. Extensive wear, losses, encrustations. Drilled holes from sample-taking.Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by Oxford Authentication, reference no. C121k44, dated 13 September 2021, and is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot. Dimensions: Height 122 cm, Length 103 cmExpert's note: Large horses of this type have been found in a number of tombs within the Han empire. Among the most famous are those from the graves of the well-known Han dynasty minister Zhou Bo and his son excavated at Yangjiawan, Xianyang, Shaanxi province, see Los Angeles County Museum of Art, The Quest for Eternity, Thames and Hudson, 1987, Catalogue, nos.11-15. The well-sculpted head, flaring nostrils and upwardly-curling top lip are characteristic of these Han horses, typified by the large bronze horse excavated at Hejiashan, Jinyang, Sichuan province and recorded in Wenwu, 1991, no. 3, page 9, pl. iii.漢代罕見四川灰陶馬中國，公元前206年至公元220 年。通體素面，造型敦實。馬作直立狀，右腿向前邁出，昂首挺胸，腰肥體壯，雙耳豎立，小耳大眼，目光前視，鼻翼翕張，尾巴上翹，身軀健碩。 來源：多倫多Pao & Moltke藝廊；一個知名的私人收藏購於上述藝廊。Sear Hang Hwie Pao (1937-2009) 是加拿大中國瓷器和藝術品的主要經銷商之一。他和妻子創立了Pao＆Moltke Ltd古玩店，他們的古玩店從1980年代到2000年代初期曾是多倫多時尚的Yorkville地區的熱門店鋪。 品相：整體狀況極好，與年齡相稱。 有著漢代考古裡預期的修復，比如在腿部。大面積磨損、缺損、結殼。取樣鑽孔。 科學檢測報告：隨附一份2021年9月13日牛津熱釋光分析報告，編號 C121k44，與建議的製作年代一致。 尺寸：高122 厘米，長 103 厘米 專家注釋：類似這樣的陶馬佣在漢墓考古發現中出現了一大批。其中最著名的是，出土於陝西咸陽楊家灣的漢朝大臣周勃周亞夫父子墓，見洛杉磯美術館，The Quest for Eternity, Thames and Hudson, 1987, 畫冊，nos.11-15。漢馬造型精巧，鼻孔張開，上唇上翹，以四川晉陽何家山出土的大型青銅馬為代表，見《文物》，1991年，圖3，第9頁，圖 iii。 拍賣結果比較：比較一件相近的漢代陶馬，高 110 厘米，見阿姆斯特丹佳士得European Furniture, Clocks, Sculpture and Works of Art 2008年12月16日 lot 6, 售價EUR 23,750。比較一件相近的漢代陶馬，高 116.2 厘米，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2007年3月19日 lot 583, 售價USD 22,800。比較一件相近的漢代陶馬，高125 厘米，見倫敦邦翰思Fine Asian Art 2006年7月10日 lot 72, 售價GBP 21,600。
A MONUMENTAL LACQUERED AND GILT WOOD 'TAISHI SHAOSHI' OPENWORK WALL PANEL, QING DYNASTYChina, 1644-1912. Of square form, composed of four rectangular panels, finely carved with nine Buddhist lions, mostly in groups of two where one is larger than the other (taishi shaoshi), amid trees and rockwork, enclosed by an octagonal border surrounded by a band of auspicious and Buddhist symbols, including peaches, a vase with flowering prunus, a horn with chrysanthemums, a parasol, a double gourd, a Dharma wheel and flywhisk, an endless knot, and a dragon head. The four corners of the panel each with a bat amid scrolling clouds. (4)Provenance: French private collection. Acquired in the Swiss market. Condition: Good condition with old wear, chips, losses. Minor old repairs, fills and touchups here and there. One panel was broken in two parts and is now backed by an additional wood frame for stabilization. Overall displaying remarkably well.Dimensions: Size 227 x 228 cmThe present panel carries an important auspicious meaning: A large Buddhist lion (dashi) and his small counterpart (xiaoshi) shown together form the rebus 'may you and your descendants achieve high rank' (taishi shaoshi). During the Western Zhou dynasty, taishi was the highest military rank of the period. During the Warring States, the Kingdom of Chu established the rank of shaoshi, which represents the tutor to the prince. Mount Song, one of China's sacred Daoist mountains, is divided into the Taishi and the Shaoshi Mountain.Lions are not native to China, and although live animals were brought to the Chinese court by foreign embassies since at least the Han dynasty (206 BC – AD 220), they were always exotic rarities. In India, the lion is intimately associated with Buddhism, considered a symbol of strength and protector of the Dharma, the Buddhist law, and with the growing popularity of the Buddhist religion during the Tang dynasty (618-907), pairs of lion figures were increasingly placed in front of Buddhist temple gates as guardian animals.The Yongle Emperor's international diplomacy efforts brought China once more in direct contact with foreign lands, their animals, plants and other exotica in the early Ming dynasty. The court welcomed foreign embassies and the Muslim seafarer and diplomat, Court Eunuch Zheng He (c. 1371-1435), embarked on seven extensive maritime expeditions to ports throughout Asia and as far as Africa, which continued into the Xuande reign. At this time, lions were apparently so little known in China that Ma Huan (c. 1380-1460), Zheng He's Muslim interpreter who accompanied him on three voyages, left us a contemporary account describing them in detail: “The lion has a body which resembles a tiger's in shape; it is a dark-yellow color, without stripes; it has a large head and a broad mouth; the tail tapers to a point, which has a lot of hair, black and long, like a tassel; the noise of its roar is like thunder. All the beasts, when they see it, fall down and dare not rise; it is indeed the king among the beasts” (J.V.G. Mills, ed., Ma Huan, Ying-yai Sheng-lan. The Overall Survey of the Ocean's Shores [1433], Hakluyt Society, London, 1970, reprint Bangkok 1997, p. 158-159).Although lions were among the exotic animals that had been brought to China already by some Timurid embassies, and on occasion were received as tribute by Zheng He's delegation, they were rare and desirable enough to be specially purchased on these voyages and be brought back to the court: during the sixth expedition in the Yongle reign, for example, when in 1421 the ships stopped in Aden (ibid., p. 50 and 159), and during the seventh voyage in the Xuande reign, when in 1431 a division of the fleet went to Mecca, where it had, among other things, brought porcelain items as gifts (ibid., p. 51 and 178).清代金漆木雕太獅少獅掛屏中國，1644-1912年。方形，由四塊長方形板組成，精心雕刻九隻獅子，多為一組兩隻，一大一小，太獅少獅，在樹木和山岩之間，或是戲珠，或是捉迷藏，或是相互嬉戲；四角如意蝙蝠紋，中央成六角形，邊界之間飾佛教八寶紋如寶瓶、寶蓋、寶瓶、葫蘆、螺、吉祥結、幢、法輪以及龍頭。多層次鏤空的立體設計，層層疊疊，玲瓏剔透。來源：法國私人收藏，購於瑞士古玩市場。 品相：狀況良好，有舊磨損、磕損、缺損；局部有輕微的維修、填充和修飾。 一塊面板被分成兩部分，現在由一塊額外的木框架支撐以保持穩定。整體狀況非常好。 尺寸：227 x 228 厘米 太獅少獅是中國傳統的吉祥題材，寓意子嗣繁衍。而且大小獅子經常一起出現，也象徵古代官職“太師”“少師”之職，也象徵著世代高官厚祿。在商周時，分立三公：太師、太傅和太保。太師是三公中官最大地位最尊貴的，因此民間常把獅子比喻成是太獅。另外，嵩山是中國道教聖山之一，那兒有太師山和少師山。 獅子並非源於中國，從漢朝（西元前 206 年 - 西元 220 年）起，外國使臣就將獅子帶到了中國宮廷，但它們始終屬於帶有異國情調的稀有動物。在印度，獅子與佛教有著密切的聯繫，被認為是力量的象徵和佛法的保護者，隨著佛教在唐朝（618-907 年）的日益普及，成對的獅子形像被越來越多地用在佛寺大門前作為守護動物。 明朝初年，永樂帝的國際外交使中國再次與外國進行接觸與交流。朝廷歡迎外國使臣，而鄭和（約 1371-1435 年）開始了七次海上遠征，遍及亞洲各地的港口，遠至非洲，一直到宣德時期。當時，獅子在中國顯然鮮為人知，鄭和的翻譯馬歡（約 1380-1460 年）曾陪同他三下西洋，他的《瀛涯勝覽》一書，也記錄了一份關於獅子的描述，更顯彌足珍貴。獅子是被使臣帶到中國的珍稀動物之一，鄭和的代表團也將它們作為貢品，它們非常稀有。
AN EXCEPTIONALLY RARE IRON-RED ENAMELED 'WUFU' WATERPOT, QIANLONG MARK AND PERIODChina, 1736-1795. The compressed body supported on a short straight foot and rising to a waisted neck with slightly everted rim. Finely painted to the exterior with five bats in flight. The base with a four-character iron-red mark Qianlong nianzhi and of the period.Provenance: The Ezekiel Collection. Acquired by Marcus Ezekiel. The Ezekiel Collection was formed by Marcus Ezekiel (1854-1927) and his son Victor (1905-1976), two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century, and important early members of the Oriental Ceramic Society. Marcus Ezekiel formed an extensive collection of Chinese art, mostly ceramics, but with a small group of Chinese glass and a cabinet of snuff bottles. At his death in 1927 this collection was left to his wife, effectively as a pension fund. In 1930, she sold 225 pieces at Christie's for a little over £5,000, and in 1946 a group of 271 pieces went to Sotheby's, including a number of Song dynasty ceramics. The present lot, however, remained in the collection as a “piece de resistance”, possibly due to its exceptional rarity.Condition: Excellent condition with minor wear and firing irregularities. The foot with a small glaze recess and associated flaw, most likely occurred during the manufacture. The glaze with fine crackling. The base with remnants of black ink probably due to extensive usage.Weight: 67.0 g (excl. base)Dimensions: Width 6.6 cm (at the widest points), Height 4.8 cmWith a finely carved and openworked hardwood base supported on five bracket feet, dating to the Qing dynasty. (2)Five bats (wufu) form the auspicious wish for you to have the Five Blessings, which are old age, wealth, health, love of virtue, and a peaceful death. They were first mentioned in the chapter on Hongfan ('The Great Plan') in the ancient text Shangshu, compiled during the Warring States period (475-221 BC).Expert's note: During the 18th century, a group of fine porcelain objects prominetly depicting the wufu motif were made. However, most of these also show other decorations, making the present waterpot, of fine soft-paste porcelain with a magnificently unctuous feel to the glaze and showing exclusively the five bats, an exceedingly rare example of Imperial Qianlong porcelain.Auction result comparison: Compare a pair of related dishes (15.9 cm diameter), decorated to the interior with five bats and to the exterior with a floral band against a green ground, also with a Qianlong mark and of the period, at Christie's New York in Fine Chinese Ceramics and Works of Art Part I on 14 September 2012, lot 1574, sold for USD 122,500, and a related dish also decorated to the interior with five bats and to the exterior with carps against a cafe-au-lait ground, with a Yongzheng mark and of the period, at Sotheby's Hong Kong in Fine Chinese Ceramics And Works Of Art on 11 April 2008, lot 3064, sold for HKD 967,500. 乾隆款及年代罕見礬紅釉五福水丞中國，1736-1795年。水丞口略外撇，削肩，鼓腹，圈足。肩部及腹部礬紅釉繪製五隻蝙蝠。畫面充滿了古樸的氣息。圈足内書“乾隆年製”篆書款。 來源：Ezekiel收藏。Marcus Ezekiel購置。Ezekiel 收藏由Marcus Ezekiel (1854-1927) 和他的兒子 Victor (1905-1976) 創立，他們曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。 Marcus Ezekiel收藏了大量中國藝術品，主要是陶瓷，但也收藏了一小部分重要的中國料器。品相：狀況極佳，有輕微磨損和燒製瑕疵。 足部有一個小的釉面凹陷和相關瑕疵，很可能發生在製造過程中。 釉面有細碎開片。 水丞内有黑色墨水餘留，可能是使用造成的。 重量：67.0 克 (不含底座) 尺寸：最寬處6.6 厘米，高 4.8 厘米 清代鏤空硬木五足底座。 “五福臨門”最早出自戰國《尚書·洪範》。所記載的五福是：“一曰壽、二曰富、三曰康寧、四曰修好德、五曰考終命”。 專家注釋：十八世紀時，出現了一系列以“五福”為主題的精美瓷器。 不過，大部分都是和其他紋飾一起。現在的水丞，使用上等材料，釉面華美，只展示了五隻蝙蝠，這是乾隆御製瓷器中極為罕見。 拍賣結果比較：比較一對乾隆款及年代的綠地五福盤 (直徑15.9 厘米) ，見紐約佳士得Fine Chinese Ceramics and Works of Art Part I 2012年9月14日 lot 1574, 售價USD 122,500 ；一件雍正款及年代醬釉五福鯉魚盤，見香港蘇富比Fine Chinese Ceramics And Works Of Art 2008年4月11日 lot 3064, 售價HKD 967,500。
A Samson porcelain rectangular box with hinged lid and gilt metal mounts, late 19th/early 20th century, painted in Chinese famille rose taste with flower sprays within blue scroll edged yellow reserves, red painted mark to base, 15cm x 9cm x 5.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Coalport porcelain rococo shaped part service, circa 1840, decorated in Chinese taste with gilt enriched flowers against an apricot ground with red scroll and moulded scroll detail, comprising teapot and cover, two plates, slop bowl, sucrier (lacking cover), twelve teacups, six coffee cups and twelve saucers (minor faults), together with a thank you from Mary Street Chapel, Taunton, dated July 1909, showing the service was a wedding present for Miss Goodland, framed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
19th Century Chinese Canton Famille Rose porcelain vase, the body decorated with panels of court officials watching a performance and warriors on horseback, the neck with court officials in conversation, reserved on floral and foliate ground with geometric borders to the neck and foot, 33cm high
Chinese blue and white porcelain baluster jar and cover, decorated in underglaze blue with the twelve animals of the zodiac, dragon, overseen by a dragon, beneath domed Dog of Fo cover, four character mark (pseudo Kangxi) beneath, 33cm high (a/f), together with a sleeve vase, 25cm, and a double gourd vase, 18cm, both also with pseudo Kangxi marks, (3)
Chinese blue and white porcelain stem bowl, the hemispherical bowl decorated with a mountainous coastal landscape and figure in a fishing boat, five registers of characters, the flared foot with stiff leaf decoration and four character mark (possibly pseudo Yongzheng) beneath, 13cm diameter x 12cm high
Three Chinese porcelain miniature vases or scent bottles, comprising: a cylindrical 'sleeve' example with blue and iron red decoration depicting two figures at the water's edge, watched by sea creatures, unmarked, 8cm long; another of similar form, decorated with a successful return from a hunt, unmarked beneath but with characters to shoulder, and a mallet-shaped example with dragon decoration, indistinctly marked, 8cm and smaller, no stoppers, (3)Condition report: 2nd item has staining, old rim losses, cracks and flaws (retractions) to glazing.
A pair of modern Chinese porcelain lamp bases, of tapering ovoid form, orange peach floral decoration, 45cm high to top of fitment, (2) Condition Report: Modern, decorative- one with crack running completely through body ELECTRICAL GOODS. These are sold as 'antiques' only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer
A pair of Continental porcelain vases and covers, 20th century, probably French, in the Chinese Bianca-Sopra-Bianca taste, with brass bases, height 42cm.Condition report: Both drilled and formerly fitted as table lamps, no electric fittings. The is some chipping on the covers around the drill holes. No other condition issues.
A Caughley porcelain fisherman and cormorant pattern saucer, pseudo Chinese mark to base, together with a relief moulded Continental porcelain cup and saucer decorated with flora and fauna, and an 18th century style English porcelain moulded sauceboat,19th/20th century, blue underglaze painted decoration with WATNEY COLLECTION label. (3)Condition report: Chips to flowers of Continental porcelain teacup and saucer, rubbing to gilt.
A Liverpool porcelain blue and white saucer, circa 1780, painted with peonies and rockwork, diameter 12cm, together with two 18th century Chinese saucers (3).Condition report: Liverpool saucer with a crack from rim approx 2cm and a hairline crack, glaze flaws, wear to rim, the Chinese saucers with chips and cracks.
A set of six Samson porcelain octagonal plates, painted in the Chinese taste, diameter 22cm.Provenance:Alan Bennett (1930-2021) was an enormously respected, Cornwall-based antiques dealer.Alan Bennett started working in the antiques trade in the early 1950s for Parker’s of Blackheath before joining Harrod's Antiques Department. He moved to Cornwall in 1954 and opened his own shop, gradually expanding and offering one of the largest selections of antiques in Cornwall. He was assisted in the business by his wife Winifred, son Justin, and a team of restorers. He retired in April 2007.He was a man of refined manners, always impeccably dressed and he bought pretty, elegant things across the board, Dresden china and pierced silver Bon-Bon baskets but also brightly coloured Staffordshire figures, although it was the furniture that really fed his passion and he specialised in good quality Georgian and later furniture.David Lay reminiscences: "He would sit in the front row bidding with awesome discretion. Nothing as vulgar as a nod or wink. His demeanour told me he was bidding but of course, I knew his taste. I knew when he “should” be bidding. Often Winifred would view with Alan, the perfect couple.Happy memories of a different age. "Through his 50 years in the trade, he amassed an eclectic collection of very good quality art and antiques, many of which we are delighted to be offering here at Lays Auctions across various sales.Condition report: All with damages.
An Asian blue and white vase, probably 15th century; various Chinese porcelain to include ginger jars Provenance: The studio of Michael StennettCondition report: Wear and discolouration throughout commensurate with age and use.Vase has a hairline fracture across the body and crazing and pitting across the body. Ginger Jars have hairline fractures and pitting to the bodies. Chipping to the bases.Large plate has significant chipping to the rim and two cracks running from the rim. Significant pitting and discolouration.White dish has chipping to the edges.Small cup has chipping to the glaze
Samson of Paris. A pair of late 19th century porcelain vases by Samson of Paris, each in the Chinese armorial style, faux marks to base, some rubbing to the gilding, 13cm high together with a similar baluster vase and cover, some damage to the neck, 18cm and an English 18th century soft paste porcelain tea bowl and saucer, painted in pink with flowers on a white ground, the bowl, with small chip to rim 9cm diameter, the bowl 12.5cm diameter plus another tea bowl of the same period, swirl moulded and painted with flowers, 8.5cm diameter and other itemsQty: (9)
Chinese Ceramics. A mixed collection of 18/19th-century Chinese porcelain, including a pair of yellow porcelain bowls, decorated with flowers, each with a red four-character mark to base, 5.5cm high x 14cm diameter, an 18th-century famille-rose porcelain jug, of baluster form decorated with flowers, lacking lid,14cm high, various plates, bowls and other items plus some Japanese ceramics including a pair of 19th-century Japanese bottle vases, decorated with bamboo in blue, iron-red and green, each with an old label to the base, 23.5cm high Qty: (29)Footnote:Viewing is strongly advised but if this is not possible, please state which pieces you require further information on, as many of the pieces are damaged.
Chinese Ceramics. A mixed collection of 18/19th-century Chinese ceramics, including a large 18th-century porcelain bowl, decorated with flowers in pink, blue, iron-red and green, the interior similarly decorated with deep foot rim, old chips to the rim, 10cm high x 23cm diameter, an 18th century blue and white porcelain jug and cover, of baluster form decorated in the 'fence' pattern with figures and buildings, double twist handle and sparrow beak spout, 13cm high, a pair of famille-rose miniature vases, decorated with figures, some damage, 14cm high, various tea bowls and saucers plus other itemsQty: (33)Footnote: Viewing is strongly advised but if this is not possible, please state which pieces you require further information on, as many of the pieces are damaged.
A SPADE-SHAPE PORCELAIN SNUFF BOTTLE, QIANLONG MARK AND POSSIBLY OF PERIODChina, 1770-1860. Of flattened shape on a flat foot and waisted neck, painted in famille-rose enamels with iron-red and gilding details, both sides depicting a scholar with his attendant in scholarly pursuits, enclosed by a faux-bois border, the base with a six-character Qianlong mark. Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Very good condition with minor wear, some loss to the gilt, mostly on the lip. Weight: 33 g Dimensions: Height including stopper 63 mm. Diameter neck 14 mm and mouth 7 mm.Expert's note: This bottle is somewhat of an anomaly among its peers, it being an example of exceptional quality even though it is from a time when the caliber of snuff bottles made in Jingdezhen in the so-called 'Palace style' was already on the decline, that is either during the last quarter of the 18th or the first half of the 19th century. Auction result comparison: Compare a related famille rose porcelain snuff bottle, of heart-shape, also with Qianlong mark and possibly of the period, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 28 May 2019, lot 180, sold for HKD 125,625. Compare also a related enameled porcelain snuff bottle, of heart-shape, with Qianlong mark, at Sotheby's New York in The Joe Grimberg Collection Of Chinese Snuff Bottles on 14 September 2010, lot 23, sold for USD 16,250. 乾隆款或爲其年代粉彩人物場景鼻烟壺中國，1770-1860年。扁平心形，侈口，縮頸，平足，粉彩描金，開光描繪文人場景。底足上汎紅釉"大清乾隆年製"六字款。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻煙壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：狀況極好，輕微磨損，鎏金部分磨損，主要在唇部。 重量：33 克 尺寸：含蓋高63 毫米. 頸部直徑14 毫米 及口部直徑7 毫米. 拍賣結果比較：比較一個相近的乾隆款粉彩心形鼻烟壺，或為乾隆年代，見香港邦翰思Fine Chinese Ceramics and Works of Art 2019年5月28日lot 180, 售價HKD 125,625。比較一件相近的乾隆款粉彩心形鼻烟壺，見紐約蘇富比The Joe Grimberg Collection Of Chinese Snuff Bottles 2010年9月14 日lot 23, 售價USD 16,250。
A FAHUA FIGURE OF LI TIEGUAI, LATE MING TO EARLY QINGChina, 16th-17th century. Standing on a molded and carved rockwork base, supporting himself on his iron cane, wearing a loose-fitting robe tied at the waist and open at the chest and large belly, his neatly incised hair secured by a band, the fine face with large eyes and scrolling beard and brows, flanked by long pendulous earlobes.Provenance: Compagnie de la Chine et des Indes, Paris, inventory number 20582, acquired 1968 in Hong Kong. The Compagnie de la Chine et des Indes (China and India Company) in Paris was founded in the early 20th century by the Blazy brothers, acquired in 1935 by Robert Rousset and later run by his grandnephews Mike Winter-Rousset and Herve du Peuty. With his sister Suzanne in charge of the porcelain, Robert Rousset developed the business, and the company became one of the most important dealers for Asian art in France, selling pieces to the greatest museums, including the Guimet and the Metropolitan Museum of Art.Condition: Extensive wear and traces of use, several old repairs and touchups, losses, the figure reattached to its original base, overall as expected for this type of ware and commensurate with age.Weight: 1,641 gDimensions: Height 32 cmAuction result comparison: Compare a related fahua figure of a luohan, with a Wanli mark and of the period, but of larger size (46 cm high), at Christie's London in Chinese Ceramics, Works of Art and Textiles on 12 May 2017, lot 293, sold for GBP 47,500, and a related fahua-type figure of an immortal, dated 18th-19th century, of slightly smaller size (27.6 cm high), at Christie's New York in The Collection of Robert Hatfield Ellsworth Part III - Chinese Works of Art: Qing Ceramics, Glass and Jade Carvings on 19 March 2015, lot 438, sold for USD 75,000. 明末清初法華鐵拐李像 中國，十六至十七世紀。鐵拐李站在雕花石台上，拄著鐵拐杖，身著束腰、敞胸露乳的大袍，頭髮捲曲，眉眼生動，長耳垂。 來源：巴黎Compagnie de la Chine et des Indes公司，庫存編號 20582，1968 年購於香港。 位於巴黎的 Compagnie de la Chine et des Indes公司於 20 世紀初由 Blazy 兄弟創立，1935 年由 Robert Rousset 收購，後來由他的外甥 Mike Winter-Rousset 和 Herve du Peuty 經營。 Robert Rousset 與他的妹妹 Suzanne 負責瓷器，並大力發展這項業務，該公司成為法國最重要的亞洲藝術品經銷商之一，向最大的博物館出售藝術品，包括吉美博物館和大都會藝術博物館。 品相：廣泛磨損和使用痕跡，幾次舊時修補，缺損，人物造像是重新連接到其原始底座，總體上符合此類造像品相預期並與年齡相符。 重量：1,641 克 尺寸：高32 厘米 拍賣結果比較：萬曆款及年代的一件法華羅漢像，但尺寸稍大 (高46 厘米), 見倫敦佳士得Chinese Ceramics, Works of Art and Textiles 2017年5月12日 lot 293, 售價GBP 47,500; 一件法華仙人像，十八至十九世紀，尺寸稍小 (高27.6 厘米), 見紐約佳士得 The Collection of Robert Hatfield Ellsworth Part III - Chinese Works of Art: Qing Ceramics, Glass and Jade Carvings 2015年3月19日 lot 438, 售價USD 75,000。
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