AN IMPERIAL ‘DOUBLE DRAGON’ SPINACH-GREEN JADE SEAL, THE SEAL FACE INSCRIBED IN MANCHU AND CHINESEChina, 18th century. Of large and massive square form, surmounted by a superbly articulated pair of addorsed dragons, each powerfully depicted with eyes bulging and nostrils flaring above curling whiskers and jaws bearing sharp fangs, the scales and flowing mane meticulously incised, the bodies tightly intertwined and crouching on the haunches.The seal face inscription: ‘Jiangning fudu Chenghuang zhi yin’ (‘The seal of Chenghuang in the Capital of Jiangning’), written in both Manchu and Chinese. Chenghuang, god of the boundaries, is an important deity in China who protects the local people and affairs of a village, town, or capital, both in life and death.The inscriptions incised to the sides, added in 1878: ‘Zhuchi Xianding li’ (consecrated by abbot Xianding), ‘Puren Juntong Ye Wenquan kan’ (amended by Ye Wenquan of Pu region) and ‘Guangxu san'nian zao’ (in the third year of the Guangxu reign). Ye Wenquan was an official during the Guangxu period, from Jiangsu province, who passed the imperial examination in 1890. Provenance: Nicholas Grindley, Inc., Asian Works of Art, New York, 28 September 1982 (label to side). The James and Marilynn Alsdorf Collection, Chicago, USA, acquired from the above. Over four decades, the renowned couple assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miró and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Nicholas Grindley (born 1951) is a well-known dealer and scholar of Chinese art. Since 1998 he has published two catalogs a year, and exhibited in London, New York and Hong Kong. Many works from these exhibitions are in museums and important private collections throughout the world.Condition: Good condition with old wear, some nicks and nibbling to edges and corners, the stone with natural flaws, fissures and inclusions. Fine patina.Weight: 1,678 g Dimensions: Height 8.8 cm, Width 10.1 cmThe present seal illustrates the mastery of Imperial jade craftsmanship during the Qing Dynasty, and especially the Qianlong period. It appears to be one of the better-preserved examples of Imperial lapidary work from the 18th century and is notable for its high-quality jade of pure dark green color, vigorous rendering of the dragons, and inscriptions to the sides added during the Guangxu period. Large top-quality jade stones such as in the present example were not readily available during the later Qing dynasty. For this reason, seals inherited by emperors after 1850 were sometimes re-purposed and provided with additional inscriptions on various occasions. The fine material, the fullness of the crouching body, the three-dimensionality in the facial features, and the intricately carved scales set the present seal clearly apart from the characteristic stiffness of typical Guangxu seals (see literature comparison further down below for two such seals). It is therefore concluded that despite the incised inscriptions to the top sides being dated 1878, the seal itself is from an earlier date – the Qianlong period. As opposed to the present lot, Imperial seals belonging to the Guangxu court and related officials, carved at the time, typically are of a lesser material, already reflecting the financial constraints of the period. The limited availability of good-quality jade stone during these days is demonstrated by the use of serpentine and wood in the production of Imperial seals. Several 'double-dragon' seals belonging to the Dowager Empress Cixi and made of serpentine are known, see the example sold at Christie's Paris, 14 June 2006, lot 139 (see literature comparison further down below). The reign of the Guangxu Emperor was witness to one of the most disruptive periods in the 5000-year history of China, which eventually led to the demise of the entire Qing Dynasty Empire. Naturally, these hard times saw a significant decline in both the quality of artwork created and the quality of materials available to the workshops. Literature comparison: For typical seals carved during the Guangxu period, see a wooden double-dragon seal belonging to the Guangxu Emperor, sold at Sotheby's Paris, 11 June 2009, lot 233, and a green serpentine double-dragon seal belonging to the empress dowager Cixi, sold at Christies Paris, June 14 2006, lot 139. For a seal that is stylistically related to the present lot, but created for Emperor Qianlong’s eightieth birthday, see Sotheby’s London, 4 November 2009, lot 136.Auction result comparison: Compare the present seal with a related, but slightly larger double-dragon seal, also with an inscription in Manchu and Chinese, at Sotheby’s Hong Kong, Important Chinese Art, 7 October 2015, lot 3698, bought-in at an estimate of HKD 5,000,000-7,000,000. Also compare with a double-dragon seal from the 18th century, with the seal face re-carved during the Guangxu reign for the Empress Dowager Cixi, at Sotheby’s London, Fine Chinese Ceramics and Works of Art, 16 May 2012, lot 186, sold for GBP 313,250.御制碧玉滿漢文交龍鈕中國，十八世紀。印面呈方形，立體高浮雕交龍鈕，神龍挺胸，龍首微昂，圓目張吻，平視前方，豎角橫須，鬃發飛揚，凜然神威。龍身捲曲交纏而龍首相背，龍爪緊抓印面，龍脊微隆，軀幹遒勁，威猛張揚。龍身鱗片雕琢精細。印文：印文規整，刻工精湛，滿漢雙語，江寧福都城隍之印。款識：光緒三年造；主持賢定立 ；濮人俊同葉文銓刊。葉文銓，江蘇人， 1890年光緒時期進士。來源：紐約Nicholas Grindley 亞洲藝術藝廊，1982年9月28日 (可見標簽)。美國芝加哥James and Marilynn Alsdorf 收藏，購於上述收藏。在過去的40年中，這對著名的夫婦收集了一系列非凡的藏品，其中包括一些現代藝術名人的作品，如Rene Magritte，Frida Kahlo，Joan Miró 和Jean Dubuffet，以及大量非常重要的中國藝術品。Nicholas Grindley 出生於1951，是知名中國藝術學者與商人。自1998 年起他出版了兩本畫冊並在倫敦、紐約和香港舉辦展覽。這個展覽裏的很多展品曾在全球重要博物館和私人收藏展出過。圖片：1950年James 與 Marilynn Alsdorf在邁阿密圖片：Nicholas Grindley品相：狀況良好，有舊磨損，輕微划痕，邊角磕損，玉石有天然裂縫和內含物。 良好的包漿。重量： 1,678 克尺寸：高8.8 厘米, 寬10.1 厘米這枚龍鈕碧玉章充分體現了清代對玉雕工藝的精通，並且似乎是該時期御用文物保存最完好的例子之一，純正的深綠色玉石，生動交龍紋以及兩側精湛的刻字。在本例子中，大型的優質玉石在19世紀後期並不容易獲得。 出於這個原因，有時會重新利用繼承的印章，並在各種場合增加額外的文字。 精美的材料，精湛的雕工，明顯不同於典型的光緒印章的特有硬度（請參閱下面的文獻比較，進一步了解這兩種印章 ）。 因此得出的結論是，儘管上面刻有切刻的銘文是1878年，但封印本身必須是較早的日期，乾隆時期。相反的是，光緒朝廷和官員的印章材料等級較次，反映了該時期的財務限制，因此優質玉石的供應有限。這可通過使用蛇紋石和木料來生產皇家印章的現象來佐證。 慈禧太后“雙龍”印章是眾所周知的，請參見巴黎佳士得於2006年6月14日139號拍出的示例（請參見下面的文獻比較）。文獻比較: 光緒時期的印章以光緒帝一件木製雙龍印售于巴黎蘇富比，2009年6月11日 lot 233；慈禧的蛇紋石雙龍印售于巴黎佳士得2006年6月14日 lot 139。一件乾隆八十歲閑章見倫敦蘇富比2009年11月 4日，lot 136。拍賣結果比較：一件相近但更大的滿漢文雙龍印見香港蘇富比 Important Chinese Art拍場2015年10月7日，lot 3698, 估價HKD 5,000,000-7,000,000。慈禧雙龍印見倫敦蘇富比 Fine Chinese Ceramics and Works of Art拍場2012年5月16日 lot 186, 售價GBP 313,250。
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‘LUOHAN TRYPTICH’, JIN NONG (1687-1763)Ink on paper. The three scrolls finely painted with various depictions of luohan, including one riding a dragon, another seated on a gnarled withering tree trunk and exhaling qi as two demons push him forward, and a third riding a tiger and accompanied by two attendants. Each with a silk brocade frame and mounted as a hanging scroll. (3)Inscriptions: One scroll lower left, signed ‘Jin Nong jinghui’, one artist seal, ‘Jin Nong’.Provenance: Collection of Hana and Jan LÃbal, acquired between 1956 and 1959 during their stay in Beijing while working on the Czech-Chinese dictionary, and thence by descent in the same family.Condition: Good condition with minor wear, creases, small losses with associated touchups, foxing, staining, larger stains to mountings.Dimensions: Image size ca. 120 x 30 cm (each)Expert’s note: The extremely fine manner of the painting as well as the signature on one of the scrolls clearly indicate the present lot is a sketch from the artist’s own hand.Auction result comparison: Compare with an album of sixteen leaves of the Sixteen Luohan, painted in ink and color on silk, by the same artist, at Christie’s Hong Kong in Fine Classical Chinese Paintings and Calligraphy on 25 April 2004, lot 425, sold for HKD 1,631,750.金農 (1687-1763)《羅漢》三聯畫紙本水墨，挂軸。三位羅漢，其中一位騎龍，一位坐在枯樹幹上，兩個惡魔將他向前推，第三幅羅漢騎虎，兩名侍者陪伴。 款識：金農敬繪；一枚鈴印“金農“ 來源：Hana 與Jan LÃbal，1956 至1959年他們因爲《漢捷字典》編譯而在北京工作，購於那時，在同一家族保存至今。圖片：Hana 與 Jan LÃbal 在北京，上世紀五十年代末 品相：狀況良好，有輕微磨損，摺痕，缺損，起皺，染色，裝裱処污漬較大 尺寸：畫面分別約 120 x 30 厘米 拍賣結果：金農的一個絹本設色《十六羅漢》冊頁見香港佳士得Fine Classical Chinese Paintings and Calligraphy 拍場2004年4月25日 lot 425, 售價HKD 1,631,750.
‘IN THE MORNING ONE CAN LEARN THEIR LESSON FROM WHAT ONE HAS GRASPED IN THE EVENING’, HONGLI (1711-1799)China, ink on paper, album leaf, calligraphy in running script. The present lot is an original calligraphy written by the Qianlong Emperor, born Hongli.Inscriptions: Calligraphy, ‘In the morning one can learn their lesson from what one has grasped in the evening’. One personal seal of the Emperor top center, ‘Qianlong yushu (written by Emperor Qianlong)’, three collector’s seals, one lower left, ‘Ding Fuzhi ceng guan (viewed by Ding Fuzhi)’, two lower right, ‘Cengcang Wang Ti’an chu (collected by Wang Ti’an)’, and ‘Jin Futing Shouxianshi kaocang (Collection of Jin Futing)’.Provenance: Probably in the collection of Jin Futing (active during the Daoguang and Xianfeng reigns). Collection of Wang Zuxi (1858-1908, collector’s seal ‘Wang Ti’an’). Thereafter possibly in the collection of Ding Fuzhi (1879-1949). From there through various collections to the present owner. Wang Zuxi was a noted late Qing dynasty collector and connoisseur from Shaoxing. Ding Fuzhi was a painter, calligrapher, and seal artist, whose works frequently appear at Sotheby’s and Christie’s. In 1904 he founded the Xiling Seal Art Society together with Ye Ming and Wu Yin. Condition: Good to very good condition with old wear, worm holes, center fold, water stains to edges, minor losses to corners.Dimensions: Size 39.2 x 49.9 cmHongli was the fourth son of Yongzheng and born to Noble Consort Xi. He was adored by his grandfather, the Kangxi Emperor, and some historians argue to this day that Kangxi appointed Yongzheng as his successor only because Hongli was his favorite grandson. One of China’s eternal visionaries, Kangxi is said to have spotted the singular leadership talent of the later Emperor Qianlong in Hongli when he was still a child.Finding an original calligraphy by Hongli’s own hand outside of China is quite rare, although many can be seen in major museums in China and around the globe, where they have been admired by an audience of millions. Besides being an avid and passionate art collector, the Qianlong Emperor was also a talented poet and calligraphist, often gifting his works to his subjects, thus bestowing great honor upon them.Literature comparison: The seal imprint top center is from an Imperial seal registered in Guo Fuxiang, Gugong bowuyuan cang qingdai dihou xiyin pu Qianlong juan yi (Catalogue of Imperial Seals of the Qing dynasty. Qianlong Book 1), vol. II, p. 15. Note the size of the inner seal frame is 44 x 46 mm (height x width) and identical on both the imprint in the catalog and on the calligraphy. As the seal imprint illustrated in the catalog was recorded shortly after carving, very minor differences in these measurements are considered negligible, because of the continued use of the seal over many years.Auction result comparison: Compare with a pair of hanging scrolls with a poetic couplet in running script by the Qianlong Emperor at Christie’s New York in Fine Chinese Paintings on 10 September 2019, lot 2, sold for USD 50,000, and another couplet by the Emperor on two silk panels at Sotheby’s Hong Kong in Fine Classical Chinese Paintings on 1 October 2018, lot 2606, sold for HKD 625,000. Compare also with a four-character calligraphy in regular script on two silk panels at Sotheby’s Hong Kong in Fine Classical Chinese Paintings on 5 October 2015, lot 1137, sold for HKD 3,680,000, and a two-character calligraphy in running script on a silk panel, in heavily damaged condition, at Bonhams London in Fine Chinese Art on 17 May 2018, lot 76, sold for GBP 23,750.《暮悟朝鑑》，弘歷 (1711-1799)中國，紙本水墨, 斗方。行書。乾隆皇帝御筆。鈐印：乾隆御筆藏印：丁輔之曾觀，曾藏王惕安處，金黼廷瘦仙氏考來源：可能曾被金黼廷 (活躍於道光咸豐時期) 所收藏。王祖錫(1858-1908)收藏，一枚玲印。之後可能為丁輔之 (1879-1949) 收藏。 輾轉到現今藏家手中。 王祖錫是晚清著名的收藏家、鑑賞家，紹興人。丁輔之是一著名的畫家、書法家、印章雕刻家，其作品經常於蘇富比與佳士得上出現。1904年丁輔之與王禔、葉銘、吳隱共同創辦西泠印社。 品相：狀況良好至極好，有舊磨損，蟲孔，摺痕，邊緣有水漬，角落有輕微損失。尺寸：39.2 x 49.9 厘米 乾隆是雍正的四子。 他非常崇拜祖父康熙皇帝。直到今天，一些歷史學家還在爭辯說，康熙任雍正為繼任者，只是因為乾隆是他最喜歡的孫子。 據說，康熙是中國歷代皇帝中最有遠見卓識的皇帝之一，他在乾隆幼小時發現他在領導力方面的獨特才能。 儘管在中國乃至全球的主要博物館都可以看到弘歷的御筆，但在中國以外的地方找到乾隆御筆還是很少見。 乾隆除了是一位狂熱的藝術品收藏家外，還是一位才華橫溢的詩人和書法家，經常將自己的作品贈與他的大臣，代表著極大的榮譽。 文獻比較: 正中央的“乾隆御筆”印曾被記錄在郭福祥的《故宮博物院藏清代帝后璽印譜——乾隆卷一》第二冊，第15頁。印尺寸為44 x 46 毫米 (高x 寬)，斗方上的印與畫冊裏一致。由於刻印後不久就記錄在冊，多年來一直使用所以會造成與記錄中的值微小差異，可以忽略不計。 拍賣結果比較：一對乾隆御筆行書挂軸見紐約佳士得 Fine Chinese Paintings 拍場2019年9月 10日lot 2, 售價USD 50,000, ；一件御筆條幅見香港蘇富比 Fine Classical Chinese Paintings 拍場2018年10月1日 lot 2606, 售價HKD 625,000. ；一件四字楷書條幅見香港蘇富比Fine Classical Chinese Paintings 拍場2015年10月5 日 lot 1137, 售價HKD 3,680,000, ；一輻二字行書條幅，嚴重損壞，見倫敦邦瀚斯Fine Chinese Art 拍場2018年5月17日 lot 76, 售價GBP 23,750.
A ‘CHAEKGORI’ SIX-PANEL SCREEN, JOSEON DYNASTY, WITH ‘HIDDEN’ ARTIST SEALKorea, 19th century. Ink and watercolors on paper. The six ‘Scholar’s Accouterments’ paintings mounted as a six-panel folding screen depicting an array of books, scrolls, and other items associated with a scholar's studio. With silk brocade mounting, hardwood frame, and metal fittings. The lower section of the first panel from the left, showing a variety of seals, is painted with a hidden artist signature in the form of a seal.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy. Old inventory number ‘304’ to back. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art. The present screen will be featured in an upcoming book by Prof. Salviati about Korean art.Condition: Good original condition with extensive wear, tears, losses, indentations, the fittings also with wear and some dents, nicks, and scratches.Weight: 8.2 kgDimensions: Panel size 178.5 x 43.7 (each), Image size 139.5 x 37.5 cmThe Chinese-style books on screens of the present type are usually depicted closed, stacked in sets wrapped in slipcases. Joseon-dynasty scholars sat on thin cushions on the floor and worked at small, portable desks. Chaekgeori is a Confucian theme, directly related to the scholarly aspiration of the landed gentry, the scholar-officials of the Joseon-dynasty government. Yet, bookstack screens were popular in the homes of commoners, as well, symbolizing the Confucian ideals of education and self-improvement, and perhaps providing inspiration to the family's children. There is literary evidence that this subject became a status symbol after King Jeongjo (reigned 1776-1800) placed one behind his desk in the men's quarters of the palace.Expert’s note: Functioning the same way as a signature in Western art, a seal impression on a chaekgeori screen is sometimes included to reveal the painter’s identity. It is called a ‘hidden’ seal due to its discreet placement. Only about 12 works with such a ‘hidden’ seal are known today.Literature comparison: Compare with a closely related ten-panel folding screen, also signed with a hidden seal, in the collection of the Cleveland Museum of Art, accession number 2011.37. For a full discussion of Chaekgeori screens, see Kay E. Black and Edward W. Wagner, "Court style Ch'aekkori," in Hopes and Aspirations: Decorative Paintings of Korea, exhibition catalog (Asian Art Museum of San Francisco, 1998), 21-35, and also Black and Wagner, "Ch'aekkori Paintings: A Korean Jigsaw Puzzle," Archives of Asian Art 46 (1993), 63-75.Auction result comparison: Compare with a related but smaller (image size 67.3 x 41.6 cm) eight-panel folding screen at Bonhams New York in Fine Japanese and Korean Art on 22 July 2020, lot 1183, sold for USD 16,325, a closely related but smaller (image size 67.3 x 41.6 cm) eight-panel folding screen at Christie’s New York in Japanese & Korean Art Including Arts of the Meiji Period on 15 September 2010, lot 721, sold for USD 15,000, and a related but smaller (image size 60 x 35.6 cm) eight-panel screen at Christie’s New York in An Inquiring Mind: American Collecting of Japanese & Korean Art on 25 April 2017, lot 114, sold for USD 15,000.Note that none of these three lots carry a hidden seal.朝鮮王朝彩繪“文房清玩”六折屏風 韓國，十九世紀。紙本設色。六幅“文房清玩“繪畫被裝裱成六折屏風，描繪了一系列文人書房中的書籍、捲軸和其他清玩。採用絲綢錦緞裝幀，硬木框架和金屬配件。左側第一個面板的下方可見一系列印章，藝術家並以印章的形式留下自己的簽名。來源：意大利羅馬Filippo Salviati教授私人收藏。背面可見老收藏標簽號“ 304 ”。Filippo Salviati教授是羅馬大學東亞研究所考古係及藝術史係教授。Salviati教授對中國古代藝術進行了廣泛研究並出版了很多專著。此拍品將出版于Salviati 教授一本關於韓國藝術的書中。圖片：Filippo Salviati 教授 品相：原始狀態良好，有大量磨損、撕裂、損失和壓痕，配件也有磨損以及一些凹痕，缺口和划痕。 重量：8.2 公斤 尺寸：屏風每幅178.5 x 43.7 厘米，畫面每幅139.5 x 37.5 厘米 專家注釋：與西方藝術中的印章功能相同，“文房清玩”屏風中的印章有時也會揭示畫家的身份。由於其謹慎的位置，它被稱為“隱藏”印章。如今，已知作品中大約只有12件帶有這種“隱藏”印章。 拍賣結果比較：一件相近但更小 (畫面67.3 x 41.6 厘米)的八折屏風見紐約邦瀚斯 Fine Japanese and Korean Art 拍賣2020年7月22日 lot 1183, 售價USD 16,325, ；一件相近但更小 (畫面 67.3 x 41.6 厘米) 的八折屏風見紐約佳士得 Japanese & Korean Art Including Arts of the Meiji Period 拍場2010年9月15日 lot 721, 售價USD 15,000, ；一件相近但更小 (畫面 60 x 35.6 厘米) 的八折屏風見紐約佳士得 An Inquiring Mind: American Collecting of Japanese & Korean Art 拍場2017年4月25日 lot 114, 售價USD 15,000. 請注意這三個拍品都沒有一個“隱藏”的印章。
A RARE PORTRAIT OF ‘BUDDHABHADRA AND MONKEY’, QING DYNASTYChina, 19th century. Ink and watercolors on paper. The monk seated on the ground, his arms crossed and resting on his knees, one hand holding a rosary, a long staff, a stand with a bowl on top, and a gnarled wood table with scholar’s objects behind him, a white-faced monkey standing before him and offering a longevity peach.Inscriptions: Upper left, ‘Ba tuo luo zun zhe’, referring to Buddhabhadra. One seal. Provenance: Collection of Malinda F. Murphy, old collector’s label to base. British private collection, acquired from the above and thence by descent. Malinda F. Murphy (1960-2005) was the youngest daughter of Dr. James S. Murphy and Margaretta ‘Happy’ Rockefeller, who would later marry U.S. Vice President Nelson Rockefeller. There has been extensive speculation in the inner circles of the Rockefeller family about Malinda being Nelson Rockefeller’s daughter. The collection label on the backside is particularly interesting as it bears a printed drawing by Marc Chagall (1887-1985) of a hen laying golden eggs and the dedication ‘Pour [for] Minda’, indicating that the famous artist, who was commissioned by the Rockefellers to create a stained-glass window for the family church in 1960, made this drawing for Malinda Murphy in 1964, when she was four years old. Condition: Good condition with minor creasing, some water stains to the lower edge. Dimensions: Size incl. frame 68.7 x 35 cm Framed behind glass, the old Chinese-style wood frame carved in the form of bamboo segments, but of European origin.Buddhabhadra (359-429) was an Indian Buddhist monk, with the title of sramaṇa. He is most known for his prolific translation efforts of Buddhist texts from Sanskrit into Chinese and was responsible for the first Chinese translation of the Avataṃsaka Sūtra (Flower Ornament Scripture) in the 5th century.清代《跋陀羅尊者與猴子》 中國，十九世紀。紙本設色。尊者坐在地上，雙臂交叉置於膝上，一隻手拿著念珠，長杖放在地上，身前站著一隻端著放著桃子的盤子的猴子。 提詞：左上角題跋陀羅尊者，一枚鈴印。 來源：Malinda F. Murphy收藏，底部可見藏家標籤。 英國的私人收藏，購於上述收藏保存至今。 Malinda F. Murphy（1960-2005年）是James S. Murphy博士和Margaretta’Happy’Rockefeller的最小女兒，Margaretta’Happy’後來嫁給了美國副總統Nelson Rockefeller。 洛克菲勒家族的內普遍猜測Malinda是納爾遜·洛克菲勒的女兒。 背面的收藏標籤特別有趣，因為上面刻有Marc Chagall（1887-1985年）印刷的母雞產下的金蛋和Pour [for] Minda”的字樣，這表明這位由 Rockefellers夫婦於1960年為家庭教堂創建了彩色玻璃窗的畫家於1964年為當時她只有4歲的Malinda F. Murphy繪製了這幅畫。圖片: Marc Chagall 與 Nelson D. Rockefelle在洛克菲勒家族教堂，1960年紐約。 品相：狀況良好，較小壓痕，下邊緣有些水漬。 尺寸：含框 68.7 x 35 厘米 老舊的中式木框架，玻璃，以竹節段的形式雕刻，但來自歐洲。
‘BODHIDHARMA’, BY WU CHANGSHUO (1844-1927)Ink and watercolors on paper. Virtuoso painted to depict Bodhidharma wearing his characteristic red robe and standing on a reed. An homage to the legend of the Zen patriarch sailing up the Yangzi River on just a single reed.Inscriptions: Signed Wu Changshuo. Dated to May of gengshen year (1920). Inscribed to upper left with a personal dedication to ‘Mr. Ikeda, by Wu Changshuo aged 77’. Further inscribed: ‘On a reed he crossed the river and for nine years he meditated. Bodhidharma has strength and will to gain enlightenment.” Three seals of the artist: Wu Jun zhi yin, Wu Changshi, and Guiren limin. Note that by repute ‘Mr. Ikeda’ was Kotaro Ikeda (1895 – 1976), a noted Japanese painter. His work was part of the painting event in the art competition at the 1932 Summer Olympics.Provenance: Kotaro Ikeda (1895 – 1976) by repute. Thereafter in a reputed private collection of paintings. Paper label with inventory number ‘40’ to one of the wooden scroll pegs.Condition: Good condition with minor creases, the paper browned, small tears and losses to mounting only, almost invisible foxing and staining.Dimensions: Image size 96.7 x 44.5 cmWu Changshuo (1844-1927) was a prominent painter, calligrapher, and seal artist of the late Qing dynasty. Initially, he devoted himself to poetry and calligraphy with a strong interest in early scripts. He also led the Xiling Seal Art Society, an academic organization for Hangzhou-based seal artists. Only later did he consider himself a painter associated with the ‘Shanghai School’. As a painter, he was noted for helping to rejuvenate the art of painting flowers and birds.Auction result comparison: Compare with a closely related work by the same artist at Sotheby’s Hong Kong in Fine Chinese Paintings on 8 April 2008, lot 85, sold for HKD 511,500.吳昌碩(1844-1927)《一葦渡江》 紙本設色。達摩祖師一葦渡江圖。 款識：一葦渡江，九年面壁，咄哉頭陀，具大法力。成佛志堅，救世心熱，證羅漢果，佐聖賢席，我今在世，天跼地蹐。安得隨師，名山杖錫。得句長吟，霞紅海碧。池田先生屬，沐手敬畫，庚申（1920）夏五月，吳昌碩年七十又七。鈐印：吳俊之印、吳昌石、歸仁里民詩中提到的池田先生即池田倖太郎 (1895 – 1976)，一位知名日本畫家。他的作品曾在1932年的夏季奧林匹克的藝術比賽中的繪畫活動中展出過。 來源：池田倖太郎（1895 – 1976) 。此後收藏在著名的私人繪畫收藏中。 藏品編號為“ 40”的紙質標籤貼在一個木製捲軸上。 品相：狀況良好，有細微的摺痕，紙張呈褐色，僅有少量撕裂和裂痕，污漬。尺寸：畫面 96.7 x 44.5 厘米 拍賣結果比較：同一位藝術家相似的作品，售于香港蘇富比Fine Chinese Paintings 拍場2008年4月8日 lot 85, 售價HKD 511,500.
‘BOY AND TORTOISE UNDER BANANA LEAF’, BY ZHOU SICONG (1939-1996)Ink and watercolors on paper. Depicting a young boy with torn shorts, revealing his buttocks, happily playing with a tortoise under a banana leaf.Inscriptions: Signature of the artist. Dating Summer 1973. Seal: Zhou SicongProvenance: From the private collection of Josef Hejzlar and thence by descent in the same family. Josef Hejzlar (1927-2012) was a Czech sinologist and art historian. He studied Chinese language, history, literature, and art in Beijing during the 1950s and later taught at several universities in China. He published countless books and articles about Chinese art, including a well-regarded monograph of Qi Baishi, whom he visited in his Beijing studio several times during his studies.Condition: Very good condition with minor wear, little creasing and soiling.Dimensions: Size 41.5 x 50 cmAuction result comparison: Compare with a closely related work by the same artist at China Guardian on 18 September 2010, lot 430, sold for EUR 12,540 (CNY 110,000).《幼童芭蕉樹下戲龜圖》，周思聰 (1939-1996)紙本設色 。一個幼童在芭蕉樹下開心逗弄著一隻小烏龜。款識: 藝術家簽名及鈴印，1973年夏天。 來源：Josef Hejzlar私人收藏，自此在同一家族收藏。 Josef Hejzlar (1927-2012年）是來自捷克的漢學家和藝術史學家。 他於1950年代在北京學習中國語言、歷史、文學和藝術，後來在中國幾所大學任教。 他發表了無數有關中國藝術的書籍和文章，其中包括一本備受推崇的關於齊白石的書，他在學習期間曾多次在北京工作室訪問周思聰。 品相：狀況極佳，小磨損，輕微皺褶和污漬。 尺寸：41.5 x 50 厘米 拍賣結果比較：一件藝術家相近主題的作品見中國嘉德2010年9月18日拍場 lot 430, 售價EUR 12,540 (CNY 110,000).
‘CAT AND BUTTERFLY’, LINGMAO XIDIE, BY XU BEIHONG (1895-1953)Ink and watercolors on paper. Depicting a cat perched on a rocky outpost trying to catch a butterfly with its right forepaw, blades of grass in the background.Inscriptions: Signed Beihong. Dated renwu year (corresponding to 1942). Inscribed for Mr. Yukui and Ms. Qianru. One seal, Donghai wangsun (by Xu Beihong). One collector’s seal to lower right, Bojiao suo cang (Collection of Bojiao).Superscriptions: Poetry hall signed Guan Zhenmin and inscribed Lingmao xidie (cat playing with butterflies), dated to the spring of the year of Bingxu (corresponding to 1947). Two seals, Zhenmin zhi bo and Lütian luzhu.Provenance: From a reputed private collection of paintings. Paper label with inventory number ‘25’ to the back.Condition: Excellent condition with minor wear, little soiling and creasing, some foxing.Dimensions: Size 98.4 x 40.8 cm (the painting) and 29.6 x 40.8 cm (the poetry hall)Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings and in the end became a well-known figure in the world due to his contributions in the art industry. After the founding of the People's Republic of China in 1949, Xu became president of the Central Academy of Fine Arts and chairman of the China Artists Association.Xu Beihong was a master of both oils and Chinese ink. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasizes the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one painter most responsible for the direction taken in the modern Chinese Art World.Auction result comparison: Compare with a closely related work by the same artist at China Guardian on 18 December 2017, lot 65, sold for EUR 64,045 (CNY 500,000), and another at Christie’s Hong Kong in Fine Modern Chinese Paintings on 28 May 2007, lot 1107, sold for HKD 504,000.徐悲鴻(1895-1953)《靈貓戯蝶》 紙本設色。一隻貓於山石之上戲蝶的情景，將貓的頑皮活潑和機警的表情表達得淋漓盡致。 款識：玉魁先生，倩如女士共賞，悲鴻壬午。鈐印：東海王孫詩堂：靈貓戲蝶。丙戌小春月，玉魁先生雅屬並正，管震民時年六十又七同客檳榔嶼。鈐印：震民之缽，綠天廬主 來源：知名繪畫私人收藏，背面藏品標簽上可見 ‘25’ 。 品相：狀況極佳，磨損少，些微和起皺。 尺寸：畫98.4 x 40.8 厘米；詩堂29.6 x 40.8 厘米 拍賣結果比較：同一位藝術家相似作品，售于中國嘉德2017年12月18日, lot 65, 售價EUR 64,045 (CNY 500,000)；另一件相似作品，售于香港佳士得Fine Modern Chinese Paintings 拍場2007年5月28日，lot 1107, 售價HKD 504,000.
‘MOUNTAIN LANDSCAPE’ AND CALLIGRAPHY BY PU TONG (1877-1952)Ink, gold foil, and watercolors on paper. The painting depicting a house with three figures, a family of husband, wife, and child, beside a cluster of large trees in front of a vast mountain landscape. The calligraphy with a poem originally written by Zhao Mengfu (1254-1322).Inscriptions: To the left of the poem, signed ‘Pu Tong’ and square seal ‘Pu Tong He yin’. Top right of the painting, signed ‘Pu Tong’ and square seal ‘Pu Tong He yin’.Provenance: Italian private collection. Condition: Excellent condition with minor wear, creasing, and little soiling.Dimensions: Size 116 x 57 cmAuction result comparison: For a fan painting by the same artist, see Sotheby’s Hong Kong in Fine Chinese Paintings on 8 October 2020, lot 3011, sold for HKD 52,920.溥侗(1877-1952)《山水》紙本設色，金箔。這幅畫描繪了溪邊一座小屋，屋裏有三個人物，一對夫妻和一個孩子。旁邊是一棵大樹，周圍是廣闊的山水景觀。上方的文字原出于趙孟頫 (1254-1322)。 款識：鏡心 溥侗；鈴印：溥侗和印。書法 溥侗；鈴印：溥侗和印 來源：意大利私人收藏 品相：狀況極佳，小磨損，小壓痕，輕微污漬。 尺寸：116 x 57 厘米 拍賣結果比較：一幅溥侗的扇面見香港蘇富比Fine Chinese Paintings on 8 October 2020拍場 lot 3011, 售價HKD 52,920.
AN ALBUM OF ‘QI BAISHI’ WOODBLOCK PRINTS BY RONGBAOZHAI, DATED 1955China, Beijing. Two volumes, containing approximately 40 leaves each, with a brocade silk case. The case and each volume with a label bearing a seal and inscription, splashed with gold foil.Inscriptions: To the case and each volume on the cover, Beijing Rongbaozhai xinjishi jianpu (‘Beijing Rongbaozhai’s New Letter Paper Album’) and Jiushiyisui Baishi laoren ti (‘Written by Qi Baishi at the age of 91’), dated 1955. One seal.Provenance: French private collection. Old paper label with typewritten English inscription, ’80-2 A Collection of Jung Pao Chai’s Shihchien’. Condition: One of the fasteners has come apart, otherwise in excellent condition with minor wear, soiling, and creasing, the case cover slightly bent.Dimensions: Size 31.5 x 22.3 x 3 cmAuction result comparison: Compare with a closely related album, with the same dating and inscription on the cover, at Bonhams Sydney in Chinese Paintings on 2 December 2020, lot 46, sold for AUD 3,936.1955年《北京榮寶齋新記詩箋譜》中國，北京。兩冊，木版水印，灑金，每卷含40頁，緞面函裝。 封面：北京榮寶齋新記詩箋譜，九十一嵗白石老人題；鈴印：白石翁 來源：法國私人收藏。紙標簽上英語書寫“80-2 A Collection of Jung Pao Chai’s Shihchien”。 品相：其中一本裝幀鬆開，除此之外處於極佳狀態，輕微磨損，污漬和摺痕，緞面封面蓋略微彎曲。 尺寸：31.5 x 22.3 x 3 厘米 拍賣結果比較：一件同年箋譜見悉尼邦瀚斯Chinese Paintings 拍場2020年12月2日lot 46, 售價AUD $3,936.
‘PEONIES AND BIRDS’ BY ZHAO SHAO’ANG (1905-1988)Ink and watercolors on paper. Superbly painted with two small birds, one with the beak open as it caws, perched on a branch next to flowering peonies, executed with bold and vivid brushstrokes and an expressive composition of warm colors. Matted and framed behind glass.Inscriptions: Lower right, signed ‘Shao’ang’. One seal, ‘Zhao Shao’ang xi’.Provenance: Collection of Dr. Lubor Hájek (1921-2000) and thence by descent in the same family. A Czech private collection, acquired from the above in 2010. Dr. Lubor Hájek was a Czech art historian. In 1952 he founded the Oriental Art collection of the National Gallery Prague, which he ran until 1986.Condition: Excellent condition with minor wear and traces of use.Dimensions: Size incl. frame 56.2 x 75.3 cm, Image size 45 x 64 cmZhao Shao'ang (1905-1988) is considered one of the Four Great Masters of the Lingnan School. In the late 19th century, scholars in China broke through entrenched conservative thought schools and began to create and promote new styles of art. This not only cultivated ideological progress within social elites but also gave birth to the eclectic fusion of the Han Chinese and Western styles, as advocated by the Lingnan School, which today is considered - along with the Beijing and Shanghai schools - as one of the three pillars of modern Chinese painting.Auction result comparison: Compare with a related hanging scroll of the same subject by the same artist (45 x 96 cm) at Christie’s Hong Kong in Fine Chinese Modern and Contemporary Ink Paintings on 1 December 2020, lot 1058, sold for HKD 275,000, and a closely related painting of the same subject by the same artist (58.5 x 93.8 cm) at Sotheby’s Hong Kong in Fine Chinese Paintings on 3 April 2012, lot 1175, sold for HKD 860,000.趙少昂 (1905-1988) 《 牡丹富貴》鏡心紙本設色。富貴牡丹圖，一對小鳥站于枝頭，大胆生动的笔触，色彩純净艷麗卻不俗，鏡心。装在玻璃后面。 款識：右下角落款 “少昂“；一枚鈴印”趙少昂鉩“ 來源：Lubor Hájek博士（1921-2000）收藏，自此在同一家族收藏。捷克的私人收藏，于2010年从上述收藏購得。Lubor Hájek博士是捷克艺术史学家。 1952年，他创立了布拉格国家美术馆的东方艺术收藏，一直到1986年。 圖片：Dr. Lubor Hájek (1921-2000) 1978年在捷克布拉斯拉夫 品相：状况极佳，有轻微磨损和使用痕迹。 尺寸：含框 56.2 x 75.3 厘米, 畫面45 x 64 厘米 拍賣結果：一件趙少昂同一主題的挂軸 (45 x 96 厘米) 見香港佳士得Fine Chinese Modern and Contemporary Ink Paintings拍場2020年12月1日 lot 1058, 售價HKD 275,000, ；另一幅 (58.5 x 93.8 厘米) 見香港蘇富比Fine Chinese Paintings 拍場2012年4月3 日 lot 1175, 售價HKD 860,000.
AN INSCRIBED WHITE JADE PLAQUE, LATE QING TO REPUBLICChina, 1850-1950. Of flattened rectangular form with rounded corners, neatly carved and incised to each side in shallow relief with an oval cartouche enclosing a two-character seal surrounded by a sinuously coiled chilong with multifurcated tail and archaistic designs.Inscriptions: Within oval cartouches, one side, ‘Shen Pin (Superb Rank)’, the other, ‘Wen Wan (Scholarly Plaything)’.Provenance: A Spanish private collection, acquired between 1998 and 2002. The previous owners have been collecting Chinese works of art for more than 30 years, via their family business in Asia.Condition: Excellent condition with minor wear.Weight: 116.2 gDimensions: Size 9.7 x 5.8 cm清末民初神獸紋白玉佩中國，1850-1950年。圓角的扁平長方形，精美浮雕盤旋螭龍紋，多叉的尾巴，古樸的造型。兩面開光内分別可見“神品”與“文玩”。 來源：西班牙的私人收藏，於1998至2002年之間購得。之前的藏家通過其在亞洲的家族生來收藏中國藝術品已超過30多年。 品相：狀況極佳，小磨損。 重量：116.2 克 尺寸：9.7 x 5.8 厘米
AN EXCEPTIONAL AND VERY LARGE CANTON ENAMEL ‘SCHOLARS’ DISH, EARLY 18TH CENTURYChina. This piece is notable for its imposing size, the broad surface of which has been delicately rendered with a rich scene of scholars, literati and pupils observing an artist working on a scroll, painted with bamboo springing from craggy rockwork, the yet unfinished oeuvre being the talk of the gathering.Provenance: From a private estate in Pennsylvania, USA. The backside with an old collector’s label inscribed “C-09” and a second label with the inscription “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”. Condition: The foot rim with a hole drilled for suspension. The center with circular hairlines along the foot and two old fillings, each the size of a coin. The outer border with an old, restored section of ca. 10-15 cm, barely extending into the yellow border, mirrored at the back. Minuscule firing flaws, pitting, hairlines, dents, losses and fills. The metal mounts with a fine, naturally grown patina. Old wear and traces of use. Overall, in good condition, especially considering the magnificent size of 2.365 cm², with less than 60 cm² of restored area, equivalent to only 2.5% (!) of the total surface.Weight: 3.7 kg Dimensions: 55 cm Furthermore, we find a building with a terrace, a garden with scholar’s rocks, an imposing Ming dynasty altar table with a bitong and various brushes, an inkstone and several garden stools, as well as a peaceful lake and mountains in the far distance completing the inspiring scene.The cavetto with a dense scroll of pink peonies and lavender-colored lotus against an Imperial yellow ground, all within two circumferential bands of leaves and vines. The reverse shows a neatly painted still life of two peaches, lingzhi, flowers and a single bat against a white ground. The border with a band of grapes.The present dish is among the earliest examples of the successful combination of Western imaging techniques with traditional Chinese motifs during the first half of the 18th century. The subtle gradations of tone and the rendering of light and shade are particularly successful in the central panel, where cautious shading is introduced along the walls and canopy of the building. Even these few shades already give the composition a certain three-dimensional depth, heretofore unknown in Chinese painting. Moreover, the similarly rendered pink flowers are depicted in full bloom and appear to loom out from the contrasting yellow background. The fusion of East and West is therefore not only found on a technical level, but also in the stylistic approach to this painting, where the Chinese tradition of outlining has cleverly been combined with the European pursuit of naturalism through shading. Wares that combine a finely enameled scholarly motif on the interior with a vibrant yellow ground exterior were also produced in porcelain and celebrate the newly developed Famille Rose palette of the early eighteenth century. Tang Ying (1682–1756), as of 1728 the superintendent of the Imperial Kilns at Jingdezhen, notes in his work “A Brief Account of Ceramics”, that yangcai (Western color) enamel wares should be classified as combining falang glazes with Western painting styles (see the National Palace Museum exhibition catalog, Stunning Decorative Porcelains from the Qianlong Reign, Taipei, 2008, pp. 32-40).Painting in enamels on copper is essentially a Western art that gained prominence in northern Europe during the Renaissance and flourished in China under the reign of the Qianlong emperor. Once the piece was shaped, the copper was prepared with a ground of plain enamel to receive the painting in glassy pigments which then bonded to it by firing. The resulting clear and brilliant contrast of colors, which allowed for ornate decoration, was particularly suited to the young Qianlong emperor's taste for the opulent and exotic. The technique was first introduced to Guangzhou by Jesuit missionaries who entered the port with samples of Limoges wares from Europe around 1700. It was then presented to the Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou, who supplied versatile artisans dedicated to developing and improving the standard of the imperial Enamel Workshop (see Yang Boda in the catalog to the exhibition Tributes from Guangzhou to the Qing Court, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1987, page 63).Curator’s Summary: The frugal use of shading points to an early date during the first period of enamel production, which can possibly be even narrowed to 1710-1725. After this period, shading became more sophisticated and stippling was introduced. It is even possible that this monumental work, obviously conceived to impress, and difficult to make with the limited production capacities of the time, was among the few large template pieces presented to the Imperial Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou. This would explain the lasting albeit simplified reappearance of closely related scholarly motifs in later imperial works. Overall, the present dish must therefore not only be regarded as extremely rare, but also as an important contributor to what was later to become the most sophisticated producer of enamel wares in the history of mankind: The Imperial Palace Workshops in Beijing. Literature comparison: A similar use of yellow ground with multi-colored floral scrolls along panels containing depictions of scholars in garden landscapes can be seen on a Qianlong hand-warmer – with a red enamel six-character Qianlong seal mark within a single square – in the collection of the National Palace Museum, Taipei (illustrated in Enamel Ware in the Ming and Qing Dynasties, p. 243, no. 134) although the frames of the panels on the hand-warmer are in red tones and created using more sophisticated abutted S- and C-shaped elements. The use of imperial yellow grounds ornamented with multi-colored floral scrolls was much admired by the court in the Qianlong reign and can be seen on a number of items in a range of forms preserved in the collections of the Palace Museum, Beijing, and the National Palace Museum, Taipei.A scene of scholars in a garden setting, related to the one on the present plate, appears on a Qianlong enameled tea container in the collection of the State Museum of Oriental Art, Moscow (illustrated by Marina Neglinskaya in Kitayske raspisnie zmali, Moscow, 1995, cat. 38), although in the case of the Moscow piece, one scholar is playing the qin while another listens, and a servant approaches with refreshments. The enamels on the Moscow tea container are less rich than those on the present plate and the hand-warmer from the National Palace Museum Collection, and the dominant color in the background is blue rather than yellow, but it is interesting to note that the style was appreciated by the European elite as well as those in China.Auction result comparison: Compare with a closely related but much smaller plate at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on December 1st 2010, lot 3229, sold for HKD 350,000.十八世紀初廣州銅胎畫琺琅開光文人賞畫圓盤 中國. 尺寸宏偉，盤内開光，繪畫精美，文人及其學生欣賞一位畫家在捲軸上作畫的場景，四周山水湖泊以及院内假山竹林。 來源： 美國賓夕法尼亞州私人遺產。盤底有老藏家的標簽 “C-09” 以及第二個標簽 “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”。 品相： 完整中文品相報告請至www.zacke.at查看。其餘中文敘述請至www.zacke.at查看。
A WHITE JADE ‘FUGUI’ PLAQUE, MID-QING TO REPUBLICChina, 1750-1949. Of rectangular form, finely carved to one side in relief with two sinuously coiled chilong with bifurcated tails chasing a flaming pearl, the other side inscribed with a two-character seal mark, all between a ruyi-scroll design. The translucent and almost transparent stone of an even white color.Inscription: To one side, ‘Fugui (Wealth and Fame)’.Provenance: From a private collection in Southwestern France.Condition: Excellent condition with minor wear.Weight: 57.3 gDimensions: Size 6.6 x 4.6 cmPierced at the top for suspension as a pendant, with black string and a glass bead in imitation of coral.Auction result comparison: Compare with a related plaque, dated to the 18th century, also with a seal mark to one side, at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 18 May 2012, lot 1162, sold for GBP 16,250.清中至民國白玉富貴佩飾中國，1750-1949年。折角長方形，一面浮雕兩隻盤旋螭龍，分叉的尾巴，追逐著一顆火珠，另一面刻著“富貴”二字。幾乎透明的白色玉石。來源：法國南部私人收藏 品相：狀況極佳，小磨損。重量：57.3 克 尺寸：6.6 x 4.6 厘米 頂部中央穿孔，黑色絡子，挂著仿珊瑚玻璃珠。拍賣結果比較：一件相近玉佩，十八世紀, 見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles 拍場2012年5月18日 lot 1162, 售價GBP 16,250.
A CHINESE FAMIILE ROSE PORCELAIN HU SHAPED TWIN HANDLE IMMORTAL VASE, decorated with scene of immortal figures in landscapes, upon deer, holding funghi of immortality, peach branches, ruyi and scrolls, with surrounding cloud decoration, with twin rectangular form handles, the base with an iron red qianlong seal mark, 26cm x 17cm
A decorative pair of antique 19th Century Chinese Oriental heavy bronze vases with each having flared rims with cast dragon chasing the flaming pearl decoration to the waisted necks. Bulbous bodies below with further engraved and repousse decoration depicting cranes and deers amongst woodlands. Each raised lozenges shaped base. Six character Zhaunshu Seal Script mark to bases. Each measures approx 25cm x 14cm x 12cm. Repair to rim.
A pair of 18th century Chinese wine ewers with covers and similar hexagonal jar and cover, originally blue and white with later clobbered decoration, seal marks in red, jar 26.5cm (3) . Vase re glued around the neck and missing the knop on the cover. Knops on the ewers with repair. Fritting throughout.
Paar Famille-Rose-Vasen, China, 20.Jh. Porzellan, polychrom bemalt, Gegenstücke, kugelförmiger Korpus mit hohem Hals und ausgestelltem Rand, auf der Wandung umlaufende, felsige Seenlandschaft sowie Schriftzeichen mit Siegelmarken, begrenzt von Ornamentfriesen und Floraldekor in rosafarbenem Fond, im Boden Siegelmarke, H 43,5cm Pair of famile-rose-vases, China, 20th C. porcelain, painted in colours, decorated with lake landscape and chinese characters, seal mark to base, H 43,5cm
A Chinese scroll, wall hanging, painted with a white-headed sea eagle scrutinizing something that is out of our view, from its vantage point in an oriental pine tree. Bearing a signature for Huang Tie Cheng and mark in red seal. 187cm x 62cmCondition report: A small puncture to the fabric of the scroll within the painted area.
A pair of Chinese celadon mallet shape vases, each with a slightly flared rim on a slender neck terminating to a raised ring on the shoulders of the waisted and tapering body, pseudo six character underglaze Qianlong seal mark, 24cm & 24.5cm highCondition report: One vase has a small anomaly on the shoulder but, being glazed, this is a fault caused at production firing. Otherwise both vases are in good condition with no obvious post production faults visible.
A large Chinese blanc de Chine figure of Guanyin, 20th century, modelled seated in lalitasana, dressed in long robes and holding a rui sceptre, her left hand close to shuni mudra, her left foot resting upon a carp amongst waves and pearls, impressed pseudo seal marks to the rear, a gourd incised 'Dehua' and a seal mark for 'Ho Yin Chao Tsung', 37.5cmCondition report: No obvious faults.
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