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Click here to subscribeFull title: A Chinese blue and white lotus scroll vase, Xuande mark, KangxiDescription: Dia.: 23,5 cm - H.: 14 cmPlease contact us to let us know which lots are of interest, so we can make the requested report for you.Once complete, it will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Full title: A Chinese blue and white 'lotus scroll' vase, 19th C.Description: H.: 48 cm (the whole) H.: 34 cm (the vase)Please contact us to let us know which lots are of interest, so we can make the requested report for you.Once complete, it will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Full title: A Chinese blue and white 'lotus scroll' vase, WanliDescription: H.: 38 cmPlease contact us to let us know which lots are of interest, so we can make the requested report for you.Once complete, it will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Full title: A Chinese famille verte relief-molded scroll pot, 19/20th C.Description: Dia.: 20,5 cm - H.: 19 cmPlease contact us to let us know which lots are of interest, so we can make the requested report for you.Once complete, it will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Siren (Osvald). Early Chinese Paintings from A.W. Bahr Collection, London: Chiswick Press, 1938, 27 tipped-in plates, a few colour, slight toning to endpapers, all edges gilt, contemporary crimson morocco gilt, top corner bumped, light vertical mark to upper cover, folio, limited edition of 750, this copy unnumbered, presentation inscription to half title: 'Bound - with pleasure - for A.W. Bahr, August 1951, W.H. Langwell', together with Laufer (Berthold). T'ang, Sung and Yuan Paintings belonging to various Chinese collectors, Paris and Brussels: Librairie Nationale d'Art et d'Histoire/G. Van Oest and Co.,1924, 30 monochrome plates, gutta-percha perished, contents loose, original wrapper, spine titled in manuscript, light soiling, 4to, plus The Metropolitan Museum of Art. Ch'ing Ming Shang Ho. Spring Festival on the River. A Scroll Painting (Ex Coll. A.W. Bahr) of the Ming Dynasty after a Sung Dynasty subject, New York, 1948Qty: (3)NOTESProvenance: A.W. Bahr Collection. Abel William Bahr (1877-1959), collector of Chinese art and antiquities, and Secretary of the North China branch of the Royal Asiatic Society. A.W. Bahr is the author of Old Chinese Porcelain and Works of Art in China, being descriptions and illustrations of articles selected from an exhibition held in Shanghai, November 1908, published in 1911. A survey of Chinese paintings in the Bahr Collection by Osvald Siren was published by the Chiswick Press in 1938.
A Chinese hanging scroll of three paintings, Qing Dynasty, comprising; a fan painting, painted in ink with a mountainous landscape, signed, 51cm wide; a circular fan painting on silk depicting a mountainous landscape, signed, 24cm wide; a rectangular painting on paper of a monkey in a tree, signed, 26.5cm x 36cm. Condition Report Fan painting- some tears and losses to the paper, particularly along the lower edge. Some markings to the paper.Circular fan painting- some markings to the silk. An area of red pigment to the lower right hand side.Monkey painting- paper discoloured. Some small punctures and markings to the paper. Some tears at the top of the scroll.
A Chinese hanging scroll, 20th century, ink and colour on paper, painted with two cats beneath an overhanging plaintain tree, signed Wang Zhujui (1900-66) with two seals, 136 cm x 68.6cm. Provenance: Christie's, London, 10th November, 2006, lot 241. Condition Report Some markings and small areas of staining to the paper.
A very nice Chinese painting scroll featuring a beautifully coloured long-tailed bird standing on a branch, surrounded by pink and red roses. Inscribed and marked. Size: L:2030mm / W:895mm ; 825g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.
This beautiful painting scroll is decorated with a typical Chinese landscape featuring tall mountains, threes, small streams and houses. All is surmounted by a large inscription, possibly a poem. Size: L:2200mm / W:840mm ; 750g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.
A beautiful Chinese painting scroll depicting two long-tailed birds, surrounded by threes and flowers, resting on some branches. Inscribed and marked. Size: L:2050mm / W:845mm ; 770g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.
A very nice Chinese painting scroll featuring animals and floral decorations. A humminbird resting on a chrysanthemum branch and ducks swimming in a stream. Inscribed and marked. Size: L:2050mm / W:895mm ; 760g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.
This beautifully painted Chinese painting scroll depicts a typical court scene with two ladies holding a large fan made of peacock leaves and a court lady walking in a Chinese garden, surrounded by threes and flowers. Inscribed and marked. Size: L:2055mm / W:893mm ; 845g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.
An interesting Chinese painting scroll depicting a court lady wearing an intricate hair style and a beautifully decorated robe, seated on a table drinking tea. Inscribed and marked. Size: L:2000mm / W:830mm ; 640g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.
A Chinese black lacquered and gilt bronze figure of a Guan Yin seated in rajalilasana on a snow lion, she is wearing heavy robes, jewelry and a pierced crown, snow lion with finely engraved mane and tail. The centerpiece of the pierced openwork crown shows a tiny diminutive figure of Buddha. In this case the spiritual father of Guan Yin: the Jina Amithaba. Guan Yin is the Chinese Female interpretation of the Bodhisattva Avalokiteshvara and thus the same as the Tibetan, male counterpart Padmapani (Tibetan: Chenrezi). Guan Yin is usually shown in a white flowing robe - white being the symbol of purity -, and usually wearing necklaces of Indian/Chinese royalty. In the right hand is a water jar (as the Sacred Vase the water jar also one of the Eight Buddhist Symbols of good Fortune) containing pure water, the divine nectar of life, compassion and wisdom, and in the left, a willow branch to sprinkle the divine nectar of life upon the devotees as to bless them with physical and spiritual peace. The willow branch is also a symbol of being able to bend (or adapt) but not break. The willow is also used in shamanistic rituals and has had medicinal purposes as well. The crown usually depicts the image of Amitabha Buddha (Fully Conscious Infinite Light), Guan Yin's spiritual teacher before she became a Bodhisattva. A bird, mostly a dove, representing fecundity is flying toward her. A necklace or rosary is associated with her calls upon Buddha for succor, each bead of it representing all living beings and the turning of the beads symbolizes that Guan Yin is leading them out of their state of misery and repeated rounds of rebirth into nirvana, hence the beads represent enlightenment.Should a book or scroll of papers be within the portrayal, it is representing the Dharma, the teaching of Buddha or the sutra, the Buddhist text, Guan Yin is said to have constantly recited from. Size: L:525mm / W:360mm ; 20kg; Provenance: property of a London collector acquired in the early 1990s.
A beautiful Chinese scroll painting featuring a Chinese landscape with mountains and forests, all decorated with bright blue paint. Inscribed and marked. Size: L:2350mm / W:895mm ; 805g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.
A beautiful Chinese scroll painting featuring a kneeling court lady offering flowers to a male figure, depicted riding a deer. The scene is surrounded by a typical Chinese landscape with bamboo threes in the background. Inscribed and marked. Size: L:2030mm / W:895mm ; 820g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.
A very interesting Chinese painting scroll depicting two roosters with their chicks surrounded by threes and flowers. The rooster is the tenth of the 12-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar. The Year of the Rooster is represented by the Earthly Branch symbol é…‰. In Chinese culture, roosters represent prosperity in terms of both population and wealth. Inscribed and marked. Size: L:2030mm / W:895mm ; 830g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.
A beautiful Chinese scroll painting depicting long-tailed birds and doves surrounded by cherry blossom threes and large red and pink rose bushes. Inscirbed and marked. Size: L:2050mm / W:895mm ; 840g Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.
A Chinese silver gilt, filigree, enamelled and stone set tea caddy, cylindrical, mesh ground, overlaid with foliate scroll and floral decoration, Persian style cartouches, set with turquoise and coral cabochons and cloisonne floral sprays, the central band between ruyi head and floral rosette borders, 10.5cm high, 8.94ozt
A CIZHOU RUYI-SHAPED SGRAFFIATO ‘PEONY’ PILLOW, SONG DYNASTYChina, 960-1279. Of ruyi-head outline, the top boldly carved through the creamy-white slip with two luxuriant blooms borne on a leafy stem reserved against a ‘fish-roe’ ground within a double-line border, the slightly tapering sides with a band of stylized foliate scroll, covered with a cream glaze over a white slip, stopping neatly above the unglazed base.Provenance: Fong’s Gallery, Hong Kong, 19 January 1999. Dr. Koos de Jong, acquired from the above. A copy of the original invoice accompanies this lot. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good condition with old wear and firing flaws, including glaze recesses and dark spots, some encrustations and staining, some chipping to base and sides, all visible on images.Weight: 1,125 gDimensions: Length 18.8 cmLiterature comparison: Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong 1994, no. 152, p. 343. Chinese Ceramic Pillows. The Mr. & Mrs. Yeung Wing Tak Gift, Museum of the Western Han Tomb of the Nanyue King, Guangzhou 1993, nos. 41 and 43.Auction result comparison: Compare with a closely related pillow at Sotheby’s New York in Important Chinese Art on 11 September 2019, lot 713, bought-in at an estimate of USD 6,000-8,000.宋代磁州窯珍珠地如意形牡丹紋枕中國，960-1279年。如意形枕，枕面大膽地雕刻在乳白色地上，珍珠地上兩朵盛開的牡丹，整體覆蓋著一層乳白色釉，停滯在底座上方。來源：香港Fong’s Gallery藝廊，1999年1月19日。Dr. Koos de Jong收藏，購於上述收藏（隨附發票副本）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片：Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam)品相：狀況良好，有舊磨損和燒制缺陷，包括釉面凹痕和黑斑，一些結垢和污漬，底部和側面有些碎裂。重量：1,125 克 尺寸：長18.8 厘米 拍賣結果比較：一件相似磁州窯枕見紐約蘇富比Important Chinese Art 拍場2019年9月11日 lot 713, 估價 USD 6,000-8,000
A LARGE QINGBAI SHRINE, SOUTHERN SONG DYNASTYChina, 1127-1279. The thick-walled body supported on a slightly splayed foot, the exterior covered entirely with a pale bluish-white glaze. An opening cut into one side has a protruding shelf at the bottom, with applied scroll decoration above, and loops at either side to fasten a door, all surmounted by a domed roof decorated with further applied scrolls and with a bud-shaped finial.Provenance: Parthenon Gallery, London, 2003. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Superb condition with minor wear and firing flaws, such as glaze pooling, glaze recesses, and fritting, minimal chipping to the step below the frontal aperture, some nibbling to foot.Weight: 1,735 gDimension: Height 29.5 cmLiterature comparison: Chinese Ceramics Song-Yuan, Taipei 1997, p. 388. Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong 1994, no. 96, p. 229.Auction result comparison: Compare with a closely related Longquan shrine at Christies New York on March 22, 2019, in Fine Chinese Ceramics & Works of Art, lot 1618, sold for USD 18,750.南宋白釉龕中國，1127-1279年。圈足外撇，外壁上下稍小中間鼓，分爲三節，中間有一個矩形孔，在上方和兩側各有一個應用的建築元素，頂部成屋頂形，外部覆蓋著淡青白色釉。來源：倫敦Parthenon Gallery藝廊, 2003年。Dr. Koos de Jong收藏，購於上述收藏（發票已丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片：Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam)圖片：倫敦Parthenon Gallery藝廊 品相：狀況極佳，有輕微的磨損和燒制缺陷，例如釉堆積，凹痕和熔結，在正面孔下方的邊緣上有輕微碎屑，足部有輕微缺損。重量：1,735克尺寸：總高29.5厘米
A BLUE AND WHITE ‘LOTUS’ JAR, GUAN, MING DYNASTYChina, circa 1500. The baluster body rising from a slightly tapering foot to a short waisted neck with a lipped rim, boldly painted with a continuous wide band of lotus scrolls, the shoulder with another scrolling lotus band below a band of ruyi-heads, the neck with a band of ruyi-heads with scrolling ribbons, a large band of stiff floral lappets at the tapering foot, the base left unglazed.Provenance: Holzapfel collection, Geneva, Switzerland. The greater part of the Holzapfel Oriental Ceramics collection was formed in England and Ireland in the late 1950s and 1960s. After the death of Mr. Holzapfel, most of his pieces went to his children, ten in all. Two of Mr. Holzapfel's eldest sons then started their own collections in the early 1970s, both by adding significantly to their shares of the inheritance. Collecting was eventually continued by one of Mr. Holzapfel’s grandsons, who lives in Switzerland and is a member of the Oriental Ceramic Society. This lot was acquired by the grandfather of Mr. Holzapfel before 1970 and has been in the Holzapfel family ever since.Condition: Old wear and firing flaws, including glaze recesses, pitting, and dark spots, the neck and rim with old kintsugi repairs and associated cracks overall.Weight: 6,436 gDimensions: Height 31 cmThe present jar belongs to a group of early to mid-sixteenth century vessels, which were clearly inspired by earlier Yuan Dynasty jars.Literature comparison: Compare a similar Ming dynasty jar of the same size and shape, similarly painted with a large lotus scroll around the body and lotus lappets at the foot, in the Topkapi Saray Collection, illustrated by R.Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul. A Complete Catalogue II. Yuan and Ming Dynasty Porcelains, London, 1986, p.593, fig.825.Auction result comparison: Compare with a closely related Ming guan jar at Bonhams London in Fine Chinese Art on 12 May 2011, lot 301, sold for GBP 84,000.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.明代青花蓮紋理罐中國，約1500年。罐直口，短頸，溜肩，鼓腹，淺圈足，外壁以青花為飾，自上而下用青花三弦線分隔成五個紋樣帶。從上而下可見纏枝紋、如意紋、纏枝花卉、大型纏枝蓮花與蟬紋。底足未上釉。 來源：瑞士日內瓦Holzapfel收藏。 Holzapfel 東方陶瓷收藏的大部分藏品是在1950年至1960年代在英國和愛爾蘭成立的。Holzapfel先生去世後，他的大部分藏品都交給了他的十個孩子。Holzapfel先生年長的兩個孩子隨後於1970年代初開始了自己的收藏，都擴大了從遺產得到的收藏。Holzapfel先生的孫子之一他目前居住在瑞士，是東方陶瓷協會的成員，他最終延續了收藏工作。此拍品是1970年以前由Holzapfel先生的祖父購得的，此後一直存在於Holzapfel家族中。圖片: Holzapfel老先生 品相：舊磨損和燒製瑕疵，包括釉面凹痕，黑斑。頸部和罐口有舊時金繼修補工藝，整體有修補処延伸的裂紋。重量：6,436 克 尺寸：高31 厘米 拍賣結果比較：一件相近的明代罐見倫敦邦瀚斯Fine Chinese Art 拍場2011年5月12日 lot 301, 售價 GBP 84,000.
A CLOISONNE ENAMEL LANTERN VASE, JIAQINGChina, 1796-1820. The vessel is of the distinct ‘lantern’ shape decorated around the main body with elaborate lotus scrolls amid smaller blossoms, leaves and vines, all on a deep turquoise-blue ground characteristic of the period. The waisted neck and foot are similarly decorated. The bronze base, foot rim, lip and edges show a massive fire-gilding. Provenance: From an old French private collection. Condition: Absolutely original condition with no restoration or fillings whatsoever. Some firing irregularities and microscopic pitting. Some losses to enamels along the edges, the foot rim and lip with dents and minor warping. Old wear, especially to gilding. The central scroll with two areas of enamel loss.Weight: 1,952 g Dimensions: Height 35 cm Auction result comparison: For another lantern vase from the same period, compare with Christies London in Fine Chinese Ceramics and Works of Art, 15 May 2012, lot 92, sold for GBP 10,000.嘉慶掐絲琺琅纏枝蓮紋瓶 中國，1796-1820。花瓶具有獨特的“燈籠”形狀，瓶身裝飾著精緻的纏枝蓮紋，具有該時期特有的深藍綠色底特徵。青銅的底座、圈足、唇沿鎏金。 來源：法國私人老收藏 品相：絕對原始狀態，無任何修復或填充物。 一些燒製缺陷和細微點蝕。 邊緣、腳緣和唇部的琺瑯會因凹痕和輕微翹曲而損失一些。 舊時磨損，尤其是鎏金。 瓶身処有兩個琺琅缺損區域。 重量：1,952克 尺寸：高35 厘米 拍賣結果比較：另一件來自同一時期的燈籠瓶可見倫敦佳士得Christies London Fine Chinese Ceramics and Works of Art拍場，2012年5月15日，lot 92，售價GBP 10,000.
A LARGE POWDER-BLUE AND FAMILLE VERTE DISH, KANGXIChina, 1662-1722, ca. 1680. Painted to the central lobed foliate roundel with a gentleman playing the qin, accompanied by two elegant ladies before a pavilion in a fenced garden. The rim with cartouches enclosing various animals and antiquities, all reserved on a powder-blue ground heightened with gilt geometrical and scroll motifs. Stylized lotus mark within a double circle in underglaze blue to base.Provenance: From an old Irish private collection. Condition: Excellent condition with very minor wear, expected fritting, one small chip, the enamels well preserved, all consistent with age.Weight: 2,063 gDimensions: Diameter 39.7 cmDuring the early Qing dynasty, up until the early 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including floral marks and double circles.Literature comparison: Compare with a near identical dish, but marked to base with a pair of fish, in the collection of the Rijksmuseum, Amsterdam, inventory number AK-RBK 15844, published in Jörg, Christiaan J.A., Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, The Ming and Qing Dynasties, London 1997, p. 146, no. 159.Auction result comparison: Compare with a pair of near identical dishes at Christie’s Amsterdam on 2-3 October 2012, lot 402, sold for EUR 27,400.康熙大型灑藍五彩人物故事盤 中國，1662-1722年, 約1680。盤中央開光五彩描繪園中文士彈琴並兩位女士相伴欣賞場景。盤上折沿処開光彩繪花鳥神獸吉祥物。灑藍地，金彩繪六角紋。盤底青花雙圈圖記款蓮花。來源：愛爾蘭私人老收藏 品相：狀況極佳，磨損極小，一處小開裂，瓷釉保存完好。重量：2,063 克 尺寸：直徑39.7 厘米拍賣結果比較：一對幾乎一模一樣的盤可見於阿姆斯特丹佳士得2012年10月2-3日，lot 402, 售價EUR 27,400。
A BLUE AND WHITE ‘BAGUA’ LOBED DISH, KANGXI PERIODChina, 1662-1722. The shallow lobed sides rising from the short ring foot to a slightly everted lobed rim, the interior painted with alternating trigrams (bagua) and auspicious symbols (bajixiang) to the rim and with a medallion enclosing five scholars examining a scroll with a gankyil (“wheel of fortune”) symbol, the exterior with a band of crashing waves. The base with an apocryphal da Ming Chenghua nianzhi mark within a double-circle.Provenance: Belgian private collection. Condition: Minuscule chip to the rim and few tiny fleabites, otherwise in superb condition with very minor wear and firing irregularities, no hairlines whatsoever.Weight: 148.4 gDimensions: Diameter 16.5 cmLiterature comparison: A pair of similar bowls, painted with trigrams and crashing waves, is illustrated in Chinese Porcelain, The S.C. Ko Tianminlou Collection, Hong Kong, 1987, pl. 50, where it is noted that the Eight Trigrams, invented by the legendary Fuxi in remote antiquity and adopted by the Daoists during the Ming period, are rarely found on early Qing dynasty porcelain. Other examples include a bowl in the Palace Museum, Beijing, illustrated in Qing Shunzhi Kangxi chao qinghua ci, Beijing, 2005, no. 118, and another from the Goldschmidt Collection, sold at Sotheby's Hong Kong, 13 November 1990, lot 6.Auction result comparison: Compare with a related blue and white bowl, also painted with trigrams and crashing waves, but with a Kangxi mark, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 17-18 September 2015, lot 2233, sold for USD 100,000.康熙青花八卦八吉祥紋葵口盤 中國，1662-1722年。葵口，短圈足，口外撇，盤沿八卦紋與八吉祥紋，中央開光，描繪了五位道人觀賞八卦畫軸。外壁浪紋。底足内雙圈“大明成化年制”。 來源：比利時私人收藏 品相：邊緣輕微磕損，除此之外狀況極佳，磨損很小，燒制不規則，絲毫沒有髮絲綫細裂紋。 重量：148.4 克 尺寸：直徑16.5厘米 拍賣結果比較：一件相近青花八卦紋碗，康熙款，見紐約佳士得Fine Chinese Ceramics and Works of Art拍場，2015年9月17-18 日 lot 2233, 售價USD 100,000.
A LARGE AND MASSIVE ‘DOUBLE VAJRA’ PORCELAIN CADDY FOR SACRED TEA, LATE MINGChina, late 15th to mid-17th century. Of square form, the sides painted with Buddhist lions and cubs with brocade balls and ribbons surrounded by scrolling clouds and flames, the cover with a continuous lotus scroll to the sides and a visvavajra, the utter symbol of protection, at the top. The interior is fortified with a vertical flange to each side, supporting the considerable weight of this storage canister.Provenance: British private collection. Condition: Overall in good condition with wear, firing flaws, kiln grit, pitting, and fritting, the unglazed ware burnt to orange at the base, all exactly as expected on late Ming wares. Small hairlines, traces of usage and minor losses around the foot rim. Two areas of old repair to shallow surface chips (ca. 3 x 3 cm each).Weight: 16.4 kg (excl. cover) and 1,576 g (the cover) Dimensions: Height 50.4 cmThe present caddy was used to store ‘Dian’ tea, served only in a sacred hall where all the monks of a monastery or temple would gather before the Buddha, after the tea bell was struck by the tea monk as an initiation of the tea ceremony.The visvavajra on the cover is a most potent and indestructible symbol of protection, placed in this particular spot not only to dispel evil, temptation, and deception from the four directions, but also to repudiate individuals from withdrawing - thus desecrating - the precious contents of this caddy.The double vajra motif appears to have entered the Chinese repertoire of porcelain designs with the increased popularity of Lamaism – Tibetan Buddhism - in the Yuan dynasty. As early as 1207 Ghengis Khan sent envoys to Tibet, and a system developed so that Tibet accepted Mongol protection and suzerainty while providing the Mongols with spiritual guidance. In 1239, however, a Mongol army under Koden, second son of Ogodai Khan attacked Tibet, and the Tibetans decided to negotiate. The result was that Tibet submitted to the Mongols and the latter appointed the abbot of the Sakya monastery to exercise political authority over the whole of Tibet. The magic of Tantric Buddhism appealed to the Mongols and when they were initiated into the practices of Lamaism, they began to adopt that type of Buddhism to take the place of their own Shamanism.When Kublai Khan took over the great Khanate in 1260, he made Lamaism the national religion of the Mongols. After the Mongols established the Yuan dynasty in China in 1279, Lamaism flourished, receiving huge grants of land from the ruling house and the nobility. Tibetan Buddhist iconography appeared on objects in a variety of media made for the Yuan court. These included motifs such as the double vajra, which is seen on blue and white porcelain of the period. The influence of Lamaism on these porcelains came not only from the interests of the Mongols themselves, but from the Tibetan and Nepalese craftsmen who held high positions at the imperial porcelain kiln at Jingdezhen. The famous Nepalese artist Aniko (1245-1306) was appointed head of the Imperial workshops in 1278.In the Ming dynasty a number of the Chinese emperors had a genuine interest in Lamaist Buddhism, but they also patronized Lamaism as a way of maintaining control over both the Tibetans and the Mongols, through the support of the powerful high lamas. The Yongle Emperor involved both Tibetan and Nepalese craftsmen in the building of his new palace in Beijing. He also involved them in the running of the Imperial workshops, as had the previous Mongol dynasty. Their influence can clearly be seen in the works such as exquisite gilt-bronze Buddhist figures in Tibetan-Chinese style made during this reign. These pieces and those of the succeeding Xuande period (1426-35) were made with reign marks and for ritual use by the Imperial household or as gifts from the emperor to high Tibetan lamas favored by the Chinese court.During the reign of the Chenghua Emperor (1465-87) there were 437 Tibetan monks holding high rank and 789 lamas who could enter the court freely. The emperor’s advisers became concerned by this preoccupation with Buddhism and the amount spent by the emperor in connection with it, so that they suggested a sharp reduction in his support of Buddhism. This appears to have been adopted for the middle part of his reign, but his resumption of expressed interest in Buddhism can clearly be observed through the arts produced in the latter years of the Chenghua reign. Among these, the ceramics made at the imperial kiln provide a good indication of the incorporation of Buddhist motifs, including Tibetan Buddhist motifs, on porcelains made for the court.Literature comparison: A somewhat simpler double-vajra and ribbon design can be seen on the interior of a blue and white dish, in the collection of the Palace Museum, Beijing, illustrated in Blue and White Porcelain with Underglaze Red (II), The Complete Collection of Treasures of the Palace Museum, vol. 35, Hong Kong, 2000, p. 9, no. 7. A dish with double vajra on the interior, which is similar to the Beijing dish, was excavated at the Ming imperial kilns from the late Chenghua stratum and is illustrated in The Emperor’s broken china – Reconstructing Chenghua porcelain, London, 1995, p. 77, no. 102. A double vajra can also be seen in the central medallion on the interior of a large blue and white bowl in the collection of the Idemitsu Museum, illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, color plate 140. Compare also to a dish with a double vajra from the collection of Sir John Addis, illustrated by Jessica Harrison-Hall in Ming Ceramics in the British Museum, London, 2001, no. 6:10.Auction result comparison: Compare with a blue and white dish from the Ming dynasty, showing a closely related double vajra as on the present caddy, at Christie’s London in Rarity and Refinement: Treasures from a Distinguished East Asian Collection, on 15 May 2018, lot 7, sold for GBP 81,250.明代末期大型青花金剛杵茶葉罐中國，十五世紀末至十七世紀中葉。茶葉罐外壁可見太獅少獅戲珠圖，四周是滾動的雲彩和火焰，頂部纏枝蓮紋，側面可見金剛杵。 來源：英國私人收藏. 品相：總體而言狀況良好，有磨損，燒傷缺陷，窯渣，麻點和燒結現象，露胎部部成橙色，完全符合明代晚期瓷器的特徵。 細小的裂縫，使用痕跡和腳沿周圍的輕微磕損。有兩處舊時修復區域小開片（每片約3 x 3厘米）。 重量：不含蓋16.4 公斤；蓋1,576 克 尺寸：高50.4厘米 拍賣結果比較：於2018年5月15日 倫敦佳士得 Rarity and Refinement: Treasures from a Distinguished East Asian Collection 拍場中，與一件明代時期藍白盤比較，出与本罐密切相关的双金刚，lot 7，售價GBP 81,250。
A PAIR OF FAMILLE ROSE SILVER AND GILT-DECORATED DISHES, QIANLONGChina, 1735-1796. Each dish is decorated with a central lobed medallion showing a lady seated at her toilette looking in the mirror while fixing her coiffure, accompanied by her attendant shown standing and holding a basket. Encircled by white-enameled lotus scroll on a diaper border, below shaped floral panels at the silvered rim, the exterior and recessed base glazed white. (2)Provenance: The property of an English lady. Condition: Absolutely perfect condition with only very minor wear and firing irregularities. The silvering oxidized to black.Weight: 695.4 g (total)Dimensions: Diameter 22.6 cm (each)Literature comparison: A pair of similar dishes with similarly decorated everted rims on a silver-oxidized ground was sold at Sotheby's London, 30 October 1987, lot 734.Auction result comparison: Compare with a near-identical single dish, previously in the collection of the Metropolitan Museum of Art, at Christie’s New York, in Chinese Ceramics from The Metropolitan Museum, on 15 September 2016, lot 933, sold for USD 8,750.一對乾隆粉彩鎏金銀開光梳妝圖盤 中國，1735-1796年。每個盤子中央葵口開光中描繪著一位女士梳妝圖，侍女站著並拿著水站在一次。盤的折沿邊上開光，開光中會有纏枝花卉。 繪畫精美，細節入微。 來源：一位英國夫人財產 品相：絕對完美的狀態，只有極少的磨損和燒制不規則現象。 鎏銀氧化成黑色。 重量：縂695.4 克 尺寸：直徑各22.6 厘米 拍賣結果比較：一件幾乎相近的圖盤售于紐約佳士得 Chinese Ceramics from The Metropolitan Museum拍場2016年9月15日，lot 933, 售價USD 8,750.
A DOUCAI MINIATURE ‘LOTUS’ VASE, YONGZHENG MARK AND PERIODChina, 1723-1735. Delicately potted with a slightly compressed globular body rising from a short ring foot to a cylindrical neck, decorated with alternating lotus blooms and ruyi-heads borne on scrolling tendrils between palm blade bands on the shoulder and above the foot. The recessed base bears the neatly painted six-character mark da Qing Yongzheng nianzhi in underglaze blue within a double circle and of the period.Provenance: Zhou Shengli (1951-2018). Acquired at a Japanese auction house or gallery in the late 1980s (invoice not available). According to the present owner, who then was a young boy, “the price was about RMB 100,000 at the time”. Thence by descent within the same family to the present owner. Zhou Shengli was born in Shanghai and studied painting under Lu Yanshao (1909-1993). In the 1990s, he established the ‘Baosteel Painting and Calligraphy Society’ with him and his colleagues participating in many calligraphy and painting competitions and winning over twenty of the highest prizes and awards. Today, Zhou’s paintings are exhibited in the prestigious Beijing Gallery, along with many of China’s most important artists.Condition: Absolutely perfect condition with minor wear and microscopic firing irregularities.Weight: 100.5 gDimensions: Height 10.3 cmThe neck is decorated with bands of dot, fringe, and geometric scroll, all framed by circumferential lines, the foot with two circumferential lines as well.Small delicate vases of this type were displayed in the palace as receptacles for flowers, possibly on a scholar’s desk. Collected in the Palace Museum is a portrait depicting the Qianlong Emperor dressed in Han attire in a scholar’s studio, together with a monochrome lobed vase of related form to the current vase, containing flowers and placed on a stand on the table. This portrait is illustrated on the front cover of Tushuo Qinggong ciqi dang an – wenfang juan, Beijing, 2016.With a fitted Japanese silk storage box bearing an old paper label with an illegible inscription. (2)Literature comparison: Compare with a closely related vase, however incomplete or ‘unfinished doucai’ as it is only decorated in blue, at Sotheby’s Hong Kong in Fine Chinese Ceramics, Works of Art, Jade Carvings and Jadeite Jewelry on 4 May 1994, lot 170, with an estimate of HKD 100,000-120,000. Another Yongzheng vase of this rare pattern, from the S.C. Ko Tianminlou Collection, is illustrated by Liu Liang-yu, A Survey of Chinese Ceramics, vol. 5, p. 91. Compare, also, with another type of small doucai vase, with a lobed body and long neck, decorated with the ‘Three Friends of Winter’ motif, such as the one in the National Palace Museum, Taipei, illustrated in Special Exhibition of K’ang-hsi, Yung-cheng and Ch’ien-lung Porcelain Ware of the Ch’ing Dynasty, Taipei, 1986, pl. 46, and another in the Nanjing Museum, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 142.Auction result comparison: Compare with a related small doucai vase, but with a lobed body, at Christie’s New York in Fine Chinese Ceramics & Works of Art on 22 March 2019, lot 1810, sold for USD 237,500 and a pair of related small lobed doucai vases at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 29 November 2017, lot 2909, sold for HKD 9,700,000. 雍正款與年代斗彩纏枝蓮紋直頸小瓶 中國，1723-1735年。瓶形為小口，直頸，豐肩，腹碩大，短圈足。肩部裝飾芭蕉葉紋，腹部纏枝蓮紋。圈足内凹，雙圈青花“大清雍正年制“。來源：周生力 (1951-2018) 收藏。大約1990年代購於日本拍賣行（發票已遺失)。据現任藏家說，當年他才十幾歲，就花了十萬元人民幣。直至現任藏家前一直保存在同一家族中。周生力出生於上海，師從陸儼少(1909-1993) 學畫。1990年代他和他的同事們參加了許多書法和繪畫比賽，並贏得了二十多個獎項，從而建立了“寶鋼書畫學會”。 如今，周生力的繪畫作品與許多中國最重要的藝術家一起在著名的北京畫廊展出。圖片: 周生力與陸儼少，約 1970 至1980年間。 品相：絕對完美狀態，輕微磨損和燒制不規則。重量：100.5 克 尺寸：高 10.3 厘米 直頸部裝幾何捲軸帶以及圓點。瓶沿下與圈足上各有兩行青花紋。這類精緻的小花瓶經常用於宮内作為花瓶，可放書桌上。故宮博物院收藏的一幅乾隆帝在書房的畫中，有一個與當前花瓶相近的單色淺葉花瓶，裏面放著鮮花，放在桌上的博古架上。 這幅畫是《紫禁城的記憶：圖說清宮瓷器檔案·文房卷》的封面，北京，2016年。日本絲綢盒，印有難以辨認的舊紙標籤。 （2）文獻比較：香港蘇富比Fine Chinese Ceramics, Works of Art, Jade Carvings and Jadeite Jewelry 拍場1994年5月 4日, lot 170, 估價HKD 100,000-120,000；A Survey of Chinese Ceramics, the S.C. Ko Tianminlou Collection, Liu Liang-yu編著, vol. 5, p. 91；臺北故宮博物院, 特別展Special Exhibition of K’ang-hsi, Yung-cheng and Ch’ien-lung Porcelain Ware of the Ch’ing Dynasty, 臺北, 1986, 圖 46；南京博物院Treasures in the Royalty展覽 The Official Kiln Porcelain of the Chinese Qing Dynasty,上海, 2003, 圖 142。 拍賣結果比較：一件相似斗彩瓶，寬壺身，售于紐約佳士得 Fine Chinese Ceramics & Works of Art 拍場，2019年3月 22日，lot 1810，售價USD 237,500. 一件相似 小型斗彩瓶，售于香港佳士得Important Chinese Ceramics and Works of Art 拍 場，2017年11月29日，lot 2909，售價HKD 9,700,000.
A MING-STYLE BLUE AND WHITE ‘LOTUS BOUQUET’ DISH, 18TH CENTURYChina, 1736-1795. The rounded sides rising from a slightly tapering foot ring to a thick lipped rim. Decorated in fifteenth century-style with a ribbon-tied lotus bouquet in the center and a composite flower scroll on the interior and exterior sides, with a scroll border below the interior rim.Provenance: C. C. Lai Chinese Antiques Ltd, Toronto, Canada, 31 July 1987. Mrs. Jane Enlow Clark, acquired from the above, thence by descent in the same family. The original invoice, confirming the description and dating above, accompanies this lot.Condition: Overall superb condition with old wear and firing irregularities, such as glaze pooling and firing spots, surface scratches mostly to well (inspected under strong blue light).Weight: 1,044 gDimensions: Diameter 27.8 cmAuction result comparison: Compare with a closely related, also unmarked but smaller dish at Christie’s London in Fine Chinese Ceramics and Works of Art on 14 May 2019, lot 302, sold for GBP 15,000, and another closely related and unmarked but slightly larger dish at Christie’s New York in Fine Chinese Ceramics and Works of Art on 18-19 September 2014, lot 947, sold for USD 16,250.十八世紀明代風格青花一把蓮紋盤 中國，1736-1795年。青花一把蓮紋盤敞口，弧形壁，淺圈足，形籹規整。釉質肥腴。盤心繪蓮花、蓮蓬、茨菰、浮萍等水生植物，以緞帶束在一起，故此紋飾有“一把蓮”之稱。內外壁分別飾纏枝四季花卉紋，內外口沿皆繪一周卷草紋。 來源：加拿大多倫多C. C. Lai Chinese Antiques Ltd, 1987年7月31日；Mrs. Jane Enlow Clark, 從上述收藏購得，自此同一家族世代相傳。隨附原始發票，上面可見相關描述和斷代。 品相：整體狀況極佳，有舊磨損和燒成不規則現象，例如釉料積聚和燒成斑點，大多劃痕在盤内（在強藍光下檢查）。 重量：1,044 克 尺寸：直徑27.8 厘米 拍賣結果比較：一件無款相近但稍小的盤見倫敦佳士得 Fine Chinese Ceramics and Works of Art 拍場，2019年5月14日，lot 302, 售價GBP 15,000；另一件無款但更大的盤見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場，2014年9月 18-19 日 lot 947, 售價USD 16,250.
A SILVER REPOUSSE QUATREFOIL BOWL, MING DYNASTYChina, 1368-1644, or possibly earlier. The flared body rising from an oval foot rim, the sides divided into four lobes by raised lines. Decorated to the center in repousse with a pair of mythical birds flying amidst scrolling vines, their long tail feathers trailing behind them. The details highlighted in fine incision work, all against a minute ring-punched ground and surrounded by a beaded band.Provenance: From a private collection in California, USA. Condition: Excellent condition with extensive wear, fine patina, some minor dents and minimal warping.Weight: 95 g Dimensions: Length 12.2 cm The foot with a circle of small overlapping petals, the slightly everted rim finely chased with a band of trefoil-shaped leaves. The base and outer walls with a design similar to the center and in equally fine and skillful execution. Bowls of this elegantly pronounced, lobed quatrefoil form shaped after Persian silver and gold drinking vessels, are scarce and only very few examples exist. They were produced from the Tang dynasty onwards. Literature comparison: Pairs of flying birds including parrots and phoenixes depicted in silver repousse adorned a number of pieces discovered in the Dingmaoqiao hoard at Dantu, Zhenjiang, Jiangsu province, for example, on the cover of a circular box, see Sekai bijutsu tai zenshu, Toyo hen, volume 4, Tokyo, 1997, plate 62. For further pieces compare Tangdai jinyin qi, Beijing, 1985, plates 213 and 215. Compare also a bowl included in the China Institute in America exhibition of ‘Early Chinese Gold and Silver’, China House Gallery, New York, 1971, catalog number 83, of five-lobed form with an everted rim and a flat bottom, decorated with a single peony spray in the interior and with the rim chased with a scroll motif on a ring-matted ground. Also compare with numbers 78 and 79 in the same publication. Finally compare the incised and punched decoration to the outer walls of the present vessel with an octagonal cup in the Metropolitan Museum, New York, accession number 1985.214.17.Auction result comparison: Compare with a related but smaller cup, undated, at Sotheby’s London, in Masterpieces of Chinese Precious Metalwork, 14 May 2008, lot 53, sold for GBP 36,500.明代四瓣捶揲銀碗中國, 1368-1644年，或可能更早。橢圓形圈足外撇，外壁呈喇叭形，外壁成四瓣。紋飾成對，有一對神鳥飛舞在纏枝紋中，長尾隨其後。精細捶揲突出細節，邊緣串珠紋圍繞。 來源：美國加利福尼亞私人收藏 品相：狀況良好，廣泛的磨损，良好的銅綠，輕微的凹痕和小的翹曲。 重量：95克 尺寸：長12.2 厘米 拍賣結果比較：一件相似尺寸較小的碗，年代不詳，售于倫敦蘇富比Masterpieces of Chinese Precious Metalwork拍場2008年5月14日，lot 53, 售價GBP 36,500.
A TRANSPARENT OLIVE-GREEN GLASS ‘TAOTIE’ SNUFF BOTTLE, QING DYNASTYChina, 1720-1790. Imperial, attributed to the Palace Workshops, Beijing. Either side with a carved central roundel enclosing raised taotie motifs encircled by an incised leiwen band, the sides each with a similarly engraved scroll. The flattened globular body rising from a flat oval base to a short waisted neck.Provenance: From the collection of Dr. Erika Pohl-Ströher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Ströher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world’s most valuable collections of gems and minerals.Condition: Excellent condition with minor wear.Stopper: Coral with silver and gilt bronze fittings and spoon Weight: 44.4 gDimensions: Height including stopper 67 mm. Diameter neck 15 mm and mouth 8 mmThere are four colors of green glass listed in the Palace Archives from the Qianlong period: green, transparent green, bean green and jadeite green. Unfortunately, these words give little information other than a descriptive term. It is possible that the color of the present bottle is bean green, also known as West Lake Green, a somewhat more poetic term. The West Lake is part of the city of Hangzhou and was famous for its olive-green color. Literature comparison: A bottle of identical olive-green color is in The Crane Collection, www.thecranecollection.com, no. 208, where an Imperial attribution is also given.Auction result comparison: Compare with a related snuff bottle, dated 1720-1750 and with etched decorations, at Sotheby’s New York in The Joe Grimberg Collection of Chinese Snuff Bottles on 14 September 2010, lot 14, sold for USD 10,000.清代茶色料雷紋肩饕餮紋鼻烟壺 中國，1720-1790年。御制，可能來自北京清宮玻璃坊。兩側各有一個開光，內雕饕餮紋，兩肩雷紋。直頸，圓肩，圈足，壺體呈扁豉形，透明光素。 來源：Erika Pohl-Ströher（1919-2016）博士收藏，保存於同一家族至今。 Erika Pohl-Ströher博士是德國出生的瑞士人，是護髮和化妝品公司Wella AG的女繼承人。 她是一位忠誠的收藏家，一生中積累了許多重要的藝術收藏以及世界上最有價值的寶石和礦石收藏之一。 圖片：Dr. Erika Pohl-Ströher 品相：狀況極好，輕微磨損。 壺蓋：珊瑚，鎏金銅蓋托，小壺匙 重量：44.4 克 尺寸：含蓋總高67 毫米，頸部直徑15 毫米，嘴部直徑8 毫米 拍賣結果比較：一件相近鼻烟壺, 1720-1750 年，見紐約蘇富比The Joe Grimberg Collection of Chinese Snuff Bottles 拍場，2010年9月14日 lot 14, 售價USD 10,000.
A HARDSTONE AND JADE-INLAID ZITAN TABLE SCREEN, QINGChina, 1644-1912. The rectangular lacquered panel inlaid in celadon jade with an imposing archaistic gu vase, with handles issuing from monster mouths and decorated with palm-leaf blades, taotie masks, and chilongs, containing a brush, a scroll, and other scholar’s objects and standing on a base, inlaid in various hardstones such as soapstone, quartz, and nephrite.Provenance: From a private collector in Texas, USA, of ancient German ancestry. Condition: Good condition with old wear, traces of use, some age cracks, warping and gaps to wood, one hardstone inlay with a crack, minor nicks and dents here and there.Weight: 3.4 kgDimensions: Height 63.5 cm (incl. stand), Panel size 47.7 x 37.7 cmThe backside of the panel painted in gilt and polychrome lacquer with auspicious objects and scrolling clouds. The zitan frame carved with a key-fret band along the inner edge, the zitan stand carved with chilong to the sides as well as lotuses and peaches below the panel.Opulent embellished lacquer panels such as the present lot utilizing prized materials set onto lacquer surfaces, were used within the Imperial palaces as hanging panels, table screens raised on wood stands, and incorporated within furniture such as Imperial thrones and cabinets.Literature comparison: See the Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, nos. 18, 19, 180, 182, and 183.Auction result comparison: Compare with a related table screen, of smaller size and dated to the Qianlong period, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 28 November 2017, lot 44, sold for HKD 375,000.清代紫檀鑲寳插屏 中國，1644-1912年。青玉鑲嵌于長方形的漆板中，古樸的花瓶中置立著各種如軟玉、石英與皂石雕刻而成的毛筆、捲軸、如意和拂塵。 來源：美國德克薩斯私人收藏，藏家有著傳承已久的德國血統。 品相：狀況良好，有舊時磨損，使用痕跡，一些年代裂紋、翹曲和縫隙，一塊硬石鑲嵌物帶有裂紋，到處有小刻痕和凹痕。 重量：3.4 公斤 尺寸：含底座高63.5 厘米, 插屏47.7 x 37.7厘米 拍賣結果比較：比較一個相似但尺寸較小的乾隆時期桌屏，於2017年11月28日在香港邦瀚斯Fine Chinese Ceramics and Works of Art拍場售出，拍號44，成交價HKD 375,000。
A COPPER EWER AND COVER, QING DYNASTYTibetan-Chinese, 18th-19th century. The copper body embellished with a gilt bronze handle in the form of a makara, the elegantly curved spout with an inlaid turquoise on the silver end and issuing from a repousse lotus scroll application, the shoulder and neck with silver applications showing the bajixiang and phoenixes surrounded by scrolling vines.Provenance: English private collection. Condition: Excellent condition with minor wear and casting irregularities, occasional light scratches, and few minuscule nicks.Weight: 2,628 gDimensions: Height 29.6 cmThe stepped circular cover with a lotus bud finial above scrolling vines and a band of shiva lingams, all executed in the finest silver repousse.Auction result comparison: Compare with a related ewer and cover of slightly different form at Bonhams London in Fine Chinese Art on 10 November 2011, lot 528, bought-in at an estimate of GBP 3,000-5,000. Compare also with a related, but smaller ewer and cover at Koller Auctions in Zurich, Switzerland, in Asian Art: Himalaya, China (A195as), lot 238, sold for CHF 8,125.清代鑲銀銅蓋壺 漢藏，十八至十九世紀。銅壺，執柄鎏金成神獸摩迦儸形。優雅的弧形壺嘴，銀質嘴鑲嵌綠松石色，蓮葉紋。肩部和頸部鑲銀，八吉祥紋與鳳凰穿花紋。 來源：英國私人收藏 品相：狀況極佳，有輕微磨損和鑄件不規則現象，局部有輕微刮擦，機輕微划痕。 重量：2,628 克 尺寸：高29.6 厘米 拍賣結果比較：一件相近但形狀不同的蓋壺見倫敦邦翰斯Fine Chinese Art 拍場，2011年11月10日 lot 528, 估價GBP 3,000-5,000。比較另一件相近但是較小的蓋壺，售於瑞士蘇黎世Koller拍賣行Asian Art: Himalaya, China (A195as)拍場，lot 238，售價CHF 8,125。
A TIBETAN-CHINESE SHAGREEN AND LACQUERED WOOD SADDLE WITH IRON FITTINGS, QINGChina, late 18th to early 19th century. Of typical form, the wood frame lacquered in red to the base, the upright pommel and cantle covered in white shagreen, edged with iron fittings inlaid with bats and Shou characters, the seat padded with a wool cushion and decorated with colorful coarse wool fabric as well as red and black crosses.Provenance: UK private collection, by repute acquired in an antique shop on King’s Road, London, during the early 2000s.Condition: Fine and original condition with extensive wear, traces of use, nicks and dents, some losses, the textile with tears and abrasions, some inlays missing.Weight: 4,587 g (the saddle), 691.2 g (the stirrup straps), and 1,211 g (the stirrups)Dimensions: Height incl. stand 66 cm, Length 45.5 cmThe stirrup straps each with floral decorations embroidered in silver thread as well as gilt and silvered metal fittings executed in repousse with dragons, scroll designs, and a kirtimukha to either end.With two plain iron stirrups and a nicely fitted metal stand. (6)清代漢藏鮫皮漆木馬鞍中國，十八世紀至十九世紀初。典型馬鞍，木框漆成紅色，底部塗漆，直立的鞍子和底部覆蓋著白色的鮫皮，邊緣有鐵製配件，上面鑲嵌有蝙蝠和壽字，座椅上墊有羊毛墊子，並飾有彩色粗羊毛織物，以及紅色和黑色交叉紋理。 來源：英國私人收藏，據説購於二十一世紀初倫敦King’s Road路上的古玩店 品相：良好的原始狀態，廣泛磨損，使用痕跡，划痕和凹痕，一些缺損，紡織品局部撕裂和擦傷，一些鑲嵌物丟失。 重量：馬鞍4,587 克；馬蹬帶691.2 克；馬蹬1,211 克 尺寸：縂高66 厘米, 長 45.5 厘米 兩個鐵馬蹬和一個金屬架。
A GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, 15TH CENTURYTibet. Cast seated in dhyanasana with the hands lowered in dhyanamudra holding an alms bowl, wearing a pleated robe with finely incised scroll borders draped over the left shoulder. The serene face with an urna, downcast almond-shaped eyes beneath gently arched eyebrows, and slender lips forming a subtle smile, flanked by a pair of long pendulous ears.Provenance: Swiss private collection.Condition: Excellent condition commensurate with age, with minor wear, light surface scratches, expected wear to gilt, minuscule nicks and dents here and there, the original seal plate with two larger dents, some casting flaws.Weight: 1,607 gDimensions: Height 18.5 cmThe head and domed ushnisha covered with tight curls and surmounted by a bud-shaped jewel, all supported on a double lotus pedestal with beaded edges, the base sealed with a vishvavajra.Auction result comparison: Compare with two closely related but considerably smaller bronzes, one at Sotheby’s London in Important Chinese Art on 11 May 2016, lot 64, sold for GBP 18,125, and the other at Christie’s in Indian & Southeast Asian Art on 12 September 2012, lot 548, sold for USD 22,500. Compare also with a closely related but significantly larger bronze at Sotheby’s London in Important Chinese Art on 4 November 2020, lot 150, sold for GBP 69,300.十五世紀銅鎏金釋迦牟尼像 西藏。造像結跏趺坐，手結禪定印並持抱著一個施捨碗，穿著百褶長袍。 平靜的臉龐上有天眼，眉毛下杏仁狀的眼睛低垂，細長的嘴唇形成了微妙的笑容，兩側是一對長長的耳朵。 來源：瑞士私人收藏. 品相：狀況與年齡相稱，小磨損，表面輕微划痕，預期的鎏金磨損，到處都有微小的刻痕和凹痕，原始的密封板有兩個較大的凹痕，一些鑄造缺陷。 重量：1,607 克 尺寸：高18.5 厘米 拍賣結果比較：兩個相近但尺寸稍小的造像，一個可見倫敦蘇富比Important Chinese Art 拍場，2016年5月11日，lot 64, 售價GBP 18,125；另一件見佳士得Indian & Southeast Asian Art拍場，2012年9月12日lot 548, 售價USD 22,500. 一件相近但更大的造像見 倫敦蘇富比Important Chinese Art 拍場，2020年11月 4日 lot 150, 售價GBP 69,300.
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