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'KINGFISHER AND LOTUS', BY WANG XUETAO (1903-1982)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)。

AN INSIDE-PAINTED ROCK CRYSTAL 'TROMPE L'OEIL' SNUFF BOTTLE, BY MA SHAOXUAN (1867-1939), DATED 1898Published:Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 314-315, no. 139 (erroneously stating the bottle was once in the Mary and George Bloch Collection)China. Of flattened form, with slightly concave top, finely painted on the interior on one main side with a collection of old, tattered and inscribed paper items, including envelopes, books and rubbings, the reverse painted with an excerpt from a Tang dynasty historical chronicle.Inscriptions: Signed 'Ma Shaoxuan', one seal, and dated to the third month of the Wuxu year (corresponding to 1898) Provenance: Robert Kleiner, London, 1992. Rachelle R. Holden Collection, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '244' to the base. Robert Kleiner (1948-2014) was an important expert on Chinese snuff bottles, beginning his long career at Sotheby's Chinese Art department in London. Along with Hugh Moss and Bob Hall, Robert Kleiner became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject 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: Excellent condition with only minor old wear. A few small scattered inclusions in the crystal.Stopper: Pink tourmaline stopper, black plateletWeight: 66.6 g Dimensions: Height including stopper 75 mm. Diameter neck 19 mm and mouth 6 mm.The calligraphy on the reverse side of this bottle is transcribed from the famous Tang stele by Ouyang Xun called Jiu Cheng Gong li quan ming (The Sweet Spring of Jiucheng Palace). Ouyang Xun (AD 557-641) was one of the four masters of the early Tang. The paintings on the other side include burnt and torn examples of the Jin Hui Dui and a fan-shaped painting by Yun Shouping, calligraphy from the book entitled Zuo Zhong Tang (a famous general), a torn book entitled Si Shu (essential reading for scholars), and an envelope inscribed You Shanghai Ji (posted from Shanghai).Ma Shaoxuan (1867-1939) was one of the most technically accomplished artists of the Beijing school of painting, which was first started by Zhou Leyuan and included other leading artists such as Ding Erzhong, Ye Zhongsan and Ziyizi. Ma's famous monochromatic portrait bottles of leading Qing officials and personalities were highly sought after among the influential minority of his day and continue to be among the most coveted of all inside-painted bottles. Executed only in black ink, with the use of vermillion solely for seals, each portrait is a technically impeccable, photographic likeness of the sitter. Ma's extraordinary renown led to his being commissioned in 1911 to paint two portraits of the young Xuantong Emperor.Literature comparison:Compare a closely related rock crystal snuff bottle by Ma Shaoxuan, illustrated by Nancy Berliner, The 'Eight Brokens'. Chinese Trompe-l'oeil Painting, Orientations, February 1992, p. 70.Auction result comparison:Type: Near identicalAuction: Christie's New York, 24 March 2011, lot 1578Price: USD 20,000 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: An inside-painted glass snuff bottle, signed Ma Shaoxuan, dated start of the hot season in the jihai year, corresponding to 1899Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2013, lot 1088Price: USD 40,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writingDescription: A rare inside-painted rock crystal snuff bottle, Ma Shaoxuan (1867-1939), Beijing, probably 1905 1898年馬少宣款水晶内畫鼻烟壺中國。壺直口，豐肩，長方扁圓腹，橢圓形圈足。壺體為無色透明水晶為材，施以內繪技法，一面內畫彩色字畫殘片 。另一面楷書節錄唐歐陽詢書《九成宮醴泉銘》：“維貞觀六年孟夏之月，皇帝避暑乎九成之宮，此則隨之仁壽宮也，冠山抗殿，絕壑為池。節錄”。書法字體挺拔剛健，工整俊秀。 出版：Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁314-315，編號139 (錯誤認爲瓶子曾經在瑪麗和喬治布洛赫收藏中) 。 款識：馬少宣作；鈴印「少宣」 來源：1992年紐約 R. Holden 收藏購於購於倫敦Robert Kleiner & Co. Ltd.藝廊。底部可見Rachelle Holden 收藏標籤，上有編號 '244'。英國私人收藏，購於倫敦Robert Kleiner & Co. Ltd.藝廊。隨附一份2000年11月20日開具的發票副本，確認了相關描述和斷代。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SONGHUA INK STONE, BOX AND COVER, QIANLONG MARK AND PERIODChina, 1736-1795. The soft grayish-green ink stone is of magnificent quality with distinct striations and deeply carved with a lingzhi-shaped well. The outline conforms with the highest possible precision to that of the shallow box and cover, which in turn is finely carved on the top through the grayish-green outer layer to the purplish-brown under layer with two crested cranes perched on the trunk of a gnarled pine tree, the burls in the wood superbly sculpted, the pine leaves and the cranes' plumages neatly incised.The base of the inkstone incised in a line with a four-character seal mark Qianlong nianzhi and of the period.Provenance: Mrs. Walter Sedgwick, collection no. 307, as per old label to base, and thence by descent. Probably Sotheby's London after 1968 and from there into a French collection. Parisian trade, acquired from the above. Mrs. Walter Sedgwick (1883-1967) was an English collector of Chinese art who came from a family of architects. Quite unusually at the time, she collected independently of her husband who was a barrister with little interest in Chinese art. She lent many pieces to the 1935-36 Chinese exhibition at the Royal Academy. Soame Jenyns described her as a collector of impeccable taste and in 1953 dedicated his book 'Ming Pottery and Porcelain' to her. She donated and bequeathed Chinese objects to the British Museum from 1933 to 1968 and was a generous benefactor to the British Museum, the Fitzwilliam in Cambridge, and the Victoria & Albert Museum. After her death, her collection was sold off by Sotheby's London beginning in 1968. Mrs. Sedgwick was the aunt of Professor Jessica Rawson.Condition: Excellent condition with only minor wear and traces of use.Weight: 243.6 gDimensions: Length 9 cmExpert's note: The present lot was no doubt made during the Qianlong period, a fact illuminated by a Songhua ink stone, box, and cover dated to the Republic period at Christie's Hong Kong, 9 October 2019, lot 270. Although this later example appears quite similar to the present lot at first glance, it quickly becomes evident that it does not even remotely show the same exceptional skill and attention to detail. Closer study reveals a vast number of small yet striking differences, including the two cranes, which lack the crests and open beaks, as well as the pine leaves, which lack the raised edges of their central circles, and last but not least the Imperial mark itself, which is by far not as neatly incised.Songhua stone, for its color, quality and ease of grinding the ink, was one of the preferred materials for making inkstones for the scholar's table during the Qing dynasty. Chi Jo-hsin in 'A study of the Sunghua Inkstone Tradition', Special Exhibition of Sunghua Inkstone, National Palace Museum, Taipei, 1993, page 38, notes that 'during the Qianlong period, an inventory of inkstones in the Imperial Household was compiled. Of the more than two hundred entries, six sunghua inkstones with imperial reign marks of the K'ang-hsi, Yung-cheng and Ch'ien-lung periods are recorded, five of which are in the collection of the National Palace Museum.'Design on inkstones often imitated fine paintings and it is known that the Qianlong emperor commissioned his court painters to design the lids of many of his inkstones. Shapes of the ink pool and cover also became more varied during the Qianlong emperor's reign, when new shapes in the form of peaches, crescent-moons and flowers were introduced alongside the traditional circular, octagonal and oblong shapes.In Qianlong's poetry collection 'Shengjing tuchan zoayang shier shou' (Twelve Miscellaneous Poems on the Native Products of Shengjing), the emperor praises the stone as 'Songhua yu' (Songhua jade) and mentions that it is the product of the Yuantong River in Jilin province in northeast China and can be used for making inkstones.Zhou Nanquan notes in 'Songhuashi yan' (Songhua Inkstone), Wenwu, 1980, no. 1, pages 86-87, that Songhua stone was used for the production of imperial inkstones from the early to mid-Qing dynasty. Zhou further notes that in the 39th year of Qianlong's reign (corresponding to 1774), official records mention a total of 120 Songhua stone pieces, whether worked or as raw material, in the Palace collection.Records from the fourth day of the twelfth month of the 39th year of Qianlong's reign note that on three occasions, raw material amounting to 38 pieces from Jilin province, was sent to the palace and, out of five stone pieces, eight inkstones and their boxes were made. It was customary with Songhua stone from the palace to have the inkstones in original boxes of the same material, usually using the different stratified colors. Currently there are eighty Songhua inkstones in the Palace Museum collection, of which ten are attributed to Kangxi, sixteen to Yongzheng, thirteen to Qianlong, nine to Jiaqing, one to Daoguang and five to Guangxu's reigns.Literature comparison: A related ink stone, box, and cover was included in Selected Treasures of Chinese Art, Hong Kong, 1990, cat. no. 238. A related Qianlong inkstone and cover of rectangular shape, also carved with pine trees and cranes, was included in the Special Exhibition of Songhua Inkstone, National Palace Museum, Taipei, 1993, cat. no. 57.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 2931 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A Songhua ink stone, box and cover, Qianlong incised four-character seal mark and of the period Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and four-character seal mark incised in a line. Note the similar size (9.6 cm). Further note that this example arguably does not show the same exceptional skill and attention to detail as the present inkstone.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 23 October 2005, lot 23 Price: HKD 2,696,000 or approx. EUR 517,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of QianlongExpert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (10 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 23 October 2005, lot 149 Price: HKD 1,912,000 or approx. EUR 367,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of Qianlong Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, cranes, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (9.5 cm).乾隆款及年代松花硯中國，1736-1795年。由於字數限制，完整中文敘述請至www.zacke.at查看。

A WUCAI 'DRAGON AND PHOENIX' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. With deep rounded sides rising to an everted rim, the exterior is painted with two phoenixes descending between green and iron-red dragons pursuing 'flaming pearls' amidst flower sprigs, below a band of the Eight Buddhist Emblems alternating with ruyi heads joined by a blue line. The interior with a medallion enclosing five iron-red bats (rare) as well as a double line border below the rim. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.C.186. 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: Good condition with only minor wear and minimal firing irregularities. The rim with a minuscule filled chip and associated hairline.Weight: 270.0 g Dimensions: Diameter 15.4 cmLiterature comparison: The decorative format of the present bowl is inspired by Kangxi prototypes. Compare two Kangxi-marked examples of different sizes illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, nos. 135-136. A Qianlong-marked example of similar size to the present example is also illustrated, ibidem, no. 158. Another Qianlong example is in the Nanjing Museum, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, page 282.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 May 2013, lot 1923 Price: HKD 870,000 or approx. EUR 133,000 converted and adjusted for inflation at the time of writingDescription: A fine wucai 'dragon and phoenix' bowl, Qianlong six-character seal mark and of the period Expert remark: Note the similar size (15 cm) and the dragon motif inside the bowl, compared to the five iron-red bats design of the present bowl.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 11 September 2019, lot 928 Price: USD 68,750 or approx. EUR 74,500 converted and adjusted for inflation at the time of writingDescription: A wucai 'dragon and phoenix' bowl, Qianlong seal mark and periodExpert remark: Note the smaller size (13 cm) and the interior centering a roundel with an iron-red dragon, compared to the five iron-red bats design of the present bowl.乾隆款及年代五彩龍鳳呈祥碗中國，1736-1795年。敞口，弧壁，圈足，碗形周正。如意雲頭紋與佛教八寶紋作邊飾。腹部繪龍鳳穿花紋兩組，龍一紅一綠，其旁襯以菊花、芙蓉花。碗心青花雙圈内繪製五隻紅色蝙蝠。底書“大清乾隆年製”三行六字篆書款，展示 “龍鳳呈祥”之意。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.C.186。品相：狀況良好，只有輕微磨損和輕微燒製瑕疵，碗沿有微小的磕損修飾和相關冲線。 重量：270.0 克 尺寸：直徑 15.4 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。

A HU WENMING PARCEL-GILT CENSER, GUI, MING DYNASTYChina, 16th-17th century. The rare copper-alloy and gilt-bronze incense burner is decorated on each side with a central band of various mythical sea creatures including winged dragons and horses rising from waves and chasing flaming pearls, all finely chased and incised in relief, between bands of neatly silver-inlaid key-fret around the neck and foot, flanked on either side by imposing dragon-head loop handles. Cast with a rectangular gilt panel on the base bearing the incised Hu Wenming mark.Inscriptions: To base, 'Yunjian Hu Wenming zhi' ('made by Hu Wenming of Yunjian [modern Songjiang, near Shanghai]).Provenance: United Kingdom trade. Condition: Good condition with extensive wear to gilt, minor casting flaws, few small dents, nicks, and shallow surface scratches. Fine naturally grown patina overall with scattered encrustations.Weight: 696.6 gDimensions: Width 19.7 cm (across handles)Hu Wenming is one of the most renowned metalworkers in Chinese history and one of the few whose name and style are discussed in Chinese art-historical writing. Most of the works attributed to Hu Wenming are scholarly objects, such as incense burners and brush pots, characterized by densely worked backgrounds covered with naturalistic and other motifs cast in high relief.Literature comparison: The same mark can be found on a slightly smaller censer with similar decoration in the main band and with similar handles, in the Palace Museum Collection and listed as a 'national first-grade cultural relic', illustrated in Illustrated Important Chinese Cultural Relics Ranking Standard- Bronze, Beijing, 2006, pl. 143. For other related censers with the same primary decoration and mark, but with variations to the decorative bands, see one illustrated in The Literati Mode, Sydney L. Moss, Ltd., London, 1986, pp. 291-2, no. 145, and another illustrated in Sotheby's Hong Kong Twenty Years, Hong Kong, 1993, no. 402.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2017, lot 8117 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A rare parcel-gilt bronze censer, gui, Ming dynasty, Yunjian Hu Wenming zhi seal markExpert remark: Compare the closely related gui form and decoration with similar copper-alloy reliefs, silver inlays, and dragon handles. Note that the censer bears the same mark as the present lot and is of similar size (26.7 cm), but that the gilt to the central band and handles is well-preserved.Auction result comparison: Type: Closely related Auction: Christie's London, 13 May 2011, lot 1039Price: GBP 30,000 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A fine parcel-gilt bronze censer, late Ming dynasty, 16th/17th century, Hu Wenming Expert remark: Compare the closely related gui form and decoration with similar copper-alloy reliefs, silver inlays, and dragon handles. Note that the censer bears the same mark as the present lot, is of smaller size (17 cm), and shows similarly extensive wear to the gilt.明代胡文明款鎏金簋形爐中國，十六至十七世紀。罕見的鎏金銅簋形爐，束頸處飾錯銀雷紋帶；圓腹，浮雕瑞獸；圈足處飾錯銀雷紋帶。圈足内有胡文明款。 款識：雲間胡文明製 來源：英國古玩市場。 品相：狀況良好，鍍金磨損嚴重，輕微鑄造缺陷，小凹痕、刻痕和表面輕微淺劃痕。自然包漿。 重量：696.6 克 尺寸：寬 19.7 厘米 (雙耳之間) 文獻比較：同樣的款識可見於一件稍小的香爐，有相同的紋帶和和把手，收藏於北京故宮博物院，列為「國家一級文物」，見《文物藏品定級標準圖例‧青銅卷》，北京，2006年，編號143。一件相近的相同款識和裝飾的香爐，但有多種紋帶，見Sydney L. Moss，Ltd. ，《The Literati Mode》，倫敦，1986年，頁291-2，編號145，另一件見香港蘇富比《 Twenty Years》，香港，1993年，編號402。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年11月27日，lot 8117 價格：HKD 562,500（相當於今日EUR 76,000 ） 描述：明代胡文明款鎏金簋形爐 專家評論：比較非常相近的簋形外型和銅合金浮雕、嵌銀和龍形把手。請注意款識相同，且尺寸相似(26.7 厘米)，但紋飾和把手上的鎏金保留完好。由於字數限制，完整中文敘述請至www.zacke.at查看。

A COPPER-RED GLAZED TAZZA, YONGZHENG MARK AND PERIODOpinion: Copper-red wares were a fixture of the Imperial household during the Yongzheng era, with dishes, bowls and cups of various sizes appearing much more frequently than stem cups let alone tazzas. On top of that, the present lot comes in pristine condition and with immaculate provenance, making it even rarer, and a notable highlight in even the most advanced collection of monochrome wares. Dating from the early heyday of Imperial production, around the time of Tang Ying's arrival at Jingdezhen in 1728, where he was appointed by the Yongzheng Emperor to supervise the porcelain manufacture, the present lot is a powerful testimonial as to why monochrome wares became so popular among the most sophisticated scholars of modern day China.China, 1723-1735. Superbly potted, the shallow rounded sides rising from a splayed hollow foot encircled by a molded bamboo node. The exterior glazed in a rich and warm red, the interior and base glazed white. The base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi and of the period.Provenance: Sotheby's London, 25 May 1965, lot 168. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum (1968-2022), collection number Q.8.08. A copy of the sale result list for the Sotheby's auction on 25 May 1965, stating the buyer as 'Wou', 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: Some old wear and firing irregularities, such as dark spots, a glaze bubble to the well, small firing cracks, and minimal fritting. A minuscule chip to the rim with associated fill and hairline. The glaze with a splendid, unctuous feel. Refer department for or a video shot under strong blue light, confirming the overall fine condition.Weight: 752.8 gDimensions: Diameter 20.9 cmAuction result comparison: Type: Closely relatedAuction: Sotheby's New York, 11 September 2019, lot 635Price: USD 40,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: A copper-red glazed stembowl, Yongzheng seal mark and periodAuction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2013, lot 1554 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A copper-red-glazed stem bowl, Yongzheng six-character mark in underglaze blue in a line and of the periodAuction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 May 2021, lot 2991 Price: HKD 500,000 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A sacrificial-red glazed stem bowl, Yongzheng six-character mark in a line in underglaze blue and of the period雍正款及年代霽紅釉高足碗中國，1723-1735年。碗敞口，淺弧腹，下承中空高足，圈足外撇，圈足外壁起凸棱一道，形似竹節。碗內與圈足內部施白釉，色澤瑩潤，光亮潔淨；外施紅釉，釉面均勻。高圈足內近底處用青花“大清雍正年製”六字款。 專家注釋：雍正年間，霽紅器多為皇室用品，各種大小的盤、碗、杯比高腳杯出現的頻率要高得多，更不用說高足碗。 最重要的是，本拍品完好無損，來源可循，因此顯得更加稀有，同時也是單色釉器皿收藏中的一個亮點。 此拍品應該是1728年唐瑛到景德鎮受雍正皇帝之命督製瓷器之時的產品，那時為御制瓷器盛世之初，這件拍品有力地證明了單色瓷器為何如此盛行。 來源：1965年5月25日倫敦蘇富比，lot 165。吳權博士收藏；吳蓮伯美術館，館藏編號 Q.C.186。由於字數限制，完整中文敘述請至www.zacke.at查看。

'BANANA LEAVES AND LOQUATS', BY QI BAISHI (1864-1957)China, ca. 1930. Ink and watercolors on paper. Superbly painted with two large banana leaves executed with bold and vivid brushstrokes, a bunch of ripening loquats, their orange-yellow color reminiscent of a sunset, lying on the lower leaf, a few scattered fruits having dropped from the bunch.Inscriptions: Signed Baishi, one seal 'Baishi'.Provenance: Mi Chou Gallery, after 1957, New York, USA. A private collector, acquired from the above (invoice lost), possibly at the exhibition “3 Masters of Contemporary Chinese Painting” which took place at the gallery from September 9-27, 1958. Thence by descent in the family. The back with an old label (7.5 x 10.2 cm) from “Mi Chou Gallery, 801 Madison Avenue, New York 21, NY”. The label bears typewritten information about the present lot including the title, the artist “Ch'i Pai-shih (1864-1957)”, the medium “Ink & colors on paper” and the dating “ca. 1930”, all confirming the above, and a smaller label, “13. Banana Leaves and Loquats”. Michael Sullivan notes in Art and Artists of Twentieth-Century China, Berkeley, 1996, pages 208-9, that Mi Chou Gallery, founded by Frank Cho in 1954, was the first Chinese contemporary art gallery in the United States and broke ground with exhibitions of renowned artists like Qi Baishi and Zhang Daqian. Sullivan further notes that initially, the gallery was established in the home of famed Chinese paintings collector and scholar, C.C. Wang. Having their works exhibited in New York for the first time was an immense opportunity for Chinese artists, and so Mi Chou Gallery had access to the finest works by the greatest painters of the era.Condition: Excellent condition with minor wear and minimal soiling.Dimensions: Image size 130 x 33.5 cm, Size incl. frame 163.2 x 52.8 cmMatted and framed behind glass.Qi Baishi (1864-1957) is one of the most important Chinese 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 a career as a carpenter, though he taught himself to paint using a manual from the Qing 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 figures, animals, vegetation, and landscape 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.Auction result comparison: Type: Related Auction: Sotheby's Paris, 23 June 2016, lot 172 Price: EUR 75,000 or approx. EUR 88,000 adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), Loquats Expert remark: Compare the loquats of similar dark yellow color. Note the much smaller size (33.5 x 33.3 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 October 2012, lot 1192 Price: HKD 2,060,000 or approx. EUR 334,500 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), Loquats Expert remark: Compare the loquats, most of which are of similar dark yellow color. Note the smaller size (92.5 x 33.5 cm).Auction result comparison: Type: Related Auction: Poly International, Beijing, 2 December 2010, lot 2174 Price: CNY 1,736,000 or approx. EUR 332,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, Banana Tree Leaf Expert remark: Compare the banana leaves. Note the similar size (136 x 34 cm). 齊白石款《芭蕉與琵琶》中國，約 1930，紙本水墨設色。兩片大芭蕉葉，近景簡筆構圖，筆墨大膽而生動；一束成熟的枇杷，金黃誘人。 款識：隔麤塵輕，碧玉鋪滿地黃金，白石；鈴印：白石 來源：紐約米舟畫廊，1957年後；私人收藏，購於米舟畫廊 (發票遺失)，可能購於1958年9月9-27日舉辦的 “三位中國當代繪畫大師” 畫展展覽期間，一直保存在同一家族。背面有米舟畫廊舊標籤 (7.5 x 10.2厘米) “Mi Chou Gallery，801 Madison Avenue，New York 21，NY”。Michael Sullivan 在Art and Artists of Twentieth-世紀 China （Berkeley 1996，第208-9頁）注釋，米舟畫廊由Frank Cho 於1954年創立，是美國第一家中國當代藝術畫廊，由齊白石、張大千等著名藝術家的展覽而出名。Sullivan進一步指出，最初，畫廊深受著名的中國畫收藏家和學者 C.C. 王推崇。第一次在紐約展出作品對中國藝術家來說是一個巨大的機會，因此米舟畫廊可以接觸到那個時代最偉大的畫家最優秀的作品。品相：狀況極佳，輕微磨損與污漬。 尺寸：畫面130 x 33.5厘米，總 163.2 x 52.8 厘米 鏡片裝框。由於字數限制，完整中文敘述請至www.zacke.at查看。

A LARGE 'BUDDHIST LION' SEAL, INSCRIBED WITH THE HEART SUTRA, QING DYNASTYChina, 1644-1912, probably Qianlong, 1736-1795 (see expert's note). The massive square seal is surmounted by a finely carved recumbent Buddhist lion, its head turned to the right, the tail swept to the left, and the right foot resting on a brocade ball. The ferocious face is finely detailed with its mouth slightly agape to reveal sharp fangs holding a ball. The opaque soapstone is of a dark-brown, almost jet-black tone with scattered beige inclusions.Inscriptions: The seal face incised in zhuan style with the Heart Sutra, the four sides showing the same text written in kai style. With apocryphal signature 'Wen Peng' and date of the 16th year of the Jiajing reign (corresponding to 1537). The inscription has an overall length of more than 500 neatly incised characters!Provenance: From the property of a French noble family, the collection formed by the owner's great-grandfather from the late 19th century to the early 20th century. Christie's Paris, 22 June 2016, lot 313, sold for EUR 27,500, or approx. EUR 31,000 (adjusted for inflation at the time of writing). A noted private collection, acquired from the above. Condition: Very good condition with fine old wear, few nicks and shallow surface scratches, minuscule chips to the edges. With a naturally grown patina and an unctuous feel overall, clearly the result of centuries-long handling.Weight: 1,412 g (incl. base) and 1,374 g (excl. base) Dimensions: Height 11.7 cm (incl. base) and 10.6 cm (excl. base)With a finely carved wood base supported on four short feet and with key-fret bands neatly incised to the sides, as well as an old rubbing of the seal face on paper. (3)The inscribed text is known as the Prajnaparamita sutra, or Heart Sutra, which was translated into Chinese in the 7th century by the pilgrim monk Xuanzang on the orders of the Emperor Gaozong (reigned 649-683 AD). One of the principal scriptures of the Madhyamika school of Buddhism founded by the great Buddhist philosopher Nagarjuna (c. 100-200 BC), the Heart Sutra expounds that through true wisdom, one may realize the emptiness of this world and so achieve Enlightenment.The Heart Sutra, propagating total denial of the reality of the phenomenal world, is one of the most important Mahayana texts and became a popular script for copying, probably partly due to its brevity. Such copying had the dual function of serving as a calligraphic exercise and representing an act of devotion.Wen Peng (1498-1573), a famous seal carver, was the eldest son of the artist Wen Zhengming. He was a native of Changzhou (Suzhou), Jiangsu, and the originator of the Sanqiao School, the first literati seal carving school.Expert's note: The Qianlong Emperor was a devout Buddhist and is known to have himself copied the Heart Sutra countless times. He also ordered various objects - including seals - to be carved with the text, some of these bearing apocryphal dates as reference to earlier reigns. The Jiajing Emperor, however, was a devoted Daoist, morphing somewhat into a fanatic after an assassination attempt in 1542. The date on the present seal - 1537 - points to a time shortly before this event, when the Emperor already favored princes who were devout Daoists, granting the most fervent followers amongst them gifts and titles, therefore actively suppressing Buddhism. For these reasons, it seems more likely that the present seal was carved during the Qianlong era, and not in the Jiajing period, despite the fact that experts from Sotheby's London have dated the present seal to the Ming Dynasty.清代《般若波羅蜜多心經》獅鈕印中國, 1644-1912年，可能為乾隆時期（1736-1795年，見專家注釋)。方形印章上有一頭雕刻精美的臥獅，它的頭右轉，尾巴左掃，右腳踩在一個錦球上。眼睛圓鼓，張開的嘴巴裏露出鋒利的尖牙。不透明的皂石呈深棕色，幾乎是烏黑的色調，帶有散落的米色内沁。 款識：印章面篆書《般若波羅蜜多心經》，四側面楷書同樣文字。文鵬款，嘉靖十六年 (1537年)。全文500多個字。 來源：法國貴族家族收藏，收藏由現主人的曾祖父建立於十九世紀末至二十世紀初；巴黎佳士得，2016年6月22日， lot 313, 售價27,500, 相當於現在的 EUR 31,000；知名私人收藏，購於上述拍賣。 品相：品相極好，有磨損，少量刻痕和表面淺劃痕，邊緣有微小的磕損。自然生長的光澤和包漿。 重量：1,412 克 (含底座) 與 1,374 克 (不含底座) 尺寸：高11.7 厘米(含底座) 與10.6 厘米(不含底座) 雷紋四足木底座。(3) 由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE GUAN-TYPE VASE, HU, QIANLONG MARK AND PERIODChina, 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)。

'A SPRING OFFERING WITH AN ANCIENT GUI AND A STONE RUBBING OF A MYTHICAL BEAST', BY WU CHANGSHUO (1844-1927) AND ZHU CHENG (1826-1900)China. Ink and watercolors on paper, mounted as a hanging scroll. Superbly painted with a vibrantly colored flower growing from a leafy stem inside an ancient gui bronze vessel above a stone rubbing depicting a legendary bovine animal surrounded by astrological symbols, below a lengthy inscription.Inscriptions: Center right, 'Qingshan Qiaosu Cheng', and one seal, 'Zhu Cheng Zhi Yin'. Upper left, a text about the rubbing and the legendary animal it depicts, signed 'Changshuo Wu Junqin', and two seals, 'Wu Jun Zhi Yin' and 'Cang Shi'.Provenance: From a noted private collector. Condition: Excellent condition with only minor wear and minimal soiling to mounting.Dimensions: Image size 99.7 x 32.5 cm, Size incl. mounting 181 x 47 cm Wu Changshuo (1844-1927) was a prominent Chinese painter, calligrapher, and seal artist of the late Qing Period. Initially, he devoted himself to poetry and calligraphy with a strong interest in early scripts. He also led the Xiling Seal Art Society, an academic organization for Hangzhou-based seal artists. Only later did he consider himself a painter associated with the 'Shanghai School'. As a painter, he was noted for helping to rejuvenate the art of painting flowers and birds.Expert's note: The calligraphy, the gui and the stone rubbing are by Wu Changshuo, whereas the flower is by Zhu Cheng. Artprice, the world-leading art database, has recorded a total of eight other noted artists from the period with whom Zhu Cheng (aka Zhu Menglu) had similar collaborations during his accomplished career. Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 27 November 2012, lot 1259Price: HKD 500,000 or approx. EUR 79,000 converted and adjusted for inflation at the time of writingDescription: Wu Changshuo (1844-1927), Bamboo and BronzeExpert remark: Compare the closely related motif. Note the smaller size (68.5 x 33.8 cm)吳昌碩與朱偁款《土缶富貴花圖》中國，紙本設色，掛軸。牡丹綻放盛開，花朵艷麗，在枝壯葉茂的映襯下顯得風姿綽約。牡丹栽种在一土缶里，下方为缶之拓片。 款識：左上：土缶雖無字，是漢是晉莫能必，然出土與黃龍磚同穴，其古可知。先師藐公嘗顔予齋曰缶廬。予亦珍若璆琳，不肯輕示人，而富貴人皆不以缶為室寳。翔兄命工拓出，補以富貴花，深恐遽有豪攫者，茲特其先兆耳。昌碩吳俊卿。鈴印：吳俊之印；蒼石右上：青山樵叟偁；鈴印：朱偁之印 來源：知名私人收藏。 品相：品相良好，只有輕微的磨損和裝幀處小污漬。 尺寸：畫面99.7 x 32.5 厘米, 總181 x 47 厘米 專家注釋：書法、缶、拓片以及牡丹花為朱偁合作完成，兩位同爲晚清海派花鳥畫大師。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2012年11月27日，lot 1259 價格：HKD 500,000（相當於今日EUR 79,000） 描述：吳昌碩 (1844-1927)《竹與青銅器》 專家評論：比較非常相近的主題。請注意尺寸較小 (68.5 x 33.8 厘米)。

A BLUE AND WHITE 'DRAGON' DISH, JIAQING MARK AND PERIODChina, 1796-1820. The shallow rounded sides rising from a short tapered foot to an everted rim, vividly painted to the interior in inky tones of cobalt-blue with a central medallion enclosing a five-clawed dragon writhing among flames and reaching for a flaming pearl, within a double-line border repeated at the rim, the reverse with two dragons striding in the same pursuit, enclosed by double-line borders below the rim and above the foot. The recessed base with an underglaze-blue six-character seal mark da Qing Jiaqing nianzhi and of the period.Provenance: From the collection of Seymour Stein, New York. Seymour Stein (b. 1942) is an American entrepreneur and music executive. He co-founded Sire Records and signed bands that became central to the new wave era of the 1970s and 80s, including the Talking Heads, the Ramones, and The Pretenders. His most famous discovery was Madonna, whom he signed in 1982. Ice-T wrote about Stein in his autobiography, stating: “He's cut from that cloth of the old-time music executives like Clive Davis, but he's way more eccentric... Just a little more bizarre, a bit more avant-garde, more of an edgy cat.” Seymour Stein started collecting art in his early twenties, when he worked for Polydor records. During his breaks, he started to explore Sotheby's nearby showroom on London's New Bond Street and occasionally bought Chinese porcelain. “Antiques seemed like a natural partner for records,” he wrote. “You had to learn genres, meet dealers, spot details, figure out value, and above all, find the treasures.” Speaking of Mr. Stein, Madonna noted, “In art, as well as music, Seymour has always been ahead of the trends.”Condition: Good condition with only minor wear and minimal firing irregularities, the rim with three near-invisible and very short hairlines. Please request a detailed condition report video, shot under strong blue light, for further documentation of the condition of this lot.Weight: 317.0 g Dimensions: Diameter 19.5 cmAuction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 May 2014, lot 642 Price: HKD 100,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A fine blue and white 'dragon' dish, seal mark and period of Jiaqing Expert remark: Note the smaller size (16.5 cm)嘉慶款與年代青花開光龍紋盤中國，1796-1820年。敞口弧壁，圈足，胎質堅致白皙，釉汁瑩潤如玉。盤心開光立龍戲珠圖，外壁對稱飾趕珠龍紋，雲龍蒼健兇猛。畫面極為疏朗，筆觸細膩，青花髮色淡雅明快。圈足底青花篆書“大清嘉慶年製”款。 來源：紐約 Seymour Stein收藏。Seymour Stein (生於1942年) 是一位美國企業家和音樂主管。他與人共同創立了 Sire 唱片，並簽約了1970 年代和 80 年代新浪潮時代重要樂隊，包括 Talking Heads、Ramones 和 The Pretenders。他旗下最著名藝人是麥當娜，他與其1982 年簽約。Ice-T 在自傳中寫到了Stein，稱：“他脫離了像克萊夫戴維斯這樣的舊時代音樂高管，但他更加古怪......只是更奇異一點，更前衛一點，更像一隻前衛的貓。”Seymour Stein 在 20 歲時收集藝術品，當時他為 Polydor 唱片公司工作。休息期間，他頻繁拜訪位於倫敦新邦德街附近的蘇富比陳列室，偶爾購買中國瓷器。“古董似乎是記錄的天然夥伴，”他寫道。“你必須學習流派、會見經銷商、發現細節、找出價值，最重要的是，找到寶藏。” 談到Stein先生，麥當娜指出：“在藝術和音樂方面，Seymour 一直走在潮流的前面。”品相：狀況良好，只有輕微磨損和極少的燒製不規則，邊緣有三個幾乎看不見的非常短冲綫。請索取詳細的在強藍光下拍攝的狀況報告視頻，以進一步瞭解拍品詳細情況。 重量：317.0 克 尺寸：直徑19.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年5月26日，lot 642 價格：HKD 100,000（相當於今日EUR 15,000） 描述：清嘉慶青花「趕珠雲龍」圖盤，《大清嘉慶年製》款 專家評論：請注意尺寸較小(16.5 厘米)。

A PAIR OF LARGE 'FAUX-BOIS' JARDINIERES, IMITATING HUANGHUALI, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795)Opinion: This pair of jardinières, made in imitation of Huanghuali wood, was purchased by the current owner at Sotheby's New York in March 2015 for a final price of USD 181,250 against a pre-sale estimate of USD 25,000-35,000. One reason for the intensive competition at this auction may have been that while Sotheby's dated the jardinières to the 19th century, bidders seem to have had a slightly divergent perception of the actual age of this lot. And indeed, there are two very recent scientific findings that speak clearly for a time of origin in the Qianlong period instead of the 19th century:Firstly, Trompe l'Oeil porcelains were primarily produced in the Qianlong reign period, and not in the 19th century. For a detailed scientific consideration of this fact, including respective data analysis, see the webinar by Chih-En Chen, Lecturer of Chinese and East Asian art history at the University of Toronto, held in December 2021 for members of the Oriental Ceramic Society, titled “Feminine Space and Playthings: Recontextualization of Trompe l'Oeil Porcelain in High Qing China”. The corresponding section of the video starts at minute 16:00.Secondly, the strictly realistic and nature-oriented manner of imitating the Huanghuali wood with enamels on porcelain, particularly visible in the characteristic 'ghost eyes' found on the present jardinières, is untypical of the 19th century. As Chih-En Chen explains in detail, starting in minute 19:00 of the video, 'realistic' imitations of wood in Faux Bois porcelains were predominantly made during the 18th century, while 'unrealistic' or abstracted designs of wood emerged only in the 19th century. As we know, during the 18th century artists often imitated one material using another, but were always looking for rather subtle and inconspicuous ways to do so. Likewise, the ostentatious creations from the 19th century constitute a stark contrast to the humble, nature-oriented mindset of the 18th century.These aforementioned two facts lead this author to the conclusion that the present jardinières are in fact older than previously stated by Sotheby's, and without much - if any - doubt were made during the 18th century.Link for the video:https://www.orientalceramicsociety.org.uk/feminine-space-and-playthings-recontextualization-of-trompe-loeil-porcelain-in-high-qing-china-ca-1683-1839-ce (available to OCS members only)Finally, please note that Mr. Chih-En Chen has invested a sheer unfathomable amount of time into the research of Trompe l'Oeil decor in High Qing China - and especially Faux Bois - an effort for which we do not only have the deepest respect but also will remain eternally grateful to Mr. Chih-En Chen. For this reason, we highly recommend watching the video of Chih-En Chen's seminar, it is worth the while. At the time of the Sotheby's sale in 2015, however, none of the substantial scientific findings shown in the video by Mr. Chih-En Chen were available to the public, a fact that explains why Sotheby's experts had to be more cautious in dating the present jardinières. Superbly potted, the tapering sides of each of the two jardinières are finely and boldly enameled to resemble wooden planks, including many details and aspects of the grain such as the characteristic knotholes, with the two raised bands encircling the body neatly painted to mimic the look of rope.The recessed circle in the center of the base is set between two drainage holes and glazed white, each with a very large underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Also note the finely modeled and ruyi-shaped feet of each jardinière.The neatly executed painting of the wood imitation, including distinct peaks and ghost eyes, is inspired by the pronounced grain of huanghuali wood, which was highly prized as a material for furniture in the late Ming and early Qing dynasties, including brush pots or tubs similar to the present jardinières.Provenance: Sotheby's New York, 21 March 2015, lot 684, sold for USD 181,250 or approx. EUR 221,500 converted and adjusted for inflation at the time of writing. A copy of the invoice from Sotheby's New York, dated 21 March 2015, is accompanies this lot. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Very good condition, especially when considering the size and age of these jardinières, with minor old wear and some firing irregularities, shallow surface scratches, the feet with small chips and minor losses to enamels, one jardinière with small chips to one section of the base. Dimensions: Diameter 45.7 cm(2)Literature comparison: Compare a closely related unmarked faux-bois jardinière dated to the Yongzheng or Qianlong periods, in the collection of the Palace Museum, Beijing, accession number Gu154796, and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, no. 235. Two similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, are illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 317, pl. 146, and Gugong Qing ci tulu - Kangxi yao, Yongzheng yao - Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97, respectively.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 4 October 2011, lot 17Price: HKD 8,000,000 or approx. EUR 1,365,000 converted and adjusted for inflation at the time of writing Description: A rare faux-bois jardiniere, seal mark and period of Yongzheng Expert remark: Compare the closely related form and decoration, though the wood is treated more naturalistically than on the present lot and the interior shows yellow enamel in imitation of an oilcloth lining. Note the Yongzheng mark found on this lot instead of the Qianlong mark on the present jardinières.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.一對乾隆款大型仿木紋釉花盆由於字數限制，完整中文敘述請至www.zacke.at查看。

A CHINESE CARVED SOAPSTONE DRAGON SEAL. 4ins high.

A Chinese famille rose porcelain bowl, Qing, 19th century, the interior with turquoise ground, the exterior painted with two dragons chasing a flaming pearl and Fenghuang amongst clouds, between bands of ruyi heads and clouds, with gilt rim, apocryphal Yongzheng zhuanshu seal mark, 17.9cm dia, 6.5cm highIn good condition, with no obvious faults.

A Chinese moulded glass snuff bottle, relief casrved with a crane and fish with lotus, a square seal mark, with polished blue stone stopper, 9cmIn good condition.

A Chinese porcelain bowl famille bowl, with scalloped rim, painted with birds amongst lotus flowers and pods, chrysanthemums and rockwork, applied jian ding red wax seal, apocryphal Tongzhi mark, 22cmIn good condition.

Chinese hardwood seal chest inlaid with a well-carved Hetian celadon jade dragon chasing a flaming pearl along the top. Intricately carved with a rock surrounded by crashing waves surmounted by a shou symbol.Height: 8 1/2 in x width: 10 1/4 in x depth: 10 1/4 in.

Group of 23 carved seals with a seal book by Chinese artist Fei Gongxing born in 1880 and active in the Republic of China. The seal book is dated winter of 1933, prefaced and commented by several scholars. A number of seals match the prints in the book. These seals were carved by the artist for his own use. The calligraphy and paintings within the book are colophons. The title slip and first inscription are by a friend of the artist, Zhu Dianyi, and is dated 1934.(Seals) Height ranges from 1/4 in to 1 1/2 in; width ranges from 1/2 in to 1 1/2 in; depth ranges from 1/4 in to 1 1/2 in.

Chinese Yixing zisha teapot with a smooth rounded body and domed lid. Marked with a seal along the bottom indicating it as a Republic Period (PRC) diplomatic gift.Height: 4 in x width: 5 1/2 in x depth: 3 1/2 in.

Chinese famille rose porcelain ewer, potted in the Tibetan style, with a globular body and knopped neck below a thick disc-shaped lip. Profusely decorated with scrolling flora and auspicious Buddhist symbols (bajixiang) over a pale pink ground, with the s-shaped spout emerging from a red dragon mask. Six character Qianlong seal mark in red along the underside.Height: 7 3/4 in x width: 6 1/2 in x depth: 4 1/4 in.

Chinese porcelain vase, decorated with a scene of scholars seated in a garden in famille rose enamels. With a six-character Daoguang seal mark along the underside in red enamels, partially obscured by a drill hole. The vase has been mounted as a lamp.From the collection of Katherine Walker Griffith, a descendant of T.B. Walker, founder of The Walker Art Center in Minneapolis, Minnesota, and a renowned collector of Chinese porcelain.Height: 29 1/4 in x diameter: 6 1/2 in.

Hu Jieqing (Chinese, 1905-2001). Hanging scroll painting depicting a cat chasing an insect, ink and color on paper. With an inscription and red artist's seal along the right edge.Huaxin; height: 26 1/4 in x width: 24 1/2 in. Overall; height: 64 in x width: 25 1/2 in.

Two pieces of Chinese blue and white porcelain the first a ginger jar decorated with flowers and foliage, without lid, unmarked, 14cm high and the other a blue and white Chinese bowl decorated with birds, seal mark to the base, 15cm across (2)Overall scratches, signs of age and use. Bowl restored.

A CHINESE ARCHAIC STYLE BRONZE SEAL, the top with dragon. 5.5cm square

A CHINESE REPUBLIC PERIOD FAMILLE VERTE PORCELAIN PANEL, encased in a hardwood frame, the panel painted with birds and lotus, inscribed to the upper right with red seal mark. Overall 60cm x 36.5cm

IN THE MANNER OF ZHANG DA QIN: A LARGE CHINESE CALLIGRAPHIC SCROLL, with two red seal marks, image 120cm x 64cm.

A GOOD CHINESE FOLDING FOUR PANEL SCREEN, the panels with a painting of birds and native flora, with calligraphy and red seal mark to the top right of the painting, the screen fully opened measuring 152cm x 90cm.

Chinese Yixing teapot, globular form incised with a band of script, within carved leaf borders, the base with a Zhuanshu seal mark, height 11.5cm

Chinese Yixing teapot, chiselled cylindrical form, the cover adorned with two rings, maker's marks and Zhuanshu seal mark, height 12cm

Chinese Yixing teapot, squat form carved with scrolling dragons, the base with a Zhuanshu seal mark, height 8cm

Chinese carved soapstone seal, 19th Century, carved with a sleeping beast, 6cm; also a Chinese carved soapstone 'scholar's rock' carved with boys in a clam shell, 9cm (2)

Chinese famille verte biscuit vase, 19th Century, tapered square section, reticulated and moulded with figures and deities amidst clouds, impressed Kangxi seal mark in Zhuanshu script, height 11.5cm

Pair of Chinese biscuit moulded snuff bottles, 19th Century, each moulded with figures, painted Qianlong mark, height 7.5cm; also a Chinese biscuit hexagonal jar and cover, moulded with figures in colours, Qianlong seal mark, 7.5cm; and a further Chinese biscuit moulded small vase (extensively damaged), 7.5cm (4)

Small Chinese porcelain Imperial yellow ground baluster shaped jar and cover with reserved figural panels and printed blue circular seal mark to base. 12cm high approx. Together with a Chinese porcelain prunus blossom ginger jar and cover with concentric circles to the base. 12cm high approx. (2) B.P. 21% + VAT)

Large Chinese porcelain vase with peacocks, cylindrical body, the painted field enclosed by black borders, red seal mark and stamped 'Made in China', 41cm.Condition report:The vase is good with no cracks or chips, just a little rubbing to the edges and to the design in places. Please see the added photos online.

A pair of Chinese porcelain pot pourri vases, circa 1900, decorated with panels of birds and flowers on a yellow floral-patterned ground, rope twist handles, seal marks to bases, 13cm highOne handle has been restored and broken off. Otherwise in good condition.

Chinese Republic period brush pot, painted with a landscape scene, calligraphy to the reverse, seal mark to the base, 15.5cm highGood condition

A Chinese famille rose porcelain brush pot, finely painted with scholars & attendants in a landscape, apocryphal Qianlong seal mark in underglaze blue to base, 7¼” high.

A Chinese soapstone desk seal with carved lion-dog handle, 4” high; & two similar soapstone seals with carved & pierced handles and incised with landscapes & calligraphy, 3” & 4½”.

Modern Chinese wax seal set, with porcelain circular dish and cover, and two carved stone seals, wax dish 7cm diameter.

A Chinese Yixing blue glazed square vase, 19th/20th century, applied with a pair of lion mask ring handles, indistinct seal mark to base, 16.2cm high**CONDITION REPORT**Some scuffing and scratching to the glaze all over particularly around the handles. Some water residue to the interior, otherwise in good condition.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 'warriors' bottle vase, early 20th century, painted with a procession of soldiers, some on horseback, apocryphal Qianlong seal mark to base, 45cm high**CONDITION REPORT**Good condition.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 pair of Chinese famille rose fencai inscribed vases, mid 19th century, each well painted with scholars and attendants in a landscape scene with pavilions, rocks and a junk boat on a river, inscribed to the neck with a ten column poem, pseudo Hongwu iron red seal mark to base, 45cm high, cracks to neck of one vase**CONDITION REPORT**Both vases with some wear to the gilding around the rims. One of the vases has a small splinter chip to the rim which has been re-glued and some associated hairline cracks to the glaze around the neck. On close examination these fine cracks do not appear to go all the way through to the inside of the neck and adjust on the glaze on the exterior, otherwise in good condition.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 coral ground dish, Qianlong seal mark but Republic period, painted in famille rose fencai enamels with scenes from the Romance of the West Chamber, on a coral ground gilt decorated with lotus flowers and scrolling tendrils, pseudo Qianlong seal mark, 35.2cm diameter**CONDITION REPORT**Occasional minor scratching to the glaze, occasional minor wear to gilding. The centre of the dish is convex on the underside so the foot is slightly prouder than the foot and sits on its middle, otherwise in good condition with no restoration, chips 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. 

A pair of Chinese enamelled porcelain 'blackbird' dishes, Qianlong seal marks but 19th century, each painted with blackbirds amid prunus branches or in flight, underglaze blue Qianlong seal mark to base, 27cm diameter, minor damage**CONDITION REPORT**Occasional minor wear to the enamels, the first dish has a short hairline crack to the rim at the 10 o’clock position and a small splinter on the reverse. The second dish has a small splinter chip to the rim at the 12 o’clock position, and a short hairline crack at the 7 o’clock position, otherwise in good condition with no restoration.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 quatrefoil shaped bronze censer, 17th/18th century, Qinxhu two character seal mark, on four curved feet, 11.3cm wide**CONDITION REPORT**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 scroll painting on paper of a female immortal and a male immortal riding a Buffalo amid clouds and birds, early 20th century, inscribed with seal marks upper left, image 77cm x 34.5cm**CONDITION REPORT**Minor spotting to the paper in places a few small creases to the paper otherwise in good condition.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 scroll painting on paper of a sage and a boy in a hut, early 20th century, inscribed and with seal mark upper right, image 31.5cm x 42.5cm**CONDITION REPORT**Some spotting to the paper all over a slight crease to the paper on the image, the brocade board is also with some spotting and occasional creasing otherwise in good conditionPLEASE 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 scroll painting on silk of birds, rockwork and plants overhanging a pond, 19th century, inscribed and with seal marks upper left, image 164.5cm x 50.5cm**CONDITION REPORT**Image laid on paper and trimmed. Silk discoloured and with occasional patches of staining and some creasing to the surface, some slight chipping to the very edge, some patch repairs and repainting in areas, please see additional photos.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. 

Chinese School, early 21st century, scroll painting on paper of two tigers, inscribed upper left and with various seal marks to the image. image 92 cm x 173 cm**CONDITION REPORT**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 scroll painting on silk of a mother watching her children play in a garden, 19th century, inscribed and with a seal mark upper right, image 95cm x 21cm**CONDITION REPORT**Some occasional staining and discolouration to the silk ground, some creasing to the silk and lining paper of the painting, mounted with brocade borders which are a little worn and discolouredPLEASE 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 scroll painting on paper of cranes perched in a pine tree, 19th century, inscribed upper left and with two seal marks, image 163.5cm x 44cm**CONDITION REPORT**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 set of five Chinese paintings on paper of street vendors, 19th century, each bearing two red seal marks, image 37cm x 27cm**CONDITION REPORT**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 scroll painting on silk of a sage in a mountainous river landscape, 18th/19th century, inscribed and with a seal mark to the sky, image 69.5cm x 44cm**CONDITION REPORT**Discolouration to the silk ground with some patch losses around the edge and in other small areas, some occasional staining noticeably to the upper part of the sky. later mounted on brown paper and with later brocade bordersPLEASE 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. 

Two Chinese painted album leaves, 19th century, depicting mountainous landscapes, each inscribed and with a seal mark, Each Image 47.5cm x 34cm**CONDITION REPORT**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. 

Chinese porcelain figure, of a standing noble man on integrated base, in traditional dress, with seal; painted in multicolour, glazed; 19th Century. 43Cm height

A Chinese Yixing drum-shaped teapot, Qing dynasty,6cms high, the cover incised with a landscape and a four character inscription, the interior of the cover with two impressed seal marks and the base with a four character seal mark, spout later pewter mounted, 15.5cm long

A pair of Chinese famille rose fencai small plates, early Yongzheng period,16 cms diameter, each painted with flowers to the centre within a border of ribbon-tied objects and floral sprays, underglaze blue seal mark within a double circle, 16cm diameter

Chinese Soapstone - Artist Six Character Desk Seal. 20th Century. Mottled grey and red stone. Fitted wooden cloth covered box with bone clasp. Roughly translated the seal characters state = The Special Sea, Horse, Cow and Meat. Surface scratches all over, generally good. Stone is 8.5cm high and weighs 0.089Kg.中国皂石 - 艺术家六字台印章。斑驳的灰色和红色石头。合身的木制布盖盒，带骨扣。大致翻译篆字状态=特海、马、牛肉。表面有划痕，总体不错。石头高8.5cm，重0.089Kg

Chinese yellow ground vase, decorated with white flowing tree and birds, seal stamp to base (H28cm)