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A Chinese famille-rose bowl, iron-red Daoguang seal mark and possibly of the period, painted on the exterior with figures in a landscape beneath a gilt line rim, 22.5cm diameter. Condition Report Overall in good condition with very minor wear to the enamels.

A tall Chinese porcelain rouleau vase, painted with a mountainous landscape, signed and with iron-red seal, 41cm high. Condition Report Good condition.

A small Chinese circular shallow box and cover, painted with a grasshopper amongst flowers beside calligraphy and a red seal, six character mark to base, 7cm diameter, (2). Condition Report Shallow chips to rim of box.

A pair of Chinese famille-rose wine cups, iron-red Qianlong seal marks but later, each enamelled with a pink-scaled dragon amongst cloud scrolls, 6cm high, (2). Condition Report Good condition.

A Chinese flambé dish, blue Jiaqing seal mark but later, shallow form with everted rim, 21cm diameter. Condition Report Some minor pitting and light surface scratching to the glaze, but overall in good condition.

Signed Chinese Guoache and Watercolour A Crested Bellbird ( waxwing ) on a prunus tree Signed with a tablet seal lower left 6 x 2 1/2? ( 15.2 x 6.3 cms)

A Chinese celadon glazed jar, possibly a wine jar, moulded with panels enclosing figures beneath a ruyi frieze, impressed seal mark to the base, now with lamp fitting but not drilled. Height 24cm

A modern Chinese yellow-ground porcelain vase, of baluster shape, painted with figural panels amidst enamel painted floral scrolls, with gilt zoomorphic handles and printed blue seal mark. 24.5cm

A group of Chinese Imari porcelain, comprising a graduated set of three shallow footed bowls, each with six character underglaze blue mark; a small bowl, of cylindrical form with everted rim (unmarked); a further bowl with trellis hatched decoration (unmarked); and a small shallow bowl with iron red seal mark (6) Largest bowl 5cm by 15.5cm

A Chinese scroll painting, depicting a lakeside pavilion in a mountainous landscape, with calligraphy and red seal mark, on silk. Image 104cm by 46cm

A Chinese scroll painting, depicting flowering cherry prunus blossom, seven character signature and red seal mark.

A large Chinese 19th/early 20th century vase decorated with Fu-Lion dogs in an iron red and blue on crackle glaze ground - seal mark to base - height 61.5cm - professional repair to rim and small chip to one handle otherwise good

A Chinese early 20th century blue and white vase and cover well decorated with a pair of dragons chasing a pearl amongst clouds on a crackle glaze ground - height 48cm - seal mark to base - minor glaze loss at top

China (18th/19th century), Falcon, ink and watercolour, seal stamped / Chinese character marks, 77cm x 62cm, framed

A PALE CELADON AND AMBER JADE ‘BUDDHIST LION’ SEAL, MID-QING TO REPUBLICChina, late 18th to early 20th century. Of rounded-rectangular form, surmounted by a Buddhist lion seated foursquare with its bushy bifurcated tail sweeping upwards towards the turned-back head. The translucent stone of a pale celadon tone with amber shadings and light inclusions.Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear, occasional light scratches, and few minuscule nicks to edges. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 36.7 gDimensions: Height 4.4 cm清中期至民國青玉帶皮獅鈕印章中國，十八世紀末至二十世紀初。圓角矩形，獅鈕，其濃密的分叉尾巴向上，朝著傾斜的頭部。 淡淡的青色半透明玉石，帶有琥珀色紋理和淺色內含物。 來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損, 局部輕微的划痕，邊緣處輕微磕損。玉石具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：36.7 克 尺寸：高4.4 厘米

SIX WHITE JADE SEALS, MID-QING TO REPUBLICChina, late 18th to early 20th century. Two seals of irregular form, one carved as a rock and the other as a bell with a loop handle. Two seals of rectangular form, one with a loop handle. One seal of cylindrical form, slightly tapering towards the top with a central piercing. One seal of square form with a slightly domed top. The stones of an even white tone, some with light or dark inclusions. (6)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear, occasional light scratches, few minuscule nicks to edges. Some stones with natural fissures, some of which may have developed into very minor hairline cracks over time.Weight: 82.8 g (total)Dimensions: Height 4.1 cm (the largest)清中期至民國六枚玉印章中國，十八世紀末至二十世紀初。兩枚不規則形狀印章，一枚刻成岩石狀，另一枚刻成帶環鈕的鈴鐺。 兩枚矩形印章，一個帶有環形鈕。 一枚圓柱形，略向頂部傾斜，中間有一個穿孔。 最後一枚方形印章，頂部略帶圓頂。玉石為均勻白色，有些帶有淺色或深色内含物。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損, 局部輕微的划痕，邊緣處輕微磕損。石料具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：縂82.8 克 尺寸：最大的高4.1 厘米

A SPINACH-GREEN JADE SEAL, MID-QING TO REPUBLICChina, late 18th to early 20th century. Of cylindrical form with a slightly domed top, the seal face carved with an inscription, ‘Wan Xiangyu’. The stone of a spinach-green tone with cloudy white inclusions and black speckles.Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear, very few microscopic nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 28.6 gDimensions: Height 5.2 cm清中期至民國碧玉印章中國，十八世紀末至二十世紀初。圓柱面的頂部略帶圓頂，刻有“晚香玉”字樣。 菠菜綠色調的玉石，絮狀白色内含物和黑色斑點。 來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損, 輕微磕損，玉石具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：28.6 克 尺寸：高5.2 厘米

A PALE CELADON AND RUSSET JADE ‘BOULDER’ SEAL, MID-QING TO REPUBLICChina, late 18th to early 20th century. Of boulder form, incised with a mythical beast on one side and a lingzhi and leaves on the other. The translucent stone of a pale celadon tone with russet shadings and veins.Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Very good condition with minor wear, occasional light scratches, some nicks to edges, traces of pigment to incision work. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 41.5 gDimensions: Height 4.2 cm清中期至民國青玉帶皮山子印章中國，十八世紀末至二十世紀初。山子形，一面神獸紋及靈芝紋。透明的青色的半透明玉石，帶有赤褐色紋理和脈絡。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極好with 輕微磨損, 局部輕微的划痕，邊緣有些微磕損，切口処有色素的痕跡。玉石具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：41.5 克 尺寸：高4.2 厘米

FOUR JADE SEALS, ONE WITH ‘SUPREME HARMONY’, MID-QING TO REPUBLICChina, late 18th to early 20th century. Two seals of circular shape, one carved with a domed roof at the top, the seal face inscribed ‘Tai He’, possibly referring to the Hall of Supreme Harmony in the Forbidden City, the other surmounted by a Buddhist lion with lingzhi-shaped ears and a bushy tail wrapped around its body, the seal face reading ‘Wu Yin’.Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Very good condition with minor wear, occasional light scratches, minuscule nicks to edges, and few small losses. Some stones with natural fissures, some of which may have developed into very minor hairline cracks over time.Weight: 67.4 g (total)Dimensions: Height 3.5 cm (the largest)One seal of irregular shape with two piercings at the top, the seal face reading ‘Gu Chun’. One seal of rectangular form, surmounted by a Buddhist lion. Three of the seals carved from celadon jade with cloudy white inclusions, the fourth carved from white jade. (4)清中期至民國四枚玉印章 中國，十八世紀末至二十世紀初。兩枚圓形印章，一枚在頂部刻有宮殿，印面刻有“太和”字樣，可能指的是紫禁城的太和殿；另一枚在靈芝形耳獅鈕，刻著“無印”。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極好，輕微磨損, 局部輕微的划痕，邊緣處輕微磕損， 輕微小缺損。石料具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：縂67.4 克 尺寸：最大的高3.5 厘米

A WHITE JADE ‘MONKEY AND PEACH’ SEAL, MID-QING TO REPUBLICChina, late 18th to early 20th century. Of rectangular form, surmounted by a monkey holding a branch with two peaches. The translucent stone of a white tone with grayish shadings. The seal face is carved with an inscription, ‘Chu Ting’.Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear, occasional light scratches, and few minuscule nicks to edges.Weight: 17.7 gDimensions: Height 3.5 cm清中期至民國猴子持桃白玉印章中國，十八世紀末至二十世紀初。長方形，印鈕処是一隻猴子背著樹枝和兩個桃子。 白色半透明玉石，帶灰色紋理。印章面刻有“楚亭”字樣。 來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損, 局部輕微的划痕，邊緣處輕微磕損。重量：17.7 克 尺寸：高3.5 厘米

A CELADON AND RUSSET JADE ‘LINGZHI’ SEAL, MID-QING TO REPUBLICChina, late 18th to early 20th century. Of rectangular form, surmounted by a linzhi fungus with a central piercing allowing for suspension as a pendant. The translucent stone of a celadon tone with russet shadings and cloudy white inclusions.Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear, occasional light scratches, and few minuscule nicks to edges. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 33.2 gDimensions: Height 4.3 cm清中期至民國青玉帶皮靈芝印章中國，十八世紀末至二十世紀初。長方印，靈芝鈕，可以懸掛為吊墜。 青色調的半透明玉石，帶有赤褐色紋理和絮狀白色內含物。 來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損，偶有輕微刮擦，邊緣只有細微的刻痕。 玉石具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：33.2 克 尺寸：高4.3 厘米

TWO CHALCEDONY SEALS, MID-QING TO REPUBLICChina, late 18th to early 20th century. Each of square form, the smaller seal surmounted by a dragon turtle and pierced for suspension as a pendant, the larger seal with a slightly domed top. (2)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear and very few minuscule nicks to the edges.Weight: 60.6 g (total)Dimensions: Height 1.5 cm and 5.5 cm清中期至民國兩枚玉髓印章 中國，十八世紀末至二十世紀初。方形印章，較小的那枚龍龜鈕，穿孔可挂絡子；較大的素面，頂部略帶凸。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損 ，邊緣處輕微磕損 重量：縂60.6 克 尺寸：高1.5 厘米，5.5 厘米

FOUR CHALCEDONY SEALS, MID-QING TO REPUBLICChina, late 18th to early 20th century. Three seals of square form with slightly domed tops, one of which is pierced and attached with a small bead on a short fabric string. One seal of oval form with a slightly domed top. (4)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear, occasional light scratches, and very few minuscule nicks to edges. Some stones with natural fissures, some of which may have developed into very minor hairline cracks over time.Weight: 82.3 g (total)Dimensions: 4.5 cm (the largest)清中期至民國四枚玉髓印章中國，十八世紀末至二十世紀初。三個方形印，頂部略圓，其中一枚有半環形鈕帶著一條短絡子。一枚圓柱形，頂部略帶圓頂。 來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損, 局部輕微的划痕，邊緣處輕微磕損。石料具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：縂82.3 克 尺寸：最大的高4.5 厘米

FOUR AGATE SEALS, MID-QING TO REPUBLICChina, late 18th to early 20th century. One banded agate seal of circular form and surmounted by a loop handle. Three seals of square form, two surmounted by Buddhist lions, the smaller with a seal face carved with an inscription, ‘Wan Ruo Zhu yin [Seal of Wan Ruozhu]’, and one surmounted by a horse. (4)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear, occasional light scratches, and very few minuscule nicks to edges. Some stones with natural fissures, some of which may have developed into very minor hairline cracks over time.Weight: 65.9 g (total)Dimensions: Height 4.7 cm (the largest)清中期至民國四枚瑪瑙印章中國，十八世紀末至二十世紀初。一枚帶狀紋理瑪瑙，環形鈕；三枚方形印章，兩枚獅鈕，較小的那枚刻有“宛若珠印”四字，第三枚馬鈕。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損, 局部輕微的划痕，邊緣處輕微磕損。石料具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：縂65.9 克 尺寸：最大的高4.7 厘米

AN IVORY ‘IMMORTALS’ SEAL, MID-QING TO REPUBLICChina, late 19th to early 20th century. Of rectangular form with a slightly domed top, the long sides minutely incised and inked with three immortals and a lengthy microscopic poem on one side and a peacock perched on a pine branch and a shorter poem to the other.Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear, occasional light scratches, and very few minuscule natural age cracks. Good patina.Weight: 28.1 gDimensions: Height 6.4 cmThis 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. 清中期至民國仙人象牙印章中國，十九世紀末至二十世紀初。扁方形，上端四角圓角，一面雕刻著三位仙人，右上角詩文；另一面松樹上立著一隻孔雀，右上角詩文。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損, 局部輕微的划痕，些微天然年代裂紋。包漿良好。重量：28.1 克 尺寸：高6.4 厘米

A LOT OF FOUR SEALS, QING DYNASTY TO REPUBLIC PERIODChina, 17th century (the ivory seal) and late 18th to early 20th century (the other seals). An ivory seal of lobed oval form carved as an eggplant with a curved stem. A bone netsuke of columnal-cylindrical shape carved as a parasol with a ruyi-head finial. A rectangular carnelian seal surmounted by a luduan. A small cylindrical Beijing glass seal with a handle on top. All with piercings or ‘natural’ loops for attachment as a pendant. (4)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Good condition with minor wear, occasional light scratches, some small nicks here and there, the ivory with natural age cracks. The bone and ivory seals with fine natural patina.Weight: 64.6 g (total)Dimensions: Height 5.5 cm (the largest)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. 清至民國一組四枚印章 中國，十七世紀（象牙印)，十八世紀末至二十世紀初（其他三枚印)。橢圓形的象牙印，雕刻成帶有彎曲莖梗的茄子。 圓柱狀的骨質印雕刻成帶有如意頭飾的陽傘。 長方形的紅瑪瑙印章，上面有一個甪端印鈕。 一個小圓柱形的北京玻璃料印，頂部有鈕。 均帶有穿孔，可作為挂飾。 來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：品相良好輕微磨損, 局部輕微的划痕，局部小磕損。象牙有天然年代裂紋。骨印和象牙印天然包漿。 重量：縂64.6 克 尺寸：最高的為5.5 厘米

THREE BRONZE SEALS, MID-QING TO REPUBLICChina, late 18th to early 20th century. Each of square form, one with a slightly domed top, another surmounted by a Buddhist lion, the seal face with an inscription, ‘Han Xiaoting yin [Seal of Han Xiaoting]’, and the third surmounted by a monk wearing long flowing robes and holding a bowl in one hand, the seal face with an inscription, ‘Guo Shengting yin [Seal of Guo Shengting]’. (3)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Excellent condition with minor wear, occasional light scratches, few minuscule nicks to edges.Weight: 159.0 g (total)Dimensions: Height 4.2 cm (the largest)清中期至民國三枚銅印章中國，十八世紀末至二十世紀初。方形印章。一枚頂部略凸，一枚獅鈕印，刻有“韓曉濤印”，第三枚是和尚頭戴僧帽鈕，手持一碗，刻有“郭聲亭印”。 來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極佳，輕微磨損, 局部輕微的划痕，邊緣處輕微磕損 重量：縂159.0 克 尺寸：最大的高4.2 厘米

FOUR TIBETAN-CHINESE METAL SEALS, MID-QING TO REPUBLICTibetan-Chinese, late 18th to early 20th century. Each of cylindrical form, two carved with scrolling vines and with lotus finials, one carved as a lotus-lappet column with leaves at the top and surmounted by a stupa finial, the fourth with a seal face to either side, each end with eight notches forming a lobed design. (4)Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Good condition with minor wear, occasional light scratches, small dents, tiny losses, few minuscule nicks to edges.Weight: 282.5 g (total)Dimensions: Height 7.2 cm (the largest)清中期至民國四枚漢藏金屬印章漢藏，十八世紀末至二十世紀初。圓柱體，兩個雕刻有纏枝蓮紋；一個雕刻成蓮座式，佛塔形鈕；第四個枚底上下兩面花口卷葉紋。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：品相良好，輕微磨損，局部輕微的划痕，小凹痕，輕微缺損，邊緣處輕微磕損。重量：縂282.5 克 尺寸：最大的高7.2 厘米

A LARGE TIBETAN-CHINESE COPPER REPOUSSE SEAL, MID-QING TO REPUBLICLate 18th to early 20th century. Of square shape with a slightly flattened spherical finial, executed in fine repousse with scrolling leafy vines, lotus lappets, key fret, and geometric designs.Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Very good condition with minor wear, small dents, minuscule nicks.Weight: 154.9 gDimensions: Height 12 cm清中期至民國大型漢藏銅印章十八世紀末至二十世紀初。方形，略微扁平的球形鈕，精美鎚鑿，纏枝藤蔓，肩部荷葉紋，脚緣処雷紋。 來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極好，輕微磨損, 小凹痕，微小的刻痕。 重量：154.9 克 尺寸：高12 厘米

A BLUE AND WHITE ‘THREE FRIENDS OF WINTER’ DISH, KANGXIChina, 1662-1722. The shallow sides rising from a tall ring foot to a slightly everted rim, the interior painted with a central medallion enclosing a pine tree, bamboo and flowering prunus, the exterior also with the Three Friends of Winter above a geometric band to the foot. The base with an apocryphal six-character da Ming Xuande nianzhi mark.Provenance: Belgian private collection. Condition: Three short hairlines to the rim (inspected under strong blue light), one barely visible to the naked eye, the other two invisible. Minor pitting, some firing flaws, fritting, overall condition commensurate with age.Weight: 737.6 gDimensions: Diameter 25.5 cmMing imperial porcelains of the Xuande period represent a peak of quality, beauty, and inventiveness unique in the history of Chinese ceramics. Later emperors referred back to wares from this period, as seen in the present lot.Literature comparison: For the Xuande ‘Three Friends of Winter’ prototype, see a blue and white bowl in the collection of the British Museum, museum number PDF, B.635. Compare with a blue and white bowl, also from the Kangxi period and with an apocryphal Xuande mark, at Sotheby’s Hong Kong in A Tradition of Elegance – The Leshantang Collection on 11 April 2008, lot 2519.Auction result comparison: Compare with a related dish of smaller size, with a Qianlong seal mark and of the period, at Sotheby’s New York in Asian Art on 19 March 2016, lot 1412, sold for USD 35,000.康熙青花歲寒三友盤 中國，1662-1722年。淺邊，高圈足，邊緣外翻，盤内開光青花描繪松樹、竹子和梅花。盤外壁還可見歲寒三友紋。圈足内可見“大明宣德年制”款。 來源：比利時私人收藏 品相：邊緣的三根短髮絲細裂紋（在強烈的藍光下進行了檢查），其中一根肉眼幾乎不可見，另外兩條則不可見。小凹痕，一些燒制缺陷，熔結現像都很明顯，其總體狀況與年齡相稱。 重量：737.6 克 尺寸：直徑 25.5厘米 拍賣結果比較：一件相近但尺寸略小的乾隆款及年代盤，見紐約蘇富比Asian Art 拍場，2016年3月19日lot 1412, 售價USD 35,000.

AN EXTREMELY RARE ARCHAISTIC RU-TYPE ARROW VASE, TOUHU, QIANLONG MARK AND PERIODChina, 1735-1796. Elegantly potted with a compressed globular body rising to a slightly waisted neck, flanked by a pair of tubular lug handles, covered overall in an unctuous and even Ru-type glaze, the recessed base similarly glazed and with a four-character Qianlong nianzhi seal mark in underglaze blue and of the period.Provenance: From a European private collection and thence by descent in the same family.Condition: Four tiny and shallow surface nibbles to the unglazed section of the foot rim, one with a microscopic touchup and the other three invisible from the outside. Otherwise in absolutely perfect condition (inspected under strong blue light).Weight: 293.3 gDimensions: Height 15.1 cmThis charming and rare vase, of archaistic form, is made in imitation of the highly-treasured Ru ware of the Song dynasty. The Qianlong Emperor was declarative about his fondness of Imperial ceramic wares of this period (960-1279) going as far as to having many of the pieces in the Qing Court Collection inscribed with poems he had written extolling their virtues. During his reign, glazes imitating Jun, Ding, Guan, Ge and Ru wares, known as the five ‘official’ wares of the Song dynasty, were recreated in forms relating closely to their Song prototypes, such as the present example.The high level of skill and keen attention to detail in simulating the distinctive characteristics of Song Imperial ware is evidenced in the soft, unctuous quality of the luminous glaze and at the foot which has been left unglazed and stained dark brown.Furthermore, this vase is also a good example of the archaistic bronze forms produced during the Yongzheng and Qianlong periods. The interest in antiques during the Qing Dynasty concentrated on such archaic bronzes, which were copied by the imperial kilns at Jingdezhen, particularly since the Yongzheng period, and this interest continued under the Qianlong emperor.Literature comparison: Compare a Qianlong Ru-type vase of related hu form in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Monochrome Porcelain, Hong Kong, 1999, pl. 216. There is also a related example in the National Palace Museum, Taipei, published in the Illustrated Catalogue of the Ch'ing Dynasty in the National Palace Museum, Ch'ien-lung Ware and Other Wares, Tokyo, 1981, pl. 82, and another included in John Ayers, The Baur Collection, Geneva, vol. III, Geneva, 1972, pl. 344.Auction result comparison: Compare with a related vase of lobed form and 9 cm at Sotheby’s Hong Kong, in Masterpieces of Qing Imperial Porcelain from J.T. Tai & Co, on 7 October 2010, lot 2131, sold for HKD 4,820,000 and a related hu vase at Sotheby’s New York, of 14 cm, in Important Chinese Art, 20 March 2019, lot 519, sold for USD 100,000.乾隆款及年代罕見仿汝釉貫耳投壺 中國，1735-1796年。直頸較長，腹部扁圓，圈足，頸部兩側對稱貼豎直的管狀貫耳。整體施仿汝釉，圈足内青花四字款“乾隆年制”。 來源：歐洲私人收藏，自此保存在同一家族至今。 品相：圈足未上釉部位四個小而淺的表面磕損，其中一個進行了小修，而另外三個則從外部看不到。除此之外絕對完美（在強烈的藍光下檢查）。 重量：293.3 克 尺寸：高15.1 厘米 拍賣結果比較：一件相近瓜棱形瓶見香港蘇富比 Masterpieces of Qing Imperial Porcelain from J.T. Tai & Co拍場，2010年10月 7日lot 2131, 售價HKD 4,820,000； 一件相近八方貫耳壺見紐約蘇富比，14厘米，Important Chinese Art拍場，2019年3月20日lot 519, 售價USD 100,000.

A TEADUST-GLAZED BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1735-1796. The compressed globular body rising from a slightly waisted foot with a molded edge to a superbly potted cylindrical neck. Covered overall with a finely mottled, elegant silky matte glaze of deep olive-green color that also covers the base. The foot is covered by a dark brown wash. Neatly incised six-character da Qing Qianlong nianzhi seal mark and of the period, the mark itself highlighted by a russet-brown glaze.Provenance: Christie's Paris, 14 June 2006, lot 364. Austrian private collection.Condition: Absolutely perfect condition with only very minor wear and firing irregularities.Weight: 906.0 g Dimensions: Height 21.5 cmFine tea-dust glazed porcelains are particularly associated with the Qing dynasty reigns of the Yongzheng and Qianlong Emperors, and it is of interest to note that, like those vessels with a robin’s-egg glaze, tea-dust porcelains usually bear seal-script marks in both the Yongzheng and Qianlong reigns.The fine tea-dust glazes of the 18th century are linked to the most famous and revered of all the supervisors of the imperial kilns, Tang Ying (1682-1756). Tang Ying’s document ‘Commemorative Stele on Ceramic Production’ from 1735 provides information on 57 types of porcelain ware, including 40 monochrome glazes. Amongst these, there is reference to ‘copy workshop glaze’ fang changguan, i.e. tea-dust, and a listing of three variants: eel-skin yellow, snake-skin green, and speckled yellow. It is interesting that these are called fang or copies, since it suggests that the kilns were specifically copying an ancient glaze, most probably a Tang or Song dynasty original tea-dust glaze from northern China.Expert’s note: Although Qianlong-marked teadust-glazed vases of this general form are well known, smaller examples are very rare, and the current vase further distinguishes itself with its unusually fine and even glaze as well as its magnificent quality of pottery.Literature comparison: A teadust-glazed vase of similar small size and proportions is illustrated by J Ayers in Chinese Ceramics and the Baur Collection, Geneva, 1999, no. 297. Another is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, vol. 2, no. 917. A related Qianlong-marked vase of this form, but of the more common larger size, from the T.Y. Chao Collection, was sold at Sotheby's Hong Kong, 19 May 1987, lot 294; and another in the Victoria and Albert Museum, London, illustrated by R. Kerr in Chinese Ceramics, Porcelain of the Qing Dynasty, 1644-1911, London, 1986, no. 25.Auction result comparison: Compare with a closely related vase, of exactly the same rare small size, but with a flaring neck as opposed to the rare straight neck on the present vase, at Christie’s Hong Kong in Imperial Chinese Treasures from a Distinguished American Collection on 28 May 2014, lot 2906, sold for HKD 1,480,000.乾隆款與年代茶葉末釉荸薺瓶 中國，1735-1796年。直頸長頎、溜肩、扁鼓腹，底承圈足，底部正中落“大清乾隆年制”六字篆書款。器形飽滿端正，重心下移，愈顯豐腴大方。整器通體施茶葉末釉，釉質潤澤，釉色勻凈而深沉。 來源：巴黎佳士得，2006年6月14日，lot 364。奧地利私人收藏 品相：對完美的狀態，只有極少的磨損和燒傷不規則現象。 重量：906.0 克 尺寸：高21.5厘米器瓶為清宮瓷器燒造的傳統形制之一，始於康熙朝，而尤盛於乾隆。因器形似荸薺而得名。此瓶造型端莊規整，釉質釉色靜穆，盡顯大氣雅緻。清代茶葉末釉製品多為景德鎮官窯所燒，傳世品中，以雍正和乾隆時期最多見，並以乾隆時的燒製最為成功。 拍賣結果比較：一件相近的茶葉末釉瓶，幾乎一樣的小尺寸，但頸部不同，售于香港佳士得Imperial Chinese Treasures from a Distinguished American Collection拍場，2014年5月28 日，售價HKD 1,480,000。

A PINK GROUND FAMILLE ROSE ‘RABBIT’ SGRAFFIATO BOWL, DAOGUANG MARK AND PERIODChina, 1821-1850. The rounded sides rising to a slightly everted rim. The exterior painted with four roundels enclosing various flowers, trees, and rockwork, divided by stylized lotus sprays, all reserved on a pale pink sgraffiato ground. The interior painted in underglaze blue with a rabbit below a paulownia tree in a roundel, all below four composite flowering shrubs at the sides.Provenance: Eileen Kershaw Antiques, Hong Kong, 1990. A collector, acquired from the above. The storage box with an inscribed label, with date ‘XI 1990’, a small hand drawn image of the bowl with measurements, the name ‘Eileen Kershaw’, and a price of ‘45,580 US’ for ‘the pair’ (approx. USD 90,807 in today’s money)Condition: A single, near-invisible hairline (2 cm), some minor glaze scratches, otherwise in absolutely perfect condition.Weight: 230.8 gDimensions: Diameter 14.9 cmThe recessed base with a six-character seal mark da Qing Daoguang nianzhi in underglaze blue and of the period.With a silk storage box and a lotus-form wood stand. (3)Auction result comparison: Compare with a near-identical bowl, also with a rabbit in underglaze blue to the interior (see fig. 1), at Sotheby’s New York in Fine Chinese Ceramics and Works of Art on 11-12 September 2012, lot 73, sold for USD 30,000.道光款及年代胭脂紅地粉彩軋道開光花卉玉免盌 中國，1821-1850年。撇口，深腹，圈足。碗外壁以胭脂紅地軋道卷草花卉紋為地，其上繪設四個圓形開光，內以粉彩畫各色花卉、樹木以及假山。碗內壁以青花繪折枝花卉四組，碗心雙圈開光內繪丹桂玉兔圖。圖中金桂，白兔靜臥其間，生動盎然。來源：藏家1990年購於香港Eileen Kershaw 古玩。外包裝盒上可見 ‘XI 1990’字樣、碗的手繪畫及尺寸、名字 ‘Eileen Kershaw’以及價格 ‘45,580 US’ （一對，相當於今天的 USD 90,807) 品相：一條幾乎看不見的髮絲細裂紋（2厘米），還有一些輕微的釉面刮痕，否則絕對處於完美狀態。 重量：230.8 克 尺寸：直徑14.9 厘米 底書青花六字篆書款“大清道光年制”。附絲緞盒子和蓮花形木底座。 拍賣結果比較：一件幾乎一模一樣的玉兔碗（内壁青花，見圖1），於紐約蘇富比Fine Chinese Ceramics and Works of Art 拍場售出，2012年9月11-12日lot 73, 售價USD 30,000.

AN ENAMELED ‘LANDSCAPE’ LANTERN VASE, QIANLONG MARK AND POSSIBLY OF THE PERIODChina, 1770-1870. Sturdily potted, the baluster body superbly painted in pink, blue, iron-red and shades of green with a continuous and monumental landscape scene depicting minuscule figures on fishing boats and houses amid craggy rockwork and pine trees, with mountains towering in the background, some barely visible at first sight. The base with an underglaze blue six-character seal mark da Qing Qianlong nianzhi and possibly late in the period.Provenance: British private collection. Condition: Excellent condition with minor wear and minimal firing irregularities, such as dark spots, microscopic pitting all over, occasional light scratches, the gilt to rim almost entirely worn off, extensive soiling to the interior.Weight: 3,470 gDimensions: Height 36.8 cmThe depiction is framed by underglaze blue bands of ruyi-heads, with borders of scrolling ribbons to the waisted neck below the gilt rim and to the spreading foot.The masterly execution of the continuous landscape is reminiscent of vases manufactured in the imperial kilns under the direction of Tang Ying during the early years of Qianlong’s reign. The painterly manner in which the landscape is rendered is inspired by the work of Wang Hui (1632-1717), who played a key role both in reinvigorating past traditions of landscape painting and in establishing the stylistic foundations for the Imperially sponsored art of the Qing court.Expert’s note: While both the classic lantern form as well as the style and quality of the landscape would firmly place the present vase in the Qianlong period, the relatively simple underglaze blue borders are not only in stark contrast to the granularity of the main motif, but also rather unusual as a whole. Most Qianlong mark and period examples show either no borders at all, or much more elaborate ones, and some have a more ‘impressionist’ appearance, while Republic period examples simply cannot even approximate the present work in terms of painterly skill and detail. It is therefore both possible that this vase was made either late during the Qianlong reign, or in the 19th century. Either way, it is certainly not a Minguo piece.Literature comparison: A blue and white lantern vase painted with deer and crane amongst rockwork and pine trees from the Qing Court Collection is illustrated in Blue and White Porcelain with Underglazed Red (III) - The Complete Collection of Treasures of the Palace Museum, Beijing, 2000, vol. 36, no. 135. Another was included in the exhibition ‘Imperial Perfection, Chinese Palace Porcelain of the Three Great Emperors at the Minneapolis Institute of Art’, no. 27 Minneapolis, 2004. A vase of similar lantern-shape with a continuous landscape scene painted in Famille Rose is illustrated in Compendium of Collections in the Palace Museum: Enamels 5, Beijing, 2011, no. 196, and another vase painted in a restricted blue palette and with a four-character Qianlong mark in red enamel, but considerably smaller than the present lot and archaistic in style, is illustrated ibid, no. 149. Compare also with a blue and white vase with a village scene in the collection of the Metropolitan Museum of Art, accession number 14.40.268.Auction result comparison: Compare with a related lantern vase with underglaze blue six-character Qianlong reign mark, painted with a similar landscape scene but much more elaborate borders, at Bonhams London in Fine Chinese Art on 10 November 2011, lot 184, sold for GBP 202,250. Compare also with a related, but unmarked lantern vase, painted in underglaze blue and copper-red at Duke’s on 11 February 2010, Dorchester, UK, lot 300, sold for GBP 625,000, and another at Sotheby’s Hong Kong in Legacies of Imperial Power: Treasures from the Imperial Collection on 8 October 2008, lot 2203, bought-in at an estimate of HKD 5,000,000-7,000,000. For a related vase of similar form and decoration, but inscribed with a poem and possibly earlier, see Christie’s Hong Kong in The Imperial Sale on 29 April 2001, lot 516, sold for HKD 3,125,000.乾隆款粉彩山水燈籠瓶 中國, 1770-1870年。器呈直口，短頸，豐肩，筒腹，圈足。瓶身使用粉色、藍色、礬紅和綠色描繪了山水亭臺景觀，背景群山綿延，水上漁舟，山間松林，令人向往。底足青花六字款“大清乾隆年制“。來源：英國私人收藏. 品相：狀況極佳，小磨損，輕微燒製瑕疵，例如黑斑，遍布整個表面的微觀點蝕，些與輕微劃痕，邊緣鎏金完全磨損，內部污跡。重量：3,470 克 尺寸：高36.8 厘米 拍賣結果比較：一件青花六字乾隆款山水景觀燈籠瓶見倫敦邦瀚斯Fine Chinese Art 拍場2011年11月10日 lot 184, 售價GBP 202,250. ；一件相近但無款的青花釉裏紅見英國多切斯特杜克2010年2月11日 lot 300, 售價GBP 625,000, 以及另一件見香港蘇富比Legacies of Imperial Power: Treasures from the Imperial Collection 拍場2008年10月8日 lot 2203, 估價HKD 5,000,000-7,000,000. 一件形制以及繪畫簡潔但有詩文的燈籠瓶見香港佳士得The Imperial Sale 拍場2001年4月29日 lot 516, 售價HKD 3,125,000.

A CELADON-GLAZED GLOBULAR WATER POT, PINGGUOZUN, YONGZHENG SEAL MARK AND PERIODChina, 1723-1735. The globular body, which tapers towards the unglazed foot, and curves inward to the rounded interior of the neck, is covered inside and out, and on the base, with a superbly even and immaculate glaze of pale blueish-green color. The base with a neatly painted underglaze blue six-character seal mark da Qing Yongzheng nianzhi and of the period.Provenance: Leslie Gifford Kilborn, USA, and thence by descent in the same family. Leslie Gifford Kilborn (1895-1972), son of Retta and Omar Kilborn, was born in Sichuan, China. He greatly advanced missionary work in Western China, was the author of multiple texts and served as dean of the College of Medicine of the West China Union University. In 1952, he left China and became a professor of physiology at the University of Hong Kong.Condition: Absolutely perfect condition with only very minor wear and firing irregularities.Weight: 268.5 gDimensions: Height 7.5 cmExpert’s note: It is rare to find vessels which such a perfect, unctuous glaze that shows literally no firing flaws whatsoever, even at the pinnacle of the production of monochrome wares. As expected, the foot has been left unglazed and was stained dark brown.Literature comparison: Compare with a clair-de-lune glazed waterpot in the Shanghai Museum, illustrated in Wang Qingzheng (ed.), Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1989, pl. 240, and a peachbloom example, formerly in the J. Pierpont Morgan Collection, in the National Gallery of Art, Washington, illustrated in The Collections of the National Gallery of Art Systematic Catalogue. Decorative Arts, Part II. Far Eastern Ceramics and Paintings. Persian and Indian Rugs and Carpets, Washington, D.C., 1998, pl. 72.Auction result comparison: Compare with a related bowl, but slightly larger (10 cm), and with a Qianlong mark, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 18-19 September 2014, lot 904, sold for USD 37,500.雍正款與年代青瓷蘋果尊筆洗 中國, 1723-1735年。蘋果尊器口內凹，通體施青釉，淡雅勻淨，胎體厚度適中，曲線優美。器底青花書“大清雍正年制”。 來源：美國Leslie Gifford Kilborn, 自此保存在同一家族保存至今。Leslie Gifford Kilborn (1895-1972), 是Retta 和Omar Kilborn的兒子，出生在四川。他極大地促進了中國西部的傳教工作，是多篇著作的作者，還曾擔任過華西聯合大學醫學院的院長。 1952年，他離開中國，成為香港大學生理學教授。圖片: Leslie Gifford Kilborn (1895-1972, 左起第三位) 品相：絕對完美的狀態，只有極少的磨損和燒傷不規則現象。 重量：268.5 克 尺寸：高 7.5 厘米 拍賣結果比較：一件乾隆款但尺寸略微較大(10厘米)的碗，售于紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2014年9月 18-19日，lot 904, 售價USD 37,500.

A FAMILLE ROSE PORCELAIN ‘CHICKEN’ CUP, QING DYNASTYChina, 1776-1880. Inscribed with an imperial poem by the Qianlong Emperor and dated to the bingshen year of the Qianlong reign, corresponding to 1776. The base inscribed with a six-character Da Qing Qianlong fanggu seal mark in underglaze blue, and possibly of the period.Provenance: From the estate of the Loh family, Los Angeles, USA. Collected in Singapore from 1945 to 1955, and in the same family for over 65 years. Thence by descent to the present owner.Condition: Excellent condition with minor wear and light surface scratches, one small pit to the rim.Weight: 131.5 gDimensions: Height 7.3 cm, Diameter 8.2 cmFinely potted with steep rounded sides rising from a recessed base to a slightly everted rim. Finely painted to the exterior with a boy approaching a rooster, a hen tending four small chicks, the scene further decorated with craggy rocks, blooming peonies and roses.Cups of this type are based on earlier Chenghua doucai prototypes, such as the pair of similar shape, but decorated with chickens only, included in the Illustrated Catalogue of Chinese Government Exhibits for International Exhibition of Chinese Art in London, vol. II, Porcelain, 1948, p. 130, no. 171. The poem inscribed on the present cup acknowledges that the design is an adaptation of the earlier chicken cups. For a translation of the poem and a description of the subject, see the exhibition catalog, For the Imperial Court: Qing Porcelain from the Percival David Foundation of Chinese Art, Kimbell Art Museum, Fort Worth Tex., 1997, p. 98.The mark on the base of all these cups reads Da Qing Qianlong fanggu, which translates as 'made in imitation of antiquity in the Qianlong reign of the Great Qing dynasty'. The imitation of antiquity, or archaism, was a theme close to the Qianlong emperor's heart and a considerable number of imperial art objects in a range of different media bear this mark.The poem inscribed on the cups mentions a man by the name of Zang Ping, who lived during the Muzong reign (reigned AD 926-33) of the Tang dynasty. Zang was famous for the large cockerels he reared to take part in the cockfights that took place during the Qing Ming festival. However, the youth depicted on the cups may instead represent Jia Chang (born AD 713), who was a child prodigy. At the age of thirteen he was such a talented trainer of fighting cocks that the Tang dynasty emperor Xuanzong (reigned AD 713-56) employed him to train the imperial fighting cocks. The design on these cups is therefore often known as 'the precocious boy'.Expert’s note: There are two differences between the present lot and the more common series of mark and period chicken cups: The boy is painted with an attention to detail arguably more elaborate and the rooster resembles one from a group of cups that show only chickens but no boy. While these findings may not represent much of an argument against firmly dating the present cup to 1776, we still decided to extend the dating into the later Qing period until further research dedicated to these differences can be conducted.Literature comparison: A related example was included in the exhibition Joined Colors, Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C., 1993, cat. no. 64; another, in the Sir Percival David foundation in the British Museum, London, was included in the exhibition For the Imperial Court: Qing Porcelain from the Percival David Foundation of Chinese Art, Kimbell Art Museum, Fort Worth Tex., 1997, cat. no. 33; and a pair of cups in the National Palace Museum, Taiwan, was included in the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, National Palace Museum, Taipei, 1986, cat. no. 144.Auction result comparison: Compare with a related chicken cup at Sotheby’s New York in Important Chinese Art on 20 March 2018, lot 525, sold for USD 237,500, and another at Sotheby’s Hong Kong in Fine ChineseCeramics & Works of Art on 8 October 2010, lot 2705, sold for HKD 5,060,000.清代粉彩童子戯鷄杯 中國, 1776-1880年。杯上可見乾隆帝題詩可見“丙申“年，即1776。杯底可見乾隆青花六字款。 來源：來自美國洛杉磯Loh氏家族。 1945年至1955年在新加坡收集，並在同一個家族保存65年以上，直至進入現任藏家手中。 品相：狀況極佳，磨損小，表面輕微划痕，邊沿上有一個小凹坑。 重量：131.5 克 尺寸：高 7.3 厘米，直徑8.2 厘米 拍賣結果比較：一件相似童子戲雞杯，售于紐約蘇富比 Important Chinese Art 拍場，2018年3月20日， lot 525, 售價USD 237,500；另一件售于香港蘇富比 Fine Chinese Ceramics & Works of Art拍場，2010年10月8日，lot 2705, 售價HKD 5,060,000。

A COPPER-RED-DECORATED BLUE AND WHITE ‘DEER’ BOWL, QIANLONG MARK AND PERIODChina, 1735-1796. The deep rounded sides rising to an everted rim, the sides painted in rich tones of copper red and underglaze blue with two deer, the doe reclining under a pine tree while the stag stands on the other side of the trunk, with two red bats swooping on the reverse. Qianlong seal mark in underglaze blue to the base and of the period.Provenance: Collection of Alain Saint-Loubert-Bie, a passionate collector of Chinese porcelain and author of the book ‘Porcelaines Chinoises dans un manoir normand’ (Chinese porcelains in a Norman manor).Published: Porcelaines Chinoises dans un manoir normand, une Histoire des Bleu et Blanc, Alain Saint-Loubert-Bie, page 7. Copies of the title and page 7 of the book are accompanying this lot.Condition: Good condition with minor wear, an old metal fitting to the lip, added a long time ago, probably to cover fritting, some traces of use to the interior, one hairline to rim, two glaze flakes.Weight: 580.2 g Dimensions: Height 9.5 cm, Diameter 19.1 cmAuction result comparison: A closely related pair of bowls was sold by Christie’s New York in Fine Chinese Ceramics & Works of Art on 19 March 2009, lot 732, for USD 18,750.乾隆款和年代青花釉裏紅白鹿碗 中國，1735-1796年。碗深，邊緣外翻，外壁青花釉裏紅繪製一對白鹿，母鹿斜躺在一棵松樹下，而雄鹿則站在樹幹的另一側，背面兩隻蝙蝠。碗底乾隆青花款。來源：Alain Saint-Loubert-Bie收藏，他是中國陶瓷收藏家與Porcelaines Chinoises dans un manoir normand’ (Chinese porcelains in a Norman manor)一書的作者。 出版: Porcelaines Chinoises dans un manoir normand, une Histoire des Bleu et Blanc, Alain Saint-Loubert-Bie, page 7. 該書的標題和第7頁的複印件隨附于此拍品。 圖片: Alain Saint-Loubert-Bie 品相：狀況良好，略有磨損，很久以前就在碗沿添補了金屬修補，可能是為了遮蓋磕損，內部有一些使用痕跡，一根髮絲線裂縫至圈足，兩塊釉面開片。 重量：580.2 克 尺寸：高 9.5 厘米, 直徑19.1 厘米 拍賣結果比較：一對相近的碗售于紐約佳士得Fine Chinese Ceramics & Works of Art 拍場，2009年3月19日，售價 USD 18,750.

A COPPER-RED VASE, YUHUCHUNPING, QIANLONG MARK AND PERIODChina, 1735-1796. Superbly potted, the generously swelling body tapering to a narrow neck, culminating in a broad everted rim, supported on a short flared foot, the exterior covered with an even copper-red glaze suffused with ‘crushed raspberry’ and stopping evenly at the foot. The interior and recessed base glazed white. Six-character Qianlong seal mark to base and of the period.Provenance: From a French private collection. Condition: Old wear and surface scratches. Two small chips to rim with associated short hairlines, old fills and minuscule touchups, with no hidden damages of any kind.Weight: 1,652 gDimensions: Height 27.5 cmAuction result comparison: Compare with a near-identical vase, also with condition issues, including a 15 cm crack around the foot and body, at Sotheby’s New York in Fine Chinese Ceramics and Works of Art on 23 March 2011, lot 731, sold for USD 53,125.乾隆款與年代霽紅釉玉壺春 中國，1735-1796年。瓶撇口，束颈，垂腹，圈足外撇。外施霁红釉，瓶内及圈足内均施白釉。圈足内乾隆六字款。 來源：法國私人收藏 品相：舊磨損和表面划痕。圈足部位兩個小磕損與短的纖細裂縫，舊時的修補，沒有任何隱藏的損壞。 重量：1,652 克 尺寸：高27.5 厘米 拍賣結果比較：一件幾乎一模一樣的玉壺春，有15厘米長的磕損可見於紐約蘇富比Fine Chinese Ceramics and Works of Art 拍場，2011年3月 23日，lot 731, 售價USD 53,125。

A BLUE AND WHITE REVERSE-DECORATED “DRAGON” DISH, DAOGUANG MARK AND PERIODChina, 1821-1850. The shallow dish with rounded sides rising to a slightly everted rim, the central interior decorated with a five-clawed dragon chasing a flaming pearl amidst clouds, the cavetto with a pair of dragons in pursuit of pearls, a similar decoration on the exterior above a band of petal lappets. The foot with a large six-character Daoguang seal mark in underglaze blue and of the period.Provenance: From a noted private collection in New York, USA. Condition: Very good condition with minor wear and firing irregularities, one microscopic and very short hairline to the rim (examined under strong blue light).Weight: 689.3 gDimensions: Diameter 25.3 cmAuction result comparison: Compare with a near-identical Daoguang mark and period reverse-decorated dragon dish at Christie’s New York, Fine Chinese Ceramics and Works of Art, 20-21 March 2014, lot 2160, sold for USD 18,750.道光款與年代青花三龍戲珠紋盤中國，1821-1850年。淺盤，斜弧腹，圈足，體量較大，胎體緊實，通體以青花留白方式裝飾，盤心繪一呈升騰姿態之五爪龍，張口，四爪錯落分佈，翔於雲霧之間，顯得神采盎然，威風凜凜，其外有二行龍，呈戲珠之態，盤心及內壁以青花繪藍色地，線條勻細流暢，飛龍蒼勁有力，青花純正濃艷。胎質細膩，白釉溫潤。底部青花道光六字款。來源：紐約私人收藏 品相：狀況極佳，有輕微磨損和燒制不規則現象，通過藍光檢查到邊緣有一條細微的短細縫。重量：689.3 克 尺寸：直徑25.3 厘米拍賣結果比較：一個幾乎一模一樣的道光款與年代的三龍盤售于紐約佳士得Fine Chinese Ceramics and Works of Art拍場，2014年3月20-21日，lot 2160, 售價USD 18,750。

A POLYCHROME ENAMEL ‘HUNDRED BOYS’ VASE, REPUBLICChina, 1912-1949. The ovoid body rising from a short ring foot to a slightly concave neck, elaborately painted with children engaged in an elaborate musical performance in a garden setting, two boys carrying lanterns, one playing a trumpet horn, others playing percussion instruments, one on a hobby horse.Provenance: From a collector in San Francisco, California. Condition: Excellent condition with minor wear and firing irregularities.Weight: 1,415 gDimensions: Height 30.1 cmThe festive scene is neatly set between a floral and stiff leaf shoulder band below ruyi-head and leiwen bands to the neck and mouth, and an elegant lappet band above key-frets at the base. Apocryphal six-character Qianlong seal mark in iron-red to base.The present piece is decorated with the subject of the ‘Hundred Boys’, a very popular motif in porcelain decoration as it symbolizes the Chinese perpetual wish for many sons. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 63, the 'Hundred Boys' theme has its origins in the Western Zhou dynasty when King Wen of the Zhou adopted one son in addition to his ninety-nine sons to complete the number of one hundred.Auction result comparison: Compare with a closely related vase, though of considerably smaller size and with less elaborate decoration, at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 12 May 2017, lot 524, sold for GBP 11,875.民國粉彩百子嬰戯瓶中國，1912-1949年。卵形瓶體，短圈足，口外翻。粉彩描繪孩子們在花園裡玩耍情景，有表演音樂的，兩個男孩提著燈籠，一個男孩吹小號角，另一個男孩敲擊著樂器，一個騎著馬。 來源：舊金山藏家 品相：狀況極好，輕微磨損和燒製缺陷。 重量：1,415 克 尺寸：高30.1 厘米 拍賣結果比較：一件相近嬰戯瓶售于倫敦佳士得 Chinese Ceramics, Works of Art and Textiles拍場，2017年5月12日，lot 524, 售價GBP 11,875。

A ‘CHINESE LANTERN’ DISH WITH XIEZHU ZHUREN ZAO MARK, DAOGUANGChina, 1821-1850. The shallow sides rising from the tapering ring foot to the slightly everted gilt rim. The interior painted with Chinese lanterns on thin branches with leaves as well as two butterflies, the exterior with three evenly spaced bats. The base inscribed in iron-red with a studio mark in seal characters reading Xiezhu zhuren zao (‘made by the Master of Wind Music’).Provenance: From a private collection in New York.Condition: Absolutely perfect condition with only very minor wear, firing irregularities, and light surface scratches.Weight: 496 gDimensions: Diameter 24.1 cmThe four-character seal mark, Xie zhu zhu ren, may also be translated as ‘Master of the Xie Bamboo’. Xie (cutting), is the name of a valley in the Kunlun Mountains. There, during the reign of the ‘Yellow Emperor’ Huangdi, it is said the first musical scale was made from varying lengths of cut bamboo.Auction result comparison: Compare with a closely related dish from the same studio at Christie’s New York in Fine Chinese Ceramics and Works of Art on 15 September 2011, lot 1650, sold for USD 18,750. Compare also with related spoons of the same studio and motif at Christie's New York in Fine Chinese Ceramics and Works of Art (Parts I & II) on 23 March 2012, lot 2130, sold for USD 8,750.道光《嶰竹主人造》款粉彩福壽盤 中國，1821-1850年。淺盤，圈足，邊緣鎏金。盤内粉彩描繪桃樹與蝴蝶。外壁三隻蝙蝠。底足礬紅釉書“嶰竹主人造”。 來源：紐約私人收藏 品相：絕對完美的狀態，只有極少的磨損，燒制不規則和輕微的表面划痕。重量：496 克 尺寸：直徑 24.1 厘米 拍賣結果比較：一件相近且同款的盤見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場，2011年9月15日 lot 1650, 售價USD 18,750。比較另一件同款且同樣主題的湯匙，於紐約佳士得Fine Chinese Ceramics and Works of Art (Parts I & II) 售出，2012年3月23日，Lot 2130，售價 USD 8,750。

A YIXING ‘GONG CHUN’ TEAPOT AND COVER BY HUANG YULIN, LATE QINGChina, 1860-1910. Naturalistically potted in the form of a tree-knurl, the cover surmounted by a stem knob, the handle in the form of a curved stem, the base with an impressed seal Huang Wanglin, artist name of Huang Yulin, two further impressed seal marks to the interior of the cover.Provenance: French private collection, acquired at Thierry Maigret, Paris, on 24 January 2003. A copy of the invoice accompanies this lot.Condition: Excellent condition with minor wear and firing flaws.Weight: 334.8 g Dimensions: Height 10.5 cm, Width 17.5 cm (handle to spout)Huang Yulin (ca.1842-1914) was a native of Yixing, who received training from the renowned Qing dynasty Yixing artist Shao Xiangpu. Huang's superb skills of clay kneading and teapot making are often demonstrated on teapots in various forms. Gu Jingzhou had also highly admired Huang's craftsmanship and commended him as a “versatile potter” especially for making teapots of compressed globular and square forms.The design of this teapot is based on one said to have been made by Gong Chun, a Yixing potter from the Zhengde period of the Ming dynasty. Gong Chun's teapot was so admired that this style, with the roughly textured surface resembling tree bark, came to be named after him. This style continued to be copied into the 19th century.Literature comparison: Compare a similar teapot by Huang Yulin dated to the late 19th century from the K. S. Lo Collection, in K. S. Lo, The Stonewares of Yixing - From the Ming period to the Present Day, p.119, pl.58, another from the Palace Museum, Beijing, illustrated in Zisha Wares in the Palace Museum, Beijing, pl.82, p.147.Auction result comparison: A closely related teapot and cover, together with a second teapot by a different artist, was sold by Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 26 May 2013, lot 427, for HKD 680,000.晚清黃玉麟段泥樹癭“龔春”壺中國，1860-1910年。壺形為樹癭天然形式，蓋上有莖桿旋鈕，手柄為彎曲莖桿，底座上有黃王麟章，黃玉麟的原名。蓋内還有兩個印章。 來源：法國私人收藏，購於巴黎Thierry Maigret，2003年1月24日。隨附當年購物發票複印件。 品相：狀況極佳，有輕微磨損和燒制缺陷。 重量：334.8 克 尺寸：高 10.5 厘米, 寬17.5 厘米 (執柄至壺嘴) 拍賣結果比較：一個相近的蓋壺和另一個不同藝術家的壺一起售于香港邦翰思Fine Chinese Ceramics and Works of Art拍場，2013年5月26日，lot 427，售價HKD 680,000。

AN YIXING ‘FROG AND LOTUS’ TEAPOT AND COVER BY WANG YINCHUN (1897-1977)China. Finely and naturalistically modeled, the body in the form of overlapping lotus leaves, forming five round feet to the base. The spout also in the form of a lotus leaf while the handle is modeled as a gnarled branch, the circular cover in the form of a lotus pod with partly movable seeds and surmounted by a central knop in the form of a frog.Inscriptions: To the interior of the cover, oval seal ‘Yinchun’. To the base, square seal ‘Made for the Imperial Court of the Great Qing Dynasty’.Provenance: Old private villa estate in Bonn, Germany. German private collection, acquired from the above.Condition: Good condition with extensive wear and some firing irregularities, occasional light scratches, microscopic nibbling to edges. Some of the movable seeds are stuck.Weight: 418.2 gDimensions: Height 10.5 cm, Width 18.5 cmWang Yinchun (1897-1977), one of the Six Old Masters chosen to teach in the main factory when Yixing ware was revived in the 1950s, is well-known for his efficient yet high standard production of teapots in various forms. It is said that Wang used to make more than ten pieces each day without any compromise on the quality of a single teapot.Auction result comparison: For a teapot and cover by the same artist, see Sotheby’s New York in Important Chinese Art on 15 March 2017, lot 725, sold for USD 13,750. Compare a related teapot by Jiang Rong, another of the Six Old Masters, at Christie’s New York in Contemporary Clay: Yixing Pottery from the Irving Collection on 19-26 March 2019, lot 15, sold for USD 37,500.王寅春宜興青蛙蓮蓬茶壺 中國。壺身以重疊的荷葉形式出現，底部形成五足。壺嘴也呈荷葉形，而手柄則為樹枝狀。壺蓋呈蓮蓬狀，蓮子可活動，上面蓋鈕為青蛙。 款識：壺蓋内見“寅春“二字。壺底有四方印一枚”大清宮廷監造“。 來源：德國波恩私人別墅遺產。德國私人收藏，購於上述收藏。 品相：狀況良好，有大量磨損，並有一些燒製不規則現象，偶有輕微划痕，微小的邊緣磨損。 一些可活動的蓮子有點卡住。 重量： 418.2 克 尺寸：高10.5 厘米, 寬18.5 厘米 拍賣結果比較：同一藝術家的另一件茶壺見紐約蘇富比Important Chinese Art 拍場2017年3月15日 lot 725, 售價USD 13,750. 一件蔣蓉六字款蓮蓬茶壺見紐約佳士得Contemporary Clay: Yixing Pottery from the Irving Collection拍場2019年3月19-26日lot 15, 售價USD 37,500.

A YIXING ‘CHILONG’ WASHER, QING TO REPUBLIC PERIODChina, 19th to earlier 20th century. Impressed artist seal mark ‘Shenyin’ to the exterior. Applied in openwork and high relief with a chilong clambering atop the rim. The interior covered in a finely crackled grayish-white glaze. The compressed globular sides rising from the short foot ring to the incurved lipped rim.Provenance: British private collection. Condition: Excellent condition with minor wear and firing flaws. Weight: 81.3 gDimensions: Diameter 8.3 cmAuction result comparison: Compare with a related Yixing washer, also with a chilong, sold together with a blanc-de-chine cup, at Sotheby’s Hong Kong in Chinese Art on 24-25 November 2014, lot 1194, sold for HKD 37,500.清末民初宜興螭龍筆洗中國，十九至二十世紀初。筆洗外壁可見藝術家 ‘Shenyin’ 鈴印。筆洗邊沿攀附著一隻螭龍。筆洗内灰白色釉，開片細膩。筆洗球狀側面，短圈足。 來源：英國私人收藏 品相：狀況極佳，輕微磨損，燒製瑕疵。 重量：81.3 克 尺寸：直徑8.3 厘米 拍賣結果比較：一件相似宜興螭龍筆洗，與一個德化白瓷杯售于香港蘇富比 Chinese Art 拍場，2014年11月24-25日，lot 1194, 售價HKD 37,500.

A YIXING ‘CHRYSANTHEMUM’ LOBED TEAPOT, REPUBLIC PERIODChina, 1912-1949. The half-spherical body with many lobes reminiscent of a chrysanthemum, with a short spout and elegantly curved handle, the lobed cover rising to a spherical lobed knop.Inscriptions: To the interior of the cover, two oval seal marks ‘Chen’ and ‘Mingyuan’. To the base, square seal mark ‘Chen Mingyuan’.Provenance: French private collection, by repute acquired in Amsterdam in November 2000. Condition: Excellent condition with minor wear and firing irregularities, microscopic nibbling here and there.Weight: 340.3 gDimensions: Height 8.8 cm, Width 15 cm (spout to handle)Auction result comparison: Compare with a related lobed bowl with the same mark to base, at Sotheby’s Hong Kong in The Pavilion Sale – Chinese Ceramics and Works of Art Including the Quek Kiok Lee Collection on 9 October 2019, lot 85, sold for HKD 1,125,000.民國宜興菊花壺中國，1912-1949年。半球形的身體，表面菊花瓣，有短嘴和優美的弧形手柄，壺蓋上菊花蕊鈕。款識：蓋内“陳”與“鳴遠”，壺底“陳鳴遠”來源：法國私人收藏，據說購於阿姆斯特丹2000年11月。 品相：狀況極佳，輕微磨損和燒製不規則，局部有細微磨損。重量：340.3 克尺寸：高8.8 厘米, 寬15 厘米 (壺嘴至手柄) 拍賣結果比較：一件相近同款識茶壺見香港蘇富比The Pavilion Sale – Chinese Ceramics and Works of Art Including the Quek Kiok Lee Collection 拍場2019年10月9日 lot 85, 售價HKD 1,125,000.

A TRANSLUCENT BANDED AGATE BOWL, QING DYNASTYChina, 18th-19th century. The deep rounded sides rising from a straight ring foot to a slightly everted rim. The almost transparent stone is brilliantly polished and shows attractive variegated tones of milky gray, caramel, and honey. The base with a neatly incised four-character Yongzheng nianzhi seal mark and possibly of the period.Provenance: British private collection. Condition: Excellent condition with minor wear.Weight: 100.9 gDimensions: Diameter 11.2 cmThe agate used for the present bowl is exceptional for both its beautiful coloration and its highly translucent quality. Agate, with rippling layers of color ranging from bright honey to coffee brown, is one of only a few hardstones in ancient China that were valued as much as jade and introduced no later than the Han dynasty. Therefore, the bowl possibly belongs to a group of vessels carved from this material in the Imperial Jade Workshop, yuzuo, within the Imperial Palace Works, Zaobanchu, during the Yongzheng reign and bearing the respective Imperial mark. In any case, it certainly demonstrates the superb craftsmanship achieved almost exclusively by the Imperial Workshops.The Yongzheng Emperor took a personal interest in the artistic production during his period with a special focus on carved hardstones. Records in the archives of the Imperial Jade Workshops, yuzuo, dated between 1724 and 1729, note that he specifically ordered agate brush washers and bowls to be kept undecorated in order to show the original pattern of the agate stone. Pieces with intricate, cluttered designs or made from stones of unsatisfactory quality were rejected and sent back to the workshops, because only plain, elegant vessels could serve the purpose of showing off the superiority of the stone, while carved designs were literally limited to serve the purpose of hiding natural flaws in the mineral. When comparing the number of agate vessels and jade carvings bearing Yongzheng and Qianlong reign marks, it is evident that the Yongzheng emperor greatly admired the natural virtues of the agate stone, while the Qianlong period saw a much larger output of jade carvings.Expert’s note: The strictly traditional shape of the present bowl, with its elegantly rounded sides, flared lip and comparatively massive circular foot rim, places it firmly in the 18th century. The exceptional quality of the agate stone and completely undecorated design would make a dating to the Yongzheng period reasonable at the very least. One small detail, however, possibly points to a later date: The inner side of the foot shows a series of irregular grooves from manual lathing, hardly visible to the naked eye. While remnants of such grooves occasionally appear on hardstone carvings from the 18th century and earlier, on an Imperial piece we would expect these to have been eliminated completely by manual polish, even on the inner sides of the foot rim.Literature comparison: For examples of agate carvings see a group of vessels, some inscribed with Yongzheng reign marks and of the period, in the National Palace Museum, Taipei, included in the museum's exhibition Harmony and Integrity: The Yongzheng Emperor and His Times, National Palace Museum, Taipei, 2009, cat. nos. II-61-70. Compare also a shallow bowl in the Palace Museum, Beijing, published in Chinese Jades Throughout the Ages, vol. 11, Hong Kong, 1996, pl. 28, and an agate cup and dish, published in Yang Boda, Zhongguo yuqi quanji, Hebei, 2005, pp.553 and 550, nos. 10 and 62. A lobed agate bowl, being offered as a tribute by a high official during the reign of Qianlong, is illustrated in Qingdai gongting shenghuo ('Life in the Forbidden City during the Qing Dynasty'), Hong Kong, 1985, pl. 280; and a set of six cups, from the Musee Guimet, Paris, included in the exhibition Emperor Kangxi and the Sun King Louis XIV, National Palace Museum, Taipei, 2011, cat. no. 1A-13. Also compare the shape of the present bowl with a pair of white jade bowls of exactly the same form, dated to the Qianlong period, at Sotheby’s Hong Kong in Imperial Pursuits: Treasures from the Palace Workshops, on 2 May 2005, lot 555.Auction result comparison: Compare with a related agate cup with an incised Yongzheng seal mark at Sotheby’s Hong Kong in Fine Chinese Ceramics and Works of Art on 8 October 2014, lot 3774, sold for HKD 1,060,000, and a lobed agate bowl, of larger size and unmarked, at Sotheby’s Hong Kong in Important Chinese Art on 3 October 2018, lot 3605, sold for HKD 1,250,000.清代瑪瑙碗 中國，十八至十九世紀。天然瑪瑙製成，乳白色的底色，飄著焦糖色和蜂蜜色的片狀花斑，間有細密如纏絲的條帶狀紋路。盞身光素，敞口微外撇 ，直圈足，底足刻篆書“雍正年制”兩行款。 來源：英國私人收藏 品相：狀況極好，輕微磨損 重量：100.9 克 尺寸：直徑11.2 厘米 拍賣結果比較：一個相似雍正款瑪瑙碗 售于香港蘇富比Fine Chinese Ceramics and Works of Art 拍場2014年10月 8日，lot 3774, 售價HKD 1,060,000；一件尺寸較大、無落款的瑪瑙碗售于香港蘇富比Important Chinese Art拍場2018年10月3日，lot 3605, 售價HKD 1,250,000。

A 'MACARONI' AGATE SNUFF BOTTLE, QING DYNASTYChina, 18th-19th century. Of compressed spherical form and well-hollowed out. The smoothly polished translucent stone with marbled dendritic inclusions. This extraordinary piece of material has inspired the carver to concentrate his attention on the form of the bottle, leaving the material to speak for itself, which it does eloquently.Provenance: German private collection, acquired between 1980-1985 (by repute). With an old Chinese export seal and price tag to the backside.Condition: Superb condition with ‘natural flaws’ to the material and minor chipping to the top.Stopper: Coral cabochon with silvered metal fitting and spoonWeight: 100.1 g Dimensions: Height including stopper 70 mm. Diameter neck 18 mm and mouth 6 mmThis type of stone is popularly called ‘macaroni-agate’ among Western collectors. The Chinese name for it is dengcao ma’nao or ‘lamp-wick agate’, because its patterns resemble the squiggly white pith of the dengxin cao or ‘lamp-wick grass’, which is used in Chinese medicine. Wherever it came from as a raw material, it was evidently popular from the latter part of the eighteenth century onwards and seems to have been considered sufficiently fascinating as a material in its own right as to rarely have encouraged more embellishment than the occasional pair of mask-and-ring handles.Auction comparison: Compare to a related ‘macaroni’ agate bottle at Sotheby’s Hong Kong, Snuff Bottles from the Mary and George Bloch Collection: Part X, 1 June 2015, lot 49, sold for HKD 18,750.清代瑪瑙鼻烟壺 中國，十八至十九世紀。鼻煙壼瑪瑙半透明淺灰色，通心粉紋，白色與透明線狀斑紋。掏膛良好，扁圓形小瓶，平口，短頸，碩腹。有自然形成的結晶紋飾。爲了更加顯示瑪瑙的魅力，雕刻師采用素面表現手法，將注意力集中在瓶子的形狀上。 來源：德國私人收藏，據説購於1980至1985年間。外壁上有一個外銷老標簽，顯示價格與證明。 品相：狀況極佳，材料有自然缺陷，頂部出現輕微碎裂。 壺蓋：珊瑚蓋，銀蓋托，小壺匙 重量：100.1 克 尺寸：總高70 毫米，頸部直徑18 毫米，嘴部直徑6 毫米 拍賣結果比較：一件相近通心粉紋瑪瑙鼻烟壺見香港蘇富比 Snuff Bottles from the Mary and George Bloch Collection: Part X拍場，2015年6月1 日 lot 49, 售價HKD 18,750.

A CARVED TIANHUANG ‘BUDDHIST LION’ SEAL FOR LI GAOChina, Qing Dynasty, 1644-1912. Of rectangular form, surmounted by a finely carved Buddhist lion with a curly mane, furcated tail, elegantly curved horn, ruyi-shaped nose, sharp fangs, and quizzical expression with bulging eyes. The seal face is carved with a four-character seal, reading ‘Book collection of Li Gao’, the stone of an attractive warm variegated brownish-orange color.Provenance: From a British private estate. Condition: Excellent condition with minor wear, light scratches, microscopic nibbling to edges, the stone with natural fissures, some of which may have developed into small hairlines over time.Weight: 25.8 gDimensions: Size 3.5 x 2.5 x 2 cmThe exceptional coloration and luminosity of this tianhuang stone are skillfully accentuated through its intricately carved details which reveal the layers of subtle golden hues. The combination of carving in the round and low-relief detailing effectively capture the light as it shines on and passes through the seal to further intensify the richness of color.Tianhuang is a type of soapstone that is highly valued for its warm yellow tones and lustrous sheen and was considered the rival to the finest and purest jade. Apart from being graded by its color, tianhuang was also priced according to its weight rather than size, hence making it one of the most expensive materials to carve.Auction result comparison: Compare with a related tianhuang Buddhist lion seal of larger size at Sotheby’s Hong Kong in Important Chinese Art on 3 April 2018, lot 3644, sold for HKD 1,125,000, and another of closely related size (3.5 x 2.7 x 2 cm) at Christie’s Hong Kong in The Imperial Sale / Important Chinese Ceramics and Works of Art on 28 May 2014, lot 3578, sold for HKD 1,000,000.李高款田黃獅鈕方印 中國，清朝，1644-1912。長方形，精雕細刻的獅鈕，捲曲的鬃毛，尾巴分叉，如意狀的鼻子，尖銳的獠牙，眼睛圓鼓，表情生動。寫著“李高藏書”。溫潤的黃棕色石頭。來源：英國私人遺產 品相：狀況極佳，輕微磨損與划痕，微小的邊緣缺損，天然裂縫。 重量：25.8 克 尺寸：3.5 x 2.5 x 2 厘米 拍賣結果比較：一件相似田黃獅鈕方印，售于香港蘇富比Important Chinese Art 拍場2018年4月 3日，售價HKD 1,125,000；另一件尺寸大小相似的方印，售于香港佳士得The Imperial Sale / Important Chinese Ceramics and Works of Art 拍場2014年5月28日，lot 3578, 售價HKD 1,000,000。

AN EXCEPTIONAL ‘ANBAXIAN’ SNUFF BOTTLE, QIANLONG MARK AND PERIODChina, 1736-1795. The eight lobed sides thickly enameled on clear glass in soft tones of pink, blue, yellow, red, orange, and turquoise with the attributes of the Eight Daoist Immortals (anbaxian), each tied with a ribbon and alternately suspending tassels, below a ruyi collar at the shoulder and a floral band at the neck, the concave base with a masterfully painted four-character mark Qianlong nianzhi and of the period. Of meiping form with a waisted neck rising to a slanted lip and a concave top.Provenance: Old French private estate. Condition: Superb condition with minor wear and traces of use, inherent crackling to enamels.Stopper: Blue glass cabochon with a Baltic amber collar on a black platelet, finely carved and stained spoonWeight: 50.4 gDimensions: Height including stopper，74 mm. Diameter neck 17 mm and mouth 8 mmThe bottle is a fine and interesting example of the enameled glass wares produced during the reign of the Qianlong Emperor, with a skillfully executed painting of the anbaxian, a popular Daoist motif. While it is well known that the Qianlong Emperor was a fervent follower of Tibetan Buddhism, Daoism also fell under his religious patronage. During his reign, worship took place at several Daoist altars in the palaces in Beijing and at the Yuanmingyuan. Daoist rites were equally performed as part of the Emperor’s birthday celebrations, together with Tibetan Buddhist and Chinese Buddhist rituals.The attributes of the eight Immortals symbolize Daoism, transmutation, and happiness. Each of the symbols is the attribute of one of the Eight Immortals. They include the double gourd of Li Tieguai, containing all medicines; the fan of Zhongli Quan, resurrecting the dead; the flower basket of Lan Caihe, the patron of florists and a symbol of delusive pleasure; the bamboo rod of Zhang Guo, representing old age and longevity; the lotus of He Ziangu; the sword of Lu Dongbin, ridding the world of all evil; the flute of Han Xiangsi, an emblem of harmony; and the castanets of Cao Guojiu, the patron saint of theater actors.Literature comparison: The decoration of draped tassels suspended from ruyi lappets can also be seen on a small Qianlong vase with a guyuexuan mark illustrated in Chinese Glass of the Qing Dynasty: The Robert H. Clague Collection, Phoenix, 1987, pl. 50. See also a waterpot decorated in polychrome enamels on clear ground with flowering plants and the base inscribed with a similar reign mark within a square included in Elegance and Radiance, op. cit., p. 366, pl. 145, where it is noted that the seal mark conforms to the imperial format.Auction result comparison: Compare with an enameled clear glass water pot painted with the bajixiang at Sotheby’s Hong Kong in Scholarly Works of Art from the Mary and George Bloch Collection on 23 October 2005, lot 146, sold for HKD 300,000. Compare also with an opaque glass vase (85 mm high) enameled with the same motif at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 30 November 2011, lot 3166, sold for HKD 187,500.乾隆款與年代料器琺琅釉暗八仙紋鼻烟壺 中國，1736-1795年。八瓣形透明料器，使用粉色、藍色、黃色、紅色、橙色和綠松石色等柔和的琺琅彩描繪八仙的法器。肩部下方如意紋，頸部花卉紋。内凹的底足上有精美的四字“乾隆年制”款。如梅瓶形，縮頸，溜肩。 來源：法國私人遺產 品相：極佳的狀態，輕微磨損和使用痕跡，琺琅有裂痕。 壺蓋：藍料蓋，巴爾幹琥珀與黑色片狀托，染色精美小壺匙 重量：50.4 克 尺寸：總高74 毫米。頸部直徑17 毫米，嘴部直徑8 毫米 拍賣結果比較：一件相近的料器琺琅彩八吉祥紋水丞見香港蘇富比 Scholarly Works of Art from the Mary and George Bloch Collection 拍場，2005年10月23日lot 146, 售價HKD 300,000. ；另一件涅白料器瓶 (高85 毫米)，琺琅彩，同樣主題飾紋，見香港佳士得Important Chinese Ceramics and Works of Art拍場，2011年11月30日lot 3166, 售價HKD 187,500.

A PINK ENAMEL ‘SANYANG AND CAT’ SNUFF BOTTLE, QING DYNASTYChina, 18th century. Delicately painted on each side of the body with a lobed cartouche enclosing a cat chasing a butterfly amid flowers and craggy rockwork to one side and three sheep to the other, all reserved on a ground of feathery scrolls in white on a pale pink ground, in imitation of pink sgraffiato as found on Imperial porcelain wares.Provenance: From the estate of Dr. F. Prussing in Long Beach, CA, and thence by descent within the same family. By repute, the present lot was acquired by Dr. Prussing before 1980.Condition: Superb condition with minor wear and manufacturing flaws, such as pitting and dark spots. The base with some scratches, possibly indicating the removal of an Imperial reign mark.Stopper: Gilt bronze with floral decoration, neatly carved spoon Weight: 38.2 gDimensions: Height including stopper 64 mm. Diameter neck 14 mm and mouth 8 mmOf flattened pear-shaped form with a gilt bronze rim to the foot and mouth.Literature comparison: The Sanyang subject is rare on enamel snuff bottles. For another example, see Sotheby’s New York, in the Joe Grimberg Collection of Snuff Bottles, 14 September 2010, lot 174.Auction result comparison: Compare with a related enamel snuff bottle, the borders also in imitation of pink sgraffiato wares, but with a Qianlong seal mark and of the period, at Sotheby’s New York in Important Chinese Art on 13-14 September 2016, lot 219, sold for USD 6,250.清代粉彩琺琅開光“貓戯蝶“與”三羊開泰“鼻烟壺中國，十八世紀。壺身兩側粉色纏枝紋地上，分別開光描繪了”靈貓戯蝶“圖與”三羊開泰“圖。 來源：加利福尼亞州Long Beach的F. Prussing博士所藏，同一家族中世代相傳。 據説是F. Prussing博士1980年前所購。 品相：狀況極佳，有輕微磨損和製造缺陷，例如點蝕和黑斑。 底座上有一些划痕，可能表示已抹去了朝代標記。 壺蓋：銅鎏金花卉紋壺蓋，小壺匙 重量：38.2 克 尺寸：總高64 毫米；頸部直徑14 毫米；嘴部直徑8 毫米 拍賣結果比較：一件相似琺琅彩粉紅錦地乾隆款與年代的鼻烟壺見紐約蘇富比Important Chinese Art拍場2016年9月13-14日 lot 219, 售價USD 6,250.

AN EMBELLISHED ‘PICKING LOTUS’ AGATE BOX, QING DYNASTYChina, the box 1750-1850, the embellishment by the Tsuda family, Kyoto, Japan, 1890-1941. The translucent agate of an even caramel tone, with a smooth surface finish, the embellishments skillfully carved of soapstone with various natural colors and further decorated with lacquer and gold. The cover with a noblewoman and her two servants in a small boat amid a lotus pond. While one servant is rowing, the other is about to pick a large lotus blossom. The base with a Qianlong seal mark. Provenance: From a private estate in New York, USA. Condition: Overall, superb condition. The stone with natural inclusions and fissures. Minor old wear to lacquer. Note a natural erosion to the stone inside the lid, which has over time developed into a cavity, and was cleverly covered by an embellishment.Weight: 135 g Dimensions: Length 9.5 cm The sides neatly decorated with butterflies, insects and birds in flight amid billowing clouds.The original Chinese box has all the features of a Palace product of the Qianlong or Jiaqing periods: The pure stone, the flattened oval shape, the faceting of the rims and the raised oval foot are all typical.清代“戯蓮”瑪瑙彩盒 中國，盒子1750-1850, 日本京都津田家族1890-1941年為此盒做了彩飾。半透明瑪瑙，焦糖色色調均勻，表面光滑，飾有精巧的各色天然皂石雕刻，並進一步用漆和金色裝飾。一位貴族女子和她的兩個僕人行舟于荷花池中。 一位侍者划船，另一位侍者正要摘一朵大荷花。 底座上有乾隆款。來源：美國紐約私人遺產 品相：總體而言，狀況極好。瑪瑙有著天然内沁和裂縫。 漆面稍有舊時磨損。 請注意，蓋子內部的石材會自然腐蝕，被彩飾巧妙覆蓋。重量：135克 尺寸：長9.5厘米

AN ARCHAISTIC BRONZE GUI-FORM CENSER, QING DYNASTYChina, 18th-19th century. The interior with an inscription of two lines of seal script characters. With a pierced hardwood cover, possibly huanghuali, decorated with three ruyi heads and surmounted by a celadon jade bi disk finial carved to one side with a chilong and a trigram, as well as an old zitan wood base finely carved in openwork, the ensemble altogether of the period. (3)Provenance: English private collection in Hampshire.Condition: Good condition with old wear and casting flaws, light scratches, dents and nicks here and there, old fills. A fine, naturally grown patina. The wood with natural age cracks and old repairs.Weight: 6.3 kg (the censer)Dimensions: Height 34 cm (incl. base and cover) and 20.8 cm (the censer), width 34 cm (handle to handle)Heavily cast with a compressed globular body rising from a splayed foot to a wide everted rim. Flanked by C-shaped handles surmounted by animal heads and set with pendant rectangular tabs below. The exterior with two bands on the body and one on the foot with taotie masks and other archaistic motifs against a leiwen ground.Auction result comparison: Compare with a related gui censer, of smaller size and lacking the fittings, at Christie’s New York in Important Chinese Ceramics and Works of Art on 25 September 2020, lot 1605, sold for USD 8,125.清代簋形爐中國，十八至十九世紀。內部印有兩行銘文。 硬木蓋，可能是黃花梨，上面飾有三個如意紋。爐身飾螭龍紋。還有一個刻有鏤空的老紫檀木底座，都是來自同一時期。來源：英國漢普郡私人收藏 品相：狀況良好，有舊磨損和燒鑄缺陷，輕微划痕，到處有凹痕和缺口，舊填補。自然包漿。 木材具有自然年齡的裂縫和舊的修復。重量：爐6.3 公斤 尺寸：縂高 34 厘米；爐高 20.8 厘米，寬 34 厘米 (執柄至執柄) 拍賣結果比較：一件相似但尺寸較小且缺少配件的簋形爐，售于紐約佳士得Important Chinese Ceramics and Works of Art 拍場，2020年9月 25日，lot 1605, 售價USD 8,125

A ‘YUTANG QINGWAN’ GOLD-SPLASHED BRONZE BOMBE CENSER, 17TH CENTURYChina. The gold-splashed decoration on this censer is especially rich, suggesting that it was made with no cost spared and for the table of a high-ranking official or an important scholar-literati. The base with a four-character yutang qingwan seal mark (Pure pleasure of the Jade Hall).Provenance: British private collection. Condition: Excellent condition with only minor wear and surface scratches, some casting irregularities, few small nicks and dents to edges, the inside with expected residues. The exterior naturally patinated to variegated tones of golden brown.Weight: 1,274 g Dimensions: Height 7 cm, Width 18.7 cm (handle to handle)The compressed globular body rising from a splayed foot, flanked by two loop handles.Literature comparison: The mark, yutang qingwan, is found on three censers illustrated in Jin Yu Qing Yan: Yang Ping Zhen Xian Sheng Zhen Cang Ming Qing Tong Lu (Golden Jade and Green Smoke: Mr. Yang Ping Zhen's Collection of Ming and Qing Bronze Censers), National Museum of History, 1996, pp. 222-23, nos. 151 and 152, and p. 278, no. 234. Compare also with a small globular censer with gold-splashed decoration sold at Christie's London, 19th December 1980, lot 165.Auction result comparison: Compare a related tripod censer, with the same mark, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 17 March 2017, lot 1040, sold for USD 30,000, and another of li ding form with a similarly rich gold-splash decoration, but with an apocryphal Xuande mark, at Sotheby’s Hong Kong in Water, Pine and Stone Retreat Collection, Scholarly Art II on 4 April 2012, lot 188, sold for HKD 740,000.十七世紀“玉堂清玩”款灑金雙耳銅香爐 中國。香爐上的灑金特別豐富，富貴而莊重，適合高級官員或文人使用。底足有“玉堂清玩”印。 來源：英國私人收藏 品相：狀況極佳，僅有少量磨損和表面划痕，有一些鑄造不規則現象，少量小缺口和邊緣凹痕，內部帶有預期的殘留物。 外觀自然地呈現出金黃色的包漿。 重量: 1,274 克 尺寸：高7 厘米, 寬18.7 厘米 (耳至耳) 爐身線條流暢柔美，雙耳出頸曲折下收於腹部，渾厚有力。 拍賣結果比較：一件相似同落款香爐，售于紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2017年3月17 日，lot 1040, 售價USD 30,000；一件相近灑金宣德款香爐，售于香港蘇富比Water, Pine and Stone Retreat Collection, Scholarly Art II 拍場2012年4月4 日，lot 188, 售價HKD 740,000.

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.

A RARE AND IMPORTANT MOTHER-OF-PEARL AND GOLD-FOIL INLAID ‘ZHUAZHOU’ BLACK LACQUER BOX AND COVER, LATE MINGChina, 17th century. Masterfully decorated with neatly applied inlays, the top of the cover depicting the ritual of Zhuazhou taking place in a pavilion with two ladies and a baby, all set within a picturesque landscape of craggy rockwork, pine and wutong trees. The front with a continuous scene of boys at play accompanied by two ladies in a similar landscape, the short sides with more rockwork, flowers, and butterflies, the reverse undecorated.Provenance: From a noted private collection in Abcoude, Netherlands, by repute acquired during the early 1990s.Condition: Excellent condition with some wear, traces of use, minor losses with associated touchups, minimal losses to inlays (> 90 % of original inlays preserved), some crackling, loss of lacquer to interior, light scratches, natural age cracks, and small nicks here and there.Weight: 2,750 gDimensions: Size 40.5 x 22 x 23 cmOf rectangular form, the hinged cover opens to reveal a shallow leather tray. The sides are set with bail handles, and the front with a ruyi-head lock plate and clasp.Zhuazhou is a ritual held at a child's first birthday party, when the child is one year old by Chinese reckoning. The literal translation is ‘pick’ and ‘anniversary’. The parents put various objects before the child, symbolizing career choices or personality traits, and the child's choice is used to forecast its future. In the present case, the child has picked a miniature halberd, representing a military career, as opposed to brushes (for a scholar) or an abacus (for an economist). The parents and other family members are looking on with pleased expressions, as becoming a general was considered the greatest ambition of a man in China during the 17th century.The earliest written record of this custom can be traced back to the Song dynasty and is portrayed in a well-known scene in the novel ‘Dream of the Red Chamber’. Although it has been a popular tradition for centuries, remaining one to this day, depictions of the ritual in Chinese works of art is incredibly rare.The present box was most likely crafted specifically for usage during the ritual, which not only explains the depiction of the scene but also the leather tray, as the objects needed for performing Zhuazhou could be stored in the box and then placed on the tray for the child to pick. Therefore, it seems plausible that the present box has been used many times, handed down from generation to generation.Auction result comparison: Compare with a related seal chest, dated to the 17th/18th century, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 24 March 2011, lot 1354, sold for USD 23,750. Compare also with a related document box at Christie’s New York in Fine Chinese Ceramics and Works of Art on 17 September 2010, lot 1261, sold for USD 20,000.明末罕見黑漆髹螺鈿與金箔《抓周》蓋箱中國，十七世紀。箱蓋面精美鑲嵌著螺鈿，描繪了亭子裡兩位女士和一個嬰兒正在進行抓周儀式，四周風景如畫，假山、松樹和梧桐樹。箱子正面有兒童戯耍場景，有兩位夫人陪同，兩側可見更多的岩石、花朵和蝴蝶，背面沒有裝飾。 來源：荷蘭Abcoude 知名私人收藏，據説購于上世紀九十年代初 品相：狀況良好，有一定的磨損，使用痕跡，與修補相關的輕微損失，鑲嵌物的損失極小（保留了原始鑲嵌物的90％以上），有些裂紋，內部漆面脫落，輕度划痕，自然裂紋和小刻痕。 重量：2,750 克 尺寸：40.5 x 22 x 23 厘米 長方形蓋盒，鉸接式蓋子，打開後露出一個淺皮托盤。側面裝有手柄，正面裝有合頁與如意形鎖鼻。 抓周是中國孩子周歲時舉行的一項儀式。 父母將各種物品擺在孩子面前，象徵著職業或性格特徵，看孩子的選擇來預卜其未來。 在這件蓋盒上，孩子選擇了代表軍事的小戟，而不是毛筆（學者）或算盤（商人）。 父母和其他家庭成員用滿意的表情望著孩子，因為成為將軍被認為是十七世紀中國男性的最大的愿望。 該習俗在南北朝就已經存在，而最早書面記錄可以追溯到宋朝，《紅樓夢》中就有一個著名場景。 儘管抓周數百年來一直是一個流行的傳統，一直沿用至今，但在中國藝術品上出現卻極為罕見。 這個蓋盒很可能是為儀式期間使用而專門製作的，這不僅可以解釋場景的描繪，而且可以解釋皮托盤，因為可以將抓周所需物品放置在托盤上，放進盒中，方便進行禮儀。這個盒子似乎已經被使用了很多年代，世代相傳。 拍賣結果比較：一件十七至十八世紀的印箱見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2011年3月24日 lot 1354, 售價USD 23,750. ；一件文件箱見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2010年9月17日 lot 1261, 售價USD 20,000.

A HUANGHUALI SEAL CHEST, GUANPIXIANG, 17TH CENTURYChina. Of rectangular form, the domed and hinged cover lifting to reveal a separate compartment above a pair of doors, opening to the interior with four drawers of varying sizes with oval-shaped drawer pulls, the front with a circular lock-plate and cloud-form hasp, mounted at the sides with bail handles, the huanghuali of a warm chestnut-brown tone with grain patterns reminiscent of dream stones.Provenance: From a noted private collection in Abcoude, Netherlands. Fragments of a Chinese export seal to the underside.Condition: Good and original condition with old wear, traces of use, soiling in drawers, the wood with gaps, natural flaws and age cracks. Fine patina.Weight: 4,732 gDimensions: Size 32 x 32 x 25 cmLiterature comparison: For two comparable examples in the Minneapolis Institute of Art, see Robert D. Jacobsen with Nicholas Grindley, Classical Chinese Furniture in the Minneapolis Museum of Art, 1999, nos. 67 and 68, pages 186-189.Auction result comparison: Compare with a related dressing chest, with a folding mirror stand beneath the cover, at Christie’s Hong Kong in Fine Chinese Furniture From Private American Collections on 28 November 2012, lot 2013, sold for HKD 500,000. Compare also with a closely related seal chest at Bonhams New York in A Taste for the Remarkable – The John and Celeste Fleming collection of Chinese Furniture and Works of Art on 12 September 2016, lot 6002, sold for USD 52,500.十七世紀黃花梨官皮箱中國。箱長方形，拱形和鉸接式蓋子，雙門内設一個單獨隔間，四個大小不同的抽屜（橢圓形的抽屜拉手）。面飾白銅合頁、卷雲形鎖鼻。木料呈溫暖的栗色到褐色，其紋路讓人聯想到夢幻般的大理石。 來源：荷蘭Abcoude 知名私人收藏。底部有中國出口印章殘餘。品相：良好且原始的狀態，舊磨損，使用痕跡，抽屜裏有污漬，有縫隙，自然瑕疵和年齡裂縫。 良好的包漿。 重量：4,732 克 尺寸：32 x 32 x 25 厘米 拍賣結果比較：一件鏡座官皮箱見香港佳士得Fine Chinese Furniture From Private American Collections拍場2012年11月28日 lot 2013, 售價HKD 500,000. ；另一件印章箱見紐約邦瀚斯A Taste for the Remarkable – The John and Celeste Fleming collection of Chinese Furniture and Works of Art 拍場2016年9月12日lot 6002, 售價USD 52,500.

A SUPERB ARCHAISTIC DING CENSER BY KANO TESSAI, DATED 1914Japan, Nara, possibly made by the order of a Chinese patron. Masterfully carved from a single section of bamboo and finely polished to highlight the natural beauty of the material. The censer is set on three sturdy cylindrical feet and the artist’s signature is ingeniously incised in seal form where an inscription would be found on the original censer.Inscriptions: To base, signed ‘Tessai sei’.Provenance: Collection of Drs. Edmund and Julie Lewis. Known for their keen scholarship and high aesthetic standards, for the past three decades the couple has focused on collecting lacquer art, painting, and Buddhist sculpture from Japan. Both physicians and internationally recognized as renowned experts in nephrology, they hold positions as tenured professors at Rush Medical College in Chicago and Vanderbilt University in Nashville, Tennessee, respectively. They met professionally and later married in 1997, and have since continued to collect Japanese art together, actively seeking the best they could find from the finest dealers in the field. As they travelled widely, their desire to collect Buddhist art grew, and they have expanded their collection to include important Pan-religious sculpture from Greater Asia.Condition: Excellent condition with minor wear and traces of use. Good, naturally grown patina.Weight: 1,229 gDimensions: Height 13 cm, Diameter 13 cmThe design of the present incense burner is copied faithfully from Chinese Shang and Zhou-dynasty ding censers, which were admired by many scholars of the period. Masterfully carved with two looped handles atop a flat rim and above a finely incised circumferential seal script (tensho) around the body. The natural form of the bamboo clearly emulates the warping of the bronze on the original censer.Kano Tessai (1845–1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example.With a wood tomobako storage box labeled Chikutei (Bamboo ding) and inscribed on the interior with a kaisho transcription of the tensho inscription on the bamboo censer, including a date of Taisho sannen (1914), signature, red seal and the artist’s kakihan. (2)

AN ALBUM OF 50 STONE RUBBINGS DEPICTING LUOHAN, QING DYNASTYChina, 19th century. The accordion album with fifty leaves, each depicting a seated luohan beneath a title inscription, with plain hardwood covers, one with an old Chinese export seal in the lower right corner.Provenance: German private collection. Old German inscription in pencil to the back of one leaf, confirming the dating and description of the present lot. Old Chinese price label to the back of one leaf and another old Chinese label to the back of another leaf.Condition: Extensive wear, wormholes mostly backed with paper strips, soiling, creasing, tears, browning to edges, some loose leaves, the wood covers with minuscule nibbling to edges, scratches, and natural age cracks.Dimensions: Cover size 30 x 16.5 cmAuction result comparison: Compare with a closely related set of ten albums of smaller size at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 13 May 2011, lot 1111, sold for GBP 10,625.清代石拓《羅漢應真圖》冊頁 中國，十九世紀。一共五十頁，顯示五十個羅漢應真圖。普通的硬木封面，右下角有一個中國老出口封條。 來源：德國私人收藏，冊頁背面用鉛筆注明冊頁時期以及相關描寫。背面亦可見舊時價格。 品相：廣泛磨損，蟲洞，污跡，起皺，撕裂，邊緣變成褐色，冊頁裝幀疏鬆。木封面邊緣損壞，划痕和自然的年齡裂縫。 尺寸：封面30 x 16.5 厘米 拍賣結果比較：一套十本冊頁但尺寸稍小的《羅漢應真圖》，見倫敦佳士得Chinese Ceramics, Works of Art and Textiles 拍場，2011年5月13日 lot 1111, 售價GBP 10,625.

A LARGE KESI ‘DRAGON’ PANEL WITH KIRIMON, MING DYNASTYChina, 17th century. Made for the Japanese market. Finely woven with the mon of the Toyotomi clan, in the form of a stylized paulownia, above an imposing three-clawed dragon surrounded by ruyi-shaped clouds.Provenance: Austrian private collection. Condition: Excellent condition with minor wear, soiling, minuscule losses, minor old repairs, few loose threads.Dimensions: Size 153 x 85 cmBehind glass, in a European frame.The Kirimon, or Paulownia Seal, once was the private symbol of the Japanese Imperial Family, from as early as the sixteenth century. The Toyotomi clan, led by Toyotomi Hideyoshi, later adopted the Seal for use as the crest of his clan. After the Meiji Restoration, the seal was eventually adopted as the emblem of the Japanese government. The variation seen in the present lot, with 5-7-5 flowers (the syllabic pattern of a haiku poem), is today reserved for the prime minister of Japan.The present kesi panel likely was originally a border panel from a very large bedcover. Kesi produced an inherently weak fabric because the weaving technique left slits in the textile between color areas and did not stand up to wear. It was therefore rarely used for practical items like bedcovers, except for a group of early 17th century bedcovers surviving in museum collections, all with light blue backgrounds.Literature comparison: A complete coverlet, in a private collection, is illustrated in Vollmer 1982, p. 42, and another is in the Ruth Chandler Williamson Gallery, Scripps College, Claremont, California, unpublished. For two similar kesi panels made for the European market, see Myrna Myers, Silks for Thrones and Altars, Chinese Costumes and Textiles, p. 104, nos. 54a and 54b.Auction result comparison: Compare with a kesi fragment of much smaller size, with a very similar dragon and likely cut out from a large panel closely related to the present lot, at Christie’s London in Fine Chinese Ceramics & Works of Art on 7 November 2017, lot 344, sold for GBP 11,875.明代大型龍紋緙絲 中國，十七世紀。為日本市場生產，豐臣家族的家徽“桐紋”，在由如意形雲團環繞的氣勢磅礴的三爪龍。 來源：奧地利私人收藏 品相：狀況極佳，輕微磨損，污跡，損失極小，較舊的修補，絲綫鬆動。 尺寸：153 x 85 厘米 歐洲裝框，玻璃蓋后 拍賣結果比較：一件相似尺寸較小的龍紋緙絲，有著非常相似的龍，可能與當前拍品相似的大緙絲上剪下，售于倫敦佳士得Fine Chinese Ceramics & Works of Art 拍場，2017年11月7日，lot 344，售價GBP 11,875.

‘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