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Chinese pitcher in celadon porcelain with underlying decors || Chinese kruik in celadonporselein met onderliggend decor - hoogte : 17 cm

18th Cent. Chinese set of an oval tureen with its lid and dish in porcelain with a 'Famille Rose' with flowers and butterflies || Achttiende eeuwse Chinese set van ovale terrine met deksel en onderschaal (8 cm hoog en 16 cm breed) in porselein met een Famille Rose-decor decor met bloemen en vlinders

17th/18th Cent. Chinese Kang Hsi period plate in marked porcelain with a blue-white garden decor || Zeventiende/achttiende eeuws Chinees Kang Hsi-schaaltje met gekartelde rand in gemerkt porselein met een blauwwit tuindecor - diameter : 16 cm

Chinese porcelain lamp base in the form of a man with baby each wearing coloured enamelled robes, raised on brass base with brass lamp fitting. Measures 73cm tall including shade stand.

Two 18th / 19th Century Chinese blue & white porcelain snuff bottles, the tallest decorated with a Buddha, the other with floral decoration (with stopper, character marks to base). Tallest measures approx 9cm.This lot is from a private collection in South Wales.

A Chinese export porcelain vase, mid 20th century. Polychrome decorated with reserves of Dragons on a foliate ground within Rui and lappet bands. Signed to base. 33cm

A group of oriental porcelain items, to include a Chinese yellow ground baluster vase, a pair of small lidded baluster form blue and white vases and a Japanese Kutani shishi or guardian lion, together with three wooden vase stands (7) Yellow Vase – 25cm high 

A Chinese Famille Rose porcelain bowl signed on base, 21 cm diameter.

Chinese Republic style floor standing porcelain vase of baluster form and with outset border of ruyi heads with flowers upon a pink ground neck, further bands and figures below in an outside setting, with four character red seal mark beneath, H62cm

Pair of Chinese porcelain table lamps, each of inverted baluster form, decorated with wading Herons amongst reeds against a plain ground, raised upon circular hardwood base, H66cm including shade

Pair of Chinese porcelain lamps, each of squat baluster form, decorated with a smokey crackle glaze, raised upon square brushed bronze base, H58cm including shade

A Chinese style porcelain conservatory seat, of pierced drum form and decorated with a ruyie border and floral design. H46cm. 

A Chinese porcelain footed bowl with polychrome enamel floral decoration on black ground to exterior (apocryphal Qianlong six character mark verso, h- 6cm, w- 17.5cm), together with another Chinese porcelain bowl with polychrome enamelled floral design (four character seal mark verso), and a polychrome enamelled porcelain tea bowl with phoenix design and apocryphal six character Chenghua mark verso (3)

A pair of Chinese blue and white porcelain Kangxi-revival covered vases of baluster form, with panel decoration of birds and flowers against a cobalt blue prunus blossom ground, the covers with Qilin/Kylin knops (late Qing Dynasty/early Republic period) (h- 27cm, w- 19cm)

A CHINESE PORCELAIN SEATED CAT TOGETHER WITH A WOODEN DAIRY BOWL

Collection of Chinese export porcelain incl. imari, Mandarin palette tankard, etc., A/F

A RARE BLUE AND WHITE ‘FOUR IMMORTALS’ JAR, JIAJING MARK AND PERIOD, CHINA, 1522-1566 嘉靖款及年代青花四仙罐Please note this Lot is to be sold at No Reserve. 本拍品不設底價Of quadrilobed form with swelling shoulders and a petite upright neck, painted in deep cobalt blue with four Daoist immortals: Li Tieguai with his iron crutch and gourd vessel, Liu Hai with his three-legged toad, and the Hehe twins Hanshan and Shide, one of whom is holding up a scroll with a smile on his face, all amid pine trees and rockwork, below a scrolling cloud border at the shoulder and ruyi clouds on the neck. The base with an underglaze-blue six-character mark da Ming Jiajing nianzhi and of the period.Provenance: Solveig & Anita Gray, London, United Kingdom, 1998. The Elaine Whewell collection of Asian ceramics, North Berwick, Scotland, assembled since the 1990s, acquired from the above. Three old labels along the base and interior of the mouth, ‘Solveig & Anita Gray, 58 Davies Street London, W1Y 2L P’ ‘Solveig & Anita Gray, Jiajing 1522-66,’ and ‘Solveig & Anita Gray, 4800.’ Copies of the original invoice, receipt, and declaration of antiquity from Solveig & Anita Gray, all dated 9 December 1998, confirming the dating above and describing the present lot as an “Extremely Rare Jiajing Jar”, accompany this lot.Condition: Very good condition, commensurate with age, with expected old wear and firing irregularities. Two very short hairlines to the rim. A small star-shaped glaze line to the interior, which is not visible on the outside. The rim and foot may have been minimally smoothened.Weight: 416.1 gDimensions: Height 11.9 cm Li Tieguai aka ‘Iron Crutch Li’ appears as a lame beggar supported by an iron crutch. He carries a gourd which holds medicine that cures the sick and ailing. Traditionally, he has been seen as the protector of physicians. Although he may appear ugly and is generally considered irascible and ill-tempered, according to Chinese mythology, he was benevolent to the poor, sick, and needy. Li had magical powers and spent much time outside his body, traveling in the celestial regions. Once, when he was absent for some time, his disciple buried his body. On returning to Earth, the immortal’s soul entered the body of a beggar – the first good person he saw.Liu Hai is usually depicted as a young man with bangs, and his eponym means ‘bangs’ or ‘fringe’ in Modern Standard Chinese. Traditional Chinese and Japanese art frequently represents Liu with a string of square-holed cash coins and a mythical three-legged toad (chanchu), which is said to exist only on the moon, which it swallows during the eclipse. In the present day, this toad is known as the Jin Chan, literally meaning ‘Money Toad’, and Liu Hai is considered an embodiment of Caishen, the God of Wealth.Literature comparison:Compare a related jar decorated with the Four Immortals, dated Jiajing period, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain and Underglazed Red (i), Shanghai, 2000, pl. 99. Compare a closely related jar depicting the Four Immortals honoring the god of longevity, in the Riesco collection, illustrated in Chinese Blue and White Porcelain, London, 1954, cat. no. 163. Auction result comparison: Type: Near-identical Auction: Sotheby’s New York, 16 September 2009, lot 189 Price: USD 80,500 or approx. EUR 105,000 converted and adjusted for inflation at the time of writing Description: A rare small blue and white quadrilobed ‘four immortals’ jar, Ming dynasty, Jiajing mark and period Expert remark: Compare the closely related form, subject, and decoration.

A PAIR OF QIANJIANG CAI BEAKER VASES, GU, JIANGXI PORCELAIN COMPANY 一對淺絳彩花觚Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, Jingdezhen, first half of the 20th century. Each well decorated in mirror image with Shoulao surrounded by boy attendants holding objects including a book, a lingzhi fungus, and a ruyi scepter under a gnarled pine tree amid colorful shrubbery, above the slightly bulbous mid-section with a bird perched on a branch amid leafy floral sprays, the lower section with four spotted deer in a meadow with a pine tree and rockwork. The vases with several inscriptions as well as an artist signature and dating, the bases with iron-red six-character studio marks. (2)Inscriptions: Each vase, to the top section, signed and dated ‘Xu Shanqin on a summer day in the Year of Gengzi’, and inscribed ‘collect books to educate the descendants’, one seal. To the mid-section, ‘in the eighth year of the period, painted in Zhushan’, one seal. To the lower section, ‘to repay a debt’, one seal. To the base, ‘Jiangxi Ciye Gongsi’.Provenance: French trade.Condition: Very good condition with minor wear and firing irregularities, occasional light scratches, little rubbing to enamels.Weight: 3,217 g and 3,263 gDimensions: Height 41.8 cm and 41.9 cm Xu Shanqin was a Chinese porcelain artist who was active during the late 19th and early 20th century and specialized in qianjiang painting.The Jiangxi Porcelain Company (or Jiangxi Ciye Gongsi) is the most well-known Chinese porcelain studio of the first half of the 20th century, located in Jingdezhen. It was established in circa 1910 as a large semi-government company funded by private owners and the five provinces of Hebei, Hubei, Jiangsu, Anhui, and Jiangxi. It is located near the Zhushan – the Pearl Hill – adjacent to the former Imperial porcelain workshops. It is often said that the Jiangxi Porcelain Company of the early 20th century replaced the Imperial kilns, making porcelains for the court in the last years of the Qing Dynasty.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.

A DOUCAI 'DRAGON' BOWL AND COVER, YONGZHENG MARKS AND OF THE PERIOD 雍正款及年代斗彩龍紋蓋碗Please note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: This bowl belongs to a group of porcelain wares discussed by Peter Y.K. Lam in ‘Lang Tinji (1663-1715) and the Porcelain of the Late Kangxi Period’, Transactions of the Oriental Ceramic Society, volume 68, 2002-2003, page 44-45, which he attributes to the early years of the Yongzheng reign on account of their rather unusual marks.China, 1723-1735. The bowl of conical form with flared sides rising from an elongated straight foot to three notches around the rim, brightly enameled in the doucai palette and enhanced in underglaze-blue around the exterior with a yellow and a green five-clawed dragon chasing flaming pearls, leaping amid multi-colored clouds and flames, above a band of foam-specked swirling waves. The domed cover similarly decorated. The bowl and cover each with an underglaze-blue six-character mark da Qing Yongzheng nianzhi and of the period. (2)Provenance: From the collection of George Hathaway Taber, Jr., and thence by descent in the same family. George Hathaway Taber, Jr. (1859-1940) was a prolific collector of Chinese ceramics and jades with a discerning eye. He was the son of Captain George H. Taber (1808-1901), who rose from a humble background to serve as the President of the Fairhaven Bank. The younger Taber made his mark as a board member of the Gulf Oil Company. He built up an extraordinary collection of Chinese porcelain, which was loaned and partially gifted to a number of museums, including the Philbrook Museum, to form the core of their Chinese collection. Upon his death in 1940, the collection was split up between his descendants, and part of it was sold at Park Bernet Galleries, New York, 7-8 March 1946.Condition: Overall good condition, commensurate with age. Minor frits to rims, some with microscopic touch-ups. The bowl with a single hairline. The cover with a minuscule chip (approx. 3 x 5 mm) and an associated fill. Some wear, as expected. Displaying remarkably well.Weight: 416 g and 295.8 gDimensions: Diameter 20.2 cm Literature comparison:Compare a closely related doucai bowl and cover in the Palace Museum collection, with a Yongzheng mark (to the bowl only) and of the period, 19.3 cm diameter, illustrated in The Complete Collection of Treasures in the Palace Museum, Porcelain in Polychrome in Contrasting Colors, vol. 38, Hong Kong, 1999, p. 251, no. 230.Auction result comparison: Type: Closely relatedAuction: Sotheby’s London, 9 November 2016, lot 176Price: GBP 106,250 or approx. EUR 175,000 converted and adjusted for inflation at the time of writingDescription: A doucai ‘dragon’ bowl and cover Yongzheng mark and periodExpert remark: Compare the closely related form, doucai decoration with similar dragons, and Yongzheng reign mark. Note the 9 cm wide area of restoration to the rim of the cover and a circa 1 cm hairline crack next to this. Additionally, overpaint is visible to both the interior and exterior.

A GREEN-GLAZED POTTERY FLASK, LIAO DYNASTY 遼代綠釉陶壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 907-1125. Of saddle shape with stiff, seamed edges, a short cylindrical neck, the top flap is notched and pierced with two hanging holes and applied with two small figures facing forward towards the spout, the body incised with floral motifs on each side, all under an intentionally crackled emerald-green glaze.Provenance: From the collection of André Dubreuil. André Dubreuil (1951-2022) was a French designer and craftsman. At the age of eighteen he moved to England to study drawing at the Inchbald School of Design, while exploring the London underground nightlife scene. After graduating, he started working for a decorating agency and designed flats with trompe l'oeil paintings. He learned the art of ironwork with Tom Dixon and Mark Brazier-Jones, and they quickly became the reference for 1980s English avant-garde design. As a collector, Dubreuil was particularly interested in metalwork, and his collection included a wide range of objects, such as 18th-century French candelabras, medieval ironwork, and contemporary metal sculptures. He was known for his eclectic taste and his ability to appreciate the beauty and craftsmanship of objects from different periods and cultures. His collection was a reflection of his passion for art, as well as his interest in history and cultural heritage.Condition: Fine condition, commensurate with age. Old wear as expected, the spout with a small old repair, some flaking and minor losses to glaze, and firing irregularities including scattered glaze recesses. The head of one figure lost.Weight: 1,447 gDimensions: Height 27 cm Traditionally known as a pilgrim's flask, the shape of these containers derived from leather prototypes and has retained many features of the originals such as the seam and the hanging lug. It is quite rare to find two applied figures on the flask.Literature comparison: Compare an example in the Museum of Fine Arts Boston, Charles B. Hoyt Collection, accession no. 50.1747. A flask and cover with very similar designs and also with two applied figures in the Museum of Fine Arts, Boston, is illustrated in Hai-wai Yi-chen Chinese Art in Overseas Collections Pottery and Porcelain (II), p. 88, no. 86; another flask with two figures on the rim but slightly different decoration on the body from the Chang Foundation, Taipei, is illustrated in Selected Chinese Ceramics from Han to Qing Dynasties, p. 78, col. pl. 20. An example with one figure is in the Fengtian Museum, illustrated in Koyama Fujio ed., Sekai Toji Zenshu, 1961, vol. 10, p. 244, fig. 148.Auction result comparison: Type: Closely related Auction: Christie’s New York, 20-21 March 2014, lot 2078 Price: USD 8,750 or approx. EUR 10,500 adjusted for inflation at the time of writing Description: A rare olive-green glazed pottery flask and cover, Liao dynastyExpert remark: Compare the closely related form and glaze. Note the similar size (30.5 cm).Auction result comparison: Type: Closely related Auction: Christie’s London, 17 June 2003, lot 10 Price: GBP 4,541 or approx. EUR 7,700 adjusted for inflation at the time of writing Description: A very large green-glazed flask.Expert remark: Compare the closely related form and glaze. Note the smaller size (24.8 cm).

A RARE PAIR OF BLUE AND WHITE MINIATURE TEAPOTS AND COVERS, KANGXI PERIOD 康熙時期一對青花小茶壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1662-1722. Each delicately potted, of rectangular section, the bulbous body with a curved spout and a tall U-shaped handle over the domed cover surmounted by a knop finial. Each finely decorated in well graduated shades of cobalt blue to the body with foliate-shaped panels enclosing floral sprays and rockwork, surrounded by floral scroll, the rim and cover with scroll bands, the spout and handle with swirling clouds. (2)Provenance: From the collection of Frances L. Dickson, and thence by decent within the family. One teapot with an old collector’s label, ‘John S. Lindisay’, the other with two old collector’s labels, ‘John S. Lindisay’ and ‘25I2’, to the base. Frances Louisa Dickson (1876-1967, née Maunsell) was an avid collector of both European and Chinese porcelain. She lived with her husband, Colonel William Dickson, and their four daughters at Kildimo House, county Limerick, Ireland, and in Bournemouth, England, in 1910. While little is known about her life, Frances Dickson’s substantial contribution to The Fitzwilliam Museum, Cambridge University, has been noted for a great variety of porcelain figures and vessels from various ancient periods.Condition: Very good condition with minor wear and firing irregularities, including dark spots and some minor surface level scratches. One teapot with a shallow chip to the mouth, and a small chip to the cover with an old repair.Weight: 163.4 cm and 177.4 cmDimensions: Height 10.6 cm (each), Width 9.8 cm (each) Expert’s note: In the late 17th and early 18th centuries, miniature versions of Chinese blue-and-white porcelain forms were highly prized among collectors. Some of these miniatures would even be placed in ornate ‘porcelain cabinets’, alongside larger ceramics. An example of such a display can be viewed at the Kunstmuseum Den Haag (formerly the Gemeentemuseum, The Hague) where an elaborate 18th-century dollhouse contains its own miniature ‘porcelain room’.Literature comparison: Compare a related group of three miniature blue and white teapots similarly decorated with ‘Long Elizas’ and with a ‘yu’ mark on the base, dated to the Kangxi period, from the Robert Lehman Collection, in the Metropolitan Museum of Art, accession number 1975.1.1712.Auction result comparison:Type: Closely relatedAuction: Christie’s London, 12 November 2002, lot 103Price: GBP 5,019 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A rare small blue and white ‘lotus’ teapot and cover, KangxiExpert remark: Note that with a width of only 5.3 cm this is also a miniature teapot from the Kangxi period. 康熙時期一對青花小茶壺中國，1662-1722 年。小方壺，鼓腹，流彎曲，高高的 U 形手柄，壺蓋有凸鈕。壺身青花開光描繪卷葉花卉紋。壺嘴和手柄上飾有雲紋。(2) 來源：Frances L. Dickson收藏，並在家族傳承。 一個茶壺的底部有一個收藏家的標籤 “John S. Lindisay”，另一個茶壺的底部有兩個收藏家的標籤 “John S. Lindisay”和“25I2”。Frances Louisa Dickson（1876-1967 年，née Maunsell）是歐洲和中國瓷器收藏家。1910 年，她與丈夫Colonel William Dickson上校以及四個女兒居住在愛爾蘭利默里克郡基爾迪莫莊園和英國伯恩茅斯。雖然人們對她的生活知之甚少，但Frances Louisa Dickson對劍橋菲茨威廉博物館的重大貢獻眾人皆知。品相：狀況非常好，有輕微磨損和燒製不規則現象，包括黑點和一些輕微的表面劃痕。一隻茶壺，壺嘴處有一個淺缺口，蓋子上有一個小缺口，經過小修。 重量：分別163.4 厘米與177.4 厘米 尺寸：各高 10.6 厘米, 寬 9.8 厘米文獻比較： 比較一組三件相近的康熙青花，底部有「玉」款識，來自Robert Lehman收藏，收藏於大都會藝術博物館，館藏編號1975.1.1712。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2002年11月12日，lot 103 價格：GBP 5,019（相當於今日EUR 12,500） 描述：康熙青花蓮紋茶壺 專家評論：請注意寬5.3厘米，以及為康熙時期。

A GOLD AND SILVER-INLAID BRONZE ARCHAISTIC STEAMER, SONG TO MING DYNASTYPlease note this Lot is to be sold at No Reserve. 本拍品不設底價China, 960-1644. Heavily cast, the upper cauldron with two upright loop handles to the rim, decorated with interlocking scroll and confronting stylized phoenixes. The sides with three animal masks flanked by confronting phoenixes divided by short flanges, above pendent stiff leaves, all reserved on leiwen grounds. The shoulders of the three legs cast with stylized large-eyed animal masks, decorated with scroll and lozenge designs. The bronze with a rich, solid, naturally grown, dark patina with scattered malachite encrustations.Provenance: From the personal collection of Dr. David McCay, and thence by descent in the same family. Dr. David McCay was an English physician and later surgeon general with the Indian Medical Service in Bengal, India. He was sent to China during the Boxer Rebellion and served as an army doctor at the Siege of Peking. While in India, he wrote a book titled Investigations on Bengal Jail Dietaries. Upon his retirement, he returned to England with his collection of Chinese bronzes, cloisonné, and porcelain. After his death, his wife gifted his favorite piece, a highly important Wanli garlic mouth vase, among other items, to the Victoria and Albert Museum, accession number CIRC.23-1950, where it remains to this day.Condition: Very good condition with expected old wear, traces of age and usage, some casting irregularities, small nicks and losses, light scratches, the undersides of the feet with tiny old fills. The gold inlays are fresh and in very good condition overall. The silver inlays have darkened over time and show expected tarnish. However, we chose not to clean the silver inlays, so to preserve the piece’s impressive natural appearance.Weight: 5,200 g Dimensions: Height 31.5 cmAuction result comparison: Type: Related Auction: Bonhams London, 11 November 2010, lot 139 Price: GBP 31,200 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A large archaistic bronze tripod steamer, yan, probably Song dynastyExpert remark: Compare the closely related form with similar legs cast with animal masks. This steamer is however vastly inferior to the present lot as it lacks the gold and silver inlays and the design is overall less lively. Note the larger size (44.5 cm). Auction result comparison: Type: Related Auction: Sotheby’s New York, 1 December 2022, lot 694 Price: USD 37,800 or approx. EUR 35,000 converted at the time of writing Description: An archaistic copper-inlaid bronze tripod censer (Ding), Ming dynastyExpert remark: Compare the related form with similar legs cast with animal masks. This censer is however vastly inferior to the present lot, not only because the inlays are merely copper, but also because it completely lacks the cauldron found on the present lot. Also note the significantly smaller size (16.7 cm).Auction result comparison: Type: Related Auction: Sotheby’s London, 14 May 2014, lot 252 Price: GBP 80,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the related size (30.2 cm). Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 8 October 2014, lot 3350 Price: HKD 2,680,000 or approx. EUR 380,000 converted and adjusted for inflation at the time of writing Description: A large gold and silver-inlaid bronze incense burner, gui, late Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the similar size (28.5 cm).Due to length restriction on Drouot this entry is shortened. For full description please visit www.zacke.at.

A BLUE AND WHITE ‘OFFICIAL SCENE’ JAR AND COVER, CHINA, 19th CENTURY 十九世紀青花人物場景將軍罐 Please note this Lot is to be sold at No Reserve. 本拍品不設底價The baluster body supported on a short foot and rising to a gently tapered neck, surmounted by a domed cover with a broad rim and topped by a bud finial. Finely painted in shades of cobalt blue with a continuous scene of figures in a formal setting surrounded by a walled garden, an official seated at a table flanked by two attendants before an audience of kneeling and standing civil servants, framed by swirling clouds and surrounded by rocks and trees. The base with an underglaze-blue double-circle. Provenance: The Maurice Fry Collection, Illinois, USA. Maurice Fry (1931-2019) was an American entrepreneur and businessman. He discovered Asian art during his time in the US Army, when he served in the Korean War. In 1956, Maurice found his life partner in Elizabeth C. Fry (1934-2022), and together they embarked on a decades-long and captivating journey of collecting. Condition: Good condition with minor wear and firing irregularities. The top of the finial with a tiny loss, probably inherent to the manufacture. The rim with a minor hairline. The foot with minor chips, nicks, and hairlines.Weight: 4,798 gDimensions: Height 43 cm The neck is encircled by ribboned auspicious objects and a flaming pearl. The cover is similarly painted with a monk seated on a rock by a cliff, watching smoke rise from a flaming vessel, encircled by a band of sawtooth to the rim. During the Qing dynasty, the depiction of official scenes on Chinese porcelain, as seen in the current lot, served multiple purposes. Primarily, it conveyed the imperial authority of the ruling dynasty. These scenes were to present an image of benevolent governance and reinforcing the perception of a harmonious empire under Qing rule, governed by just and impartial laws. Particularly during the Kangxi period, the portrayal of official scenes legitimized the Manchu-led dynasty and its connection to China's rich cultural heritage. Porcelain wares adorned with such depictions were utilized in diplomatic exchanges to assert the Qing court's power and communicate political messages. Moreover, these scenes served as educational tools and historical records, ensuring the preservation of important events and notable figures from Qing history for the benefit of future generations. Eventually, there was a major revival of these wares in the 19th century, owned in parts to the dwindling power of the Qing empire. The present lot is a fine example from this period.Expert’s note: Judging by the imagery of the formal dress shown on the figures, the present scene depicts a hearing administered over by a third-rank civil servant. These officials would have presided over issues involving nobility, as well as institution-sanctioned events. It is possible also that they would have presided over military affairs, as there appears to be a general standing to the right of the primary scene.Auction result comparison: Type: Closely related Auction: Sotheby’s London, 22 February 2022, lot 24 Price: GBP 25.200 or approx. EUR 29,000 converted at the time of writing Description: A blue & white 'landscape' baluster jar and domed cover Qing dynasty, 19th centuryExpert remark: Compare the closely related form and style painting, typical for the 19th century. Note the similar size (42 cm).

A PAIR OF LOTUS-SHAPED WATER POTS, CHINA, EARLY 19TH CENTURY 十九世紀初一對蓮花形水丞 Please note this Lot is to be sold at No Reserve. 本拍品不設底價Of globular form with three rows of petals issuing from a coiled stem at the base, the upper rim with small green petal tips, the exterior finely enameled in delicately graduated shades of pink, the interior covered in a turquoise glaze, one waterpot with a turquoise base, the other with a bright green base. (2)Provenance: Alistair Sampson Antiques Ltd., London, 1997. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from Alistair Sampson Antiques Ltd., London, dated 24 February 1997, describing the lot as a pair of lotus-shaped waterpots, dated to the early 19th century, accompanies this lot. Alistair Sampson (1929-2006) was a lawyer, noted antiques dealer, and humorist. After completing military service in the Royal Navy, he practiced law, specialized in criminal and family law, and was appointed a judge’s marshal. By his own account, Sampson was a collector almost all his life, specializing in Leeds creamware. In 1969, he made the long-pondered change to become a dealer, focusing on seventeenth and eighteenth-century English pottery and opened a shop on Brompton Road where he sold antiques from all over the world, ranging from paintings to metalwork to Western and Chinese ceramics. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Their earliest works date from the beginning of the Qing dynasty and generally reflect the Western taste for the famille verte and famille rose wares of the Kangxi, Yongzheng, and Qianlong reigns. Condition: Very good condition with minor wear to the enamels, and manufacturing flaws including few glaze recesses, and little pitting.Weight: 69.3 g and 73.8 g Dimensions: Height 4.7 cm and 4.6 cmAuction result comparison:Type: RelatedAuction: Christie’s New York, 23 January 2012, lot 373Price: USD 3,500 or approx. EUR 4,400 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese export lotus-form waterpots, 19th centuryExpert remark: Compare the related form and color. Note the sizes (11 cm).十九世紀初一對蓮花形水丞成球形花苞狀，三層蓮瓣，邊緣有綠色花瓣尖，精美細膩的漸變的粉色釉，內部覆蓋著綠色釉，一個圈足内淺綠色，另一個為亮綠色。 來源：倫敦Alistair Sampson Antiques Ltd.藝廊，1997年；Richard 與Maxine Markell購於上述藝廊。隨附一份1997年2月24日Alistair Sampson Antiques Ltd.藝廊出具的原始發票複印本，認爲這對水丞為十九世紀初。Alistair Sampson (1929-2006年) 是一名律師、著名的古董商和幽默家。在皇家海軍服完兵役後，他從事法律工作，專攻刑法和家庭法，並被任命為法官元帥。根據他自己的說法，他幾乎一生都是一名收藏家，專攻利茲白釉器皿。1969 年，他做出了深思熟慮的轉變，成為一名專注於十七和 十八 世紀英國瓷器的經銷商，並在 Brompton Road 開了一家商店，出售來自世界各地的古董，從繪畫到金屬製品，再到西方和中國的陶瓷。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。 多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。 他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：狀況極好，琺瑯有輕微磨損，製造缺陷如少量釉面凹陷和點蝕。 重量：分別69.3 克與73.8 克 尺寸：高 4.7 厘米與4.6 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年1月23日，lot 373 價格：USD 3,500（相當於今日EUR 4,400） 描述：十九世紀一對中國出口蓮花形水丞 專家評論：比較相近的外形和顏色。請注意尺寸 (11 厘米)。

A PAIR OF BLUE AND WHITE ‘LIONS AND PEONY’ PORCELAIN BOWLS, SHUNZHI TO KANGXI PERIOD 順治至康熙時期一對青花《獅子牡丹》碗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 17th century. Each of deep conical form, supported on a short straight foot and rising to an everted brown-dressed rim, the flared sides painted in shades of cobalt blue to the exterior with three Buddhist lions alternating with peony sprays. The interior with a central medallion enclosing a peony spray and a scroll border below the rim. The recessed base with an apocryphal six-character mark da Ming Jiajing nianzhi painted in underglaze blue within a double circle. (2)Provenance: From the private estate of Yip Hon. Nicknamed Kwai Wong (‘Ghost King’) and also known as the ‘God of Gambling’, Yip Hon (1904-1997) was a successful gambling tycoon active in Macau and Shanghai for over half a century, co-founding the well-known Grand Lisboa in the early 1960s.Condition: Excellent condition with minor wear and firing irregularities, including glaze recesses, minimal pitting, and few dark spots.Weight: 189 g and 194.6 g Dimensions: Diameter 15 cm and 15.3 cm Expert’s note: The present lot is a rare example of a well-documented type of Shunzhi and Kangxi-period blue and white bowls, more commonly painted with the eight horses of Mu Wang, and also bearing six-character Jiajing reign marks.Literature comparison: For a related bowl, see The Palace Museum’s Collection of Blue and White Porcelains from Kangxi Period of Qing Dynasty I, The Forbidden City Publishing House, 2016, p. 226-227, pl. 101. A transitional-period bowl of this design and also with a Jiajing mark is illustrated in Ben Janssens Oriental Art, Seventeenth Century Chinese Blue and White Porcelain From The Private Collection of Eileen Lesouef, p. 30, pl. 29.Auction result comparison: Type: Closely related Auction: Christie’s New York, 22 March 2013, lot 1465 Price: USD 6,250 or approx. EUR 7,600 converted and adjusted for inflation at the time of writing Description: A blue and white conical bowl, Shunzhi/Kangxi period, 17th century Expert remark: Compare the closely related form and decoration. Note that this lot comprises a single bowl (as opposed to a pair like the present lot). Note the size (17.6 cm). 順治至康熙時期一對青花《獅子牡丹》碗中國，十七世紀。碗敞口淺腹，圈足。口外翻，棕色釉邊緣。碗外壁青花描繪三隻獅子，與牡丹花圖案交替。碗內中央開光，描繪牡丹紋。圈足內青花雙圈六字款“大明嘉靖年製”款。 來源：葉漢私人舊藏。葉漢人稱“鬼王葉”或“賭聖”。葉漢 (1904-1997) 曾是一位港澳著名企業家，成功的博彩大亨，活躍於澳門和上海超過半個世紀，於 二十 世紀六十年代初與他人共同創立了著名的新葡京酒店。 品相：品相極佳，有輕微磨損和燒製不規則現象，包括釉面凹陷、極少的凹坑和少量黑點。 重量：分別爲189克與194.6 克 尺寸：直徑分別為15 釐米與15.3釐米 專家注釋：本拍品為順治、康熙青花碗中罕見的有據可查的器型。此類器外多繪《穆王八駿圖》，亦有嘉靖六字款。 文獻比較： 一件相近的碗，見《故宮博物院藏清康熙青花瓷器（上）》，紫禁城出版社，2016年，頁226-227，圖101。一件明嘉靖款過渡時期碗，見Ben Janssens Oriental Art，《Seventeenth Century Chinese Blue and White Porcelain From The Private Collection of Eileen Lesouef》，頁30，圖29。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月22日，lot 1465 價格：USD 6,250（相當於今日EUR 7,600） 描述：十七世紀順治至康熙時期青花圓錐形碗 專家評論：比較非常相近的外形和裝飾。請注意此為一個碗，以及尺寸(17.6 厘米)。

A GREEN-GLAZED ‘HEART SUTRA’ BRUSHPOT, BITONG, LATE QING DYNASTY 清末綠釉《心經》筆筒Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1820-1900. Glazed all over in a vibrant apple-green, the brush pot is finely carved with eight lines of inscription along the exterior, in high relief, above a double-band border and beneath the raised lip of the rim. The bright glaze thins nicely at the edges and pools in the recesses of the script. The base with an apocryphal six-character seal mark da Qing Qianlong nianzhi within a square reserve in deep relief.Provenance: Austrian trade. Acquired from a private consignor. Condition: Good condition with expected old wear and minor firing irregularities, signs of use mostly to the inside, and a minor hairline crack to the rim.Weight: 1,445 g Dimensions: Diameter 18.1 cm, Height 15.2 cm A small group of independent ceramicists in Jingdezhen produced considerable numbers of carved quality porcelain during the later 19th century. Among this group were famous potters like Zhang Mianyi and Wang Bingrong. At that time, some porcelain workshops started carving ceramic vessels, such as snuff bottles or brush pots, as a diversification and improvement from the earlier practice of molding. The uniformity and depth of the characters, as exemplified by the present lot, can only be achieved by careful and steady carving, which takes a lot of time and a highly advanced skillset.The monochrome glaze serves to highlight the sheer quality of the carving, unlike in molded designs, which almost always show painted details in polychrome enamels, gilt, and iron red. These details serve to ‘hide’ the many imperfections of the molded design. As opposed to that, the glaze - which pools around the characters –highlights every single imperfection to the design … unless there simply is none, such as in the present lot.The Heart Sutra is known also as the Prajnaparamita sutra and was translated into Chinese in the 7th century by the pilgrim monk Xuanzang on the orders of the Emperor Gaozong (reigned 649-683 AD). It was one of the principal scriptures of the Madhyamika school of Buddhism, founded by the great Buddhist philosopher Nagarjuna (c. 100-200 BC), mostly because of its emphasis on true wisdom which eventually leads to enlightenment.Scholars agree that the Heart Sutra is the most recited, copied, and studied scripture in East Asian Buddhism. It is recited by adherents of the Mahayana schools regardless of sectarian affiliation with the exception of Shin and Nichiren Buddhists. In Sanskrit, the title translates to ‘The heart of perfect wisdom.’ In the Heart Sutra, Avalokiteshvara addresses Sariputra, explaining the fundamental emptiness of all events, known through and as the five aggregates of human existence: form, feeling, volitions, perceptions, and consciousness. Avalokiteshvara famously states, ‘Form is emptiness. Emptiness is form,’ and declares the other skandhas to be equally empty.Auction result comparison: Type: RelatedAuction: Christie's London, 13 December 2018, lot 47Price: GBP 30,000 or approx. EUR 47,500 converted and adjusted for inflation at the time of writingDescription: An inscribed 'heart sutra' pewter brush pot, 19th centuryExpert remark: Compare the closely related cylindrical form, heart sutra inscription, and size (18.1 cm). Note the different material.

A WUCAI ‘THREE BOYS’ JAR AND COVER, SHUNZHI PERIOD 順治五彩《三童戲牡丹》蓋罐 Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1644-1661. Of ovoid form, the body decorated in bright enamels of red, green, aubergine, and yellow as well as underglaze-blue with three boys hanging from the stems of peony blossoms amid leafy scroll, framed by line borders, with stylized wave bands above the foot and to the neck, and a band of lotus and peony blossoms borne on leafy scrolling vines at the shoulder.The domed cover similarly decorated with peony sprays and topped by a bud-form finial.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. M.3.2. The base with an old label, ‘Apley 173’. 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: The jar in good condition with expected old wear and firing irregularities, including glaze recesses and a firing crack to the base. Light scratches, glaze flakes, minute chips to foot, and a smoothened chip to the rim. The cover with shallow chips and losses. The shoulder with a hairline.Weight: 2,382 g Dimensions: Height 28.8 cm Boys were a highly auspicious subject in China, representing wishes relating to fertility. Images of boys with blossoming peonies, such as in the present example, emphasized the wish for family success and for sons to achieve a high social rank by passing the imperial examinations.Literature comparison:Compare a related jar and cover illustrated in Michael Butler, Julia Curtis, and Stephen Little, Shunzhi Porcelain: Treasures from an Unknown Reign, pp. 102-103, pl. 10. Auction result comparison: Type: Related Auction: Christie’s New York, 13 September 2019, lot 1112 Price: USD 18,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing Description: A wucai ‘boys’ jar and cover, Shunzhi period Expert remark: Compare the related form, motif, and wucai decorations. Note differently decorated cover. Note the size (38 cm).

A BROWN-GLAZED FOLIATE-RIMMED DISH, LIAO TO EARLY SONG DYNASTY 遼至宋初蓮瓣口褐釉盤Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 11th-12th century. Finely potted with flaring sides neatly divided into ten lobes supported on a short tapered circular foot, covered overall with a thin black-brown glaze, pooling at the edges and recesses, and stopping unevenly at the base to reveal the grayish-buff body.Provenance: R&G McPherson Antiques, London, United Kingdom, 2014. The private collection of Grahame Clarke, acquired from the above and thence by descent. Copies of the original description and invoice from R&G McPherson Antiques, each confirming the dating above, accompany this lot. Robert McPherson is an English dealer and highly regarded expert in Chinese ceramics, a committee member of the Oriental Ceramic Society, and on the board of ‘Asian Art in London’. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke’s work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age. Wear and firing flaws, including small firing cracks, spur marks, and glaze recesses. Few smoothened chips to the rim, one small chip to the foot. The rim with minor glaze touchups.Weight: 148.2 gDimensions: Diameter 12 cm Literature comparison:Compare a closely related lobed dish in the Fitzwilliam Museum, Cambridge, accession no. C29-2007. Also compare another closely related lobed dish in the Art Institute of Chicago, reference number 1964.1221. And another related dish illustrated in R. Krahl, Yuegutang, A Collection of Chinese Ceramics in Berlin, G+H Verlag, Berlin, 2000, p. 227, pl. 181. 遼至宋初蓮瓣口褐釉盤中國，十一至十二世紀。十瓣蓮瓣口，淺圈足，薄黑褐色釉，邊緣和凹陷處有積釉，底部不平，露出灰黃色的胎。 來源：英國倫敦R&G McPherson Antiques藝廊，2014年；Grahame Clarke私人收藏, 購於上述藝廊，保存至今。該拍品附有 R&G McPherson Antiques 的原始描述和發票副本，每份都確認了上述日期。 Robert McPherson 是一位英國經銷商、備受推崇的中國陶瓷專家、東方陶瓷學會的毫米級成員以及“倫敦亞洲藝術”的董事會成員。Grahame Clarke（1940-2014）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 Highland Stoneware。 在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：品相良好，磨損和燒製缺陷，包括小的燒製裂紋、毛刺痕跡和釉面凹陷。邊緣局部有已經平滑的缺口，腳部有一小塊缺口。邊緣有輕微的釉面修飾。重量：148.2 克 尺寸：直徑12 厘米文獻比較： 比較一件非常相近的葵口盤，收藏於Fitzwilliam博物館，劍橋，館藏編號C29-2007。另一件非常相近的葵口盤， 收藏於芝加哥藝術館，館藏編號1964.1221。另一件相近的葵口盤， 見R. Krahl，Yuegutang，《A Collection of Chinese Ceramics in Berlin》，G+H Verlag，柏林，2000年，頁227，圖181。

A BLUE AND WHITE SEAL PASTE BOX AND COVER, EARLY QING DYNASTY 清初青花印泥盒Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, late 17th - 18th century. The cylindrical body supported on a short foot, finely decorated in shades of cobalt blue to the top of the cover and the recessed base with chrysanthemum blooms borne on leafy scrolling vines, the sides left plain, covered overall with a transparent glaze. Note that the decoration on the cover being repeated on the base is rather unusual.Provenance: Collection of Alfred Julius Forkel, acquired in China before 1910, and thence by descent in the same family. The base with two old labels, 'IV’ and ‘71/51’. Mentioned in the inventory of the collection, p. 71, no. 51, described as ‘Kien Lung blau und weiß Farbnäpfchen’. Alfred Julius Forkel (1873-1934) was born in Bavaria to Johann Wilhelm Forkel and Anna Dorothea Forkel. During his life, Forkel worked as a merchant and later as an officer with the Imperial German Navy. His travels as a merchant and as a naval officer took him across the globe. During his time in China, he assembled a large collection of Chinese porcelain and ceramics.Condition: Very good condition with expected old wear, a minor chip to the rim of the cover. Remnants of red seal paste to the interior of the box and cover along with traces of use.Weight: 149.5 gDimensions: Diameter 7 cm Auction result comparison: Type: Related Auction: Sotheby’s London, 10 November 2010, lot 92 Price: GBP 6,250 or approx. EUR 12,000 converted and adjusted for inflation at the time of writing Description: A blue and white seal paste box and cover, Qing dynasty, Kangxi period Expert remark: Compare the closely related cylindrical form and related cobalt-blue decoration, albeit with a different motif. Note the related size (7.8 cm) and that the lot comprises two additional porcelains. 清初青花印泥盒中國，十七世紀末至十八世紀。印泥盒圓筒形，短圈足。蓋頂青花描繪纏枝菊花紋，側面素面無紋，通體施透明釉。 請注意，蓋子上的裝飾在底座上重複是相當不尋常的。 來源：Alfred Julius Forkel 收藏，1910年前購於中國，在同一家族傳承至今。底座有兩個標籤 “IV”與“71/51”。在藏品清單中提到，第71頁，51號，描述為 “Kien Lung blau und weiß Farbnäpfchen”。Alfred Julius Forkel（1873-1934 年）出生於巴伐利亞，父親是Johann Wilhelm Forkel，母親是Anna Dorothea Forkel。Forkel曾是一名商人，後來成為德意志帝國海軍的一名軍官。因爲工作遠古他走遍了全球。在中國期間，他收藏了大量中國瓷器和陶瓷。 品相：狀況非常好，有磨損，蓋子邊緣有輕微缺口。盒子內部和蓋子上殘留有印泥顔色以及使用痕跡。 重量：149.5 克 尺寸：直徑 7 厘米 拍賣結果比較：形制：相近 拍賣：倫敦蘇富比，2010年11月10日，lot 92 價格：GBP 6,250（相當於今日EUR 12,000） 描述：康熙青花印泥盒 專家評論：比較非常相近的橢圓外形，相近的青花，但不同的主題。請注意相近的尺寸 (7.8 厘米) ，以及此印泥盒和兩件青花瓷器為一組。

A GRISAILLE AND IRON-RED-DECORATED ‘LI TIEGUAI’ VASE, HONGXIAN MARK, EARLY REPUBLIC PERIODPlease note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: For an interesting discussion of porcelain produced during the short period from December 1915 to February 1916 when General Yuan Shikai adopted the reign title Hongxian in an attempt to restore the monarchy to China, see the article by Simon Kwan, 'Hongxian Porcelain and the Role of Wang Xiaotang', published in Orientations, October, 1991, pp. 65-70. In particular, the author notes that a batch of Hongxian-marked porcelain wares was most likely indeed produced for Yuan Shikai. The painting on the present porcelain vase is of the highest quality. The painter not only executed the meticulous wrinkles and folds of Li Tieguai’s skin with a deft hand, but he also painted the clothes with an intricate pattern and shaded the rocks with remarkable mastery. This vase belongs to a rare group of grisaille-decorated porcelain from the Republic period which were decorated by the most skilled painters in Jingdezhen, of which there were exceedingly few left at that time.China, c. 1915-1930. Delicately potted, the ovoid body supported on a short foot and rising to a gently rounded shoulder with a waisted neck and flared mouth. Superbly painted to the exterior in predominantly iron-red and grisaille with Li Tieguai leaning on his iron crutch as he sits on a dramatically cragged and pierced rock under a towering tree with gnarled branches, before a flaming brazier with his double gourd placed on top, surrounded by further vessels and implements. The base with an iron-red four-character seal mark Hongxian nianzhi within a double square.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.3.16. 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 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: Very good condition with minor wear and firing irregularities, the body with a fine and short hairline.Weight: 553.5 g Dimensions: Height 20 cm Auction result comparison:Type: Closely relatedAuction: Christie’s New York, 15 September 2011, lot 1642Price: USD 12,500 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: An iron-red and grisaille-decorated baluster vase, 20th centuryComparison: Compare the closely related iron-red and grisaille decoration, immortal subject, and Hongxian mark. Note the different form and the size (32.9 cm).Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 29 May 2013, lot 2033 Price: HKD 437,500 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A grisaille-decorated ‘landscape’ vase, Hongxiang yuzhi blue enamel mark within double-squares, Republic period Expert remark: Compare the closely related iron-red and grisaille decoration and Hongxian mark, as well as the similar size (20.2 cm). Note the different subject and form.Due to length restriction on Drouot this entry is shortened. For full description please visit www.zacke.at.由于Drouot平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LARGE FAMILLE ROSE ‘WU SHUANG PU’ OCTAGONAL VASE, CHINA, 19TH CENTURYPlease note this Lot is to be sold at No Reserve. 本拍品不設底價Of square section with cropped corners, the baluster body supported on a short waisted foot and rising to a slender neck with a flared mouth. The exterior finely painted in bright enamels with heroes and heroines from the Wu Shuang Pu with accompanying inscriptions. Sun Quan, Di Renjie, Fu Sheng, and Wu Zetian are named on their flanking cropped corners, alternating high and low, and an epithet for each written above their emblems, along with excerpts from their stories in the Wu Shuang Pu above and below each figure.Provenance: English trade. Condition: Very good condition with only minor wear and firing irregularities. The rim with a shallow chip.Weight: 3,161 g Dimensions: Height 38.9 cmWu Shuang Pu ('Table of Peerless Heroes') by Jin Guliang is a book of woodcut prints, first printed in 1694, early on in the Qing dynasty. This book contains the biographies and imagined portraits of 40 notable heroes and heroines from the Han Dynasty to the Song Dynasty, all accompanied by a brief introduction and guided by a related poem in Yuefu style. The illustrations from the book were widely distributed and re-used, often as motifs on Chinese porcelain.Di Renjie (630-700), formally Duke Wenhui of Liang, was a Chinese politician of the Tang and Wu Zhou dynasties, twice serving as chancellor during the reign of Wu Zetian. He was one of the most celebrated officials of Wu Zetian's reign and was thus included in Wu Shuang Pu. He is depicted on this lot wearing polychrome robes with floral medallions.Fu Sheng (268-178 BC) was a Chinese philosopher and writer. He was a Confucian scholar of the Qin and Western Han dynasties of ancient China, famous for saving the Confucian classic Shangshu (‘Book of Documents’) from the book burning of the first Qin emperor. Fu Sheng is recognized as one of the most important Confucians of the Han Dynasty. He is often venerated in Confucian temples along with other sages, and has been a subject of many poems, essays, and paintings. He is depicted on this lot seated on a rock ledge and above him are his emblematic books.Wu Zetian (624-705) was the first and only female emperor in Chinese history. She subsequently founded and ruled the Wu Zhou dynasty of China from 690 to 705. She was the only female sovereign in the history of China widely regarded as legitimate. Under her 40-year reign, China grew larger, becoming one of the great powers of the world, its culture and economy revitalized, and corruption in the court reduced. She was removed from power in a coup and died a few months later. She is depicted on this lot wearing her imperial robes, and above her is Mount Song where her rule was legitimized during the Feng Shan.Sun Ce (175-200) was a Chinese military general, politician, and warlord who lived during the late Eastern Han dynasty of China. He was the eldest child of Sun Jian, who had found the Heirloom Seal of the Realm when his forces occupied the evacuated Han imperial capital of Luoyang, in the course of the campaign against Dong Zhuo, and later suffered a violent death during the Battle of Xiangyang when Sun Ce was only 16. Upon his father’s death, Sun Ce inherited the seal and gave it to Yuan Shu so that he might lend him troops to take revenge for his uncle, who had been fighting Warlord Lu Kang. The young Sun Quan is depicted on this lot wearing heavy armor with a sheathed sword, holding a large axe, with the Heirloom Seal of the Realm painted above.Auction result comparison: Type: Closely related Auction: Bonhams Edinburgh, 24 November 2011, lot 432 Price: GBP 3,125 or approx. EUR 6,000 converted and adjusted for inflation at the time of writing Description: A famille rose figural vase, 19th century Expert remark: Compare the closely related form, decoration, and subject. Note the smaller size (35.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 14 September 2019, lot 1511 Price: USD 6,250 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A famille-rose ‘Wu Shuang Pu’ quadrangular vase, late Qing dynasty Expert remark: Compare the closely related subject. Note the similar size (38 cm).Due to length restriction on Drouot this entry is shortened. For full description please visit www.zacke.at.由于Drouot平台拍品叙述的长度限制，完整中文叙述请至www.zacke.at查看

A WHITE-GLAZED JAR, TANG DYNASTY 唐代白釉罐Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 618-907. Of globular form, the body rising from a narrow foot to voluminous rounded shoulders with a short waisted neck surmounted by a rolled rim. The interior and exterior covered in a translucent creamy white glaze above a white slip. Parts of the lower body and the flat base unglazed, thus exposing the pale buff body with its characteristic pinkish hue.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke’s work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age, showing some old wear and minor manufacturing irregularities, including glaze recesses and dark spots. Expected glaze flaking, minor losses, light scratches.Weight: 1018.1 gDimensions: Height 16.5 cm Literature comparison:Compare a related jar in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, Tokyo, 1996, no. 90; and in Mayuyama, Seventy Years, Tokyo, 1976, p. 83, no. 219. Compare a related white-glazed pottery jar illustrated by Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, pp. 138-139, no. 229. Compare four related jars of varying sizes (14.3 to 25.5 cm. high), illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 97, pl. 261 and p. 83, pls. 219-22.Auction result comparison: Type: Closely relatedAuction: Christie’s 29 March 2006, lot 394Price: USD 3,600 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A white-glazed baluster jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (20.9 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 20 March 2023, lot 4Price: USD 7,013 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: Two white glazed pottery vessels, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.5 cm) and that this lot also comprises a shallow bowl.Auction result comparison: Type: Closely relatedAuction: Christie’s New York, 24 Mar 2023, lot 1002Price: USD 6,300 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A glazed white ware jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.4 cm).

A TURQUOISE MATRIX SNUFF BOTTLE, CHINA, 18TH CENTURY 十八世紀綠松石紋理鼻煙壺 Please note this Lot is to be sold at No Reserve. 本拍品不設底價Of flattened form, well hollowed, the rounded rectangular body supported on an oval foot rising to a short cylindrical neck with a narrow mouth. The stone of variegated turquoise and green tones, some areas with a yellowish tinge, and dramatic dark blue veining of the matrix on either side.Provenance: From a prominent New York snuff bottle collector.Condition: Very good condition with expected old wear and some organic weathering. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Very minor nicks around the rim.Stopper: Sapphire with a beaded gilt metal collar, probably matching and also dating to the 18th century Weight: 83.9 g Dimensions: Height including stopper 68 mm. Diameter neck 19.5 mm and mouth 6 mm. The universal gem standard for turquoise is that the more brilliant the sky-blue color, the more valuable the stone, but in China, it is clear that both green and blue veined material was equally valued. The evidence lies in snuff bottles made from other materials that evoke turquoise. Of the entire turquoise range of Qing glass snuff bottles, many more are of a green tint than a sky-blue one. Porcelain imitations of the material are even more informative. Both the green and blue varieties were regularly copied during the mid-Qing period. One of the finest imitation turquoise bottles is in the Ault Collection (Kleiner 1990, no. 131). It probably dates from the late eighteenth century and is of a distinctly green color. In the same publication, a magnificent and unique porcelain bottle made for the Master of the Xie Bamboos, whose hall name appears on other known porcelains of the first half of the nineteenth century, simulates a turquoise-matrix bottle with panels of calligraphy in iron-red on white. Not only is the color unambiguously green, it is as riddled with black matrix markings as any of the real material carved into bottles.Expert’s note: Whatever the color of the material may have meant, this example is intriguingly marked with some well-figured matrix, unusual speckling across both faces of the bottle, and intriguing darker staining, possibly partly due to handling but too well defined to stem purely from patination. This is one of the star turquoise bottles known, of lovely color and material. It is also superbly formed, with matching perfection of finish. Therefore, this bottle can be firmly dated to the 18th century.Literature comparison:For a related snuff bottle, see Michael Hughes, The Chester Beatty Library, Dublin. Chinese Snuff Bottles, The International Snuff Bottle Society, Baltimore, 2009, page 190, pl. 151.Auction result comparison: Type: Closely related Auction: Sotheby’s Hong Kong, 25 May 2014, lot 1068 Price: HKD 237,500 or approx. EUR 34,500 converted and adjusted for inflation at the time of writing Description: A turquoise matrix snuff bottle, Qing dynasty, 18th / 19th century Expert remark: Compare the closely related color. Note the different form. Auction result comparison: Type: Related Auction: Christie’s New York, 26 March 2010, lot 1162 Price: USD 8,750 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A rare turquoise snuff bottle, 1780-1850. Expert remark: Compare the color. Note the different form and smaller size (5.5 cm).

A XINGYAO WHITE-GLAZED BOTTLE VASE, FIVE DYNASTIES TO NORTHERN SONG DYNASTY 五代至北宋邢窰白釉穿帶壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 10th-11th century. The rare and early Xing ware ceramic vessel is of globular form, following a leather canteen shape, the tall, gently rounded sides gathered into pairs of shallow rounded lobes and applied with twin squared lug handles with riveted ends at the shoulder and base, straddling the lobes, lightly engraved with a double-line border around the outer edge of the broad rounded shoulders, surmounted by a waisted cylindrical neck, applied overall with a smooth cream-white glaze, save for the foot, rim, and base which were left partly unglazed revealing a smooth white ware.Provenance: Hang Tang Cheng, Dragon House, San Francisco, USA, 1990s. A private collection in North America, acquired from the above. One side of the vase with an old collector’s label, ‘Northern Song [...] 10-11C, Early Ding [sic!] Stoneware [...] Flask Two Vertical Indentations + 4 Stray Handles 00-409 SL50029.’ A copy of a Certificate of Appraisal written and signed by Hang Tang Cheng, dating the present lot to the Northern Song to Liao dynasty, 10th-11th century, accompanies this lot. Hang Tang (Hank) Cheng is a well-respected dealer and appraiser of Asian art who ran the famous Dragon House antiques shop in San Francisco, established in 1979. Hank Cheng worked closely with museums, institutions, and auction houses including the Asian Art Museum, Bonhams, and Christie’s.Condition: Very good condition with only minor old wear and few tiny nicks to the foot rim.Weight: 280 gDimensions: Height 12 cm With a padded silk box and cover. (2)Literature comparison:Compare the white porcelain vase of this form in the collection of the National Palace Museum, Taipei, published in Illustrated Catalogue of Sung Dynasty Porcelain in the National Palace Museum: Ting Ware and Ting-Type ware, Taipei, 1973, no. 1. Compare a closely related white-glazed handled vase, dated late Tang to Five Dynasties, 9th-10th century, from the collection of Carl Kempe (1884-1967), Sweden, illustrated and exhibited by J. J. Lally & Co. in Chinese Ceramics in Black and White, New York, 20 March-10 April 2010, no. 14. Another white porcelain vase of this distinctive form from the Avery Brundage Collection, in the Asian Art Museum of San Francisco, is illustrated by He Li in Chinese Ceramics: The New Standard Guide, London, 1996, p. 90, no. 136, with description on p. 120; and the same vase was previously published by Watson in Tang and Liao Ceramics, London, 1984, p. 145, no. 124. A Xingyao white porcelain vase of this same form in the collection of the Shanghai Museum is illustrated in Qiannian Xingyao (Xing Kiln in its Millennium), Beijing, 2007, p. 168, together with another example, ibid, on p. 169; and the same vase from the Shanghai Museum is also illustrated in Zhongguo taoci quanji (6) Tang-Wudai (The Complete Works of Chinese Ceramics, Vol. 6, Tang–Five Dynasties), Shanghai, 2000, p. 200, no. 225 and several other publications, including A Dictionary of Chinese Ceramics, Singapore, 2002, p. 171, where the scholar Wang Qingzhen points out that this type of white porcelain bottle in the Tang dynasty was famously called ‘the Neiqiu bottle,’ referring to the place where it was made, at the Xing kilns located in Neiqiu, Hebei province, which was under the administration of Xingzhou prefecture.Auction result comparison: Type: Near identical Auction: Sotheby’s Hong Kong, 02 June 2016, lot 674 Price: HKD 750,000 or approx. EUR 101,000 adjusted for inflation at the time of writing Description: A white-glazed ‘Xing’ bottle vase Five Dynasties-Northern Song DynastyExpert remark: Compare the closely related form and glaze. Note that this vase has a restored chip to the rim.

A GE-TYPE VASE, FANGHU, FIRST HALF OF THE 18TH CENTURY 十八世紀上半葉仿哥窯貫耳壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1700-1750. Of rectangular section, the pear-shaped body rising from a short slightly spreading foot to a gently waisted neck, the sides flanked by a pair of lug handles, covered overall with a grayish-blue glaze suffused with a matrix of dark gray, gold, and transparent crackle. The thick and vitreous nature of the glaze is typical for the first half of the 18th century. The broad rectangular foot is unglazed, thus revealing the dark brown ware.Provenance: French trade.Condition: Excellent condition with minor old wear and firing irregularities including pitting and distinct glaze recesses near the rim to the interior and exterior.Weight: 820.8 gDimensions: Height 20 cm The crackles on this vase are known as jinsi tiexian (gold thread and iron wire) and were deliberately induced during the cooling process and later highlighted by staining. The glaze and black dressing are conscious imitations of Song-dynasty Ge ware.Literature: See Catalogue of the International Exhibition of Chinese Art, 1935–6, no. 876, in the collection of Sir Percival David. For related Yongzheng examples, see Catalog of the Special Exhibition of K’ang-hsi, Yung-cheng and Ch’ien-lung Porcelain Ware from the Ch’ing Dynasty in the National Palace Museum, no. 63; Lam, Ethereal Elegance: Porcelain Vases of the Imperial Qing, The Huaihaitang Collection, no. 39, pp. 160–1; and Tie, The Complete Collection of Porcelain of Jiangxi Province: Porcelain of the Qing Dynasty (I), p. 113. Note also the Catalogue of a Special Exhibition of Ch’ing Dynasty Monochrome Porcelains in the National Palace Museum, no. 80, for a Guan-glazed example; and Xu, Treasures in the Royalty: The Official Kiln Porcelain of the Qing Dynasty, p. 205, for a rust-glazed version.Auction result comparison: Type: Closely relatedAuction: Christie’s Paris, 13 December 2017, lot 69Price: EUR 25,000 or approx. EUR 29,000 adjusted for inflation at the time of writingDescription: A Ge-type vase, Fanghu, Qing dynasty, first quarter of the 18th centuryExpert remark: Compare the related form and closely related glaze, with similar two-tone crackle, and size (19 cm). Note the everted rim and the slightly more spreading foot. 十八世紀上半葉仿哥窯貫耳壺中國，1700-1750年。器規整而不厚重，圓口，直頸，肩上飾貫耳，腹部下垂圓腹，高圈足微外撇。通體施繪仿哥釉，釉面細膩，開片，鐵足。 來源：法國古玩交易。 品相：狀況良好，有輕微磨損和燒製不規則，包括邊緣附近的凹坑和明顯的内外釉面凹陷。 重量：820.8 克 尺寸：高 20 厘米文獻：見圖錄《International Exhibition of Chinese Art》，1935–6年，編號876，收藏於Sir Percival David。一件相近的雍正方壺，見《清康雍乾名瓷》，故宮博物院，編號63。Lam，《Ethereal Elegance: Porcelain Vases of the Imperial Qing，The Huaihaitang Collection》，編號39，頁160–1。Tie，《The Complete Collection of Porcelain of Jiangxi Province: Porcelain of the Qing Dynasty (I)》，頁113。請注意一件官窯方壺，《清康雍乾名瓷》，編號80。一件銹釉方壺，Xu，《Treasures in the Royalty: The Official Kiln Porcelain of the Qing Dynasty》，頁205。 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2017年12月13日，lot 69 價格：EUR 25,000（相當於今日EUR 29,000） 描述：清十八世紀初仿哥釉貫耳壺 專家評論：比較相近的外形和非常相近釉面，有兩種不同顏色的裂紋，以及尺寸(19厘米)。請注意緣口外翻和足部外撇。

A QIANJIANG CAI ‘SCHOLAR AND ATTENDANT’ BRUSHWASHER BY THE HANKOU GANXIN COMPANY, LATE QING DYNASTY TO REPUBLIC PERIOD 清末民初漢口贛新瓷業公司淺絳彩人物場景花口筆洗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, c. 1910-1949. Skillfully potted with a distinctively lobed rim and finely painted to depict an elderly scholar leaning on his staff while his boy attendant carries a basket of flowers under a gnarled pine tree with bright green pine needles in a fenced garden. The base lacquered with a Shou character. The figures are painted inside a garden fence, standing next to a tall pine tree with bright green pine needles.Inscriptions: Center left, ‘Hankou Ganxin Ciye Gongsi’. One seal.Provenance: Belgian trade.Condition: Very good condition with minor wear, traces of use, and firing flaws, light scratches to the base.Weight: 436.5 g Dimensions: Width 29 cmThe Hankou Ganxin Company was an offshoot of the Jiangxi Porcelain Company based in Hankou, Hubei province, one of three towns along with Wuchang and Hanyang that were merged in 1949 to become Hubei’s new capital Wuhan. The Jiangxi Porcelain Company (or Jiangxi Ciye Gongsi) is the most well-known Chinese porcelain studio of the first half of the 20th century, located in Jingdezhen. It was established in 1910 as a large semi-government company funded by private owners and the five provinces of Hebei, Hubei, Jiangsu, Anhui, and Jiangxi. It is located near the Zhushan – the Pearl Hill – adjacent to the former Imperial porcelain workshops. It is often said that the Jiangxi Porcelain Company of the early 20th century replaced the Imperial kilns, making porcelains for the court in the last years of the Qing Dynasty.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the late Qing dynasty and early Republican period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink. The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works. 清末民初漢口贛新瓷業公司淺絳彩人物場景花口筆洗中國，約1910-1949年。花口淺筆洗，平底。洗中淺絳彩描繪松下站著一位文人，拄著手杖，一男童提著一籃子花。底座隱約可辨一個“壽”字。 款識：漢口贛新瓷業公司 來源：比利時古玩交易。 品相：狀況極好，有輕微磨損、使用痕跡、燒製缺陷，底座有輕微劃痕。 重量：436.5 克 尺寸：寬29 厘米

A COPPER-RED GLAZED ‘HAITANG’ VASE, QING DYNASTY, DAOGUANG PERIOD 道光銅紅釉海棠口瓶Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1821-1850. The compressed baluster vase stands on a splayed foot. The four lobes of the vase give its characteristic crabapple shape as the neck rises from its globular body to an everted rim. The recessed base is glazed with a finely crackled guan-type glaze. Covered overall in a rich and absolutely opaque copper-red glaze.Provenance: Collection of Alfred Julius Forkel, and thence by descent in the same family. The base with three old labels, ‘656263,’ ‘1020,’ ‘69/19,’ and the neck with two labels, ‘V’ and ‘69/19’. Mentioned in the inventory of the collection, section V, Nr. 19, and described there as “Tao-Kuang Sang de Boeuf”. Alfred Julius Forkel (1873-1934) was born in Bavaria to Johann Wilhelm Forkel and Anna Dorothea Forkel. During his life, Forkel worked as a merchant and later as an officer with the Imperial German Navy. His travels as a merchant and as a naval officer took him across the globe. During his time in China, he assembled a large collection of Chinese porcelain and ceramics. Condition: Good condition with expected old wear and firing irregularities. A small chip to the rim and base, minor pitting, light scratches, and glaze recesses.Weight: 2,777 g Dimensions: Height 39.5 cm The form of this four-lobed vase supported by a broad foot rim directly references the crabapple (haitang), which could be combined with other emblems to create auspicious rebuses. Its second character, ‘tang’, is homophonous with the character for ‘hall’ and, by extension, ‘the family home’. For examples of Imperial objects of the Qing court of related haitang shape, see a bamboo tray at Bonhams Hong Kong, 24 November 2012, lot 323 (see fig. 1), and a pair of gilt bronze and cloisonne jardinieres at Bonhams London, 8 November 2012, lot 250 (see fig. 2). 道光銅紅釉海棠口瓶中國，1821-1850年。海棠口瓶，侈口，溜肩，豐胸，圈足外撇。瓶身施凹陷的底座施有銅紅色釉，底足露胎，足内釉面開片。 來源：Alfred Julius Forkel 收藏，源自同一家族。底座有三個舊標籤 “656263”、“1020”、“69/19”，頸部有兩個標籤 “V”和“69/19”。在藏品清單中提到，第 V 節，19號，描述為 “Tao-Kang Sang de Boeuf”。Alfred Julius Forkel（1873-1934 年）出生於巴伐利亞，父親是Johann Wilhelm Forkel，母親是Anna Dorothea Forkel。Forkel曾是一名商人，後來成為德意志帝國海軍的一名軍官。 因爲工作遠古他走遍了全球。在中國期間，他收藏了大量中國瓷器和陶瓷。 品相：狀況良好，有磨損，邊緣和底座有小缺口、輕微凹坑、輕微劃痕和釉面凹陷。 重量：2,777 克 尺寸：高39.5 厘米

A MAGNIFICENT IMPERIAL-YELLOW GROUND FAMILLE ROSE ‘LADY AND CHILD’ VASE, QING DYNASTY 清代黃地粉彩開光《嬰戲圖》瓶Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 18th - 19th century. Finely potted, the bulbous body supported on a spreading foot and rising to a waisted neck flanked by ruyi-form handles below the flared mouth. Brightly decorated in remarkably fine enameling to the exterior against a flawless imperial-yellow ground to each side with a foliate panel enclosing a charming scene with a boy presenting a flower to his mother, who is seated on a pierced rockwork bench within a fenced garden, all surrounded by floral blossoms borne on scrolling vines. The neck similarly decorated with peony and prunus blossoms borne on scrolling vines separated by bands of lotus scroll against a white ground enclosed by gilt borders, the foot and mouth encircled by geometric bands.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. 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 pieces from two significant sources: Prince Chun, the last Regent of the Qing Dynasty, and the private secretary of 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. A Falangcai bowl from the Lidell collection was acquired by Charles Russell and was subsequently in the collections of Barbara Hutton and Robert Chang, breaking a world record for Chinese art when it was sold in 2006 for HKD 151,320,000, purchased Dr. Alice Cheng, who recently sold the bowl again via Sotheby’s for HKD 198,220,000 in April 2023. Condition: Superb condition with only very minor old wear and firing irregularities, minor rubbing to gilt and enamels.One microscopic hairline (4 mm) to the foot. Weight: 640.6 g Dimensions: Height 20.8 cm Auction result comparison: Type: Related Auction: Sotheby’s Paris, 8 November 2022, lot 155 Price: EUR 94,500 or approx. EUR 100,000 adjusted for inflation at the time of writing Description: A yellow-ground famille-rose ‘floral’ double-gourd vase, Qing dynasty, 18th century Expert remark: Compare the related famille rose decoration on an Imperial yellow ground and the unmarked base. Note the different form and similar size (18.5 cm).

A FAMILLE-ROSE PORCELAIN 'AMERICAN EAGLE' SNUFF BOTTLE, CIRCA 1874-1876 1874-1876年粉彩《鷹》鼻煙壺 Please note this Lot is to be sold at No Reserve. 本拍品不設底價China. The ovoid body rising from a short tapered foot to a slightly flared neck with a flat lip. The exterior enameled to both sides with an eagle clutching an olive branch and arrows in its talons, its breast with a shield bearing resemblance to the United States flag, the wings spread out below a striped arch emitting golden rays.Provenance: French trade.Condition: Very good condition with minor wear and firing irregularities, few tiny nicks to the foot.Stopper: JadeiteWeight: 28.5 gDimensions: Height 60 mm. Diameter neck 11 mm and mouth 8 mm Expert’s note: Once American ships began trading at Guangzhou in the mid-Qing period, a range of porcelain wares was decorated with subjects suited to their market. In China for the West: Chinese Porcelain & Other Decorative Arts for Export Illustrated from the Mottahedeh Collection, London and New York, Sotheby Parke Bernet, 1978, pp. 499-513, David Howard and John Ayers make a convincing case for this particular design having been made to commemorate the 1876 centenary of the signing of the Declaration of Independence in the United States, suggesting a fairly specific date of production. If ordered for export, they would have been made long enough before the centenary to allow for shipping time and then discontinued; if the initiative came from the Chinese side, production could have begun later and ended less abruptly.This bottle was probably enameled at Guangzhou; it is decorated in a distinctive palette similar to other wares thought to have been decorated there. The coloring is typical of a late-Qianlong group of export wares made that favored the predominance of an unlikely combination of brown, iron-red and pink. The Chinese enamellers obviously had some trouble understanding the design they were given.The commemorative series snuff bottles are extremely rare while their larger vessel form counterparts are well known. Their rarity is partly obscured by a group of modern fakes made with a similar design in the 1970s.Auction result comparison: Type: Closely relatedAuction: Sotheby’s Hong Kong, 23 November 2014, lot 77Price: HKD 31,250 or approx. EUR 4,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose porcelain ‘American Eagle’ snuff bottle Qing dynasty, circa 1874-1876Expert remark: Note the closely related motif. 1874-1876年粉彩《鷹》鼻煙壺中國。圓柱體頸部，平口，長方圓肩，圈足。鼻煙壺兩面琺瑯繪有一隻鷹徽章，一隻爪子抓著橄欖枝，另一隻爪子抓著箭，胸前有一個類似於美國國旗的盾牌，翅膀展開，散發著金色的光芒。 來源：法國古玩交易。 品相：狀況非常好，有輕微磨損和燒製不規則，足部有一些小刻痕。 壺蓋：翡翠 重量：28.5 克 尺寸：高 60 毫米，頸部直徑11 毫米，壺口直徑8 毫米拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年11月23日，lot 77 價格：HKD 31,250（相當於今日EUR 4,500） 描述：清約1874-1876年粉彩「美國鷹徽」鼻煙壺 專家評論：請注意非常相近主題。

A MASSIVE FAMILLE VERTE ‘DRAGON BOAT FESTIVAL’ DEEP BOWL, MID-QING DYNASTY 清代中期硬彩《江山千古秀》碗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 18th to early 19th century. Finely and heavily potted with deep rounded sides supported on a short foot and rising to a gently everted rim. Intricately painted in bright enamels and iron red, the exterior with a continuous scene depicting four noblemen and court ladies in a wheeled dragon boat pulled by six female attendants followed by heralds, soldiers on horseback, and bannermen leading the procession, watched with interest by a general and courtiers from a palace terrace, all framed by a key-fret band to the foot and a lozenge band between two ruyi-head bands.Provenance: English trade. Condition: Very good condition with some old wear and expected firing irregularities, small glaze recesses, minor dark spots, and a shallow chip to the rim. Slightly warped overall.Weight: 13.6 kg Dimensions: Diameter 60.3 cm The interior similarly decorated with a central medallion enclosing two soldiers on horseback fighting amid a hilly landscape with two fleeing soldiers on foot and two bannermen with a large pavilion in the background surrounded by scrolling red clouds. The medallion is encircled by a band of foliate scroll, surrounded by four panels enclosed by alternating frames with bats and linked-cash as well as angular scroll with mythical animals, all depicting further battle scenes, all below a wide band with shaped cartouches enclosing auspicious objects reserved against a brocade-patterned ground.The Dragon Boat festival rarely appears as a subject on enameled porcelain vases and dishes. The festival is held on the fifth day of the fifth month and is celebrated with eating rice dumplings, drinking wine, and — as can be seen in the painting on this bowl — a large dragon boat procession followed by a boat race. This festival is said to commemorate the death of the poet Qu Yuan (ca. 340–278 BC) who, on the day in question, committed suicide in his despair over political corruption.Literature comparison: Compare a related famille-verte rouleau vase decorated with scenes from the dragon boat festival, 22.9 cm in diameter, dated to the Kangxi period, in the Metropolitan Museum of Art, accession number 14.40.85.Auction result comparison: Type: Related Auction: Sotheby’s New York, 19 April 2023, lot 23 Price: USD 35,560 or approx. EUR 32,500 converted at the time of writing Description: A large Chinese green-ground famille-verte charger, Kangxi period Expert remark: Compare the present lot on the left, seen from the top, with the famille-verte charger on the right. Compare the similar arrangement of the central medallion and floral patterns. Note the different form and slightly smaller size (55.5 cm). 清代中期硬彩《江山千古秀》碗中國，十八世紀至十九世紀初。碗敞口，深弧腹，圈足。大碗通景描繪皇帝和朝臣出席端午節龍舟節場景。四名貴族和宮女乘坐龍舟，由六名女侍者拉著，後面是傳令官、騎馬的士兵和領導遊行的侍者。周圍人們饒有興趣地觀看。 來源：英國古玩交易。 品相：狀況極好，有一些磨損和小釉面凹陷、輕微黑點和邊緣淺缺口。 整體略有變形。 重量：13.6 公斤 尺寸：直徑 60.3 厘米碗內同樣裝飾開光内人物刀馬場景，山水景觀。細節生動，設色華麗。文獻比較: 比較一件相近的康熙粉彩龍舟圖瓶，直徑22.9 厘米，收藏於大都會藝術博物館，館藏編號14.40.85。 拍賣比較： 形制：相近 拍賣：紐約蘇富比，2023年4月19日，lot 23 價格：USD 35,560（相當今日EUR 32,500） 描述：清康熙綠地五彩開光瑞獸花鳥山水圖大盤 專家註釋：比較相似的中央圖紋和花卉圖案的佈置。請注意不同的外形和尺寸較小 (55.5 厘米)。

A GE-TYPE SOFT-PASTE WASHER, QIANLONG MARK AND PERIOD 乾隆款及年代仿哥窯纏枝蓮紋筆洗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1736-1795. Finely potted with rounded sides rising from a tapered foot to an incurved mouth encircled by a key-fret decorated rim, the exterior molded with lotus blossoms and foliage bordered by registers of archaistic scroll, covered overall with a thick ivory-white glaze suffused with an irregular network of dark and transparent crackle. The countersunk base impressed with a six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From the estate of Stuart and Phyllis Moldaw. The collection featured a comprehensive range of early Chinese porcelain as well as a noted group of Buccelatti and Puiforcat silver. Stuart G. Moldaw (1927-2008) was a retail pioneer and billionaire who founded Ross Stores. He was also a generous philanthropist who served on the boards of several nonprofit agencies, including the San Francisco Museum of Modern Art,. President Bill Clinton appointed him as a public delegate to the U.S. Mission at the United Nations in 1993 and chairman of the White House Commission on Presidential Scholars in 1996.Condition: Good condition with minor wear and firing irregularities, including glaze recesses, pitting and firing cracks. Few minor shallow chips to edges, occasional light scratches, few tiny hairlines to rim (probably inherent to firing).Weight: 982.7 gDimensions: Diameter 23 cm This rare brushwasher with a crackle-type glaze of a faint ivory tone stands as a refined example of Qianlong period archaism. Porcelains of this type, made in imitation of imperial Ding wares from the Song dynasty and clearly influenced by earlier bronze vessels, were prized by the Qianlong Emperor.Expert’s note: 'Soft-paste' porcelain has the addition of a powdered white clay to the porcelain body, which is called hua shi (slippery stone). This results in a lightweight ware that can be crisply molded and incised with intricate designs. It was significantly more expensive to produce than a standard kaolin porcelain body.Auction result comparison: Type: Near-identical Auction: Sotheby’s, Hong Kong, 7 April 2010, lot 1923 Price: HKD 200,000 or approx. EUR 33,500 converted and adjusted for inflation at the time of writing Description: A ge-type soft-paste washer, seal mark and period of Qianlong Expert remark: The two washers are nearly identical in form and decoration, and a comparison of the marks also shows a nearly identical seal, with possibly the same mold used for the seal impression. The glaze is slightly more gray than on the present lot and the crackle includes golden threads. 乾隆款及年代仿哥窯纏枝蓮紋筆洗中國，1736-1795 年。 製作精美，唇沿，圓腹，圈足。洗上緣一周回紋，外壁飾纏枝蓮紋，通體施厚厚的象牙白釉，釉色泛著淡淡的青色，不規則開片。圈足内刻有“大清乾隆年製”六字篆書款。 來源：來自 Stuart 和 Phyllis Moldaw 的收藏，該收藏包括早期中國瓷器以及一組著名的 Buccelatti 和 Puiforcat 銀器。 Stuart G. Moldaw（1927-2008年）是一位零售業先驅和億萬富翁，他創立了 Ross Stores。 他還是一位慷慨的慈善家，曾在多個非營利機構的董事會任職，其中包括舊金山現代藝術博物館。 比爾·克林頓總統於 1993 年任命他為美國駐聯合國代表團的公共代表，並於 1996 年任命他為白宮總統學者委員會主席。 品相：狀況良好，有輕微磨損、製造不規則、釉面凹陷、凹坑和燒製裂紋，邊緣有輕微的淺缺口，局部有輕微劃痕，邊緣有輕微細紋。 重量：982.7 克 尺寸：直徑 23 厘米 拍賣比較： 形制：幾乎相同 拍賣：香港蘇富比，2010年4月7日，lot 1923 價錢：HKD 200,000（相當今日EUR 33,500） 描述：乾隆款及年代仿哥窯筆洗 專家註釋：比較兩件外形相同的筆洗和裝飾，相似的款和印。釉色較本拍品略顯灰白，裂紋中含有金絲。

AN IMPERIAL FAMILLE ROSE ‘BOYS AT PLAY’ PORCELAIN SNUFF BOTTLE, DAOGUANG MARK AND PERIOD 道光款及年代粉彩嬰戲圖鼻煙壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, Jingdezhen kilns, 1821-1850. Of flattened globular form, rising from an oval foot ring, surmounted by a cylindrical neck, finely enameled, and picked out in gilt and iron-red. Each side depicting a scene with eight boys playing, some boys holding twigs, flowers, a scepter, brush, and Buddhist emblems on poles, and each dressed in fine robes with ornamental designs. The recessed base with an iron-red four-character mark Daoguang nianzhi and of the period.Provenance: From an Austrian private collection, assembled prior to 1990. Condition: Very good condition with minor wear, mostly to the iron-red and gilt, few small nicks, and minuscule chips to the foot. The stopper with minor nibbling.Stopper: CarnelianWeight: 39.2 gDimensions: Height including stopper 66 mm. Diameter neck 17 mm and mouth 7 mm.The number eight is believed to be one of the luckiest numbers in China since it is associated with wealth. ‘Eight’ in Chinese is pronounced ‘ba’ and sounds similar to ‘fa’ as in ‘facai’, meaning ‘well-off’ or ‘becoming rich in a short time’. The subject of boys or children was very popular in decorative arts of the Ming and Qing dynasties. Together with the number eight the motif of boys may represent a wish for an abundance of offspring and wealth.Auction result comparison:Type: RelatedAuction: Sotheby’s London, 18 May 2018, lot 388Price: GBP 2,375 or approx. EUR 3,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose enameled porcelain snuff bottle, Daoguang seal mark and period (1821-1850)Expert remark: Compare the closely related form and motif. Note the missing gilt accents, the lower quality of the painting, and the slightly smaller size (55 mm).道光款及年代粉彩嬰戲圖鼻煙壺中國，景德鎮，1821-1850年。直頸，扁平圓形壺身，橢圓形圈足。精美的琺瑯，描金和礬紅彩勾勒。每面描繪八個男孩玩耍的場景，一些男孩手持樹枝、鮮花、毛筆和佛徽；童子們都穿著精美衣袍。圈足内礬紅彩“道光年製”四字款。 來源：奧地利私人收藏，建立於1990年前。 品相：狀況極好，有輕微磨損，主要是礬紅彩和鎏金，輕微小刻痕，足部有微小缺口，壺蓋有輕微磕損。 壺蓋：紅玉髓 重量：39.2 克 尺寸：含壺蓋高66 毫米. 頸部直徑17 毫米，壺口直徑 7 毫米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2018年5月18日，lot 388 價格：GBP 2,375（相當於今日EUR 3,500） 描述：清道光粉彩百子圖鼻煙壺 《道光年製》款 專家評論：比較非常相近的外形和主題。請注意沒有鎏金，且繪畫品質較低，以及尺寸較小 (55 毫米)。

A BLUE AND WHITE MING-STYLE FLOWER-HOLDER, QIANLONG MARK AND PERIOD 乾隆款及年代仿明代風格青花花插Please note this Lot is to be sold at No Reserve. 本拍品不設底價Expert's note: In an article discussing an exhibition by S. Marchant & Son by D. S. Freedman, "Qing Mark and Period Monochrome and Two-coloured Wares", Arts of Asia, May-June 1992, p. 147, related examples of similar form are referred to as “lotus pod bulb pots,” an understandable but quite unique description. The author further explains that blue and white designs may fall under the category of monochromes as they feature a one-color design on a white ground. These differing taxonomies from the 1992 article to today are quite notable, leaving ample room for undiscovered pieces that may still be hidden in private and public collections.China, 1736-1795. Superbly potted, the compressed pear-shaped body supported on a short foot and rising to a waisted neck surmounted by a slightly domed top in the form of a lotus pod pierced with three circular apertures. The exterior is exquisitely decorated in shades of cobalt blue with lotus blossoms and auspicious blooms borne on leafy scrolling vines, above a lappet band encircling the foot and below a band of floral sprays below the top, which is similarly decorated with lotus scroll, all framed by neatly applied double-line borders.The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Provenance: From a private family collection in Cheltenham, United Kingdom. Condition: Superb condition with only minor wear and minimal firing irregularities, the interior with some traces of use.Weight: 252.9 g Dimensions: Diameter 8.4 cm, Height 6.5 cmVessels of this form, variously described as ‘flower holders’ or ‘incense holders’, have been recorded from both the Yongzheng and Qianlong periods. The shape was likely inspired by a type of jarlet, made in bronze and pottery, which was popular during the Tang dynasty (see a sancai-glazed pottery jar from the Erwin Harris collection at Christie’s New York, 16 March 2017, lot 877). The Qing potters took this design to new heights with variations in glazes from simple, crackled monochromes to brilliant turquoise examples with slip-molded decoration. While the size of the Qing form tended to remain small, usually under 9 cm, this should not allow them to be overshadowed by larger porcelain works of the period. The compact size would have allowed for easier handling and transport, making them suitable for personal devotion, private altars, and carrying during travel, creating a sense of intimacy and personal connection when using incense to cultivate a relationship with the divine realm. There are few other porcelain works that one could take on a pilgrimage so easily.Literature comparison:For two related examples of similar form, see Robert Jacobsen, Ye Peilan, and Julian Thompson, Imperial Perfection: The Palace Porcelain of Three Chinese Emperors, Kangxi - Yongzheng - Qianlong, Hong Kong, 2004, pp. 240, nos. 74 & 95. Celadon-glazed examples of similar form are illustrated in Monochrome Porcelain, The Complete Collection of Treasures of the Palace Museum, vol. 37, Hong Kong, 1999, no. 187, and Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, vol. 2, no. 869.Auction result comparison: Type: Near identical Auction: Sotheby’s Paris, 16 June 2022, lot 204 Price: EUR 30,240 or approx. EUR 31,500 adjusted for inflation at the time of writing Description: A small blue and white 'floral' vase, Seal mark and period of Qianlong Expert remark: Compare the near identical form, decoration, and size (8.3 cm). Note that the present lot boasts an even more accomplished decoration as well as a stronger mark. Also note that this lot has a faint 1.5 cm hairline in the glaze between two of the holes on top of the vase, whereas the present lot is in perfect condition.Auction result comparison:Type: Closely relatedAuction: Christie’s, Hong Kong, 30 May 2022, lot 2715Price: HKD 2,016,000 or approx. EUR 239,000 converted and adjusted for inflation at the time of writingDescription: A carved celadon-glazed flower-holder, Qianlong six-character seal mark and of the periodExpert remark: Both this example and the current lot have an extremely compressed form, and while the overall decoration is noticeably different, the molded decoration of the celadon example closely follows the underglaze blue decoration of the current lot. Note the size (7.8 cm).

A LARGE MOLDED AND CARVED CELADON-GLAZED ‘DRAGON’ FISHBOWL, QING DYNASTY 清代大型青釉龍紋魚缸Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 18th - 19th century. Heavily potted, the deep rounded sides rising to a thick everted rim. The exterior is finely molded and carved with two sinuous four-clawed dragons in pursuit of a flaming pearl amid swirling clouds, covered in a pale sea-green glaze darkening in the recesses and thinning at the edges. The dragon design is framed by two brown-washed bands, the upper neatly carved with magpies and chrysanthemums, the lower similarly decorated with crashing waves. The base is unglazed.Provenance: From a private collection in Hertfordshire, United Kingdom, since the 1950s, and thence by descent in the same family. By family repute, most of this collection was purchased in the Panshanger Estate Sale at the Corn Exchange, Hertford, in 1953. Panshanger was the family home of the Earls Cowper, built by the Fifth Earl in the first decade of the 19th century. The estate was home to a remarkable art collection, including rare and important Chinese works of art. Two rooms – the China Room and the Dairy – were given over to the display of porcelain, but Chinese porcelains were also kept in the Picture Gallery, Library, Drawing Room, and Small Dining Room. A pair of Imperial famille rose hu-form vases decorated with deer, with Qianlong marks and of the period, once kept at Panshanger, was sold by Christie’s London, 13 May 2008, lot 223, for GBP 804,500.Condition: Old wear and manufacturing flaws, such as glaze recesses, pitting, and dark spots. Some hairlines to glaze, two star cracks, one chip to foot rim, one chip to the inner base (possibly re-stuck). Overall displaying exceptionally well.Weight: 26.9 kgDimensions: Diameter 51.3 cm, Height 45.5 cm Literature comparison: Celadon-glazed fish bowls with dragon decorations are very rare. A Yongzheng example in the Palace Museum, Beijing, is illustrated in Monochrome Porcelain. The Complete Collection of Treasures of the Palace Museum, vol. 37, Hong Kong, 1999, p. 149, no. 135.Auction result comparison: Type: Related Auction: Christie’s New York, 18 March 2016, lot 1648 Price: USD 329,000 or approx. EUR 384,000 converted and adjusted for inflation at the time of writing Description: A massive celadon-glazed ‘dragon’ fish bowl, 18th-19th century Expert remark: Compare the similar form and celadon glaze, molded and carved decoration, and dragon motif. Note the lack of brown-washed bands and the larger size (62.8 cm).Auction result comparison:Type: RelatedAuction: Sotheby’s London, 15 May 2013, lot 256Price: GBP 30,000 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A celadon-glazed ‘dragon’ fishbowl, Qing dynasty, 19th centuryExpert remark: Compare the similar form and celadon glaze, molded and carved decoration, and dragon motif. Note the lack of brown-washed bands.

A BLUE AND WHITE ‘PHOENIX’ DISH, MING DYNASTY 明代青花鳳凰紋盤Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, late 15th to mid-16th century. The shallow rounded sides supported on a short tapered foot and rising to an everted rim, finely painted in manifold shades of cobalt-blue to the interior with a pair of confronted phoenixes amid freely painted scroll designs, encircled by foliate scroll to the cavetto, the rim with a geometric band, the exterior with two qilin amid foliate scroll.Provenance: From the collection of Hildur Hansson and thence by descent to Ingemar Hansson. Three old labels, two of which read, ‘Ming: Blue and white […] Phoenix bird design. Porcelain plate. Early 16th century’, and ‘Antik-kronan AB. Ming Annam, 1368-1643. Stockholm, Sweden.’ Hildur Hanson (1912-1999) was married to Erik Hansson (1906), a victim of the Finnish Winter War. She lived in Östermalm, Sweden, where she became close friends with the Swedish designer Estrid Ericsson (1894-1981), founder of the famous Svenskt Tenn, one of the most important Swedish interior design companies. Through her friendship with Ericsson she developed a lasting fondness for Chinese art.Condition: Very good condition with some old wear and expected firing irregularities including some glaze recesses, smaller areas of minor discoloration, some pitting, kiln grit, and the rim of the base partially burned orange in firing.Weight: 681.7 gDimensions: Diameter 25 cm Auction result comparison: Type: RelatedAuction: Christie’s London, 10 May 2011, lot 258Price: GBP 15,000 or approx. EUR 28,500 converted and adjusted for inflation at the time of writingDescription: A rare blue and white dish, Ming dynasty, 15th centuryExpert remark: Note the related phoenix design, the larger size (33 cm), the slightly earlier date, and the intensive blue color. 明代青花鳳凰紋盤中國，十五世紀末至十六世紀中期。敞口，弧腹，圈足。盤中雙圈開光內青花描繪一對飛鳳紋，周圍卷葉紋。盤外壁描繪卷葉紋和一對麒麟。 來源：Hildur Hansson 收藏，直至Ingemar Hansson。三個標籤，兩個上可見“Ming: Blue and white […] Phoenix bird design. Porcelain plate. Early 16th century” 以及 “Antik-kronan AB. Ming Annam，1368-1643. Stockholm，Sweden.”。 Hildur Hanson (1912-1999) 曾嫁給芬蘭冬戰的受害者Erik Hansson（1906 年）。她住在瑞典奧斯特馬爾姆，在那裡她與瑞典設計師 Estrid Ericsson（1894-1981 年）成為了好友，後者是著名的 Svenskt Tenn（瑞典最重要的室內設計公司之一）的創始人。通過Ericsson的友誼，她對中國藝術產生了濃厚的興趣。 品相：狀況極好，有一些磨損和燒製缺陷，包括一些釉面凹陷、小區域的輕微變色、窯砂，底座邊緣成橙色。 重量：681.7 克 尺寸：直徑25 釐米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2011年5月10日，lot 258 價格：GBP 15,000（相當於今日EUR 28,500） 描述：十五世紀明代青花盤 專家評論：請注意相近的鳳凰裝飾 、尺寸較大 (33 釐米)，年代較早，以及強烈的藍色。

A CARVED RED OVERLAY SNOWFLAKE GLASS ‘DRAGON’ BRUSH HANDLE, QING DYNASTY 清代雪花地套寶石紅色料龍紋筆杆Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1644-1912. The red overlay neatly carved against the snowflake ground to depict two scaly dragons writhing along the handle among lingzhi-shaped swirling clouds, the cap carved with crashing waves. Note the high relief and the remarkably fine incision work.Expert’s note: Due to the fine incision work and the high relief, this brush handle would fit rather comfortably in the painter’s or calligrapher’s hand. This is probably the reason why brushes made from overlay glass were quite popular at the time. On the other hand, only one small mishap would be enough for the brush to fall down, break and be irreparably damaged. This fact explains why these overlay glass brushes are so rare.Provenance: From the estate of Sear Hang Hwie Pao (1937-2009). Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., 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: Excellent condition with minor wear, possibly microscopic nicks, and expected manufacturing irregularities such as air bubbles and other minor flaws inside the glass.Weight: 128.6 gDimensions: Height 18 cm With a silk storage box and cover. (2)Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 16 September 2009, lot 170 Estimate: USD 3,000 or approx. EUR 3,900 converted and adjusted for inflation at the time of writing Description: A carved red overlay yellow glass ‘dragon’ brush handle, Qing dynastyExpert remark: Compare the closely related form and design. Note the yellow ground. 清代雪花地套寶石紅色料龍紋筆杆中國，1644-1912年。雪花地套寶石紅浮雕如意祥雲雲中的飛龍，底部波濤起伏。雕刻精細。 專家注釋：精美的筆杆非常適合文人使用。這可能就是當時玻璃筆杆受歡迎的原因。另一方面，這筆杆極易損壞。這也解釋了為什麼這些套料玻璃筆杆如此罕見的原因。 來源：Sear Hang Hwie Pao (1937-2009年) 收藏。Pao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：狀況極佳，有輕微磨損、微小的刻痕，以及製造缺陷，例如玻璃內部的氣泡和其他小缺陷。 重量：128.6 克 尺寸：高 18 釐米 內襯絲綢蓋盒 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2009年9月16日，lot 170 估價：USD 3,000（相當於今日EUR 3,900） 描述：清代黃地套寶石紅色龍紋筆桿 專家評論：比較非常相近的外形和裝飾。請注意為黃地。

A LARGE FAMILLE ROSE ‘COWHERD AND WEAVER MAIDEN’ SNUFF BOTTLE, IMPERIAL, JINGDEZHEN KILNS, DAOGUANG FOUR-CHARCTER MARK AND OF THE PERIOD 道光款及年代粉彩《牛郎織女》鼻煙壺，御用景德鎮窯Please note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: Remarkable attention to detail has been paid to the scene depicted on this bottle. The robes of Niulang for example are masterfully enameled with floral medallions showing incredibly fine detail. The magpies carry Zhinu and her attendant on brightly colored clouds, which confirms that this is the scene in the famous story where the two lovers eventually re-unite.China, 1821-1850. Masterfully painted in crisp polychrome enamels, gilt and iron red on a white ground with a continuous scene from the tale of the cowherd and the weaver maiden. The work shows Niulang wearing finely enameled and gilt robes atop his ox riding towards two maidens, Zhinu and her attendant, who are being carried down by magpies on brightly colored clouds. The compressed body is further decorated with a gilt band above the tall foot and another along the ring of the circular mouth.Provenance: German trade. By repute acquired from a private estate. Condition: Superb condition with expected wear from handling, some minor firing irregularities, and rubbing to the gilt.Weight: 132.3 g Dimensions: Height 9 cm. Diameter of the neck 19 mm and mouth 9 mm.The base with an iron red four-character mark Daoguang nian zhi and of the period.The story of the cowherd and the weaver maiden is a Chinese folk romance which originated from worship of celestial phenomena. It became very popular during the Daoguang period and tells of a young cowherd named Niulang (literally ‘the cowherd,’ representative of the star Altair) who came across seven celestial sisters bathing in a lake. Encouraged by his mischievous ox, Niulang stole the women’s clothes and hid, watching for them to come out of the water. The sisters elected the youngest and most beautiful sister Zhinu (literally ‘the weaver girl,’ representative of the star Vega) to retrieve their garments. Zhinu agrees to retrieve them but realized she had been espied. Knowing Niulang had seen her nakedness, Zhinu decided to marry the cowherd after he proposed, enamored with her beauty. Both fell deeply in love and had two children. However, after the Goddess of Heaven discovered that Zhinu had married a mere mortal, she became outraged. The Goddess ordered Zhinu to return to heaven, and in an alternative version the Goddess forces Zhinu back to her former duty of weaving colorful clouds which she had neglected to do while living on earth. Heartbroken from the loss of Zhinu, Niulang’s ox instructed Niulang to put him to death and don his hide, which would enable Niulang to go up to Heaven and find his wife. In grief Niulang did as instructed, sneaking into heaven with the help of his ox’s hide. His act enraged the goddess who created a river in the sky to separate the two lovers, thus creating a divide between Altair and Vega. However, once a year the magpies would take pity on the two lovers and carry them in the sky to see each other. Auction result comparison: Type: Related Auction: Christies New York, 17 Sept 2008, lot 21 Price: USD 13,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: An Enameled Porcelain Snuff Bottle, Imperial, Jingdezhen Kilns, Daoguang Four-Character Seal Mark (1821-1850) Expert remark: Compare the technique of enameling, quality of painting, molding of the ware, mark and style. Note the smaller size (5.8 cm).

A VERY LARGE ‘ROBIN’S EGG’ ENAMELED AND GILT PORCELAIN FIGURE OF AMITAYUS, QIANLONG TO JIAQING PERIOD 乾隆至嘉慶時期爐鈞釉描金無量壽佛坐蓮像Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1736-1820. Heavily potted, seated in dhyanasana on a cloth draped over a rectangular plinth with a shaped recessed gilt panel above a dragon emerging from crashing waves. His hands are lowered in dhyana mudra and holding an alms bowl. He is wearing long flowing robes opening at the chest adorned with a beaded jeweled necklace. His serene face with heavy-lidded eyes, gently arched brows, a circular urna, and bow-shaped lips. His hair elegantly falling in tresses over the shoulders and piled up into a topknot surmounted by a jewel behind the foliate tiara. The cloth, base, robe, hair, and jewels enameled in robin’s egg with details picked out in turquoise and blue. The face, torso, hands, feet, tiara, and dragon gilt. Provenance: From an old German private collection, acquired in the 1970s and 80s. Thence by descent. Condition: As expected, the tips of the tiara, topknot, fingers, earrings and dragon’s horns are restored to perfection. Further with glaze recesses, flaking and abrasions. Microscopic remnants of pigment which indicate that the figure was painted at some stage. Gilt porcelain figures of such a large size are usually restored to a much wider extent, due to their fragility, and it is therefore exceedingly rare to find one in such a well-preserved state overall.Weight: 5,156 g Dimensions: Height 43.5 cmExpert’s note: Gilt porcelain figures of bodhisattva were produced from the Qianlong period onwards. The inspiration for such figures may have come from Ming dynasty bronze prototypes, such as the Xuande period gilt-bronze figure currently in the Berti Aschmann Foundation, Museum Rietberg, illustrated in On the Path to Enlightenment, Zurich, 1995, no. 72. An unmarked example, dated to the Xuande period, is in the V&A collection, no. 275&A-1898.Literature comparison: For a related example from the Malcolm MacDonald collection, no. DUROM.1969.358, and now in the Oriental Museum, University of Durham, United Kingdom, see Ireneus Legeza, A Descriptive and Illustrated Catalogue of the Malcolm MacDonald Collection of Chinese Ceramics, London, 1972, p. 122, no. 72. Another enameled porcelain figure of a bodhisattva is illustrated by Lou Pin-heng, Precious Treasures of My Humble House, Taipei, 1988, pg. 54, no. 12Auction result comparison: Type: Related Auction: Sotheby’s New York, 17 September 2013, lot 52 Price: USD 68,750 or approx. EUR 80,000 converted and adjusted for inflation at the time of writing Description: An unusual enameled and gilt-decorated figure of a bodhisattva, Qing dynasty, 18th / 19th centuryExpert remark: Compare the closely related robin’s egg enamels, gilt decoration, and face. Note the related size (40 cm). Note the different pose and base. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 May 2008, lot 578 Price: HKD 960,000 or approx. EUR 169,000 converted and adjusted for inflation at the time of writing Description: A rare enameled figure of a kneeling bodhisattva, QianlongExpert remark: Compare the closely related robin’s egg enamels, gilt decoration, and face. Note the much smaller size (29 cm) as well as the different pose and base.

A CELADON-GLAZED CONG-SHAPED ‘TRIGRAMS’ VASE, GUANGXU MARK AND PERIOD 光緒款及年代青釉琮式瓶Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1875-1908. The massive porcelain vessel is of square section with a circular neck and foot, the upright walls molded in high relief with the eight trigrams, covered overall with a fine pale celadon glaze, the recessed base with an underglaze blue six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From the collection of Dr. Edward Chou, acquired in Hong Kong in the 1960s-1970s, and thence by descent in the same family. Dr. Edward Chou was a surgeon in Hong Kong and an avid collector of Chinese works of art and antiques. His collection was shipped to the USA in the late 70’s and preserved by his heirs for almost half a century.Condition: Good condition with only minor wear and firing irregularities, the foot with a chip.Weight: 2,129 gDimensions: Height 27.3 cm Auction result comparison: Type: Closely related Auction: Christie’s Paris, 6 July 2022, lot 44Price: EUR 25,200 or approx. EUR 26,500 adjusted for inflation at the time of writing Description: A celadon-glazed ‘trigrams’ vase, cong, China, Qing dynasty, Guangxu six-character mark in underglaze blue and of the period.Expert remark: Compare the closely related cong form, celadon glaze, trigram decoration, Guangxu reign mark, and size (27.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby’s London, 4 November 2020, lot 276Price: GBP 21,420 or approx. EUR 31,500 adjusted for inflation at the time of writing Description: A Celadon-glazed Cong shape vase, Guangxu mark and periodExpert remark: Compare the closely related cong form, celadon glaze, trigram decoration, Guangxu reign mark, and size (27.6 cm).Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 17 December 2018, lot 223Price: USD 25,000 or approx. EUR 28,000 adjusted for inflation at the time of writing Description: A celadon cong-form vase with trigram decoration, Guangxu six-character mark and of the periodExpert remark: Compare the closely related cong form, celadon glaze, trigram decoration, Guangxu reign mark, and size (27.5 cm). 光緒款及年代青釉琮式瓶中國，1875-1908年。瓶圓口、方腹、圈足，四面凸起橫直條紋，飾太極八卦紋。胎體細膩，通體施粉青釉，釉層凝厚純淨。瓶底青花六字“大清光緒年製”款。 來源：Dr. Edward Chou收藏，上世紀六十至七十年代購於香港，保存在同一家族至今。Edward Chou 醫生曾是香港的一名外科醫生，也是中國藝術品和古董的收藏家。他的藏品於七十年代末被運往美國，並由他的繼承人保存了近半個世紀。 品相：狀況良好，僅有輕微磨損和燒製不規則現象，足部有缺口。 重量：2,129 克 尺寸：高 27.3 釐米 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2022年7月6日，lot 44 價格：EUR 25,200（相當於今日EUR 26,500） 描述：清代光緒款及年代青釉琮式瓶 專家評論：比較非常相近的琮形、青釉、八卦裝飾、光緒款和尺寸(27.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2020年11月4日，lot 276 價格：GBP 21,420（相當於今日EUR 31,500） 描述：清光緒粉青釉八卦紋琮式瓶 《大清光緒年製》款 專家評論：比較非常相近的琮形、青釉、八卦裝飾、光緒款和尺寸(27.6 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2018年12月17日，lot 223 價格：USD 25,000（相當於今日EUR 28,000） 描述：光緒款及年代八卦紋琮式瓶 專家評論：比較非常相近的琮形、青釉、八卦裝飾、光緒款和尺寸(27.5 厘米)。

A WHITE JADE FIGURE OF A PIG, HAN DYNASTY 漢代白玉豬Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 206 BC to 220 AD. Of elongated form, finely carved, detailing the recumbent pig with ears tucked back, a prominent snout, incised brows, and incised eyes outlined in red pigment. The opaque jade once of superb and pure color, now covered almost entirely in calcification, with several distinct areas of erosion.Expert’s note: Studying a well-documented ancient jade figure, with a bulletproof provenance such as the present lot, can be quite fascinating, especially when it exhibits distinct regions of natural erosion while also retaining some parts of the original jade in pristine condition, all within the same artifact. In the past, esteemed Chinese collectors of archaic jades used to keep multiple such study pieces as references.Provenance: The personal collection of Robert Rousset, acquired before 1935. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Sirén, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musée Guimet and the Metropolitan Museum of Art.Condition: Some old wear, signs of weathering and erosion with associated losses, encrustations, few minor chips, all as can be expected from a jade with 2,000 years of age.Weight: 102.8 gDimensions: Length 11.5 cm The present jade carving, with its curved bodyline and shaped snout and tail, is more realistically represented than most jade pigs from the Han dynasty. A very similar jade pig dating to the late Eastern Han dynasty was unearthed from Tomb no. 1 in Dongyuancun in Haoxian, Anhui province, illustrated in Zhongguo meishu quanji, vol. 9, Jade, Beijing, 1986, pl. 195 (fig. 1). It was believed that jade pigs were placed for protection of the dead. This practice is connected with the Daoist belief, as stated in the 4th century text Baopuzi by Ge Hong, 'when gold and jade plug the nine orifices, man dies but his body does not decay'. Pairs of jade pigs were placed in the hands of the deceased. Funerary jade pigs from this period are often carved with a few deep calculated cuts, known as the Eight Cuts of Han.Literature comparison:Compare similarly carved jade pigs, Han dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade 4, Beijing, 2011, p.130, nos.152-153.Auction result comparison: Type: Closely relatedAuction: Sotheby’s Hong Kong, 8 April 2023, lot 3842Price: HKD 609,600 or approx. EUR 70,500 converted at the time of writingDescription: A calcified jade recumbent pig, Western Han dynastyExpert remark: Compare the closely related manner of carving, calcification, and size (11.9 cm).

A GILT FAMILLE-ROSE ‘EIGHTEEN LUOHAN’ PUNCH BOWL, QIANLONG PERIOD 乾隆時期描金粉彩十八羅漢碗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1736-1795. Well potted with deep rounded sides supported on a tapered foot. Finely painted in bright enamels and iron red to the exterior with the Eighteen Luohan engaged in various pursuits and holding their characteristic attributes, framed by neatly gilt bands of flowerheads borne on leafy scrolling vines below the rim and to the foot.The interior similarly decorated with Magu standing in front of a spotted deer while an attendant presents her with longevity peaches.Provenance: From a private collection in Gloucestershire, England. Condition: Good condition with expected old wear and firing irregularities. Rubbing to gilt and flaking to enamels. The rim with some fritting, few shallow chips, and three hairlines, one of them with a small chip and minor old repair.Weight: 3,467 g Dimensions: Diameter 35.6 cm Along the side, a pair of luohan watch bemused as Maitreya (the Taming Tiger or Fuhu Luohan) rides a jumping tiger with only a single hand gripping the animal. Next to them, two immortals sit by Panthaka (the Raised Hand or Tanshou Luohan) who reaches his hands above his head while yawning and sticking his tongue out. Standing beside a tree, Subinda (Raised Pagoda or Tuoda Luohan) watches as Mahakasyapa (Taming Dragon or Xianglong Luohan) summons a ferocious dragon. Three luohan are seated on the ground marveling at a small bird flying above them.A luohan is a disciple of Buddha who attained enlightenment and achieved perfection, but chose to postpone his accession to Nirvana, choosing instead to remain in the world to aid sentient beings. The luohan achieved enlightenment through instruction rather than through his own insight and meditation, and as a result, ranked just below the bodhisattva. The term Luohan, or 'Arhat' in Sanskrit, means 'worthy' or 'venerable' and refers to the Buddha's original disciples; this term also extended to any holy figure who upheld and defended the Buddhist dharma. Originally only four, their numbers increased to sixteen, then eighteen and ultimately to five hundred. Auction result comparison: Type: Closely related Auction: Christie’s London, 22 January 2009, lot 536 Price: GBP 4,750 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A large Chinese famille rose ‘eighteen Luohan’ porcelain punch bowl, late 18th-early 19th century Expert remark: Compare the closely related subject as well as the related other decoration. Note the slightly later dating and the size (39.5 cm).Auction result comparison: Type: Related Auction: Sotheby’s London, 11 May 2016, lot 194 Price: GBP 6,250 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A gilt-decorated famille-rose punch bowl, Qing dynasty, Qianlong period Expert remark: Compare the related form and decoration, albeit depicting a different motif and without the gilt bands. Note the size (38.5 cm).

A RARE BLUE-GROUND POLYCHROME-DECORATED ‘DRAGON’ BOWL, QIANLONG MARK AND PERIOD 乾隆款及年代罕見青花藍地紅綠彩龍紋碗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1736-1795. Superbly potted with deep rounded sides rising from a straight foot to a gently flared rim, the exterior vividly enameled with two ferocious dragons, one in green enamel, the other iron-red, racing through green, yellow and iron-red flames in pursuit of flaming pearls positioned above cruciform clouds, resting on a band of overlapping petals, all reserved on a washed underglaze-blue ground, the interior with a central medallion enclosing a similar green dragon. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in North Yorkshire, United Kingdom. Condition: Very good condition with expected wear and shallow surface scratches, minimal firing irregularities. The well with a near-invisible starcrack, ca. 5 cm long. Weight: 227.8 g Dimensions: Diameter 14 cmLiterature comparison: A Kangxi-marked bowl of this same design was included in the exhibition Joined Colors, Decoration and Meaning in Chinese Porcelain, Ceramics from Collectors in the Min Chiu Society, Hong Kong, illustrated by L.A. Cort and J. Stuart, Catalogue, Hong Kong, 1993, p. 84, pl. 13. Qianlong-marked bowls of this type are relatively rare, examples include one sold at Christie's New York, 28 March 1996, lot 363, and another at Sotheby’s Hong Kong, 1 December 1977, lot 648.Auction result comparison: Type: Near identical Auction: Christie’s Hong Kong, 29 May 2013, lot 1924 Price: HKD 870,000 or approx. EUR 132,000 converted and adjusted for inflation at the time of writing Description: A rare blue-ground polychrome-decorated ‘dragon’ bowl, Qianlong six-character seal mark and of the periodExpert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in excellent condition. Auction result comparison: Type: Near identical Auction: Christie’s Hong Kong, 28 May 2014, lot 3456 Price: HKD 475,000 or approx. EUR 72,000 converted and adjusted for inflation at the time of writing Description: A Rare Blue-Ground Polychrome-Decorated 'Dragon' Bowl, Qianlong Six-Character Seal Mark and of the Period (1736-1795)Expert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in restored condition.乾隆款及年代罕見青花藍地紅綠彩龍紋碗中國，1736-1795年。胎體緊緻，碗口略外撇，深弧腹。碗外壁青花藍地，分別用紅彩與綠彩描繪兩條矯健雲龍戲珠，被綠色、黃色和鐵紅色火焰環繞。腹底飾一圈重疊花瓣紋。碗內開光内藍地綠彩雲龍。足底青花“大清乾隆年製”款。 來源：英國北約克郡私人收藏。 品相：品相極好，有磨損和表面劃痕，製造瑕疵，少量不明顯的釉面裂紋。 重量：227.8 克 尺寸：直徑14 厘米 文獻比較： 一件相同設計康熙款碗，見Joined Colors，《Decoration and Meaning in Chinese Porcelain，Ceramics from Collectors in the Min Chiu Society》，香港，見L.A. Cort和J. Stuart，圖錄，香港，1993年，頁84，編號13。一件乾隆款碗，售於Christie's New York，1996年3月28日，lot 363，以及售於香港蘇富比，1977年12月1日，lot 648。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2013年5月29日，lot 1924 價格：HKD 870,000（相當於今日EUR 132,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗品相極佳。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2014年5月28日，lot 3456 價格：HKD 475,000（相當於今日EUR 72,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗曾修復過。

AN ABSOLUTELY PERFECT PAIR OF BLUE AND WHITE ‘THREE FRIENDS OF WINTER’ KLAPMUTS BOWLS, KANGXI PERIOD 康熙一對青花歲寒三友克拉普穆瓷碗Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1662-1722. Delicately potted, each with gently rounded sides rising from a straight foot to a broad everted rim, finely painted in shades of cobalt blue to the exterior with leafy bamboo, gnarled pine, and blossoming prunus, below a band of ruyi heads and stylized flowerheads to the rim, the interior with a central flowering prunus tree growing from rockwork, the rim repeating the ‘Three Friends of Winter’ motif.Provenance: From the collection of Frances L. Dickson, and thence by descent within the family. Frances Louisa Dickson (1876-1967, née Maunsell) was an avid collector of both European and Chinese porcelain. She lived with her husband, Colonel William Dickson, and their four daughters at Kildimo House, county Limerick, Ireland, and in Bournemouth, England, in 1910. While little is known about her life, Frances Dickson’s substantial contribution to The Fitzwilliam Museum, Cambridge University, has been noted for a great variety of porcelain figures and vessels from various ancient periods. Condition: Superb condition with only minor wear and firing irregularities. It is extremely rare to find authentic klapmuts bowls from the Kangxi period in such a pristine condition as these, let alone a pair!Weight: 272.1 g and 270.8 g Dimensions: Diameter 16 cm and 15.9 cm The bases each with an apocryphal six-character mark da Ming Chenghua nianzhi.The 'Three Friends of Winter' motif is frequently used across all mediums in Chinese art. Comprised of pine, bamboo and prunus, this motif is emblematic of the Confucian virtues of fortitude and resilience. As the pine and bamboo are evergreen plants and the prunus, a plant that has lived for a long time, the three together are also an auspicious symbol of longevity.Auction result comparison: Type: Closely related Auction: Christie’s Amsterdam, 27 September 2005, lot 238 Price: EUR 6,600 or approx. EUR 10,000 adjusted for inflation at the time of writingDescription: A blue and white ‘klapmuts’ bowl, Chenghua six-character mark, Kangxi period Expert remark: Compare the identical form, similar style and technique of painting, and apocryphal six-character Chenghua mark. Note this lot comprises only a single bowl. Note the slightly larger size (20.1 cm). 康熙一對青花歲寒三友克拉普穆瓷碗中國，1662-1722 年。 碗口折沿，深弧腹。外壁青花描繪《歲寒三友》圖。碗内開光描繪桃花。來源：Frances L. Dickson收藏，在同一家族保存。Frances Louisa Dickson (1876-1967，née Maunsell) 是歐洲和中國瓷器收藏家。1910 年，她與丈夫Colonel William Dickson上校以及四個女兒居住在愛爾蘭利默里克郡基爾迪莫莊園和英國伯恩茅斯。雖然人們對她的生活知之甚少，但Frances Louisa Dickson對劍橋大學菲茨威廉博物館古代瓷器的重大貢獻卻衆所周知。 品相：狀況極佳，輕微磨損和燒製不規則。 重量：分別272.1克與270.8克 尺寸：直徑各爲 16 厘米與15.9 厘米圈足内刻有六字“大明成化年製“款寄托款。 拍賣比較： 形制：非常相近 拍賣：阿姆斯特丹佳士得，2005年9月27日，lot 238 價格：EUR 6,600（相當今日EUR 10,000） 描述：康熙成化年製款克拉普穆青花碗 專家註釋：比較相同的外形，相似的風格和彩繪技巧、成化款。請注意此為一碗和尺寸較大 (20.1 厘米)。

A BLUE AND WHITE ‘MING-STYLE’ BOTTLE VASE, QIANLONG MARK AND PERIOD 乾隆款及年代青花長頸瓶 Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1736-1795. Well potted, the compressed globular body rising from a short splayed foot, sweeping up to a tall waisted neck flaring gently at the rim. The body deftly painted in deep shades of cobalt blue with simulated ‘heaping and piling’ with a wide band of composite floral scroll above stylized lappets, all below a band of ruyi-heads and a further floral band to the shoulder, divided by four raised fillets. The recessed base with an underglaze blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: Dorothy Joan (née Murphy) (1918-1989) and Roland Milton (1917-1990), United Kingdom, who were gifted the vase on their wedding in May 1945. Thence by descent in the family.Condition: Excellent condition with only minor surface wear. The inside of the neck with two glaze pulls, not visible from the outside, inherent to firing. A microscopic glaze flake to the rim.Weight: 3,319 gDimensions: Height 37.1 cm The neck similarly decorated with a band of overlapping plantain leaves above a band of key-fret and below a collar of crashing and swirling waves with a band of pendent trefoils. The foot with a foliate scroll border, finely applied.Literature comparison:Three vases of this pattern are illustrated by John Ayers and Regina Krahl, in Chinese Ceramics in the Topkapi Saray Museum, Istanbul, volume III, London, 1986, pages 1105, no. 2564, where they have been fitted with metal mounts to suit Ottoman use. Compare a further example illustrated in Qingdai Ciqi Shangjian (Appreciation of Qing Dynasty Porcelain), Hong Kong, 1994, pl. 165, and another in the Shanghai Museum, illustrated in Zhongguo Taoci Quanji (The Complete Works of Chinese Ceramics), part 2, volume 15, Shanghai, 2000, pl. 2.Auction result comparison: Type: Near-identicalAuction: Christie’s Hong Kong, 3 December 2021, lot 2919Price: HKD 2,125,000 or approx. EUR 335,000 converted and adjusted for inflation at the time of writingDescription: A fine blue and white ‘Ming style’ bottle vase, Qianlong six-character seal mark in underglaze blue and of the periodExpert remark: Compare the near-identical form, also showing four characteristic fillets separating the various bands of decoration, the closely related painting, the similar reign mark, and the almost identical size (37.5 cm). Note that this vase is also in excellent condition, but lacks the firing flaws found inside the neck of the present lot. 乾隆款及年代青花長頸瓶中國，1736-1795 年。瓶口外撇，長頸，鼓腹，圈足外撇。外壁青花仿明代钴料特質，分別描繪海水紋、芭蕉葉紋、如意紋、雷紋以及纏枝蓮紋。圈足内青花六字篆書款“大清乾隆年製”。 來源：英國Dorothy Joan（1918-1989 年，娘家姓Murphy）和Roland Milton（1917-1990 年）在 1945 年 5 月的婚禮上收到了這個花瓶，之後在家族傳承。 品相：狀況良好，僅有輕微表面磨損。內部有一個小釉槽形式的燒製缺陷和兩條短的水平冲線，從外面看不到。邊緣有微小的釉面開片。 重量：3,319 克 尺寸：高 37.1 厘米 文獻比較: 三件長頸瓶，見 John Ayers and Regina Krahl，《Chinese Ceramics in the Topkapi Saray Museum》，伊斯坦堡，卷III，倫敦，1986年，頁1105，編號2564，在奧圖曼帝國時期配了金屬支架。比較一件長頸瓶，見《Qingdai Ciqi Shangjian (Appreciation of Qing Dynasty Porcelain)》，香港，1994年，頁165，以及另一件長頸瓶收藏於上海博物館，見《Zhongguo Taoci Quanji (The Complete Works of Chinese Ceramics)》，第二部分，卷15，上海，2000年，圖2。 拍賣比較： 形制：幾乎相同 拍賣：香港佳士得，2021年12月3日，lot 2019年 價錢：HKD 2,125,000（相當今日EUR 335,000） 描述：清乾隆青花纏枝蓮紋賞瓶 專家註釋：比較幾乎相同的外形，還展示了分隔不同裝飾帶的四個特徵圓角、非常相近的繪畫、相似的年代款，以及幾乎相同的尺寸（37.5 厘米）。請注意此瓶也是狀況極佳，但缺少燒製缺陷。

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