A SMALL ZITAN ‘IMITATION BURLWOOD’ BRUSHPOT, BITONG, QINGChina, 18th-19th century. Carved with a textured exterior detailed with varying sizes of burls and knots, the wood of a dark reddish-brown color detailed with characteristic short streaks.Provenance: Estate of Sear Hang Hwie Pao (1937-2009). Previously acquired at Sotheby’s during the 1980s or 1990s (according to auction label). Old collector’s label to base. Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto’s trendy Yorkville area from the 1980’s to early 2000’s.Condition: Good condition with minor wear, occasional light scratches and small nicks, and some minor natural age cracks.Weight: 98.3 gDimensions: Height 10.3 cmAuction result comparison: A related zitan brush pot in imitation of burlwood, together with a zitan scroll pot and of considerably larger size, was offered by Sotheby’s Hong Kong in Chinese Art on 3-4 December 2015, lot 591, bought-in at an estimate of HKD 120,000-180,000.清代木瘤形紫檀木筆筒中國，十八至十九世紀。仿木瘤狀，深紅棕色木料，紫檀木特有的短條紋。 來源：Sear Hang Hwie Pao (1937-2009) 遺產。之前是1980或1990年代在蘇富比拍賣行（根據拍賣標籤）購得的。 底座可見老收藏家的標籤。Pao是加拿大中國瓷器和藝術品的主要經銷商之一。 他和妻子創立了Pao＆Moltke Ltd古玩店，妻子von Moltke夫人是德國和丹麥貴族後裔。他們的古玩店從1980年代到2000年代初期曾是多倫多時尚的Yorkville地區的熱門店鋪。 品相：品相良好，輕微磨損，局部輕微的划痕，小刻痕，一些輕微年代裂紋。 重量：98.3 克 尺寸：高10.3 厘米 拍賣結果比較：一件相似木瘤型紫檀筆筒，更大尺寸，一同與另一件拍品，見香港蘇富比 Chinese Art 拍場2015年12月 3-4日 lot 591, 估價HKD 120,000-180,000.
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A CARVED ZITAN TABLE-FORM ‘SHOULAO AND BOYS’ MINIATURE STAND, QINGChina, 18th-19th century. The rectangular top supported on shallow legs and carved in high relief with Shoulao in the center, smiling at a recumbent deer in front of him, beside two boys carrying gigantic peaches, and a gnarled pine tree with leafy vines to his other side, all amid ruyi-shaped clouds.Provenance: From a British private collection. Old, only partly legible lacquer-inscription reading ‘Chinese … £155’ to bottom.Condition: Very good condition with old wear, occasional light scratches, few nicks and microscopic nibbling to edges, and tiny natural age cracks.Weight: 522.5 gDimensions: Length 27 cmThe rare and prized zitan wood was available only to the master craftsmen employed by the Woodworks (Muzuo) in the Palace Workshop. Historically, zitan was primarily grown in southern India and Southeast Asia, with a very small quantity known from the southern provinces of present-day Guangxi, Guangdong, and Jiangxi in China. Appreciated for its jade-like silky texture, fine and dense grain, and deep luster, it was the favored timber of both the Ming and Qing courts. Zitan became the Qianlong Emperor’s most favored wood type and he spared no expense in acquiring it. The wood’s long growth period, limited availability, and high demand primarily from the Imperial court, led to its excessive felling and eventual disappearance in China by the early 18th century. At court, zitan was predominantly used for the decoration and furnishing of the many halls and palaces of the Forbidden City. Its use was scrupulously monitored, and the emperor gave special instructions to ensure the most economical and responsible use of the palace’s zitan supply to avoid any waste.Literature comparison: A related, low shaped rectangular wood stand can be found in an eighteenth-century hand scroll painted by an anonymous court master, entitled ‘Pictures of Ancient Playthings’, scroll 6, currently in the Percival David Foundation, London, and illustrated by E. Rawski and J. Rawson, China: The Three Emperors, 1662-1795, Royal Academy of Arts, London, 2005, pp. 252-3, pl. 168. Another related example can be found in an anonymous court painting, Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor, dating to the late Kangxi period (between 1709-1723), illustrated ibid., pp. 258-9, pl. 173.Auction result comparison: Compare with a related carved zitan xiaoji stand at Sotheby’s London in Fine Chinese Ceramics & Works of Art on 6 November 2013, lot 53, sold for GBP 10,000.清代紫檀雕壽老拜壽方座中國，十八至十九世紀。長方形底座，短腿，表面浮雕壽老拜壽圖。壽老居中，身側一隻臥著的鹿，旁邊是兩個童子，抱著幾個著碩大的桃子，而另一側則是一棵蒼松，枝葉茂密。四周圍繞著如意形的雲朵。 來源：英國私人收藏。底部舊時漆描 ‘Chinese … £155’ 。 品相：狀況良好，有舊磨損，輕微划痕，少量划痕和微小的邊緣磕損，以及很小的自然年齡裂縫。 重量：522.5 克 尺寸：長 27厘米 拍賣結果比較：一件相近紫檀雕刻小几售于倫敦蘇富比 Fine Chinese Ceramics & Works of Art 拍場2013年11月6日, lot 53, 售價GBP 10,000。
A LARGE AND MASSIVE HUANGHUALI SCROLL POT, BITONG, LATE MING TO EARLY QINGChina, 16th-17th century. Modeled in a gently flaring cylindrical form. The attractively figured surface of a golden-brown color with dark fluid streaks and distinct ‘ghost eyes’. Note the elegant luster and grain of the wood.Provenance: Ton Ying & Company, New York. US private collection, acquired from the above. Ton Ying & Company is a long-standing gallery of Chinese works of art owned by Chen Shizhen since 1975. Chen’s clients have included the likes of John D. Rockefeller III, Arthur M. Sackler, and Anthony Quinn.Condition: Good condition with wear, natural age cracks, old fillings, one small hole drilled to foot.Weight: 5.2 kgDimensions: Height 29.5 cm, Diameter 27.5 cmThis very large pot is designed for storing scrolls. Made of tightly grained wood with patterns flowing through the cylindrical shape, the pot is very slightly tapered with completely plain and thick walls.Auction result comparison: Compare with a related but slightly smaller brush pot at Sotheby’s Hong Kong in Ming Furniture – Portable Treasures on 5 October 2016, lot 3009, sold for HKD 500,000.明末清初大型黃花梨筆筒 中國，十六至十七世紀。柔和圓柱體造型，精美的金棕色表面帶有深色條紋和獨特的“鬼眼”。 請注意木料的優雅光澤和紋理。 來源：紐約Ton Ying & Company。美國私人收藏，購於上述公司。Ton Ying & Company 是Chen Shizhen自1975年建立的中國古玩行。他的客戶包括John D. Rockefeller III, Arthur M. Sackler以及 Anthony Quinn。 圖片：Ton Ying & Company 的Chen Shizhen 與紐約市長Michael Bloomberg 品相：狀況良好，有磨損，天然裂縫，舊填料，在腳上鑽了一個小洞。 重量：5.2 公斤 尺寸：高29.5 厘米，直徑27.5 厘米 拍賣結果比較：一件相近但更小的筆筒見香港蘇富比Ming Furniture – Portable Treasures 拍場，2016年10月 5日lot 3009, 售價HKD 500,000.
A RETICULATED BAMBOO ‘SEVEN SAGES’ BRUSH POT, BITONG, MID-QINGChina, 18th-19th century. Featuring a continuous openwork scene of 'The Seven Sages of the Bamboo Grove'. Two sages playing weiqi and four examining a scroll while the seventh looks on from behind, all against a backdrop of finely reticulated towering bamboo stalks, the depiction framed by two large pine trees and craggy rockwork.Provenance: French private collection, old collector’s label reading ‘do not leave in the sun or expose to heat [translated from French]’.Condition: Good condition with natural age cracks, few minuscule nicks and losses, a larger loss to the underside. The natural patina nicely grown into a warm, golden-brown color.Weight: 349.7 gDimensions: Height 14.8 cmThe Seven Sages of the Bamboo Grove' were mid-3rd century literati who retreated to the countryside as a reaction against the corrupt politics of the Wei dynasty rulers. They reflect the virtues of art and intellectual pursuits.Auction result comparison: Compare with a related bitong at Christie’s New York in Fine Chinese Archaic Bronzes, Ceramics and Works of Art on 20 September 2002, lot 155, sold for USD 11,950.清代中期竹雕竹林七賢筆筒 中國，十八至十九世紀。竹雕精美，以“竹林七賢”爲主題，兩人下圍棋，四位欣賞書畫，而第七個則從後面看，四周高聳竹林，以及松樹和岩石。 來源：法國私人收，舊藏家標簽“不要放在陽光下或暴露在高溫下” [從法語翻譯過來]’. 品相：狀況良好，具有自然的年齡裂縫，幾乎沒有微小的划痕和損失，下部有比較大的缺損。自然的溫暖的金棕色包漿。 重量：349.7 克 尺寸：高14.8 厘米拍賣結果比較：一個相似的筆筒，於2002年9月20日在紐約佳士得Fine Chinese Archaic Bronzes, Ceramics and Works of Art 拍場，拍號155，成交價USD 11,950。
A RETICULATED IVORY ‘SCHOLARS’ BRUSH POT, BITONG, QING DYNASTYChina, 18th-19th century. Of cylindrical form, superbly carved in different levels of relief with a continuous scene of scholars inside and outside of pavilions surrounded by bamboo and wutong trees, one scholar painting on a scroll with others inspecting, an old man fishing under a large tree with a boy beside him holding a giant fish, all against a finely pierced diaper-pattern ground.Provenance: Langlade, Drouot, Paris, 12 October 2000, by repute (the invoice is lost). French private collection, acquired from the above.Condition: Very good condition with minor wear, natural age cracks, some nibbling, and minuscule losses here and there. Fine, naturally grown patina.Weight: 232.9 gDimensions: Height 11.3 cm, Diameter 8.7 cmAuction result comparison: Compare with a closely related bitong, dated 18th-19th century, at Sotheby’s New York, in Fine Chinese Ceramics & Works of Art, on 11-12 September 2012, lot 202, sold for USD 8,125. Also compare with a related bitong, dated 18th century, at Christie’s Hong Kong, in Exceptional Chinese Works of Art from an Important European Collection, on 30 November 2011, lot 2902, sold for HKD 920,000.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清代象牙雕文士筆筒中國，十八至十九世紀。圓柱形筆筒，局部鏤空浮雕，錦地紋，竹子和梧桐樹包圍的涼亭內外的學者場景，一位學者與其他人一起做畫，一位老人正在大樹下釣魚，在他旁邊一個男童抱著一條大魚。來源：法國私人收藏，據說購於巴黎Langlade, Drouot，2000年10月12日(發票遺失)。品相：狀況極佳，有輕微磨損，自然老化裂紋，有些零星缺損。 天然包漿細膩。重量：232.9 克尺寸：高11.3 厘米, 直徑8.7 厘米 拍賣結果比較：一件十八至十九世紀筆筒見紐約蘇富比Fine Chinese Ceramics & Works of Art拍場2012年9月11-12日 lot 202, 售價USD 8,125. 另一件相似的十 八世紀筆筒見香港佳士得Exceptional Chinese Works of Art from an Important European Collection拍場2011年11月30日 lot 2902, 售價HKD 920,000.
A DARK GREEN JADE OPENWORK ‘CLOUD-SCROLL’ PENDANT, GOUYUN, HONGSHAN CULTUREChina, c. 4500-3000 BC. The opaque stone of a dark green, almost black tone with paler green shadings as well as cloudy white and russet inclusions, the pendant with a prominent central scroll and protuberances at the corners reminiscent of phoenix heads. Pierced for suspension.Provenance: The Collection of Irene and Wolfgang Zacke. 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 for sale, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive collection over the decades. Published: 4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 20, no. 18.Condition: Very good condition with old wear, signs of weathering, some nibbling to edges, minor traces of use and shallow surface scratches, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Weight: 117.1 gDimensions: Length 13.5 cmLiterature comparison: Compare with a related jade excavated at the Sudalei archaeological site in Bairin Right Banner and now in the Museum of Chifeng city, Inner Mongolia Autonomous Region.Auction result comparison: Compare with a related cloud-scroll ornament of a paler green color at Christie’s Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period on 27 November 2019, lot 2711, sold for HKD 175,000.紅山文化墨綠色玉勾云紋佩中國，公元前 4500-3000年。暗綠色的不透明玉石，幾乎呈黑色，帶有淡綠色的紋理，夾雜這白色和赤褐色。玉佩中央彎曲鏤空，在邊角處有突起，讓人聯想到鳳凰頭部。 穿孔懸掛。來源：Irene 與Wolfgang Zacke收藏。這對夫妻一直活躍於藝術品行業已有半個多世紀，自1968年起他們開始在奧地利經營亞洲藝術品，是最早的商人之一。自1980年代後期以來，他們一直在收集中國古玉，數十年來建立了一個大規模的收藏。 圖片：Irene Zacke 與 Prof. Filippo Salviati教授出版：4000 Years of Chinese Archaic Jades, Prof. Filippo Salviati, 2017, page 20, no. 18.品相：狀況良好，有舊磨損，風化，一些邊緣磨損，輕微使用痕跡和表面淺痕，帶有天然裂紋的玉石，隨著時間的流逝，其中一些可能發展成細小的裂縫。重量：117.1 克尺寸：長13.5 厘米拍賣結果比較：一件相近雲紋青玉佩見香港佳士得The Chang Wei-Hwa Collection of Archaic Jades, Part I – The Neolithic Period 拍場2019年11月27日 lot 2711, 售價HKD 175,000.
A THANGKA OF FIVE ARHATS, 18TH-19TH CENTURYTibet. Distemper and gold on cloth. The central figure seated in dhyanasana, the hands obscured by the monastic robe, surrounded by arhats, divinities, and acolytes in a landscape with trees, flowers and rocks. With a silk brocade frame and mounted as a hanging scroll.Provenance: Collection of Hellen and Joe Darion, New York, USA. Helen Solomon Darion (1915-2018) studied violin and modern dance and performed as a young adult in New York City. She married Joe Darion (1911-2001), an American lyricist, with whom she shared a deep passion for art. Joe Darion is best known for writing the lyrics for the 1965 blockbuster musical, Man of La Mancha. The couple had an eclectic taste spanning the arts of East and Southeast Asia. Today, many of their collected works can be found in museum catalogs and scholarly dissertations.Published: Himalayan Art Resources, item no. 24529.Condition: Good condition with wear, soiling, minor creases, small losses with associated touchups.Dimensions: Size incl. mounting 132 x 71 cm, Image size 66 x 42.5 cmThe Sixteen Great Arhats are generally painted as part of a set, either as single figures or in groups of two to five figures. The full group would include the Buddha Shakyamuni, the sixteen Arhats, the attendant Dharmatala, the patron Hva-shang, and the Four Guardians of the Directions - Vaishravana, Virupaksha, Dritarashtra and Virudhaka.Literature comparison: Compare with a related thangka in the collection of the Rubin Museum of Art, object number F1998.10.3, also published on Himalayan Art Resources, item no. 640.Auction result comparison: Compare with a related thangka at Christie’s London in Chinese Ceramics, Works of Art and Textiles Part I on 4 November 2014, lot 281, sold for GBP 15,000.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十八至十九世紀五羅漢唐卡西藏，布面金彩膠畫。中心人物结跏趺坐，双手被袈裟遮住，周围樹木、花朵和岩石环绕，還有其他羅漢及神人與侍从。 有锦缎裝幀，卷轴。 來源：美国纽约Hellen和Joe Darion收藏。 Helen Solomon Darion（1915-2018）研究小提琴和现代舞，年轻时就在纽约演出。 她与美国作词家Joe Darion（1911-2001）结婚，她对艺术充满了热情。 Joe Darion以1965年大型音乐剧《 Man of La Mancha》的歌词创作而闻名。 这对夫妻具熱愛东亚和东南亚艺术。 今天，在很多博物馆目录和学术论文中都可以找到他们的许多收藏品。 圖片：Joe Darion (左) 因爲《 Man of La Mancha》獲得金唱片獎 出版：Himalayan Art Resources, item no. 24529. 品相：状况良好，有磨损，污跡，细微折痕，与修补相关的小损耗。 尺寸：縂132 x 71 厘米, 畫面66 x 42.5 厘米 拍賣結果：一件相近唐卡見倫敦佳士得Chinese Ceramics, Works of Art and Textiles Part I 拍場2014年11月4日 lot 281, 售價GBP 15,000.
A BLACK GROUND THANGKA OF A DAKINI, 18TH CENTURYTibet. Distemper and gold on cloth. The dakini dancing on the body of a male deity, holding a staff with severed heads on top in one hand, her crown and garland with severed heads as well, surrounded by eight further dakinis striking various dynamic poses.Provenance: Hungarian private collection, by repute acquired between 1970 and 1980.Condition: Very good condition with wear, creases, very minor touchups, and slight fading to the gold.Dimensions: Size 108 x 72.5 cm, Image size 62 x 43 cmWith a Chinese silk brocade frame, mounted as a hanging scroll.Auction result comparison: Compare with a related but slightly larger black ground thangka of Mahakala at Bonhams Hong Kong, in Images of Devotion, 5 October 2020, lot 114, sold for HKD 375,625.十八世紀黑地空行母唐卡西藏。布面金彩膠畫。空行母在一位男神身上跳舞，一隻手拿著一個頭杖，頭戴頭骨王冠和花環，周圍還有八個擺著各種姿勢的空行母。來源：匈牙利私人收藏，據説購於1970至1980年代。 品相：狀況極佳，有磨損，摺痕，小修，並且略微褪色。 尺寸：縂 108 x 72.5 厘米, 畫面62 x 43 厘米 中國絲綢裝裱，挂軸。 拍賣結果比較：一件相近但更大的黑地大黑天唐卡見香港邦瀚斯Images of Devotion拍場2020年10月5日lot 114, 售價HKD 375,625.
TWO BUDDHIST EMBLEMS, CLOISONNE ENAMEL AND GILT-BRONZE, QIANLONG PERIODChina, 1736-1795. One is the double-fish and the other is the wheel of law, Dharma. Each being one of the Eight Buddhist Emblems, Bajixiang, they represent conjugal happiness and the Buddha's teaching respectively. Both show fine incision and chase work, surmounted by a minuscule sacred Vajra sign. (2)Provenance: From a French private estate. Condition: Superb condition with only minor firing flaws and pitting to enamels, old wear and some minuscule dents to the bronze. Each emblem is cast in six separate parts, all secured by old bolts and screws. The bases are slightly warped. Fine naturally grown patina.Weight: 973 g Dimensions: Height 24 cm eachThe finely cast, incised and gilt emblems are supported by a tiered base enameled with crashing waves above two rows of distinct lappet borders. The stand rises from a small Buddhist shrine vase, Dagaba, with finely enameled lotus decor on an Imperial turquoise-blue ground, flanked by a pair of gilt-bronze ribbons, below four stylized dragon scroll handles, all ending in a detailed and gilt lotus pod resting on a circular band of overlapping leaves.It is rare to find even just two of the Eight Buddhist Emblems made of cloisonne enamel and gilt-bronze, which would be set in a row on a Buddhist altar, and only one other group of two appears to have been offered for sale at auction in the recent past. They are a flamboyant testimony to the strength of Tibetan Buddhism in Imperial China. The labor and material lavished on such Buddhist objects demonstrate the continued importance of Buddhist worship during the Qing Dynasty.Literature comparison: Compare with a group of seven cloisonne enamel, gilt-bronze and white jade emblems, which included four Buddhist emblems, formerly in the Sir John Buchanan-Jardine, T.B. Kitson and Vint collections, sold at Sotheby's London, 21 February 1961, lot 266 and again at Christie's Hong Kong, 3 December 2008, lot 262. For a closely related set from the Qing court collection, preserved in the Palace Museum, Beijing, see a set of smaller emblems rendered in gilt-bronze and champleve enamels, illustrated in Metal-bodied Enamel Ware, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pl.139. See also a champleve enamel set of the Eight Buddhist Emblems preserved in the Mountain Resort Museum, Chengde, illustrated in the National Palace Museum Exhibition, Tibet: Treasures from the Roof of the World, Taipei, 2010, pl.110. Also compare with a single emblem at the Brooklyn Museum, New York, USA, accession number 09.662.Auction result comparison: Compare with a complete set of all eight emblems at Bonhams Hong Kong, 24 November 2010, lot 250, sold for HKD 6.816.000 (€ 752.000). Also compare with a closely related set of two Buddhis emblems at Christies London in Fine Chinese Ceramics and Works of Art, 6 November 2012, lot 42, sold for GBP 97,250.乾隆掐絲琺琅鎏金八寶供器二件 中國, 1736-1795。一件供器上可見雙魚，另一件為法輪。八寶，又稱八吉祥，是藏傳佛教中八種表示吉慶祥瑞之物。這兩件供器均顯示了精細的工藝。 來源： 法國私人遺產 品相：狀況極佳，只有輕微的燒制瑕疵和琺琅蝕痕，舊時磨損以及青銅部位微小凹痕。每件供器均由六個單獨的部分鑄造而成，所有部分均由螺栓和螺釘固定。 底座略有扭曲。 天然包漿。重量：973 克 尺寸：分別高24 厘米 精美鑄造、切割和鎏金的供器，鎏金富麗堂皇，中部仰覆蓮台托升八寶，盡顯佛法神聖高潔。下部法輪出戟十字杵，立於覆蓮托座之上，莊重典雅。底座分層，皇家藍綠色的琺琅地上裝飾纏枝蓮花紋，兩側是一對鎏金銅緞帶。這是兩件稀有的佛教八寶供器，掐絲琺瑯和鎏金銅製成，目前似乎只有另外兩個一組被拍賣出售。 他們是中國藏傳佛教力量的光彩奪目的見證。 這些佛教用品上的製作和材料證明了清代佛教崇拜的持續重要性。文獻比較：一組七件掐絲琺琅鎏金銅白玉供器，其中包括四件佛教供器曾見於Sir John Buchanan-Jardine, T.B. Kitson and Vint collections, 售于倫敦蘇富比1961年2月21 日，lot 266；香港佳士得2008年12月3 日，lot 262；一組來自清廷收藏的相似供器可見於北京故宮博物院；一組稍小的銅鎏金琺琅供器可見於Metal-bodied Enamel Ware, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pl.139；琺琅佛教八寶可見於承德山莊博物館，可見於臺北故宮博物院展覽，Tibet: Treasures from the Roof of the World, Taipei, 2010, pl.110；以及Brooklyn Museum, New York, USA, accession number 09.662. 拍賣結果比較：一組完整的八寶供器售于香港邦翰思2010年11月24日，售價HK$ 6.816.000 (€ 752.000)。另一組兩件八寶供器售于 倫敦佳士得Fine Chinese Ceramics and Works of Art拍場, 2012年11月6日, lot 42, 售價GBP 97,250。
A THANGKA OF USHNISHAVIJAYA, 18TH-19TH CENTURYMongolia. Distemper on cloth. The three-headed Goddess of Longevity seated in dhyanasana on a lotus throne, a mandorla and a red halo behind her. Her principal hands in dharmachakramudra and holding a vishvavajra, the other six forming various mudras or holding attributes including a bow and an arrow. Surrounded by various deities including Padmasambhava, four Mahakala, and further Ushnishavijayas.Provenance: Hungarian private collection, by repute acquired between 1970 and 1980. Condition: Good condition with minor wear, soiling, creases, and small losses.Dimensions: Size incl. mounting 81 x 59 cm, Image size 64 x 44 cmWith a silk brocade frame and mounted as a hanging scroll with wood handles.Auction result comparison: Compare with a silk embroidered thangka of larger size at Bonhams New York in Chinese Works of Art and Paintings on 12 September 2016, lot 8069, sold for USD 4,375.十八至十九世紀尊勝菩薩唐卡 蒙古，布面膠畫。三首長壽佛母結跏趺坐在蓮花座上，身後有曼陀羅和紅色光背。手施説法印，持有金剛杵，其他手也各施不同手印或持有寶器，包括弓和箭。周圍衆多菩薩，包括蓮花生大師，四位大黑天以及其他尊勝菩薩。 來源：匈牙利私人收藏，據説購於1970至1980年代。 品相：狀況良好，輕微磨損，污漬，摺痕和小缺損。 尺寸：縂81 x 59 厘米, 畫面64 x 44 厘米 絲綢裝裱，挂軸，木柄。 拍賣結果比較：一件絲綢裝裱尺寸更大的唐卡見紐約邦瀚斯Chinese Works of Art and Paintings 拍場2016年9月12日 lot 8069, 售價USD 4,375.
A TIBETAN-CHINESE THANGKA OF AMOGHAPASHA, 19TH CENTURYTibetan-Chinese. Distemper and gold on cloth. The three-headed deity seated in dhyanasana on a lotus throne with offerings placed before him. Holding a trishula in the upper right hand. The upper left in varada mudra, a lotus in the lower right and a pasha in the lower left, wearing an elaborate crown surmounted by three small Budda Amitabhas.Provenance: Hungarian private collection. Condition: Very good condition with minor wear, little soiling, and minor creasing, small tears and losses to mounting only.Dimensions: Size incl. mounting 84.5 x 39.5 cm, Image size 37.5 x 28 cmWith a silk brocade frame, mounted as a hanging scroll.Auction result comparison: Compare with a related thangka, of arguably lesser quality, at Sotheby’s New York in Indian, Himalayan and Southeast Asian Works of Art Including Property from the Estate of Dr. Claus Virch on 17 March 2015, lot 1001, bought-in at an estimate of USD 5,000-7,000.十九世紀漢藏不空羂索觀音唐卡漢藏。布面金彩膠畫。三首觀音結跏趺坐坐於蓮座上，面前擺著祭品。 右邊一手持錫杖，一手持蓮；左邊一手施與愿印，一手持絹索，頭戴精巧的王冠，上面鑲有三個佛陀阿彌陀佛。 來源：匈牙利私人收藏 品相：狀況極佳，僅有少量磨損，污漬和輕微摺痕，很小的撕裂和裝裱時的缺失。 尺寸：縂84.5 x 39.5 厘米, 畫面37.5 x 28 厘米 絹本裝裱，挂軸。 拍賣結果比較：一件相近但質量稍差的唐卡見紐約蘇富比 Indian, Himalayan and Southeast Asian Works of Art Including Property from the Estate of Dr. Claus Virch 拍場2015年3月17 日 lot 1001, 估價USD 5,000-7,000.
‘PAIR OF DOVES’ BY ZHANG CHONG (c. 1628-1652)Ink and watercolors on silk. Finely painted in the court style of the Song dynasty with two doves on the ground in front of a craggy rock with flowers and leaves. The Chinese association of dove pairs is with fidelity, as this bird pairs for life. Doves are also revered for taking great care of their young.Inscriptions: Upper left, signed ‘Zhang Chong’, dated to a spring month in the Year of Xinchou, painted in Chuixiang studio. Three seals, ‘Zhang Chong’ and ‘Chong’, the third illegible.Provenance: A private collector in New York, USA, and thence by descent within the same family. Old paper label to backside with inscription in ink: “No 25. Period: Ming 1368-1644. Subject: A pair of pigeons. Artist: Zhang Choung.”Condition: Good original condition with some wear, faded stains, soiling, foxing, minimal creases, possibly slightly trimmed.Dimensions: Size incl. frame 32.4 x 35.4 cm, Image size 26.8 x 30.2 cm. Framed and matted behind glass.Auction result comparison: Compare with a hanging scroll painted by the same artist, though of much larger size, at Christie’s Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 28 May 2012, lot 2747, sold for HKD 250,000, and another at Christie’s Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 30 November 2015, lot 877, sold for HKD 475,000.張翀(約1628-1652)《白鴿》絹本設色。宋代宮廷畫院風格，岩石邊一對白鴿，後面可見小草和野花。按照中國説法，鴿子是是忠實的象徵，因為鴿子終生都會配對，而且會照顧幼鴿。 款識：左上角“辛丑春月 寫於吹香舘 張翀”；鈴印：張翀，翀 來源：紐約私人收藏，自此保存於同一家族。背面有舊紙標簽，用水墨書寫 “No 25. Period: Ming 1368-1644. Subject: A pair of pigeons. Artist: Zhang Choung.” 品相：良好的原始狀態，帶有一些磨損，褪色，污漬，起皺，極少摺痕，可能會略微修剪。 尺寸：縂32.4 x 35.4 厘米, 畫面26.8 x 30.2 厘米。玻璃裝框。 拍賣結果比較：一件同一畫家的立軸，尺寸更大，見香港佳士得 Fine Chinese Classical Paintings and Calligraphy 拍場2012年5月28日 lot 2747, 售價HKD 250,000, ；另一幅見香港佳士得Fine Chinese Classical Paintings and Calligraphy 拍場2015年11月30日lot 877, 售價HKD 475,000.
‘PINE AND CLIFFS’, SIGNATURE OF WANG MENG (1308-1385)Ink and watercolors on silk. Dramatically painted with a gnarled pine tree in front of high towering cliffs, with a small house hidden between them, further cliffs and mountains building up in the background. With a silk brocade frame and mounted as a hanging scroll with fine ivory handles.Inscriptions: Top right, signed Huanghe shanren Wang Meng, two seals. Top center-right, poem and signature of Qian Pu (1408-1488), a Ming official and calligrapher, two seals ‘Qian Pu’ and ‘Zi Yuanpu’. Top center-left, signature and poem of Wang Shuying (d. 1402), a Ming scholar and official, one seal ‘Yuancai’.The exterior of the scroll inscribed: Yuanren shuhua (‘Painting from the Yuan Dynasty’). Shuangye (‘Frost Leaf’).Provenance: From a private estate in Texas, USA, by repute acquired in Japan between 1945 and 1950, and thence by descent in the same family. Label with collector’s inventory number to one scroll end.Condition: Good condition with some wear, soiling, minor tears and losses, small old repairs and touchups.Dimensions: Size incl. mounting 131 x 60 cm, Image size 44 x 46.5 cmWang Meng (1308-1385) was a painter during the Yuan dynasty and one of the Four Great Masters of this period. He was the youngest of the group, and the least famous in his own time. Nevertheless, his style influenced later Chinese painting. In contrast to the relatively spare style of his compatriots, his ropy brushstrokes piled one on the other to produce masses of texture combined in dense and involved patterns. Wang Meng was wrongly accused of conspiring against the Ming Emperor Taizu and spent the last five years of his life in jail.王蒙(1308-1385)款《霜葉》 絹本設色。近景山崖高聳，山脚松林葱鬱，山間隱隱藏著山居，遠方山脈連綿。帶有錦緞錦緞框架，並作為帶有精美象牙手柄的懸掛式捲軸安裝。 款識：黃鶴山人王蒙題詞鈴印；錢溥（1408-1488), 明代政治人物和書法家，題詞鈴印 ；王叔英(？-1402) 題詞鈴印。立軸上可見注釋“元人書畫““霜葉”。來源：德克薩斯私人遺產，據説1945-1950年間購於日本，據説自此保存在同一家族至今。立軸一端有藏家收藏標簽。 品相：狀況良好，有一些磨損，污跡，輕微的撕裂和缺失，少量的舊時維修和修整。 尺寸：含框131 x 60 厘米, 畫面44 x 46.5 厘米
‘LANDSCAPE’, WITH SIGNATURE OF WEN ZHENGMING (1470-1559)Ink and watercolors on silk. The striking contrast between the traditional, somewhat staid buildings and the mystic depth of the monumental landscape are a hallmark of the legendary artist.Inscriptions: Signed Wen Zhengming and inscribed upper left with an excerpt from a poem by Wang Anshi, a noted poet and politician during the Song dynasty who served as Chancellor between 1070 and 1076.Provenance: From a private estate in Texas, USA, by repute acquired in Japan between 1945 and 1950, and thence by descent in the same family. Old collector’s label with serial number to one of the pegs.Condition: A series of water stains to the center of the painting which have been restored a long time ago, significant losses and tears, browning.Dimensions: Image size 94.5 x 41 cmMounted as a hanging scroll with handles neatly carved from zitan wood in imitation of bamboo.Wen Zhengming (1470-1559) was one of a number of Ming dynasty literati artists who set themselves in opposition to the professional, academy-influenced style favored in the region of Zhejiang. Wen and other amateur artists of the Wu school (named after the region around Suzhou, where most of them were based) carried on the wenren scholar-artist tradition of the preceding dynasties. Eschewing official sponsorship and hostile to the politics of the imperial court, these artists sought private patrons and the respect of their peers, frequently painting works in the style of older masters. Wen studied under the founder of the Wu school, Shen Zhou, whose style he was deeply influenced by. He sometimes added his own poetry to Shen Zhou's paintings, thereby benefitting from the latter's established reputation. After he achieved fame in his own right, Wen's many colophons to Shen Zhou's works often lent them authenticity in the eyes of collectors.Wen and his mentor both revered the artists of the preceding Song and Yuan dynasties, though he rarely imitated them directly. He produced works in a number of styles and has been called a ‘chameleon’ whose works could easily be misidentified. Wen's paintings were highly sought after by wealthy collectors throughout the 16th century, and counterfeits of his works were common during the late Ming. He was also a prolific and well-known writer, whose poems often touched on the subject of painting. He regarded art and nature as being inseparable, and frequently wrote about and painted nature scenes.Auction result comparison: Compare with a related work, but of considerably larger size, at Christie’s New York in Fine Chinese Paintings on 20 March 2018, lot 2, sold for USD 18,750.文徵明款《山水圖》 絹本設色。亭臺樓閣錯落有致與山水景觀形成鮮明對比是這位傳奇畫家的標誌。款識：文徵明 款，左上方有王安石詩，王安石是宋代著名的詩人和政治家，曾在1070至1076年間擔任尚書左僕射。 來源：德克薩斯私人遺產，據説1945、1950年間購於日本，自此保存與同一家族至今。可見老收藏家標簽和收藏編號。 品相：繪畫中心的有一些水漬，已在很久以前得到修復，明顯的缺損，紙張變成褐色。 尺寸：畫面 94.5 x 41 厘米 立軸，天杆地杆由紫檀木雕刻成竹子形。 拍賣結果比較：一件相似作品但尺寸較大，售于紐約佳士得 Fine Chinese Paintings拍場2018年3月 20 日, lot 2, 售價 USD 18,750.
‘A LADY PLAYING THE QIN’, IMPERIAL SCHOOL, QING DYNASTYChina, 18th-19th century. Ink and watercolors on silk, mounted as a hanging scroll. Depicting a Manchu court lady elegantly seated and dressed in an informal robe, playing the qin (zither) on a magnificent burlwood altar table of naturalistic design. On its top we also find a tiered box, a small censer, and a square-form vase with flowers, all on finely hand-carved wood bases.Provenance: British private collection. Condition: Very good condition with minor wear, little creasing and soiling. Some tears to mounting.Dimensions: Image size 104 x 52 cmThe subject of a Manchu court lady, seated playing a qin, evokes culture, taste, refinement, and scholarly accomplishment - all the characteristics male scholars would also strive to possess.Literature comparison: Imperial School paintings of culturally sophisticated courtesans can be seen in Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor, in the Palace Museum, Beijing, illustrated in China: The Three Emperors, Royal Academy of Art, London, 2005, cat. no. 173.Auction result comparison: Compare with a closely related painting at Sotheby’s Hong Kong in Fine Chinese Ceramics and Works of Art on 8 October 2014, lot 3657, bought-in at an estimate of HKD 450,000-650,000.清代宮廷繪畫《彈琴仕女圖》中國，十八至十九世紀。絹本設色，挂軸。一位宮廷侍女身著精美常服，優雅地在庭院中彈奏古琴。石桌上可見文房用品如小香爐、紅色漆盒與方形花瓶，所有這些器具都放置在手工雕刻在精美的木底座上。來源：英國私人收藏 品相：狀況極佳，小磨損，輕微皺痕和污漬。裝幀処有些小水跡。尺寸：畫面 104 x 52 厘米 拍賣結果比較：一件相近作品見香港蘇富比n Fine Chinese Ceramics and Works of Art拍場2014年10月 8日 lot 3657, 估價HKD 450,000-650,000.
‘GUAN YU READING THE SPRING AND AUTUMN ANNALS’, MING DYNASTYChina, 1368-1644. Ink and watercolors on paper. Signed upper left. Two seals. The famous general seated on an elaborately carved chair and wearing a long coat over a dragon robe as he reads from the Spring and Autumn annals. With a silk brocade frame and mounted as a hanging scroll.Provenance: Sigurd Reininghaus (1933-1981). From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, acquired from the above and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades. The present lot was one of their first works of Asian art, received as payment for legal services, from the prominent Styrian brewer Sigurd Reininghaus.Condition: Extensive wear, creases, small losses, minor tears, soiling, staining.Dimensions: Size incl. mounting 128 x 42 cm, Image size 55 x 31.5 cmThe present lot depicts the military hero and God of War Guan Yu (died 219), who became glorified in the Ming Dynasty (1368-1644) historical novel Romance of the Three Kingdoms, attributed to Luo Guanzhong. The subject represents an episode from Guan Yu's life when he memorized in only a few nights the Confucian Classics of The Spring and Autumn Annals and The Commentary of Zuo. His feat of memory made him an admirable model for the literati and, as well as becoming a God of War in 1615 with state backing, he also became a God of Literature.Auction result comparison: Compare with a considerably larger hanging scroll by Ding Yunpeng of the same subject and from roughly the same period, at Christie’s Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 25 November 2019, lot 966, sold for HKD 2,500,000.明代《關羽夜讀春秋》中國，1368-1644年。紙本設色，挂軸。左側上端落款，兩枚鈴印。著名的大將關羽坐在椅子上，著長袍，挑燈夜讀《春秋》。來源：Sigurd Reininghaus (1933-1981)。Ferdinand Thaler-Szulyovsky博士與Gudrun Thaler-Szulyovsky博士收藏，自此在同一個家庭世代相傳。這對夫妻一直從事法律工作，1967年因爲對藝術的共同熱情而相識。 數十年來，他們共同建立了豐富且龐大的藝術收藏。 圖片：Ferdinand 與 Gudrun Thaler-Szulyovszky 品相：廣泛磨損，摺痕，小缺損失，輕微的水漬，污跡。 尺寸：縂128 x 42 厘米, 畫面55 x 31.5 厘米 拍賣結果：一幅大型丁雲鵬《關於夜讀春秋》挂軸見香港佳士得Fine Chinese Classical Paintings and Calligraphy 拍場2019年11月25日lot 966, 售價HKD 2,500,000.
‘LUOHAN TRYPTICH’, JIN NONG (1687-1763)Ink on paper. The three scrolls finely painted with various depictions of luohan, including one riding a dragon, another seated on a gnarled withering tree trunk and exhaling qi as two demons push him forward, and a third riding a tiger and accompanied by two attendants. Each with a silk brocade frame and mounted as a hanging scroll. (3)Inscriptions: One scroll lower left, signed ‘Jin Nong jinghui’, one artist seal, ‘Jin Nong’.Provenance: Collection of Hana and Jan LÃbal, acquired between 1956 and 1959 during their stay in Beijing while working on the Czech-Chinese dictionary, and thence by descent in the same family.Condition: Good condition with minor wear, creases, small losses with associated touchups, foxing, staining, larger stains to mountings.Dimensions: Image size ca. 120 x 30 cm (each)Expert’s note: The extremely fine manner of the painting as well as the signature on one of the scrolls clearly indicate the present lot is a sketch from the artist’s own hand.Auction result comparison: Compare with an album of sixteen leaves of the Sixteen Luohan, painted in ink and color on silk, by the same artist, at Christie’s Hong Kong in Fine Classical Chinese Paintings and Calligraphy on 25 April 2004, lot 425, sold for HKD 1,631,750.金農 (1687-1763)《羅漢》三聯畫紙本水墨，挂軸。三位羅漢，其中一位騎龍，一位坐在枯樹幹上，兩個惡魔將他向前推，第三幅羅漢騎虎，兩名侍者陪伴。 款識：金農敬繪；一枚鈴印“金農“ 來源：Hana 與Jan LÃbal，1956 至1959年他們因爲《漢捷字典》編譯而在北京工作，購於那時，在同一家族保存至今。圖片：Hana 與 Jan LÃbal 在北京，上世紀五十年代末 品相：狀況良好，有輕微磨損，摺痕，缺損，起皺，染色，裝裱処污漬較大 尺寸：畫面分別約 120 x 30 厘米 拍賣結果：金農的一個絹本設色《十六羅漢》冊頁見香港佳士得Fine Classical Chinese Paintings and Calligraphy 拍場2004年4月25日 lot 425, 售價HKD 1,631,750.
‘HEHE ERXIAN’, QING DYNASTYChina, 1644-1912. Finely painted with the twin immortals of harmony and union, one standing in front holding a ruyi scepter in one hand and a bowl filled with auspicious symbols in the other, the other standing behind and holding a long lotus stem with flowers and leaves, with auspicious symbols and scholar’s objects on the ground before them.Inscriptions: Lower left, inscribed ‘Jinlinzi Boli’. Two seals, one illegible, the other reading ‘Wen Long’.Provenance: Collection of Hana and Jan LÃbal, acquired between 1956 and 1959 during their stay in Beijing while working on the Czech-Chinese dictionary, and thence by descent in the same family.Condition: Good condition with wear, small losses with associated touchups, minor soiling. Note that one of the artist seals has a loss as well.Dimensions: Size incl. mounting ca. 160 x 45 cm, Image size 88.5 x 34.5 cmInk and watercolors on silk. With a silk brocade frame, mounted as a hanging scroll with hardwood handles.清代《和合二仙》中國，1644-1912年。精美描繪和合二仙，一个在前，一只手握着如意，另一只手端著一個裝滿象徵富貴吉祥的寶物的盆；另一個站在其后，手裏拿著荷花。款識: 右下角“金鱗子伯鯉“；兩枚鈴印，其中一枚 ”文龍“來源：Hana 與Jan LÃbal，1956 至1959年他們因爲《漢捷字典》編譯而在北京工作，購於那時，在同一家族保存至今。圖片：Hana 與 Jan LÃbal 在北京，上世紀五十年代末 品相：状况良好，有磨损，小缺损，小污跡。 请注意，一枚鈴印也有缺損。尺寸：縂約160 x 45 厘米, 畫面88.5 x 34.5 厘米 絹本設色。挂軸。
AN ALBUM OF TWELVE NON-EXPLICIT EROTIC PAINTINGS, QINGChina, 19th to early 20th century. Watercolors, gilt, and ink on silk. Depicting mostly non-explicit scenes, some of which are quite humorous, such as one of a woman trying to close a window curtain as a naked man embraces her from behind, with a second, rather bemused woman looking on from outside, or another showing a foreigner attempting to convince a woman to touch his member.Provenance: From a noted private collection of Chinese paintings.Condition: Good condition with some wear, creases, scattered stains, and few minuscule tears. All mounted to a scroll.Dimensions: Image size 19.9 x 15 cm (each)Note the many small details, such as the variety of vases, antiques and furniture as well as the different artworks shown in the background of the various scenes.Auction result comparison: Compare with a related set of eleven erotic album leaves at Sotheby’s New York, in The Hundred Antiques, on 24 June 2020, lot 989, sold for USD 12,500, and a set of sixteen erotic album leaves, similarly non-explicit as the present album, at Sotheby’s New York, in Asian Art on 14 September 2019, lot 1406, sold for USD 9,375.清代春宮圖 中國，十九世紀至二十世紀初。絹本設色，金彩。不同場景春宮圖，情趣盎然。來源：一個著名的中國繪畫私人收藏 品相：狀況良好，有一定的磨損，摺痕，零散的污漬和很少的水跡。 全部安裝到一個捲軸上。 尺寸：每幅畫面19.9 x 15 厘米 拍賣比較：一套相似十一张情趣相冊，售于紐約蘇富比The Hundred Antiques拍場，2020年6月 24日，lot 989, 售價USD 12,500；一套與本相冊相似的十六张情趣相冊，售于紐約蘇富比 Asian Art 拍場2019年9月14日，lot 1406, 售價USD 9,375.
‘CRANES’, SCHOOL OF SHEN QUAN (1682-1760)Ink and watercolors on silk. Superbly painted with two cranes, one drinking water from a stream and the other standing on a thick gnarled branch with pine, bamboo, and various flowers. With a silk brocade frame and mounted as a hanging scroll. Two zitan handles, most likely from the period.Inscriptions: Center left, signed ‘Shen Quan’, ‘Wuxing’ (the artist’s place of origin). Two artist seals, ‘Shen Quan’ and ‘Nanping’ (the artist’s courtesy name)Provenance: From the collection of Alexander Popov in Novi Sad, Kingdom of Serbia, acquired between 1900-1920.Condition: Creases, minor soiling, some water stains, very small losses with associated touchups, overall in very good condition.Dimensions: Size incl. mounting 250 x 92 cm, Image size 167 x 84 cmShen Quan was active during the Qing dynasty and painted in the Ming academic style. Shen was very influential in Japan, inspiring an entire school of painting, the Nanping School, which flourished in Nagasaki during the Edo period and was named after the artist’s courtesy name.Literature comparison: Compare with a related painting by the same artist in the Palace Museum, Beijing.Auction result comparison: Compare with a related painting of the same subject at Sotheby’s Hong Kong in Fine Classical Chinese Paintings on 5 October 2015, lot 1129, sold for HKD 1,500,000.《松下仙鶴圖》沈銓學院 (1682-1760) 款中國，絹本設色。一隻在溪邊喝水，另一隻站在蒼勁的松樹上。周圍可見竹子和各種花朵。錦裝挂軸。紫檀手柄，很有可能來自該時期。款識：吳興沈銓；鈴印：沈銓，南蘋來源：來自塞爾維亞王國諾維薩德的Alexander Popov私人收藏，購於1900年至1920年之間。 圖片：Alexander Popov 品相：摺痕，少量污漬與水漬，小缺損，總體處於良好狀態。尺寸：縂250 x 92 厘米, 畫面167 x 84 厘米 拍賣結果比較：畫作見香港蘇富比Fine Classical Chinese Paintings 拍場2015年10月 5日 lot 1129, 售價HKD 1,500,000.
‘BODHIDHARMA’, BY WU CHANGSHUO (1844-1927)Ink and watercolors on paper. Virtuoso painted to depict Bodhidharma wearing his characteristic red robe and standing on a reed. An homage to the legend of the Zen patriarch sailing up the Yangzi River on just a single reed.Inscriptions: Signed Wu Changshuo. Dated to May of gengshen year (1920). Inscribed to upper left with a personal dedication to ‘Mr. Ikeda, by Wu Changshuo aged 77’. Further inscribed: ‘On a reed he crossed the river and for nine years he meditated. Bodhidharma has strength and will to gain enlightenment.” Three seals of the artist: Wu Jun zhi yin, Wu Changshi, and Guiren limin. Note that by repute ‘Mr. Ikeda’ was Kotaro Ikeda (1895 – 1976), a noted Japanese painter. His work was part of the painting event in the art competition at the 1932 Summer Olympics.Provenance: Kotaro Ikeda (1895 – 1976) by repute. Thereafter in a reputed private collection of paintings. Paper label with inventory number ‘40’ to one of the wooden scroll pegs.Condition: Good condition with minor creases, the paper browned, small tears and losses to mounting only, almost invisible foxing and staining.Dimensions: Image size 96.7 x 44.5 cmWu Changshuo (1844-1927) was a prominent painter, calligrapher, and seal artist of the late Qing dynasty. 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.Auction result comparison: Compare with a closely related work by the same artist at Sotheby’s Hong Kong in Fine Chinese Paintings on 8 April 2008, lot 85, sold for HKD 511,500.吳昌碩(1844-1927)《一葦渡江》 紙本設色。達摩祖師一葦渡江圖。 款識：一葦渡江，九年面壁，咄哉頭陀，具大法力。成佛志堅，救世心熱，證羅漢果，佐聖賢席，我今在世，天跼地蹐。安得隨師，名山杖錫。得句長吟，霞紅海碧。池田先生屬，沐手敬畫，庚申（1920）夏五月，吳昌碩年七十又七。鈐印：吳俊之印、吳昌石、歸仁里民詩中提到的池田先生即池田倖太郎 (1895 – 1976)，一位知名日本畫家。他的作品曾在1932年的夏季奧林匹克的藝術比賽中的繪畫活動中展出過。 來源：池田倖太郎（1895 – 1976) 。此後收藏在著名的私人繪畫收藏中。 藏品編號為“ 40”的紙質標籤貼在一個木製捲軸上。 品相：狀況良好，有細微的摺痕，紙張呈褐色，僅有少量撕裂和裂痕，污漬。尺寸：畫面 96.7 x 44.5 厘米 拍賣結果比較：同一位藝術家相似的作品，售于香港蘇富比Fine Chinese Paintings 拍場2008年4月8日 lot 85, 售價HKD 511,500.
‘LADY JIN YIYI’, BY ZHANG DAQIAN (1899-1983)Ink, watercolors, and gilt on paper. Portrait of the young Jin Yiyi, masterfully executed by the artist in the style of mural paintings from the Tang period, with elaborately coiffured hair, wearing long flowing robes with finely decorated yet somewhat ‘worn’ hems.Inscriptions: Signed Zhang Yuan. Dated yiyou year (corresponding to 1945). Inscribed “Lady Jin Yiyi, in the style of paintings from the Tang period, of the Mogao Caves”. Two seals: Zhang Yuan zhi yin and Daqian. Note that “Lady Jin Yiyi” was in fact Jin Ce (1882-1948), spouse of calligraph and poet Quan Tigan.Provenance: From a reputed private collection of paintings. Paper label with inventory number ‘38’ to one of the wooden scroll pegs.Condition: Excellent condition with very minor wear and microscopic foxing. The mounting at the upper edge with extensive wear, several tears, and partially repaired with old tape, the painting itself not affected at all.Dimensions: Image size 86.9 x 35.6 cmMounted as a hanging scroll with finely carved and lacquered wooden handles.Expert’s note: The ‘wear’ on the hems and on the less elaborately decorated ribbon is clearly intended by the artist, as the present ‘abrasions’ are limited entirely to them and not seen elsewhere in the painting. The neatly painted floral borders, though at first glance barely visible below the layer of ‘abrasions’, create a striking contrast that reminds us of the inherent yet often overlooked contradictions in nostalgia for a long-lost age.Zhang 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. 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.The Mogao Caves, also known as the Thousand Buddha Grottoes or Caves of the Thousand Buddhas, form a system of 500 temples 25 km southeast of the center of Dunhuang, an oasis located at a religious and cultural crossroads on the Silk Road, in Gansu province, China. The caves contain some of the finest examples of Buddhist art spanning a period of 1,000 years, with the very first caves built in AD 366 as places of Buddhist meditation and worship. They are the best known of the Chinese Buddhist grottoes and, along with Longmen and Yungang Grottoes, are one of the three famous ancient Buddhist sculptural sites of China.Auction result comparison: Compare with a closely related work by the same artist at Christie’s Hong Kong in Fine Chinese Modern Paintings on 1 December 2015, lot 1554, sold for HKD 687,500, and another at Christie’s Hong Kong in Fine Modern and Contemporary Chinese Paintings on 29 May 2005, lot 812, sold for HKD 504,000.張大千 (1899-1983)《仿莫高窟初唐人衣飾金怡怡夫人》 紙本設色。年輕的金怡怡夫人肖像，如初唐仕女衣飾，頭髮精心修飾，穿著長袍飄逸，裝飾精美，下擺処看上去略有“破舊”感。 款識：乙酉（1945）五月，仿莫高窟初唐人衣飾，似怡怡金夫人清鑑，蜀郡張爰。 鈴印：張爰之印，大千專家注釋：畫家顯然打算在下擺和裝飾不太精美的緞帶上再增加些“裝飾”，因為目前的“擦傷”完全限於它們，在畫中的其他地方看不到。 整潔的花卉飾紋雖然乍看之下幾乎看不到“擦傷”層，但卻形成了鮮明的對比，使我們想起了一個失散已久的懷舊內在矛盾，但它經常被人們忽略。 來源：知名繪畫私人收藏，背面藏品標簽上可見“38”品相：狀況極佳，磨損極小，並經過微觀拋光處理。 上邊緣的裝裱磨損嚴重，有幾處撕裂，並用舊膠帶部分修復，繪畫本身完全沒有受到影響。尺寸：畫面 86.9 x 35.6 厘米 天地杆雕刻精美。 拍賣結果比較：同一位藝術家相似的作品，售于香港佳士得 Fine Chinese Modern Paintings拍場 2015年12月1日，lot 1554, 售價HKD 687,500；另一件相似作品，售于香港佳士得 Fine Modern and Contemporary Chinese Paintings 拍場2005年5月 29日，lot 812, 售價HKD 504,000.
‘WHITE ROSES’ BY CHEN BANDING (1877-1970), DATED 1940Ink and watercolors on paper. Superbly painted with a multitude of white roses and leaves growing from long thorny stems and with several lengthy inscriptions. With a silk brocade frame and mounted as a hanging scroll.Inscriptions: Top, poem by Su Ziyou (Su Zhe, 1039-1112), a politician, essayist, and poet in the Song dynasty, with two seals, ‘Qiuzhuji’ and ‘Banding xiansheng’. Lower right, signed ‘Banding laoren’, with three seals, ‘Chen Nian’, ‘Banding’, and ‘Shanyin daoshang bange han‘.Lower left, excerpts from a poem by Wang Shipeng, ‘the wind blows, the flowers dance in white and flying robes’, dated to spring of the Year of Gengchen (corresponding to 1940), with two seals, ‘Chen Nian’ (alternate name of the artist) and ‘Banding laoren’ (artist name).Provenance: A private collector in New York, USA, by repute acquired in New York by the father of the present owner before 2000.Condition: Good condition with minor wear, creases, small losses with associated touchups.Dimensions: Size incl. mounting 217 x 47.5 cm, Image size 97.5 x 31.5 cmAuction result comparison: Compare with a near identical painting by the same artist at Sotheby’s Hong Kong in Chinese Paintings & Calligraphy from the Yong Li Studio on 4 April 2016, lot 2711, sold for HKD 475,000.陳半丁(1877-1970)《白薔薇》，1940年紙本設色，立軸。一叢白薔薇拔地而起，筆墨酣暢，俊秀清雅，含蓄蘊借中透出蒼潤樸拙之氣。 款識： 上：蘇子由，即蘇轍（1039-1112），詩《次韻詠酴醾》。鈴印：求諸己，半丁先生； 右下：鈴印：陳年，半丁老人，半丁，山陰道上半個漢 左中：王十朋詩《次韵程泰之酴醾》，臨風難自持，為舞白霓裳 哉仁兄一握正之。庚辰春日弟陳年寫；鈴印：陳年，半丁老人 來源：紐約私人收藏，據説藏家的父親2000年前購於紐約。 品相：狀況良好，有輕微磨損，摺痕，小缺損。 尺寸：縂217 x 47.5 厘米，畫面97.5 x 31.5 厘米 拍賣結果：一件幾乎一致的陳半丁《白薔薇》見香港蘇富比Chinese Paintings & Calligraphy from the Yong Li Studio 拍場2016年4月 4日lot 2711, 售價HKD 475,000
‘PEONIES AND BIRDS’ BY ZHAO SHAO’ANG (1905-1988)Ink and watercolors on paper. Superbly painted with two small birds, one with the beak open as it caws, perched on a branch next to flowering peonies, executed with bold and vivid brushstrokes and an expressive composition of warm colors. Matted and framed behind glass.Inscriptions: Lower right, signed ‘Shao’ang’. One seal, ‘Zhao Shao’ang xi’.Provenance: Collection of Dr. Lubor Hájek (1921-2000) and thence by descent in the same family. A Czech private collection, acquired from the above in 2010. Dr. Lubor Hájek was a Czech art historian. In 1952 he founded the Oriental Art collection of the National Gallery Prague, which he ran until 1986.Condition: Excellent condition with minor wear and traces of use.Dimensions: Size incl. frame 56.2 x 75.3 cm, Image size 45 x 64 cmZhao Shao'ang (1905-1988) is considered one of the Four Great Masters of the Lingnan School. In the late 19th century, scholars in China broke through entrenched conservative thought schools and began to create and promote new styles of art. This not only cultivated ideological progress within social elites but also gave birth to the eclectic fusion of the Han Chinese and Western styles, as advocated by the Lingnan School, which today is considered - along with the Beijing and Shanghai schools - as one of the three pillars of modern Chinese painting.Auction result comparison: Compare with a related hanging scroll of the same subject by the same artist (45 x 96 cm) at Christie’s Hong Kong in Fine Chinese Modern and Contemporary Ink Paintings on 1 December 2020, lot 1058, sold for HKD 275,000, and a closely related painting of the same subject by the same artist (58.5 x 93.8 cm) at Sotheby’s Hong Kong in Fine Chinese Paintings on 3 April 2012, lot 1175, sold for HKD 860,000.趙少昂 (1905-1988) 《 牡丹富貴》鏡心紙本設色。富貴牡丹圖，一對小鳥站于枝頭，大胆生动的笔触，色彩純净艷麗卻不俗，鏡心。装在玻璃后面。 款識：右下角落款 “少昂“；一枚鈴印”趙少昂鉩“ 來源：Lubor Hájek博士（1921-2000）收藏，自此在同一家族收藏。捷克的私人收藏，于2010年从上述收藏購得。Lubor Hájek博士是捷克艺术史学家。 1952年，他创立了布拉格国家美术馆的东方艺术收藏，一直到1986年。 圖片：Dr. Lubor Hájek (1921-2000) 1978年在捷克布拉斯拉夫 品相：状况极佳，有轻微磨损和使用痕迹。 尺寸：含框 56.2 x 75.3 厘米, 畫面45 x 64 厘米 拍賣結果：一件趙少昂同一主題的挂軸 (45 x 96 厘米) 見香港佳士得Fine Chinese Modern and Contemporary Ink Paintings拍場2020年12月1日 lot 1058, 售價HKD 275,000, ；另一幅 (58.5 x 93.8 厘米) 見香港蘇富比Fine Chinese Paintings 拍場2012年4月3 日 lot 1175, 售價HKD 860,000.
A PALE CELADON JADE ‘PHOENIX’ EWER, GONG, QING DYNASTYChina, 18th century. Crisply carved in shallow relief on both sides of the flattened body with the wings of an archaistic phoenix, its head carved in high relief below the spout suspending a loose ring, a sinuously coiled chilong with furcated tail clambering through the scroll-shaped handle, the mouth and foot rim with key-fret bands and the foot with a geometric pattern. Provenance: European private collection.Condition: A minimal loss to the base, otherwise in very good condition with minor wear, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Weight: 367.7 gDimensions: Height 12.4 cm The translucent stone of a pale celadon tone with milky white and russet inclusions as well as few dark speckles. The Qianlong emperor’s great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The vessel from which the present lot takes inspiration is the archaic bronze gong. Archaic bronze examples would normally have been accompanied by a cover in zoomorphic form, such as an example illustrated in the woodblock printed catalog Xiqing Gujian, ‘Inspection of Antiques’ (fig. 1). However, this exquisite white jade version was evidently produced without a cover. It is the ultimate testament of a consummate master craftsman to have been able to conceive and combine elegant form with confident subtly defined motifs, working the pure white raw material to its best and fullest advantage. Only few other examples of this rare form and outstanding quality are known, most of which are preserved in the Qing court collection. A white jade gong of wider proportion (16,6 cm high, 18 cm wide) is in the Palace Museum, Beijing, illustrated in Zhongguo yuqi quanjj – 6 – Qing, Shijiazhuang, 1991, no. 37, which is also made without a cover. For a white jade gong with cover, compare to two examples in the National Palace Museum, Taipei, one of which is closely modeled after the bronze original in form and decoration (14,4 cm high, 16.6 cm wide), the other similar in style to the present ewer but of a more flattened form, see The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 1997, nos. 13 and 20, respectively. Auction result comparison: Compare with a related but smaller ewer, with a cover, at Sotheby’s London in Important Chinese Art on 8 November 2017, lot 33, sold for GBP 18,750. Also compare with a much larger version of the present ewer, in white jade, at Christies Hong Kong, in Leisurely Delights, 29 May 2019, lot 3027, sold for HKD 7,325,000.清代青白玉鳳飾龍抱觥中國，十八世紀。仿古彝器，以青銅器觥為其造型基礎，扁筒式，口稍敞，橢圓形足，方折拐子形鋬，一螭龍自其中鑽過，其首倚於鋬上，造型無比生動。流口下雕一鳳首，套一活環。身腹兩側淺浮雕夔鳳紋，下為蟬紋。來源：歐洲私人收藏 品相：底座稍有損失，除此之外狀態很好，且磨損很小，石料内天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：367.7 克尺寸：高12.4 厘米 淡淡的青色半透明石頭，帶有乳白色和赤褐色的內含物，幾乎沒有深色斑點。拍賣結果比較：一件稍小的玉蓋壺見倫敦蘇富比Important Chinese Art 拍場，2017年11月8日 lot 33, 售價GBP 18,750.
A BEIJING ENAMEL ON COPPER 'PEONIES' WATER POT, QIANLONG MARK AND PERIODChina, 1736-1795, ca. 1740. The pear-shaped body supported on a low splayed foot and rising to a waisted neck below a flared rim, the shape slightly reminiscent of a Zhadou. Finely enameled on a rich Imperial yellow ground with three large peony blossoms, one of purple and lavender, one of pink and one of blue color. The neck draped by a neatly painted scroll of morning glories seen from the top against a pale turquoise ground. The interior white, the rims gilt, the white base inscribed with a blue-enameled four-character reign mark within double squares. Provenance: Property from an important private collection. Old collector number ‘77’ painted in white lacquer to base. Condition: Superb condition with minor wear, traces of use and minor firing flaws. The gilding to lip and foot rim with extensive abrasions. Blue light inspected, absolutely no restoration whatsoever.Weight: 172 g Dimensions: Height 7.6 cm The decoration seen on the present water pot is unusual for Qianlong vessels of this type, although a near-identical vessel from the same period, painted with a peony design on a yellow-ground, is illustrated in Sotheby’s London, 14th November 2002, lot 364, described as an ‘Imperial Enamel Water Pot, Qianlong Mark And Period’.In its shape and delicate small size, this water pot is after a group of slightly earlier, Kangxi period vessels generally painted with motifs from flora and fauna. For an example from this group, see a Kangxi mark and period vase, finely painted with blooming flowers in panels on a yellow ground, illustrated in Michael Gillingham, Chinese Painted Enamels, Oxford, 1978, page 15, plate 6. The pale turquoise color used for the ground of the scroll at the neck of the present water pot is unusual, although reminiscent of that found on the inside of a bowl from the Kangxi period, illustrated by Sotheby’s Hong Kong in Important Chinese Art on October 3rd 2018, lot 3610. Shades of purple and lavender, as found in one of the three peonies on the present water pot, were also frequently used on Kangxi vessels, especially before pink enamel was introduced into the Chinese enamellers' repertoire employed by the Palace Workshop. Another characteristic of Kangxi enamel on copper vessels are their slightly oversized imperial marks, again as seen on the present lot and on the bowl illustrated by Sotheby’s Hong Kong in Important Chinese Art on October 3rd, 2018, lot 3610. For all of the reasons mentioned above, it can safely be assumed that the present water pot was made rather early in the Qianlong period, probably ca. 1740.乾隆款及年代銅胎琺琅牡丹水丞 中國，1736-1795, 約1740年。梨形水丞，圈足外翻，腹部喇叭形，升至腰部頸部，其形狀略似渣斗。黃色釉地上精美琺琅彩，三朵大牡丹花，紫色、粉紅色和藍色。頸部畫著牽牛花，綠松石地開光。水丞內部白色，邊緣鎏金，底足白色底上藍色琺瑯雙方框四字款。 來源：一個重要私人收藏產業。底部可見老藏家所注‘77’ 標志。 品相：狀況極佳，有輕微磨損、使用痕跡和輕微燒制缺陷。 唇沿和圈足邊緣鎏金有大量擦傷。 藍光檢查，絕對沒有任何修復。 重量：172克 尺寸：高7.6 厘米
AN EXCEPTIONAL AND VERY LARGE CANTON ENAMEL ‘SCHOLARS’ DISH, EARLY 18TH CENTURYChina. This piece is notable for its imposing size, the broad surface of which has been delicately rendered with a rich scene of scholars, literati and pupils observing an artist working on a scroll, painted with bamboo springing from craggy rockwork, the yet unfinished oeuvre being the talk of the gathering.Provenance: From a private estate in Pennsylvania, USA. The backside with an old collector’s label inscribed “C-09” and a second label with the inscription “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”. Condition: The foot rim with a hole drilled for suspension. The center with circular hairlines along the foot and two old fillings, each the size of a coin. The outer border with an old, restored section of ca. 10-15 cm, barely extending into the yellow border, mirrored at the back. Minuscule firing flaws, pitting, hairlines, dents, losses and fills. The metal mounts with a fine, naturally grown patina. Old wear and traces of use. Overall, in good condition, especially considering the magnificent size of 2.365 cm², with less than 60 cm² of restored area, equivalent to only 2.5% (!) of the total surface.Weight: 3.7 kg Dimensions: 55 cm Furthermore, we find a building with a terrace, a garden with scholar’s rocks, an imposing Ming dynasty altar table with a bitong and various brushes, an inkstone and several garden stools, as well as a peaceful lake and mountains in the far distance completing the inspiring scene.The cavetto with a dense scroll of pink peonies and lavender-colored lotus against an Imperial yellow ground, all within two circumferential bands of leaves and vines. The reverse shows a neatly painted still life of two peaches, lingzhi, flowers and a single bat against a white ground. The border with a band of grapes.The present dish is among the earliest examples of the successful combination of Western imaging techniques with traditional Chinese motifs during the first half of the 18th century. The subtle gradations of tone and the rendering of light and shade are particularly successful in the central panel, where cautious shading is introduced along the walls and canopy of the building. Even these few shades already give the composition a certain three-dimensional depth, heretofore unknown in Chinese painting. Moreover, the similarly rendered pink flowers are depicted in full bloom and appear to loom out from the contrasting yellow background. The fusion of East and West is therefore not only found on a technical level, but also in the stylistic approach to this painting, where the Chinese tradition of outlining has cleverly been combined with the European pursuit of naturalism through shading. Wares that combine a finely enameled scholarly motif on the interior with a vibrant yellow ground exterior were also produced in porcelain and celebrate the newly developed Famille Rose palette of the early eighteenth century. Tang Ying (1682–1756), as of 1728 the superintendent of the Imperial Kilns at Jingdezhen, notes in his work “A Brief Account of Ceramics”, that yangcai (Western color) enamel wares should be classified as combining falang glazes with Western painting styles (see the National Palace Museum exhibition catalog, Stunning Decorative Porcelains from the Qianlong Reign, Taipei, 2008, pp. 32-40).Painting in enamels on copper is essentially a Western art that gained prominence in northern Europe during the Renaissance and flourished in China under the reign of the Qianlong emperor. Once the piece was shaped, the copper was prepared with a ground of plain enamel to receive the painting in glassy pigments which then bonded to it by firing. The resulting clear and brilliant contrast of colors, which allowed for ornate decoration, was particularly suited to the young Qianlong emperor's taste for the opulent and exotic. The technique was first introduced to Guangzhou by Jesuit missionaries who entered the port with samples of Limoges wares from Europe around 1700. It was then presented to the Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou, who supplied versatile artisans dedicated to developing and improving the standard of the imperial Enamel Workshop (see Yang Boda in the catalog to the exhibition Tributes from Guangzhou to the Qing Court, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1987, page 63).Curator’s Summary: The frugal use of shading points to an early date during the first period of enamel production, which can possibly be even narrowed to 1710-1725. After this period, shading became more sophisticated and stippling was introduced. It is even possible that this monumental work, obviously conceived to impress, and difficult to make with the limited production capacities of the time, was among the few large template pieces presented to the Imperial Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou. This would explain the lasting albeit simplified reappearance of closely related scholarly motifs in later imperial works. Overall, the present dish must therefore not only be regarded as extremely rare, but also as an important contributor to what was later to become the most sophisticated producer of enamel wares in the history of mankind: The Imperial Palace Workshops in Beijing. Literature comparison: A similar use of yellow ground with multi-colored floral scrolls along panels containing depictions of scholars in garden landscapes can be seen on a Qianlong hand-warmer – with a red enamel six-character Qianlong seal mark within a single square – in the collection of the National Palace Museum, Taipei (illustrated in Enamel Ware in the Ming and Qing Dynasties, p. 243, no. 134) although the frames of the panels on the hand-warmer are in red tones and created using more sophisticated abutted S- and C-shaped elements. The use of imperial yellow grounds ornamented with multi-colored floral scrolls was much admired by the court in the Qianlong reign and can be seen on a number of items in a range of forms preserved in the collections of the Palace Museum, Beijing, and the National Palace Museum, Taipei.A scene of scholars in a garden setting, related to the one on the present plate, appears on a Qianlong enameled tea container in the collection of the State Museum of Oriental Art, Moscow (illustrated by Marina Neglinskaya in Kitayske raspisnie zmali, Moscow, 1995, cat. 38), although in the case of the Moscow piece, one scholar is playing the qin while another listens, and a servant approaches with refreshments. The enamels on the Moscow tea container are less rich than those on the present plate and the hand-warmer from the National Palace Museum Collection, and the dominant color in the background is blue rather than yellow, but it is interesting to note that the style was appreciated by the European elite as well as those in China.Auction result comparison: Compare with a closely related but much smaller plate at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on December 1st 2010, lot 3229, sold for HKD 350,000.十八世紀初廣州銅胎畫琺琅開光文人賞畫圓盤 中國. 尺寸宏偉，盤内開光，繪畫精美，文人及其學生欣賞一位畫家在捲軸上作畫的場景，四周山水湖泊以及院内假山竹林。 來源： 美國賓夕法尼亞州私人遺產。盤底有老藏家的標簽 “C-09” 以及第二個標簽 “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”。 品相： 完整中文品相報告請至www.zacke.at查看。其餘中文敘述請至www.zacke.at查看。
A WHITE JADE ‘FUGUI’ PLAQUE, MID-QING TO REPUBLICChina, 1750-1949. Of rectangular form, finely carved to one side in relief with two sinuously coiled chilong with bifurcated tails chasing a flaming pearl, the other side inscribed with a two-character seal mark, all between a ruyi-scroll design. The translucent and almost transparent stone of an even white color.Inscription: To one side, ‘Fugui (Wealth and Fame)’.Provenance: From a private collection in Southwestern France.Condition: Excellent condition with minor wear.Weight: 57.3 gDimensions: Size 6.6 x 4.6 cmPierced at the top for suspension as a pendant, with black string and a glass bead in imitation of coral.Auction result comparison: Compare with a related plaque, dated to the 18th century, also with a seal mark to one side, at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 18 May 2012, lot 1162, sold for GBP 16,250.清中至民國白玉富貴佩飾中國，1750-1949年。折角長方形，一面浮雕兩隻盤旋螭龍，分叉的尾巴，追逐著一顆火珠，另一面刻著“富貴”二字。幾乎透明的白色玉石。來源：法國南部私人收藏 品相：狀況極佳，小磨損。重量：57.3 克 尺寸：6.6 x 4.6 厘米 頂部中央穿孔，黑色絡子，挂著仿珊瑚玻璃珠。拍賣結果比較：一件相近玉佩，十八世紀, 見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles 拍場2012年5月18日 lot 1162, 售價GBP 16,250.
A VERY GOOD CHINESE EBONY, SANDLEWOOD AND IVORY DOUBLE SIDED FAN & STAND, the fan with pierced, carved and stained decoration, with figures playing musical instruments to one side, the verso with children playing, on a matching stand with pierced, scroll carved supports, fan 37cm high, overall height 48cm
A FINE CHINESE FRENCH MADE HARDWOOD DRAGON CARVED CABINET - ATTR GABRIEL VIARDOT, the cabinet with a carved dragon to the upper section upon a scroll end top, with a glass door with three shelves, door with gilt metal mounts of phoenix, two smaller shelves to the right hand side, with lower tiered storage and carved frieze's, with a lower central dragon gilt metal application, stood upon four claw feet with gilt metal mounts at the top of the legs, 158cm x 72cm wide.
A three fold Edwardian inlaid screen, mahogany frame with cross banding and stringing surmounted by leaf cresting and scroll foliate, three glass panels with fret work above three textile ones in the manner of Manuel Canovas with Chinese silk purse design, finished in a plain green fabric to the reverse, each panel 51cm x 192cm
A Chinese porcelain pierced bowl, the interior painted in underglaze blue with a roundel depicting figures in a boat, within further geometric roundels, on a foliate scroll-decorated foot, bearing a six-character Chenghua mark to base, 27cm diameter, 10cm highCondition report: Cracks, breaks and repairs throughout. Pitting and firing faults. Dust and dirt. General surface wear and scratches.
A Chinese scroll, wall hanging, painted with a white-headed sea eagle scrutinizing something that is out of our view, from its vantage point in an oriental pine tree. Bearing a signature for Huang Tie Cheng and mark in red seal. 187cm x 62cmCondition report: A small puncture to the fabric of the scroll within the painted area.
A 19thC Chinese export black lacquer work table, with rounded rectangular chinoiserie decorated hinged top enclosing a fitted interior with various ivory and bone implements, compartments with shaped ivory lids, etc on turned legs joined by a cylindrical stretcher and terminating in hairy paw scroll feet with material sewing bag, 78cm high, 64cm wide, 43cm deep. For a similar example see Christies Interiors Sale 22nd February 2011 Lot 133.
Rollbild China Qing Dynastie Berglandschaft mit Bäumen, Signaturstempel und mehrere Sammlungsstempel, oberhalb links und rechts Chinesische Schriftzeichen, ca. 143,5 cm x 51,5 cm Scroll painting China Qing dynasty mountain landscape with trees, signature stamp and several collection stamps, above left and right Chinese characters, approx. 143.5 cm x 51.5 cm
LARGE THANGKA OF THE REGUGE TREE OF THE GELUGPA SCHOOL WITH TSONGKHAPA. Tibet/Nepal. 19th-beg. 20th c. Pigments with gold on fabric. Frame with Chinese silk as a hanging scroll with curtain and bands. The founder in the center with a sword and a book on lotus flowers at his shoulders, surrounded by gods, Siddhas and Lamas. The tree is rooting in a lake in a landscape. Image size 74x51cm, total size 154x86cm. Condition B/C. Supplement: Thangka of a Chinese Lama. Pigments and gold leaf on fabric. Nepal, 20th c. 62x40.5cm. Glass frame.Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Buddhist Art 19th/20th century Buddhist art Painting Tibet
LARGE HANGING SCROLL WITH THE IMMORTAL MAIDEN CHANG'E AND THE JAR OF THE ELIXIER OF IMMORTALITY. China. 19th/20th c. Ink and pigments on silk. Picture size 157x92cm, scroll size 200x120cm. Sign.: Jinshan Yu Mian. Two seal unread. Condition B/C. Provenance: Collection Dr. Franz Haniel (1883-1965), since then bequest of the family estate. Estimated Shippingcost for this lot: Germany: 67,23 Euro plus 12,77 Euro VAT EU: 100,84 Euro plus 19,16 Euro VAT Worldwide: 151,26 Euro plus 28,74 Euro VAT additional shipping insuranceSpecial Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Chinese Applied Arts 19th/20th century Figurine Painting China Estimated Shippingcost for this lot: Germany: 67,23 Euro plus 12,77 Euro VAT EU: 100,84 Euro plus 19,16 Euro VAT Worldwide: 151,26 Euro plus 28,74 Euro VAT additional shipping insurance
JIN, SHIHENG. Landscape with a hermit at fishing. China. Qing dynasty. Inscription dated 1885. Ink on silk. 42x25.5cm. Sign.: Jin Shisheng (famous craftsman for zisha ware in the Guangxu era (1875-1908). Four seals. Mounted as hanging scroll. 100x35cm. Condition B. Water stains. Litte worm damage. Special Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Shiheng Jin China Asian Art 19th C. Asian Art - Chinese Paintings Hanging Scroll Painting China Estimated Shippingcost for this lot: Germany: 28,57 Euro plus 5,43 Euro VAT EU: 50,42 Euro plus 9,58 Euro VAT Worldwide: 79,83 Euro plus 15,17 Euro VAT additional shipping insurance
A CHINESE BLUE AND WHITE PORCELAIN VASE, baluster form with short neck, enamelled depicting a lotus meander beneath a scroll border, bears underglaze blue six character mark within concentric circles to base and bears collectors label. 14cm by 9cmThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Good overall condition with slight surface wear. Condition report made 280121.
A CHINESE BLUE AND WHITE PORCELAIN PLATE, circular, painted to the well with two figures and a scroll, the broad rim painted with trellis and interspersed by four vignettes filled with objects, bears blue concentric circles to the underside. Diameter 23cm The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Good overall condition, usual pops and frits and some light wear to the centre.
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