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'BUTTERFLIES, FLOWERS, SCEPTER, AND VASE', BY LU XIAOMAN (1903-1965), CHEN XIAOCUI (1907-1968), XIE YUEMEI (1906-1998), AND PAN JINGSHU (1892-1940)China, 1930s. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Exquisitely painted with an Imperial lime-green-ground famille rose vase with dragon handles, probably Jiaqing, holding a bouquet with peony, hibiscus, and red bamboo, as well as leaves, scrolling vines, and fruit, surrounded by fluttering butterflies, all above a tasseled cloisonne ruyi scepter with floral and dragon decoration as well as a gilt-bronze head.Inscriptions: Upper right, signed and inscribed 'Lu Xiaoman painted the butterfies' and with a poem by the Song-dynasty poet Lu You on butterflies; two seals of the artist, 'Xiaoman' and 'Lu Mei'. Center left, signed and inscribed 'Xiaocui painted the branches in Shanghai'; one seal of the artist, 'Xiaocui'. Lower left, signed and inscribed 'Xie Yuemei painted the ruyi [scepter]'; two seals of the artist, 'Xie Yuemei yin' and 'Juanruo'. Lower right, signed and inscribed 'Jingshu painted this vase in the style of the Yuan dynasty'; two seals of the artist, 'Pan' and 'Jingshu zhi yin'.Provenance: Dutch trade. By repute from an old private estate. Condition: Good condition with minor wear, creasing, and foxing.Dimensions: Image size 137 x 44 cm, Size incl. mounting 240 x 59 cmThe present painting is a collaboration between four female painters, all of whom were active in Shanghai during the 1930s. At least three of them - Pan Jingshu being the possible exception - were associated with the Chinese Women's Calligraphy and Painting Society (Zhongguo nuzi shuhua hui) which was founded and held its first exhibition in 1934. By 1937, the group had enrolled more than 150 artists. These four, like those of the Women's Society as a whole, are tied together by their art, their gender, and their city of residence, but not by other more obvious social factors. They came from different native places and did not necessarily move in the same social circles. They did not work in the same painting styles, share the same teachers, or specialize in the same subjects. As a group, they came together for two mutual goals: To promote women artists and the practice of traditional painting.Lu Xiaoman (1903-1965), born in Shanghai, was a celebrated painter, writer, singer, and actor, and studied under painters such as Liu Haisu, Chen Banding, and He Tianjian. As an artist, she specialized in flowers, birds, and light ink landscapes on long Chinese scrolls. She was also known to write poetry, prose, and fiction, but her writings were never published. Nevertheless, her appreciation for poetry inspired her to create a series of ink paintings in honor of the Tang poet Du Fu. Lu Xiaoman was also a singer and debuted on stage after receiving training in the renowned Peking Opera. In the 1950s and 1960s, she worked as a paid artist at the Shanghai Academy of Chinese Painting.Chen Xiaocui (1907-1968) was a Chinese painter and co-founder of the Women's Calligraphy and Painting Society. Daughter of a famous and popular writer, Chen Diexian, she was educated at a traditional academy in Hangzhou, but moved with her father and two brothers to Shanghai around 1920. Like her brothers, she became known at an early age for her published literary works, including poetry and at least fifty translations of foreign fiction. She studied painting with the conservative master Feng Chaoran (1894-1968), an artistic lineage that is reflected clearly in her work.Xie Yuemei (1906-1998), sobriquet Juanruo, was a Chinese painter who lived and worked in Shanghai. She was the sister of the leading traditional painter Xie Zhiliu (1910-1997), a noted member of the Shanghai School. Although she was largely self-taught, only receiving some guidance in her early years from Zhang Hongwei (1878-1970), she became very popular and influential in her time. Pan Jingshu (1892-1940) was a Chinese painter and the wife of the noted Suzhou painter Wu Hufan (1894-1968). Pan descended from a wealthy family of scholars and officials, and was educated at home in the classics and the arts of poetry, calligraphy, and painting. She married Wu in 1915, and together they named their residence Meijing Shuwu (Plum View Studio).The poem inscribed upper right on the painting was originally written by Lu You (1125-1210), a Chinese historian and poet of the Southern Song dynasty. It can be translated as follows:The blossoms in the garden are fragrant,The butterflies are dancing,One dwells by the window only because of you,Regardless of what color you have, if dark or bright yellow.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2008, lot 67 Estimate: USD 120,000 or approx. EUR 151,000 converted and adjusted for inflation at the time of writing Description: Chinese School, Lotus Blossoms in a Blue and White Dragon VaseExpert remark: Note that this painting shows several seals of the Empress Dowager Cixi, and that according to an inscription on the painting it was presented to her. The Empress was an avid art collector and painter, who herself also painted several related works depicting flowers in an antique vase, which quite possibly served as inspiration for the present lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 May 2005, lot 1216 Price: HKD 288,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: Empress Dowager Cixi (1835-1908), FlowersExpert remark: The Empress Dowager Cixi was an avid art collector and painter, who painted several works depicting flowers in an antique vase which quite possibly served as inspiration for the present lot, as the Empress and her paintings would have clearly appealed to the feminist and traditional sensibilities of the Chinese Women's Calligraphy and Painting Society's members.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 25 April 2004, lot 86Price: HKD 1,518,400 or approx. EUR 276,000 converted and adjusted for inflation at the time of writing Description: A still-life hanging scroll by Giuseppe Castiglione, Yongzheng period (dated 1725)Expert remark: This painting of flowers in an antique Jun-type vase clearly inspired later works by the Empress Dowager Cixi and others (see previous auction result comparisons), as well as the present lot.陸小曼、陳小翠、謝月眉與潘靜淑合作《花蝶如意瓶》中國，上世紀三十年代，紙本水墨設色，挂軸。

A SUPERB FAMILLE ROSE 'KINGFISHER AND LOTUS' PLAQUE, CHINA, STUDIO OF CHENG YITING (1895-1948)Superbly and delicately enameled with two kingfishers perched on a rock below a large wilting lotus leaf amid further leaves, a bud, and two blossoms, a stream in the background. With a lengthy inscription as well as the artist's signature and seal.Inscriptions: Upper left, signed 'Zhushan Cheng Yiting, painted in Peigu-Zhai' and inscribed 'In the Spring in the style of Nansha Laoren [Jiang Tingxi, 1669-1732]'. Two seals of the artist, 'Yiting' and 'Cheng yin'. Provenance: Bonhams Knightsbridge, 3 November 2014, lot 478 (described as “After Cheng Yiting”, and together with another plaque), sold for GBP 3,125 or approx. EUR 4,400 (converted and adjusted for inflation at the time of writing). A Swedish private collector, acquired from the above, and thence by descent. Condition: Very good condition with minor wear and firing irregularities, few light scratches. The hardwood frame with expected age cracks, nicks and losses, and traces of use.Dimensions: Size 62 x 31 cm (excl. frame)With a fine hardwood frame and brass fitting from the period. (2)This masterfully painted plaque represents a new style pursued by porcelain artists upon the fall of the Qing dynasty. With imperial orders discontinued, craftsmen in the porcelain center of Jingdezhen were released from the constraints of the court and eagerly sought to develop new markets. In 1928, eight of the leading artists formed a group called Yueman hui (Full Moon Society), because they met to exchange ideas during the full moon. This group later became known as Zhushan Bayou (Eight friends of Zhushan), comprised of Cheng Yiting, Wang Qi, Deng Bishan, Wang Dafan, Wang Yeting, He Xuren, Bi Botao, Xu Zhongnan, and Tian Hexian.Cheng Yiting (1895-1948), a native of Leping, Jiangxi province, began learning to paint on porcelain at the age of sixteen at the Jiangxi Ceramics School in Poyang. In 1925 he moved from Jiujiang to Jingdezhen and set up his own business before traveling to Shanghai in 1931 to study under the Zhe School artist, Cheng Zhang (1869-1938). It was during this period that his skills greatly improved and developed the exquisite bird and flower painting style for which he is most famous.Jiang Tingxi (1669-1732) was a noted Chinese painter, and an editor of the 5020-volume encyclopedia Gujin Tushu Jicheng (Complete Collection of Ancient and Modern Writings and Charts), which was published in 1726 and had been compiled by Jiang and Chen Menglei during the reigns of the Kangxi and Yongzheng Emperors. As an official painter and grand secretary to the imperial court, Jiang used a wide variety of artistic styles and focused particularly on paintings of birds and flowers. He was also proficient in calligraphy and his works influenced several later painters. Apart from cultural activity, as a holder of the jinshi degree, Jiang performed important duties in the Qing government's Office of Military Finance, on par with Zhang Tingyu (headed by Yinxiang, the Yongzheng Emperor's brother). He was born in Changshu, Jiangsu. Besides the name Yangsun, he was also known by the pseudonym Nansha.Literature comparison: For an overview of the artists' plaques depicting birds amongst lotus and chrysanthemum, see those from the Muwentang Collection published in Simon Kwan, Chinese Porcelain of the Republic Period, Hong Kong, 2008, nos. 44, 45, 47, 49, and 50. Compare also two related plaques which were included in the exhibition Brush and Clay. Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990, cat. nos. 47 and 48.Auction result comparison: Type: Closely related Auction: Heritage Auctions, New York, 19 March 2019, lot 78195 Price: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writing Description: A Chinese Enameled Porcelain Plaque, 20th century, seal reading “Cheng Yiting” Expert remark: Compare the closely related subject, style, enamels and manner of painting, most notably the similarly wilted leaves. Note the much smaller size (36.8 x 23.9 cm).Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2012, lot 350 Price: GBP 79,250 or approx. EUR 116,250 converted and adjusted for inflation at the time of writing Description: A famille rose rectangular plaque, Republic period, signed and sealed Cheng Yiting Expert remark: Compare the related style, enamels and manner of painting with similar wilted leaves. Note the smaller size (39.5 x 26.7 cm).程意亭(1895-1948) 粉彩《翠鳥荷花》瓷板畫長條形邊框，框體雕飾花卉紋，畫心繪盛開的荷花、荷葉、翠鳥。粉紅的荷花、碧綠的荷葉下，一對翠鳥立於石上。一翠鳥聚精會神的凝視著水面，一翠鳥回首觀望，被他物所吸引。 款識：不妨翠鳥偷窺，為種荷花葉數莖。春仲撫南沙老人大意，翥山程意亭寫於佩古齋；鈴印：意亭，程印 來源：騎士橋邦翰思2014年11月 3日 lot 478 (描述爲程意亭風格，與其他幾件瓷板一起)，售價 GBP 3,125 或相當於 EUR 4,400 (根據通貨膨脹率)；瑞典私人收藏，購於上述拍賣，保存至今。 品相：狀況極好，有輕微磨損和燒製瑕疵，輕微劃痕。硬木框有年代裂縫、刻痕和缺損，有使用痕跡。 尺寸：62 x 31 厘米 (不含框) 同期硬木框與銅扣。(2)

AN EXTREMELY RARE CLOISONNE ENAMEL QUADRILOBED BOX AND COVER, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIODChina, 1736-1795. Supported on a flaring foot, the cover decorated with a central blossom encircled by four lotus flowers issuing meandering vines, the foot with further lotus and vines above a band of floral sprays, all above a turquoise ground, the interior, base, and rims in gilt. The recessed base incised with a five-character mark Qianlong nianzhi xuan and of the period.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. The interior of the cover with three old labels, '18', 'Signe Kun-Lung Imperial', and 'Geneve Art Ancien Chine & Extro-Orient. 2762 TFA', and a lacquered inventory number 'AMA-2762/2'. The interior of the bowl with three old labels, 'Signe Kung Lung Imperial', 'K. Ming 1736-95', and 'Asia-Africa Museum Geneve', and lacquered with an inventory number 'AMA-2762/2'. The base with an old label, 'Signe Kien Lung Imperial'. Two old paper labels with collection notes, one numbered 'No 276/TFA' and the other 'No 2757/TFA'. According to the collector's personal notes, the present lot was acquired on 13 October 1972. A copy of the corresponding entry in the collector's notebook accompanies this lot. Condition: Very good condition with minor wear, few small nicks and light scratches, and manufacturing flaws, such as scattered pitting.Weight: 140.0 g Dimensions: Length 6.6 cmThe present lot belongs to a group of small cloisonne vases, censers, and instruments (luping sanshi) which were made for the burning of incense had an additional character below the reign mark and were made for the Qianlong court. Some scholars have suggested that the fifth character under the Qianlong mark could have been a way to number the large group of objects in a correct order, see H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, pp. 74-79.The form of this four-lobed box supported by a broad foot rim directly references the crabapple (haitang), which could be combined with other emblems to create auspicious rebuses. Its second character, 'tang', is homophonous with the character for 'hall' and, by extension, 'the family home'. For examples of Imperial objects of the Qing court of related haitang shape, see a bamboo tray at Bonhams Hong Kong, 24 November 2012, lot 323 (see fig. 1), and a pair of gilt bronze and cloisonne jardinieres at Bonhams London, 8 November 2012, lot 250 (see fig. 2).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 September 2021, lot 930Price: USD 25,000 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A small cloisonne enamel circular box and cover, Qianlong four-character incised mark in a line and of the period, with an additional character yingExpert remark: Compare the related lotus decoration, five-character Qianlong mark, and size (6.4 cm). Note the less rare circular form.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 4 October 2011, lot 2091Price: HKD 250,000 or approx. EUR 41,500 converted and adjusted for inflation at the time of writingDescription: A small cloisonne seal-paste box and cover, incised mark and period of QianlongExpert remark: Compare the related lotus decoration, five-character Qianlong mark, and size (7 cm). Note the less rare circular form.乾隆五字款及年代罕見銅胎掐絲琺瑯四瓣花口蓋盒中國，1736-1795年。四瓣花口，蓋子裝飾著纏枝蓮紋，中央一朵花。足部有更多的纏枝蓮紋。綠松石色地，盒內、底部和邊緣鎏金。底足内刻“乾隆年製 宣”五字款。 來源：瑞士日内瓦知名私人收藏，建立於上世紀六十年代，保存至今。收藏中重要的一部分被永久借出，已在日內瓦的亞非博物館展出了幾十年。盒蓋内有三個標籤，'18'，'Signe Kun-Lung Imperial'與 'Geneve Art Ancien Chine & Extro-Orient. 2762 TFA'，收藏編號 'AMA-2762/2'。盒内有三個標籤 'Signe Kung Lung Imperial'，'K. Ming 1736-95'與 'Asia-Africa Museum Geneve'，'AMA-2762/2'。底部標籤 'Signe Kien Lung Imperial'。兩個收藏紙標籤，一個寫著 '編號276/TFA' ，另一個寫著 '編號2757/TFA'。根據收藏家的個人筆記，本拍品購於 1972 年 10 月 13 日。隨附收藏家筆記本中相應條目的複印本。品相：狀況良好，有輕微磨損、少量刻痕和輕微劃痕，以及製造缺陷，如分散的點蝕。 重量：140.0 克 尺寸：長6.6 厘

'HUNDRED BIRDS WORSHIP THE PHOENIX', BY SHEN QUAN (1682-1760), DATED 1750China. Ink and watercolors on silk, with a silk brocade frame and mounted as a hanging scroll. Depicting a pair of phoenixes perched on a rock issuing peony, surrounded by a pair of cranes below them raising their heads, two pairs of mandarin ducks swimming in a river, and swallows flying above the water surface, with bamboo and other auspicious flowers.Inscriptions: Upper left, signed 'Shen Quan', and dated 'In the Winter of the Year of Gengwu, Qianlong era' (corresponding to 1750); two seals of the artist, 'Wuxing Shen Quan' and 'Nanping shi'. Lower left, three seals, 'Zhengyi shuwu zhencang tushu' and 'Runzhou Da Chongguang Jianding yin', the third illegible.Provenance: Belgian trade. Condition: Commensurate with age and displaying remarkably well. With some old wear, browning, minor foxing and soiling, creasing, tiny tears, and small losses here and there with associated touch-ups.Dimensions: Image size 139 x 88.5 cm, Size incl. mounting 278 x 105.3 cmThe painting shows two important collector's seals in the lower left corner. The first seal, 'Zhengyi shuwu zhencang tushu', belongs to Yixin (1833-1898), better known as Prince Gong, who was an imperial prince of the Aisin Goro clan and an important statesman of the Manchu-led Qing dynasty. He was a regent of the empire from 1861 to 1865 and wielded great influence at other times as well. The second seal, 'Runzhou Da Chongguang Jianding yin', is associated with Da Chongguang (1623-1692), a political figure, calligrapher, and painter in the early Qing dynasty, and most likely came into the hands of Prince Gong via descent.Shen Quan (ca. 1682-1760) was active during the Qing dynasty and painted in the Ming academic style. Shen was very influential in Japan, inspiring an entire school of painting, the Nanping School, which flourished in Nagasaki during the Edo period and was named after the artist's courtesy name.Paintings and embroideries with phoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants, is a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace. This large and impressive inlaid panel is an outstanding example and possibly of imperial origin.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 26 May 2021, lot 875Price: HKD 187,500 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: Shen Quan (1682-1760), PhoenixExpert remark: Compare the related motif, colors, and fine brushwork. Note the much smaller size (98 x 46.5 cm).沈銓(1682-1760)款《百鳥朝鳳》，1750年中國，絹本水墨設色，掛軸。描繪一對鳳凰棲息在岩石上，牡丹綻放，下方一對仙鶴昂首挺立，鴛鴦在水中遊弋，燕子在空中飛翔，並可見各類吉祥之花。 款識：乾隆庚午冬仲南蘋沈銓寫；鈴印：吳興沈銓，南蘋氏：珍藏印：正誼書屋珍藏圖書，潤州笪重光鑒定印 來源：比利時古玩交易。 品相：品相良好，有一些磨損、褐變、輕微的汙漬和摺痕、微小的撕裂，以及隨處可見的小缺損以及相關的小修補。 尺寸：畫面139 x 88.5 釐米, 總 278 x 105.3 釐米拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2021年5月26日，lot 875 價格：HKD 187,500（相當於今日EUR 22,500） 描述：清沈銓《鸞鳳呈祥》，設色絹本立軸，一七四六年作 專家評論：比較相近的主題、顏色和精細的筆觸。請注意尺寸較小(98 x 46.5毫米)。

A LARGE GILT BRONZE FIGURE OF TSONGKHAPA, 17TH-18TH CENTURYTibetan-Chinese. The heavily cast figure weighs over 6 kilograms and is applied overall with a fine gilding. Seated in dhyanasana on a sealed double-lotus base, the hands held in dharmachakra mudra. He is wearing loose-fitting monastic robes cascading in voluminous folds and neatly incised at the hems with foliate designs as well as a pandita hat with the lappets hanging over the shoulders. His serene face with heavy-lidded eyes below gently arched brows and full lips forming a calm smile. The seal plate finely incised with a double vajra.Provenance: From a private collection in Paris, France. Condition: Very good condition with some wear to gilt, minor casting irregularities, few minuscule nicks here and there, occasional light scratches. Fine, naturally grown patina overall. Sealed.Weight: 6,058 gDimensions: Height 30.8 cmTsongkhapa (1357-1419) is widely regarded in Tibet as a second Buddha and the main teacher of the first Dalai Lama, Gendun Drub (1391-1474). An eminent scholar, he reformed the old Kadampa sect, creating the new Gelugpa sect (Yellow Hat), and is the founder of the monasteries Ganden, Drepung, and Sera. He is revered as an emanation of the Buddhist god of wisdom, Manjushri. Although the present bronze image lacks his attributes of the sword and the book, he is clearly recognizable by the pronounced facial features, for which Tsongkhapa was also known.Auction result comparison: Type: Closely related Auction: Christie's Paris, 7 December 2007, lot 367 Price: EUR 31,450 or approx. EUR 40,000 adjusted for inflation at the time of writing Description: A gilt-bronze figure of Tsongkhapa, Tibeto-Chinese, 17th/18th century Expert remark: Note the similar size (30 cm) and the missing base.十七至十八世紀大型銅鎏金宗喀巴像漢藏。宗喀巴佛像，重達6公斤，通身鎏金，寶相莊嚴。坐於蓮花座上，當胸結說法印；佛像頭戴黃色通人冠，雙目緊閉，面相飽滿而略帶微笑，身披法衣。蓮座底部雙金剛杵密封。 來源：法國巴黎私人收藏。 品相：狀況極好，有一些鎏金磨損，輕微鑄造不規則，一些刻痕、大面積微小的劃痕，整體包漿細膩，密封。 重量：6,058 克 尺寸：高30.8 厘米 宗喀巴大師（1357-1419 年）在西藏認為是第二位佛陀，也是第一世嘉瓦仁波切根敦珠（1391-1474 年）的老師。他是傑出的學者，改革舊噶當派，創建新的格魯派（黃教），是甘丹寺、哲蚌寺和色拉寺的創始人。他被尊為佛教智慧之神文殊菩薩的化身。本尊銅像雖無劍書屬性，但從明顯的五官特徵可清晰辨認。拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2007年12月7日，lot 367 價格：EUR 31,450 （相當於今日EUR 40,000） 描述：十七 /十八世紀漢藏銅鎏金宗喀巴像 專家評論：請注意相似的尺寸 (30 厘米) ，以及沒有底座。

A 'QIANJIANG CAI' ENAMELED 'SEVEN MONKEYS' PLAQUE, STUDIO OF PAN TAOYU (1887-1926)China, Jingdezhen. The rectangular plaque painted in green and blue tones with seven monkeys frolicking, each with a comical and mischievous expression, a pair with a young seated below a tree playing the flute and pointing upwards, a young monkey playing with a lamp at the tree top, and two monkeys perched on a branch holding a stick trying to reach out to another monkey hanging on a tendril.Inscriptions: Center left, inscribed 'Guanyin fenghou' (a wish for a speedy promotion), one seal of the artist, 'Gu huan' (ancient joy).Provenance: From the private collection of a doctor, Connecticut, USA. Condition: Very good condition with some old wear and little rubbing. The frame with few small nicks and scratches.Weight: 3,340 g Dimensions: Image size 40.8 x 25.3 cm, Size incl. mounting 47.8 x 32.3 cmIn a hardwood frame with metal mount, both from the period. (2)Gu huan (ancient joy) is the studio name that belongs to Pan Taoyu (1887-1926), a porcelain master from Jingdezhen. The emergence of the market for fine decorative art porcelains was an important development and brought a fresh and vibrant energy to porcelain making in China during the Republic period. Pan Taoyu was one of the most important pioneers and masters of porcelain painters in the early 20th century. With his superb ability to depict delicate fine shadings, Pan achieved excellence in painting a wide range of objects on porcelain, including figures, landscapes, and bird-and-flowers motifs. Among Pan Taoyu's students are Wang Yeting, Liu Yucen and Cheng Yiting, all important members of the celebrated 'Eight Friends of Zhushan' group who were among the best fencai masters of the Republic period. Pan Taoyu died young, and very few of his personal works survived.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Monkeys are a popular motif in Chinese art. Shown together with the inscription, they symbolize the wish for immediate success or a speedy promotion of young candidates.Literature comparison: Examples of Pan Taoyu's personal porcelain paintings are illustrated by Simon Kwan, Chinese Porcelain of the Republic Period, The Muwen Tang Collection Series, Hong Kong, 2008, p. 68-73, and on the cover. Auction result comparison:Type: RelatedAuction: Bonhams London, 10 November 2011, lot 569Price: GBP 361,250 or approx. EUR 641,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of enameled fan-shaped plaques, circa 1900-1920, signed by Pan Taoyu (circa 1887-1926)Expert remark: Note that the lot comprises two fan-shaped plaques and that these are personal (not studio) works by the master. Note also the much larger size (54 cm). 潘匋宇(1887-1926)淺絳彩《卦印封侯》瓷板中國，景德鎮。長方，此橫幅作品以一角構圖，繪樹上樹下幾隻靈猴或是掛於樹間，或是在樹下戲耍。樹上有一隻手正努力把一個印掛在樹上。畫法細膩，樹枝凹凸斑駁處著意用粉彩渲染，色澤由暗漸明，可見是經過層層暈染方成，極富立體感。以靈猴裝飾瓷器，明清時較為少見，但從晚清民國的瓷器鳥獸畫來看，藉著吉祥“封侯”之寓意，在作品中繪以雅趣。 款識：卦印封候；鈴印：古歡 來源：美國康涅狄格州醫生私人收藏。 品相：狀況極好，有一些磨損和少量磨損。木框上有一些小劃痕。 重量：3,340 克 尺寸：畫面40.8 x 25.3 釐米，總47.8 x 32.3 釐米 硬木框金屬架，應爲來自同期。

A SMALL LAC BURGAUTE MALLET VASE, KANGXI PERIOD, JIANG QIANLI MARKChina, 1662-1722. The cylindrical body with the rounded shoulder surmounted by a tall slender neck, the lacquer intricately decorated with minuscule inlays of mother-of-pearl and gold depicting foliate panels enclosing floral and geometric diapered designs, between a lappet band at the shoulder and a floral band above the foot. The neck with floral diaper between dense foliate bands interspersed with flowerheads at the shoulder and below the mouth, the recessed base with a similar design enclosed by a geometric border and centered by the gold-foil-inlaid two-character seal mark 'Qianli' within a mother-of-pearl-inlaid roundel.Provenance: From a Hungarian private collection. Condition: Good condition with minor old wear, small losses, few minuscule nicks and age cracks.Weight: 33.9 gDimensions: Height 10 cmWith a velvet-padded silk storage box. (2)Jiang Qianli, alias Jiang Qiushui, was a master craftsman from Yangzhou in Jiangsu province. For early studies of Jiang's work see Li Zhongqing 'A Mother-of-Pearl Lacquer Tray by Jiang Qianli', Wenwu, 1959, no. 11, pp. 59-61, and Paul Moss, Emperor, Scholar, Artisan, Monk - The Creative Personality in Chinese Works of Art, London, 1984, page 258. Jiang's name is also mentioned in a number of historical records, including the 1810 edition of the Jiaqing Yangzhou fu zhi (Chronicles of Yangzhou Prefecture in the Jiaqing period) in which Zhang Shiyuan and Yao Youtian record: During the early years of the Kangxi reign there was Jiang Qiushui, whose skill produced mother-of-pearl inlaid lacquerware that was noted for its exquisiteness. These wares were widely sought after for use at banquets. A couplet says, 'Where there are drinking cups and serving trays, there one finds Jiang Qiushui'. Jiang Qianli is traditionally thought to have lived in the late Ming or Kangxi periods, and his mark subsequently appeared on numerous inlaid lacquer pieces. The style of his true work is very intricate, with simple shapes embellished with perfect control and attention to detail, down to the tone and placement of each piece of inlay. The present lot appears to be of a quality associated with the master himself.Auction result comparison: Type: Related Auction: Bonhams London, 6 November 2014, lot 432 Price: GBP 13,750 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A small 'lac burgaute' baluster vase, Kangxi, Qianli two-character mark Expert remark: Compare the closely related decoration with similar floral diaper inlaid with gold foil and mother-of-pearl, as well as the two-character Qianli mark. Note the baluster form and smaller size (6.6 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2022, lot 3025 Estimate: HKD 700,000 or approx. EUR 84,500 converted at the time of writing Description: A small mother-of-pearl inlaid black-lacquered vase, Qianlong two-character seal mark Expert remark: Compare the closely related decoration with floral diaper inlaid with gold foil and mother-of-pearl. Note the inlaid Qianlong seal mark, which may be a later addition, and the size (10.7 cm).康熙江千里款黑漆螺鈿小瓶中國，1662-1722年。細長頸，溜肩，黑漆地，精緻鑲嵌金箔與螺鈿，精美組合，展現了花卉紋和幾何紋。圈足内幾何邊框中心內嵌金箔“千里”二字篆書款。 來源：匈牙利私人收藏。 品相：狀況良好，有輕微的磨損、細微小劃痕和老化裂紋。 重量：33.9 克 尺寸：高10 厘米 配絲絨絲質收納盒。(2) 江千里，字秋水，明末清初揚州鑲嵌漆器工藝家。關於江千里早期作品，可見Li Zhongqing 'A Mother-of-Pearl Lacquer Tray by Jiang Qianli'，文物，1959年，編號11，頁59-61；以及 Paul Moss，Emperor，Scholar，Artisan，Monk - The Creative Personality in Chinese Works of Art，倫敦，1984年，頁258。在衆多文獻記錄中都曾提到過江千里的名字，比如1810年版的《嘉慶揚州府志》中曾提到過 》：“康熙初維揚有士查二瞻，工平遠山水畫及米家畫，人得寸紙尺縑為重。又有江秋水者以螺鈿器皿最精工巧細，席間無不用之，時有一聯雲：“杯盤處處江秋水，捲軸家家查二瞻。” 江千里被認為生活在明末清初，他的款記隨後出現在許多鑲嵌漆器上。他真正的作品風格非常複雜，簡單的形狀點綴著完美的工藝和對細節的關注，包括每件鑲嵌物的色調和位置。 目前的拍品完全具有此品質。

AN IMPERIAL FAMILLE ROSE 'BOYS AT PLAY' PORCELAIN SNUFF BOTTLE, DAOGUANG MARK AND PERIODChina, Jingdezhen kilns, 1821-1850. Of flattened globular form, rising from an oval foot ring, surmounted by a cylindrical neck, finely enameled, and picked out in gilt and iron-red. Each side depicting a scene with eight boys playing, some boys holding twigs, flowers, a scepter, brush, and Buddhist emblems on poles, and each dressed in fine robes with ornamental designs. The recessed base with an iron-red four-character mark Daoguang nianzhi and of the period.Provenance: From an Austrian private collection, assembled prior to 1990. Condition: Very good condition with minor wear, mostly to the iron-red and gilt, few small nicks, and minuscule chips to the foot. The stopper with minor nibbling.Stopper: CarnelianWeight: 39.2 gDimensions: Height including stopper 66 mm. Diameter neck 17 mm and mouth 7 mm.The number eight is believed to be one of the luckiest numbers in China since it is associated with wealth. 'Eight' in Chinese is pronounced 'ba' and sounds similar to 'fa' as in 'facai', meaning 'well-off' or 'becoming rich in a short time'. The subject of boys or children was very popular in decorative arts of the Ming and Qing dynasties. Together with the number eight the motif of boys may represent a wish for an abundance of offspring and wealth.Auction result comparison:Type: RelatedAuction: Sotheby's London, 18 May 2018, lot 388Price: GBP 2,375 or approx. EUR 3,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose enameled porcelain snuff bottle, Daoguang seal mark and period (1821-1850)Expert remark: Compare the closely related form and motif. Note the missing gilt accents, the lower quality of the painting, and the slightly smaller size (55 mm).道光款及年代粉彩嬰戲圖鼻煙壺中國，景德鎮，1821-1850年。直頸，扁平圓形壺身，橢圓形圈足。精美的琺瑯，描金和礬紅彩勾勒。每面描繪八個男孩玩耍的場景，一些男孩手持樹枝、鮮花、毛筆和佛徽；童子們都穿著精美衣袍。圈足内礬紅彩“道光年製”四字款。 來源：奧地利私人收藏，建立於1990年前。 品相：狀況極好，有輕微磨損，主要是礬紅彩和鎏金，輕微小刻痕，足部有微小缺口，壺蓋有輕微磕損。 壺蓋：紅玉髓 重量：39.2 克 尺寸：含壺蓋高66 毫米. 頸部直徑17 毫米，壺口直徑 7 毫米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2018年5月18日，lot 388 價格：GBP 2,375（相當於今日EUR 3,500） 描述：清道光粉彩百子圖鼻煙壺 《道光年製》款 專家評論：比較非常相近的外形和主題。請注意沒有鎏金，且繪畫品質較低，以及尺寸較小 (55 毫米)。

'NEW YEAR'S FISH', BY LI KUCHAN (1899-1983)China. Ink on paper. Depicting an underwater scene with a catfish and another fish, well painted in the artist's characteristic bold and spontaneous style.Inscriptions: Upper left, inscribed 'Good fortune for the year', one seal, 'Li Ying zhi yin'. Provenance: British trade. Condition: Good condition with minor wear, a central crease, minor creasing to the edges, little soiling, and foxing. Dimensions: Size 63.8 x 44.8 cmLi Kuchan (1899-1983) was a renowned Chinese painter, calligrapher, and art educator who specialized in free-stroke brush paintings. Li was born in Gaotang, Shandong, into a poor family and had to take up hard labor in order to pay for art school in Beijing. In 1923, he began to study under Qi Baishi (1864-1957) and was considered his best student. Later, Li began to work as an art teacher, and taught at the Central Academy of Fine Arts from 1950 until his death in 1983. He specialized in bird-and-flower paintings using the free and spontaneous 'xieyi' style (freehand brushwork used in traditional Chinese painting).The fish is closely linked to Chinese New Year traditions. The word for fish, 'yu', is a homophone for the Chinese word wish and abundance, thus they often represent the wish for abundance in the New Year. It is also used to symbolize richness, plenty, surplus, luck, prosperity, and happiness.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 12 September 2012, lot 2078Price: USD 4,750 or approx. EUR 6,000 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1899-1983) FishExpert remark: Compare the closely related motif, vivid brushstroke, and size (62.2 x 39.4 cm)李苦禪 (1899-1983) 款《長年大利圖》中國，紙本水墨。描繪了一條鯰魚和一條鱖魚水中嬉戲場景，藝術家特有的大寫意風格。 款識：長年大利，禪；鈴印：李英之印 來源：英國古玩交易。 品相：品相良好，有輕微磨損，中央有摺痕，邊緣有輕微摺痕，輕微污漬和起皺。 尺寸：63.8 x 44.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2012年9月12日，lot 2078 價格：USD 4,750（相當於今日EUR 6,000） 描述：李苦禪《連年有餘圖》水墨紙本 專家評論：比較非常相近的主題、鮮活的筆觸和尺寸(62.2 x 39.4 厘米)。

'BIRD AND BAMBOO', BY FANG ZHAOLIN (1914-2006)China, c. 1950-1970. Ink and watercolors on paper. Depicting a black bird perched on a branch, to its right with hanging bamboo leaves, finely painted in splashy ink washes alongside gestural brushwork, characteristic for the artist.Inscriptions: Lower right, signed 'Zhaolin', one seal 'Fang shi'.Provenance: French trade, previously in an old British private collection. Condition: Presenting very well with some wear, little creasing, foxing, stains, and watermarks. Adhered to cardboard at two corners, backed by an old wooden board. The latter with some wear. Dimensions: Size incl. backing 62.6 x 52 cm, Image size 58 x 43.9 cm Fang Zhaolin (1914-2006) was born in Wuxi, Jiangsu province in east China. She studied Chinese painting with several masters including Qian Songyan, the Lingnan School master, Zhao Shao'ang (1905-1998), and later with one of the most celebrated Chinese artists, Zhang Daqian (1899-1983). In her forties, she completed her university training in Hong Kong and then Oxford. From the 1950s to the 1970s, Fang lived and traveled in Europe and America where she became knowledgeable about trends in modern Western painting. Her enduring passion was, however, the traditional Chinese style, rooted in national history and culture. The landscapes and the still lifes she painted were always depictions of home. She was fascinated by the simplicity of Han mural paintings and developed a distinctive style of her own in both figure paintings and in her landscapes which, from the 1970s, often combine calligraphic lines and forms to illustrate mountains and rocks instead of using the traditional method of ink strokes.Auction result comparison:Type: RelatedAuction: Bonhams London, 23 September 2015, lot 145Price: GBP 4,375 or approx. EUR 6,700 converted and adjusted for inflation at the time of writingDescription: Fang Zhaoling (sic) (1914-2006), Eight birds perched on bambooExpert remark: Compare the related motif, composition, brushwork, and size (60 x 45.5 cm)方召麐(1914-2006年)《鳥》中國，約作於1950 - 1970年間，紙本水墨設色。一隻黑鳥站在樹枝上，右側竹枝搖曳，筆觸灑脫清新。 款識：召麐；鈴印：方氏。 來源：法國古玩交易，來自一個英國私人老收藏。 品相：品相良好，有一些磨損、小摺痕、起皺、污漬和水印。兩個角黏在硬紙板上，背面是一塊木板，有磨損。 尺寸：總62.6 x 52 厘米，畫面58 x 43.9 厘米 方召麐(1914-2006年)出生於中國江蘇省無錫市，曾跟隨多位國畫大師學習書畫，如嶺南派錢松喦、大師趙少昂以及張大千。四十多歲時，她先後在香港和牛津就讀。五十年代至七十年代，方在歐美遊歷旅居，了解西方現代繪畫潮流。然而，她深愛民族歷史和文化與傳統中國風格。她畫的風景和靜物經常是對家的描繪。她著迷於漢族壁畫的簡潔，並在人物畫和山水畫中形成了自己獨特的風格，從 20 世紀 70 年代開始，她經常結合書法線條和形式來描繪山石，而不是使用傳統的繪畫方法。她的作品保留老師的風格，作品色彩濃烈，用筆豪放。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，23 9月 2015年，lot 145 價格：GBP 4,375 EUR 6,700 （相當於今日） 描述：方召麐(1914-2006年)《八鳥棲於竹上》 專家評論：比較相近的主題、構圖、筆法和尺寸(60 x 45.5 厘米)。

AN ENAMELED PORCELAIN CLUSTER OF LYCHEES, SERVING AS A BRUSHREST, QING DYNASTYChina, 1644-1912. Naturalistically modeled from soft paste porcelain as two ripe lychees borne on a leafy branch, the fruits finely painted in a deep pink tone, the leaves in dark green transforming to a pale yellow, and the gnarly branch in variegated shades of brown with dark green accents. A seal mark to the branch.Provenance: British trade. Condition: Very good condition with minor wear.Weight: 89.6 g Dimensions: Length 5.8 cmIn China, lychees are a symbol of love and romance. According to legend, Emperor Tang Minghuang of the Tang Dynasty was in love with Yang Guifei, one of the most beautiful women and the Emperor's favorite concubine. Yang's preferred fruit was lychee. At the time, it was not available in the capital where they lived. The Emperor would therefore send his men all the way to South China to fetch the fruit for his beloved mistress. Lychee fruits, to date, are held in high regard in China. In fact, many varieties of lychees are named after wealthy and influential Chinese families. Lychees are often a motif in Chinese art where they can be seen in paintings, porcelain ware, cinnabar lacquer, and jade carvings amongst others.清代荔枝筆擱中國，1644-1912年。兩顆紅紅荔枝長在樹枝上，果實被細緻地塗成深紅色，葉子從深綠色轉變為淡黃色，樹枝呈棕色和深綠色，活靈活現。樹枝上有款記。 來源：英國古玩交易 品相：品相良好，有輕微磨損。 重量：89.6 克 尺寸：長5.8 厘米 在中國，荔枝是愛情和浪漫的象徵。相傳，唐朝的皇帝唐明皇爲了楊貴妃，派人千里迢迢去南國運來荔枝。荔枝經常是中國藝術的主題，在繪畫、瓷器、漆器和玉雕等中都可以看到荔枝。

AN INSIDE-PAINTED GLASS SNUFF BOTTLE, BY BI RONGJIU (1874-1925), DATED 1893With a landscape to one side, the reverse with a still life of a spray of plum blossoms in a guan ware vase, with a scholar's rock and potted plants.Inscriptions: To one side, signed 'Rongjiu', and dated 'In Autumn of the Year of Guisi (corresponding to 1893)'. One painted seal.Provenance: Hugh M. Moss Ltd., London, United Kingdom, 1973. A private collector in the United Kingdom, acquired from the above, and thence by descent. The base with an old label, '1', and lacquered with an old inventory number, '8429'. A copy of the original invoice from Hugh M. Moss Ltd., dated 28 February 1973, noting the inventory number '8429' for the present lot, and confirming the attribution and dating above, accompanies this lot. The invoice also notes that 1893 was the artist's “first recorded year of this medium.” Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Condition: Very good condition with minor wear and manufacturing irregularities. The stopper with a small chip.Stopper: Amber Weight: 28.9 g Dimensions: Height incl. stopper 67 mm. Diameter neck 15 mm and mouth 7 mmBi Rongjiu (1874-1925) established the Shandong School of inside-painted snuff bottles after substantial training in Beijing. His early work is mostly inspired by Zhou Leyuan and Ma Shaoxuan. After 1897, his personal style became more distinct.Auction result comparison: Type: Closely related Auction: Bonhams New York, 16 September 2013, lot 8048 Price: USD 5,000 or approx. EUR 6,100 converted and adjusted for inflation at the time of writing Description: An inside painted glass snuff bottle, Bi RongjiuExpert remark: Compare the closely related depiction to both sides of the snuff bottle.畢榮九(1874-1925)款内畫鼻煙壺，1893年一面為山水風景，另一面為文房擺設，花瓶中有一枝梅花以及文石和盆栽。 款識：癸巳仲秋，榮九作 來源：英國倫敦Hugh M. Moss Ltd.藝廊，1973年；一個英國私人收藏，購於上述藝廊，保存至今。底座有標籤 '1'以及一個漆寫收藏編號 '8429'。隨附Hugh M. Moss Ltd. 1973年2月28日出具的原始發票複印本，上面也注明了編號 '8429'，並確認時間。在發票上也注明，1893年是藝術家第一個有記錄的時間。Hugh Moss (出生於 1943年) 是一位作者、經銷商、藝術家、終身收藏家、中國藝術愛好者，中國鼻煙壺研究界的權威。 品相：狀況極好，有輕微磨損和製造不規範，壺蓋有小開片。 壺蓋：琥珀 重量：28.9 克 尺寸：含壺蓋高67 毫米. 頸部直徑15 毫米 ，壺口直徑7 毫米 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2013年9月16日，lot 8048 價格：USD 5,000（相當於今日EUR 6,100） 描述：畢榮九款内畫鼻煙壺 專家評論：比較非常相近的兩面繪畫。

A RARE WUCAI 'MONTH' CUP, KANGXI MARK AND PERIODChina, 1662-1722. Delicately potted with deep rounded sides rising from a short foot to a flared rim, superbly enameled around the exterior with a red-flowering peach tree with small blossoms among scant leaves, representing the third month, the reverse inscribed in underglaze blue with a poem followed by a seal mark, the recessed base with an underglaze-blue six-character mark da Qing Kangxi nianzhi and of the period.Inscriptions: To one side, 'Fenghua xinshe yan / shijie jiuchun nong' (The swallow returns when the blossoms sway in the breeze / It is the season in late spring when farmers return to their fields). One seal, 'Shang' (appreciation). Provenance: From the collection of Carl Gustav Kjellin, acquired in Shanghai during the 1940s, and thence by descent in the family. Carl Gustav Kjellin (1910-1990) was a Swedish diplomat who was stationed in China until 1945 and thereafter at the Swedish embassy in Tokyo. He acquired most of his collection of Chinese porcelain and works of art during his time in Asia. Condition: Perfect condition with only minor wear. Minimal firing irregularities, including a microscopic glaze blister of less than 2 mm to the rim. Weight: 28.5 g Dimensions: Diameter 6.5 cmThis finely potted cup is one of the so-called 'month cups', made at the imperial kilns during the Kangxi reign. One was made for each month of the lunar calendar. As in the case of the current example, these cups are so thinly potted that the blue of the inscription on the exterior can be seen through the porcelain from the interior of the vessel. Their decoration is characterized by very delicately painted decoration in underglaze blue and wucai enamels. Each of the cups has on one side a floral design appropriate to a particular month, and on the other side a poem which complements the design. Each of the cups also bears an underglaze blue seal character after the poem, which can be read as 'shang' (appreciation).Literature comparison: Compare a closely related cup included in the Oriental Ceramic Society exhibition Enamelled Polychrome Porcelain of the Manchu Dynasty (1644-1912), London, 1951, cat. no. 253. The Percival David Foundation in London has one of the few complete sets of cups for all twelve months, now in the collection of the British Museum, registration number PDF.815. The design on the current cup is very similar to the third month cup in the Percival David Foundation and bears the same poem, see Rosemary Scott, For the Imperial Court - Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp. 82-83, no. 23. The Palace Museum, Bejing owns at least two sets, illustrated in Chugoku toji zenshu (Complete works on Chinese ceramics), Kyoto, 1981-86, vol. 21, pl. 61, and in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 65, no. 48. One is in the Idemitsu Museum of Art, Tokyo, illustrated in Idemitsu Bijutsukan zohin zuroku, Chugoku toji (Chinese Ceramics in the Idemitsu Collection), Tokyo, 1987, pl. 221. One set in the Hong Kong Museum of Art was included in the exhibition 'The Wonders of the Potter's Palette', Qing Ceramics from the Collection of the Hong Kong Museum of Art, 1984-5, cat. no. 15.Auction result comparison: Type: Near identical Auction: Sotheby's London, 6 November 2019, lot 149 Price: GBP 112,500 or approx. EUR 149,000 converted and adjusted for inflation at the time of writing Description: A rare wucai 'month' cup, Kangxi mark and period Expert remark: Compare the near identical form, decoration, enamels, and size (6.5 cm).Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 May 2013, lot 1911 Price: HKD 2,670,000 or approx. EUR 393,000 converted and adjusted for inflation at the time of writing Description: A fine famille verte 'peach blossom' cup, Kangxi six-character mark within double-circles and of the period Expert remark: Compare the near identical form, decoration, enamels, and size (6.5 cm). Note that the enamels on this month cup are described as 'famille verte'. It appears that for these month cups, the terms 'famille verte' and 'wucai' are interchangeable, however to this author, the term 'wucai' seems more accurate due to the presence of underglaze-blue decoration. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 April 2012, lot 45 Estimate: HKD 18,000,000 or approx. EUR 2,756,000 converted and adjusted for inflation at the time of writing Description: An extremely rare set of twelve wucai 'month' cups, marks and period of Kangxi Expert remark: Note that this lot comprises a complete set of twelve wucai month cups, the third month cup being near identical to the present lot.康熙款五彩桃花花神杯中國，1662-1722年。撇口、深腹、淺圈足、胎體輕薄、器型精巧絕倫，造型規整優美，胎質乳白、器薄如紙、晶瑩剔透；外壁用一年十二個月中的三月桃花來裝飾，並配以相應的詩句。圈足青花“大清康熙年製”六字款。 款識：風花新社鷰，時節舊春農；印：賞 來源：Carl Gustav Kjellin私人收藏，購於上世紀四十年代，之後在同一家族保存至今。Carl Gustav Kjellin (1910-1990) 是一名瑞典外交官，1945 年之前出使中國，此後在瑞典駐東京大使館工作。他收藏的大部分中國瓷器和藝術品都是在亞洲期間獲得的。 品相：狀況完美，只有輕微磨損。燒製不規則性，如邊緣小於 2 毫米的微觀釉泡。 重量：28.5 克 尺寸：直徑 6.5 厘米

'RIVER LANDSCAPE', BY WU HUFAN (1894-1968), DATED 1945China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Finely painted with gnarled pines and blossoming prunus growing from craggy rockwork classically executed in shades of blue and green, above a calm river with two fishing boats below a small waterfall.Inscriptions: Upper left, signed 'Wu Hufan', titled 'The Waterfall', dated 'On an Autumn day in the Year of Yiyou (corresponding to 1945)', and inscribed 'In the style of Tang Yin'. One seal of the artist.Provenance: UK trade. Condition: Very good condition with minor wear and minimal foxing.Dimensions: Image size 40 x 30 cm, Size incl. frame 57.8 x 47.7 cmFramed behind glass. (2)Wu Hufan (1894-1968) was a leading traditional painter, known for his sophisticated landscape works, as well as for being a noted collector and connoisseur. The grandson of calligrapher and painter Wu Dacheng, he was born into a family with generations of scholar-officials and received a classical education. Surrounded by genuine works from the past, he solidified his strong foundation in traditional culture, devoting his entire life to the realm of Chinese art. With both a firm grasp and a rigorous practice of ancient inscriptions, painting, calligraphy, literature and opera, Wu lived the life of a traditional literatus. He spent the early part of his life in the Shanghai region, and, following the establishment of the People's Republic of China in 1949, taught at the Shanghai Institute of Chinese Painting. He went on to become one of the city's most important connoisseurs, writing extensively about the works in his collection.Auction result comparison: Type: Closely related Auction: Bonhams New York, 20 March 2013, lot 3083 Price: USD 15,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: Wu Hufan (1894-1968), Blue-Green Landscape, 1948Expert remark: Compare the closely related execution of the rockwork with similar shades of blue and green. Note the size (87.6 x 43.5 cm).吳湖帆《洞壑奔泉》，1945年中國，紙本水墨設色，掛軸。溝壑之中秋水奔泉。岩上松木林立，湖中兩艘漁船。畫面雅腴靈秀、縝麗清逸，把傳統山水的青綠、水墨、淺絳幾種畫風相互調和，熔水墨烘染與青綠設色於一體。 款識:乙酉秋日學唐六如筆法，以爲略似，倩庵吳湖帆；鈴印：湖帆 來源：英國古玩交易。 品相：品相極好，輕微磨損與起皺。 尺寸：畫面40 x 30 厘米，總57.8 x 47.7 厘米 玻璃裝框。 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2013年3月20日，lot 3083 價格：USD 15,000（相當於今日EUR 18,000） 描述：吳湖帆《青綠山水》，設色紙本立軸，一九四八年作 專家評論：比較非常相近的藍色和綠色繪畫假山。請注意尺寸(87.6 x 43.5 厘米)。

AN IMPERIAL JADE-INLAID CINNABAR LACQUER WALL VASE INSCRIBED WITH A POEM BY HONGLI (1711-1799), QIANLONG PERIODThe poem inscribed on the jade plaque was composed by Hongli (1711-1799), better known as the Qianlong Emperor (reigned from 1736-1795). It is recorded in Qing Gaozong yuzhi shiwen quanji (Anthology of Imperial Qianlong Poems and Texts), volume 3, juan 58, page 19, figure 1, and can be translated as follows:Jade carved into flowers are fragrant like orchids,Between the garden steps, a few are elegantly planted.Who knows their essential beauty?Youdu, once asked this, answered with "Xie An".China, 1736-1795. Finely cast from gilt-bronze into baluster form flattened on one plane, mounted on the body with a shaped yellowish-celadon jade plaque inscribed in clerical script with a thirty-one-character Imperial poem, all surrounded by superbly carved blossoms of peony, chrysanthemum, and prunus borne on leafy branches against a diaper ground, framed by bands of prunus blossoms below the neck and above the foot, the neck flanked by two short tubular handles incised with scroll.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.J.111. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Superb condition with expected minor wear, few minuscule nicks, the back with light surface scratches, the wood base with a small chip. Fine, naturally grown patina overall.Weight: 512.2 g Dimensions: Height 18.6 cmMounted on a short wood base, probably zitan and dating from the same period. (2)Hongli 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. In 1796, the Qianlong Emperor abdicated in favor of his son, the Jiaqing Emperor, in a filial act so as not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase ranks among the most unusual and rarest examples produced during the Qianlong reign, as it combines gilt-bronze, cinnabar lacquer and carved jade.Expert's note: Carved cinnabar lacquer and gilt-bronze wall vases combined with jade inlays are very rare. The examples that come up for auction now and then almost invariably have condition issues such as strong wear to the gilding, losses and cracks to the lacquer, cracks or - worse - replacements to the jade inlays, and others. The pristine condition of the present wall vase makes it not just exceptionally rare, but literally unique. Literature comparison: Compare a pair of wall vases in the National Palace Museum, Taipei, included in the museum's exhibition The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, 2014, pl. II-48 (fig. 1), where the author notes that 'Lacquerware with jade inlay on a copper body is very rarely seen'.Also compare two boxes, one rectangular, the other chime-shaped, both inset with jade plaques, in the Palace Museum Beijing, illustrated in Carved Lacquer in the Collection of the Palace Museum, Beijing, 1964, cat. nos. 313 and 315. Compare a jade plaque inset in a cinnabar lacquer moon flask, similarly incised with a Qianlong seal mark and of the period, at Christie's Hong Kong, 27 April 1997, lot 21.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 25 April 2004, lot 19 Price: HKD 744,000 or approx. EUR 139,000 converted and adjusted for inflation at the time of writing Description: A very rare jade inlaid cinnabar lacquer wall vase, Qing dynasty, Qianlong periodExpert remark: Compare the closely related (and extremely rare) combination of carved lacquer and jade with an Imperial poem. Note the similar size (18 cm). Also note that the jade plaque on this example has several cracks, whereas on the present example it is in perfect condition.乾隆時期御製剔犀鑲玉刻御詩壁瓶中國，1736-1795年。鑲鎏金銅，剔犀掛瓶，頸部左右分別有一貫耳。瓶身錦地纏枝花卉紋，瓶身中央鑲嵌玉牌，上雕刻一首御詩。

AN INSIDE-PAINTED GLASS SNUFF BOTTLE BY CHEN ZHONGSAN, DATED 1911Exhibited: International Chinese Snuff Bottle Society Convention, New York, 5-9 November 2013, no. 84.China. Of rounded rectangular form, supported on a thick oval foot and rising to a cylindrical neck. Finely painted with a continuous and highly detailed scene of merchants, workers, travelers, and ferrymen in a rocky river landscape, one side with men waiting by a ferry station, a walled city in the upper background.Inscriptions: To one side, upper left, signed 'Chen Zhongsan' and dated 'On an Autumn day in the Year of Xinhai [corresponding to 1911] in Beijing'. One seal of the artist.Provenance: The Gerry P. Mack Collection. Christie's London, 4 October 1999, lot 41. Manfred Arnold, acquired from the above. The base with an old label, 'Arnold Collection. 224'. Gerry P. Mack was an important collector of Chinese snuff bottles. According to Robert Kleiner's foreword to the catalog of the Christie's sale of The Gerry P. Mack Collection, he “was one of the great snuff bottle collectors of the twentieth century. The bottles for which Gerry had a weakness have stood the test of time and more remarkably, of our increased knowledge of the subject. Gerry's achievement was to align on bottles which he liked and which are still highly sought after and in many cases among the finest of their type”. Manfred Arnold (1938-2022) was a German-born maritime arbitrator and a keen collector of Chinese snuff bottles. He was a leader within the maritime arbitration community, serving five terms as the president of the Society of Maritime Arbitrators, Inc. and being recently cited in a United States Supreme Court case. He built his collection of snuff bottles over a fifty-year period. Condition: Excellent condition with only very minor wear and manufacturing irregularities.Stopper: Jadeite stopper with plateletWeight: 37 gDimensions: Height incl. stopper 66 mm. Diameter neck 17 mm and mouth 6 mmExpert's note: According to Hugh Moss, Victor Graham, and Ka Bo Tsang, The Art of the Chinese Snuff Bottle, The J & J Collection, Hong Kong, 1993, page 730, no. 448, Chen Zhongsan began his career copying the works of Zhou Leyuan and it was not until 1916 that he discovered a subject that appears to be uniquely his own. The earliest dated bottle by Chen is from 1907 and the very last dated example is from the autumn of 1919. Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 25 May 2011, lot 81 Price: HKD 66,000 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: An inside-painted glass 'snowscape' snuff bottle, Chen Zhongsan, dated 1917 Expert remark: Note the size (6.2 cm excluding the stopper)陳仲三內畫《山水人物》鼻煙壺，1911年中國。長方圓角，圈足。精美地描繪了各類人物形象，如行人和擺渡人，兩岸群山峻嶺，景色優美，遠處有一道城牆。 展覽: 紐約《International Chinese Snuff Bottle Society Convention》，2013年11月 5-9日，編號84。 款識：辛亥秋日寫於京師，陳仲三作 來源：Gerry P. Mack 收藏；倫敦佳士得，1999 年 10 月 4 日，拍品編號 41。Manfred Arnold購自上述拍賣。帶有舊標籤的底座，“Arnold Collection”，224'。 Gerry P. Mack 是一位重要的中國鼻煙壺收藏家。根據Robert Kleiner為佳士得 Gerry P. Mack 藏品拍賣目錄所作的序言，他“是二十世紀最偉大的鼻煙壺收藏家之一。Gerry這個鼻煙壺經受住了時間的考驗，更引人注目的是，我們對這個主題的瞭解越來越多。Gerry 的成就是將他喜歡的鼻煙壺放在一起，這些鼻煙壺仍然受到高度追捧，在許多情況下屬於同類鼻煙壺中最好的”。Manfred Arnold（1938-2022）是德國出生的海事仲裁員，也是中國鼻煙壺的熱衷收藏家。他是海事仲裁界的領導者，擔任過五屆海事仲裁員協會主席，最近在美國最高法院的一起案件中被傳述。他花了五十年的時間收集他的鼻煙壺。 品相：狀況極佳，只有非常輕微的磨損和製造瑕疵。 壺蓋：翡翠，金屬托片 重量：37 克 尺寸：含蓋高：66 毫米. 頸部直徑17 毫米 與頸部直徑6 毫米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2011年5月25日，lot 81 價格：HKD 66,000（相當於今日EUR 10,500） 描述：玻璃內畫雪景圖鼻煙壺，陳仲三，1917年作 專家評論：請注意尺寸(6.2 厘米 不含蓋)。

A LARGE DEHUA FIGURE OF BUDDHA, QING DYNASTY, LATE 18TH - EARLY 19TH CENTURYChina. Seated in dhyanasana atop a lotus base composed of three rows of petals rising from furled lily pads and lotus buds amid waves and dew drops, his hands held above the crossed legs, wearing loose-fitting robes draped over his left shoulder, the right arm with a beaded armlet. His serene face with heavy-lidded downcast eyes centered by an urna. The hair arranged in tight spikes around the domed ushnisha.Inscriptions: To the back, within a double gourd, 'de hua', above an impressed commendation seal mark, 'boji yuren' (shall virtue extend to all fishermen).Provenance: Sotheby's London, 17 March 1964, lot 38, together with a seated figure of Guanyin, dated 18th century. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum, coll. no. Q.4.22. A copy of the catalog entry for the present lot at Sotheby's London, 17 March 1964, lot 38, noting the buyer “Wou” and a purchase price of eighty-four British pounds, approximately three months' salary at the time, accompanies this lot. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Very good condition with minor wear and firing irregularities, including small glaze recesses, firing cracks, and kiln grit, the lotus petal tips with few tiny nicks.Weight: 1,428 g Dimensions: Height 32.3 cmAuction result comparison: Type: Closely related Auction: Sotheby's Paris, 18 December 2012, lot 160 Price: EUR 19,950 or approx. EUR 23,000 adjusted for inflation at the time of writing Description: A blanc-de-chine figure of Buddha, Qing dynasty, 19th centuryExpert remark: Compare the closely related pose, expression, hair, and base. Note the larger size (43.4 cm). Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 September 2014, lot 168 Price: USD 17,500 or approx. EUR 20,500 adjusted for inflation at the time of writing Description: A Dehua Figure of Buddha Qing Dynasty, 19th CenturyExpert remark: Compare the two identical seals, one within a double-gourd reading Dehua, the other reading Bo ji yu ren within a square. Note the larger size (39.9 cm).十八世紀末至十九世紀初大型德化白釉佛陀坐蓮像中國。佛陀結跏趺坐坐在重瓣蓮花寶座上，蓮座從波浪中升騰而出，他的雙手相叠置於腿上，左肩披著寬鬆的僧袍，右臂佩瓔珞。面容安詳，雙眼微垂，雙眼之間有白毫，螺發。 款識：背面雙葫蘆印内可見“德化”字樣，鈐印 “博及漁人”。 來源：倫敦蘇富比，1964年3月17日，lot 38，與一個觀音坐像一起，十八世紀。吳權博士購於上述拍賣。吳蓮伯美術館，館藏編號 Q.4.22。隨附蘇富比拍賣的目錄複印件，上面注明買家 “Wou” 以及售價84英鎊。 品相：品相極佳，有輕微磨損和燒製不規則，包括小釉凹、燒製裂紋和窯砂，蓮瓣尖有少量細小刻痕。 重量：1,428 克 尺寸：高 32.3 厘米

'PAIR OF HERONS', BY LIN FENGMIAN (1900-1991)China. Ink and watercolor on paper. Depicting a pair of herons perched at the shore of a lake, fishing, surrounded by reeds, painted with vivid brush strokes, and sharp yellow beaks.Inscriptions: Lower right, signed 'Lin Fengmian'. One seal, 'Lin Fengmian'Provenance: From a noted private collection. By repute acquired from a collector who purchased the painting directly from Chung Kiu Chinese Products Emporium, which was established on Nathan Road in Hong Kong in 1958, and is a known early provenance of works by Lin Fengmian. Merchant paper label to backside with inscription: "Lin Fegmian, pair of herons". Condition: Very good condition with only minor wear, few minuscule tears, some foxing, and little creasing.Dimensions: Image size 72 x 65.5 cm, Size incl. mounting 100 x 93 cmFramed. (2)Lin Fengmian (1900-1991) is considered a pioneer of modern Chinese painting, mostly for blending Western and Chinese styles, as he was one of the earliest Chinese painters to study in Europe. He was also an important innovator in the area of Chinese art education and one of The Four Great Academy Presidents, a group of artists who were revered in the early Republic due to their effective stewardship of the art academies they presided over. Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 4 November 2020, lot 131Price: GBP 119,700 or approx. EUR 160,000 converted and adjusted for inflation at the time of writingDescription: Lin Fengmian (1900-1991), Two cranesExpert remark: Compare the closely related motif, brush strokes, color, and size (66 x 69.5 cm)林風眠款《雙鷺》中國，紙本水墨設色。描繪一對白鷺棲息在湖邊尋食，四周蘆葦叢生，筆觸傳神。 款識：林風眠；鈴印：林風眠印 來源：知名私人收藏，據説前藏家直接購於中僑國產百貨有限公司。該公司曾坐落於香港九龍，1958年成立，2016年解散，曾是出售林風眠作品很出名的出處。背面有售出時的標籤："林風眠 雙鷺"。 品相：狀況極好，只有輕微磨損與細小的撕裂，有些起皺，輕微摺痕。 尺寸：畫面72 x 65.5 厘米，總100 x 93 厘米 裝框。(2) 林風眠（1900-1991）是中國現代繪畫的先驅，他是最早留學歐洲的中國畫家之一，其作品融合西方和中國風格。他還是中國藝術教育領域的重要創新者和四大書院院長之一，這群藝術家因其對所主持的藝術學院的有效管理而在民國初期受到尊敬。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2020年11月4日，lot 131 價格：GBP 119,700（相當於今日EUR 160,000） 描述：林風眠（1900-1991年） 《雙鶴》 設色紙本 專家評論：比較非常相近的主題、筆觸、顏色和尺寸 (66 x 69.5 厘米)。

A PAIR OF 'QIANJIANG CAI' ENAMELED 'PEACOCK AND CRANE' VASES, BY MA QINGYUN, DATED 1920China. Each of bottle form with bulbous body surmounted by a cylindrical neck with straight rim, painted in bright enamels with a peacock and a pair of cranes perched on craggy rocks, with peonies and a gnarled pine tree. One side with a poetic inscription and signature. The bases with iron-red maker's marks. (2)Inscriptions: To one side, signed 'by Ma Qingyun in Changjiang', dated 'in the Summer of the Year of Gengshen' (corresponding to 1920), inscribed 'The most beautiful woman compares to a peony, the Emperor glanced at her with pleasure, the beauty just, like a gentle wind in spring, removed of all resentment, in Chenxiang pavilion the Emperor and his concubine lean against the fence', and 'the poem titled Qingbingdiao by Li Qinglian'. To the base, 'Ma Qingyun xie hua Yawan'.Provenance: From a noted Hungarian private collection. Condition: Very good condition, minor wear, light scratches, and manufacturing flaws including firing cracks, dark spots, and minuscule fritting. One vase with a hairline along the base.Weight: 3,762 g and 3,892 g Dimensions: Height 34.6 cm and 34.5 cmThe inscription on the present vases is an excerpt from the poem Qingbingdiao, written by Li Qinglian, also known as Li Bai (701-762), one of China's most famous poets from the Tang dynasty. The poem comprises three sections and illustrates the supposed love story between Emperor Xuanzong and his consort Yang Guifei, one of the Four Beauties of ancient China. According to some historical accounts, the Emperor and Yang Guifei would enjoy a nighttime celebration of peony viewing whenever the peonies were in full bloom. During one celebration, the Emperor was displeased with the selection of music and called for Li Bai to write a song. Li Bai, who was supposedly drunk during this time, rapidly composed this poem that pleased the Emperor.Ma Qingyun was a painter, poet, and literary artist who was active from the late Guangxu period into the Republic period.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 13 March 2012, lot 3464Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A pair of polychrome enameled porcelain baluster vases, Republic periodExpert remark: Compare the related Qianjiang style, motif, poem, and seal mark. Note the different form and sizes (58 cm).馬慶雲款一對淺絳彩花鳥賞瓶，1920年中國，長頸瓶，溜肩鼓腹，圈足外撇。淺絳彩描繪孔雀和一對仙鶴站在松下假山上，牡丹盛開。另一面書寫李白詩。圈足鈴印“馬慶雲畫雅玩”。 款識：名花傾國兩相歡，常得君王帶笑看。解釋春風無限恨，沉香亭北倚闌干。庚申夏右？李青蓮 清平調 則于昌江客邸馬慶雲寫之意 。 來源：知名匈牙利私人收藏。 品相：狀況非常好，有輕微磨損、劃痕和製造缺陷如燒製裂紋、黑點和微小的熔塊。其中一個花瓶底部有冲線。 重量：分別為3,762克與3,892克 尺寸：高34.6 厘米與 34.5 厘米 馬慶雲是活躍於光緒末年至民國時期的畫家、詩人、文學家。拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年3月13日，lot 3464 價格：USD 15,000（相當於今日EUR 17,500） 描述：民國一對淺絳彩賞瓶 專家評論：比較相近淺絳彩、主題、詩和印。請注意不同的外形和尺寸(58 厘米)。

A SCENE FROM 'JOURNEY TO THE WEST', BY PU RU (1896-1963)China. Ink and watercolors on paper, laid down on paper. Depicting the monkey king Sun Wukong and another monkey in a vicious fight, each holding a long staff and standing in a dynamic pose on a bridge next to a crashing waterfall, with Zhu Bajie watching nearby.Inscriptions: Top left, inscribed 'Journey to the West', signed 'Pu Ru'. One seal of the artist, 'Xinshe'.Provenance: British trade. Condition: Very good condition with only minor wear and soiling.Dimensions: Image size 16.4 x 8.1 cm, size incl. backing 30.4 x 15.8 cmThe present painting depicts a famous scene from Journey to the West (Xi You Ji), in which Sun Wukong is fighting a six-eared macaque who was impersonating him. Eventually, Sun Wukong vanquishes his doppelganger. Sun Wukong, also known as the Monkey King, is a legendary mythical figure who also appears in many later stories and adaptations. In Journey to the West, Sun Wukong is a monkey born from a stone who acquires supernatural powers through Taoist practices. After rebelling against heaven, he is imprisoned under a mountain by the Buddha, until he joins Tang Sanzang in his quest. Sun Wukong possesses many abilities, including amazing strength and extreme speed. Sun Wukong also acquires the 72 Earthly Transformations, which allow him to access 72 unique powers, including the ability to transform into sundry animals and objects. He is a skilled fighter, capable of defeating the best warriors of heaven. His hair has magical properties, capable of making copies of himself or transforming into various weapons, animals, and other things. He also shows partial weather manipulation skills and can stop people in place with fixing magic.Journey to the West (Xi You Ji) is a Chinese novel published in the 16th century during the Ming dynasty and attributed to Wu Cheng'en. It is regarded as one of the greatest Classic Chinese Novels, and has been described as arguably the most popular literary work in East Asia. The novel is an extended account of the legendary pilgrimage of the Tang dynasty Buddhist monk Xuanzang, who traveled to the 'Western Regions' (Central Asia and India) to obtain Buddhist sacred texts and returned after many trials and much suffering. The monk is referred to as Tang Sanzang in the novel. The novel retains the broad outline of Xuanzang's own account, Great Tang Records on the Western Regions, but adds elements from folk tales and the author's invention: Gautama Buddha gives this task to the monk and provides him with three protectors who agree to help him as an atonement for their sins. These disciples are Sun Wukong, Zhu Bajie, and Sha Wujing, together with a dragon prince who acts as Tang Sanzang's steed, a white horse. The pilgrims journey towards enlightenment through the power and virtue of cooperation.Pu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Auction result comparison:Type: Closely relatedAuction: China Guardian, Beijing, 20 November 2010, lot 484Price: CNY 280,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writingDescription: Paintings from record of journey to the west, Pu Ru (1896-1963)Expert remark: Compare the near identical motif. Note that the lot comprises a second painting of closely related subject.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 3 April 2018, lot 127Estimate: HKD 100,000 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: Pu Ru (1896-1963), Monk Xuanzang and Monkey GodExpert remark: Compare the related motif. Note the size (25.5 x 15.5 cm).Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 3 April 2017, lot 1204Price: HKD 275,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writingDescription: Pu Ru, Monkey King and the HorseExpert remark: Compare the related motif. Note the form and size (43.9 x 14.2 cm).溥儒款《西遊記》中國，紙本水墨設色，鏡片。《西遊記》中的真假猴王場景，線條簡練，筆觸清晰。 款識：西遊記，心畲；鈴印：心畲 來源：英國古玩交易。 品相：狀況極好，只有輕微的磨損和污跡。 尺寸：畫面16.4 x 8.1 厘米，總30.4 x 15.8 厘米 《西遊記》是一部中國古典名著，出版於十六世紀，作者為吳承恩，是東亞最受歡迎的文學作品之一。小說描述唐代高僧玄奘帶領四位弟子西去西域求取佛經，歷經千辛萬苦歸來的傳奇朝聖故事。

A RARE BLUE-GROUND POLYCHROME-DECORATED 'DRAGON' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. Superbly potted with deep rounded sides rising from a straight foot to a gently flared rim, the exterior vividly enameled with two ferocious dragons, one in green enamel, the other iron-red, racing through green, yellow and iron-red flames in pursuit of flaming pearls positioned above cruciform clouds, resting on a band of overlapping petals, all reserved on a washed underglaze-blue ground, the interior with a central medallion enclosing a similar green dragon. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in North Yorkshire, United Kingdom. Condition: Very good condition with expected wear and shallow surface scratches, minimal firing irregularities, few barely visible glaze lines. Weight: 227.8 g Dimensions: Diameter 14 cmLiterature comparison: A Kangxi-marked bowl of this same design was included in the exhibition Joined Colors, Decoration and Meaning in Chinese Porcelain, Ceramics from Collectors in the Min Chiu Society, Hong Kong, illustrated by L.A. Cort and J. Stuart, Catalogue, Hong Kong, 1993, p. 84, pl. 13. Qianlong-marked bowls of this type are relatively rare, examples include one sold at Christie's New York, 28 March 1996, lot 363, and another at Sotheby's Hong Kong, 1 December 1977, lot 648.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 May 2013, lot 1924 Price: HKD 870,000 or approx. EUR 132,000 converted and adjusted for inflation at the time of writing Description: A rare blue-ground polychrome-decorated 'dragon' bowl, Qianlong six-character seal mark and of the periodExpert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in excellent condition. Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 28 May 2014, lot 3456 Price: HKD 475,000 or approx. EUR 72,000 converted and adjusted for inflation at the time of writing Description: A Rare Blue-Ground Polychrome-Decorated 'Dragon' Bowl, Qianlong Six-Character Seal Mark and of the Period (1736-1795)Expert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in restored condition.乾隆款及年代罕見青花藍地紅綠彩龍紋碗中國，1736-1795年。胎體緊緻，碗口略外撇，深弧腹。碗外壁青花藍地，分別用紅彩與綠彩描繪兩條矯健雲龍戲珠，被綠色、黃色和鐵紅色火焰環繞。腹底飾一圈重疊花瓣紋。碗內開光内藍地綠彩雲龍。足底青花“大清乾隆年製”款。 來源：英國北約克郡私人收藏。 品相：品相極好，有磨損和表面劃痕，製造瑕疵，少量不明顯的釉面裂紋。 重量：227.8 克 尺寸：直徑14 厘米 文獻比較： 一件相同設計康熙款碗，見Joined Colors，《Decoration and Meaning in Chinese Porcelain，Ceramics from Collectors in the Min Chiu Society》，香港，見L.A. Cort和J. Stuart，圖錄，香港，1993年，頁84，編號13。一件乾隆款碗，售於Christie's New York，1996年3月28日，lot 363，以及售於香港蘇富比，1977年12月1日，lot 648。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2013年5月29日，lot 1924 價格：HKD 870,000（相當於今日EUR 132,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗品相極佳。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2014年5月28日，lot 3456 價格：HKD 475,000（相當於今日EUR 72,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗曾修復過。

'ZHUAN ZHU ASSASSINATES KING LIAO', BY GUAN LIANG (1900-1986), DATED 1980China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Depicting the theatric scene of the assassin Zhuan Zhu offering a fish to King Liao of Wu, who is standing in the back dressed in a yellow robe and wearing the Lingzi, a headdress with pheasant tails. The dagger with which Zhuan eventually killed the king is hidden inside the fish.Inscriptions: Bottom left, inscribed 'Zhuan Zhu stabs King Liao of Wu', dated 'in October of the Year of Gengshen' (corresponding to 1980), signed 'Guan Liang'. One seal 'Guan Liang'. Top right, one seal of the artist, 'Nanting'. Provenance: From a private collection, acquired shortly after 1980, and thence by descent. British trade, by repute acquired from the above. Condition: Excellent condition with only minor wear, little foxing, and few small stains.Dimensions: Image size 107 x 55.3 cm, Size incl. mounting 124 x 65.7 cmGuan Liang (1900-1986) was a Chinese painter born in Guandong Province. He studied art in Japan and specialized in Chinese oil painting. Guan was a fine arts educator, professor at the Zhejiang Academy of Fine Arts in Zhejiang, China, and the director of the Shanghai branch of the Chinese Artists Association. Guan once mentioned that Paul Gauguin, Vincent van Gogh, and Henri Matisse had left a deep impression and a lasting influence on him, and that in his work he sought to merge Western techniques with Chinese themes.Guan Liang developed a passion for Chinese opera from a young age, having grown up attending performances with his father. He was captivated by performing arts and became deeply involved in Beijing opera by acting and learning the art of theater from an opera singer, as well as acquiring costumes and props. In his opera ink paintings, Guan captures the spirit of each character by depicting their facial expressions and the emotions in their eyes.The painting depicts the theater scene where Zhuan Zhu kills King Liao of Wu. Zhuan Zhu was an assassin who lived in the Spring and Autumn period. He was recruited by Prince Guang, who wanted to kill the king in order to take the throne himself. Zhuan Zhu finally managed to kill the king during a party with a dagger hidden in a fish.Auction result comparison:Type: RelatedAuction: China Guardian, Hong Kong, 9 October 2022, lot 73Price: HKD 86,400 or approx. EUR 10,500 converted at the time of writingDescription: Zhuan Zhu Assassinates King Liao, Guan Liang (1900-1986)Expert remark: Compare the closely related motif. Note the significantly smaller size (32.8 x 43.5 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2012, lot 2911 Price: HKD 250,000 or approx. EUR 39,500 converted and adjusted for inflation at the time of writing Description: Guan Liang, Opera Figures - Farewell My ConcubineExpert remark: Compare the related motif. Note the smaller size (67.5 x 44 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 26 November 2013, lot 1431Price: HKD 1,000,000 or approx. EUR 151,000 converted and adjusted for inflation at the time of writingDescription: Opera Figures Expert remark: Note the related size (101 x 59.3 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 26 November 2013, lot 1428Price: HKD 275,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: Opera Figures Expert remark: Note the considerably smaller size (33.5 x 34.5 cm).1980年關良《專諸刺王僚》中國 ，紙本水墨設色，掛軸。描繪刺客專諸獻魚給吳王僚的戲劇場景，王僚站在後面，身穿黃袍，頭戴京劇中的雉尾帽。專諸最終殺死國王的匕首就藏在魚裡面。 款識：專諸刺王僚，庚申冬十月，關良；鈴印：關良，南亭 來源：私人收藏，1980年後購，保存至今；英國古玩交易，據説購於上述收藏。 品相：狀況極佳，只有輕微磨損、輕微起皺和少量小污漬。 尺寸：畫面107 x 55.3 厘米，總124 x 65.7 厘米 拍賣結果比較： 形制：相近 拍賣：香港嘉德，2022年10月9日，lot 73 價格：HKD 86,400（相當於今日EUR 10,500） 描述：關良《專諸刺王僚》 專家評論：比較非常相近的主題。請注意尺寸(32.8 x 43.5 厘米)小很多。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2012年5月29日，lot 2911 價格：HKD 250,000（相當於今日EUR 39,500） 描述：關良《霸王別姬》 專家評論：比較相近的主題。請注意尺寸(67.5 x 44 厘米)較小。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2013年11月26日，lot 1431 價格：HKD 1,000,000（相當於今日EUR 151,000） 描述：關良《京劇》 專家評論：請注意相近尺寸(101 x 59.3 厘米)。

'BAMBOO AND BUTTERFLIES', BY QI GONG (1912-2005)China. Ink and watercolors on paper. With a silk brocade frame, mounted as a hanging scroll. Finely painted in varying shades of green with leafy stalks of bamboo and two red butterflies playfully flying below.Inscriptions: Upper right, signed 'Jianjingweng Qi Gong' and inscribed with a poem. One seal of the artist.The poem inscribed on this painting can be translated as follows:The green bamboo shoots from the earth and supports the sky,One cannot take them in the hand as a fishing rod, The leaves and the branches are so long and get tangled,It is so difficult to remove the superfluous leaves and branches. Provenance: British trade. Condition: Very good condition with only minor wear and little foxing.Dimensions: Image size 82 cm x 33 cmQi Gong (1912-2005), whose artist name was Jianjingweng, was a descendant of the Yongzheng Emperor through his son Hongzhou. formally known as Prince He. He grew up in extreme poverty but learned Chinese calligraphy in his childhood and studied various historical stone inscriptions of calligraphy. Qi Gong was versatile in all writing styles, especially the regular script (kaishu), the running hand (xingshu), and the cursive script (caoshu).Auction result comparison:Type: Closely relatedAuction: Bonhams San Francisco, 21 June 2011, lot 8396Price: USD 13,420 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: Qi Gong (1912-2005), Green BambooExpert remark: Compare the closely related motif and fine details. Note the size (94 x 46 cm).啓功 (1912-2005)款《翠竹》中國，紙本水墨設色，掛軸。翠竹濃淡相宜，明淨無塵，清勁秀潤；蝴蝶飛舞，手法生動，色彩鮮明。 款識：拔地擎天翠色寒，未能入手作魚竿。絲綸百尺牽纏處，縟葉繁枝剪難。堅淨翁啓功；鈴印：啓功之印 來源：英國古玩交易。 品相：狀況極好，只有輕微磨損和起皺。 尺寸：畫面82 釐米 x 33 釐米 啓功(1912-2005) 先生號堅淨翁，雍正帝第九代孫，是當代著名學者、畫家和書法家。他著作豐富，通曉語言文字學，甚至對已成為歷史陳蹟的八股文也很有研究；他做得一手好詩詞，同時又是古書畫鑑定家，尤精碑帖之學。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2011年6月21日，lot 8396 價格：USD 13,420（相當於今日EUR 16,000） 描述：啓功《綠竹》 專家評論：比較非常相近的主題和精細的細節。請注意尺寸(94 x 46毫米)。

'FISH AND MORNING GLORY', BY MEI LANFANG (1894-1961), DATED 1950China. Ink and watercolors on paper. With a good silk brocade frame, mounted as a hanging scroll. Finely painted in green and pink with a group of six fish swimming in a pond amid waterweeds, the upper register with branches of willow and morning glory issuing pink blossoms, a grasshopper perched on the top flower.Inscriptions: Upper right, signed 'Written by Wanhua Mei Lanfang' and inscribed 'In the Spring of the Year of Gengyin [corresponding to 1950], Mei Lanfang, Shang Xiaoyun, Xun Huisheng, and Cheng Yanqiu painted together in the Studio of the Scent of the Lotus Root'. One seal of the artist, 'Wanhua'. Provenance: British trade. Condition: Very good condition with only minor wear, little foxing, and few small stains.Dimensions: Image size 71 x 46 cm, size incl. mounting 91 x 42.5 cm Mei Lanfang (1894-1961) was a Chinese theatrical performer and painter who became famous as one of the greatest singer-actor-dancers of all time in Chinese history. He studied jingxi at the Beijing opera and began his debut at 11. Thereafter he played mostly female roles, becoming especially known for his portrayal of the 'Flower-Shattering Diva'. His style of dance became so popular over the years that it eventually came to be known as the 'Mei Lanfang school'.Auction result comparison:Type: Closely relatedAuction: China Guardian Auctions Beijing, 2 April 2015, lot 1413Price: CNY 55,200 or approx. EUR 9,300 converted and adjusted for inflation at the time of writingDescription: Mei Lanfang (1894-1961), Fishes and willow (1926)Expert remark: Compare the closely related motif with fish and willow. Note the size (93 x 33 cm).梅蘭芳合筆《花下魚塘》，1950年中國，紙本水墨設色，掛軸。魚在水草叢生的池塘中游動戲耍，岸邊柳樹和牽牛花纏繞，粉紅色的花朵異常奪目，一隻蚱蜢立在頂部的花朵上。風格娟秀華美，中鋒行筆，得規中距、乾淨俐落。 款識：庚寅新春梅蘭芳尚小雲荀慧生程硯秋合筆作於藕香舘，畹華梅蘭芳題：鈴印：畹華 來源：英國古玩交易。 品相：狀況極好，只有輕微磨損、起皺和少量小汙漬。 尺寸：畫面71 x 46 釐米, 總 91 x 42.5 釐米梅蘭芳，名瀾，又名鶴鳴，小名裙子、群子，字畹華，別署綴玉軒主人，祖籍江蘇泰州，清光緒20年出生在北京的一個梨園世家，是中國近代傑出的京昆旦行表演藝術家，舉世聞名的中國戲曲藝術大師。 拍賣結果比較： 形制：非常相近 拍賣：中國嘉德，北京，2015年4月2日，lot 1413 價格：CNY 55,200（相當於今日EUR 9,300） 描述：梅蘭芳《魚與楊柳》(1926) 專家評論：比較非常相近的主題，都有魚和楊柳。請注意尺寸(93 x 33毫米)。

'SCHOLAR UNDER A WUTONG TREE', BY ZHANG DAQIAN (1899-1983)Exquisitely painted with a bearded scholar seated on a bamboo chair, wearing loose-fitting robes and a tall cap, under two blossoming wutong trees, their leaves painted in shades of blue with virtuosic skill, all above a squatting attendant fanning a small oven to prepare some tea.China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper right, signed 'Zhang Daqian Yuan', and titled 'Scholar under a Wutong Tree', two seals of the artist, 'Zhang Yuan siyin' and 'Daqian Jushi'. Lower left, one seal.Provenance: The Oliver Impey Collection of Modern Paintings. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s.Condition: Good condition with some wear, creasing, soiling, small losses, minor touchups, the roller caps lost. Dimensions: Image size 98 x 51 cm, Size incl. mounting 208 x 62.4 cmZhang Daqian (1899-1983) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally active as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Zhang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon and affected the long robe and long beard of a traditional Chinese scholar.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 November 2021, lot 1127Price: HKD 275,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian (1899-1983), Scholar Looking for Inspiration Expert remark: Compare the closely related subject with a similarly painted tree. Note the size (107 x 41.2 cm).張大千(1899-1983)《梧桐樹下翁》中國，紙本水墨設色，掛軸。梧桐樹下，老翁坐在竹椅上，身穿寬鬆長袍，頭戴高帽，一旁蹲著的小童正扇著小爐燒水，準備茶水。筆墨灑脫，工寫結合。 款識：高梧三雙玉，綠蔭如秋水，下有兀坐翁，妙在澄懷裏。爰。鈴印：張爰之印，大千居士。 來源：Oliver Impey 現代繪畫收藏。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入了解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況良好，有一些磨損、摺痕、污漬、小缺損、小修補、掛軸蓋丟失。 尺寸：畫面98 x 51 厘米，總208 x 62.4 厘米

AN IRON-RED AND SEPIA 'LANDSCAPE AND POEM' BRUSHPOT, BITONG, GUANGXU MARK AND PERIODChina, 1875-1908. Of rectangular form with straight sides, painted in iron-red to the wider sides with mountain landscapes, one side depicting two pavilions nestled amid rocks and trees, the reverse with a scholar walking along a river towards a pavilion. The shorter sides each with a poem describing mountain landscapes and three seal marks. The recessed base with an iron-red six-character mark da Qing Guangxu nianzhi and of the period.Inscriptions: One poem describes a spring landscape with trees covered in red blossoms amid mountains, green meadows, and travelers, titled 'three poems on spring excursions in Fengle pavilion', written by Ouyang Xiu, a Song period historian and poet. The second poem outlines a scenery with mountains and misty lakes and rivers.Provenance: French trade. Condition: Very good condition with minor wear, light surface scratches, and minuscule nibbling.Weight: 418.2 g Dimensions: Height 12.1 cmOuyang Xiu (1007-1072) was a Chinese historian, calligrapher, epigrapher, essayist, poet, and politician of the Song dynasty. He was a renowned writer among his contemporaries and is considered the central figure of the Eight Masters of the Tang and Song period. He revived the Classical Prose Movement and promoted it in imperial examinations, paving the way for future masters like Su Shi and Su Zhe.光緒款及年代礬紅彩山水詩文筆筒中國，1875-1908年。筆筒造型方正，四方倭角，施釉明潤。外壁兩面分別畫礬紅彩山水，整幅畫面佈局自然，畫面為古木遒勁詩味濃郁又意境深邃的繪畫風格。遠近分明，空間清晰，合乎自然。畫作意境寂寥空闊，思古幽情，亦不乏人欣賞。士大夫在此清幽雅逸之永恆天地閒適自在任意逍遙。題識書法恣意奔放。底足紅彩“大清光緒年製”。 款識：1）帝峰入雲樓碧霄，江湖煙？足風凌。風日晴和景色好，秀水青山分外嬌。2）紅樹青山日欲斜，長郊草色綠無涯。游人不管春將老，來往亭前踏落花。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損、輕微的表面劃痕和磕損。 重量：418.2 克 尺寸：高12.1 厘米

'A PORTRAIT OF AUTUMN', BY ZHOU SICONG (1939-1996), DATED 1978China. Ink and watercolors on paper. Depicting two young boys playing with bowls, framed by banana leaves which are suggested by vivid brushstrokes. Note the gently graduated intensity of the black ink, adding depth and three-dimensionality to the work, one of the widely acclaimed skills of Zhou Sicong.Inscriptions: Top left, inscribed 'A Portrait of Autumn', dated 'First month of the year wuwu (1978)'. One seal of the artist, 'Sicong'.Provenance: From a British private collection, acquired between 1978 and 2000, and thence by descent. Condition: Excellent condition with minor wear.Dimensions: Size incl. frame 62.5 x 47 cm, image size 34.5 x 27.5 cmFramed behind glass. (2)Zhou Sicong (1939-1996) was a Chinese painter born in Ninghe, Hebei Province. She graduated in 1963 from the Chinese painting department of the Central Art Academy and later worked at the Beijing Painting Institute. Zhou is well-known for her figurative watercolor and oil paintings. Her work won the first prize in the prestigious Fifth National Fine Arts Exhibition in 1979, only one year after the present work was painted, and is now in the collection of the National Museum of Fine Arts, among other public collections. Her paintings have been exhibited across China, Japan, and other parts of Asia, as well as in Europe and the US.Auction result comparison:Type: Closely relatedAuction: China Guardian, Beijing, 25 March 2012, lot 1706Price: CNY 402,500 or approx. EUR 70,500 converted at the time of writingDescription: Children and Banana Leaves (1979), Zhou Sicong (1939-1996)Expert remark: Compare the closely related motif and composition. Note the size (68 x 45 cm).Auction result comparison:Type: Closely relatedAuction: China Guardian, Beijing, 19 March 2011, lot 543Price: CNY 230,000 or approx. EUR 41,500 converted and adjusted for inflation at the time of writingDescription: Children Playing (1981), Zhou Sicong (1939-1996)Expert remark: Compare the closely related motif and composition. Note the size (66 x 45 cm).Auction result comparison:Type: Closely relatedAuction: China Guardian, Beijing, 13 January 2018, lot 69Price: CNY 172,500 or approx. EUR 23,500 converted and adjusted for inflation at the time of writingDescription: Children playing (1979), Zhou Sicong (1939-1996)Expert remark: Compare the closely related motif and composition. Note the size (68 x 46 cm).1978年周思聰《秋趣圖》中國 ，紙本設色。兩個小童在芭蕉樹下斗蛐蛐兒。小兒一派天真無邪，十分惹人喜愛。筆墨清新、灑脫，富有表現力。 款識：秋趣圖，戊午正月；鈴印：思聰 來源：英國私人收藏，購於1978 至2000年間，保存至今。 品相：品相極好，輕微磨損。 尺寸：總62.5 x 47 厘米，畫面34.5 x 27.5 厘米 玻璃裝框 (2) 拍賣結果比較： 形制：非常相近 拍賣：北京嘉德，2012年3月25日，lot 1706 價格：CNY 402,500（相當於今日EUR 70,500） 描述：周思聰《秋趣圖》 專家評論：比較非常相近的主題和佈局。請注意尺寸(68 x 45 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：北京嘉德，2011年3月19日，lot 543 價格：CNY 230,000（相當於今日EUR 41,500） 描述：周思聰《童玩》 專家評論：比較非常相近的主題和佈局。請注意尺寸(66 x 45 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：北京嘉德，2018年1月13日，lot 69 價格：CNY 172,500（相當於今日EUR 23,500） 描述：周思聰《秋趣圖》 專家評論：比較非常相近的主題和佈局。請注意尺寸(68 x 46 厘米)。

A LARGE INSIDE-PAINTED AMBER GLASS 'EIGHT HORSES OF MUWANG' SNUFF BOTTLE, BY WANG XISAN, DATED 1972China. Of compressed globular form, rising from an oval foot to a cylindrical neck with concave rim, superbly painted to the interior with the eight horses of Mu Wang, four to each side resting and playing below pine and willow trees, with a river landscape in the background.Inscriptions: Upper left 'Eight horses painting, in the summer of the Year of Renzi (corresponding to 1972), by Wang Xisan', one seal.Provenance: From a noted Belgian private collection. Condition: Very good condition with some wear, little nibbling to the mouth. The stopper with small chips along the rim, and surface scratches.Stopper: MalachiteWeight: 209.4 g Dimensions: Height including stopper 150 mm, Diameter neck 29 mm and mouth 13 mmBorn in 1938, Wang Xisan (Wang Ruicheng) was the star pupil of Ye Bengqi, the son of Ye Zhongsan, the artist who revitalized the Beijing school of painting in the late 1950s. Ye Bengqi took up the art of enameling again in the early 1960s to teach Wang Xisan, and it is sometimes difficult with earlier Wang Xisan bottles to distinguish them from his teacher's, or, in some cases, from earlier Qianlong examples. For a discussion of the artist Wang Xisan see H. Moss, V. Graham and K.B. Tsang, A Treasury of Chinese Snuff Bottles, the Mary and George Bloch Collection, Vol. 6, Part 1, Hong Kong, 2008, pp. 273-275. The authors note, 'As an artistic genius, Wang rapidly became one of the finest of all enamellers, both artistically and technically, that China has ever produced'. The charming scene represents the Eight Horses of King Mu Wang, who reigned during the Zhou dynasty in the 10th century BC, and these eight horses were his favorite chargers which pulled the emperor's chariot as he progressed about his realm to visit the goddess Xiwangmu.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 10 February 2021, lot 3029Price: HKD 214,200 or approx. EUR 27,000 converted and adjusted for inflation at the time of writingDescription: An inside-painted amber 'cats' snuff bottle by Wang Xisan, dated dingsi year, corresponding to 1977Expert remark: Compare the related form and fine inside painting. Note the different material and smaller size (6 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 12 May 2022, lot 221Price: GBP 8,287 or approx. EUR 9,600 converted and adjusted for inflation at the time of writingDescription: An amber 'horses and grooms' inside-painted snuff bottle, signed Wang Xisan, 20th centuryExpert remark: Compare the closely related motif. Note the different material, form, and smaller size (6.4 cm).1972年王習三款内畫《八駿圖》琥珀色料器鼻煙壺中國。鼻煙壺成扁圓形，直頸，平口，橢圓形圈足。內畫《穆王八駿圖》，有的則頑皮地在地上打滾兒，有在樹下低頭吃草，動態感十足。 款識：八駿圖，壬子年夏，王習三 來源：比利時私人收藏 品相：狀況極好，有些磨損，壺口有磕損。壺蓋邊緣有小缺口，表面有劃痕。 壺蓋：孔雀石 重量：209.4 克 尺寸：含蓋高150 毫米，頸部直徑29 毫米，壺口直徑13 毫米 王習三，原名王瑞成，生於1938年，是五十年代後期振興京畫的葉仲三之子葉菶祺的得意門生。二十世紀六十年代初期，葉菶祺再次學習琺瑯工藝，並教授王習三，有時很難將他倆的作品與早期的乾隆時期鼻煙壺區分開來。有關藝術家王習三的討論，請參閱 H. Moss、V. Graham 和 K.B. Zeng《中國鼻煙壺珍寶，瑪麗和喬治布洛赫收藏》，第6卷 ，第 1 部分，香港，2008 年，第 273-275 頁。 《八駿圖》中的八匹馬傳為周穆王御駕坐騎。據説，周穆王曾駕著他們去拜訪西王母。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2021年2月10日，lot 3029 價格：HKD 214,200（相當於今日EUR 27,000） 描述：丁巳（1977年）王習三作琥珀內畫耄耋圖鼻煙壺 《丁巳仲夏作於一壺齋王習三》款 專家評論：比較相近的外形和精緻的內畫。請注意不同的材質和尺寸(6 厘米)較小。

'WISTERIA', BY QI BAISHI (1864-1957)China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Virtuously painted with a cluster of wisteria leaves hanging from a twisting vine further issuing leafy stems in variegated shades of green, executed with bold and vivid brushstrokes.Inscriptions: Baishi shanweng Huanghun zuo (old man Baishi painted this at dusk). One seal of the artist 'Qida'.Provenance: From the collection of Hazel Elfwendahl, and thence by descent in the family. Hazel Elfwendahl (1923-2018) was the wife of Bo Elfwendahl (1928-2004), Vice Consul at the Royal Swedish Consulate in Hong Kong between 1957 and 1962. While in Hong Kong, she took great interest in and developed a deep understanding of Chinese art, perusing painting and calligraphy studies for the Lingnan School master Chow Leung Chen-Ying (1921-2005). She also befriended several noted Hong Kong art collectors. Note that another work by Qi Baishi from the collection of Hazel Elfwendahl, Pumpkins, was sold at Bonhams London, 3 November 2022, lot 212, for GBP 44,400 or EUR 50,700 (converted at the time of writing).Condition: Excellent condition with minor wear and little soiling.Dimensions: Image size 66.5 x 32.5 cm, Size incl. mounting 132.5 x 41.4 cmQi Baishi (1864-1957) is one of the world's most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Literature comparison:Compare a related painting of Wisteria by Qi Baishi, dated ca. 1930, exhibited in the Noguchi Museum, Isamu Noguchi and Qi Baishi: Beijing 1930, 25 September 2013 to 26 January 2014.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 1 June 2021, lot 878 Price: HKD 565,000 or approx. EUR 68,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), WisteriaExpert remark: Note the closely related subject, executed with bold and vivid brushstrokes. Note the similar size (67.5 x 33.2 cm). Auction result comparison: Type: Related Auction: Christie's New York, 18 March 2015, lot 303 Price: USD 81,250 or approx. EUR 93,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), WisteriaExpert remark: Note the smaller size (33 x 44.4 cm).齊白石(1864-1957)《紫藤》中國，紙本水墨設色，掛軸。白石老人畫藤如蛇，幾串紫藤開得奼紫嫣紅，在紫藤的一片熱鬧中，幾筆縱橫交錯的藤，顯得畫面更富有層次。 款識：白石山翁黃昏作；鈴印：齊大 來源：Hazel Elfwendahl收藏，保存在同一家族至今。Hazel Elfwendahl (1923-2018年) 是Bo Elfwendahl (1928-2004)的妻子，她於1957年至1962年任瑞典皇家駐香港總領事館副領事。在港期間，她對中國藝術產生濃厚興趣，拜師與嶺南派大師梁粲纓研習書畫（ 1921-2005）。她還結識了幾位著名的香港藝術收藏家。請注意Hazel Elfwendahl 收藏的齊白石另一幅作品《南瓜》，2022 年 11 月 3 日售於倫敦邦瀚斯，lot 212，售價為 GBP 44,400（或相當於今日EUR 50,700）。品相：狀況極佳，輕微磨損，輕微汙漬。 尺寸：畫面66.5 x 32.5 厘米，總132.5 x 41.4 厘米 文獻比較： 比較一件相近的約1930年作齊白石《紫藤》，展覽於Noguchi Museum，《Isamu Noguch and Qi Baishi: Beijing 1930》，2013年9月25日至2014年1月26日。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2021年6月1日，lot 878 價格：HKD 565,000（相當於今日EUR 68,000） 描述：齊白石《紫藤》，設色紙本鏡框 專家評論：請注意非常相近的主題，以及以大膽而生動的筆觸。請注意相似的尺寸(67.5 x 33.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月18日，lot 303 價格：USD 81,250（相當於今日EUR 93,000） 描述：齊白石《紫藤》 專家評論：請注意尺寸較小(33 x 44.4 厘米)。

A SHALLOW CAFE-AU-LAIT GLAZED BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. The gently rounded sides rising from a shallow foot to a lightly flared rim, the body embellished with a raised double bow-string band, the interior and exterior covered with a lustrous cafe-au-lait glaze of a reddish-brown tone, the white base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: Sotheby's Hong Kong, May 2000, lot 724 (according to label to base). A distinguished Asian collection, acquired from the above. Sotheby's Hong Kong, 3 October 2018, lot 3644. A noted private collection, acquired from the above. Condition: Very good condition with some wear and minor firing irregularities, shallow surface scratches, and few small glaze bumps.Weight: 274 g Dimensions: Diameter 17 cmWith a silk storage box. (2)Literature comparison: It is rare to find a bowl of this type with a Qianlong mark, but one is in the collection of the Asian Art Museum, San Francisco, illustrated by He Li, Chinese Ceramics, A New Comprehensive Survey, New York, 1996, p. 284, no. 565. For a Kangxi precursor of this Qianlong example see the bowl in the Percival David Foundation, illustrated in Oriental Ceramics, The World's Great Collections, vol. 6, Tokyo, 1982, no. 233. Yongzheng-marked examples are represented by one illustrated in Old Oriental Ceramics Donated by Mr. Yokogawa, Tokyo National Museum, 1953, pl. 389, and another included in the exhibition, Chinese Antiquities from the Brian S. McElney Collection, Hong Kong Museum of Art, 1987, no. 100.Auction result comparison: Type: Near identical Auction: Sotheby's Hong Kong, 8 April 2011, lot 3012 Price: HKD 325,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A shallow cafe-au-lait glazed bowl, seal mark and period of QianlongExpert remark: Compare the closely related form, decoration, Qianlong reign mark, and size (17.1 cm). Auction result comparison: Type: Near identical Auction: Christie's New York, 19 September 2006, lot 380 Price: USD 36,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writing Description: A cafe-au-lait-glazed shallow bowl, Qianlong seal mark in underglaze blue and of the periodExpert remark: Compare the closely related form, decoration, Qianlong reign mark, and size (17.1 cm).乾隆款及年代紫金釉弦紋碗中國，1736-1795年。口外撇，淺弧腹，腹中部有雙圈弦紋，圈足。內外壁通體施紫金釉，釉面柔和，足內施透明釉，底書青花“大清乾隆年製”篆書款。 來源：香港蘇富比，2000年5月，lot 724 (根據碗底標籤)；一個知名亞洲收藏，購於上述拍賣；香港蘇富比，2018年10月3日，lot 3644；一個知名私人收藏，購於上述收藏。 品相：品相極好，有一些磨損和輕微的燒製不規則，輕微表面劃痕與釉面凸起。 重量：274 克 尺寸：直徑 17 厘米 配置內襯方盒。 (2) 文獻比較： 此類型的碗有乾隆款較罕見，但有一件收藏於舊金山亞洲藝術博物館，見He Li，《Chinese Ceramics，A New Comprehensive Survey》，紐約，1996年，頁284，編號565。一見康熙時期例子，收藏於Percival David Foundation，見東方陶瓷學會，《The World's Great Collections》，卷6，東京，1982年，編號233。雍正款例子，見Mr. Yokogawa捐給 Old Oriental Ceramics，東京國家博物館，1953年，圖389；另一件展覽於《Chinese Antiquities from the Brian S. McElney Collection》，香港藝術館，1987年，編號100。 拍賣結果比較： 形制：幾乎相同 拍賣：香港蘇富比，2011年4月8日，lot 3012 價格：HKD 325,000（相當於今日EUR 52,500） 描述：乾隆款及年代紫金釉弦紋碗 專家評論：比較非常相近的外形、裝飾、乾隆款和尺寸(17.1 厘米)。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2006年9月19日，lot 380 價格：USD 36,000（相當於今日EUR 48,000） 描述：乾隆款及年代紫金釉弦紋碗 專家評論：比較非常相近的外形、裝飾、乾隆款和尺寸(17.1 厘米)。

'DAMO', BY MIN ZHEN (1730-1788)China. Ink and watercolors on paper. Finely painted with Damo (Bodhidharma) dressed in a red robe above a white underdress, standing on a reed over waves with his legs crossed and his head tilted to the side, the eyes looking away in a pensive expression. An homage to the legend of the Zen patriarch sailing up the Yangzi River on just a single reed.Inscriptions: Upper left, signed 'Min Zhen', two seals, 'Min Zhen' and 'Zhengzhai'.Provenance: From a private collection in London, United Kingdom. Condition: Some soiling, creasing with associated minor losses, further small losses, some with minor touchups, and minor tears. The brocade frame with minor creasing and few stains.Dimensions: Image size 42.1 x 21.3 cm, Size incl. mounting 189.5 x 35.8 cmWith a silk brocade frame and mounted as a hanging scroll with handles possibly of zitan wood.Min Zhen (1730-1788) was a Chinese painter and seal carver born in Nanchang, Jiangxi, who spent most of his life in Hubei. He was noted for painting human figures and doing occasional finger painting. He was orphaned at an early age and is sometimes associated with the Eight Eccentrics of Yangzhou. See Shelagh Vainker, Chinese Paintings in the Ashmolean Museum Oxford, 2000, p. 118-121.Literature comparison:Compare a related painting by Min Zhen, depicting a scholar, in the Ashmolean Museum, Oxford, accession number EA1964.233.i.Auction result comparison:Type: RelatedAuction: Poly International, Beijing, 5 December 2020, lot 1310Price: CNY 138,000 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: Zhongkui, Min Zhen (1730-1788)Expert remark: Note the size (158 x 86 cm)閔貞 (1730-1788)款《達摩像》中國，紙本水墨設色，掛軸。達摩身著紅袍，立於蘆葦上，頭偏向一邊，雙眼若有所思。線條流暢灑脫。 款識：閔貞畫；鈴印：閔貞，正齋 來源：英國倫敦私人收藏。 品相：一些污漬、摺痕和輕微缺損，小修。 錦緞裝裱上有輕微摺痕和少量污漬。 尺寸：畫面42.1 x 21.3 厘米，總189.5 x 35.8 厘米 文獻比較： 比較一件相近的閔貞的繪畫，收藏於 Ashmolean Museum，牛津，館藏編號EA1964.233.i。 拍賣結果比較： 形制：相近 拍賣：北京保利國際拍賣有限公司，2020年12月5日，lot 1310 價格：CNY 138,000（相當於今日EUR 19,000） 描述：閔貞《鍾馗》 專家評論：請注意尺寸 (158 x 86 厘米)。

Chinese blue and white porcelain baluster or meiping vase, decorated in underglaze blue with figures and a horse in a landscape, seal mark of Kangxi (1662-1722), 33cm high, with two-part carved wooden lotus form stand, and a wooden cover, 45cm high overallPossibly brought back from China by the vendor's ancestor, Leonard Haynes (1909-1949), who worked for the Hong Kong Police Force.

Chinese Canton Famille Rose porcelain octagonal footed dish, with turqouise glazed interior, the exterior with floral and foliate motifs, unmarked 18cm diameter x 5cm high, and two jade-coloured glazed tea bowls, iron-red seal type marks, 8.5cm rim diameter x 6cm high (3)

Pair of Chinese crackleware baluster vases, circa 1900, each with twin lug handles, decorated in relief with prunus, a crane in flight and two four-toed dragons chasing the pearl of wisdom, incised Archaistic-style brown seal marks to base, 35cm high

20th Century Chinese watercolour on silk scroll painting of cherry blossom, inscribed and with two red seal marks to right edge, 127cm x 65cm, on cream damask backing, 83.5cm wide x 258cm high, further characters behind top rail, turned hardwood baton (jiku) to base, 93cm wide

20th Century Chinese watercolour on silk scroll painting, depicting a mountain temple with figure on a terrace overlooking a ravine, large red seal upper centre and another smaller to lower right corner, 110.5cm x 56.5cm, on cream and pale blue damask backing, 70.5cm wide x 229cm high, two further rows of characters and red seal behind top rail, turned hardwood baton (jiku) to base with retailer's label of G. & T. Poitier (Paris), 79.5cm wideThere is a ‘dent’ around a third of the way down. There is a noticeable crease just below the picture and a sticker mark just below that. It is also creasing on the lower blue area close to the pole. There are a few patches that could be dirt but this is hard to tell due to the colour of the picture itself. There are a few bigger marks on the back.

A Chinese gilt bronze censer, fretwork disc cover with coiled dragon, twin ring handles, grinning mask to the frieze, triple beast head terminal feet, seal mark to base, 13cm high, 14cm diameter

19TH CENTURY CHINESE SCHOOL "Cock, hen and chicks", watercolour, bearing various seal signatures and collectors' marks (x 12), 78 cm x 42 cm

A Chinese crackle glazed famille verte vase, late 19th century Decorated with warriors in battle, seal mark, height 19.5cm, width 8cm.

A Chinese porcelain meiping vase, Qianlong seal mark. The polychrome enamels depicting butterflies amongst pumpkins, height 24cm, width 11cm.

A Chinese silk painting of a mountainous river scene, 19th century. Character marks and red seal, later framed, 86 x 83cm.Framed and glazed, unexamined out of the frame. There is some browning and spotting, otherwise good.www.davidlay.co.uk/auction/lot/lot-643---a-chinese-silk-painting-of-a-mountainous-river-scene-19th-century/?lot=111337&so=0&st=643&sto=0&au=215&ef=&et=&ic=False&sd=0&pp=24&pn=1&g=1

A Chinese calligraphy scroll, with red seals, 20th century. And four Chinese paintings on silk, mid 20th century.Mountainous river scenes with character marks and red seal. (5)

A Chinese famille rose porcelain brush pot, 20th century. Four-character red mark, with figures at a table in a garden, verse and red seal, height 14cm, diameter 8cm.

Two Chinese Yixing teapots. The largest with seal mark to cover and script to body, height 7.5cm, length 17cm, diameter 11cm. (2)

A Chinese Yixing pottery teapot. The body with incised character marks and foliate decoration, seal to base, height 8.5cm, length 14cm, diameter 10cm.From a Private Collection, purchased from a Country House Sale, Devon, mid 1980s. This is in excellent condition with no restoration

A pair of Chinese famille rose porcelain lobed plates, Daoguang 1821-1850. Each painted and enamelled with a bearded man in floral robe flanked by female figures,,with outcrops, flowering trees and fenced garden, the turquoise base with Daoguang iron red seal mark and of the period, diameter 18cm. (2)From a Private Collection, purchased from a Country House Sale, Devon, mid 1980s.Each plate has two losses on the rim, with associated hairlines. Please view additional images.www.davidlay.co.uk/auction/lot/lot-594---a-pair-of-chinese-famille-rose-porcelain-lobed-plates-daoguang-1821-1850/?lot=106669&so=0&st=594&sto=0&au=215&ef=&et=&ic=False&sd=0&pp=24&pn=1&g=1

A Chinese Yixing pottery novelty incense burner, mid 20th century, Seal mark, height 19cm, width 17cm, depth 16cm.

A Chinese porcelain famille rose bowl. Six character Qianlong seal mark to base decorated with bats gourds and vines, height 6cm diameter 14cm.very tiny nick on top rim and wear to the gilt. Extra images on our website www.davidlay.co.uk

A Chinese blue and white brush pot. Decorated in relief with a dragon chasing the flaming pearl, seal mark, height 14cm, diameter 10.5cm.

A Chinese porcelain Famille verte spoon Daoguang seal mark. Decorated with flowers and foliage with calligraphy, bats to the underside, length 18cm.There is a tiny chip on the spoon end and there are some pitted kiln marks on the back.

A Japanese Satsuma teapot, early 20th century, signed. Height 8cm, length 12.5cm, a pottery model of Shoulao impressed seal, height 9.5cm, width 6cm, depth 5cm, a Chinese Yixing twin handled sugar bowl, impressed seal, and a Chinese pewter spoon, length 9.5cm. (4)Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.

A Chinese famille verte porcelain shallow bowl, red Jiaqing seal mark. Painted with insects amongst foliage, height 5.5cm, diameter 21cm,.From a Private Collection, purchased from a Country House Sale, Devon, mid 1980s.Damaged and repaired.

A Chinese polished bronze vase, Qing Dynasty. Decorated with a dragon and cloud scrolls, the lobed body on circular platform base, seal mark, height 31cm, width 19.5cm.Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.No dents or dings. Surface marks from when the piece was created.

A Chinese blanc de chine figure of Guanyin, 19th century. Impressed seal mark, Height 33.5cm, width 15.5cm, depth 10.7cm. Four small firing cracks to the piece, as well as a a broken finger. No provenance.https://www.davidlay.co.uk/auction/lot/lot-600---a-chinese-blanc-de-chine-figure-of-guanyin-19th-century/?lot=111156&so=0&st=600&sto=0&au=215&ef=&et=&ic=False&sd=0&pp=24&pn=1&g=1

A Chinese celadon porcelain plate, 19th century. Decorated in polychrome enamels with birds, butterflies and flowers, blue seal mark, diameter 26cm a Chinese blue and white porcelain prunus pattern ginger jar, circa 1900, height 13.5cm, diameter 12.5cm and a Chinese famille noire ginger jar and cover, 20th century, height 16cm, diameter 12cm. (3)

A Chinese celadon crackle glaze vase, 20th century. Four character seal, in original red velvet lined box, height 12.5cm, diameter 12cm.

A Chinese porcelain figure Shoulao, Republic period. Holding a peach and staff, seal mark, height 19cm, width 7.5cm, depth 6cm and two other figures. (3)One with missing staff. Some missing gilding and enamels. Dirty. Please see images on our website.

A Chinese porcelain tile, late 19th/early 20th century. Set in a carved hardwood frame, painted with figures in a landscape , red seal and character marks, tile size 38.5 x 25cm, screen size 87 x 73.5cm.Provenance: From the estate of Lt Commander Conway Benning Allen.Allen was married in Hong Kong Cathedral in 1927, at which time he was Captain of HMS L5, one of eight L class submarines built for the Royal Navy during WWI. Based in Falmouth, HMS L5 had sailed to Hong Kong in 1919 and she served on the China Station throughout the 1920s, where Allen and his wife acquired these items.The porcelain would benefit from a clean. The frame has no condition issues.

A Chinese famille rose porcelain model of a seated Shoulao, 20th century. Depicting the Daoist god of longevity, holding a peach and a knotty staff, impressed seal mark, height 27.5cm, width 22.5cm, depth 17cm.Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.The glazing is rough to the base of the piece, age-related, and doesn't detract. No other condition issues.

Three Chinese famille rose porcelain figures of The Immortals, 20th century. each with seal mark to base, largest height 59cm, width 18.5cm, depth 16cm. (3)Footnote: Known as the star gods, Fu Xing, Lu Xing and Shou Xing, they stand for the highest priorities in Chinese life of fortune, prosperity and longevity. Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.These are in good condition and well decorated. There are no chips or cracks, but a dusting and clean would benefit them. There are uniform holes on all three pieces, probably used to hold incense during ceremonies.