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Two similar Chinese green enamelled ‘dragon’ jars and covers, Daoguang mark and period (1821-50), each shoulder painted with the eight Buddhist emblems above dragons chasing flaming pearls, red and blue six character seal marks to the base,Provenance - Frederick Anthony White (1842-1933), thence by family descent. Frederick Anthony White was a great collector of European old master drawings and Chinese porcelain. Some of his collection was sold at auction by Christies in two sales in 19 December 1925 and April 19, 1934. These vases were bought in lot 137, at the 1925 auction, by a member of his family. 21.5cm high, damaged and repaired***CONDITION REPORT***Please note these jars are not a pair but are very similar with different coloured seal marks underneath. The first jar has been extensively broken and massively restored on the neck and shoulder, the cover is also broken and Messerli restored, the second jar is extensively broken and repaired with messy filler repairs around the areas, the cover has a small section broken and restored.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese famille rose fencai ‘dragon’ saucer dish, Jiaqing four character seal mark, 19th century, painted six bats, five different coloured dragons amid clouds and flames, above waves, around a central fruit medallion, the underside with four character mark, 14.6cm diameter***CONDITION REPORT***There is a minute flake to the gilding on the rim and a minute chip to the exterior of the rim, typical minor glaze imperfections, otherwise in good condition with no restoration or cracks detected.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Five Chinese and Japanese artworks to include: Butterfly with flowers, watercolour, calligraphy and red seal mark, 29 x 36 cm; two men and a woman painting lanterns, watercolour; embroidery of lotus flowers and two watercolours of birds (5)

Two Chinese watercolour paintings: Woman in the woods, and Butterflies with Chrysanthemums, both watercolour on silk with calligraphy and red seal marks, 60 x 21 cm each in matching frames

Two Chinese paintings of ladies playing instruments (late 19th/early 20th century), watercolour and bodycolour on silk on paper, one bearing calligraphy and red seal mark lower left, probably part of a larger series of paintings of similar subject, approx. 23 x 33 cm each (2)

20th century Chinese hanging scroll, mountainous landscape, watercolour on paper, calligraphy and red seal top left, 68 x 45.5 cm

20th century Chinese hanging scroll with painting of snow blossom in winter scene, watercolour on paper, calligraphy and red seal mark top right, two characters inscribed verso, 128 x 61 cm

Three framed Chinese paintings on silk of birds in trees (early 20th century), two bearing red seal mark, one without, 50 x 30 cm, framed as a set

A pair of Chinese enamelled porcelain tea bowls, Qianlong seal marks, 7cms diameter

A Chinese Jade bi disc, two cherry amber ox and a soapstone seal

A Chinese blue and white celadon glazed dish, Qianlong seal mark, but 19th century, 15cm diameter

A Chinese blue and white bottle vase, Qianlong seal mark, 37cms high

A Chinese pale celadon and black jade ‘lion-dog’ seal, 18th/19th century, the creamy white stone with black inclusions 3.9cm high

A Chinese famille rose porcelain vase, probably early 20th century, of tapering cylindrical form, painted with figures under a pine tree, red seal mark to base, on a hardwood stand. Height excluding stand 24.5cm

A large Chinese bronze baluster vase, c. 1900, cast in high relief with dragons and a flaming pearl, the base with elaborate cast seal mark centred on six characters. Height 41.5cm

AN AVENTURINE GLASS 'LINGZHI' PENDANT, IMPERIAL GLASS WORKSHOPS BEIJING, QIANLONG PERIOD 乾隆時期御製金星玻璃靈芝佩China, 1741-1795 (the production of aventurine glass started only in 1741, see note below). Finely carved in the form of a lingzhi, curled at the sides and with a stem, gently curved raised lines neatly incised at the top, the reverse with two apertures drilled for suspension. The material of a lustrous caramel-brown tone with gold speckles.Provenance: New York trade. Condition: Very good condition with minor old wear, few minuscule chips and nibbles.Weight: 21.5 g Dimensions: Length 4 cmAventurine glass, which was made by dissolving copper particles into molten glass, was invented by the Venetian glass makers of Murano. It was introduced to China during the Kangxi reign (1662-1722) and immediately caught the imagination of the Qing court. Moss, Graham and Tsang illustrate an aventurine glass snuff bottle from the J&J collection and discuss in detail the introduction from Venice to Beijing and subsequent use of this material in The Art of the Chinese Snuff Bottle, the J&J Collection, volume II, New York, pages 572 and 573. They write that 'Yang Boda has recorded that in the fifth year of the Qianlong period (1740), two Jesuits joined the Court at Beijing to assist Pierre D'Incarville and Gabriel-Leonard de Broussard in the glass-making, and that in the following year (1741) they produced aventurine glass' (Yang Boda, A Brief Account of Qing Dynasty Glass, Chinese Glass of the Qing Dynasty 1644-1911, The Robert H. Clague Collection, page 79).The present lot is exceptionally rare and no other similar example would appear to have been published. It displays one of the many playful variants of Qing dynasty Imperial craftsmanship, by imitating one material using another. This was done with characteristic Qing opulence, adding a distinct sparkle to the material.Literature comparison:Compare several aventurine glass scholar's objects in the Qing Court Collection, Beijing, and illustrated in The Complete Collection of Treasures of the Palace Museum - Small Refined Articles of the Study, Shanghai, 2009. All are dated to the Qianlong period and include a small lotus leaf-form ink palette or brush washer, no. 119; an ink rest, no. 128; a combination pomegranate-shaped water container and finger citron-shaped vase, no. 202; and a carving of three rams amidst rocks symbolizing the auspicious beginning of the New Year, which has a Qianlong seal mark, no. 319.Auction result comparison:Type: Related Auction: Bonhams London, 2 November 2021, lot 67 Price: GBP 17,750 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A rare aventurine glass 'leaf and grapevine' ink palette, Qianlong Expert remark: Compare the color and sparkle of the material as well as the naturalistic subject matter. Note the larger size (8.5 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 16 March 2016, lot 457Price: USD 6,250 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A carved aventurine glass snuff bottle, imperial, palace workshops, Beijing, 1750-1800乾隆時期御製金星玻璃靈芝佩中國，1741-1795年 (金星玻璃始於1741年，見注釋)。靈芝精雕細刻，兩側捲曲，有莖，頂部線條平緩彎曲凸起，背面有兩個孔用以懸掛。有光澤的蜜棕色料，帶有金色斑點。 來源：紐約古玩交易市場。 品相：狀況極好，有輕微的磨損，微小的磕損和刻痕。 重量：21.5克 尺寸：長4厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A CELADON JADE 'TURTLE' SEAL, 17TH CENTURY 十七世紀青玉龜鈕印China. The square seal surmounted by a turtle standing foursquare, its minuscule head almost entirely retreated into the large shell with neatly incised carapace, the tail trailing to the ground, the seal face left plain. The translucent stone of a celadon tone with russet veins, dark specks, and cloudy white inclusions.Provenance: Adrian M. Joseph, c. 2003. British private collection, acquired from the above. Adrian Malcolm Joseph started studying and collecting Chinese ceramics during the late 1950s. He published various important papers and books including Ming Porcelains: Their Origins and Development (1971) and Chinese and Annamese Ceramics found in the Philippines and Indonesia (1973). He and his wife Phyllis began collecting Japanese art in the late 1960s, initially acquiring ceramics from important dealers such as Shimojo in Tokyo. Joseph became a Director of Hugh Moss Ltd. in the 1970s.Condition: Very good condition with minor wear, minuscule nicks, natural weathering.Weight: 42.7 gDimensions: Size 2.8 x 2.8 x 2.6 cmAuction result comparison: Compare a related black and gray jade seal of a tortoise, 3 cm high, dated Ming dynasty or earlier, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part IV on 20 March 2015, lot 739, sold for USD 6,000 (part lot, together with a brown jade seal depicting a mythical beast). Compare a white jade seal depicting a bixi, 4 cm wide, dated to the late Ming dynasty, at Christie's Hong Kong in The Pavilion Sale on 6 October 2015, lot 47, sold for HKD 68,750.十七世紀青玉龜鈕印中國。方形印上雕刻龜形鈕，小小的腦袋幾乎完全縮進了龜殼裡，甲殼整齊切割，尾巴垂在地上。印面光滑，青色半透明玉石，帶有赤褐色的脈紋和白色絮狀物。 來源: Adrian M. Joseph, 約2003年；英國私人收藏，購於上述收藏；Adrian Malcolm Joseph 在 1950 年代後期開始研究和收集中國陶瓷。 他發表了多篇重要論文和著作，包括《Ming Porcelains: Their Origins and Development》（1971）和《Chinese and Annamese Ceramics found in the Philippines and Indonesia》（1973）。 他和他的妻子Phyllis在 1960 年代後期開始收集日本藝術品，最初是從東京的 Shimojo 等重要經銷商處購買陶瓷。 Joseph 在 1970 年代成為 Hugh Moss Ltd. 的董事。 品相: 狀況極好，輕微磨損，小劃痕，自然風化。 重量: 42.7 克 尺寸: 2.8 x 2.8 x 2.6 厘米 拍賣結果比較: 比較一件相近的明代或更早的灰白玉雕龜鈕印，高3 厘米 ，見紐約佳士得 The Collection of Robert Hatfield Ellsworth Part IV 2015年3月20日 lot 739, 售價USD 6,000 (與另一件褐色瑞獸鈕玉印一起)；比較一件明末白玉雕瑞獸，寬 4 厘米，見香港佳士得The Pavilion Sale 2015年10月 6日 lot 47, 售價HKD 68,750。

A RARE GUAN-TYPE VASE, HU, QIANLONG MARK AND PERIOD 乾隆款及年代仿官釉雙耳壺China, 1736-1795. The ovoid body supported on a thick spreading foot and tapering to a waisted flared neck, set to either side with a lion-head-form loop handle over a molded mock ring handle at the shoulder, applied overall in a thick bluish-gray glaze suffused with a bold network of steel gray and pale gold crackles stopping at the unglazed foot ring dressed in a dark brown wash in imitation of Song dynasty guan ware. The recessed base with an underglaze-blue six-character mark da Qing Qianlong nianzhi and of the period.Provenance: Swiss trade. Condition: Fine condition overall with wear and firing irregularities, shallow surface scratches, the rim with a small chip and associated minor old repair. Please request further detail images as well as a video, shot under strong blue light, for accurate documentation of the condition of the present lot.Weight: 6,002 gDimensions: Height 37 cmThe crisply molded lion-form loop handles on the present piece are striking, varying from the usual shallow applied lion-mask handles with pendent rings or the rarer elephant-head loop handles. The bold feature is a charming 18th-century innovation on a vase that in both form and glaze references two well-known early accomplishments of Chinese art: the iconic hu form derived from the great bronzes of the Shang dynasty and the rich crackled glaze of the famed Guan wares of the Southern Song dynasty. The official or Guan ware was produced for the court in the capital, Hangzhou, in Zhejiang province. Laohudong in southern Hangzhou appears to have been the most important Guan kiln creating wares with an attractive crackled glaze, a version of which is seen on the present piece. The crackle was purposefully made utilizing refined technical skill to calibrate a cooling rate for the wares that would produce the different layers of fissures and allow them to be filled with two to three different colors. The present piece with its two tones references the jinsi tiexian (gold thread and iron wire).Such a pointed allusion to the past served to both pay homage to the past while simultaneously noting the technical achievements of the present. Archaism enjoyed a major revival during the height of the Qing dynasty under the Yongzheng and Qianlong emperors. The combination of a precious glaze and ancient form suggests a deep appreciation and respect for the past, together with the want for its preservation.Auction result comparison: Type: Near-identical Auction: Sotheby's New York, 17 March 2015, lot 287 Price: USD 87,500 or approx. EUR 107,500 converted and adjusted for inflation at the time of writing Description: A rare Guan-type vase, Hu, Qianlong seal mark and period Expert remark: Compare the identical form, two-tone crackled glaze, and extremely rare lion-form loop handles. Note the smaller size (30 cm).乾隆款及年代仿官釉雙耳壺中國，1736-1795年。仿漢壺尊形制，鼓腹，外撇圈足。頸部兩側有獅首耳，通體及足內均施仿官釉，釉面開片紋。胎體優美，造型素雅，猶可辨趙宋遺韻。圈足内六字篆書款“大清乾隆年製”。 來源：瑞士古玩交易。 品相：整體狀況良好，磨損和燒製不規則，表面淺劃痕，邊緣有小磕損和相應小修。請聯繫部門詢問更多細節圖片以及在強藍光下拍攝的視頻，以準確查看當前拍品的狀況。 重量：6,002 克 尺寸：高37 厘米 這件作品上造型清晰的獅首耳特別引人注目，與通常帶有活環的獅首或較罕見的象首耳不同。此器的造型、釉色都極似宋代的作品，是仿古之作。清雍正時期對宋代五大名窯的仿製取得了空前的成就，摹古水平極高。此時所仿製的宋代官窯釉面或有冰裂紋或無片紋，其紋呈白色或鐵色。胎色黑，頗能體現宋代官窯 “紫口鐵足”的特色，在清代文獻中被稱為“鐵骨大觀”。拍賣結果比較： 形制：幾乎相同 拍賣：紐約蘇富比，2015年3月17日，lot 287 價格：USD 87,500（相當於今日EUR 107,500） 描述：清乾隆官式瑞獸耳壺 《大清乾隆年製》款 專家評論：比較幾乎相同的外型、雙色調的釉面開片，以及罕見的獅首耳。請注意尺寸較小 (30 厘米)。

PEACHES BY ZHONGWEI 仲偉 《桃》China, dated 1921. Ink on segmented paper. The fan-shaped painting depicts two plums on a branch. Calligraphy with seal mark on the right. Another seal mark on the bottom left.Inscriptions: A poem about peach blossoms. Text (translated): 'By Zhongwei' and 'On a summer's day of the year Xinyou (1921)'.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden.Condition: Very good condition. The painting with abrasions along the folds, touch-ups.Dimensions: Image size 53.5 x 22.5 cm, paper cover 63.5 x 65 cmLaid down on paper with protective cover.

AN IMPERIAL SPINACH-GREEN JADE 'LUOHAN' PANEL AFTER GUANXIU (823-912 AD), WITH A POETIC EULOGY BY HONGLI (1711-1799) 貫休款御製羅漢弘曆(1711-1799)詩文碧玉板Opinion: Imperial jade plaques from this distinct group are exceedingly rare. It is impossible to say whether the present lot once served as a table screen, possibly within a group of sixteen, or if it was once part of an Imperial jade book, such as the example in the Chester Beatty Library, Dublin, which portrays all sixteen luohan with accompanying inscriptions (see literature comparison). Either way, the supreme skill level of the incision work overall, as well as the carefully chosen stone and the immaculate calligraphy, all very clearly reflect Imperial workshop quality, no less.The poetic eulogy: Shaking the rock, he leans his knee on it and there takes his rest. It is only this superior being, neither speaking nor silent, who has such eyebrows that trail to the ground. As he pulls them up by hand, does he not seem to be sorting through clouds, and this shows how very fine they are.The author: Born Hongli, the fourth son of Yongzheng, Qianlong was the sixth Emperor of the Qing dynasty, reigning from 1735 to 1796. In 1796, he abdicated in favor of his son, Jiaqing, a filial act in order 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.China, 1736-1795. Superbly incised and gilt with the luohan Kalika seated in a relaxed pose atop a rocky outcrop, a pair of sandals on the ground below him, all beneath a minute inscription identifying him along with an Imperial eulogy, and three finely incised seal marks. In one hand the luohan holds one of his extremely long eyebrows between two fingers. He is wearing loose-fitting monastic robes with well rendered folds, while the structure of the rock below is expressively incised as well. Provenance: From a noted private collection in Paris, France. Condition: Very good condition with minor wear, natural imperfections to the stone, and minuscule nicks here and there. The gilt to the incisions is partially faded and lost. Smooth silky matte polish overall, as expected on this type of imperial jade plaque.Weight: 265.6 g Dimensions: Size 14.1 x 9 cmThe distinctively exaggerated depiction of the luohan Kalika, finely incised and gilt on the present jade panel, originated with the famous Five Dynasties painter Guanxiu (823-912 AD), whose hugely influential rendition of each luohan's iconography is seen on a number of Qing dynasty Imperial jade carvings and other works of art.In 1757, Qianlong embarked upon a tour of inspection in southern China and visited Hangzhou where he was stationed near Shengyin Si, the monastery that owned the original paintings of the sixteen luohans by Guanxiu. The emperor believed the paintings to be the same set that had been recorded in the Xuanhe Huapu, the inventory of the Song dynasty emperor Huizong. Upon examining the paintings, it is reported that Qianlong wrote a poetic eulogy to each luohan image, renumbering them and providing a translation of their names in Chinese, see Nick Pearce, 'Images of Guanxiu's Sixteen Luohan in Eighteenth-Century China', Apollo, February 2003, pp. 25-31.In 1764, the head abbot at the Shengyin Si monastery, Master Mingshui, instructed local stone engravers to copy the sixteen portraits, incising Guangxiu's lines as well as the emperor's calligraphy and seals onto sixteen large flat stones that were embedded into the sixteen sides of the Miaoxiang marble Pagoda, illustrated in the exhibition catalog The Emperor's Private Paradise, Treasures from the Forbidden City, Peabody Essex Museum, Salem, 2010, fig. 23.In the following decades, the Qianlong emperor had artisans reproduce the images in a variety of mediums, including incising them on jade plaques. A Qianlong period jade book in the Chester Beatty Library, Dublin portraying sixteen luohan with accompanying inscriptions, is illustrated in William Watson, Chinese Jade Books in the Chester Beatty Library, Dublin, 1963, pls. 6-7.Literature comparison: Compare a stone rubbing after the set attributed to Guanxiu, possibly by Ding Guanpeng, in the collection of the Metropolitan Museum of Art, accession number 59.195.16.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 11 December 2014, lot 164Price: EUR 97,500 or approx. EUR 113,500 adjusted for inflation at the time of writingDescription: Important ecran Imperial en jade celadon, Dynastie Qing, epoque QianlongExpert remark: Compare the closely related depiction of Kalika, with the same identifying inscription and poetic eulogy found on the screen as on the present lot.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 March 2016, lot 401 Estimate: USD 50,000 or approx. EUR 58,000 converted and adjusted for inflation at the time of writingDescription: A rare incised and gilt spinach-green jade 'luohan' table screen, Qing dynasty, 18th-19th century.貫休款御製羅漢弘曆(1711-1799)詩文碧玉板中國，1736-1795年。雕刻精美，鎏金嘎禮嘎尊者以游戲姿坐在岩石上，腳下放著一雙涼鞋。羅漢一隻手二指之間夾著他的長眉。他身著寬鬆的僧袍，褶皺紋理流暢。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIOD 乾隆款及年代青釉暗刻纏枝蓮紋瓶China, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).乾隆款及年代青釉暗刻纏枝蓮紋瓶中國，1736-1795年。圈足内六字篆書款“大清乾隆年製”。由於字數限制，完整中文敘述請至www.zacke.at查看。

FAN SHAPE BAMBOO LEAVES PAINTING BY JISHENG CHENG HOU 寄生程厚《竹》China, first half of the 20th century. Ink on segmented paper. The fan-shaped painting depicts two bamboo branches covered with leaves. Calligraphy and three seals on the right.Inscriptions: The text describes the noble character of the bamboo. Signed 'Jisheng Cheng Hou', two seals left of the text 'Jisheng' and 'Cheng Hou.' One seal on the right.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden.Condition: The painting with material loss, one larger tear in the middle, with touch-ups.Dimensions: Image size 53 x 19.9 cm, paper cover 63.5 x 65 cmLaid down on paper with protective cover.

A PAIR OF FAMILLE ROSE 'MILLEFLEUR' VASES, LATE QING TO REPUBLIC 清末民初一對粉彩開光萬花紋賞瓶China, 1900-1949. Each with ovoid sides rising from a short foot to a waisted neck with lipped rim, the high shoulder applied with two iron-red and gilt bat-form handles. Finely painted in bright enamels with an ovoid panel enclosing Shoulao carrying his staff and holding a longevity peach to one side and Lin Daiyu carrying a flower basket on the other, all against a rich millefleur design on a gilt ground.Provenance: From a Swedish private collection. Condition: The first vase is in excellent condition with only minor wear and firing flaws. The second vase shows a glaze hairline (not going through the body and hardly visible to the naked eye), a minuscule old repair to one bat ear only, and microscopic firing flaws to the enamels - it is overall still in good condition. Both vases are slightly tilted and show only minimal wear to the gilt.Weight: 941.1 g and 891.9 gDimensions: Height 29.2 and 29.1 cmThe countersunk bases each with an apocryphal iron-red six-character seal mark da Qing Qianlong nianzhi.Auction result comparison: Compare a related deer-handled single vase of hu form (47.8 cm high), also with an apocryphal Qianlong mark and panels enclosing figures against a millefleur design, dated to the Republic period, at Bonhams San Francisco in Fine Chinese Works of Art on 24 June 2014, lot 8331, sold for USD 15,000. Compare also a related scroll-handled vase, 35 cm high, also with an apocryphal Qianlong mark and panels enclosing figures against a millefleur design, dated to the late Qing dynasty, at Bonhams Hong Kong, 24 November 2010, lot 263, sold for HKD 108,000.清末民初一對粉彩開光萬花紋賞瓶 中國，1900-1949年。唇沿，直頸，瓶身長且削腹，底足內凹。兩肩除飾有兩個礬紅描金蝙蝠形輔首。彩繪萬花紋精美，橢圓形開光內分別描繪壽老拜壽與林黛玉葬花場景手執花籃，與富麗的萬花紋相映成趣。 來源：瑞典私人收藏。 品相：第一個花瓶狀況極佳，只有輕微磨損和燒製瑕疵。 第二個花瓶釉面有纖細裂紋（未穿過身體，肉眼幾乎看不到），僅對一隻蝙蝠輔首曾進行了微小的修復，以及釉面細微燒製瑕疵。總體上仍處於良好狀態。兩個花瓶都略微傾斜，描金處有小磨損。 重量：941.1 克與 891.9 克 尺寸：高 29.2 與 29.1 釐米 底足內有礬紅釉寄託款“大清乾隆年製”。 拍賣結果比較：比較一件民國時期的鹿耳壺，高47.8 厘米，同樣有乾隆寄託款，萬花紋開光人物，，見舊金山邦翰思Fine Chinese Works of Art 2014年6月24日 lot 8331, 售價USD 15,000；比較一件清代的雙耳瓶，高 35 厘米，同樣有乾隆款與萬花紋，見香港邦翰思2010年11月 24日 lot 263, 售價HKD 108,000。

'LADY', IMPERIAL SCHOOL, QING DYNASTY 清代《仕女臨窗圖》鏡心China, 1644-1912. Ink and watercolors on fine silk. Masterfully painted with a young lady opening a window, wearing a loose-fitting robe with hems and collar decorated with lotus scroll, jewelry, and flowers in her hair, looking straight ahead with a subtle smile, a gnarled blossoming tree above her and craggy rockwork below.Inscriptions: Center left, 'Wuzhong Yanshan Qiaoke Yuan Chao'. One seal, 'Zixin'.Provenance: Collection of John and May Waldroup, assembled while living in Japan during the 1960s. John D. Waldroup (1926-2006) was an American accountant for Price Waterhouse in Manila, Philippines, where he met and married his wife May (b. 1930). In 1962, they moved to Japan, opening an office for Arthur Young and Co., as a partner of the firm.Condition: Good condition with minor wear and soiling, creasing, minor losses and associated old repairs. Mounted.Dimensions: Diameter 26 cm, Size incl. mounting 32.7 x 39.5 cmAuction result comparison: Compare a related Imperial School painting of a court lady and boy, 98 x 60 cm, dated early 18th century, at Sotheby's Hong Kong in Fine Chinese Ceramics & Works of Art on 7 April 2010, lot 1826, sold for HKD 1,340,000. 清代御製《仕女臨窗圖》鏡心 中國，1644-1912年。絹本水墨設色。描繪了一位年輕的仕女正打開窗戶，她穿著寬鬆的常服，髮飾芙蓉珠寶發簪精美。她帶著似乎異常欣喜的微笑直視前方，身旁櫻花盛開。 款識：吳中研山樵客，袁潮鈴印：子辛 來源：John 與 May Waldroup收藏，創建於上世紀六十年代他們生活在日本時期。John D. Waldroup (1926-2006) 是菲律賓馬尼拉普華永道的美國會計師，在那裡他結識並娶了他的妻子May（生於 1930 年）。 1962 年，他們移居日本，為 Arthur Young 公司開設了辦事處，作為公司的合夥人。 品相：狀況良好，有輕微磨損和汙漬、起皺、輕微缺損和相關的修補。 尺寸：畫面直徑26厘米，總32.7 x 39.5厘米 拍賣結果比較：比較一件相近的十八世紀初宮廷畫師的《嬰戲圖》，見香港蘇富比Fine Chinese Ceramics & Works of Art 2010年4月7日 lot 1826, 售價HKD 1,340,000。

'PRAYING MANTIS', BY JU LIAN (1828-1904), DATED 1895 居廉款《紫藤和螳螂》，1895年China. Ink and watercolors on silk. Of circular form, finely painted with a praying mantis perched on a wisteria stem, its slender legs balancing on the leaves, the head raised with alert eyes and long antennas, the finely meshed wings tucked along the body and grasping an insect, the white wisteria flowers above with three bees.Inscriptions: Center left, dated 'In the Summer of the year of Yiwei' (corresponding to 1895) and signed 'Geshan Laoren Ju Lian', one seal of the artist, 'Guquan'. Provenance: French trade. Condition: Very good condition with minor wear, few small stains, and little creasing. Some of the black ink possibly refreshed. Dimensions: Image size 24.1 cm diameter, Size incl. mounting 41.5 x 36 cm (each)Mounted and framed behind glass. (2)Ju Lian (1828-1904), a native of Panyu, now Guangzhou, was a Chinese painter during the later Qing Dynasty. His courtesy name was 'Ancient Spring' (Gu Quan), and his self-given pseudonym 'Old Man of the Divided Mountain' (Ge Shan Lao Ren). He was the younger brother of the painter Ju Chao and was known for his plant-and-insect paintings and bird-and-flower paintings.The praying mantis (tanglang) is an insect that lays large numbers of eggs, and thus symbolizes fertility in Chinese culture. The symbolism is reinforced by the sound of the second character (lang) which is identical to one of the characters for 'son'. Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 5 April 2015, lot 1262Price: HKD 300,000 or approx. EUR 43,000 converted and adjusted for inflation at the time of writingDescription: Ju Lian (1828-1904)Expert remark: Compare the closely related motif, material, and circular form居廉款《紫藤和螳螂》，1895年中國，絹本設色，圓形扇片。一隻螳螂棲息在紫藤莖上，纖細的腿支撐在葉子上，頭抬起，警惕的眼睛，捕捉了一隻昆蟲，長長的觸角。白色紫藤花盛開，三只蜜蜂正迎花起舞。 款識：奉佳仁兄大人鋻正，乙未夏隔山老人居廉鈴印：古泉畫印 來源：法國古玩交易市場。 品相：狀況極好，有輕微磨損與小污漬，輕微摺痕。局部黑色水墨可能加深過。 尺寸：畫面直徑24.1 厘米，總41.5 x 36 厘米鏡框。 螳螂在中國，因為其諧音，寓意著“金玉滿堂(螳)堆長廊(螂)”。拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2015年4月5日，lot 1262 價格：HKD 300,000（相當於今日EUR 43,000） 描述：居廉 (1828-1904) 《螳螂捕蟬》 專家評論：比較非常相近的主題、材質和鏡心。

AN EMBROIDERED 'CRANES WORSHIPPING THE PHOENIX' SILK PANEL, 19TH CENTURY 十九世紀《水雲鄉》刺綉掛屏China. Finely embroidered in elegant monochrome colors, depicting two majestic phoenixes with long trailing tails standing on a rock, two cranes looking upwards to them, at the lower right several mandarin ducks frolicking in a pond, and two birds perched on a tree.Inscriptions: To the upper left an inscription by the Song dynasty civil servant Huang Yuandao, writing about cranes and how they dance and fly. With two seal marks.Provenance: From a British private collection, according to the owner acquired in the early 20th century in China by their grandparents, and thence by descent within the same family. Condition: Superb condition with only minor wear, faint soiling and few loose threads to edges. The frame with nicks, scratches and other traces of wear and age. Must be considered exceedingly rare in this pristine state of preservation, especially given the frailty of the fabric.Dimensions: Size 41.9 x 87 cm (excl. frame), 48.2 x 94.4 cm (incl. frame)Paintings and embroideries with phoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace.Literature comparison:Compare a silk painting with a closely related subject, depicting two phoenixes surrounded by various species of birds and titled 'A hundred birds worship the phoenixes', 18th century, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1909.218.Auction result comparison:Type: RelatedAuction: Christie's London, 6 November 2018, lot 317Price: GBP 17,500 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: An embroidered silk 'phoenix and qilin' panel, 19th centuryExpert remark: Compare related motif and choice of colors. Note the size (70.5 x 102.8 cm).十九世紀《水雲鄉》刺綉掛屏中國。緞面素色綉，描繪了成雙成對的鳥類。樹下鳳凰立於假山上，兩隻白鶴仰頭朝拜鳳凰。一側兩隻鴛鴦戲水，樹上一對小鳥。 款識：水雲鄉天高海闊任翱翔，翮健汝思勞鞠養。凜冰霜，披鶴氅，去朝凰，樂未央，夫妻逑好長絕倡。兄弟融融笑他鬥鬩牆。眾友？詩歌時和唱。天籟響，自然？？。只羽族，重倫常。順化黃元道題 來源：英國私人收藏，藏家的祖父於二十世紀初購於中國，自此保存在同一家族至今。 品相：品相極好，只有輕微的磨損、污漬，邊緣有少量鬆線。鏡框有劃痕等磨損和年代痕跡。刺綉類拍品保存如此之好，極其罕見的。 尺寸：41.9 x 87 厘米 (不含框), 總48.2 x 94.4 厘米 文獻比較： 比較一件相似主題、一對鳳凰被眾鳥崇拜的十八世紀刺綉掛屏，名為〈百鳥朝鳳圖〉，收藏於佛利爾美術館，史密森尼學會的國立亞洲藝術博物館，編號F1909.218。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2018年11月6日，lot 317 價格：GBP 17,500（相當於今日EUR 22,500） 描述：十九世紀鳳凰和麒麟刺綉掛屏 專家評論：比較相近的圖紋和顏色。請注意尺寸(70.5 x 102.8 厘米)。

A FAMILLE ROSE PORCELAIN PAINTING OF TAO YUANMING (365-427), BY WANG QI (1884-1937) 王琦款粉彩陶淵明采菊瓷板China. The plaque of rectangular form, painted in polychrome enamels and iron-red to depict the poet Tao Yuanming kneeling, one hand resting on his knee, his head raised toward the left, a bamboo cane and double gourd laying in front of him, and a basket with flowers to his right. A poem related to the scene, the artist's signature, and two seal marks at the upper left corner.Inscriptions: Upper left, signed 'Xichang Wang Qi'. Two seals, 'Xichang Wang Qi' and 'Taomi'. Provenance: From the property of a Gentleman in London, United Kingdom. Condition: Very good condition with minor wear and manufacturing flaws, the top right corner with a small chip to the reverse.Weight: 1,918 g Dimensions: Size 36.7 x 24.6 cmTao Yuanming (365-427) was a Chinese literati and politician who was one of the best-known poets during the Six Dynasties period. He spent much of his life in reclusion in the countryside writing poems in which he often reflected on the pleasures and difficulties of life, as well as his decision to withdraw from civil service. Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based upon famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years Wang more and more developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work.Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 14 April 2022, lot 34Price: USD 16,562 or approx. EUR 15,700 converted and adjusted for inflation at the time of writingDescription: A Pair of Figural Porcelain Plaques Depicting Tao Yuanming and Li Bai Expert remark: Compare with this porcelain plaque, also depicting Tao Yuanming, but by He Xuren. Note that He Xuren was also a member of the Eight Friends of Zhushan, the school of porcelain painters of Wang Qi. Also note that the sale result is for two plaques.王琦款粉彩陶淵明采菊瓷板中國。彩繪鐵紅，繪製詩人陶淵明一手搭膝，頭向左轉，手前擺著一根竹杖和雙葫蘆，在他的右邊有一個裝著菊花的籃子。畫面光影富於變化，有西洋繪畫暈染技法，立體感強。 款識：西昌王琦；鈴印：西昌王琦、陶迷來源：英國倫敦紳士收藏。 品相：狀況極好，有輕微磨損和製造缺陷，右上角背面有一個開片。 重量：1,918克 尺寸：36.7 x 24.6厘米 拍賣結果比較： 形制：相近 拍賣：洛杉磯邦瀚斯，2022年4月14日，lot 34 價格：USD 16,562（相當於今日EUR 15,700） 描述：一對陶淵明和李白人物瓷板 專家評論：比較亦是描繪陶淵明的瓷板，但為何許人所繪。請注意何許人也是珠山八友，與王琦為同一個瓷版畫學派。請注意此件有兩塊瓷板。

AN INSIDE-PAINTED 'HAWK AND MOON' SMOKY CRYSTAL SNUFF BOTTLE, BY YE ZHONGSAN, DATED 1935 1935年葉仲三内畫“月下松鷹”煙晶鼻烟壺China, the bottle ca. 1750-1850, the painting 1935. Depicting a hawk perched on a pine branch, its head raised towards the full moon, the branches encircling the bottle, the reverse with an inscription. Of rectangular form with rounded edges, rising from an oval foot to a straight cylindrical neck, the top slightly concave.Inscriptions: Top center, signed Ye Zhongsan in the year of yihai (1935), one seal.Provenance: Hugh Moss Ltd., Hong Kong, 1993. Rachelle R. Holden, New York, acquired from the above. An old collector's label with inventory number '308' to the base. Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and the foremost authority on Chinese snuff bottles. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life. Condition: Superb condition with only minor wear. Minute fleck on exterior of mouth rim.Stopper: Rose quartz (the metal mount with few minuscule nicks)Weight: 58.8g Dimensions: Height including stopper 73 mm. Diameter neck 17 mm and mouth 6 mm.Ye Zhongsan, from about 1904 onwards, began to take advantage of what we may presume to have been a weakening market for old snuff bottles in the wake of the gradually dying interest in snuff in favor of smoking cigarettes and the political turmoil that attended the aftermath of the Boxer Rebellion of 1900 and the collapse of the Qing dynasty, which would follow in 1911. We suddenly see a reasonable number of old agate and crystal bottles where the natural color shades in the material are imaginatively used as the basis for ink-play paintings. The present 'dark' bottle was deliberately chosen by the artist to show the majestic hawk at night, as he gazes at the full moon, which itself is mostly hidden behind a pine tree. It is quite remarkable that it took until the turn of the century for any inside-painting artists to realize the potential in using such materials that were, after all, readily available and, it would seem, crying out for such treatment. It was Ye Zhongsan's use from the early years of the present century onwards that defined this particular branch of the art, and it remained his prerogative throughout his career, being adopted only occasionally by other artists, including Zhou Leyuan. This again seems strange, since once the idea was established, we might have expected other artists to respond more enthusiastically to it. But of course such initial enthusiasm may well have been impeded by the increased challenge of integrating one's personal artwork into an already existing natural environment.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 29 March 2022, lot 51Price: USD 10,710 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: An inside-painted smokey-quartz snuff bottle, signed Ye Zhongsan, dated 19241935年葉仲三内畫“月下松鷹”煙晶鼻烟壺中國，鼻烟壺可能為清代1750-1850年間，内畫為1935年。描繪一隻棲息在松枝上的鷹，它正回頭望月。松枝環繞整壺，另一面有款識。長方壺形，圓角，圓柱形直頸，壺口略微内凹。 款識：乙亥清和葉仲三作 來源：香港Hugh Moss 藝廊，1993年；紐約Rachelle R. Holden購於上述藝廊。底部可見收藏編號“308”。Hugh Moss (出生於1943) 是一位中國藝術方面的作家、經銷商、藝術家、收藏家，也是中國鼻烟壺界的權威。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相極好，只有輕微磨損。壺口外緣有微小的斑點。 壺蓋：粉紅石英(托片上有一些細微的劃痕) 重量：58.8克 尺寸：高 （含蓋）73 毫米，頸部直徑17 毫米及壺口直徑6 毫米由於字數限制，完整中文敘述請至www.zacke.at查看。

'GRAPES, LEAVES AND VINES' BY LI KUCHAN (1899-1983) 李苦禪款《葡萄》China. Ink on paper. Depicting leaves and vines with hanging grapes at the center, below some branches with small buds, superbly painted in the artist's characteristic bold and spontaneous style.Inscriptions: Upper right, inscribed 'Binglong di Li Nianchan' ('For Brother Binglong Li Nianchan'), one seal, 'Li Ying zhiyin'. Provenance: British trade. Condition: Very good condition with minor wear, foxing, a small tear to the central fold, minor creasing.Dimensions: Size 63.7 x 44.7 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), a famous contemporary Chinese painter and was considered to be 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).Auction result comparison:Type: RelatedAuction: Christie's London, 13 November 2015, lot 1198Price: GBP 8,125 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1898-1984), LotusExpert remark: Compare the related motif and technique. Note the smaller size (49 x 41.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2017, lot 1443Price: HKD 150,000 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1899-1983) Fragrant Plantain LilyExpert remark: Compare the closely related motif and technique. Note the similar size (62 x 46 cm) and that this lot comprises two paintings.李苦禪款《葡萄》中國，紙本設色。大寫意描繪葡萄以及藤蔓與葉子。 款識：柄龍弟李念禪鈴印：李英之印 來源：英國古玩市場。 品相：狀況極好，有輕微磨損、褐變、中央褶皺處有小撕裂、輕微摺痕。 尺寸：63.7 x 44.7 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年11月13日，lot 1198 價格：GBP 8,125 （相當於今日EUR 11,000） 描述：李苦禪(1899-1983)《蓮花》 專家評論：比較相近的主題和技術。請注意尺寸較小 (49 x 41.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月30日，lot 1443 價格：HKD 150,000（相當於今日EUR 20,500） 描述：李苦禪(1899-1983)《魚戲》 專家評論：比較非常相近主題和技術。請注意尺寸較小(62 x 46 厘米) ，此組圖為兩幅。

AN AUSPICIOUS 'MONKEY AND DEER' CUP AND SAUCER, XIANFENG MARK AND PERIOD 咸豐款及年代猴鹿紋杯碟套China, 1851-1861. The tall cup with a short foot and everted rim, the saucer with deep rounded sides, each with gilt rims and painted in bright enamels with a monkey in a pine tree above a spotted deer with a lingzhi sprig in its mouth, surrounded by rockwork and further lingzhi, with a butterfly and magpies in flight. The bases each with an iron-red four-character seal mark Xianfeng nianzhi and of the period. (2)Provenance: The property of an English gentleman, acquired in the 1990s and early 2000s. The saucer with an old paper label, manually inscribed in brown ink 'No. 2. […]'.Condition: Excellent condition with only minor old wear and firing flaws.Weight: 72.0 g (the cup) and 82.9 g (the saucer)Dimensions: Height 7 cm (the cup), Diameter 12.7 cm (the saucer)The present lot is filled with auspicious imagery. 'Bird' (que) is a pun for 'noble rank' (jue), and magpies are traditionally associated with joy. The deer (lu) is both a homophone for riches or official emolument and a symbol of longevity and wealth. Lingzhi are also associated with longevity and therefore often depicted together with deer. Depictions of monkeys convey a wish for high rank, as the Chinese word for monkey (hou) is a homophone for 'high-ranking noble' or 'commander'. The word for butterfly (die) is homophonous with 'to repeat', so adding a butterfly to a scene repeats the wish of the other symbols. Butterflies are also seen as symbols of happiness in marriage, as well as everlasting romantic love, and can also symbolize a wish for long life. 咸豐款及年代猴鹿紋杯碟套 中國，1851-1861年。杯撇口，深腹，圈足；碟子深圓腹。杯碟套都是描金邊沿，明亮的琺琅繪製猴鹿紋：猴子蹲在松樹上，似乎在戯蝶；鹿啣靈芝臥在樹下。碟子圈足內四字鐵紅釉“咸豐年製”。來源：一位英國紳士的財產，於 1990 年代和 2000 年代初購置。碟子圈足內有紙標籤，用棕色墨水手寫“No. 2. […]”字樣。 品相：狀況極佳，只有輕微的舊時磨損和燒製瑕疵。 重量：杯子72.0 克，碟子82.9 克 尺寸：杯高 7 釐米，碟子直徑12.7 釐米

'KINGFISHER AND LOTUS', BY WANG XUETAO (1903-1982) 王雪濤《翠鳥荷花圖》China. Ink and watercolors on paper, mounted as a hanging scroll. Vividly painted with a kingfisher perched on the stem of a large lotus blossom above grasses, leaves, a pink lotus flower, a closed pink lotus bud, and an insect.Inscriptions: Upper right, signed 'Wang Xuetao', two seals of the artist. Lower left, one seal of the artist.Provenance: London trade. Condition: The painting in very good condition with minor wear, foxing, and faint creases, the mounting backed in some areas and generally with more extensive wear and foxing as well as small tears.Dimensions: Image size 136.5 x 68 cm, Size incl. mounting 210.5 x 82.5 cmWang Xuetao (1903-1982) was a Chinese painter from Hebei province, who attended the Baoding Zhili Teachers College and the Peking College of Arts. Later he studied under Wang Mengbai, Qi Baishi, and Chen Banding.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 1 December 2020, lot 1135 Price: HKD 500,000 or approx. EUR 61,500 converted and adjusted for inflation at the time of writingDescription: Wang Xuetao, Lotus and Mandarin DucksExpert remark: Compare the closely related manner of painting with similar lotus and birds. Note the addition of mandarin ducks in this work and the smaller size (96.5 x 60 cm).王雪濤《翠鳥荷花圖》中國，紙本水墨設色，掛軸。生動地描繪了一隻翠鳥棲息在荷葉梗上，似乎正要起飛，荷葉大如傘，一朵荷花和一個花蕾斜插而出。也許是荷花的花香吸引了蜻蜓飛來。畫面清新生動。 款識：丙辰夏初雪濤時客燕市；鈴印：老雪，遲園 來源：倫敦古玩交易。 品相：狀況極好，有輕微的磨損、褐變、起毛和摺痕。尺寸：畫面136.5 x 68 厘米，總210.5 x 82.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2020年12月1日，lot 1135 價格：HKD 500,000（相當於今日EUR 61,500） 描述：王雪濤《荷花鴛鴦》 專家評論：比較非常相近的繪畫風格，例如荷花和鳥。manner of painting with similar lotus and birds. 請注意此幅畫中還有鴛鴦，尺寸較小(96.5 x 60厘米)。

Pair of Chinese Porcelain Famille Verte bottle vases, with enamel decoration depicting figures in traditional dress, shrubbery in the background, seal marks to bases, approx 23cm high

Chinese bronze teapot & cover with relief dragon and wave decoration, hinged handle, 4 character seal mark to underside, 16cm high (including handle)

A near pair of Chinese green crackle glazed baluster vases, one with small chip to rim, with six character seal marks verso, (12cm and 11.5cm)

A CHINESE CREAM GLAZED POTTERY BOTTLE VASE probably Qing, decorated with three coloured splashes, impressed seal mark, 24cm

A CHINESE YELLOW-GROUND GREEN ENAMLLED 'DRAGON' BOWL Qing or later, the dragons contesting flaming pearls within cloud-scrolls, the base with a Qianlong seal mark in underglaze blue, 10cm diam. x 6cm high

A CHINESE FAMILLE ROSE LOBED BOWL with Tongzhi seal marks in iron-red, painted with cranes among peaches and another bowl painted with immortals among waves, with turquoise interiors, 19cm and 15cm diam. (2)

A CHINESE YIXING TEAPOT of rounded rectangular form, with a curved spout and a simple loop handle, the cover modelled with a recumbent buddhistic lion and the body inscribed with calligraphy, the base and underside of the lid with a seal mark, 18.5cm wideProvenance: Private collection Hampshire

A LARGE CHINESE JADE SEAL Qianlong or later, the celadon green stone with grey highlights and soft polish, carved with two opposing dragons entwined to form the handle, all four sides with an extensive inscription and the base with a square seal, 7.8cm high x 10.5cm wideProvenance: W.W. Winkworth collection, St Catherine's Isle of Wight, Hampshire.Purchased from a local collection in the 1970s at St Catherine's.

A PAIR OF CHINESE YELLOW-GROUND DRAGON PLATES decorated with five claw dragons contesting flaming pearls highlighted in emerald green and aubergine enamels, the reverse with berried foliage and the bases with Qianlong seal marks in black, 13cm diameter (2)

A CHINESE RUBY-GROUND LIDDED JAR enamelled in polychrome with scrolling lotus and fish within formalised borders, the base with an iron-red Daoguang seal mark on a turquoise ground, 22cm high

Chinese watercolour of an eagle, signed with seal

A CHINESE INK AND WATERCOLOUR PAINTING depicting a boy beside a bronze jardinière playing with a cat, signed with seal stamp, with blue geometric embroidered borders, glazed, 87 x 49cm excluding frame, 97 x 60cm including frame Condition Report:Available upon request

A CHINESE YELLOW GROUND BOWL  Painted with a bird amongst wisteria,within gilt rims red seal and character marks, 23cm diameter Condition Report:old label pasted to inner rim inscribed mark and motto of Empress Dowager Tung Che, 1862minor wear to gilt rim, minute footrim flaw

A CHINESE BROAD BALUSTER VASE  The transmutation glaze running from the shoulder, Jiaquing seal mark, 20th century, 34cm high Condition Report:Body is crazed and has some scratches, some very small glaze frits to near the base. No chips, hairlines or cracks to the body.

A CHINESE FLAMBE GLAZE VASE  Impressed seal mark, 20th century, 30cm high Condition Report:There are scratches to the body, which is crazed. Some chips to the glaze on the base, no chips or cracks.

A CHINESE BLUE GLAZED CRACKLEWARE FLASK  With moulded ruji set handles, printed seal mark, 25cm high with box Condition Report:Vase appears to be in good condition with no obvious flaws, chips or cracks.

A Chinese blanc de chine figure of Guanyin, bears the impressed mark of 'seal of He Chaozong', modelled sitting on a rocky outcrop holding a pearl and resting an arm on a table of books, 24.5cm high

A Chinese blue and white porcelain teapot, of ovoid form with gilt metal loop handle, spout and mounts, the body with floral decoration, faint seal mark to the metal base, 18cm high

A Chinese bronze censor, 17th century, bud twin handles, six character seal mark to the opening, lozenge design collar, tripod feet, all-over dark brown patina, mounted on a gnarled wooden plinth, 30cm high

Chinese School, 20th Century, studies of birds and insects amongst foliage, on silk, two pairs, signed and seal marks, 30 by 37cm, unframed (4)

A Chinese watercolour on fabric study of a finch amongst blossom, calligraphic signature and red seal mark, in card mount and metallic frame under glass, 34 cm x 24 cm sight size

Set of four paintings of Chinese robes as seen from the front, with designs of dragons and others, red seal marks, image size 31 x 34cm, (4),

Chinese print of two sparrows perched on bamboo, red seal mark, 45 x 45cm,

A Chinese soapstone seal, inscribed to two faces with verse, 5.5cm highl others (5)

Chinese School (20th century), scroll, Horses, inscribed with script, red seal marks, 46cm x 90cm; another, Carp, 104cm x 34.5cm (2)

Chinese SchoolMonumental Landscapesigned, red seal mark, watercolour on silk, 28.5cm x 20.5cm

Four framed 19th century Chinese hand painted porcelain tiles, each depicting a different flower and insect. Each with artist's seal and description in characters. h.34 W.23cm

A Chinese famille rose bowl, 29cm dia.; and a Chinese kidney shaped pedestal dish decorated brightly coloured enamels and seal mark to base, 23cm long AF (2)

A Chinese tea bowl and saucer, decorated with figures and four character mark to base; and a Chinese bowl and cover decorated brightly coloured enamels and symbols, seal mark to base (2)