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Small scroll vase decorated with mountain landscapes from the Chinese Republic period (1912 - 1949) - Weight: 190 g - Shipping available - Region: Chine - Sizes: h 220 mm d 80 mm - At first glance: normal wear / patina of use - Condition details: une fele et restauration

A pair of Chinese scroll end hardwood vase stands, each 33cms long (2).Condition ReportSome general wear from use, otherwise in good overall condition.

A Chinese hardwood vase stand with circular platform on scroll legs, 18cms diameter.

A Chinese bronze vase stand of rectangular form, on scroll feet, 22cms wide.

A RARE SOAPSTONE 'TAOTIE' CEREMONIAL BLADE, HAN DYNASTYChina, 2nd century BC to 2nd century AD. The curved blade powerfully carved to both sides with a two-horned taotie mask with sharply detailed features such as almond-shaped eyes below elegantly curved brows centered by a cross-hatched lozenge design, framed by ruyi and scroll designs, all above a pierced round mouth. The blade is sharpened to one side, while the blunt side is pierced with two further circular apertures flanking a neatly incised rope-twist design. The opaque stone is of a mottled buff color with extensive calcification as well as russet and cloudy white inclusions. Nice polish, with an unctuous feel overall.Provenance: Collection Huet, Paris. Hôtel des ventes Giroux, 22-23 February 1952 (according to an ancient family ledger inspected by Cabinet Portier, Paris, France, during their appraisal of the complete de Strycker estate; this ledger remains in the possession of the de Strycker family and may not be copied). Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. One side with an old collection label. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).Condition: Good condition, commensurate with age. Extensive ancient wear from pre-burial worship, signs of weathering and erosion, encrustations, nicks, possibly minuscule old fills, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks. Naturally grown patina overall, with some areas of post-burial wear to calcification.Weight: 355.4 gDimensions: Length 28.5 cm The Taotie is an ancient Chinese mythological creature that was commonly emblazoned on a variety of materials during the 1st millennium BC. The first historically confirmed usage of Taotie is in the classic Zuo Zhuan, a narrative history of China written in 30 chapters between 722 and 468 BC, where it is used to refer to one of the Four Perils (Si Xiong), the four evil creatures of the world: a greedy and gluttonous son of the Jinyun clan, who lived during the time of the mythical Yellow Emperor. Within the Zuo Zhuan, taotie is used by the writer to identify a glutton.Literature comparison: Compare two related soapstone animal masks unearthed in 1978 from Western Han tombs in Maxiping, Xupu, and another unearthed from an Eastern Han tomb in Guojiapu, Changde, all three now in the Hunan Provincial Museum. Compare a related jade love token ornament, depicting a similarly carved grotesque face, 12.4 cm wide, also dated to the Han dynasty, in the Metropolitan Museum of Art, accession number 18.43.14. Compare a related jade hu-form vessel with a similar taotie mask handle, dated to the Eastern Han dynasty, at Sotheby's Hong Kong, 9 October 2020, lot 3.

Full title: Chinese school: 'A sky full of Buddhist divinities', ink and colour on silk, 18th C.Description:Dim.: 273,5 x 104 cm (the scroll)Dim.: 144,5 x 89 cm (the work)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

Full title: Chinese school: 'Mountainous landscape', ink and colour on silk, MingDescription:Dim.: 257 x 82,5 cm (the scroll)Dim.: 168 x 67 cm (the work)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

Full title: A pair of large Chinese blue and white 'lotus scroll' vases and covers, 19th C.Description:H.: 63,5 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

Full title: Three Chinese blue and white 'lotus scroll' plates, Guangxu mark and of the periodDescription:Dia.: 15,7 cm - H.: 3,7 cm (the largest)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

Full title: A large Chinese blue and white 'lotus scroll' jar, MingDescription:H.: 36 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

Full title: A Chinese blue and white 'lotus scroll' double gourd vase, Jiajing/WanliDescription:H.: 33 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

Full title: Chinese school, anonymous, in the collection of Shi Min 史敏 (1415-?): 'Heron and acorus', watercolour on paper, dated 1427 but probably laterDescription:Dim.: 224,5 x 65 cm (the scroll)Dim.: 113,5 x 48 cm (the work)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

A Chinese elm low table, on scroll supports, 32" wide x 20" deep x 10" high

A BLUE AND WHITE MING-STYLE FLOWER-HOLDER, QIANLONG MARK AND PERIODExpert'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 cm Vessels 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). 乾隆款及年代仿明代風格青花花插中國, 1736-1795年。由于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 COMPLETE SET OF FOUR FAMILLE ROSE 'EIGHT IMMORTALS' PLAQUES, BY WANG QI (1884-1937)China, Republic period, circa 1930. Exquisitely painted in bright enamels, each plaque depicting two of the Eight Immortals wearing fine robes and holding their attributes, with two seals of the artist. (4)Expert's note: The quality of this set is remarkable. The artwork is exquisitely detailed in vivid and confident brushstrokes, very much unlike the countless copies in circulation today. The enamels are exceptionally well fired, with crisp and elegant colors, blended to an overall near-perfect harmony, as found only in a small number of works from the Wang Qi studio. Equally noteworthy is the quality of the hardwood frames, including their fittings and backings, all exhibiting clear signs of age, original to the set and executed to the highest standards, a level of craftsmanship absent in later pieces.Inscriptions: Each plaque with two seals: the first, lower right, 'Wang Qi' and 'Liandan jishi'; the second, lower right, one reading 'Wang Qi'; the third, lower left, 'Xiaoyao' and 'Wang Qi huayin'; and the fourth, lower right, one reading 'Wang Qi'.Provenance: North American trade. By repute acquired from a local estate.Condition: Excellent condition with some old wear and firing irregularities. Little rubbing and flaking to enamels. One plaque with a phosphorescent firing flaw in the upper left corner. The frames with expected traces of use, minor splits and a natural patina.Dimensions: Panel size ca. 55 x 17 cm (each), Size incl. frame ca. 59 x 21 cm (each) The first plaque depicts Li Tieguai leaning on his iron crutch, carrying two gourds on his back, one releasing fumes, standing next to He Xiangu holding a long leafy blossoming lotus stem, under the full moon.The second plaque with Zhongli Quan holding his fan and Lu Dongbin with his sword sheathed to his back, below a flying crane.The third plaque shows Han Xiangsi, with his flute suspending a jade pendant, conversing with Cao Guojiu looking up towards his castanets in the air above.The fourth plaque with the elderly Zhang Guo holding his bamboo rod and standing beside Lan Caihe carrying his basket filled with flowers and lingzhi, below an iron-red bat.The Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Most of them are said to have been born in the Tang or Song Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. Stories of these immortals were first recorded by the Ming dynasty poet Wu Yuantai. Their status as folk icons makes them well-known in popular culture.Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based on famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years, Wang increasingly developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work.His earlier works were characterized by the gongbi style, which employed fine outlines for human figures. However, his style evolved over time, transitioning into a more free style. Wang Qi's artistic journey led him to Jingdezhen in 1901, where he learned porcelain painting and portrait painting from Deng Bishan and Qian Hui An. His talent was recognized when he received the "Supernatural Technique" plate as a gift from the Fuliang County Magistrate in 1916, which significantly boosted his reputation. In 1916, Wang Qi traveled to Shanghai with Wang Dafan to attend the Shanghai Paintings Exhibition, where he encountered the Eight Strange Masters of Yangzhou. Among them, he was particularly impressed by the painting style of Huang Shen, who excelled in painting people, landscapes, and flowers and birds. Wang Qi's background in portrait painting, sculpture, and painting portraits on porcelain, combined with his exposure to Western painting techniques, elevated his porcelain paintings to a new level of artistic accomplishment.Literature comparison: A set of plaques, also painted with the Eight Immortals but in a different arrangement of pairs, is preserved in the China Ceramic Museum, Jingdezhen, albeit unpublished. The Muwentang Collection has a group of famille-rose plaques of different figural subjects painted in a related style by Wang Qi, attributed to the period between 1912-1925, published in Simon Kwan, Minguo ciqi (Chinese Porcelain of the Republic Period), Hong Kong, 2008, pls. 12-19. 王琦款一組四件粉彩八仙掛屏中國，民國，約1930年。木框為套裝原創。(4) 款識：王琦，煉丹濟世；王琦；逍遙，王琦畫印；王琦。 來源：北美古玩交易，據説購於當地舊藏。 品相：狀況良好，有磨損，琺琅輕微摩擦和剝落。一塊掛屏左上角有燒製缺陷。框架有使用痕跡、輕微裂痕和自然包漿。 尺寸：掛屏分別為55 x 17 厘米，總約59 x 21 厘米由于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 CARVED AND RETICULATED BAMBOO PARFUMIER, CHINA, 18TH CENTURYOf cylindrical form, intricately carved in openwork with four ladies gathered around a table as one of them practices calligraphy on a scroll, surrounded by numerous playful boys in a palace garden filled with flowering trees and craggy rockwork. Enclosed by a fence decorated with wan symbols, with a two-story pagoda in the background, all framed by neatly incised key-fret bands. The black-striated bamboo shows a nice grain and attractive color overall.Provenance: Collection of Captain Andre Le Gac, acquired in China in the 1920s, during which time he was the captain of a Yangtze River gunboat, and thence by descent in the same family. Andre Jules Gabriel Le Gac (1895-1960) was born in Brest, France. He joined the French Navy in 1914 and was awarded the Chevalier de la Legion d' Honneur (Knight of the Legion of Honor). He was present for the German surrender at Saint-Nazaire in 1945. Throughout his travels with the navy, which also included a station in Hong Kong, Le Gac assembled a large collection of fine Chinese art which he brought home to France, thence remaining in the family for almost 100 years. Condition: Very good condition with some old wear, minor nicks and traces of use. The buffalo-horn fittings with small chips and natural imperfections including small age cracks. Very good, naturally grown patina.Weight: 203.4 g Dimensions: Height 22.7 cm Two buffalo-horn mounts are neatly fitted to bottom and top of the hollow parfumier. The base is additionally fitted with a hongmu wood stand. All four pieces are original to the lot and not later additions. (4)The carver of this parfumier paid close attention to detail while creating this piece. Not only is the parfumier masterfully carved with extensive openwork, but the many charming scenes show great artistic inspiration, depicting groups of playful boys engaging in different games, all of which are captivating and expressive, and mostly emulate adult behavior. Three boys stand facing each other playing instruments with delighted expressions. Below them, a single boy performs a handstand, lifting his legs straight into the air. To his right, four boys are gathered around a table praying before an altar. In the center, three boys are depicted carting a fourth boy dressed up in imperial costume; one boy pushes the cart, another devotedly lifts a large tree branch over the boy Emperor's head, and the third walks ahead carrying a banner. Above them, two boys point their bows up at ducks flying overhead amid swirling clouds; one boy has met his mark. Two boys are depicted running near the four scholarly ladies, with one chasing after the other.Auction result comparison: Type: Closely related Auction: Sotheby's London, 11 November 2022, lot 66 Price: GBP 18,900 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing Description: A carved and reticulated bamboo parfumier, Qing dynasty, 18th century Expert remark: Compare the closely related manner of carving (albeit arguably less elaborate and inspired than the present lot), openwork, and incised key-fret borders. Note the near-identical size (22.3 cm). 十八世紀竹雕香筒圓柱形香筒採用鏤空浮雕，輔以陰刻等技法製成，筒身畫面通景式構圖。四位婦人圍坐在一張桌子旁，其中一位在紙上寫字，周圍是幾個頑皮的孩童。花園里滿是花樹和假山。背后是一座寶塔。上下邊緣一周雷紋。刀法變化多樣，人物衣著行雲流水，樹木枝葉則鏤挖出層次。整個筒身包漿濃厚，皮色暗紅穩重。 來源：Andre Le Gac船長的收藏，於 1920 年代在中國購得，當時他是一艘長江砲艇的船長，在同一家族保存至今。Andre Jules Gabriel Le Gac（95-1960 年）出生於法國布雷斯特。 1914年，他加入法國海軍，並被授予Chevalier de la Legion d' Honneur（榮譽軍團騎士）。 1945 年，他出席了德國在聖納澤爾的投降儀式。在隨海軍旅行期間（其中還曾在香港設有駐地），Le Gac收集了大量中國精美藝術品，並將其帶回法國，留在家族已經有近100年的歷史了。 品相：狀況極好，有一些磨損、輕微劃痕和使用痕跡。水牛角配件帶有小缺口和自然瑕疵，小裂縫，自然包漿。 重量：203.4 克 尺寸：高 22.7 厘米 由于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 AND FINE SILVER LADLE, TANG DYNASTYChina, 8th-9th century. The deep, petal-lobed bowl is finely engraved on the exterior with foliate scroll on a minutely ring-punched ground. The long, elegantly curved, tapering handle is similarly decorated with further foliate scroll and terminates in a neatly gilt bird's head.Provenance: From an old private collection in New York, USA, assembled before 1980 and thence by descent. Condition: Very good condition, commensurate with age. Expected tarnish to silver, ancient wear overall, traces of usage, few tiny nicks here and there. The handle with faint traces of solder where it connects to the bowl, probably inherent to manufacture.Weight: 58.1 gDimensions: Length 28.6 cm Literature comparison: Compare a related silver ladle, also with a petal-lobed bowl and bird-head terminal, 33 cm long, dated to the 8th century, in the Metropolitan Museum of Art, accession number 22.79.5. Compare a related silver ladle, also with engraved foliate decoration, petal-lobed bowl, and bird-head terminal, dated to the first half of the 8th century, in the Art Institute of Chicago, reference number 1945.169. Compare a related gilt silver ladle, also with a petal-lobed bowl and bird-head terminal, 30.8 cm long, dated to the 9th century, in the Seattle Art Museum, accession number 45.66. A related ladle was included in the exhibition Chinesisches Gold und Silber. Die Sammlung Pierre Uldry, Museum Rietberg, Zurich, 1994, cat. no. 157. A related ladle originally in the collections of Mrs. Christian R. Holmes and the Hon. Senator Hugh Scott, included in the China Institute in America exhibition Early Chinese Gold and Silver, China House Gallery, New York, 1971, cat. no. 72, and illustrated in Hugh Scott, The Golden Age of Chinese Art, Rutland, Vermont, 1967, pl. 13, was sold at Christie's New York, 2 December 1982, lot 399.Auction result comparison: Type: Closely related Auction: Christie's New York, 12 September 2019, lot 553 Price: USD 225,000 or approx. EUR 244,000 converted and adjusted for inflation at the time of writing Description: A fine and rare large silver ladle, Tang dynasty Expert remark: Compare the closely related form with similar petal-lobed bowl, elegantly curved handle, and bird-head terminal, which however is not gilt. Also compare the closely related decoration with similarly engraved foliate scroll against a ring-punched ground, albeit further with three birds. Note the similar size (26 cm) and weight (67.5 g). 唐代鏨花銀勺中國，八至九世紀。貝殼形勺，精美鏨刻卷葉紋與串珠紋。長而優雅的弧形執柄同樣工藝裝飾，末端飾有鎏金鳥頭頭。 來源：美國紐約私人收藏，購於1980年前，保存至今。 品相：狀況極好，銀色會失去光澤，整體磨損，有使用痕跡，大面積細小的刻痕。手柄與碗的連接處有微弱的焊料痕跡，可能是製造過程中固有的。 重量：58.1 克 尺寸：長 28.6 厘米 文獻比較: 比較一件相近的八世紀銀勺，亦有瓣形勺和鳥頭端，長33 厘米，收藏於大都會藝術博物館，館藏編號22.79.5。比較一件相近的八世紀上半葉銀勺，亦有瓣形勺和鳥頭端，收藏於芝加哥藝術博物館，館藏編號1945.169。比較一件相近的九世紀錯金銀勺，亦有瓣形勺和鳥頭端，長30.8 厘米，收藏於西雅圖博物館，館藏編號45.66。一件相近的銀勺，展覽於《Chinesisches Gold und Silber. Die Sammlung Pierre Uldry》，Rietberg博物館，蘇黎世，1994年，圖錄編號157。一件相近的勺 ，收藏於Mrs. Christian R. Holmes和Hon. Senator Hugh Scott，見《China Institute in America exhibition Early Chinese Gold and Silver》，China House Gallery，紐約，1971年，圖錄編號72，以及見Hugh Scott，《The Golden Age of Chinese Art》，佛蒙特州拉特蘭市，1967年，圖13，見紐約佳士得，1982年12月2日，lot 399。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2019年9月12日，lot 553 價格：USD 225,000（相當今日EUR 244,000） 描述：唐銀鏨刻花鳥紋花形勺 專家註釋：比較非常相近的外形、相似的瓣形勺和鳥頭端，但沒有鎏金。比較非常相近裝飾，也刻有類似的葉狀捲軸，儘管還刻有三隻鳥。請注意相似的尺寸 (26 厘米) 和重量(67.5 公克)。

A GILT BRONZE LION-FORM WEIGHT, LATE MING DYNASTYChina, 16th-17th century. Heavily cast, seated in a recumbent pose, slightly raising its head and facing forward, its muscular body decorated with scroll designs around the leg joints, the mane with similar designs as well as ruyi elements, the spine finely detailed with petal-like curls terminating in a furcated tail. The rounded eyes below long sweeping brows reaching to the back of its head, above neatly incised strands of hair.Provenance: Collection of Captain Andre Le Gac, acquired in China in the 1920s, during which time he was the captain of a Yangtze River gunboat, and thence by descent in the same family. Andre Jules Gabriel Le Gac (1895-1960) was born in Brest, France. He joined the French Navy in 1914 and was awarded the Chevalier de la Legion d' Honneur (Knight of the Legion of Honor). He was present for the German surrender at Saint-Nazaire in 1945. Throughout his travels with the navy, which also included a station in Hong Kong, Le Gac assembled a large collection of fine Chinese art which he brought home to France, thence remaining in the family for almost 100 years.Condition: Good condition with expected old wear and casting irregularities, light scratches, small nicks, minor dents, rubbing and minor losses to gilt. The wood base with a good patina, old wear, minor nicks and natural age cracks. The bronze with a rich, naturally grown patina with malachite and cuprite encrustations.Weight: 410.1 g (excl. stand), 432.6 g (incl. stand)Dimensions: Length 7.7 cm With an associated, finely carved, open worked, and fitted wood stand dating from the Qing dynasty. (2)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 4 October 2016, lot 33 Price: HKD 68,750 or approx. EUR 9,100 converted and adjusted for inflation at the time of writing Description: A silvered-bronze lion-form weight, Ming dynasty, 16th-17th century Expert remark: Note the similar size (7.5 cm).Auction result comparison: Type: Related Auction: Bonhams London, 27 February 2013, lot 382 Price: GBP 6,000 or approx. EUR 11,000 converted and adjusted for inflation at the time of writing Description: A parcel-gilt bronze scroll weight, Ming or Qing dynasty Expert remark: Note the similar size (7 cm). 明末銅鎏金獅形鎮紙中國, 十六至十七世紀。造型厚重，獅子呈坐姿，頭微仰，面朝前，身軀健碩，腿部成如意紋，鬃毛中也有如意紋，脊椎部飾有花瓣狀的捲發，尾巴分叉。長長的眉毛下面是圓圓的眼睛，修剪整齊的髮絲。 來源：Andre Le Gac船長的收藏，於 1920 年代在中國購得，當時他是一艘長江砲艇的船長，在同一家族保存至今。Andre Jules Gabriel Le Gac（95-1960 年）出生於法國布雷斯特。1914年，他加入法國海軍，並被授予Chevalier de la Legion d' Honneur（榮譽軍團騎士）。1945 年，他出席了德國在聖納澤爾的投降儀式。在隨海軍旅行期間（其中還曾在香港設有駐地），Le Gac收集了大量中國精美藝術品，並將其帶回法國，留在家族已經有近100年的歷史了。 品相：狀況良好，有磨損和鑄造不規則、輕微劃痕、小刻痕、輕微凹痕、鎏金輕微損失。木質底座具有良好的包漿、磨損、輕微刻痕和自然老化裂紋。青銅具有自然包漿，上面有紅綠色結殼。 重量：410.1克 (不含底座), 432.6 克 (含底座) 尺寸：長7.7 厘米 清朝木架。 (2)拍賣結果比較： 形制：相近 拍賣：香港佳士得，2016年10月4日，lot 33 價格：HKD 68,750（相當於今日EUR 9,100） 描述：明十六/十七世紀烙銀銅獅形鎮紙 專家評論：請注意相似的尺寸 (7.5 釐米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2013年2月27日，lot 382 價格：GBP 6,000（相當於今日EUR 11,000） 描述：明或清鎏金銅神獸紙鎮 專家評論：請注意相似的尺寸 (7 釐米)。

A POLYCHROME STUCCO FRESCO FRAGMENT DEPICTING A CELESTIAL MAIDEN, YUAN TO MING DYNASTYChina, 13th-16th century. Finely painted in polychrome pigments with details picked out in gesso relief. Depicting a celestial maiden standing in front of a daybed decorated with floral and scroll designs, holding a sheng in front of her, dressed in flowing robes and billowing scarves of red, pale blue, ochre, and white, the head gently tilted downward, her face painted with delicate features, the hair tied into a high chignon with a fine ornament.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. M.8.3. 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: Good condition, commensurate with age. Old wear and expected age cracks, minor losses and touch-ups. The frame with some wear, nicks, and scratches. Presenting very well overall.Dimensions: Image size 82.1 x 45.4 cm. Size incl. frame 90 x 53.8 cm With a wood frame.The style of the present fresco is inspired by the late Tang dynasty temple painting style. This is evident in the treatment of the roundness of the 'melon-seed'-shaped faces and the swirling scarves, giving a dynamism to the work, which was popular amongst builders and decorators of Buddhist temples of the time and continued throughout the Song, Yuan and Ming dynasties.The sheng is a Chinese mouth-blown polyphonic reed instrument consisting of vertical pipes. It is one of the oldest Chinese instruments, with images of the instrument dating back to 1100 BC. Some examples of the instrument are dated as far back as the Han dynasty. It is one of the main instruments in kunqu and some other forms of Chinese opera. Ancient instruments like the sheng with gourd wind chambers, varying numbers of pipes, or with bamboo or metal reeds have been discovered in archaeological finds at the tomb of the Marquis Yi of Zeng (c. 433 BC) in present-day Hubei province, and the Han tombs at Mawangdui (c. 2nd century BC) in Hunan province.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 11 September 2019, lot 816Price: USD 37,500 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A polychrome stucco fresco fragment, Yuan / Ming dynastyExpert remark: Compare the related figural motif and size (77.5 x 45.5 cm) 元至明灰泥彩繪神女壁畫中國，十三至十六世紀。彩繪神女，細節以石膏浮雕呈現。描繪一位仙女站在花卉紋床榻前，手持笙，身著飄逸的長袍，紅、淡藍、赭色、白色的絲巾飄揚，頭微微下低，精緻的五官，頭髮紮成高髻，飾有精美的髮飾。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號M.8.3。 品相：狀況良好，有磨損和年代裂縫、輕微缺損和修補。外框有一些磨損、刻痕和劃痕。 尺寸：畫面82.1 x 45.4 厘米，含框90 x 53.8 厘米 木框。拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月11日，lot 816 價格：USD 37,500（相當於今日EUR 40,500） 描述：元 / 明灰泥彩繪天女圖壁畫殘部 專家評論：比較相近的人物主題和尺寸 (77.5 x 45.5 釐米)。由于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

AN EXTREMELY RARE SILVER-INLAID 'FUDING DING' BRONZE TRIPOD CENSER, SONG TO MING DYNASTYChina, 960-1644. Of archaic ding form, the bowl cast with shallow rounded sides supported on three tall bird-shaped legs, the rim set with two upright loop handles. Finely inlaid in remarkably thin silver wire to the body with bands of scroll, raised bosses and geometric designs against leiwen grounds, stiff pendent leaves enclosing key-fret and S-scrolls, and to the legs with further scroll designs. The bronze with a fine, naturally grown patina with scattered malachite encrustations.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. T.5.6. 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. In 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition with expected old wear, some corrosion and casting irregularities, few minuscule nicks, light scratches, small dents, and few losses to inlays.Weight: 298.4 gDimensions: Height 10.3 cm Literature comparison:This finely cast bronze vessel is after late Shang and early Western Zhou period archaic ding. Compare a Western Zhou bronze censer of this form, dated 11th-10th century BC, preserved in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.20. The hemispherical body, handles and flattened legs of this censer relate to several bronze tripod censers of Shang dynasty date, illustrated by Robert W. Bagley in Shang Ritual Bronzes in the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, 1987, pp. 448-51, figs. 80.2-80.4, no. 81 and fig. 81.1. For further examples, see one in the Palace Museum, Beijing, illustrated in Bronzes in the Palace Museum, Beijing, 1999, pl. 86, standing on related bird-form feet; and the late Shang dynasty bronze fangding, its legs cast as birds standing on their long tails, illustrated in Ancient Chinese Bronzes from the Stoclet and Wessen Collections, Eskenazi London, 1975, cat. nos. 2.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 3 April 2012, lot 155 Price: HKD 275,000 or approx. EUR 42,500 converted and adjusted for inflation at the time of writing Description: An archaistic bronze censer, Ming dynasty Expert remark: Compare the closely related form. Note the complete lack of inlay decoration. 宋至明錯銀三足銅爐中國，960-1644年。古鼎式，淺圓邊，鳥形足，雙耳直立。精細的錯銀線，雷紋，芭蕉葉與雲紋。銅爐有細膩的自然包漿，綠色結殼。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號T.5.6。 品相：狀況良好，有磨損、一些腐蝕和鑄造不規則、微小刻痕與劃痕、小凹痕以及少量鑲嵌缺損。 重量：298.4 克 尺寸：高 10.3 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2012年4月3日，lot 155 價格：HKD 275,000（相當於今日EUR 42,500） 描述：明青銅仿古「鳥紋」出戟雙耳三足爐 專家評論：比較非常相近外形。請注意此爐沒有鑲嵌裝飾由于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 AND HIGHLY IMPORTANT ZITAN AND GILT-LACQUERED STATUE OF SARIPUTRA, THE FIRST OF BUDDHA'S TWO CHIEF DISCIPLES, CHINA, 1520-1580The Ming dynasty's largest surviving Zitan sculpture.Scientific Analysis Report: The result of a radiocarbon dating test (C14) conducted by Re. S. Artes, no. C 245112A, 2 August 2023, based on one sample taken from the wooden core of the figure, is consistent with the dating of this lot. The report states a probability of 95.4 % for a dating range of 1517-1656, of which a predominant probability of 63.5 % is for the range of 1517-1589. Copies of the analysis certificate and the detailed scientific report accompany this lot. X-Rays: Conventional X-ray scans conducted in 2023 confirm the existence of multiple vertical cavities within the statue. Some of these voids may still hold ancient scriptures, or sutras, on paper and/or textile. It's important to note that an X-ray image captured in 1985 (published in Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Vienna, 1985, no. 48) using an X-ray image intensifier (XRII) discloses the possible presence of several objects, which remain beyond the purview of standard X-ray imaging methods. Given that the statue is hermetically sealed and must remain unopened, the actual confirmation of its contents is unattainable, thus precluding any assurance regarding their nature.The face and the exposed body are gilded overall. He is powerfully carved standing in samabhanga, his right hand held in karana mudra, and his left in dhyana mudra. His voluminous monastic robe is precisely carved with undulating folds and outlined in gold with patchwork, the hems similarly decorated with scroll and lozenge diaper, the undergarment with floral designs. His serene face shows heavy-lidded eyes, picked out in ancient pigments, gently arched brows, and bow-shaped lips forming a calm smile, flanked by pendulous earlobes, his short hair lacquered entirely black.His back shows a rectangular aperture for consecration, and another to the back of his head, both sealed (see X-Ray section for more details).The wood shows an attractive grain and elegant deep-red color, as expected from Zitan with a naturally grown patina, that is 500 years old.The disciple stands on a finely carved, lacquered, and fitted wood pedestal decorated with overlapping lotus petals below a thickly beaded edge, dating from the 1700-1750 (see condition report and expert's note for more details).Condition: The statue is in superb condition, especially considering its high age of half a millennia and the rather sensitive Zitan wood. It is constructed of meticulously joined pieces of wood. Expected old wear, rubbing to gilt, and natural age cracks. Occasional light scratches, few minuscule chips. The original base is lost (see expert's note) and was replaced between 1700 and 1750 with the present pedestal, which is in good condition with expected old wear, natural age cracks, minor flaking to lacquer and small losses.Provenance: - Collection of Anton Exner (1882-1952), Vienna, Austria, acquired in the Republic of China after the Xinhai Revolution of 1911- Collection of Walter Exner (1911-2003), Bad Wildungen, Germany, acquired from the above after 1945- Galerie Zacke, Vienna, Austria, acquired from the above and exhibited in 1985- A noted private collection in Vienna, AustriaAnton Exner (1882-1952) was the most important dealer, collector, and assessor of East Asian art in Vienna during the interwar period. His collection included all branches of Asian art, from all epochs, and particularly Chinese and Japanese works. During a long sojourn through Canada and the USA from 1908 to 1910, he made first contacts with Chinese dealers and subsequently acquired numerous antiques at various Asian ports, which formed the basis for his future business activities. From then on, he went almost every year on buying trips to the Far East. The Austrian auction house Dorotheum appointed him as a sworn assessor of Asian art, a position he held for c. 25 years. From the early 1920s onwards, he lent objects to most major exhibitions of Asian art held in Austria, and eventually gifted a large part of his personal collection, numbering several thousand objects, to the Museum of Applied Arts in Vienna, where it is on permanent exhibition to this day.Walter Exner (1911-2003), among other family members, inherited parts of the vast collection, which he had built together with his father from 1935 onwards, after their first joint trip to East Asia. He spent a year in Beijing from 1936 to 1937 and from 1956 to 1963, he directed the Asian Institute in Frankenau, Germany, which he founded, as well as its museum. The present lot was exhibited at the opening of this museum in June 1956. In 1965, Walter Exner moved the institute and the museum to Bad Wildungen, Germany. To fund the museum, he deaccessioned pieces from the collection until his passing in 2003.Published: Galerie Zacke, Skulpturen des Buddhismus und Hinduismus, Vienna, 1985, no. 48.Exhibited: Asien-Institut Frankenau, 1956-1963 Asien Institut Bad Wildungen, 1965-1977 Galerie Zacke, Vienna, 1985Weight: 20.1 kgDimensions: Height 91 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 20 March 2002, lot 69 Price: USD 116,000 or approx. EUR 182,000 converted and adjusted for inflation at the time of writing Description: A very rare zitan and gilt-lacquered figure of Shakyamuni, Tibeto-Chinese, Yongle nine-character mark and period Expert remark: Compare the closely related material, lacquer gilding, modeling with similar robe and face, and sealed aperture to the back. Note the Yongle reign mark to the base. Also note the much smaller size (33 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于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 PAIR OF ALBUMS, EACH WITH TWELVE 'BUDDHIST SYMBOLS' PAINTINGS, BY MEI LANFANG (1894-1961)China. Comprising two accordion albums, each with twelve leaves, painted with ink and color on paper. Each leaf depicts the hand of a Buddhist deity or celestial maiden, emerging from swirling clouds and adorned with a gold bracelet suspending a red, a blue, and a green bead, and holding various attributes, accompanied by identifying inscriptions and excerpts from sutra texts, all within a band of alternating scroll designs and dharmachakra enclosed by an S-scroll border.Inscriptions:The titleslip of the first album: 'Mei Lanfang xiansheng lin Dunhuang foshou shangce Zhongzhou Zhang Boju cang' (Buddhist hand poses from the Dunhuang Caves by Mei Lanfang, Volume 1, Collection of Zhang Boju from Zhongzhou).The titleslip of the second album: 'Mei Lanfang xiansheng lin Dunhuang foshou xiace Zhongzhou Zhang Boju cang' (Buddhist hand poses from the Dunhuang Caves by Mei Lanfang, Volume 2, Collection of Zhang Boju from Zhongzhou).Provenance: Formerly in the collection of Zhang Boju (1898-1982), who was known as one of the 'Four Young Princes' of the Republican era, who became one of the country's most discerning, as well as generous, connoisseurs and collectors of antiquities. He was China's most celebrated private art collector. His father Zhang Zhenfang was related by marriage to the first president of the Chinese Republic, Yuan Shikai, and himself was Chairman of the Board of the Salt Industry Commercial Bank. Zhang used his family's large fortune to indulge his love of antiques and art. He became an expert in this field, exchanging silver dollars, gold bars, jewelry, property, and even risking his own life (he was once kidnapped) to amass a collection of inestimable treasures that could rival those of the Palace Museum. He is quoted as once saying, “I do not wish to possess the things I collect. They should be handed down from one generation to the next. I sit at my desk and bury my head in my old books. This is the scholar's true task. May the weapons of war give way to eternal peace and may the people live in tranquility. What greater happiness can there be than this?"Condition: Very good condition with only very minor wear, little soiling and foxing, few tiny losses, and few minuscule tears.Dimensions: Image size ca. 30 x 19.5 cm (each), Album size 36 x 22.5 cm (each)Each album with a silk brocade front and back cover finely decorated with dragon roundels on a key-fret ground. (2)Mei Lanfang (1894-1961), born Mei Lan, was an important Beijing opera (Jingju) artist in modern Chinese theater, and an accomplished painter. Mei was known as the 'Queen of Peking Opera' and was exclusively known for his female lead roles (dan), particularly his 'verdant-robed girls' (qingyi), young or middle-aged women of grace and refinement. He was considered one of the Four Great Dan, along with Shang Xiaoyun, Cheng Yanqiu, and Xun Huisheng. Born into a family of famous actors, he learned from his family members and also from many teachers and went on to become a pioneer of the newly emerging dan (a female role) actor genre in the early 20th century. His performance style was rigorous and refined yet elegant and beautiful, appearing reserved but actually full of complexity: his singing was exquisite, pure and full; his spoken lines were delivered in a sweet but rich voice, strong but not rough. Mei's famous portrayal of Beauty Yu was so historically moving that Wenting Song said he was one of the greatest vocal artists in modern China.Mei was the first artist to spread Beijing opera to foreign countries, participating in cultural exchanges with Japan, the United States, and other regions. He toured the world, forming friendships with the western contemporaries of his day, including Charlie Chaplin. In 1930 he toured North America, visiting Hollywood, where he was welcomed by Douglas Fairbanks and Mary Pickford. In 1935, Mei toured Europe, playing to appreciative audiences in Berlin and Moscow. Seeing Mei perform especially impressed the German playwright Bertolt Brecht and influenced his concept of the alienation effect.In July 1937, the Marco Polo Bridge Incident occurred, and the Imperial Japanese Army soon occupied Beijing. The commander of the Japanese Army ordered Mei to perform for them and appointed Mei to a high rank official position, but Mei refused to sing throughout the duration of the war and endured an impoverished lifestyle until the war ended in 1945. During this period, he relied solely on selling his paintings. After 1949, he served as director of the China Beijing Opera Theater, director of the Chinese Opera Research Institute, and vice chairman of the China Federation of Literary and Art Circles.Auction result comparison: Type: Related Auction: China Guardian, Beijing, 21 March 2010, lot 1379 Price: CNY 156,800 or approx. EUR 28,000 converted and adjusted for inflation at the time of writing Description: Mei Lanfang, landscape and flowers Expert remark: Compare the album of twenty-four small paintings (24 x 36 cm) by the same artist, albeit depicting a different subject.Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.由于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 PAIR OF GILT-BRONZE AND CLOISONNE ENAMEL LUDUAN, CHINA, 18TH - 19TH CENTURYWell modeled in mirror image, each seated on its haunches with the head raised and mouth slightly agape revealing a set of sharp fangs. The gilt face set with a broad ruyi-shaped snout, a pair of bulging eyes below a thick, neatly incised brow flanked by two floppy ears, the head surmounted by a ribbed and curved horn. Their bodies are finely decorated in bright enamels with dragon and phoenix designs as well as floral diaper, and their fur is well detailed with gilt wire, the spines with scroll terminating in flaming tails. The claws and pads of their paws are gilt. (2)Provenance: From a private collection of Chinese art and jade carvings in London, United Kingdom, built between the 1970s and 1990s, and thence by descent.Condition: Flaking and minute losses to enamels with associated minor old fills and touchups, otherwise in good condition with expected wear and manufacturing irregularities, small dents, and light scratches.Weight: 553.2 g and 563 gDimensions: Height 15 cm (each) Luduan are legendary beasts believed to be capable of detecting the truth, traveling great distances in short amounts of time (9,000 km/day), and mastering different languages. Often mistaken for Qilin, which have hooved feet, luduan tend to have rounder bodies and clawed paws. Known as the guardian of enlightened rulers, it was said that this mythical animal was originally named 'jiaoduan', but Emperor Qin Shihuang decided to use 'luduan' because the Chinese character 'lu' matched the image of the unicorn better. During the Ming and Qing eras, incense burners, seals and statues by doorways were usually shaped as Luduan because of its auspicious associations.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 16 December 2022, lot 48Price: EUR 25,200 or approx. EUR 26,500 adjusted for inflation at the time of writingDescription: A pair of cloisonne enamel luduan censers, China, Qing dynasty, 18th-19th centuryExpert remark: Compare the closely related subject and related modeling with similar poses and heads with open mouths. Note that this lot comprises a pair of censers, while the present lot are figures. Note the size (19.5 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams London, 12 May 2016, lot 212Price: GBP 5,000 or approx. EUR 8,300 converted and adjusted for inflation at the time of writingDescription: A pair of cloisonne enamel mythical beasts, luduan, 18th/19th centuryExpert remark: Compare the closely related subject and related modeling with similar poses and heads with open mouths. Note the size (20 cm). 十八至十九世紀一對銅鎏金掐絲琺瑯甪端造型精美，甪端呈半坐狀坐於後腿之上，抬頭，嘴巴微張，露出鋒利的獠牙。鎏金的臉上有一個寬闊的如意形鼻子，濃密而整齊的眉毛下有一雙大眼，兩側各有一隻下垂的耳朵，頭上有一個有棱紋的角。它們的身體上以琺瑯飾有精美的龍鳳圖案的，以及纏枝花卉紋，他們的皮毛上有銅線細節，火焰狀尾巴。爪子鎏金。(2) 來源：來自英國倫敦中國藝術品和玉雕私人收藏，建於二十世紀七十年代至九十年代，傳承自今。 品相：琺瑯剝落和微小損失，伴有輕微的小修，有磨損和製造不規則、小凹痕和輕微劃痕。 重量：分別爲553.2克與563 克 尺寸：各高 15 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2022年12月16日，lot 48 價格：EUR 25,200（相當於今日EUR 26,500） 描述：清十八/十九世紀掐絲琺琅甪端香爐 一對 專家評論：比較非常相近的主題，以及相近的張口姿勢。請注意此為一對爐，以及尺寸 (19.5 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2016年5月12日，lot 212 價格：GBP 5,000（相當於今日EUR 8,300） 描述：十八/十九世紀銅胎掐絲琺瑯甪端 一對 專家評論：比較非常相近的主題，以及相近的張口姿勢。請注意尺寸 (20 釐米)。

A BAMBOO VENEER 'BAJIXIANG' RUYI SCEPTER, ZHUHUANG, CHINA, 18TH CENTURYThe scepter finely carved in high relief with the Eight Buddhist Emblems (bajixiang), the ruyi head showing the pair of fish, vase, and parasol amidst blossoming lotus flowers within a scroll-design border, the rectangular central section with the conch shell, endless knot, and the victory banner, and the terminal with the wheel of dharma. The handle is neatly incised with auspicious fruit in form of branches with finger citrons and pomegranates.Provenance: French trade. By repute acquired from a deceased estate in Bourgogne.Condition: Very good condition with expected old wear, traces of usage, natural age cracks and few tiny nibbles to edges. Some discoloration and staining as often found on these early bamboo veneer scepters. Sublime, naturally grown patina overall, with a decent luster and an unctuous feel, beautiful golden amber color.Weight: 147.4 gDimensions: Length 42 cm This scepter is impressive for its fine workmanship as revealed by the precise carving on the head and shaft. While ruyi scepters were made in large numbers during the reign of the Qianlong Emperor, as attested in the Guo Chao Gong Shi, which records that the Qianlong Emperor's mother received one hundred and eight ruyi scepters for her sixtieth birthday, those made of bamboo veneer are relatively rare. Known as Zhuhuang or veneer bamboo, this technique involves the separation of the veneer, which is of pale amber-yellow coloration and taken from the inner wall of the bamboo stem. The veneer is then applied over a wood core and is carved in shallow relief. As the color of the bamboo skin is lighter than wood, the design is left in reserve against the darker background, resulting in an elegant and attractive finish.Literature comparison:A similar scepter, in the Palace Museum, Beijing, was included in the exhibition China. The Three Emperors 1662-1795, Victoria & Albert Museum, London, 2005, cat. no. 368; another was included in the Min Chiu Society exhibition Auspicious Emblems. Chinese Cultural Treasures, Hong Kong Museum of Art, Hong Kong, 2005, cat. no. 173; a third is published in Series of Exceptional Carvings. Selected Ming & Qing Bamboo Carvings, National Museum of History, Taipei, 2005, p. 153; and a further scepter, from the Water, Pine, and Stone Retreat collection, was included in the Oriental Ceramic Society of Hong Kong exhibition Arts from the Scholar's Studio, Fung Ping Shan Museum, Hong Kong, 1986, cat. no. 121.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 24 March 2011, lot 1440Price: USD 21,250 or approx. EUR 27,000 converted and adjusted for inflation at the time of writingDescription: A rare bamboo veneer ruyi scepter, 18th centuryExpert remark: Note the smaller size (35 cm).Auction result comparison:Type: RelatedAuction: Christie's Paris, 10 December 2014, lot 139Price: EUR 12,500 or approx. EUR 15,000 adjusted for inflation at the time of writingDescription: A rare bamboo-veneer ruyi scepter, Qing dynasty, 18th centuryExpert remark: Note the similar size (40 cm). 十八世紀八寳紋竹簧如意以竹為胎，利用竹簧紋理的深淺包鑲淺刻出八寶、佛手、石榴等吉祥經典裝飾紋樣。造型優美典雅，包鑲雕刻精密，紋飾佈局勻稱。 來源：法國古玩交易，據説購於勃艮第一遺產。 品相：狀況極好，有磨損、使用痕跡、自然老化裂紋，邊緣有一些微小磕損，有一些變色和汙漬。整體自然包漿，光澤細膩，有著美麗的金琥珀色。 重量：147.4 克 尺寸：長 42 釐米由于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 SQUARE THREE-COLOR LACQUER 'CHUN' SPRING BOX AND COVER, QING DYNASTYChina, 18th - 19th century. Deeply carved through several layers of cinnabar, orange, and black lacquer, the top of the cover with a shaped panel enclosing a bowl of precious objects radiating rays illuminating the large character Chun ('spring') centered by a roundel enclosing Shoulao flanked by two cranes standing before a pine tree and rockwork. The straight sides of the box and the cover are carved with angular scroll designs reserved against lozenge diaper. The interior and base are lacquered black.Provenance: Gallery Van Stockum, The Hague, Netherlands, 21 May 1958 (according to an ancient family ledger inspected by Cabinet Portier, Paris, France, during their appraisal of the complete de Strycker estate; this ledger remains in the possession of the de Strycker family and may not be copied). Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. Old collection label to the base of the box. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Condition: Good condition with old wear and expected manufacturing irregularities. Natural imperfections including minor age cracks as well as tiny nicks, light scratches, minor losses, some possibly with minimal ancient repairs and/or touchups. Good patina overall.Weight: 515.4 gDimensions: Length 18.2 cm Auction result comparison: Type: RelatedAuction: Galerie Zacke, 9 March 2023, lot 8Price: EUR 10,400Description: A three-color lacquer 'chun' spring box and cover, Qianlong periodExpert remark: Compare the closely related Chun motif. Note the circular form as well as the size (25.5 cm). 清代剔彩春壽方盒中國，十八至十九世紀。盒呈方形，倭角，子母口，矮壁淺圈足，底部及盒內髹黑漆。外壁通體剔彩髹朱、黃、黑三色漆，以黃、黑漆作錦地，朱漆“春"為主題紋飾。蓋面開光，開光內雕聚寶盆，盆內滿盛珍寶，映射出萬道霞光。上托“春"字，春字中心圓形開光，居中壽星端坐於青松下。 “春"字兩側各雕蕉葉紋，四周襯托彩雲。盒壁上下各有四組開光，內雕回紋。 來源：海牙Van Stockum藝廊，1958年5月21日 (根據法國巴黎 Cabinet Portier 在對整個 de Strycker 莊園進行評估時檢查過的一份家族帳本所記載；該帳本仍由 de Strycker 家族所有，不得複製)。 品相：狀況良好，有磨損和製造缺陷，輕微的老化裂紋，以及微小的刻痕、輕微劃痕和缺損，有一些舊修補。包漿良好。 重量：515.4 克 尺寸：長 18.2 釐米 拍賣結果比較： 形制：相近 拍賣：Galerie Zacke，2023年3月9日，lot 8 價格：EUR 10,400 描述：乾隆時期剔彩春壽蓋盒 專家評論：比較非常相近的春主題。請注意圓形和尺寸(25.5 厘米)由于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 PALE CELADON JADE WINE CUP, CHINA, 17TH-18TH CENTURYCrisply carved, of lobed form, raised on a short lobed foot, the rim neatly incised with a key-fret band. The flat-topped handle is incised with a Taotie mask, with a scroll strap tip at the bottom. The stone with an even pale celadon color and faint hues of russet. Good polish overall.Provenance: From the collection of Dr. G. W. Milledge, acquired in China during the 1930s and thence by descent to Jim Milledge. A copy of an insurance evaluation from Sotheby and Co. from 1974, addressed to Jim Milledge and stating an insurance value of GBP 150, accompanies this lot. A copy of an appraisal from Antiques Roadshow, BBC Broadcasting House, dated 7 July 2014, stating the total value of the present lot and two other jade pieces as GBP 14,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing, evaluated by the well-known Chinese art expert John Axford, accompanies this lot. Jim Milledge (1931-2022), often referred to as 'the father of mountain medicine,' served for the RAF in Hong Kong as a young man and later established a medical practice in India, from where he traveled to Nepal on frequent mountaineering expeditions. He inherited his father's impressive collection assembled during his travels to China in the 1930s. Notably, his father was also the subject of a book authored by Don Vallance, titled The China story, 1929-1949: Dr. G. W. Milledge, (1904-1997): A Surgeon Between Three Flags.Condition: Good condition with minor expected old wear and a small chip on the foot. The stone with natural fissures, some of which may have developed into small hairline cracks.Weight: 78.4 g Dimensions: Height 8.1 cm Auction result comparison: Type: Related Auction: Sotheby's New York, 21 September 2021, lot 51 Price: USD 25,200 or approx. EUR 26,000 adjusted for inflation at the time of writing Description: A pale celadon jade lobed cup, Ming dynastyExpert remark: Compare the closely related form and decoration. Note that the cup has two handles, as opposed to the present lot, and that the vessel is of larger size (12.2 cm).Auction result comparison: Type: Related Auction: Bonhams London, 13 May 2010, lot 70 Price: GBP 6,840 or approx. EUR 13,500 adjusted for inflation at the time of writing Description: A yellow-white jade archaistic tripod cup, 18th centuryExpert remark: Compare the closely related form and decoration of the single handle. 十七至十八世紀青白玉杯葵口，邊緣整齊，外壁邊緣下有一道雷紋。 執柄上刻有饕餮紋，圈足同樣為葵口。玉料具有均勻的淺青色和淡淡的赤褐色紋理。整體拋光良好。 來源：G. W. Milledge博士收藏，上世紀三十年代購於中國，保存直至Jim Milledge。隨附一份由蘇富比1974年為Jim Milledge 開具的保險評估複印件，顯示保險價值為 GBP 150。隨附一份BBC廣播公司Antiques Roadshow古玩節目的評估複印件 ，出具於2014年7月7日，認爲這件拍品與另外兩件玉器一起價值為GBP 14,000 或相當於 EUR 24,000（在撰寫本文時已根據通貨膨脹進行轉換和調整） ，這是知名中國藝術專家John Axford的意見。Jim Milledge (1931-2022) ，被稱為“山地醫學之父"，年輕時曾在香港的英國皇家空軍服役，後來在印度建立了醫療機構。他經常前往尼泊爾進行登山探險。他繼承了父親在 1930 年代訪問中國期間建立的收藏。而他的父親G. W. Milledge也是Don Vallance 所著一本書的主角，書名為《The China story ，1929-1949: Dr. G. W. Milledge ，(1904-1997): A Surgeon Between Three Flags》。 品相：狀況良好，有輕微磨損，足部有小缺口。玉料具有天然裂隙，其中一些可能已經發展成細小的裂紋。 重量：78.4 克 尺寸：高8.1 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2021年9月21日，lot 51 價格：USD 25,200（相當於今日EUR 26,000） 描述：明青白玉菱花式雙耳盃 專家評論：比較非常相近的外形和裝飾。請注意此杯有雙耳，以及尺寸較大 (12.2厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯 ，2010年5月13日，lot 70 價格：GBP 6,840（相當於今日EUR 13,500） 描述：十八世紀黃白玉仿古三足杯 專家評論：比較非常相近的外形和單耳。

A WHITE JADE 'ABSTINENCE' PLAQUE, LATE QING DYNASTYChina, 19th century. The pendant carved and pierced on each side with two confronting kui dragons forming an archaistic scroll that frames the rectangular cartouche at the center. One side with two characters reading 'zhai jie' (abstinence) in Chinese and the other similarly inscribed with the same text in Manchu script. The stone of a good white tone with a few russet inclusions and some dark spots.Provenance: Scottish trade.Condition: Excellent condition with minor wear.Weight: 46.8 gDimensions: Length 6.5 cm (the plaque excl. tassels) With buff strings suspending two tassels, one of cream and the other of lime-green color. These probably date from the earlier 20th century.Small abstinence plaques, inscribed with characters in Mandarin and Manchu meaning 'abstinence', were a physical sign of the ceremonial requirement for abstinence before the worship of ancestors, the Heavens, or other deities. The required abstinence involved refraining from eating meat and fragrant herbs such as onions, chives and garlic, consuming alcohol, and from any intimate acts, and usually lasted for three days. Abstinence plaques were made in various materials, including jade, bamboo, painted enamel, and porcelain. Devotional in origin, the small plaque would have functioned as a private aide-memoire to the wearer to abstain from earthly pleasures but became in itself a thing of beauty to be admired publicly and to enhance the status of the wearer.Auction result comparison: Type: RelatedAuction: Christie's New York, 19 September 2014, lot 1281Price: USD 30,000 or approx. EUR 35,500 converted and adjusted for inflation at the time of writingDescription: A white jade 'abstinence' plaque, Qing dynastyExpert remark: Compare the related form and manner of carving as well as the closely related inscriptions. Note the smaller size (4.4 cm). 清末白玉齋戒牌中國，十九世紀。玉牌長方形，四邊鏤空雕刻，上面雕刻有兩條相對的夔龍。一面中央長方開光，内刻有“齋戒"二字。另一面刻有相同的滿文。白玉帶有一些黃褐色內沁和一些黑點，整體古樸瑩潤。 來源：蘇格蘭古玩交易 品相：狀況良好，有輕微磨損。 重量：46.8 克 尺寸：長 6.5 厘米 (不含流蘇) 淺黃色的繩子懸掛著兩根流蘇，一根是奶油色，另一根是檸檬綠色，可能來自是二十世紀初。拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2014年9月19日，lot 1281 價格：USD 30,000（相當於今日EUR 35,500） 描述：清代白玉刻齋戒佩 專家評論：比較相近的外形、雕刻風格，以及非常相近的款識。請注意尺寸較小(4.4厘米)。

A SPINACH-GREEN JADE GUI-FORM CENSER AND COVER, QIANLONG PERIODChina, 1736-1795. Superbly carved with deep rounded sides raised on a flared foot, flanked by two wide upright S-shaped loop handles, the domed cover surmounted by an intricately carved and pierced finial in the form of a ferocious dragon, above a central aperture to the interior of the cover. Finely carved around the exterior of the bowl and cover with archaistic taotie mask designs interspersed by cross-hatched lozenges, C- and S-scrolls, and an angular scroll, the foot encircled by a band of ruyi heads. The translucent stone is of a deep spinach-green color with dark specks, russet veins, and cloudy inclusions.Provenance: Robin and Fay Marx, Weybridge, Surrey, United Kingdom, acquired before 1954 and thence by descent in the family. Copies of four old insurance valuations from John Sparks Ltd., each confirming the dating above, accompany this lot. The fourth and last valuation is dated 28 January 1965, signed by Peter Vaughan (Director of John Sparks Ltd.), and states a value for the present lot (no. 29) of GBP 2,000 or approx. EUR 60,500 (converted and adjusted for inflation at the time of writing). Robin Marx (1923-1975) was a merchant banker with an erudite passion for Chinese jades. By the early 1950s, he had built an impressive collection with the help and guidance of celebrated London dealer Peter Sparks of John Sparks Ltd. Robin was a distant relative of the influential economist Karl Marx. He bequeathed a significant part of his library to the British Museum, a fellow employee of his was Ian Fleming, and he regularly shared a box at the races with Princess Margaret. For decades after Robin's death, his wife Fay kept his collection on loving display in the family home. A part of the collection was sold by Christie's on 16 December 2022 after Fay's passing in 2021, including two pieces which were also included in the John Sparks insurance valuations: A spinach-green jade brushpot, Qianlong period, initially valued at GBP 250 (no. 8) and sold by Christie's for EUR 56,700, and lot 137, a 'dragon' jar and cover, Jiajing mark and period, initially valued at GBP 375 (no. 37) and sold by Christie's for EUR 94,500, lot 132. Condition: Good condition with minor wear and minuscule nibbling. The jade with natural fissures, some of which have developed into small hairline cracks.Weight: 1,134 g Dimensions: Width 24.3 cm Expert's note: This censer is notable for its bold, well-proportioned form as well as its exquisitely carved archaistic taotie mask decorations and magnificent, pierced, coiled dragon-form finial. During the eighteenth century, some of the finest jade carvings found their inspiration in archaic artifacts collected and treasured by the emperors. The decorative motifs on the body of the present censer draw inspiration from archaic bronze vessels. Roger Keverne explains in his 1991 publication, Jade, pp. 164, that spinach-green incense burners of this type were found in the Imperial palace.Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2019, lot 1110 Price: USD 555,000 or approx. EUR 614,000 converted and adjusted for inflation at the time of writing Description: A large spinach-green jade tripod censer and cover, Qing dynasty, 18th century Expert remark: Compare the closely related color, manner of carving with similar taotie decoration, and size (24.4 cm), as well as the related gui form with a similar open worked dragon finial, the vessel however raised on three legs.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 May 2005, lot 1567 Price: HKD 780,000 or approx. EUR 144,000 converted and adjusted for inflation at the time of writing Description: A large spinach-green jade tripod censer and cover, Qianlong period Expert remark: Compare the closely related color, manner of carving with similar taotie decoration, and size (24.8 cm), as well as the related gui form with similar handles and openworked dragon finial, the vessel however raised on three legs and carved with flanges. 乾隆菠菜綠玉雕簋形蓋爐中國，1736-1795 年。由于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 SPINACH-GREEN JADE 'SEVEN SAGES OF THE BAMBOO GROVE' (ZHULIN QIXIAN) BRUSHPOT, BITONG, QIANLONG PERIODExpert's note: The present brushpot is extraordinary in how the master carver transformed the vessel into a three-dimensional multi-layered canvas, with the image continuing and revealing itself through the physical turning of the vessel by the beholder. It is also noteworthy that to produce such a magnificent vessel, a very large jade boulder of remarkable quality would have been used, with the carving process and hollowing of the brushpot creating significant wastage of material, underscoring the lavish expenditure in the process of making this exceptional scholarly vessel.China, 1736-1795. Of cylindrical form, raised on three short ogee-bracket feet. Deftly carved in deep relief with a continuous scene of the Seven Sages of the Bamboo Grove engaged in various pursuits and accompanied by their boy attendants in the eponymous bamboo grove amid craggy rockwork, towering pines, and swirling clouds. The partially translucent stone is of a dark spinach-green hue with expected icy inclusions and dark spots.Provenance: Collection of Roger Meffreys, and thence by descent in the same family. A private collection in France, acquired from the above. Roger Meffreys (1899-1976) was a French diplomat who served in China between 1936 and 1946. His first position in Shanghai was General Consul, later being assigned the position of Ambassador for France in Beijing until 1946. Meffreys became enamored with Chinese culture and works of art, frequently visiting Beijing's antique shops and meeting famous artists including Xu Beihong. He built an exceptional collection, which he then took with him after his appointment as Ambassador ended. Meffreys continued in various diplomatic positions in Singapore, Hong Kong, and Thailand, before retiring in his hometown of Grenoble.Condition: Very good condition with natural wear, traces of use, two small chips around one foot, possibly with an associated minuscule repair. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks.Weight: 1,897.7 g Dimensions: Height 16.1 cm, Diameter 13.4 cm Two of the sages are playing a game of weiqi (go), with one of them reaching into the container (weiqizhe) by his side for a counter, as a third looks on, while the four other sages are gathered around a table as one of them writes a poem on a scroll. One of the attendants is climbing a bamboo stalk, while another is fanning a kettle, preparing tea for the group.The 'Seven Sages of the Bamboo Grove' were mid-3rd century literati who had renounced their official status and careers, retreating to the countryside in protest against the corrupt politics of the Wei dynasty rulers. They advocated freedom of individual beliefs which were inspired by Daoist philosophy. The design of the 'Seven Sages of the Bamboo Grove' (zhulin qixian) especially appealed to the Qianlong Emperor's wish to depict himself as an upright ruler and his desire to be seen as a man of letters. The seven sages, depicted gathered under a bamboo grove drinking, composing poetry, and enjoying each other's company, came to represent scholars disenchanted with official policies and are symbols of an incorruptible personality. They reflect the virtues of art and intellectual pursuits.Literature comparison: Compare a closely related spinach-green jade brushpot, 14 cm high, also dated to the Qianlong period, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021. Compare a related brushpot, inscribed with a Qianlong poem and dated to the period, in the National Palace Museum, Taipei, exhibited in The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, 1997, Taipei, cat. no. 56.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2007, lot 50 Price: USD 240,000 or approx. EUR 330,000 converted and adjusted for inflation at the time of writing Description: A superb imperially inscribed spinach jade brushpot, Mark and period of Qianlong, dated 1776 AD Expert remark: Compare the closely related form, color, and manner of carving. Note that this brushpot also depicts the Seven Sages of the Bamboo Grove. It is also inscribed with a poem by the Qianlong Emperor and a cyclical date. 乾隆時期菠菜綠玉雕《竹林七賢》筆筒中國，1736-1795 年。呈圓柱形，三短足。深浮雕。作品的刀功深遒，人物形象栩栩如生。尤其是多層佈景。 來源：Roger Meffreys收藏，在同一家族保存；法國私人收藏，購於上述收藏。Roger Meffreys (1899-1976) 是一位法國外交官，1936年至1946年間在中國任職。他在上海最初是總領事，後來被任命為法國駐北京大使，直到1946年。Meffreys十分喜愛中國文化和藝術作品，經常參觀北京的美術館、古董店並見過徐悲鴻在內的著名藝術家。 他建立了一個非凡的收藏，並在大使任期結束後帶走。 Meffreys之後在新加坡、香港和泰國擔任外交職務，然後在家鄉格勒諾布爾退休。 品相：狀況極好，有磨損、使用痕跡，一隻腳邊緣有兩個小缺口，有小修。玉石帶有天然斑紋和裂隙。 重量：1,897.7 克 尺寸：高 16.1 厘米，直徑 13.4 厘米由于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

AN EMBROIDERED SILK LADY'S WEDDING ROBE AND MATCHING SKIRT, MANGAO, QING DYNASTYChina, 19th century. Finely woven in silk and gold-wrapped threads with ten fierce five-clawed dragons pursuing flaming pearls amid interlocked lingzhi-shaped clouds, auspicious and Daoist symbols, and flying cranes, all above the terrestrial diagram and lishui stripe separated by further clouds and crashing waves, interspersed by Buddhist symbols and precious objects. The collar and sleeve ends decorated with floral and foliate designs, the cuffs of blue silk similarly decorated with qilin, dragons, phoenixes, and Shou characters.Provenance: An important private collection of an American connoisseur and collector of Chinese robes, and thence by descent in the family. Condition: Very good condition with minimal wear and soiling, few loose threads and minor pulls, small splits. The interior of the robe relined.Dimensions: Length 110.5 cm, Width 147 cm (across sleeves); Skirt length 189 cm, Waist 113.5 cm The bright yellow skirt is similarly woven with eight phoenixes and four five-clawed dragons, all above terrestrial diagrams and lishui. The hems with river landscapes. (2)Chinese wedding robes center around themes of good luck and happiness. The dragon, phoenix, and red and golden colors are thought to bring good luck and happiness, hence they have been indispensable elements in Chinese wedding dresses for ages. The mangao was a type of yuanlingshan fashioned in the style of the Ming dynasty which was red in color and was once worn by the Han women as a court robe. Later this style of clothing was only worn on a brides wedding day, since the bride was regarded as an 'empress for the day.' Bridal clothes were thus marked with imperial symbols. Bridal attire was the most prestigious dress women wore, hence Han women were often depicted wearing these garments in the posthumous portraits created for family rites honoring their ancestors.Literature comparison: Compare a related wedding robe, in the Minneapolis Institute of Art, accession number 78.71.2, illustrated in Robert D. Jacobsen's book Imperial Silks, Ch'ing Dynasty Textiles in The Minneapolis Institute of Arts, Vol. I, 2000, pp. 575. Compare a related robe, in the Mactaggart Art Collection, University of Alberta Museums, accession number 2005.5.195, illustrated by John E. Vollmer, Dressed to Rule: 18th Century Court Attire in the Mactaggart Art Collection, 2007, pp. 48. See also a hanging scroll with the portrait of a Han woman wearing a wedding robe, dated late 19th century, in the Mactaggart Art Collection, University of Alberta Museums, accession number 2004.19.78.1, illustrated ibid., p. 49.Auction result comparison: Type: Closely related Auction: Christies London, 17 May 2013, lot 1291 Price: GBP 10,625 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A Red Manchu Summer Gauze Wedding Robe, 19th century Expert remark: Note the identical purpose of this robe and compare the red color, dragon motif, and lingzhi clouds. Note the lack of a skirt. 清代刺繡婚禮女袍中國，十九世紀。以絲金線精心刺繡而成，紅地十隻五爪龍在如意祥雲戲珠，暗八仙與飛鶴紋理，下方江崖麗水紋。領口和袖口飾有花卉和葉形圖案，藍色絲綢袖口同樣飾有麒麟、龍、鳳、壽字。 來源：重要美國鑑賞家和中國長袍收藏家的私人收藏，並在同一家族傳承。 品相：狀況非常好，少量磨損和污垢、鬆線，有小裂口。長袍的內部有重新襯裡。 尺寸：長 110.5 厘米, 寬 147 厘米(兩袖之間); 裙長 189 厘米, 胸圍113.5 厘米文獻比較： 比較一件相近的囍服，收藏於明尼亞波利斯藝術館，館藏編號78.71.2，見Robert D. Jacobsen，《Imperial Silks，Ch'ing Dynasty Textiles in The Minneapolis Institute of Arts》，卷I，2000年，頁575。比較一件相近的囍服， Mactaggart Art 收藏，亞伯達大學博物館，館藏編號2005.5.195，見John E. Vollmer，《Dressed to Rule: 18th Century Court Attire in the Mactaggart Art Collection》，2007年，頁48。一件十九世紀末漢人女性囍服，Mactaggart Art收藏，亞伯達大學博物館，館藏編號2004.19.78.1，見上書，頁49。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2013年5月17日，lot 1291 價格：GBP 10,625（相當於今日EUR 15,500） 描述：十九世紀紅地滿州夏季薄紗囍服 專家評論：請注意喜事專用正紅色、龍紋和靈芝雲紋。請注意沒有裙。

A LARGE AND FINELY CARVED 'PEONY' LONGQUAN CELADON CHARGER, MING DYNASTYChina, 15th-16th century. The broad rounded sides rising from a short foot to a lipped rim. The center deftly carved with a peony spray within a foliate border, encircled by a freely incised peony scroll around the sides. Covered overall in an unctuous olive-green glaze save for a ring at the base burnt orange in the firing.Provenance: French trade. Acquired from a noble private estate, where it has been since the late 19th century according to family repute.Condition: Very good condition with minor wear and firing irregularities including dark spots, glaze recesses, and light surface scratches. Shallow losses to the base which have smoothened over time, and are possibly inherent to manufacture. The dish slightly warped, as expected. An early Ming-dynasty charger of this size in such well-preserved condition must be considered exceedingly rare.Weight: 6.6 kgDimensions: Diameter 46 cm Literature comparison: Compare two related Longquan dishes, with similar lotus decoration to the present lot, illustrated by Mei-fen Tsai, Green-Longquan Celadon of the Ming Dynasty, National Palace Museum, Taipei, 2009, p. 94, nos. 43 and 44. Compare a related dish carved with an elaborate leafy peony scroll, illustrated by J. Harrison-Hall in Ming Ceramics in the British Museum, London, 2001, no. 16:74.Auction result comparison: Type: Closely relatedAuction: Christie's London, 7 November 2012, lot 611Price: GBP 8,125 or approx. EUR 14,500 converted and adjusted for inflation at the time of writingDescription: A large Chinese longquan celadon dish, Ming dynastyExpert remark: Compare the closely related form, glaze, and carved decoration. Note the similar size (45 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 4 April 2012, lot 3124Estimate: HKD 250,000 or approx. EUR 39,000 converted and adjusted for inflation at the time of writingDescription: A massive longquan celadon charger, Ming dynastyExpert remark: Compare the closely related form and similar carving. Note the slightly paler glaze and similar size (47.9 cm). 明代龍泉青釉暗刻牡丹紋盤中國，十五至十六世紀。敞口，淺弧腹，圈足。盤内開光暗刻牡丹花紋，内壁飾牡丹卷葉紋。通體施厚厚的青釉，圈足内的露胎呈橘色。 來源：法國古玩交易，購自貴族私人莊園，根據家族所説，該拍品自十九世紀末以來一直保存在莊園裏。 品相：狀況良好，有輕微磨損和燒製不規則，包括黑點、釉面凹陷和輕微的表面劃痕。底座的淺層損失隨著時間的推移而變得平滑，並且可能是製造所固有的。正如預期的那樣，盤子稍微變形了。如此尺寸、保存如此完好的明代早期大盤，實屬罕見。 重量：6.6 公斤 尺寸：直徑46 厘米文獻比較： 比較兩件相近的蓮紋龍泉盤，見Mei-fen Tsai，《Green-Longquan Celadon of the Ming Dynasty》，台北國立故宮博物館，2009年，頁94，編號43和44。比較一件相近的盤上刻有精美的牡丹葉捲軸，見J. Harrison-Hall，《Ming Ceramics in the British Museum》，倫敦，2001年，編號16:74。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2012年11月7日，lot 611 價格：GBP 8,125（相當於今日EUR 14,500） 描述：明代龍泉青釉盤 專家評論：比較非常相近的外形、釉面，以及浮雕裝飾。請注意相似的尺寸(45厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2012年4月4日，lot 3124 估價：HKD 250,000（相當於今日EUR 39,000） 描述：明代龍泉青釉盤 專家評論：比較非常相近的外形、相似雕刻。請注意釉色較淺和相似的尺寸(47.9厘米)。

A LARGE BLUE AND WHITE 'LOTUS' JAR, TRANSITIONAL PERIODChina, 17th century. Of baluster form, boldly painted in shades of cobalt-blue to the body with lotus blossoms borne on leafy scrolling vines, below a band of T-scroll at the shoulder and overlapping petals to the neck. With an old fitted hardwood stand and cover dating from the Qing dynasty. (3)Provenance: From a private collection in the United Kingdom. The mouth with an old label, 'A Chinese transitional blue and white vase, £2,600, c. 1650.' Condition: Good condition with some old wear and firing irregularities including small glaze recesses and dark spots. The interior with several firing cracks, one with an associated chip and ancient fill, probably inherent to the manufacture. Light scratches, the foot with few shallow chips. The stand and cover with expected wear, age cracks, and a fine dark patina.Weight: 4,466 g (excl. stand and cover) and 5,139 g (incl. stand and cover) Dimensions: Height 33.4 cm (excl. stand and cover) and 47.7 cm (incl. stand and cover) The stand is supported on five short cabriole legs and carved in openwork with floral scroll below a band of lappets and a band of key-fret.The cover is decorated with archaistic scrolls on the broad rim, the domed top with similarly openworked floral panels divided by pendent ruyi-heads below the bud-form finial encircled by neatly carved chrysanthemum petals. Auction result comparison: Type: Related Auction: Christie's London, 12 July 2005, lot 100 Price: GBP 7,200 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A large transitional blue and white baluster jar, circa 1660 Expert remark: Compare the related form and decoration, albeit with a different motif. Note the size (38.1 cm). 過渡時期大型青花蓮紋罐中國，十七世紀。 罐上青花滿繪纏枝蓮花紋，肩部有山形紋，頸部重疊花瓣紋。配有清朝舊硬木支架和蓋子。(3) 來源：英國私人收藏，壺口有舊標籤 'A Chinese transitional blue and white vase, £2,600, c. 1650.' 品相：狀況良好，有一些磨損和燒製不規則，包括小釉面凹陷和黑點。內部有幾條燒製裂紋，其中一條帶有缺口和填充物，輕微劃痕，足部有少量淺缺口。支架和蓋子有磨損、老化裂紋和精美的深色包漿。 重量：4,466 克 (不含底座和蓋)，5,139克 (含底座與蓋) 尺寸：高 33.4 厘米(不含底座和蓋) ，47.7 厘米(含底座和蓋) 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2005年7月12日，lot 100 價格：GBP 7,200（相當於今日EUR 17,000） 描述：約1660年過渡時期青花瓷罐 專家評論：比較相近的外形和裝飾，雖然不同的主題。請注意尺寸(38.1厘米)。

A WUCAI 'THREE BOYS' JAR AND COVER, SHUNZHI PERIODChina, 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.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). 順治五彩《三童戲牡丹》蓋罐中國，1644-1661 年。罐身為直口，豐肩，斂腹，圈足，附寶珠頂高圓蓋。罐身五彩琺瑯描繪纏枝牡丹紋，三個男童在卷葉紋間戲耍。上下修飾卷葉紋。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 M.3.2。 品相：罐子狀況良好，有磨損和燒製不規則，包括釉面凹陷和底部的燒製裂紋，輕微劃痕、釉面剝落、腳部微小缺口，以及邊緣平滑缺口。蓋子有淺缺口和缺損。 重量：2,382 克 尺寸：高 28.8 厘米文獻比較： 比較一件相近的蓋罐，見Michael Butler，Julia Curtis和Stephen Little，《Shunzhi Porcelain: Treasures from an Unknown Reign》，頁102-103，圖10。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年9月13日，lot 1112 價格：USD 18,750（相當於今日EUR 20,500） 描述：清順治五彩嬰戲紋蓋罐 專家評論：比較相近的外形、主題和五彩裝飾。請注意不同的裝飾和尺寸(38厘米)。由于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 BLUE AND WHITE OCTAGONAL DOUBLE-GOURD VASE, KANGXI PERIODChina, 1662-1722. Finely painted in shades of cobalt blue, the lower facets with panels enclosing alternating landscapes and antique treasures, the upper facets similarly painted with floral sprays and antiques, each below a band of ruyi heads, all above floral sprays. The interior of the flared rim painted with a geometric band, the exterior with a scroll design along the rim above a pendent leaf band.Provenance: New York trade, formerly in the E & J Frankel Collection, no. 3126 (according to label). E & J Frankel was a major New York gallery specializing in Asian Art since 1967. Run by Edith (1939-2012) and Joel Frankel (1937-2018), it was one of the oldest galleries in the United States focusing exclusively on Asian art. Leaders in their field, the Frankels traveled the world in search of Asian art treasures and educated the general public about their shared passion. Their gallery on Madison Avenue in New York City became a local institution, best known for its regular schedule of innovative thematic exhibitions, and frequently visited by the biggest names in the field, such as Eskenazi, Ellsworth, Junkunc, and the Alsdorfs.Condition: Very good condition with minor wear and firing irregularities, some fritting to edges, the vase slightly leaning.Weight: 1,167 gDimensions: Height 27.5 cm Auction result comparison: Type: RelatedAuction: Sotheby's New York, 18 January 2008, lot 88Estimate: USD 5,000 or approx. EUR 6,700 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese export blue and white octagonal double-gourd vases, 18th centuryExpert remark: Note the smaller size (23.8 cm) and that these vases have “small chips and restoration." 康熙青花八角葫蘆瓶 中國，1662-1722年。此瓶為葫蘆瓶，因形似葫蘆而得名。自唐以來，因其諧音"福祿"，為民間所喜愛，遂成為傳統器形。整器紋飾滿密，層次分明，青花發色濃淡相宜。瓶身分上下兩部分，分別交替飾花卉紋與博古紋以及佛教寶物。頸部和肩部飾芭蕉紋，足部開光飾花卉紋。 來源：紐約古玩交易，來自 E & J Frankel 收藏，編號 3126 (見標籤)。E & J Frankel是紐約自 1967 年以來專門從事亞洲藝術的主要藝廊。由Edith（1939-2012）和Joel Frankel（1937-2018年）經營，是美國歷史最悠久的亞洲藝廊之一。Frankel夫婦周遊世界尋找亞洲藝術瑰寶，並向公眾展示他們共同的熱情。他們位於紐約市麥迪遜大道的藝廊是當地重要藝術場所，定期舉辦創新主題展覽，參觀者衆多，如Eskenazi，Ellsworth，Junkunc，以及Alsdorfs家族。 品相：狀況極好，有輕微磨損和燒製不規則，邊緣有一些磨損，花瓶稍微傾斜。 重量：1,167 克 尺寸：高 27.5 釐米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2008年1月18日，lot 88 估價：USD 5,000（相當於今日EUR 6,700） 描述：十八世紀一對中國出口青花八角雙葫蘆瓶 專家評論：請注意尺寸較小(23.8 厘米) ，以及此對花瓶有“小缺口和修復"。

A GILT FAMILLE ROSE VASE DEPICTING THE EIGHT IMMORTALS, BAXIAN, QIANLONG PERIODChina, 1736-1795. Of square baluster form, supported on a flat foot with a recessed base, the rounded shoulder tapering to a narrow mouth. Finely decorated in iron-red, gilt, and bright enamels with four shaped panels, each enclosing two of the Eight Immortals (baxian), separated by rope designs, with shaped cartouches enclosing alternating lingzhi and floral sprays above and below each panel, all surrounded by finely gilt foliate scroll.Provenance: From a private collection in the United States. Condition: Very good condition with minor old wear, expected firing irregularities, and minor rubbing to gilt and enamels.Weight: 260.9 g Dimensions: Height 18 cm Two immortals standing atop wispy clouds appear on each panel of this vase. Hang Xian plays his iconic flute as the eccentric Zhang Guolao stands below with his fish drum. Turning the vase clockwise, the next scene depicts Lan Caihe holding a basket of flowers next to Li Tieguai, holding his double-gourd calabash bottle and iron crutch. Next, He Xiangu, the only female of the Eight Immortals, holds a lotus flower next to Lu Dongbin, identifiable by his scholar's cap and the scroll in his hand. Following this panel is a scene depicting Zhongli Quan, baring his chest in his typical fashion, speaking with Cao Guojiu.The Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Most of them are said to have been born in the Tang or Song Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. Stories of these immortals were first recorded by the Ming dynasty poet Wu Yuantai. Their status as folk icons makes them well-known in popular culture.Auction result comparison: Type: Related Auction: Christie's New York, 26 January 2015, lot 96 Price: USD 18,750 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose and gilt vases and covers, circa 1780 Expert remark: Compare the related famille rose and gilt decoration. Note the size (36 cm), different form, and that this lot comprises a pair.Auction result comparison: Type: Related Auction: Christie's New York, 23 January 2007, lot 181 Price: USD 4,200 or approx. EUR 5,800 converted and adjusted for inflation at the time of writing Description: A pair of famille rose and gilt vases, circa 1785 Expert remark: Compare the related famille rose and gilt decoration. Note the size (28.6 cm), different form, lamp mounting, and that this lot comprises a pair. 乾隆鎏金粉彩八仙瓶中國，1736-1795年。方口，溜肩，腹下斂，四方底足内凹。精美的鐵紅、鎏金和明亮的琺瑯裝飾，四面開光内分別描繪八仙中的兩位。肩部四面小開光内花卉卷葉紋 來源：美國私人收藏。 品相：狀況非常好，鍍金和琺瑯有輕微摩擦。 重量：260.9 克 尺寸：高18 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年1月26日，lot 96 價格：USD 18,750（相當於今日EUR 22,500） 描述：約1780年一對粉彩鎏金瓶及蓋 專家評論：比較相近的粉彩和鎏金裝飾。請注意尺寸(36 厘米)，不同的的外形，以及此為一對。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年1月23日，lot 181 價格：USD 4,200（相當於今日EUR 5,800） 描述：約1785年一對粉彩鎏金瓶 專家評論：比較相近的粉彩和鎏金裝飾。請注意尺寸(28.6 厘米)，不同的的外形，燈安裝座，以及此為一對。

A FINELY INCISED BRONZE 'BIRD' FERRULE, EASTERN ZHOU DYNASTYChina, 770-221 BC. Well cast in the form of a bird with well detailed features such as round eyes, a curved beak, and scrolling wings, with neatly incised plumage and claws. The bronze finial has two apertures for mounting near the open shaft, the tip of the fitting is carved with scroll designs and links to the tail of the bird, which grips in its claws a raised band of scroll encircling the shaft. The bronze with a rich, naturally grown patina with malachite and cuprite encrustations.Provenance: A private collection in Taipei, acquired in Japan during the 1980s. The MQ Collection, acquired from the above in 1987. The storage box with a label inscribed in Japanese, 'Shunju, Ho-gata ishizuki' ('Spring and Autumn Period, Zun in the shape of a Ho-o bird'). In this case, the term 'zun' (pronounced 'ichizuki' in Japanese) refers to a ferrule fitted at the end of ge halberds and dagger-axes.Condition: Good condition, commensurate with age. Extensive wear, casting flaws, encrustations, signs of weathering and erosion, nicks, scratches, dents, losses.Weight: 72 g Dimensions: Length 8.2 cm With a Japanese silk storage box. (2)The present piece, similar to other ferrules of the period, was made to cap the foot of ceremonial poles or weapons, such as spears; it not only protects the shaft but also highlights the superiority of its owner. These ferrules appear to have been conceived individually, showcasing the borderless creativity of the Zhou dynasty artisans.Birds were a common decorative motif in the Western Zhou period, when a profusion of highly abstracted animal forms emerged in the decorative arts, most notably in the ornament of ritual bronze vessels. Avian motifs took on greater realism in the Eastern Zhou and the present lot is a good example of this aesthetic evolution. While quite stylized, the incision work attractively suggests the animal's feather patterns and the contours of its musculature.Literature comparison: Compare a closely related bronze bird-form ferrule, 10.9 cm long, dated to the Eastern Zhou dynasty, 4th century, included in the exhibition Ancient Chinese and Ordos Bronzes, Hong Kong Museum of Art, 1990, cat. no. 86. 東周青銅鳥形鐏中國，公元前770-221 年。鳥形鐏，圓眼、彎喙、羽毛、小爪等細節生動。青銅尖頂有兩個孔，用於安裝在開口附近，配件的尖端刻有渦卷圖案，並連接到鳥的尾巴。青銅包漿細膩，有紅綠銅結殼。 來源：台北私人收藏，20世紀80年代購於日本；MQ收藏，1987年從上述收藏購得。儲物盒上刻有日文標籤“春秋 鳳形鐏"。這裏的“鐏" 是指安裝在戟和匕首末端的套圈。 品相：品相良好，大面積磨損、鑄造缺陷、結殼、風化和侵蝕跡象、刻痕、劃痕、凹痕、缺損。 重量：72 克 尺寸：長8.2 厘米 配有日本絲綢收納盒。(2)文獻比較： 比較一件非常相近的東周鳥形鐏，長10.9 厘米，展覽於《Ancient Chinese and Ordos Bronzes》，香港藝術博物館，1990年，圖錄編號86。

A GOLD-, SILVER- AND TURQUOISE-INLAID BRONZE 'DRAGON' GARMENT HOOK, WARRING STATES PERIODChina, 475-221 BC. Superbly cast with a dragon-head hook with neatly inlaid turquoise eyes and crest, finely decorated with a central floral design composed of a turquoise-inlaid circle surrounded by a gold-inlaid band and four ruyi petals, further decorated with turquoise-inlaid angular scroll, terminating in a second dragon head with laidback ears and long snout, the underside with a circular button.Provenance: Collection of Miklos Grunberg, and thence by decent in the same family. Mossgreen Auctions, Melbourne, Australia, 2 June 2008, lot 127. A private collection in Melbourne, Australia, acquired from the above. Miklos Grunberg (1918-1988) was born in Budapest, Hungary, and immigrated to Australia in the 1940s. In the early 1950s, he founded a mining consulting firm in Sydney, where he worked for various mining projects including the Uranium mine in Silver Valley. He was an avid collector of Chinese artifacts and works of art, and he donated several pieces to the National Library of Australia.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, casting flaws, minor losses, tiny nicks, light scratches, small dents, encrustations. The finely polished silver and bronze surface with a rich, naturally grown patina with malachite and cuprite encrustations.Weight: 121.8 gDimensions: Length 20.4 cm Literature comparison:Compare a related turquoise inlaid belt hook of thin elongated shape, dated to the Warring States period, published in Julia White et al., Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection, Hong Kong 1999, p. 109. Compare a related garment hook with geometric decorations, 21 cm long, dated 5th-4th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1948.27. Compare a closely related belt hook with a similar four-petal design in the center, albeit inlaid in turquoise, illustrated in Chinese Art from the Collection of H.M. King Gustaf VI Adolf of Sweden, Tokyo and Osaka, 1971, no. 32. Compare a related turquoise-inlaid gilt-bronze belt hook, dated to the 4th century BC, in the Museum of East Asian Art, Bath, record number BATEA : 238.Auction result comparison: Type: RelatedAuction: Bonhams New York, 21 September 2020, lot 308Estimate: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare inlaid bronze garment hook, Warring States/Western Han dynastyExpert remark: Note the size (21.3 cm). 戰國錯金銀嵌綠松石龍頭鈎中國，西元前475-221 年。鑄工精良，龍頭鉤，一頭眼部和頭部鑲綠松石，鑲嵌工整，龍身錯金銀，飾綠松石，形如龍爪；第二個龍頭可見耳朵和長鼻子。身下有一個圓形鈕。來源：Miklos Grunberg收藏，自此在同一家族保存；澳洲墨爾本Mossgreen 拍賣行，2008年6月2日，lot 127；墨爾本私人收藏購於上述拍賣。Miklos Grunberg (1918-1988) 出生於匈牙利布達佩斯，二十世紀四十年代移居澳洲。二十世紀五十年代初，他在雪梨創立了一家採礦諮詢公司，負責多個採礦項目，包括銀穀的鈾礦。他收藏中國文物和藝術品，並向澳洲國家圖書館捐贈了多件作品。 品相：狀態良好，與年齡相稱。廣泛磨損、風化和侵蝕跡象、鑄造缺陷、輕微損失、微小刻痕、輕微劃痕、小凹痕、結殼。精細拋光的銀和青銅表面具有豐富的自然生長的銅綠，帶有孔雀石和赤銅礦結殼。 重量：121.8 克 尺寸：長 20.4 厘米 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2020年9月21日，lot 308 估價：USD 20,000（相當於今日EUR 22,000） 描述：戰國/西漢局部鎏金銅錯銀嵌松石雙獸首帶鈎一件 專家評論：請注意尺寸(21.3 厘米)。由于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 BRONZE POURING VESSEL, YI, LATE SONG - EARLY MING DYNASTYChina, 12th-15th century. The deep rounded sides supported on four feet cast with archaistic scroll, the gently rising spout extending to a narrow U-shaped mouth, the handle in the form of a two-horned dragon with spiked mane and coiled tail. The body carved to the side with three elegantly curved grooves below a leiwen band. The interior with a three-character inscription.Inscriptions: To the interior, 'Zhai […]'.Provenance: Galerie M. Michel Beurdeley, Paris, France. Old French private collection, acquired from the above in the 1950s/1960s, and thence by descent in the same family. Established in 1817 by Jean Beurdeley (1771-1853) as a shop selling curiosities, Galerie Beurdeley rose to prominence under his grandson Alfred-Emmanuel-Louis Beurdeley (1847-1919) as the most important Chinese art gallery in Paris. After World War II, the gallery was run by Michel Beurdeley (1911-2012). In the early 1970s, his son Jean-Michel Beurdeley took over operations of the gallery for the next three decades before eventually moving to Thailand in 2001. Jean-Michel is a co-founder of MAIIAM Contemporary Art Museum in Chiang Mai and sponsor of the Patsri Bunnag Foundation. He was honored with the French title Chevalier de l'Ordre des Arts et des Lettres in 2007 and promoted to Officier in 2018.Condition: Good condition with expected old wear, weathering, minor corrosion and casting irregularities. Tiny nicks, light scratches, small dents and fine cracks. The bronze with a rich, naturally grown patina with distinct malachite and cuprite encrustations. Overall displaying exceptionally well.Weight: 1,581 gDimensions: Width 28.5 cm Bronze yi emerged as a ritual vessel form during the late Western Zhou period and continued in popularity until the Warring States period. The function of yi has been documented since the earliest stages of Chinese history. Yi were used together with water basins, pan, in ritual ceremonies to cleanse hands. It was stipulated in one of the ancient Chinese classics, the Book of Rites (Liji), that an elder would pour water from the yi for the ritual performers to wash their hands before proceeding with sacred rites, and the clan's junior member would concurrently carry a pan to collect the water. Yi had been a tangible symbol reflecting the ritual etiquette of royalty and the nobility during the Zhou dynasty.Bronze yi, in addition to serving as water implements during ritual ceremonies, also functioned as wine vessels in the Eastern Zhou dynasty. According to the inscription of the Spring and Autumn period Lu Da Si Tu Yuan Yi, discovered in Qufu county during the Republic period, currently preserved in the Shandong Museum, Jinan, the vessel is identified as a 'drinking vessel' (see Zhu Fenghan, Zhongguo qingtongqi zonglun [A Comprehensive Survey of Chinese Bronzes], vol. 1, Shanghai, 2009, p. 288).Literature comparison:Compare to a related archaic bronze yi of this from in the Palace Museum, illustrated in Bronzes in the Palace Museum, Beijing, 1999, p. 219, pl. 211. Compare a related pouring vessel (yi), dated 9th-8th century BC, in the Saint Louis Art Museum, object number 111:2014. For another prototype, see an archaic bronze ritual pouring vessel (yi), dated to the late Western Zhou dynasty, at Sotheby's New York, 22 March 2023, lot 618.Auction result comparison: Type: Near Identical Auction: Bonhams London, 6 November 2008, lot 311 Estimate: GBP 2,500 or approx. EUR 4,000 converted and adjusted for inflation at the time of writing Description: A finely cast archaistic bronze wine vessel, yi, Song dynasty Expert remark: Compare the near identical form and decoration. Note the closely related size (29 cm).Auction result comparison: Type: Near Identical Auction: Sotheby's New York, 18 March 2014, lot 257 Estimate: USD 6,000 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A Bronze Pouring Vessel (Yi), Ming Dynasty Expert remark: Compare the near identical form and decoration. Note that this Yi has severe condition issues, unlike the present lot. 宋末至明初青銅匜中國，十二至十五世紀。器身如橢圓形瓢，前端寬流高高昂起，後端執鋬作蛟龍探水狀，匜的四獸足，曲體承載匜的器身,極其穩健。口沿下一周雲紋，之下三道弦紋。 款識: 匜内“齋 […]" 來源：法國巴黎Michel Beurdeley藝廊；法國私人收藏，於 二十世紀五十年代/六十年代從上述藝廊購得，並同一家族傳承。 品相：狀況良好，有磨損、風化、輕微腐蝕和鑄造不規則性，微小刻痕、輕微的劃痕、小凹痕和細裂紋。青銅有豐富的自然包漿，具有獨特的紅綠色結殼。 重量：1,581 克 尺寸：寬 28.5 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：紐約蘇富比，2014年3月18日，lot 257 估價：USD 6,000（相當於今日EUR 7,000） 描述：明銅竊曲紋龍鋬匜 專家評論：比較幾乎相同的外形和裝飾。請注意此匜品相不佳。 由于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

AN ARCHAISTIC BRONZE 'DUCK' PAPERWEIGHT, EARLY QING DYNASTYChina, 17th-18th century. The recumbent bird is boldly cast with its wings tucked to its side and its curved ruyi-form tail feather pointing upwards. The almond-shaped eyes with subtly incised lower lashes beneath stylized swirling head feathers. The intricately patterned wings rest above curling feathers taking the form of archaistic C-scrolls and ruyi heads. The body with minute stippling beneath the duck's wings and extending to the back.Provenance: Dutch trade. Condition: Good condition with significant old wear and expected casting irregularities, light scratches, small nicks, minor dents, few tiny holes probably inherent to manufacturing. The head and tail with remnants of ancient gilt.Weight: 600.9 g Dimensions: Length 12.9 cm This bronze duck is rare as most bronze ducks are cast as incense burners or water droppers, while jade and crystal ducks are carved either in the round or as boxes and covers. The archaistic inspiration is clearly demonstrated in the C-scroll decorations around the wings and relates not only to Song and Ming revival of archaic bronzes but more directly to the Qianlong emperor's instruction to craftsmen to take inspiration from antiquity. See Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp. 49-50.The duck is often seen as the symbol of the first scholar, Zhuangyuan. In Chinese, the character for duck, ya, also bears the radical for the word armor, jia, and jia is the word to classify successful candidates in the final civil service exam. Ducks are also symbolic for filial piety and faithfulness, since they are believed to take a life-time partner.Literature comparison:Compare a prototype archaic bronze 'duck' incense burner and cover with similarly styled head and wings, dated mid-Western Han dynasty, at Bonhams Hong Kong, 29 May 2023, lot 321. Compare a related rock crystal duck-form vessel with similar archaistic C-scrolls, dated to the Qianlong period, at Sotheby's Hong Kong, 7 April 2010, lot 1986. Compare a related jade duck-shaped washer with similar archaistic elements, dated 18th century, at Bonhams Hong Kong, 29 May 2018, lot 23. Compare a related Yixing duck-form vase with similarly stylized wings, dated 20th century, at Sotheby's London, 13 May 2015, lot 224. 清朝初期鴛鴦銅鎮中國，十七至十八世紀。鴛鴦雙翅收於側，尾羽呈弧形如意狀向上翹起，大眼。鎮紙表面浮雕凹凸感強烈，造型栩栩如生。 來源：丹麥古玩交易。 品相：狀況良好，有明顯磨損和鑄造不規則、輕微劃痕、小刻痕、輕微凹痕、少數小孔。頭部和尾部有鍍金的痕跡。 重量：600.9 克 尺寸：長 12.9 厘米文獻比較： 比較一件的西漢中期青銅鴨形熏爐，見香港邦翰斯，2023年5月29日，lot 321。比較一件相近的乾隆款及年代水晶鴨形，見香港蘇富比，2010年4月7日，lot 1986。比較一件相近的十八世紀 白玉雕鴨形洗，見香港邦翰斯，2018年5月29日，lot 23。比較一件相近的二十世紀初宜興窰寶鴨尊《陳鳴遠》款，見倫敦蘇富比，2015年5月13日，lot 224。

AN ARCHAISTIC SILVER AND GILT-INLAID BRONZE VESSEL, POU, CHINA, 17TH CENTURYThe large apple-shaped vessel supported on a short stem raised on a flared foot and from there to a tapered rim. The body finely decorated with four panels of elaborate taotie masks with dragon and phoenix heads in high relief, neatly embellished with silver and gilt inlays, against a leiwen ground, all above similarly cast pendent cicada leaves with scroll decorations, below a band of floral diaper. The bronze with a fine dark patina, with malachite and cuprite encrustations to the interior.Provenance: Belgian trade. Condition: Expected wear and weathering, substantial corrosion to the interior and base, wear to inlays, cracks, flaking, losses, and light scratches.Weight: 8 kg Dimensions: Height 27.6 cm Literature comparison: Compare a related pou vessel illustrated in Christian Deydier's book Chinese Bronzes, Fribourg, 1980, pp. 204. Compare a related archaistic bronze vessel dated to the late Ming dynasty, 16th-17th century, 23 cm high, in the British Museum, registration number 1988,1007.1.Auction result comparison: Type: Related Auction: Sotheby's New York, 15 September 2018, lot 1077 Price: USD 16,250 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: An inlaid archaistic bronze vessel, pou, Ming dynasty Expert remark: Compare the related form, albeit with different decoration and inlays. Note the related size (26.4 cm). 十七世紀錯金銀銅郶圓口、深腹、圈足。器身飾有四幅高浮雕饕餮面具、龍鳳首，錯銀鎏金，雷紋地，腹部飾蟬紋。銅郶有著細膩的綠色包漿，內部有紅藍結殼。 來源：比利時古玩交易。 品相：有磨損和風化、內部和底座腐蝕、鑲嵌磨損、裂紋、剝落和輕微劃痕。 重量：8 公斤 尺寸：高27.6 厘米 文獻比較： 比較一件相近的瓿 ，見《Christian Deydier's book Chinese Bronzes》，Fribourg，1980年，頁204。比較一件相近的明末十六至十七世紀仿古瓿，23 厘米高，收藏於大英博物館，館藏編號1988,1007.1。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2018年9月15日，lot 1077 價格：USD 16,250（相當於今日EUR 18,000） 描述：明銅仿古紋嵌石瓿 專家評論：比較相近的外形，儘管不同的裝飾和鑲嵌。請注意相近尺寸(26.4 厘米)。

A SILVER-INLAID BRONZE FIGURE OF GUANYIN, SHISOU MARK, CHINA, 19TH CENTURYFinely cast, seated in rajalilasana with her head slightly lowered and her hands folded on top of her raised knee, the right holding a scroll, clad in long flowing robes falling into voluminous folds and neatly decorated with silver wire inlay. Her serene face with heavy-lidded eyes, a raised circular urna, and slightly pursed lips. Her finely incised hair piled up into a high topknot.The base inlaid in silver wire with a two-character Shisou mark.Provenance: Collection of Sigurd Yngve Euren, and thence by descent. Bukowskis Auktioner, 3 June 2019, lot 651. A private collection in Finland, acquired from the above. The catalog entry from Bukowski, dated 5 June 2019, confirms the dating above. Sigurd Yngve Euren (1890-1990) was a Swedish engineer, who initially visited China in 1917 in order to set up a net of radio masts. After this, Euren began constructing bridges primarily along in the Yangtze River and its many offshoots. After a couple of years, he moved to Shanghai and set up his own tea export company which was located along the Bund (Waitan). After some time, Euren and his family moved back to Sweden, bringing a large collection of Chinese art with them. Condition: Good condition with expected old wear, minuscule nicks and minor casting flaws. Light surface scratches to the base. Some areas with faint loss of patina.Weight: 2,478 g Dimensions: Height 21.4 cm Little is known about the historic figure Shisou. The earliest reference in the Zhongguo meishujia renming cidian ('Dictionary of Chinese Artists') comes from the Luochuang xiaodu and is presumably from the same source as published in Zhongguo yishujia zhenglue ('Brief Introduction of Chinese Artists). Shisou is listed there only as a late Ming dynasty monk without any further biographical information. A number of vessels and sculptures from the seventeenth to the nineteenth century bear his name, sometimes in combination with a hall name, Jinyu tang ('Hall of Prosperity').Auction result comparison: Type: Related Auction: Bonhams London, 7 November 2019, lot 13 Price: GBP 12,562 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A silver-wire-inlaid bronze figure of Guanyin, inlaid Shisou two-character mark, Qing dynasty Expert remark: Compare the closely related manner of casting and modeling. Note the size (29.3 cm high). 十九世紀銅錯銀觀音，石叟款鑄工精美，觀音成轉輪王坐姿，頭微低，雙手交疊於膝上，右手持書卷，身著飄逸袈裟，上鑲有銀線。面容平靜，雙眼微閉，嘴唇微抿，長髮盤成高髻。底座鑲銀線，“石叟"款。 來源：Sigurd Yngve Euren 收藏，傳承至今；Bukowskis Auktioner拍賣，2019 年 6 月 3 日，拍品 651；芬蘭私人收藏。，購自上述拍賣行。Bukowski 的拍賣目錄日期為 2019 年 6 月 5 日，證實了上述日期。 Sigurd Yngve Euren（1890-1990）是一位瑞典工程師，他於 1917 年首次訪問中國，目的是建立無線電網。此後，Euren開始沿著長江及其許多支流修建橋樑。 幾年後，他搬到了上海，並在外灘成立了自己的茶葉出口公司。不久之後，Euren和他的家人帶著大量的中國藝術品搬回了瑞典。 品相：狀況良好，有磨損、微小刻痕和輕微鑄造缺陷。底座表面有輕微劃痕。一些區域有輕微的包漿損失。 重量：2,478 克 尺寸：高21.4 厘米拍賣結果比較： 形制：相近 拍賣：倫敦邦翰斯，2019年11月7日，lot 13 價格：GBP 12,562（相當於今日EUR 19,500） 描述：清銅嵌銀觀音坐像，嵌銀絲「石叟」款 專家評論：比較非常相近的鑄造風格和模型。請注意尺寸(高29.3 厘米)。

A BLUE AND WHITE 'PEONY, PHOENIX AND LONGMA' VASE, MEIPING, CHINA, 14TH-15TH CENTURYFinely painted in ample detail and neatly graduated shades of cobalt blue with a continuous undulating stem bearing four large peony blooms, each with furled petals. The stem growing spiky leaves on scrolling vines, all elaborated in stark contrasts of manifold pale and soft blue tones with innumerable minuscule dots of blackish blue, all between narrow bands of classic scroll and double lines. This main frame is beneath a masterfully painted band of phoenix and longma outlined in deep blue, detailing the fine scales, feathers, wings and tails of these mythical creatures, all enclosed by densely flowering lotus blossoms, and beneath a band of scroll design which encircles the short upright neck with its flared mouth rim. The base with a wide border of rectangular lappets. The broad shoulders elegantly tapering to a slightly splayed foot.Provenance: Belgian trade. Acquired from the estate of a noble family in Belgium, where it has been for quite some time, by repute. Condition: Old wear and weathering. Expected firing flaws, such as glaze gaps and recesses, glaze crackling, minute firing cracks, extensive pitting, minor kiln grit, and a circumferential luting line below the shoulder. One glaze recess is revealing some of the original blue color below the thick and somewhat opaque layer of transparent glaze above. The lower section with a single crack, which has become black over time. The base and the lip have been excised so that the vase could fit into a mounting. This was probably done in the 18th-19th century, shortly after the vase made its way to Europe. The mounting was then removed again, probably during the 20th century, and the base and lip were restored accordingly. This restoration was carried out a long time ago, for that the fills at the lip have turned yellow, now standing out against the original color of the ware.Weight: 4,224 g Dimensions: Height 43.2 cm This elegant meiping is a classic example of early Chinese blue and white porcelain. The form is well-proportioned and the vessel sturdily yet elegantly potted. It is decorated in rich and well-graduated cobalt blue which had to be imported at great expense during this period. The banded design makes good use of the extensive canvas provided by the vase's form. The three major decorative bands are in pleasing contrast to one another. They include four of the most successful motifs of the 14th century: longma and phoenix, the bold peony scrolls, and the lappet panels.The longma is an auspicious creature that, according to legend, is said to represent gratitude. During the Xuande reign it was introduced as a principal decoration and has been a popular subject ever since. While depictions of longma on porcelain from this period are quite common, earlier versions of it are quite rare to find.Literature comparison:Compare the form of the present lot and the longma and phoenix designs with several examples from the 14th century in Toji Taikei, Vol. 41, Gen no Sometsuke, by Yabe Yoshiaki, Publisher Heibonsha, Tokyo, Japan, 1974.For the form:Nr. 37, blue and white vase, Meiping, height 34.6 cmFor the phoenix: Nr. 38, blue and white ''peony and scroll'' vase, Meiping, height 43.7 cmNr. 66, blue and white ''seahorse and phoenix'' vase, same item as Nr. 59, height 25.4 cmFor the longma: Nr. 8, blue and white ''seahorse'' plate, diameter 47 cm, Topkapı Palace MuseumNr. 59, blue and white ''seahorse and phoenix'' vase, same item as Nr. 66, height 25.4 cm 十四至十五世紀青花牡丹神獸梅瓶敞口，折沿，細長頸，扁鼓眶，圈足。青花精美四朵牡丹卷葉紋。青花色彩柔和，間雜黑藍色斑點。肩部滿飾卷草紋與神獸如鳳凰與龍馬，精美描繪了這些神話生物的鱗片、羽毛、翅膀和尾巴。下方是開光芭蕉紋内描繪卷草紋。 來源：比利時古玩交易，購於比利時貴族家庭，據説曾在家族裏很長時間。 品相：磨損和風化，有燒製缺陷，例如釉面凹陷和裂紋，大面積的凹坑、較小的窯砂，以及肩部下方的凹痕。一個釉槽在透明釉層下露出了一些原始的藍色。下部有一條裂紋，隨著時間的推移已經變黑。底座和邊緣已被切除，以便花瓶可以安裝到支架中。 這可能是在上十八世紀至十九世紀完成的，即花瓶傳入歐洲後不久。隨後，可能是在二十世紀，支架再次被拆除，底座和唇緣也相應修復。這次修復是很久以前的事情了，因為唇部的填充物已經變黃，現在在器物的原始顏色的襯托下顯得很突出。 重量：4,224 克 尺寸：高 43.2 厘米由于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

AN EARLY FAHUA-GLAZED 'LOTUS' JAR, GUAN, WITH FOUR LION-MASK HANDLES, MING DYNASTYExpert's note: The lion mask-handles in such high relief are extremely rare in fahua-glazed Guan jars of this type. While they did exist with other styles of fahua vessels, like the stools at Sotheby's referenced in the literature comparison below, no other jars of this type are recorded in public or private collections. China, late 15th to early 16th century. Heavily potted with a baluster body supported on a short tapered foot and rising to a short waisted neck with a galleried rim. The exterior is slip decorated and brightly glazed in blue, turquoise, aubergine, yellow, and cream with two egrets, one standing and the other flying, in a lotus pond with blossoms, buds, and leaves, in the back with a small butterfly, all above crashing waves. The shoulder encircled by a band of lotus scroll and applied with four pierced lion-mask handles that once suspended loose bronze rings, below a band of foliate scroll to the neck.Provenance: From the Langlois Collection. Jean-Marie-Charles Langlois (1896-1949) arrived in Vietnam in 1920, where he served as the principal engineer for the Indochinese railways until 1949. As a sinophile who spoke fluent Mandarin, he built an important collection of Asian works of art. In 1949, he was imprisoned by the Viet Minh during a train attack and executed on the same day. His wife and two sons came back to Burgundy near Dijon, France, bringing Jean Langlois' collection with them. Once in France, his family continued to buy Asian works of art on the French art market, thus paying tribute to Jean Langlois's memory.Condition: The raised slip is remarkably well preserved. The jar remains in its absolutely original condition with no restorations of any kind. Obvious glaze losses as seen on images, some of them smoothened. Old wear, expected firing flaws, shallow surface scratches and tiny nicks. Displaying exceptionally well, despite its age of roughly half a millennia.Weight: 4,451 g Dimensions: Height 28.8 cm The term 'fahua' may derive from the Chinese term 'fenhua', meaning 'powdered decoration' and refers to a group of medium-fired glazes developed in the late 15th century on the basis of the Yuan Dynasty liu li glazes (see Q. Wang, A Dictionary of Chinese Ceramics, Shanghai, 1989, p. 220). Due to the very liquid nature of the glazes, the variously colored areas are isolated from one another by clay walls which tend to vary in thickness.Variations in the vivacity of the colors applied, as well as different shapes and subjects of decoration, may be attributed to different eras of production (see D. Lion-Goldschmidt, Ming Porcelain, London, 1978, p. 127). On this matter, Lion-Goldschmidt also notes that the early fahua wares tend to feature motifs of lotus rising from water, as well as cranes, birds, and figures. The author further points out that complimentary decoration on fahua, i.e. that found on necks, rims, and feet, also relates to the designs, found on late 15th century blue and white wares. Egrets or cranes provide a homonym for 'lu' ('a path'), alluding to attainment. When this imagery is combined with flowering lotus (lian) it forms the rebus, 'Yilu lianke' ('May you pass your exams one after another'). Literature comparison:Compare a related pair of fahua-glazed stools also decorated with egrets in a lotus pond and applied with similar lion-mask handles suspending gilt-bronze rings, 44 cm high, dated to the Ming dynasty, at Sotheby's Paris, 11 April 2018, lot 305.Auction result comparison: Type: Closely related Auction: Sotheby's London, 13 May 2015, lot 289 Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writing Description: A large fahua 'lotus' jar, Guan, Ming dynasty Expert remark: Compare the related guan form, lotus pond decoration, and fahua glaze. Note the associated wood cover and that the jar is restored to the neck unlike the present lot which is in absolutely original condition. 明代琺華釉蓮花罐中國，十五世紀末至十六世紀初。由于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 19th Century Chinese rosewood urn stand, the square top with rosso marble centre within a moulded and carved edge over a pierced and carved frieze on cabriole legs to scroll feet 34 cm square x 38.5 cm high

A collection of hardstone, wood and metal ornaments to include a bronze Chinese style globe/crystal ball stand of small proportions, a Chinese pewter and gilded jue form wine pot with script inscribed top, lip and stamped script marks to the underside of the lip raised on grotesque mask scroll feet 10.2 cm long x 9.5 cm high together with a collection of various other decorative objects including white metal figure, a brass begging dog Vesta case, two small figures of sphinx, various other animal figures, fish bell etc

A Chinese dwarf cupboard/stool, the scrollwork top over plank seat over two doors on scroll feet, 105 cm wide x 35 cm deep x 59 cm high together with a yew wood occasional table with slide and slim drawer 46.5 cm square x 59.5 cm high, a Victorian carved walnut framed button back upholstered salon chair with circular seat on cabriole front legs to scroll feet and castors 57 cm wide x 89 cm high and two prints and a mirror (6)

SEVEN CHINESE SCROLL PAINTINGS ON PAPER (7)Various subjects Including; two paintings of fans; two of mountainous landscapes; one of bamboo and two with birds, largest 72cm by 35cm

A CHINESE CARVED RED CINNABAR LACQUER BOX, 18TH/19TH CENTURY of rectangular form with rounded corners, the lift-off lid carved in deep relief with figures in a woodland glaze within a mountainous landscape, the interior with black lacquer, the sides with carved scroll border. 6cm high, 31cm wide, 21.5cm deepOld repairs. A good looking and good quality box.

A Chinese hardwood coffee table, carved with the legs forming the scroll ends and the apron carved and pierced in the form of a vine, 33.5 by 78 by 45cm.,

A Chinese porcelain scroll weight and a small Japanese cloisonne vase the weight decorated with pavilions in a mountainous landscape, with inscription and seals, 20th century, 21cm; the cloisonne vase decorated with aventurine lappet panels of mythical beasts, mark of a cross, Meiji, 9cm.

A Chinese blanc-de-chine figure of Shou-Lao wearing flowing robes and holding a scroll, Qing dynasty, 24cm [minor damage].

Pair of Chinese carved soapstone scroll seals, kylin tops, each with ten characted inscription, 15cm.Qty: 2

A CHINESE BLACKWOOD HORSESHOE-BACK DOUBLE ARMCHAIR The curved top rail with scroll ends and mythical beast carved decoration, the shaped apron carved with foliate scrolls, on rounded supports joined by stretcher rails 94 x 110 x 47cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

19th Century Chinese box and cover with blue and white design together with a smaller box with a scroll type blue and white design (a/f), largest box 12cm long

A CHINESE HARDWOOD CUP 19TH CENTURY 9cm high and stand 32cm longtogether with a Chinese twin handled brass brush washer 12.5cm diameter and a Chinese hardwood stand in the design of a scroll along with a group of blue and white china ware Condition Report: wood stand with fillings to the surfacecup with chips to the rimCondition Report Disclaimer

Two Chinese Export Famille Rose sparrow beak baluster cream jugs, Qianlong Period circa 1750: one painted with five figures within interior, a lady holding flowers by river, figures beyond, all within gilt foliate scroll framing, the handle terminal painted with birds, branches and rushes with two pink landscape vignettes to top and bottom section; another painted with four scholars within shaped cartouche, the body with floral sprigs, both 10cm high (2)   Further details:  no. 1 with nibbles to base 

A Chinese Export Famille Rose punch pot, Qianlong Period, the body decorated with figures at a table with boats, mountains beyond, interior scene to left section, with gilt scroll framing, further decorative vignettes with insects and birds, the rim with guilloche banding, gilt collar, handle and spout, the cover painted with vignettes depicting flying birds and riverscape, large squat finial, approx 22cm high  x 28cm long overall  Further details: wear to gilding 

A Chinese Export Famille Rose punch pot, Qianlong Period, the body decorated with figures at a table with boats, mountains beyond, interior scene to left section, with gilt scroll framing, further decorative vignettes with insects and birds, the rim with guilloche banding, gilt collar, handle and spout, the cover painted with vignettes depicting flying birds and riverscape, ball finial, approx 20cm high  x 26cm long overall  Further details: cracks and chips to enamel on finial, wear to gilding 

A Chinese Export bullet shaped teapot and cover, Qianlong Period (1736-1795), the body painted with seated figures under tree with painted fence to foreground, interior with vase, gilt foliate sections, the cover painted with flowers, bud finial (cracks to body - see interior) with a matched tea cannister, ovoid shaped on carved scrolling base, wooden cover together with another Chinese Export Qianlong teapot, with figures to foreground, one in pink robes, table with bowl of flowers in background, figure window, the entire with vignettes painted with building in pink, gilt scroll framing, guilloche banding, gilt spout and handle (wear to gilding) (3) 

A Chinese hardwood multi tier display stand, on stepped base, the front with inlaid scroll motifs, 51cm at widest point x 76.5cm high x 22cm deep