A JIZHOU REVERSE-DECORATED 'LOTUS' MEIPING, SOUTHERN SONG TO YUAN DYNASTYChina, 1127-1368. Skillfully painted in swift brushwork with a continuous scroll of lotus, detailed with furled leaves, the present vase is particularly notable for its black-coffee brown glaze that provides a striking contrast with the lotus in white reserve.Published: Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 102. Mentioned in the foreword by Li Zhiyan, Research Fellow at the Beijing Palace Museum, as “an outstanding example demonstrating its bold form, coupled with delicate painting”.Provenance: The Jiyuanshanfang Collection. A noted American private collector, acquired from the above. The Jiyuanshanfang Collection is currently housed on New York's Upper East Side and was originally founded upon an old family collection. A comprehensive catalog of the collection titled “Song Ceramics: The Eight Kiln Groups” was published in 2008 with a foreword written by Li Zhiyan, Research Fellow at the Beijing Palace Museum. Another contributor to this catalog was Martin Lorber, formerly Director of Sotheby's New York. Jiyuanshanfang's first exhibition was held in 2012 at the Morris Museum in New Jersey. In 2015, Jiyuanshanfang lent early Chinese ceramics to a large-scale exhibition at the Norton Museum of Art in Palm Beach, Florida, titled “High Tea: Glorious Manifestations - East and West”.Condition: Very good condition with minor wear and firing flaws, few small chips to foot.Weight: 859.1 gDimensions: Height 23.6 cmWell potted, the rounded sides rising to a slightly waisted neck with a thick lipped rim. Boldly painted to the exterior with a vivid arrangement of lotus flowers and leaves reserved against an opaque glaze of dark brown, framed by line borders at the shoulder and above the foot, the glaze stopping unevenly above the foot, revealing the dark ware.Literature comparison: See a closely related Southern Song Jizhou meiping, also decorated with a white lotus pattern against a black background, excavated from Chaohu, Anhui, now preserved in the Anhui Provincial Museum, illustrated in Zhongguo wenwu jinghua daquan, taoci juan, Hong Kong, 1993, p. 290, no. 406. A similar lotus pattern can also be found on a printed textile from a tomb in Fujian whose occupant died in 1243, see Fuzhou Nansong Huangshengmu, Beijing, 1982, p. 125, fig. 91.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 December 2015, lot 229 Price: HKD 400,000 or approx. EUR 55,000 converted and adjusted for inflation at the time of writing Description: A rare 'Jizhou' 'lotus' vase, Southern Song dynasty Expert remark: Compare the near identical decoration and glaze. Note the different form and slightly smaller size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2021, lot 832 Price: USD 27,500 or approx. EUR 28,000 converted and adjusted for inflation at the time of writing Description: A rare painted Jizhou bottle, Southern Song dynasty Expert remark: Note the closely related form and subject matter. Note that the vase is not reverse-decorated and of slightly smaller size (18.4 cm).南宋至元代吉州窯黑地白花蓮紋梅瓶中國，1127-1368年。小口，唇外卷，短頸，溜肩，橢圓形腹，矮圈足。器體輕薄細緻。口、頸部施黑釉，肩以下為蓮花、荷葉及蓮蓬果組成的黑地白花圖案，全器圖案裝飾飽滿，色調柔和富麗。 出版: 《宋瓷八大窯系一覽——吉緣山房藏品》，美國加州，2008年，第 102頁。北京故宮博物院研究員李志延在前言中提到："這是一個展示其大膽的形式，加上精緻的繪畫的傑出例子"。 來源：吉緣山房收藏；美國知名私人收藏購於上述收藏。吉緣山房收藏坐落於紐約上東區，最初建立在一個古老的家庭收藏基礎之上。曾出版過《宋瓷八大窯系一覽——吉緣山房藏品》（美國加州，2008年）一書，北京故宮博物院李知宴做前言 。此畫冊的另一作者為Martin Lorber，紐約蘇富比前經理。吉緣山房收藏的第一個展覽是2012年年在新澤西Morris Museum；2015年年吉緣山房曾給佛羅里達Norton Museum of Art出借過一批中國早期瓷器參加“High Tea: Glorious Manifestations - East and West” 展覽。 品相：狀況極好，輕微磨損和燒製缺陷，足部輕微小磕損。 重量：859.1 克 尺寸：高23.6 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
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A 'TAOTIE' INCENSE STAND, XIANGJI, QING DYNASTYChina, 1644-1912. Of roughly oval, foliate-lobed form, the top carved to the sides with key-fret and inset with a conforming panel above the recessed waist carved with reticulated kui scroll panels, supported on an intricately carved apron decorated with taotie masks, pierced designs, and cloud scroll, the six elaborate cabriole legs carved with further archaistic scroll motifs, raised on a stretcher carved with key-fret to the sides.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Condition: Good condition with old wear, expected age cracks, small losses, minor chips, light scratches. There is a remote possibility that the apron and cabriole legs are of a significantly earlier date than the top, waist, and stretcher which date from the mid to late Qing dynasty. Fine, naturally grown patina overall.Dimensions: Height 69 cm, Width 60 cm (the tabletop)Incense stands, both in lacquer and hardwood, are seen in a variety of forms, including round, square, foliate, hexagonal and octagonal and are constructed with between three and six legs. Round lacquer incense stands appear to be the most commonly published examples and are depicted in woodblock prints from the Ming dynasty. The Palace Museum, Beijing has four examples ranging in date from the Xuande period (1426-1435) to the early Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties, 2002, nos. 162, 165, 166, and 169.Expert's note: The timber from which this incense stand was made is rosewood (Dalbergia). It has a lovely grain and fine patina. While some houses refer to this type of wood as huanghuali, in our opinion and due to some subtle differences, it may also be accurate to refer to it as hongmu. The stand has been created by a highly skilled craftsman and the quality of the carving is excellent, most remarkably around the apron and cabriole legs.Expert's note (continued): Since the printing of this catalogue, we have been informed that this lot was originally acquired by Anunt Hengtrakul in New York, USA, c. 1985. Furthermore, it was at the time inspected by the famous Manhattan-based Chinese art dealer Robert H. Ellsworth and his restorer, Paul Chow, and both confirmed that while the apron and feet of this Xiangji are carved from Zitan, the top, waist and stretcher are made from Hongmu. Ellsworth specifically mentioned that while this seems to be a rare combination, he had seen other examples before. One such table for example is found in the Soame Jenyns Collection of Japanese and Chinese Art, sold at Christies London, 6 November 2018, lot 43, for GBP 32,500, or EUR 44,500 (converted and adjusted for inflation). A Xiangji with the same combination was sold by Sotheby's on 7 November 2018, lot 130, for GBP 32,500 or EUR 44,500 as well.Literature comparison:Compare a related xiangji, also supported on six legs, in the Palace Museum, Beijing, illustrated in Wang Shixiang, Classic Chinese Furniture, London, 1986, pl. 76.Auction result comparison: Type: Related Auction: Christie's London, 10 May 2011, lot 192 Price: GBP 18,750 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A huanghuali five-legged incense stand, xiangji, 18th century Expert remark: Compare the related openwork decoration to the apron. Note the smaller size (51.2 cm high)13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.清代饕餮紋香几中國，1644-1912年。六足香几，高束腰，造型優美典雅、線條高挑流暢，頂部刻有雷紋，並在束腰部上方嵌有一個面板，雕刻有網狀夔龍紋，牙條飾有饕餮面具，鏤空雕刻，捲雲紋，六條三彎腿上雕刻著卷葉紋，圓形托泥帶龜腳。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。品相：狀況良好，老化裂紋、小缺損、輕微碎屑、輕微劃痕。牙條和腿的年代可能早於其他部位。整體包漿細膩。 尺寸：高69 厘米，寬 60 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
A GOLD AND SILVER-INLAID 'FIGHTING BEARS' BRONZE MAT WEIGHT, WARRING STATES TO HAN DYNASTYOpinion: While bronze mat weights from the Warring States Period or the Han dynasty are rarer and rarer to come across on the market, it has nowadays become almost impossible to find one with such well preserved and detailed inlay work. The drama of the depiction has been copied over and over during later periods, and for all kinds of purposes, but it has never been achieved again to the extent found in the present lot.China, 5th century BC to 2nd century AD. Boldly cast as two ferocious bears locked in combat, one biting into his opponent's back as this one roars in anguish with his tongue outstretched. Finely inlaid in gold and silver, the two animals with scroll and geometric decoration as well as subtle detailing to their bodies, the sides of the circular base with a scroll band between line borders.Provenance: From a noted private collector in the Pacific Northwest, USA.Condition: Superb condition, commensurate with age. Wear, signs of weathering and erosion, corrosion, malachite and cuprite encrustation, nicks, scratches, losses and cracks. The gold and silver inlays exceptionally well-preserved. A bronze weight of around 2,000 years of age or more in such well-preserved condition must be considered exceedingly rare.Weight: 590.0 gDimensions: Diameter 6.7 cm, Height 5 cmWith a velvet-padded silk storage box. (2)Mat weights crafted from precious materials such as bronze and jade, often gilded or inlaid with gold, silver or gemstones, were produced in sets of four and served a practical function of anchoring down woven mats for seating. Mats and corner-weights were believed to have been used at banquets, even those laid out in tombs. Inlaid animal-form weights were discovered in the tomb of Dou Wan, consort of Liu Sheng, Prince Jing of Zhongshan (d. 113 BC), alongside food and wine vessels.The sculptural depiction of animals in combat was introduced to China from the nomadic and semi-nomadic cultures of Central Asia, the Eurasian steppes, and the Ordos region, and was an innovation particular to the Warring States and Han dynasty periods. During the early Western Han dynasty, the imperial Shanglin zoological park and hunting reserve adjacent to the walled city grew in size and importance. Conceived as a microcosm of the empire, it allowed the emperor and his courtiers to observe and study the various species of plants and animals known at the time. The site also served as a venue for orchestrated animal combat for the entertainment of the court.Literature comparison: Compare a closely related silver and gold-inlaid bronze mat weight from the Han dynasty depicting a ram and tiger, illustrated by Jenkins, Mysterious Sprits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, page 60, and now in the collection of the Portland Art Museum. Compare a pair of related bronze figures of tigers, with similar gold and silver inlay, but of larger size (29 cm), dated to the Warring States period, illustrated by Christian Deydier, Oriental Bronzes, XXIIIe Biennale des Antiquaires, Paris, September 2006, pages 10-21.Auction result comparison:Type: Related Auction: Christie's New York, 16 September 2010, lot 886 Price: USD 182,500 or approx. EUR 240,000 converted and adjusted for inflation at the time of writingDescription: A Rare Gold and Silver-Inlaid Bronze Tiger-Form Weight, Eastern Han Dynasty (25-220 AD) Expert remark: Compare the similar size (6.7 cm) and purpose, and the inlay in gold and silver.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 13 October 2021, lot 3674 Price: HKD 441,000 or approx. EUR 57,500 converted and adjusted for inflation at the time of writingDescription: An inscribed gold and silver-inlaid bronze weight, Han dynastyExpert remark: Compare the closely related subject matter, dynamic posture, and size (6.8 cm). Note the different decoration, albeit still employing gold and silver inlay.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2022, lot 7 Price: USD 88,200 or approx. EUR 86,500 converted at the time of writingDescription: A gold, turquoise and malachite-inlaid bronze weight, Early Western Han dynastyExpert remark: Compare the closely related subject matter, gold inlay, and size (6.9 cm). Note the use of turquoise and malachite inlays.戰國至漢代錯金銀“斗熊”銅席鎮中國，公元前五世紀至公元二世紀。銅鎮作兩隻正在打架的熊造型，一隻熊正雙目圓睜，雙耳後抿，寬鼻闊嘴，回首咆哮；另一隻咬住對手的後背。細部刻畫入微。通體採用錯金銀工藝。形小而氣勢雄渾，造型生動自然，十分精緻。由於字數限制，完整中文敘述請至www.zacke.at查看。
A CHRYSANTHEMUM-SHAPED DINGYAO MOLDED 'CRANE' DISH, JIN DYNASTYChina, 12th-13th century. Delicately potted with shallow rounded sides supported on a short tapered foot and rising to an everted raised rim of lobed form. The interior with an impressed design of a crane standing amid grasses, bamboo, and a pierced scholar's rock. The sides molded with scroll designs divided by narrow ribs, the rim with overlapping petal tips. Applied throughout with a fine glaze of elegant ivory tone.Provenance: From a private collection in Atlanta, Georgia, USA, mostly acquired in New York, Europe, and Hong Kong between the 1940s and 1970s. Thence by descent to the last owner. Old label to base, 'Ting-Yao Dish. 18th Century. $280.00'. A copy of the anonymized provenance statement signed by the previous owner accompanies this lot.Condition: Superb condition with only minor old wear and minimal firing irregularities.Weight: 144.0 gDimensions: Diameter 14.9 cmMolded decoration on Ding wares was adopted in the latter part of the Northern Song dynasty and flourished during the Jin dynasty. The molding technique allowed the Ding potters to adopt more complex and formal designs. The molds used were meticulously crafted and similar to those used to cast decoration on gold and silver works of art. Typically Dingyao molded decoration included chrysanthemum-petal shapes, such as seen on the present lot, flying birds like ducks, fowl and crane, composite leafy floral motifs, dragons and fishes. The decoration with cranes is rare and particularly auspicious, with cranes being a symbol of immortality due to the ancient Chinese belief that cranes live for a thousand years.Literature comparison: Compare two closely related dishes with similar rims, illustrated by Tsai Meifen, Decorated Porcelains of Dingzhou: White Ding Wares from the collection of the National Palace Museum, Taipei, 2014, p. 201, no. II-136 and p. 204, no. II-139. Compare a closely related dish with similar impressed design of peacocks and rocks, illustrated ibid., p. 203, no. II-138.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 9 October 2014, lot 159 Price: HKD 600,000 or approx. EUR 87,000 converted and adjusted for inflation at the time of writingDescription: A Rare Dingyao 'Chrysanthemum-Head' Molded DishExpert's remark: Compare the crane, bamboo and rock design, as well as the similar form, lobed rim, ivory glaze, and size (14.5 cm).金代定窯白瓷菊花鶴紋百褶盤中國，十二至十三世紀。多瓣菊花形，侈口折沿，淺週壁，平底。模製印花成形，器內口唇折沿上印菊瓣紋一週，內底心印假山竹林，内中飾仙鶴一隻。全器施罩牙白色釉，釉色微微帶黃。 來源：美國亞特蘭大私人收藏，其藏品多在上世紀四十至七十年代購於紐約、歐洲以及香港，保存至今。盤底有舊標籤， 'Ting-Yao Dish. 18th Century. $280.00'。隨附一份由前任所有者簽署的匿名出處聲明複本。 品相：品相極好，只有輕微磨損和燒製瑕疵。 重量：144.0 克 尺寸：直徑 14.9 厘米 文獻比較： 比較兩件非常相近的定窯盤，見蔡玫芬主編，《定州花瓷：院藏定窯系白瓷特展》，台北，2014年，頁201，編號II-136 和頁204，編號. II-139。 另一見非常相似的定窯盤，飾有孔雀和石群，見上述同本書，頁203，編號II-138。拍賣結果比較： 形制：非常相近 拍賣：香港邦翰思, 2014年10月9日, lot 159 價格：HKD 600,000（相當於今日EUR 87,000） 描述：北宋/金 定窯白釉印花龜鶴齊齡圖百褶盤 專家評論：比較相近的仙鶴、假山竹林樣式，相似的外型、盤緣同為多瓣菊花形，施牙白色釉，尺寸差不多 (14.5 厘米)。
A SPECTACULAR PORTRAIT OF A SECOND-RANK CIVIL OFFICIAL, IMPERIAL SCHOOL, YONGZHENG, PRE-1730Expert's note: Before the Yongzheng Emperor's new regulations for hat finials in 1730, first-rank officials used a ruby bead and small white pearl, while second-rank officials wore a ruby bead and a small red gemstone. Afterwards, first-rank officials' finials were set with translucent red glass or ruby beads, while those of second-rank officials held coral beads or red glass in imitation of coral, with both using small white pearls. The hat finial of the present official is clearly set with a ruby and not a coral bead, which is evidenced by the paler color of his coral necklace, as well as a smaller red stone. Therefore, this portrait must have been painted before the 1730 regulations were put in place. For more information on Qing-dynasty hat finial regulations before and after 1730, see Gary Dickinson & Linda Wrigglesworth, Imperial Wardrobe, London, 1990, page 106.China, before 1730. Ink, gilt, and watercolors on silk, with a silk brocade frame and laid down on paper. The elderly aristocrat wearing a red official hat (chao guan) with a gold finial holding a large ruby and a smaller red gemstone. Note the exceptional quality of the painting and remarkable attention to detail - as found for example on the silk rug with its distinct forbidden stitch, the gilt-outlined swirling clouds on the rank badge, and the robe hems, which all appear strikingly lifelike.Provenance: Chicago trade, USA, sold for the benefit of a noted cultural nonprofit organization. European trade, acquired from the above.Condition: Very good condition with only minor wear, some soiling, little creasing, small losses, few minor touchups. Dimensions: Image size 155.6 x 77 cm, Size incl. mounting 175 x 80.8 cmSeated on a fine wooden yokeback chair with a tiger skin seat cover, wearing a midnight blue surcoat (pu fu) over a blue silk formal court robe (chao fu), the collar of the surcoat and hems of the robe decorated with sinuous dragons amid colorful clouds, matching the golden pheasant rank badge, his left hand holding a white pearl from his coral court necklace between two fingers, the realistically treated face marked by heavy-lidded eyes, deep wrinkles, and a gray mustache and beard. Note the texture of the soft fur of the tiger's pelt and coat edges, as well as the rough quality of the embroidered cloud-scroll bands of the coat cuffs.At the beginning of the Qing dynasty, the chao guan was worn on semi-formal occasions without its usual ornate spike. The Yongzheng Emperor appears to have felt that this was unsatisfactory. Easily identified hat finials were introduced in 1727 by the Yongzheng Emperor and were worn on all official and public occasions. The new insignia was a large round bead of material of the appropriate color, along with a smaller pearl or stone of the same color as the bead, mounted on a gilt base. The highest-ranking officials wore plain opaque red beads, while the lowest wore silver. In 1730, regulations were introduced to allow the use of colored glass instead of precious stones.Literature comparison: Compare a related portrait of Lirongbao, the father-in-law of Emperor Qianlong, painted posthumously during the 18th or 19th century and now in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institute, accession number S1991.130, illustrated in J. Stuart and E. S. Rawski, Worshiping the Ancestors: Chinese Commemorative Portraits, Washington, D.C., 2001, p. 161, fig. 6.8. Note the ruby bead and small white pearl on the finial, indicating that this painting was made after 1730.Auction result comparison: Type: Closely related Auction: 17 September 2010, lot 1060 Price: USD 74,500 or approx. EUR 98,000 converted and adjusted for inflation at the time of writing Description: Anonymous (18th/19th century), Portrait of a Civil Official Expert remark: Note that the coral bead and white pearl of the hat finial worn by this official were only used after the 1730 regulations (see Expert's note), which clearly indicates this portrait was painted after 1730 and thus after the present lot, although both works share the same level of artistic skill. Note the size (156.2 x 76.2 cm).雍正時期二品官員肖像畫中國，1730年前。絹本設色描金。br />專家注釋：1730年雍正皇帝頒布帽飾新規之前，一品官佩戴紅寶石珠和小白珠，二品官佩戴紅寶石珠和小紅寶石。之後，一品官的頭飾上鑲有半透明的紅玻璃或紅寶石珠，二品官員則戴珊瑚珠或仿珊瑚的紅玻璃，均用白色的小珍珠。拍品上的官員的朝冠上顯然鑲有紅寶石，而不是珊瑚珠，這從他的珊瑚項鍊的顏色較淡，以及一顆較小的紅色石頭就可以看出這一點。 因此，這幅肖像一定是在 1730 年的法規實施之前繪製的。有關 1730 年前後清朝帽飾規定的更多信息，參見 Gary Dickinson 和 Linda Wrigglesworth，Imperial Wardrobe，倫敦，1990年，頁106。 來源：美國芝加哥古玩交易，為資助一個知名的非盈利文化組織；歐洲古玩交易。 品相：狀況極好，只有輕微磨損、一些污漬、少量摺痕、缺損和修補。 尺寸：畫面155.6 x 77 厘米，總175 x 80.8 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
AN EXCEPTIONALLY LARGE PAIR OF FAMILLE ROSE PALACE VASES, 19TH CENTURYChina. Of baluster form, rising from a splayed foot to a bamboo growth neck with wavy rim, the necks decorated with handles in the form of Buddhist lions and their cubs playing with a brocade ball, the neck with four sinuous chilong. Finely painted in the famille rose palette and gilt, with court scenes in oval reserves, below a scroll-shaped frame depicting a monumental figural scene, the neck with two jar shaped reserves showing court scenes. The everted rim with a band consisting of six panels each with floral decorations, separated by a blue border.Provenance: From an old Austrian private collection. Condition: Remarkably well preserved, especially when considering the age and fragility of these vases. Old wear, some firing flaws and flaking to enamels. Minor chips and losses, some hairlines, all hardly visible. A minute firing crack to the shoulder of one, the other with a minuscule repair. Please request our detailed video shot under strong blue light for full information about the condition of this lot.Weight: 23.8 kg and 23.1 kg Dimensions: Height 86.4 cm (each)Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 September 2015, lot 1028Price: USD 26,250 or approx. EUR 33,000 converted and adjusted for inflation at the time of writingDescription: A pair of large famille-verte baluster vases, Qing dynasty, 19th centuryAuction result comparison:Type: Closely relatedAuction: Christie's New York, 28 January 2013, lot 425Price: USD 25,000 or approx. EUR 31,500 converted and adjusted for inflation at the time of writingDescription: A very large pair of Chinese export 'Canton famille rose' vases, second quarter 19th centuryExpert remark: Note the similar size (90 cm)十九世紀一對大型開光人物場景粉彩瓶中國。瓶為花邊口，折沿，束頸，頸上兩耳，溜肩，肩上貼塑四隻上爬蜥蜴，弧腹，略收足，底足外撇。頸部和瓶身開光，紋飾以貴族觀戲圖為主題，旁以無數花葉紋及連方格為輔。花紋繁縟，顏色繽紛。 來源：奧地利私人舊藏。 品相：保存得極好。有磨損和一些燒製缺陷和琺瑯剝落，輕微的磕損和一些冲線。一個人物的肩膀有輕微裂縫。請聯繫我們索取在藍光下拍攝的詳細視頻，以獲取有關該拍品狀況的完整信息。 重量：分別重23.8 公斤與23.1 公斤 尺寸：各高86.4 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年9月19日，lot 1028 價格：USD 26,250（相當於今日EUR 33,000） 描述：清十九世紀一對五彩百花地開光「三國演義」圖獅耳瓶 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年1月28日，lot 425 價格：USD 25,000（相當於今日EUR 31,500） 描述：十九世紀第二季一對大型開光出口廣東粉彩瓶 專家評論：請注意尺寸相似 (90 厘米)。
'TWO GALLOPING HORSES', BY XU BEIHONG (1895-1953), DATED 1948China. Masterfully painted in a highly expressive manner with bold and vivid brushstrokes, characteristic for the artist, using exclusively black ink against a pure white background. Note the scattered remnants of preliminary sketch work below the final painting, and the distinct horizontal imprints from the edges of the supporting board - both peculiarities occasionally found on works from this artist.Inscriptions: on the upper left, “in the 37th year” (of the Republic of China, corresponding to 1948), and signed “Beihong”.Provenance: From the collection of Dr. Ivan Vodopija, acquired in China during a work trip for the WHO, according to a source familiar with the collection, and thence by descent to the last owner. Dr. Ivan Janko Vodopija (1925-2021) was a noted Croatian physician and expert in tropical medicine and vaccines. He worked for the World Health Organization (WHO) and conducted ground-breaking clinical research on vaccines in many countries. From 1995 to 2002, he was the President of the National Health Council of Croatia and in 2004, he was credited by the WHO for his significant contribution to eradicating polio. Dr. Vodopija was a passionate and eclectic collector of fine art, particularly paintings, and would frequently acquire works during his lengthy stays in foreign countries. Condition: Very good condition with minor wear, minimal soiling, little creasing. The silk brocade mounting with significant losses, possibly due to insect activity.Dimensions: Image size 109 x 40.5 cm, Size incl. mounting 165 x 51.5 cmWith a silk brocade frame and mounted as a hanging scroll with wooden handles.Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings to become one of the most sought-after, admired and influential painters of China. One of his well-known works, the “Cultivation of the peaceful Land”, sold for 27.4 million euro in 2011 and therefore ranks among the most expensive paintings in the world. After the founding of the People's Republic of China in 1949, Xu became President of the Central Academy of Fine Arts and chairman of the China Artists Association. Xu Beihong, together with Zhang Shuqi and Liu Zigu, were called the "Three Masters of Jinling (Nanjing)." Xu Beihong was a master of both oil and ink paintings. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasized the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one most responsible for the direction taken in the modern Chinese Art World.During his career Xu Beihong painted many pictures of horses in various postures. During the Sino-Japanese War (1937-1945) these images became particularly important, both as symbolic representations of China's strength and perseverance as well as for fund raising to support the war effort. While Xu's equines are characteristically powerful, vibrant, and rendered with anatomical precision, only his best examples have such detailed musculature and brushstrokes that suggest a play of light across the horse's torso, as seen on the anterior horse of the present work. It is quite exceptional to find an example where Xu took the time to paint two galloping horses in a rather small format as opposed to just a single horse. The close attention to modeling that is particularly visible in the heads reveals Xu's skill as a draughtsman and his interest in using Western techniques to enhance Chinese traditional paintings.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2019, lot 1136 Price: USD 375,000 or approx. EUR 421,000 converted and adjusted for inflation at the time of writing Description: Xu Beihong 1895-1953, Galloping Horse Expert remark: Note the significantly larger size (93.7 x 152.7 cm) and that the painting depicts a single horseAuction result comparison: Type: Related Auction: Sotheby's New York, 17 March 2016, lot 1187Price: USD 47,500 or approx. EUR 57,500 converted and adjusted for inflation at the time of writing Description: Xu Beihong, Galloping Horse Expert remark: Note the significantly smaller size (25.5 x 45.5 cm) and that the painting depicts a single horse徐悲鴻款《奔馬圖》，1948年中國，紙本水墨，掛軸。 款識：三十七年始寒，悲鴻 來源：Dr. Ivan Vodopija收藏，被世衛組織派去中國公務之時購買，據熟悉該系列的消息人士稱，此畫一直被保存至最後一位繼承人。Dr. Ivan Janko Vodopija (1925-2021年) 是克羅地亞著名的醫生，也是熱帶醫學和疫苗方面的專家。他曾在世界衛生組織 (WHO) 工作，並在多個國家開展了開創性的疫苗臨床研究。從 1995 年到 2002 年，他擔任克羅地亞國家衛生委員會主席，並於 2004年因在根除脊髓灰質炎方面做出的重大貢獻而被世界衛生組織稱讚。Vodopija 醫生是一位美術收藏家，尤其是繪畫，他在國外逗留期間經常會收藏作品。品相：狀況極好，小磨損，輕微污漬和摺痕。錦地裝幀上有大損失，可能是蟲咬所致。 尺寸：畫面109 x 40.5 厘米，總165 x 51.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).
'ADMIRING THE WATERFALL' FU BAOSHI, DATED 1963China. Black ink and watercolors on paper. Depicting a scholar with a cane standing below a monumental waterfall, his head raised in awe towards the cliff. Silk brocade frame and mounted as a hanging scroll.Expert's note: Fu Baoshi reached his first artistic peak during his stay in Chongqing. Inspired by the geographical eccentricity of the location, he painted a series of landscapes and waterfalls which later became known as the “Landscapes of Jingangpo” - the mountain suburb of his residence. During his later years, he kept painting variations of these landscapes, including the present work, further improving the emotional density of the scenes. As Fu recalled, “There is a myriad of breath-taking scenery surrounding Jingangpo. Everywhere you look, fenben [artist's sketch books and preparatory drawings] exist in abundance. Those who live in the Southeast [Chongqing is located in the Southwest] cannot and dare not embrace this realm made possible only by the local misty atmosphere and the majestic peaks.”The composition of the present work emphasizes grandeur and monumentality. Technically, Fu Baoshi mostly eschews outlines and utilizes dappling of the brush and ink washes. In spite of the first impression, each element is rendered meticulously and with distinctive purpose. The distant rocks with atmospheric effect on the very top of the work contrast with the near and clear ones on the bottom. The seeming disorder of the falling waters, upon closer examination, is consisted of logically cascading waterflows seeking ways between protruding rock spires. A giant tree is rising above the cliff on the left. Near the bottom stands a lofty scholar, halting to admire the wonders of nature that take his breath away. Fu Baoshi uses flesh color to accent the head of the minuscule figure and razor sharp minuscule brushstrokes for the staff and the outlines of the robe, which do not shy a tenfold magnifying, adding vitality and a point of entry for the viewers to experience this pictorial world vicariously. The minuscule figure further highlights the colossal towering peaks and waterfalls.Fu Baoshi's family later reminisced about their time there: “Jingangpo, where we lived, was a typical mountain district of Sichuan province. Villages are scattered in layers of mountains and hills, where streams, bamboo groves, thickets, and forests are ubiquitous. And in the mountains there are the secluded ancient temples. In the summer, fog and mist frequently permeates the air, causing one to lose one's direction. However, this type of scenery was beloved by father [Fu Baoshi] the most.” The present work, in every way, exemplifies the finest of Fu Baoshi's waterfalls.Inscriptions: Upper right 'Fu Baoshi in Nanjing, May 1963', one seal 'Baoshi zhi yin'. Lower left, one collector's seal 'Yang Qilin suocang shuhua'.Provenance: From the collection of Yang Qilin, Singapore. Collector's seal 'Yang Qilin suocang shuhua' to lower left of painting. Thence by descent to the auction market, a noted private collector acquired from the above. Yang Qilin (1917-1998), was born in Chao'an, Guangdong Province, and later lived in Singapore. During his lifetime he collected more than 1,000 calligraphies and paintings, among them many highly important works. Together with Huang Manshi, Liu Zuochu and Chen Chuchu, he was known as the "Four Great Collectors of Paintings and Calligraphy in Singapore". Condition: Excellent condition with minor wear and traces of age, and few small creases to the mounting.Dimensions: Image size 51.5 x 28.5 cm, Size incl. mounting 201.5 x 46.7 cmThe finely polished hardwood scroll handles are probably carved from ebony. Fu Baoshi (1904-1965) was a Chinese painter from Xinyu, Jiangxi Province. Credited with revolutionizing Chinese ink painting, Fu is perhaps the most original figure painter and landscapist of China's modern period, and one of the most important artists of the 20th century overall. In 1933, Fu went to Japan to study the History of Oriental Art at the Tokyo School of Fine Arts. After returning to China, he taught in the Art Department of Central University (today Nanjing University). At this time, Fu developed a new style, smoothly incorporating foreign ideas and techniques, and began creating boldly individualistic yet sometimes strongly nationalistic work. He also sought to revive early schools of realist depiction that made greater use of color and ink wash. His most important and acclaimed works of landscape painting employed skillful use of inking methods, such as washing, rubbing or dotting, creating a distinct style that encompasses a sheerly enormous range of varieties, but all within strict traditional rules. His detailed paintings of miniature figures remain unmatched to this day, due to his remarkably delicate and thus inimitable brushstrokes.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 October 2018, lot 1319Price: HKD 3,240,000 or approx. EUR 438,500 converted and adjusted for inflation at the time of writingDescription: Fu Baoshi, Expedition to the WaterfallExpert remark: Note the size (96.5 x 37 cm)Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 8 July 2020, lot 1074Price: HKD 812,500 or approx. EUR 104,500 converted and adjusted for inflation at the time of writingDescription: Fu Baoshi (1904-1965), Viewing WaterfallExpert remark: Note the size (69 x 33 cm)傅抱石款《觀瀑圖》，1963年中國，紙本設色，掛軸。散鋒皴擦水口的山石，透過其佈局襯托出流水的質感和動勢，構圖滿密，瀑布飛泉依山勢曲折而下，水勢湍急。一人立于石台之上，沉浸在震耳欲聾的水聲中，暢然忘返。由於字數限制，完整中文敘述請至www.zacke.at查看。
'SCHOLAR UNDER PINE TREE', BY ZHANG DAQIAN (1899-1983) AND PU RU (1896-1963), DATED 1946China. Ink and watercolors on paper, mounted as a hanging scroll. Depicting a scholar dressed in a long flowing robe, his head covered by a cowl and turned towards the towering, gnarled pine tree, holding a wood cane in his left.Expert's note: Zhang Daqian and Pu Ru are well known for their collaborative paintings. They were good friends and their seemingly disparate styles complemented each other very well, as evidenced by this superb painting. Together they created several scroll paintings as well as fan paintings. While the tree is clearly painted by Pu Ru in his characteristic style, the scholar undoubtedly is by Zhang Daqian, a subject the master painted many times during his long-lasting career, always displaying his brilliant technical abilities to their full extent. Zhang Daqian often lamented that while it is easy to paint fair ladies, it is difficult to portray great man. Zhang saw depicting a gentleman scholar as most challenging - the figure had to be without bitterness, without coarseness, without effeminacy, and instead be poised and carefree, like the great historical figures of bygone times.Inscriptions: Upper left, signed 'Shuren Zhang Daqian', and two seals, 'Zhang Yuan' and 'Daqian'. Center right, signed, 'Xishan Yishi Pu Ru', inscribed and signed, 'dedicated to Mr. Zhuming, made by Zhang Daqian', dated, 'on an autumn day in the year of Bingxu (corresponding to 1946)', and two seals, 'Pu Ru Zhi Yin' and 'Xinshe'.Provenance: From a noted private collector. Condition: Very good condition with minor wear and minimal soiling, the mounting with little creasing.Dimensions: Image size 78 x 48.5 cm, Size incl. mounting 200.5 x 60.2 cmPu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power, and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Zhang Daqian (1899-1983) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Chang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon. He affected the long robe and long beard of a traditional Chinese scholar.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2016, lot 1260Price: HKD 875,000 or approx. EUR 118,000 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (1899-1983) and Pu Ru (1896-1963), Scholar and PineExpert remark: Compare the closely related composition, the layers and folds of the robe, and use of color. Note the size (108 x 67.5 cm)Auction result comparison:Type: Closely relatedAuction: China Guardian Auctions, Beijing, 15 August 2020, lot 198Price: CNY 1,058,000 or approx. EUR 154,500 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (1899-1983) and Pu Ru (1896-1963), Hermit under pineExpert remark: Compare the closely related composition, use of colors, and pose of the scholar. Note the size (95.7 x 50 cm).1946年張大千及溥儒款《松下高士》中國，紙本設色，掛軸。描繪一位身著飄逸長袍的文士，向后轉向一棵參天松樹，左手拄著一根木杖。 專家注釋：張大千和溥儒曾是好友，經常合作作畫，看似截然不同的風格卻相得益彰。這幅《松下高士》就證明瞭這一點。溥儒畫的那棵松樹，而文士無疑是張大千的作品。這位大師在漫長的繪畫生涯中多次畫做過類似的題材，始終將他精湛的技藝展現得淋漓盡致。張大千常感嘆，畫淑女容易，畫偉人難。 他描繪君子文人是最有挑戰性的——人物必須沒有苦澀、沒有粗俗，而是像過去的偉大歷史人物一樣沉著。 款識：蜀人張大千爰；竹銘先生屬張大千作此高士為補之，丙戌秋日西山逸士溥儒並記鈴印：張爰，大千；溥儒之印，心畲 來源：知名私人收藏。 品相：狀況極好，小磨損，少量髒污，幾乎沒有摺痕。 尺寸：畫面 78 x 48.5 厘米, 總 200.5 x 60.2 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看
A RARE AND MASSIVE MOTTLED JADE CONG, LIANGZHU CULTUREChina, late Neolithic period, c. 3300-2200 BC. The thick-walled cong is of short square section with rounded sides and a cylindrical interior, each corner carved with a stylized human and animal mask design. The eyes and noses as well as the raised bands above the human mask and recesses in between are finely incised with line and scroll designs. The faces are divided with a gently recessed vertical band to the center of each side.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Good condition, commensurate with age. Some wear, weathering, and minor alterations, as well as small nicks and nibbling to edges, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 1,349 g Dimensions: Diameter 10 cmThe partly translucent stone is of an olive-green and russet-brown tone with russet veins and inclusions as well as patches of cream tone and areas of opaque ivory-white calcification.The present cong displays the distinctive characteristic of Liangzhu culture cong vessels, with a square outer section around a circular inner part and decorated with stylized masks neatly arranged on each of the four corners. The exceptional craftsmanship is particularly notable in the very delicate and precise quality of the carving and incised decoration, enhanced by the lustrous patina formed on the surface over time.Literature comparison: Compare a similar jade cong, Liangzhu culture, also carved with two registers of stylized human and animal masks excavated in 1984 from Fuquanshan in Qingpu County, Shanghai, now in the Shanghai Administrative Committee of Culture Heritage, illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 17, pl. 19. See another related example of a jade cong, included in the Min Chiu Society Thirtieth Anniversary Exhibition: Selected Treasures of Chinese Art, Hong Kong, 1990, no. 195. For several other examples of two-tiered cong, see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53, and 54.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2015, lot 470 Price: USD 60,000 or approx. EUR 75,500 converted and adjusted for inflation at the time of writing Description: A mottled olive-green, russet-brown and ivory-colored opaque jade cong, China, Neolithic period, Liangzhu culture, 3rd millennium BC Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (6.5 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 5 April 2016, lot 1 Price: HKD 375,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A mottled green jade vessel, cong, Neolithic period, Liangzhu culture Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (7.5 cm).良渚文化玉琮中國 ，新石器時代末期，公元前約3300-2200年。器呈外方內圓的筒形，兩端琢成圓口，上下穿透，四角各有不同人面紋。 來源：Irene與 Wolfgang Zacke (1942-2022)。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：品相良好，一些磨損、風化、細微變化、刻痕，邊緣有一些小磕損，玉料帶有天然的內沁和裂縫，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：1,349 克 尺寸：直徑10 厘米這件玉琮展現了良渚文化的鮮明特色，外方內圓，均以四角為中軸線，雕琢神人獸面紋，雕琢精細。玉質精良，玉色深綠，局部得見黃白沁斑，不透明的象牙白色鈣化區域。表面包漿細膩。由於字數限制，完整中文敘述請至www.zacke.at查看。
'RHAPSODY ON THE GODDESS' BY LU XIAOMAN, DATED 1940China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Superbly painted with a beautiful lady dressed in elegant robes tied at the waist, a pink flower in her hair, the face with delicate features displaying a gentle 'Mona Lisa' smile.Inscriptions: The upper right inscribed with a section of the poem 'Rhapsody on the Goddess' by Song Yu, dated 'February in the Spring of the Year of Gengchen' (1940), signed 'Xiaoman Lu Mei painted in Shanghai', two seals, 'Lu Mei' and 'Xiaoman'Provenance: British trade. Condition: Very good condition with minor wear, few creases, and foxing. Dimensions: Image size 94.5 x 28.9 cm, Size incl. mounting 199.2 x 44.1 cm'Rhapsody on the Goddess', traditionally attributed to Song Yu (c. 290-223 BC), is one of the most famous and likely the earliest work that describes encounters between a mortal and a goddess, exerting great influence over various genres of Chinese literature in later times.Lu Xiaoman (1903-1965), born in Shanghai, was a celebrated painter, writer, singer, and actor, and studied under painters such as Liu Haisu, Chen Banding, and He Tianjian. As an artist, she specialized in flowers, birds, and light ink landscapes on long Chinese scrolls. She was also known to write poetry, prose, and fiction, but her writings were never published. Nevertheless, her appreciation for poetry inspired her to create a series of ink paintings in honor of the Tang poet Du Fu. Lu Xiaoman was also a singer and debuted on stage after receiving training in the renowned Peking Opera. In the 1950s and 1960s, she worked as a paid artist at the Shanghai Academy of Chinese Painting.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2016, lot 1629Price: HKD 118,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: Lu Xiaoman (1903-1965), Lady holding flowerExpert remark: Note the size (53.5 x 29.5 cm)陸小曼款《神女圖》，1940年中國，紙本設色，掛軸。兩手置於身後，一手持書卷，衣帶隨風飄舉，華貴高雅。宋玉《神女賦》節選。 款識：夫何神女之姣麗兮，含陰陽之渥飾。披華藻之可好兮，若翡翠之奮翼。其象無雙，其美無極；毛嬙鄣袂，不足程式；西施掩面，比之無色。近之既妖，遠之有望，骨法多奇，應君之相，視之盈目，孰者克尚。私心獨悅，樂之無量；交希恩疏，不可盡暢。他人莫睹，玉覽其狀。其狀峨峨，何可極言。貌豐盈以莊姝兮，苞溫潤之玉顏。眸子炯其精朗兮，瞭多美而可視。眉聯娟以蛾揚兮，朱唇的其若丹。素質乾之實兮，志解泰而體閑。既姽嫿於幽靜兮，又婆娑乎人間。宜高殿以廣意兮，翼故縱而綽寬。動霧以徐步兮，拂聲之珊珊。望餘帷而延視兮，若流波之將瀾。奮長袖以正衽兮，立躑躅而不安。澹清靜其兮，性沉詳而不煩。時容與以微動兮，志未可乎得原。庚辰春二月小曼陸眉畫于海上曼盧。鈴印：陸眉，小曼 來源：英國古玩交易。 品相：狀況極好，輕微磨損和摺痕、褐變。 尺寸：畫面94.5 x 28.9 厘米，總199.2 x 44.1 厘米 《神女賦》是戰國時期辭賦家宋玉創作的一篇描寫神女的賦，詞句優美形象，在中國文學史上留下了極深的影響。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2016年5月30日，lot 1629 價格：HKD 118,750（相當於今日EUR 16,500） 描述：陸小曼執花仕女設色絹本鏡框 專家評論：請注意尺寸(53.5 x 29.5 厘米)。
A CARVED CINNABAR LACQUER ZHADOU AND COVER, 18TH CENTURYChina. The zhadou has a wide everted rim carved on top with lotus flowers within a ruyi-head border and incised on the underside with leafy lotus sprays below ruyi heads, all above the slightly rounded sides carved with hexagonal floral diaper. The domed cover is carved en suite around a circle of petal lappets at the base of the semispherical imitation-amber glass finial. The interior and base are entirely covered in black lacquer. Provenance: From a noted French private collection. Condition: Good condition with old wear, expected age cracks, few losses, some nicks here and there. Fine, naturally grown patina overall.Weight: 174.0 gDimensions: Diameter 14.6 cmExpert's note: The Sanxitang (Three Treasures Hall) was a private study of the Qianlong Emperor. It was so named because it was used to house his favorite three pieces of calligraphy, “Timely Clearing after Snowfall” by Wang Xizhi, “Mid-Autumn” by Wang Xianzhi, and “A Letter to Boyuan” by Wang Xun. The hall also houses a closely related zhadou along with a number of other important scholar's objects made during the period.Literature comparison:Lacquer zhadou with covers of this type appear to have been carved with various decorations, and have rims of various shapes. One carved with the sanduo and dated to the Qianlong period is illustrated by S. Kwan in Chinese Lacquer, Hong Kong, 2010, pp. 290-91, no. 103. Also illustrated, page 290, is a photograph from the Sanxitang in which a similar zhadou and cover are shown. Another related example carved with flower scroll, dated 18th century, in the Shenyang Palace Museum, is illustrated by R. L. Thorpe in Son of Heaven: Imperial Arts of China, Seattle, 1988, page 96, no. 28.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2012, lot 1710 Price: USD 10,000 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A carved red lacquer zhadou and cover, 18th century Expert remark: Compare the closely related form and manner of carving with similar lotus blossoms, petal lappets, and hexagonal floral diaper. Note the similar size (15.3 cm) and lack of a finial.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 16 October 2021, lot 454 Price: EUR 12,008 or approx. EUR 13,000 adjusted for inflation at the time of writingDescription: A carved cinnabar lacquer zhadou and cover, mid-Qing Expert remark: Compare the closely related form and manner of carving with similar ruyi-head rim, lotus blossoms, petal lappets, and hexagonal floral diaper. Note the similar size (15 cm) and gilt bronze finial.十八世紀剔紅纏枝蓮紋渣斗中國。渣斗寬邊折沿如意紋，蓋上剔紅纏枝蓮紋，渣斗外壁錦地紋。蓋上仿琥珀琉璃鈕。渣斗內黑漆。 來源：法國知名私人收藏。 品相：狀況良好，有磨損和年齡裂縫，邊緣有缺損，大面積刻痕，整體包漿細膩。 重量：174.0 克 尺寸：直徑 14.6 厘米 專家注釋：三希堂，古時是清高宗弘曆即乾隆帝的書房。 “三希”即“士希賢，賢希聖，聖希天”，士人希望成為賢人，賢人希望成為聖人，聖人希望成為知天之人，也就是鼓勵自己不懈追求，勤奮自勉。書房名為“三希堂”，乾隆十一年（公元1746年）間在此收藏了晉朝大書法家王羲之的《快雪時晴帖》、王獻之的《中秋帖》和王珣的《伯遠帖》。在乾隆帝的三希堂裏曾存放了一件相似的渣斗和其他文房用品。 文獻比較： 這種類型的帶蓋渣斗，有各種雕刻和裝飾，並有各種形狀的邊框。一件乾隆時期三多渣斗，見S. Kwan，《Chinese Lacquer》，香港，2010年，頁290-91，編號103；也見頁290，一張三希堂的照片裡有相似的渣斗。 另一件相近的十八世紀花纏枝渣斗，收藏於瀋陽博物館，見R. L. Thorpe，《Son of Heaven: Imperial Arts of China》，西雅圖，1988年，頁96，編號28。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1710 價格：USD 10,000（相當於今日EUR 12,500） 描述：清十八世紀剔紅花卉紋渣斗 專家評論：比較非常相近的外型和花卉雕刻、寬邊折沿如意紋、六邊形花紋。請注意相似的尺寸(15.3厘米) ，但蓋上沒有鈕。由於字數限制，完整中文敘述請至www.zacke.at查看。
A RED-GROUND AND GILT THANGKA OF AMITAYUS, WULIANG SHOUFOTibetan-Chinese, late 17th to 18th century. Gold and distemper on cloth, with a silk brocade frame and mounted as a hanging scroll. Finely painted in gilt above with the red ground with a magnificent depiction of Amitayus seated in dhyanasana on a lotus throne, supported on an elaborate stepped base decorated with auspicious symbols, holding a vessel in front of him, backed by a flaming halo, wearing long flowing robes and billowing scarves, richly adorned with fine jewelry, all below an inscription identifying the deity.Inscriptions: To the top, 'Wuliang Shoufo' (Chinese name for Buddha Amitabha).Provenance: The fine Japanese silk brocade mounting indicates that this thangka must have been in an old Japanese private collection at least 100 years ago. From there it went, most likely across several stations, into the French trade. Condition: Good original condition with some old wear, creasing, small losses here and there.Dimensions: Image size 118 x 63 cm, Size incl. mounting 166.5 x 80.3 cmLiterature comparison: Compare a closely related Tibetan red-ground thangka of Amitayus, also painted mostly in gold, dated circa 1800 and attributed to Central or Eastern Tibet, in the collection of the Los Angeles County Museum of Art, accession number M.83.253.Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 19 March 2012, lot 1106Price: USD 16,250 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing Description: A red-ground thangka of Shakyamuni Buddha, Tibet, 17th century Expert remark: Compare the closely related manner of painting with similar red ground and extensive use of gold. Note the smaller size (66 x 44.4 cm).紅地描金無量壽佛唐卡漢藏，十七世紀末至十八世紀，布面膠彩描金，掛軸。阿彌陀佛結禪定坐坐於蓮座上，雙手捧著甘露瓶，置於身前，佩戴著華美的珠寶，面容沉穩，五葉冠後高髻，身後有光背。 款識：無量壽佛 來源：精美的日本絲錦裝裱表明這幅唐卡至少在 100 年前就已被日本私人收藏，之後輾轉進入法國的古玩交易。 品相：原始狀態良好，有一些磨損，摺痕，到處都有小缺損。 尺寸：畫面118 x 63厘米，總166.5 x 80.3 厘米 文獻比較： 比較一件非常相近的大約1800年西藏紅地描金阿彌陀佛唐卡，來自於西藏中部或東部，收藏於洛杉磯郡立美術館，編號M.83.253。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2012年3月19日，lot 1106 價格：USD 16,250（相當於今日EUR 20,500） 描述：十七世紀紅地描金釋迦摩尼唐卡 專家評論：比較非常相近的紅地描金。請注意尺寸較小(66 x 44.4厘米)。
AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURYExpert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance. 大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。
'KINGFISHER AND LOTUS', BY WANG XUETAO (1903-1982)China. Ink and watercolors on paper, mounted as a hanging scroll. Vividly painted with a kingfisher perched on the stem of a large lotus blossom above grasses, leaves, a pink lotus flower, a closed pink lotus bud, and an insect.Inscriptions: Upper right, signed 'Wang Xuetao', two seals of the artist. Lower left, one seal of the artist.Provenance: London trade. Condition: The painting in very good condition with minor wear, foxing, and faint creases, the mounting backed in some areas and generally with more extensive wear and foxing as well as small tears.Dimensions: Image size 136.5 x 68 cm, Size incl. mounting 210.5 x 82.5 cmWang Xuetao (1903-1982) was a Chinese painter from Hebei province, who attended the Baoding Zhili Teachers College and the Peking College of Arts. Later he studied under Wang Mengbai, Qi Baishi, and Chen Banding.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 1 December 2020, lot 1135 Price: HKD 500,000 or approx. EUR 61,500 converted and adjusted for inflation at the time of writingDescription: Wang Xuetao, Lotus and Mandarin DucksExpert remark: Compare the closely related manner of painting with similar lotus and birds. Note the addition of mandarin ducks in this work and the smaller size (96.5 x 60 cm).王雪濤《翠鳥荷花圖》中國，紙本水墨設色，掛軸。生動地描繪了一隻翠鳥棲息在荷葉梗上，似乎正要起飛，荷葉大如傘，一朵荷花和一個花蕾斜插而出。也許是荷花的花香吸引了蜻蜓飛來。畫面清新生動。 款識：丙辰夏初雪濤時客燕市；鈴印：老雪，遲園 來源：倫敦古玩交易。 品相：狀況極好，有輕微的磨損、褐變、起毛和摺痕。尺寸：畫面136.5 x 68 厘米，總210.5 x 82.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2020年12月1日，lot 1135 價格：HKD 500,000（相當於今日EUR 61,500） 描述：王雪濤《荷花鴛鴦》 專家評論：比較非常相近的繪畫風格，例如荷花和鳥。manner of painting with similar lotus and birds. 請注意此幅畫中還有鴛鴦，尺寸較小(96.5 x 60厘米)。
'BUDDHA AMITABHA', BY ZHANG DAQIAN (1899-1983)China. Ink, gilt, and watercolors on silk. Superbly painted with Buddha Amitabha seated in dhyanasana on a lotus throne, with each of the overlapping petals showing the Three Jewels. He is wearing a loose-fitting monastic robe decorated with flowerheads and a broad waistband with lotus scroll. His chest is marked with a wan symbol. The serene face with a fine expression. All within a roundel above swirling clouds and below lotus blossoms falling from the sky.Inscriptions: Signed 'Zhang Daqian'. Dedicated to a 'follower from Luojun'. Dated 'Summer of the Year of Bingxu' (corresponding to 1946). Three seals of the artist.Provenance: UK trade, by repute acquired from a British private collection.Condition: Good condition with minor wear, soiling, distinct foxing and minimal losses. With a Japanese silk brocade mounting and a kiri (paulownia) wood frame. The backside with a Japanese paper mounting that shows significant tears and losses.Dimensions: Image size 61 x 24.5 cm, Size incl. frame 79 x 39.2 cmZhang Daqian was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Zhang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon. He affected the long robe and long beard of a traditional Chinese scholar.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 2 June 2015, lot 1529 Price: HKD 5,440,000 or approx. EUR 779,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian (1899-1983), Buddha Amitabha Expert remark: This painting is also dated 1946 by inscription and depicting Buddha Amitabha, albeit in a slightly different manner inspired by the Mogao caves. Note the size (97 x 49 cm).Auction result comparison:Type: Related Auction: Christie's Hong Kong, 30 November 2010, lot 2642 Price: HKD 2,780,000 or approx. EUR 486,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian (1899-1983), Worshipping Buddha and Bodhisattvas Expert remark: Note the size (90 x 44.6 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 11 October 2021, lot 3094 Price: HKD 945,000 or approx. EUR 119,500 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (Chang Dai-chien, 1899-1983), BodhisattvaExpert remark: Note the size (49.5 x 39.5 cm). 張大千(1899-1983) 《阿彌陀佛像》中國。絹本水墨設色，繪製阿彌陀佛坐蓮像，每瓣蓮瓣皆可見三寶。他身著寬鬆的袈裟，衣紋綫條流暢，胸口可見萬字元，面部表情平靜細膩， 身後有光背，下方可見如意祥雲。款識：擬清人丁觀鵬佛造像，嵗在丙戌夏日，羅郡清信弟子大千張爰敬造鈴印：大千毫髮，張大千，星閣來源：英國古玩市場，據説來自英國私人收藏。品相：狀況良好，磨損、汙漬、明顯的修補和輕微缺損。日本絲織錦裝裱和桐木框架。背面有日本紙裝裱，明顯的撕裂和缺損。尺寸：畫面61 x 24.5 厘米，總 79 x39.2 厘米拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2015年6月2日，lot 1529 價格：HKD 5,440,000（相當於今日EUR 779,000） 描述：張大千《無量壽佛》 專家評論：這幅畫的年代也是1946年，畫的是無量壽佛，不過畫法與莫高窟略有不同。請注意尺寸(97 x 49厘米)。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2010年11月30日，lot 2642 價格：HKD 2,780,000（相當於今日EUR 486,000） 描述：張大千《龍女禮佛圖》 專家評論：請注意尺寸(90 x 44.6厘米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2021年10月11日，lot 3094 價格：HKD 945,000（相當於今日EUR 119,500） 描述：張大千《南無普賢菩薩》 專家評論：請注意尺寸(49.5 x 39.5厘米)。
A VERY LARGE AND EXTREMELY RARE CIZHOU PAINTED ARROW VASE, TOUHU, MING DYNASTYPublished: Michael B. Weisbrod, Inc., From Kilns of Kings and Commoners, 1990, New York, page 68, catalog number 27.Opinion: Except for a similar yet smaller example in the British Museum, the present lot seems to be the only surviving example of a group of Cizhou Touhu vases, probably made for Imperial use during the mid-15th to mid-16th century. The curator of the British Museum, Rebecca Harrison-Hall, comments on the rare vessel as follows: “Two earlier arrow vases of this shape, made of bronze, were excavated from a tomb (M.13) in Pinghu county, Sichuan province. Archaeologists believe that the tomb belonged to the father of the scholar Wang Xi (1405-52) or to one of Wang Xi's father's wives. A number of bronze and iron arrow vases have been collected by Professor Jessica Rawson for the British Museum for future publication. The style of figure painting relates closely to that of blue-and-white wares of the Jiajing period, which were made at Jingdezhen.”China, 15th-16th century. The compressed globular body supported on a low, thick foot and rising to a tall, slightly waisted neck, flanked at the top by two tubular arrow holes, the mouth and each of the arrow holes with thick lipped rims. The exterior densely decorated in brown and black painting above a cream-colored slip.Provenance: Warren E. Cox (1895-1977), New York, USA. A private collection in New York, USA, acquired from the above after 1977. A private collector in Toronto, Canada, acquired from the above. Michael B. Weisbrod, Inc., New York, acquired from the above in 1990. An important North American collection, acquired from the above. Warren Earle Cox (1895-1977) was an important New York antiques dealer and an authority on porcelain and pottery from around the world. His two-volume work “The Book of Pottery and Porcelain” became a standard reference in the field.Condition: Superb condition commensurate with size and age. Some old wear and firing flaws, including open bubbles, firing cracks, pitting, and dark spots, all as expected for Ming dynasty Cizhou wares. Minor glaze flaking along the rims and base with associated small touchups. Minuscule losses, nicks and shallow surface scratches.Weight: 6,386 gDimensions: Height 43.6 cmThe neck masterfully painted with shaped reserves enclosing sages dressed in loose-fitting robes seated amid trees, clouds, and lotus, all below scholar's rocks and plantain leaves as well as a band of ruyi-heads and above bands of key-fret and scroll. The body with a band of lotus petals at the shoulder, above a band of peony blossoms and scrolling vines, and a band of Buddhist lions striking different poses and divided by their ribboned brocade balls, with a scroll band above the foot. The arrow holes with floral diaper.Arrow vases were made for a drinking game called 'touhu', which had been popular among elite men and women from the Spring and Autumn period (770-476 BC). Players threw arrows into bronze or ceramic vases with narrow tubular necks at prescribed intervals, each player equidistant from the vase. The winner successfully projected all his arrows into the vase and the loser was forced to drink at each miss. Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Literature comparison: Compare a closely related Cizhou painted touhu, 40 cm high, dated to the Ming dynasty, circa 1522-1566, in the collection of the British Museum, museum number 1937,0716.74.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2017, lot 1174 Price: USD 68,750 or approx. EUR 77,500 converted and adjusted for inflation at the time of writingDescription: A painted Cizhou jar, Yuan dynasty Expert remark: Compare the related manner of painting showing similar figures within shaped reserves. Note, however, that the present arrow vase is much rarer, of more elaborate form and decoration, and slightly larger than this jar (35 cm). 明代罕見磁州窯彩繪投壺中國，十五至十六世紀。長直頸、兩側貫耳，圓鼓腹，足底露胎，刮痕粗顯，胎質堅硬，色呈淺灰。唇口、内壁和外壁罩白釉，色澤乳白微黃。外壁彩繪人物、神獸以及纏枝花卉等紋樣。 出版：Michael B. Weisbrod，Inc.，From Kilns of Kings and Commoners，1990年，紐約，頁68，畫冊第27號。 由於字數限制，完整中文敘述請至www.zacke.at查看。
A RARE AND COMPLETE SET OF FOUR JADE OPENWORK SWORD FITTINGS, WESTERN HAN DYNASTYChina, 206 BC to 8 AD.Comprising:1) A pommel (shou) of circular form, the domed center carved as a dragon, encircled by alternating taotie masks and archaic scroll,2) A sword guard (ge) carved with central taotie masks to each side, the nose extending to the pointed lower end, flanked by phoenixes and archaic scroll,3) A scabbard chape (bi) of trapezoidal form carved with sinuously coiled dragons,4) A scabbard slide (zhi) carved with a central bi disc flanked by two confronting dragons with tails terminating in phoenix heads.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Excellent condition, commensurate with age. Expected wear, alterations and weathering, minuscule nibbling and losses, soil and iron rust encrustations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Weight: 113.6 g (total) Dimensions: Length 14 cm (the scabbard slide), 7 cm (the scabbard chape), and 6.8 cm (the sword guard), Diameter 6.7 cm (the pommel)The translucent jades are of a fine, greenish-yellow tone with cloudy inclusions, and scattered black speckles. The distinct iron rust encrustation indicates that the jades were buried with a source of iron, doubtlessly the decomposed blade.Expert's note: Xi'an City was the capital of China during the Western Han (202 BC-8 AD) period. According to metallographic studies of iron swords excavated in this region, all known examples were found in a severely decomposed condition. Consequently, they presented a wide range of damage such as fractures, incompleteness, and thick layers of corrosion. Such corrosion leaves notable decaying marks on their corresponding jade fittings, which take centuries to develop into the russet 'spiderweb' crackle found on the present lot. These alteration marks are inimitable, not only because they leave behind irreversible scars on the jade itself, but also because their metallurgic composition is quite unique.In ancient China, there were two pathways known for soft iron making: One was the so-called “direct process” in which bloomery iron, with a low-carbon content, was smelted in a furnace and then directly used for smithing larger numbers of lower quality blades. The second, so-called “indirect process” was more complex: After smelting from a blast furnace, cast iron was decarburized through a liquid-state procedure called Chaogang. This produced still-malleable iron with a significantly higher carbon content of up to 1%, or - in other words - steel of the best possible quality for the manufacture of high-end blades. Needless to say, jade was used primarily for fittings of blades from this group, a sign of almost exuberant luxury, marking its owner as a person of nobility. Similar fittings were also found on bronze swords, but only the ones discovered near the remnants of iron blades are encrusted with distinct rust patterns such as the present lot.This exceptional set of sword fittings exemplifies the best jade carving of the early Western Han period. Note the extreme thinness of the jades in several areas, with some parts of the guard and the chape measuring an incredible 1 mm in thickness.Literature comparison: Compare a closely related set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 - Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82. Compare four sword fittings from the Myers collection, dated to the Western Han period, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, nos. 130-133.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 2711 Price: HKD 8,460,000 or approx. EUR 1,148,000 converted and adjusted for inflation at the time of writing Description: An important set of three jade 'chilong' sword fittings and a jade sword guard, Western Han dynasty Expert remark: Note the smaller size (the largest 8.8 cm)西漢罕見一套四件玉劍飾中國，公元前206年至公元8 年。一套四件 來源：Irene與 Wolfgang Zacke (1942-2022)。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極佳，有磨損、風化、磕損、缺損、土壤結殼與鏽斑。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：總113.6克 尺寸：劍璏長 14 厘米，劍珌7 厘米，劍格6.8 厘米，劍首直徑 6.7 厘米 玉質細膩，有綠色、赭色斑，瑩潤有澤。玉石上明顯的鐵鏽斑。由於字數限制，完整中文敘述請至www.zacke.at查看。
'A SPRING OFFERING WITH AN ANCIENT GUI AND A STONE RUBBING OF A MYTHICAL BEAST', BY WU CHANGSHUO (1844-1927) AND ZHU CHENG (1826-1900)China. Ink and watercolors on paper, mounted as a hanging scroll. Superbly painted with a vibrantly colored flower growing from a leafy stem inside an ancient gui bronze vessel above a stone rubbing depicting a legendary bovine animal surrounded by astrological symbols, below a lengthy inscription.Inscriptions: Center right, 'Qingshan Qiaosu Cheng', and one seal, 'Zhu Cheng Zhi Yin'. Upper left, a text about the rubbing and the legendary animal it depicts, signed 'Changshuo Wu Junqin', and two seals, 'Wu Jun Zhi Yin' and 'Cang Shi'.Provenance: From a noted private collector. Condition: Excellent condition with only minor wear and minimal soiling to mounting.Dimensions: Image size 99.7 x 32.5 cm, Size incl. mounting 181 x 47 cm Wu Changshuo (1844-1927) was a prominent Chinese painter, calligrapher, and seal artist of the late Qing Period. Initially, he devoted himself to poetry and calligraphy with a strong interest in early scripts. He also led the Xiling Seal Art Society, an academic organization for Hangzhou-based seal artists. Only later did he consider himself a painter associated with the 'Shanghai School'. As a painter, he was noted for helping to rejuvenate the art of painting flowers and birds.Expert's note: The calligraphy, the gui and the stone rubbing are by Wu Changshuo, whereas the flower is by Zhu Cheng. Artprice, the world-leading art database, has recorded a total of eight other noted artists from the period with whom Zhu Cheng (aka Zhu Menglu) had similar collaborations during his accomplished career. Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 27 November 2012, lot 1259Price: HKD 500,000 or approx. EUR 79,000 converted and adjusted for inflation at the time of writingDescription: Wu Changshuo (1844-1927), Bamboo and BronzeExpert remark: Compare the closely related motif. Note the smaller size (68.5 x 33.8 cm)吳昌碩與朱偁款《土缶富貴花圖》中國，紙本設色，掛軸。牡丹綻放盛開，花朵艷麗，在枝壯葉茂的映襯下顯得風姿綽約。牡丹栽种在一土缶里，下方为缶之拓片。 款識：左上：土缶雖無字，是漢是晉莫能必，然出土與黃龍磚同穴，其古可知。先師藐公嘗顔予齋曰缶廬。予亦珍若璆琳，不肯輕示人，而富貴人皆不以缶為室寳。翔兄命工拓出，補以富貴花，深恐遽有豪攫者，茲特其先兆耳。昌碩吳俊卿。鈴印：吳俊之印；蒼石右上：青山樵叟偁；鈴印：朱偁之印 來源：知名私人收藏。 品相：品相良好，只有輕微的磨損和裝幀處小污漬。 尺寸：畫面99.7 x 32.5 厘米, 總181 x 47 厘米 專家注釋：書法、缶、拓片以及牡丹花為朱偁合作完成，兩位同爲晚清海派花鳥畫大師。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年11月27日，lot 1259 價格：HKD 500,000（相當於今日EUR 79,000） 描述：吳昌碩 (1844-1927)《竹與青銅器》 專家評論：比較非常相近的主題。請注意尺寸較小 (68.5 x 33.8 厘米)。
A Chinese porcelain export blue & white tureen & cover, Qing, 18th century, the domed cover with applied scroll handle, painted with a landscape, the tureen with rabbit head handles and painted with a pagoda beneath a pine tree opposite a fenced garden, on a raised foot, the tureen 30.5cm dia; and an export octagonal tureen and cover, the domed cover with pomegranate knop, painted with floral sprigs, the tureen with rabbit head handles and painted with a deer within a landscape of pine tree, peony, a lingzhi and dwelling, the tureen 28.5cm dia (all measurements excluding handles)The octagonal cover has been broken in two and with Eastern rivet repair. Otherwise all other items in good condition.
Late Qing Chinese ancestor portrait, ink and color on paper, depicting three figures, two women and one man. The central male figure is dressed in a vibrant blue surcoat with a red and gold civil rank badge beneath a pi ling and ling tou collars, a court necklace, and a brimmed hat with a tall finial. The two women are dressed in matching red robes, elaborately decorated in gold with four clawed dragons. 19th century.Huaxin; height: 90 in x width: 35 1/2 in. Scroll; height: 66 in x width: 38 1/2 in.
Group of miscellaneous itemscomprising of: a silver vesta case, bearing marks for London, 1917, 5cm overall, 38g approx overall, a continental white metal snuff box, stamped 830 with other marks, 5.5cm overall, 43g approx overall, a engraved brass box, decorated with flowers, 6cm overall, a Chinese cutlery set and a cased pair of brass and enamel scroll weights, each measure 19.5cm x 3cm (5)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
An exceptional pair of Irish Georgian period mahogany Side or Serving Tables, in the Chinese Chippendale style, each with a rectangular moulded top above an open fret cut frieze, raised on four square chamfered blind fret legs with C scroll angles, 84cms x 180cms (33" x 71"). (2) Provenance: Oldtown, Naas, Co. Kildare
Antique Chinese watercolour scroll depicting Shoulou with crane, signed, in glazed gilt gilt frame, 116cm x 51cm overall, together with a Chinese watercolour of archers on horseback and two Chinese embroidered sleeves, in glazed frames. (4)Provenance: removed from Basts, GrundisburghGlazed frame, not examined out of the frame, stain to upper left, the scroll has previously been rolled and there is significant associated creases and partial horizontal splits. Minor time stains.
Unusual George V silver table tobacco box in the form of a Chinese low table with engine turned decoration and applied scroll decoration, raised on four scroll feet, (London 1910), maker Percy Edwards LtdProvenance: property from the 6th Earl Howe of Gopsall Park and Penn House, thence by descent to a Lady of title
A Chinese scroll painting on paper of a female immortal and a male immortal riding a Buffalo amid clouds and birds, early 20th century, inscribed with seal marks upper left, image 77cm x 34.5cm**CONDITION REPORT**Minor spotting to the paper in places a few small creases to the paper otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese scroll painting on paper of a sage and a boy in a hut, early 20th century, inscribed and with seal mark upper right, image 31.5cm x 42.5cm**CONDITION REPORT**Some spotting to the paper all over a slight crease to the paper on the image, the brocade board is also with some spotting and occasional creasing otherwise in good conditionPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese scroll painting on silk of birds, rockwork and plants overhanging a pond, 19th century, inscribed and with seal marks upper left, image 164.5cm x 50.5cm**CONDITION REPORT**Image laid on paper and trimmed. Silk discoloured and with occasional patches of staining and some creasing to the surface, some slight chipping to the very edge, some patch repairs and repainting in areas, please see additional photos.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese scroll painting on silk of blackbirds perched on a blossoming branch, 19th century, inscribed and with two seals upper left, image 79cm x 35cm**CONDITION REPORT**Numerous surface losses to the paint, discolouration and occasional areas of staining, creasing to the silk in a number of areas, remounted with brocade borders.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Chinese School, early 21st century, scroll painting on paper of two tigers, inscribed upper left and with various seal marks to the image. image 92 cm x 173 cm**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese scroll painting on silk of a mother watching her children play in a garden, 19th century, inscribed and with a seal mark upper right, image 95cm x 21cm**CONDITION REPORT**Some occasional staining and discolouration to the silk ground, some creasing to the silk and lining paper of the painting, mounted with brocade borders which are a little worn and discolouredPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese scroll painting on paper of cranes perched in a pine tree, 19th century, inscribed upper left and with two seal marks, image 163.5cm x 44cm**CONDITION REPORT**PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese scroll painting on silk of a sage in a mountainous river landscape, 18th/19th century, inscribed and with a seal mark to the sky, image 69.5cm x 44cm**CONDITION REPORT**Discolouration to the silk ground with some patch losses around the edge and in other small areas, some occasional staining noticeably to the upper part of the sky. later mounted on brown paper and with later brocade bordersPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A PAIR OF CHINESE HORSESHOE-BACK ARMCHAIRS The top rail with scroll carved terminals, the splat carved in shallow relief with panels of figures and butterflies, the rounded supports with further carved and pierced spandrels 97cm high x 58cm wide x 54cm deep 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.
Chinese Cloisonne Enamel Scroll Weights. Copper / Bronze metal with white enamel ground. A Bird perched on a rocky outcrop with various Flowers above. Box is in poor shape, bone fasteners, remnants of label - Peoples Republic of china. Box is 29cm long.中国景泰蓝珐琅卷轴。铜/青铜金属，白色珐琅地面。一只鸟栖息在岩石露头上，上面有各种花朵。盒子形状很差，有骨扣，标签残留 - 中华人民共和国。盒子长29厘米
Ten assorted vintage handbags, to include a 1920s pink floral velvet pouch with mirror to the base, a 1920s Chinese embroidered bag, a 1930s small bag with floral and scroll lamé pattern in brown, orange and gold and diamanté frame, a 1950s clear beaded bag, a 1930s fabric bag in an Art Deco pattern with tortoise shell type handle, a 1950s black and silver beaded clutch, and Edwardian beaded pouch, a 1920s woodland brocade, a Victorian black leather bag with key lock and a lizard skin bag. (10)
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