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Lot 183
A CHINESE MONOCHROME PORCELAIN MOON FLASK With a raised central medallion and stylised fish and floral decoration, the neck flanked by pierced handles Blue six character seal mark to base 26.5cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 507
A Chinese Yixing red stoneware teapot modelled as a pumpkin with leaves in relief and with carved hardstone cover with bird finial; together with a small Yixing teapot moulded in low relief with clouds; and two miniature Yixing teapots, one with incised seal mark, the other with six character mark. (4) First across handle and spout 19cm
Lot 512
A group of Chinese Yixing teapots comprising: a ribbed example, the cover with mouse or rat finial, the handle modelled with nuts; a brown example with bamboo moulded handle and spout; and a small red example of characteristic form, each with impressed seal mark. (3) First, length across handle and spout 14cm
Lot 519
Three Chinese patinated bronze and enamel vessels in the Archaic style, comprising: a baluster vase with zoomorphic handles, unmarked; a smaller baluster vase with ring handles and a band of cabochons, cast seal mark to base; and a Gu-form twin-handled vase with two bands of cabochons and cast seal mark to base. (3). 29.5cm, 23.5cm and 29.5cm
Lot 540
Three Chinese porcelain bottle vases: the first painted with flowers and water lilies against a turquoise ground, unmarked (hairline crack); the second in a famille rose palette, painted with a mountainous landscape with red seal mark; the third painted with peach boughs, also with red seal mark. (3) Heights 23cm, 19cm and 21cm
Lot 107
TWO CHINESE PORCELAIN GINGER JARS, 19/20TH CENTURY. Each decorated with polychrome enamels depicting various figures. One with four-character mark of Yongzheng to base. The other with four-character seal mark of Qianlong and 'MADE IN CHINA'. Approx. 17cm and 17.5cm height. (2)Both in good overall condition without cracks, chips or repairs. General expected surface wear only.
Lot 193
A VERY LARGE CHINESE PAINTING ON SILK, 19TH CENTURY. Eight Immortals and Queen Mother of the West with other Taoist figures gathering amongst clouds and crashing waves on a mountain scene. Two red seal marks bottom right. Framed and glazed. Frame size 164cm X 99cm Good overall condition with no major signs of damage.Provenance: From a local estate. Property of Navy Commander Henry W Jennings R.N. who was stationed in Sasebo Japan between 1946-48. Retired in 1960's and thence by descent.
Lot 20
A CHINESE PORCELAIN SNUFF BOTTLE, LATE 19TH CENTURY. Decorated in polychrome enamels and iron-red with figure of Liu Hai and toad. Gilt rim and seal mark to base. 8cm tall.Provenance: Property of a Gentleman.This lot is offered without reserve.Good general condition with signs of use and wear. No major loss, damage or repair.
Lot 235
A LARGE KAKEMONO, NAKABAYASHI GOCHIKU (1827-1913). Ink calligraphy on paper in scroll. Nakabayashi was known as one of the best Japanese calligraphers in the Meiji period. After learning calligraphy in Edo, he went to China to research the technique of Chinese calligraphy. Signed with three red seal marks. In protective wooden box. Artwork 134cm x 53cmAcquired in Japan between 1986-89.
Lot 38
AN UNUSUAL CHINESE BLACK LACQUERED SNUFF BOTTLE, QING DYNASTY. Undecorated with raised seal mark to base with metal rim mount. With green glass stopper. 7.5cm tall without stopper.Provenance: Property of a Gentleman.This lot is offered without reserve.Slight defect to middle of body. Otherwise good overall condition without major damage or repair.
Lot 52
A CHINESE JADE SEAL AND INK POT, QING DYNASTY. The jade seal with pierced hole and carved with figure of lion dog with its head turned back to its tail, four-character seal mark to base. Together with a porcelain ink pot with character mark of Qianlong, decorated with flower. Seal 3.5cm tall. (2)Provenance: Property of Lieut. Colonel Thomas Sands Kenwrick Cox. Purchased during his time in China circa 1900, thence by descent. This lot is offered without reserve.All items in good overall condition with no major damage or repair.
Lot 72
A CHINESE CARVED SOAPSTONE SEAL ON STAND, 19TH CENTURY. Of rectangular form carved in relief with figures in a boat below mountains and pine trees with clouds. Inscription of Ming dynasty poem down one side and seal mark to base. On an intricately carved green stand depicting crashing waves. 13cm tall including stand. Slight chip to edge of base and edges of seal. Stand in good overall condition with wear expected with age.Stone weight 348.7 gramsProvenance: From a local estate. Property of Navy Commander Henry W Jennings R.N. who was stationed in Sasebo Japan between 1946-48. Retired in 1960's and thence by descent.
Lot 76
A GROUP OF CHINESE AND JAPANESE MIXED METAL ITEMS. Comprising two bronze seals; a bronze dog fitting; three bronze figures of women and child; two cloisonne enamel pots; together with a filigree and red lacquer insert bracelet, stamped CHINA. Tall seal 9.5cm tall. (9)All items in good general condition with no major damages to note.
Lot 91
A CHINESE WHITE ENAMELLED DRAGON JAR. Decorated to the body with two dragons chasing flaming pearls amongst clouds, under a row of dragons under bands of key fret and lotus lappets. Six-character seal mark of Daoguang to base. Written 2000.05. 16.5cm tall.Overall good general condition with no signs of damage or repair. Minor surface wear to enamel only.
Lot 565
'THE ARRIVAL AT THE PEACH FESTIVAL', QING DYNASTYChina. Ink and color on silk. Depicting the arrival of deities to the peach festival with Xiwangmu on the top right riding a horned dragon, to her right, Yudi on a throne carried by his attendants, both emerging from clouds, with other attendants and spectators carrying oversized peaches, on the lower left depicting the eight immortals, some arriving by boat and horse, and in the right corner Shoulao and his attendants in conversation while walking towards a bridge.Inscriptions: Top right one seal 'Qianlong yulan zhibao'. Center right 'Longmian jushi, Li Gonglin' and two seals.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong. Condition: Commensurate with age, some losses, creasing, tears, one handle missing, foxing, and soiling. Abrasions and wear. Dimensions: Image size 150 x 192 cm, Size incl. mounting 160.7 x 225 cmWith a brocade frame and a European brass handle, the latter dating to the first half of the 20th century or earlier.Expert's note: The present lot is influenced by the artwork of the Northern Song dynasty painter Li Gonglin (active 1049-1106). It is known that during the reign of Emperor Qianlong (1736-1795) masters from the Palace Painting Academy were commissioned to copy a significant number of ancient works from the Imperial palace collection, predominantly for conservatory purposes, but also for a number of other reasons. This could explain why a 'Qianlong yulan zhibao' seal mark can be found on the top right corner of the artwork.The Queen Mother of the West, or Xiwangmu, is one of the most important goddesses of the traditional Chinese pantheon. According to legend, she dwelt in the Kunlun Mountains, located south of the Takla Makan desert in western China, where she was visited by a number of emperors and Daoist masters seeking immortality. Her most famous encounter reportedly occurred in 110 BC, when she journeyed to the court of Emperor Wu of the Han dynasty (reigned 141-87 BC) and presented him with several magical peaches, which ripen only once every three thousand years. Said to confer immortality when eaten, these special peaches became the most common attribute of the Queen Mother. According to early sources, the peaches of immortality grow not only in the mountain home of the goddess but also on certain mythological islands in the ocean east of China, where other gods and immortals reside.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.清代《群仙拱壽圖》中國。絹本水墨設色。群仙來到爲慶祝西王母壽誕蟠桃盛會。圖中可見西王母騎著虯龍，很多侍從手中拿著仙桃，還可看到八仙過海場景，很多仙人翹首觀望，並有壽老與其隨從往一座橋走去。人物動作神態十分寫實自然，面部表情生動，將各人不同特徵表露無疑。 款識：乾隆御覽之寶，龍眠居士李公麟製 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。 1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。 這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：有一些缺損、摺痕、撕裂、褐變、污漬，有磨損。缺一柄。 尺寸：畫面150 x 192 厘米，總160.7 x 225 厘米 織錦框架和歐洲黃銅手柄，後者可以追溯到20世紀上半葉或更早。 專家注釋：此拍品受北宋畫家李公麟（1049-1106 年）的風格影響。眾所周知，在乾隆年間（1736-1795），宮廷畫院的畫師們被委託從皇宮收藏中復制大量古代作品，主要用於保存古代名作的目的，但也有其他一些原因 。這可以解釋為什麼在藝術品的右上角可以找到“乾隆御覽之寶”的印。
Lot 430
A FINE AND LARGE BLUE AND WHITE 'LOTUS' VASE, HU, QING DYNASTYChina, 1750-1850. The pear-shaped body rising from a short, slightly spreading foot to a waisted neck flanked by archaistic scroll handles. Painted around the exterior in rich cobalt-blue tones with a circumferential lotus band, all between ruyi-head, lotus-lappet, and classic scroll bands. The neck with a band of shou medallions on a wan ground. The base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection Particuliere Marseillaise.Condition: Superb condition with old wear, shallow surface scratches and firing flaws, such as dark spots, pitting, and firing cracks. One handle with firing cracks and associated glaze recesses to the lower joint. For a detailed video of the vase shot under strong blue light, please refer to the department.Weight: 11.6 kg (excl. base)Dimensions: Height 44 cm (excl. base) and 54 cm (incl. base)With a lotiform carved hardwood base, possibly from the period, but at least 100 years old. (2)Expert's note: Vases such as the present lot have their origins in the archaic ritual vessel called Hu, but in their size and slightly exaggerated form they predominantly served to proclaim the advanced skills and sophisticated techniques of mid-Qing Dynasty porcelain manufacture. The lotus scroll also has its distant origins dating back to the Yuan Dynasty, but by the Qianlong period it had become the very formal, evenly-spaced pattern with its self-conscious echo of a past long bygone. It is this very structure, however, that helps today's scholars to establish a precise dating for any vase from this group: The more dense the lotus pattern is, the later the piece. The present lot, however, is a bit of a riddle, as its lotus scrolls reside more or less exactly between the sparse, almost frugal 'Ming Style' patterns from the early Qianlong period and the dense, almost cluttered scrolls from the late Qing and Minguo periods. Same goes for the rich cobalt-blue tones: Not quite as brilliant and intensive as in the early Qianlong era, but also by far not as dull and feeble as in later times. For these reasons, it is this author's belief that the present lot is either from the second half of the Qianlong period, or from the first half of the 19th century.Literature comparison: Compare a closely related blue and white hu, with a Qianlong six-character seal mark and of the period, sold at Sotheby's Hong Kong, 24 September 1987, lot 74, offered again at Christie's Hong Kong, 26 April 2004, lot 1065. Further examples of this vase are illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, plate 62. Geng Baochang, Ming Qing Ciqi Jianding, Hong Kong, 1993, page 267, figure 455. Exhibition of Qing Porcelain from the Wah Kwong Collection, Chinese University of Hong Kong, 1973, no. 68. Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2013, lot 164Price: USD 485,000 or approx. EUR 614,500 converted and adjusted for inflation at the time of writingDescription: A fine blue and white 'lotus' vase, hu, Qianlong seal mark and periodExpert remark: Compare the near identical form, decoration, handles, and size (45.1 cm)Auction result comparison:Type: RelatedAuction: Shanghai Doyun Xuan Auction, 25-26 December 2012, lot 2299Price: RMB 4,140,000 or approx. EUR 737,000 converted and adjusted for inflation at the time of writingDescription: Qing dynasty, Qianlong period, Blue and white with lingzhi-lian design and double-eared deer-headed vaseExpert remark: Compare the near identical form, decoration, handles, and size (44 cm) 清代大型青花纏枝蓮紋雙螭耳鹿頭尊 中國, 1775-1875年。尊直口微敞，短頸，造型似鹿頭，頸部兩側飾螭龍形耳，圓鼓腹下垂，圈足，胎體厚重，線條飽滿，器形大氣威嚴。尊通體以青花描繪，髮色鮮豔淋漓，口沿及頸部分飾迴紋、團壽字及嵌套如意雲，足脛部則裝飾蓮瓣紋、卷草紋，紋飾繪製精細，腹部主體通繪三重纏枝蓮，花朵碩大飽滿，枝葉翻轉，圖案極富層次感。圈足内“大清乾隆年製”六字三行篆書款。 來源：馬賽特別收藏 品相：狀況極佳，舊磨損、表面淺划痕和燒製缺陷，如黑點、點蝕和燒製開片。一螭耳帶有燒製裂紋和釉面凹槽。 在強藍光下拍攝的詳細視頻，請垂詢團隊。重量：11.6 公斤 (不含底座) 尺寸：高 44 厘米(不含底座)，總 54 厘米 硬木底座, 可能是來自同一時期，至少100年。 (2)由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。
Lot 630
AN INSIDE-PAINTED 'LOTUS AND SCHOLAR'S ROCK' SNUFF BOTTLE, BY ZHOU LEYUANChina, 1890. Finely painted in pale watercolors and black ink to one side with lotus blossoms and leaves blowing in the wind below a short inscription and to the other with a scholar's rock, a vase with flowering prunus branches, a jardiniere, and a kettle.Inscriptions: To one side, 'Yinxiu shanfang Zhuren qingshang Gengyin shouxia Zhou Leyuan you' (Curiosity by the scholar of the Yinxiu Shanfang Studio). In the summer of Gengyin year [corresponding to 1890]. Zhou Leyuan). One large seal.Provenance: From an old English private collection, acquired in China during the early 20th century and thence by descent to the last owner.Condition: Excellent condition with only minor old wear and some manufacturing imperfections to the glass.Stopper: Mottled green and brown jade.Weight: 30.7 gDimensions: Height including stopper 60 mm. Diameter neck 15 mmThe flattened, rounded and rectangular body supported on an oval spreading foot and rising to a cylindrical neck.Zhou Leyuan is the founder of the popular Beijing school of painting. His career spanned the period 1881 to 1893. Every single artist of the first phase of the school owed a considerable debt to Zhou, and most began their careers by copying his style and signing his name. Some even devoted most of their careers to producing copies of his work. Hugh Moss has described Zhou Leyuan as “the single most important artist in the entire field of inside-painted snuff bottles”.Expert's note: There is always evidence of Zhou's compositional brilliance in his mature works, exemplified here, where the lotus blowing in the wind is perfectly balanced with both the inscription, in Zhou's fluent and elegant calligraphy, and the large seal. The placing of the lines of calligraphy forms a vertical counterpoint, together with the seal, to counteract the void left by the dispersed lotus. In Chinese painting, which, in its mature phase from the Song/Yuan period onwards, incorporates what became known as the 'Three Perfections' (poetry, calligraphy and painting) in a single artistic expression, the seals act both as lexical content and as calligraphy and, as such extend the function of the calligraphy itself, but apart from that they also allow an additional formal element, their bright vermilion acting as a counterpoint to the black of the calligraphy and the blank space of the surface to which they are added. In this case, to extend the vertical element of the calligraphy, it was necessary to use a larger seal on the lower left side. These rare larger seals are mostly confined to Zhou's middle period. Later, particularly after 1890 and until he ceased to paint in 1893, his compositions became more complex, often filling the available space to a greater extent, reducing the need for larger seals to balance sparser compositions. A similarly sophisticated compositional elegance is exhibited on the other side, where we find Zhou's favorite subject of auspicious and scholarly objects, neatly arranged, but without any calligraphy or inscription whatsoever.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 25 May 2011, lot 109 Price: HKD 84,000 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: An inside-painted glass 'auspicious objects' snuff bottle, Zhou Leyuan, dated 1888Expert remark: Compare the similarly painted scholar's rock and vase with prunus branches.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 November 2012, lot 11 Price: HKD 312,500 or approx. EUR 48,500 converted and adjusted for inflation at the time of writing Description: An inside-painted glass 'crane and landscape' snuff bottle, Zhou Leyuan, dated 1892Expert remark: Compare the similarly sophisticated interplay between the bamboo growths, the rock, the moon, the calligraphy and the large seal on the backside of this bottle with the front side of the present lot.周樂元内畫鼻烟壺中國，1890年。腹部兩面繪製，淺色水墨設色精心繪製，一面是荷塘，另一面繪以博古圖為主題，可見花瓶、盆景及香爐等物，其瓶中插梅，寓意清雅高潔。 款識：飲秀山房主人清賞，庚寅首夏周樂元作 來源：英國私人老收藏，二十世紀初購於中國，在同一家族保存至最後一任主人。 品相：狀況極佳，只有輕微的磨損和玻璃的一些製造缺陷。 壺蓋：玉 重量：30.7克 尺寸：含蓋總高60毫米，頸部直徑15毫米 鼻烟壺扁瓶式，平口，口微敞，溜肩，直壁，橢圓型圈足。由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。
Lot 316
A 'HEART SUTRA' SOAPSTONE SEAL WITH MICROSCOPIC INSCRIPTION, 17TH CENTURYChina. Of elongated rectangular form, the upper edges rounded, masterfully incised to one side in a very fine and almost microscopic calligraphy with an extract of the Heart Sutra. The slightly translucent stone of a pale celadon color with cloudy white inclusions.Inscriptions: One side incised with an extract of the Heart Sutra. The seal face with 'Hai Nie'.Provenance: British trade. One side with an illegible old label. Condition: Very good condition with minor wear, few small nicks and chips to the edges, and light surface scratches.Weight: 78.8 g Dimensions: Height 7.1 cm 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 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.Literature comparison: Compare a pair of soapstone seals with similar microscopic inscriptions, dated to the mid to late 17th century, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 84-85, no. 43.十七世紀皂石雕刻《心經》中國。長方體，上邊緣呈圓形，一側巧妙地刻有非常精細的《心經》摘錄。略帶半透明的淺青色石料，帶有白色絮狀物。 款識：海涅 來源：英國古玩交易，一面有難以辨認的舊標籤。 品相：狀況極好，輕微磨損，邊緣有小刻痕和磕損，表面有輕微劃痕。 重量：78.8 克 尺寸：高7.1 厘米 文獻比較： 比較一對十七世紀中至末期皂石印，有相近微小雕刻的款識，見Gerard Tsang和Hugh Moss，《Arts from the Scholar's Studio》，香港大學美術博物館，香港，1986年，頁84-85，編號43。
Lot 527
A LARGE GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI, LATE QING TO REPUBLIC PERIODTibetan-Chinese, c. 1800-1950 or earlier. Massively cast seated in vajraparyankasana on a double lotus throne, the right hand extended in bhumisparsha mudra and the left held in samadhi mudra, the face with a meditative expression, crowned by a beaded tiara around the domed ushnisha with tightly coiled curls. The sanghati with borders of delicate beading, enclosing finely incised foliate scrolls along the hems, which gather in a fan shape between the feet, the front of the pedestal with a double vajra.Provenance: British trade. Condition: Overall in good condition commensurate with age. Few minor nicks, dents, losses, light scratches, and significant wear to gilt. Some casting irregularities, signs of corrosion, dark spots, remnants of old varnish and pigment. The seal plate lost, the interior was professionally cleaned some time ago. One finger lost. Naturally grown patina.Weight: 5,386 g Dimensions: Height 30.9 cmSeated in classic diamond posture, recalling the seminal moment when he attained enlightenment under the bodhi tree in Bodhgaya, Buddha embodies virtuosity and inner energy. Touching the ground with his right hand, he asks the earth to witness the truth of his teachings. The elongated earlobes represent his rejection of worldly goods and the robes, worn in a way to leave the right shoulder bare, recall the custom adopted by Buddhist monks in Southeast Asia when paying respect to a holy site.Auction result comparison:Type: Near identicalAuction: Bonhams London, 17 May 2018, lot 106Price: GBP 15,000 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A very rare and large gilt-copper figure of the Buddha Shakyamuni, Tibet, 14th/15th centuryExpert remark: Compare the near identical pose, decoration, and closely related size (31.3 cm). Note that this statue most likely also dates from the Qing or Republic period.清末民初大型釋迦牟尼鎏金銅漢藏，約1800-1950年或更早。釋迦牟尼結金剛坐坐在雙層蓮花座上，右手施觸地印，左手為三摩地手印，面帶沉思，頭上有螺髻，佩戴連珠發帶。袈裟上飾以精美珠飾，沿裙擺附有精美紋飾，鋪在足間。蓮花座上有雙金剛杵。 來源：英國古玩交易。 品相：總體狀況良好，輕微的刻痕、凹痕、缺損、輕微劃痕和嚴重的鎏金磨損。一些鑄件不規則，腐蝕跡象，黑點，舊清漆和顏料的殘留物。封印板丟失，內部曾被專業清洗過。一根手指掉了。自然包漿。 重量：5,386 克 尺寸：高30.9 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦邦瀚斯，2018年5月17日，lot 106 價格：GBP 15,000 （相當於今日EUR 20,500） 描述：西藏十四至十五世紀銅鎏金釋迦牟尼佛坐像 專家評論：比較幾乎相同的姿勢、裝飾和非常相近的尺寸(31.3 厘米)。請注意此像很有可能斷為清末民初。
Lot 559
A SILK PAINTING OF BO LE WITH HORSES, AFTER ZHAO MENGFU (1254-1322)China, Qing dynasty, 18th-19th century or earlier. Ink and color on silk. Depicting the famous groom riding a horse with a pale chestnut color and light gray mane, an unsaddled, white-spotted brown horse with dark mane walking beside them, its muzzle with a green harness suspending a red tassel.Inscriptions: Upper left, signed 'Zi Ang', and one seal, 'Zhao shi Zi'Ang'. Lower right, two seals. Provenance: From an old Austrian private collection, by repute acquired ca. 1970, and thence by descent. The backside with cut-out text from an old auction catalog, in the German language, attributing the painting to the Yuan dynasty. Condition: Good condition with some wear, tiny losses, few tears, minor soiling and creases, some old restorations around the edges.Dimensions: Image size 33.4 x 29.1 cm, Size incl. frame 42 x 41 cmMatted and framed behind glass.Bo Le, the legendary horse tamer from the Spring and Autumn period (771 - 476 BC) is depicted in this painting. He was a famous judge of horses and invented equine physiognomy. The motif of Bo Le judging horses eventually became a metaphor for the recruitment of able government officials. Zhao Mengfu (1254-1322), also known as Zhao Zi Ang, was a Chinese painter of the Yuan dynasty who excelled in Chinese painting, calligraphy, poetry, and music. He was particularly famous for his paintings of horses, which he used as a symbolic plea for the proper use of scholarly talent by the new Mongol administration. Kublai Khan personally recruited him for high state services in 1286. During the reign of Emperor Buyantu Khan, he was among the most influential figures at court. As an eleventh-generation descendant of Emperor Taizu, Zhao was also a Song prince by birth.Literature comparison: Compare a related painting of a groom with horse, by Zhao Mengfu, 1296-1359, in the collection of the Metropolitan Museum of Art, accession number 1988.135.Auction result comparison:Type: RelatedAuction: Bonhams London, 9 November 2017, lot 83Price: GBP 27,500 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A painting of Bo Le with horse, after Zhao Mengfu, Ming Dynasty or laterExpert remark: Note the similar size (29 x 38.9 cm) and the attribution to a follower 趙孟頫款《伯樂相馬》中國，清代，十八至十九世紀或稍早。絹本設色。描繪了著名伯樂騎著一匹淺栗色的馬。一匹沒有鞍的、白色斑紋的棕色馬，黑色的鬃毛，在旁邊走著。 款識：子昂；印：趙氏子昂。右下方另有兩印。 來源：奧地利私人舊藏 ，據説購於1970年前後，保存至今。背面可見一德語拍賣行文字，認爲此畫為元代。 品相：狀況良好，有一些磨損、微小的缺損、輕微撕裂、污漬和摺痕，邊緣有一些修復。 尺寸：畫面33.4 x 29.1 厘米，總 42 x 41 厘米玻璃裝框。 文獻比較： 比較一件相近趙孟頫人馬圖（1296年-1359年），收藏於大都會藝術博物館，編號1988.135。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2017年11月9日，lot 83 價格：GBP 27,500（相當於今日EUR 37,000） 描述：明或更晚趙孟頫（傳）伯樂相馬 設色絹本 專家評論：請注意尺寸相似(29 x 38.9 厘米) ，以及出自趙孟頫追隨者之手。
Lot 298
A WOOD 'QIN' WRIST REST, QING DYNASTYChina, 1644-1912. Carved as a qin supported on four short feet, inlaid with silver wire for the strings, bone for the hui (note markers), and ebony wood for the bridge, caps, and feet. The reverse inscribed with a short poem, title, and seal, the inscriptions neatly incised and gilt or lacquered.Inscriptions: To the reverse, titled 'Qing Lai' (clear stillness) and with a poem about the sound of the qin. One seal. Provenance: French trade. Condition: Very good condition with minor old wear, few minuscule nicks, light surface scratches, and minor loss to the silver wire inlays. Magnificent naturally grown patina, of deep golden-brown color and with an unctuous feel overall.Weight: 185.4 g Dimensions: Length 27.8 cmThe guqin is a plucked seven-string Chinese musical instrument. It has been played since ancient times and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as highlighted by the quote “a gentleman does not part with his qin without good reason,” as well as being associated with the ancient Chinese philosopher Confucius. It is sometimes referred to by the Chinese as 'the father of Chinese music' or 'the instrument of the sages'. Traditionally, the instrument was simply referred to as the 'qin' but by the twentieth century, the term had come to be applied to many other musical instruments as well. The prefix 'gu' (meaning 'ancient') was later added for clarification. Thus, the instrument is called 'guqin' today.Literature comparison: Compare a related wrist rest in the form of a qin, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, p. 121, cat. no. 86 and a paper weight in form of a qin, illustrated ibid. p. 235, cat. no. 224.Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 9 November 2011, lot 49Price: GBP 4,000 or approx. EUR 6,000 converted and adjusted for inflation at the time of writingDescription: An ebony 'qin' wristrest, Qing dynasty清代木雕琴式臂擱中國，1644-1912年。木雕成古雅致的古琴形狀，鑲銀如琴弦；琴面上側嵌飾大小不等十三片圓形骨片，即十三徽；另有岳山、内軫與雁足。背面居中刻行書詩句一行以及鈐印。琴形臂擱制式標準，做工精緻。 款識：“清籟”以及兩邊詩句各一行。 來源：法國古玩交易市場。 品相：品相極好，有輕微磨損、極少的細小刻痕、表面輕微劃痕和銀線嵌體的輕微損失。自然包漿瑩潤，深金棕色。 重量：185.4 克 尺寸：長 27.8 厘米文獻比較：比較一件相近的楸木雕古琴式刻銘臂擱‧蘭石銘，見Gerard Tsang and Hugh Moss，《Arts from the Scholar's Studio》，香港大學藝術博物館，香港，1986年，頁121，編號86。另一件晚明至清代的紫檀琴形紙鎮，見同本書，頁235，圖錄編號224。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2011年11月9日，lot 49 價格：GBP 4,000（相當於今日EUR 6,000） 描述：清代烏木琴式臂擱
Lot 648
A CARVED YELLOW-GLAZED 'DRAGON' SNUFF BOTTLE, ATTRIBUTED TO WANG BINGRONGChina, Jingdezhen kilns, circa 1820-1870. The outer wall of the double-walled bottle is neatly carved in openwork and reticulation with a four-clawed dragon chasing a flaming pearl in high relief against a continuous pierced background of neatly incised clouds and flames. The inner wall (and snuff container) is molded.Provenance: Collection particuliere dans le departement Eure-et-Loir, France. Condition: Excellent condition with some old wear and microscopic nibbling and glaze flaking. The black enameling to the pupils of the dragon has flaked off over time.Stopper: Porcelain stopper (matching)Weight: 57.8 gDimensions: Height including stopper 70 mm. Diameter neck 16 mm and mouth 6 mm.The recessed base carved with an apocryphal four-character mark Qianlong nianzhi.Wang Bingrong, active during the Daoguang and Xianfeng periods, was one of the finest of a small group of independent ceramicists in Jingdezhen of the period. At that time, the porcelain industry initiated carving on snuff bottles as a diversification from using earlier practices of molding. The uniformity and depth of the reticulation between the outer and inner layers, as exemplified by the present lot, can only be achieved by careful and steady carving.Literature comparison: Dragons were among Wang's most popular designs, although this particular composition is arguably among his rarer works. Compare a related, yellow-glazed snuff bottle, illustrated by H. Moss, V. Graham and K.B. Tsang, A Treasury of Chinese Snuff Bottles. The Mary and George Bloch Collection. Vol.6. Part 3. Arts of the Fire, Hong Kong, 2008, pp. 771-773, no. 1357. For two further 'dragon' snuff bottle examples, in yellowish-cream glaze and in green-glaze, respectively, see Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1994, p. 93, nos. 263 and 265. Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 4 June 2015, lot 8Price: HKD 312,500 or approx. EUR 43,500 converted and adjusted for inflation at the time of writingDescription: A carved yellow-glazed 'dragon' snuff bottle, Wang Bingrong seal mark, circa 1820-1870Expert remark: Compare the near identical form, motif, glaze, and manner of molding and carving. Note the different seal mark.黃釉雕刻龍紋鼻烟壺，或爲王炳榮中國，景德鎮，約1820-1870年。鼻烟壺有雙層壁，外壁鏤空雕刻並浮雕四爪雲龍戲珠。内壁堆塑。 來源：法國 Eure-et-Loir省私人收藏。 品相：品相極佳，有一些磨損和細微磕損和釉層剝落。龍眼上的黑色琺瑯隨著時間的推移已經剝落。 壺蓋：陶瓷 重量：57.8 克 尺寸：高 （含蓋）70 毫米，頸部直徑16 毫米及瓶口直徑6 毫米 圈足内四字偽款“乾隆年製“。 王炳榮活躍於道光咸豐年間，是景德鎮當時製陶家中的佼佼者。當時，陶瓷鼻烟壺剛剛開始利用雕刻工藝。以本拍品為例，內外層網紋十分均勻，必須細緻、穩健地進行操作。 文獻比較： 龍是王炳榮最受歡迎的設計之一，但這個特殊的構圖可以說是他比較稀少的作品之一。比較一件相關的黃釉鼻烟壺，見Hugh Moss、Victor Graham 和曾嘉寶，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》，卷三，第三部分，〈Arts of the Fire〉，香港，2008年，頁771-773，編號1357。另外兩個龍形鼻烟壺的例子，分別是黃釉和綠釉，見Bob C. Stevens，《The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》）》，紐約，1994年，頁93，編號263和265。拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2015年6月4日，lot 8 價格：HKD 312,500（相當於今日EUR 43,500） 描述：大約1820-1870年黃釉雕刻龍紋鼻烟壺，或爲王炳榮 專家評論：比較幾乎相同的外型、主題、釉面和堆塑雕刻風格。請注意印不同。
Lot 575
'PRAYING MANTIS', BY JU LIAN (1828-1904), DATED 1895China. 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。
Lot 468
A 'MILLE FLEUR AND CHILONG' VASE, TIANQIUPING, LATE QING TO EARLY REPUBLIC PERIODChina, 1830-1930. Of bottle form, rising from a tapered foot to a cylindrical neck, densely painted in underglaze blue with peony, magnolia, prunus, and other floral blossoms, the shoulder finely applied with a fierce sinuous chilong decorated in copper red, the mouth agape showing sharp fangs and a pointed tongue. Provenance: North American trade. Condition: Very good condition with minor old wear, some firing flaws as expected, a small hairline to the rim, and one minuscule claw of the chilong lost.Weight: 1,510 g Dimensions: Height 33.3 cmThe recessed base with an apocryphal underglaze-blue six-character seal mark da Qing Qianlong nianzhi. Auction result comparison:Type: RelatedAuction: Christie's New York, 8 October 2015, lot 482Price: USD 4,375 or approx. EUR 5,400 converted and adjusted for inflation at the time of writingDescription: A Chinese porcelain mille fleur bottle vase, late 19th centuryExpert remark: Compare the related form, decoration, dragon molding around the neck, apocryphal Qianlong mark, and size (40 cm).Auction result comparison:Type: RelatedAuction: Bonhams Edinburgh, 10 July 2013, lot 337Price: GBP 4,750 or approx. EUR 7,100 converted and adjusted for inflation at the time of writingDescription: A famille rose 'mille fleurs' bottle vaseExpert remark: Compare the related form, decoration, dragon molding around the neck, apocryphal Qianlong mark, and size (33 cm).清末民初青花百花不落地盤螭龍天球瓶中國，1830-1930年。直頸，圓鼓腹，淺圈足。青花描繪百花不落地紋，肩部堆塑青花釉裏紅螭龍，龍頭上揚，張嘴，龍牙顆顆清晰，身型矯健有力，眼神如矩，栩栩如生。 來源：北美古玩交易市場。 品相：品相極好，有輕微磨損，一些燒製瑕疵，邊緣有一條細小的冲線，螭龍的一隻爪子丟失。 重量：1,510 克 尺寸：高33.3 厘米 圈足内偽款“大清乾隆年製”。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年10月8日，lot 482 價格：USD 4,375（相當於今日EUR 5,400） 描述：十九世紀晚期百花不落地盤龍瓶 專家評論：比較相近的外型、裝飾、盤龍、乾隆偽款，和尺寸 (40 厘米)。 拍賣結果比較： 形制：相近 拍賣：愛丁堡邦瀚斯，2013年7月10日，lot 337 價格：GBP 4,750（相當於今日EUR 7,100） 描述：粉彩百花不落地盤龍瓶 專家評論：比較相近的外型、裝飾、盤龍、乾隆偽款，和尺寸(33 厘米)。
Lot 472
A BLUE AND WHITE 'BIRDS' PLAQUE, WORKSHOP OR FOLLOWER OF WANG BU (1896-1968)Opinion: The present lot is near identical to a blue and white plaque sold by Oakridge Auction Gallery in 2019. While the Oakridge plaque seems to be slightly superior in quality overall, the differences are still quite minor. The present plaque was therefore made either in Wang Bu's workshop or by a close follower. Due to the subtly graded shadings of blue and the flawless quality of the drawing, both hallmarks of Wang Bu, it seems possible that the master himself has supervised or maybe even taken part personally in the genesis of this work. China, 20th century. Vividly painted in well-controlled shades of cobalt blue with three birds in flight above grasses and flowers, the sky filled with thick yet soft clouds. The left side of the plaque with a seal.Inscriptions: Lower left, one seal, 'Wang Bu'. Provenance: British trade. Condition: Excellent condition with minor wear and firing flaws. Weight: 2,689 g (incl. frame) Dimensions: Size 23.5 x 35 cm (the plaque) and 32.3 x 44 cm (the frame)With a solid Chinese hardwood frame and brass hook. (2)Wang Bu's father Wang Xiuqing was a blue and white porcelain painter during the reigns of Tongzhi and Guangxu of the Qing dynasty. It was common for children to follow in their father's footsteps, and at the age of 9, Wang Bu was apprenticed to Xu Yousheng, an artisan in blue and white porcelain painting at Jingdezhen. He completed his apprenticeship in 1912. After the closure of the Imperial workshops during the fall of the Qing empire, Wang Bu made a living painting bird feeders, before he was hired by the famous ceramic artist Wu Aisheng to make reproductions of Ming and Qing porcelains. This laid the foundation for his later innovation.Wang Bu arrived at Jingdezhen in 1907, and until his death in 1968, he created numerous ceramic artworks with underglaze and overglaze enamels, paste-on-paste carving, and incised decoration. However, it was his work in underglaze blue and white decoration, that earned him, in his later years, the title of Qinghua Dawang, The King of Blue and White.Auction result comparison: Type: Near identical Auction: Oakridge Auction Gallery, Virginia, USA, 6 September 2019, lot 193Price: USD 260,000 or approx. EUR 282,000 converted and adjusted for inflation at the time of writing Description: Blue & white porcelain plaque of 3 birds, Wang BuExpert remark: See Opinion above. Note that the lot is attributed to Wang Bu himself.Auction result comparison: Type: Related Auction: Bonhams San Francisco, 23 June 2015, lot 7258 Price: USD 533,000 or approx. EUR 624,000 converted and adjusted for inflation at the time of writing Description: A blue and white porcelain meiping with birds on branchExpert remark: Compare the closely related painting of birds with similarly well-controlled shades of cobalt blue. Note that the lot is attributed to Wang Bu himself. Auction result comparison: Type: Related Auction: Sotheby's New York, 12 September 2018, lot 119Price: USD 325,000 or approx. EUR 359,000 converted and adjusted for inflation at the time of writing Description: Two blue and white 'bird' seal paste boxes and covers, Republic period, by Wang BuExpert remark: Compare the closely related painting of birds with similarly well-controlled shades of cobalt blue. Note that the lot is attributed to Wang Bu himself.王步(1896-1968)或其後人青花飛鳥瓷板掛屏中國，二十世紀。青花描繪三隻小鳥展翅高飛，身下花草清新。畫意生動，色澤鮮潤發光，畫面格外活潑而自然流暢。。 專家注釋：此拍品與 Oakridge Auction Gallery 於 2019年 年出售的青花瓷板屏幾乎相同。雖然 Oakridge 的瓷板屏整體質量似乎略勝一籌，但差異仍然很小。因此，現在的瓷板可能是在王步的工作室中製作的，或是由其學生製作。青花的微妙漸變和完美無瑕的繪畫品質，都體現了王步作品的特徵，因此，大師本人似乎有可能監督甚至親自參與了這幅作品的創作。 款識：畫屏左側可見青花款“王步“ 來源：英國古玩交易市場。 品相：品相極佳，輕微磨損及燒製瑕疵。 重量：總2,689 克 尺寸：23.5 x 35 厘米 (瓷板) ；總32.3 x 44 厘米 硬木框。 拍賣結果比較： 形制：幾乎相同 拍賣：Oakridge Auction Gallery，美國維吉尼亞，2019年9月6日，lot 193 價格：USD 260,000（相當於今日EUR 282,000） 描述：王步青花飛鳥瓷板掛屏 專家評論：見上述專家註釋。請注意此掛屛為王步親自製作。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2015年6月23日，lot 7258 價格：USD 533,000 描述：王步青花鳥上枝頭梅瓶 專家評論：比較非常相近的鳥繪畫，以及相似的鈷藍的色調也同樣控制得很好。請注意此瓶為王步親自製作。
Lot 599
AN EMBROIDERED 'CRANES WORSHIPPING THE PHOENIX' SILK PANEL, 19TH CENTURYChina. 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)。
Lot 213
'JOYFUL FISH' BY LI KUCHAN (1899-1983)China. Ink on paper. Depicting a larger and two smaller fish swimming underwater, with some grass on the left lower corner, superbly painted in the artist's characteristic bold and spontaneous style.Inscriptions: To the top right 'Yu le tu' ('Joyful fish', but also a homonym for 'Amusement'), signed 'Kuchan', one seal 'Ling Ying zhiyin'. Provenance: British trade. Condition: Very good condition with some wear, foxing and very little creasing.Dimensions: Size 63.7 x 44.7 cm Li Kuchan (1899-1983) was a renowned Chinese painter, calligrapher, and art educator who specialized in free-stroke brush paintings. Li was born in Gaotang, Shandong, into a poor family and had to take up hard labor in order to pay for art school in Beijing. In 1923, he began to study under Qi Baishi (1864-1957) and was considered his best student. Later, Li began to work as an art teacher, and taught at the Central Academy of Fine Arts from 1950 until his death in 1983. He specialized in bird-and-flower paintings using the free and spontaneous 'xieyi' style (freehand brushwork used in traditional Chinese painting).Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 2 June 2015, lot 1340Price: HKD 325,000 or approx. EUR 47,000 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1898-1984) Two Fishes Expert remark: Compare the related motif and technique. Note the different size (137.3 x 36.3 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) FishExpert 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《魚樂圖》中國，紙本設色。以藝術家特有的大寫意風格描繪一條大魚帶著兩條小魚水中嬉戲，水草搖曳。款識：魚樂圖，苦禪鈴印：李英之印 來源：英國古玩市場。 品相：狀況極好，有一些磨損、褐變和輕微摺痕。 尺寸：63.7 x 44.7 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2015年6月2日，lot 1340 價格：HKD 325,000（相當於今日EUR 47,000 ） 描述：李苦禪《雙魚》 專家評論：比較相近的主題和技術。請注意尺寸不同 (137.3 x 36.3 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《魚戲》 專家評論：比較非常相近的主題和技術。請注意尺寸不同 (62 x 46 厘米) ，以及此圖組有兩幅畫。
Lot 85
A MAGNIFICENT FAMILLE ROSE SGRAFFIATO LIME-GREEN BOTTLE VASE, QIANLONG MARK AND PROBABLY LATE IN THE PERIODExpert's note: Coated in an even and elegant lime-green glaze, this bottle vase is special for its restrained and uncluttered design of vibrantly colored floral sprays. While its color scheme, pattern, and use of the subtle sgraffiato ground are well-rooted in the exuberant porcelain style developed in the 18th century, the sparsely scattered sprays are an innovation and evidence of an attempt at reducing decorative elements to achieve a balanced and refined design, clearly a hallmark of the Qianlong era. While this author agrees with Christie's previous assertion that the vase was probably made during the late Qianlong period, we want to go one step further and state that it is almost certainly of the period, as clearly indicated by the exceptional enameling and great attention to the many details of the blossoms, with meticulously executed calyxes, stamens, and pollen.China, c. 1780-1795. The globular body supported on a spreading foot and rising to a tall cylindrical neck. Finely decorated around the body with blossoming peony, chrysanthemum, and prunus blooms with leafy stalks, reserved on a lime-green sgraffiato ground. The base and interior enameled turquoise. The recessed base with an iron-red six-character seal mark da Qing Qianlong nianzhi and probably late in the period.Provenance: Property of a University Museum, accession number 1960.45 (lacquered to base). Christie's New York, 21 September 2000, lot 411 (the mark erroneously described as “underglaze blue”). Collection of David and Diane Buck, Milwaukee, Wisconsin, USA, acquired from the above. Two old labels to base, one from Christie's, inscribed '9476' (sale number) and '411' (lot number), the other inscribed 'Chinese. 18 c.' Prof. Emeritus David Douglas Buck (born 1936) is an American scholar of Chinese history who worked as a professor at the University of Wisconsin-Milwaukee from 1972 until his retirement. He received his PhD from Stanford University and has written several books on Chinese history, including “Urban Change in China: Politics and Development in Tsianan Shantung 1890-1949”.Condition: Superb condition with minor wear and firing irregularities. The vase slightly leaning.Weight: 1,888 gDimensions: Height 34.2 cmLiterature comparison: The flowers on this vase are similar to those on a turquoise-enameled vase with a gilt Qianlong seal mark from the collection of A.J.B. Kiddell included in the O.C.S. exhibition, The Arts of the Ch'ing Dynasty, London, 1964, no. 213.Auction result comparison: Type: Closely related Auction: Bonhams London, 8 November 2012, lot 80Price: GBP 37,250 or approx. EUR 55,000 converted and adjusted for inflation at the time of writing Description: A famille rose green-ground bottle vase, Qianlong seal mark Expert remark: Note the underglaze-blue Qianlong seal mark and the size (28.2 cm).Auction result comparison: Type: Related Auction: Christie's London, 10 May 2011, lot 292 Price: GBP 37,250 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A famille rose lime-green-ground bottle vase, Jiaqing/Daoguang period, early 19th century Expert remark: Compare the closely related floral decoration on a lime-green sgraffiato ground. Note the size (28.2 cm). 乾隆款黃地粉彩花卉紋長頸瓶，或爲乾隆朝後期中國，約1780-1795年。瓶直口，細長頸，圓鼓腹，矮圈足。通體施淡黃色釉，暗刻圖花紋，如牡丹、菊花與梅花等粉彩花卉紋。瓶內和圈足內施淡綠色釉。圈足内礬紅釉六字款“大清乾隆年製”。年代或為乾隆後期。專家注釋：長頸瓶高雅的淡黃色釉料，花卉紋色彩鮮豔清麗，構圖舒散，顯然是乾隆時代的標誌。 雖然筆者同意佳士得之前的說法，即此瓶可能是乾隆晚期的，但我們想更進一步，說它幾乎可以肯定是那個時期的，比如卓越的琺瑯和花卉紋的細節，精心繪製的花萼和花蕊。 來源：一個大學美術館舊藏，編號 1960.45 (見瓶底)；紐約佳士得2000年9月21日，lot 411 (款錯寫為“青花”)；美國威斯康星州密爾沃基David 與Diane Buck收藏，購於上述拍賣。底部兩個標籤，一個是佳士得拍賣編號“9476”與拍號“411”，另一個上寫著“Chinese. 18 c.”。Emeritus David Douglas Buck (出生於1936) 教授是一位美國中國歷史學者，1972 年至退休，一直在威斯康星大學密爾沃基分校擔任教授。他在斯坦福大學獲得博士學位，並撰寫了多本關於中國歷史的書籍，包括《Urban Change in China: Politics and Development in Tsianan Shantung 1890-1949”》（中國的城市變遷：1890-1949 年山東天安的政治與發展）。品相：狀況極佳，輕微磨損，燒製不規則。花瓶瓶身微微傾斜。 重量：1,888 克 尺寸：高34.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 201
A 'CHAEKGORI' EIGHT-PANEL SCREEN, JOSEON DYNASTY, WITH 'HIDDEN' ARTIST SEALKorea, 19th century. Ink and watercolors on paper. The eight vertical 'Scholars Accoutrements' paintings mounted as an eight-panel folding screen depicting an array of books, scrolls, and other items associated with a scholar's studio. With silk brocade mounting, hardwood frame, and metal fittings. The lower section of the first panel from the right, showing a variety of seals, is painted with a hidden artist signature in the form of a seal face. Provenance: From an old German private collection, acquired in Korea during the 1970s, and thence by descent within the same family. Condition: Good original condition with some old wear. Minor tears, creases, losses, little soiling, and fading along the edges. Overall displaying spectacularly well. Exceedingly hard to find in this near-pristine state of preservation.Weight: 12.6 kg Dimensions: Screen size 179 x 342 cm, Image size 139 x 328.6 cmThe Chinese-style books on screens of the present type are usually depicted closed, stacked in sets wrapped in slipcases. Joseon-dynasty scholars sat on thin cushions on the floor and worked at small, portable desks. Chaekgeori is a Confucian theme, directly related to the scholarly aspiration of the landed gentry, the scholar-officials of the Joseon-dynasty government. Yet, bookstack screens were popular in the homes of commoners, as well, symbolizing the Confucian ideals of education and self-improvement, and perhaps providing inspiration to the family's children. There is literary evidence that this subject became a status symbol after King Jeongjo (reigned 1776-1800) placed one behind his desk in the men's quarters of the palace.Expert's note: Functioning the same way as a signature in Western art, a seal impression on a chaekgeori screen is sometimes included to reveal the painter's identity. It is called a 'hidden' seal due to its discreet placement. Only about 12 works with such a 'hidden' seal are known today.Literature comparison: Compare with a closely related ten-panel folding screen, also signed with a hidden seal, in the collection of the Cleveland Museum of Art, accession number 2011.37. For a full discussion of Chaekgeori screens, see Kay E. Black and Edward W. Wagner, "Court style Ch'aekkori," in Hopes and Aspirations: Decorative Paintings of Korea, exhibition catalog (Asian Art Museum of San Francisco, 1998), 21-35, and also Black and Wagner, "Ch'aekkori Paintings: A Korean Jigsaw Puzzle," Archives of Asian Art 46 (1993), 63-75.Auction result comparison:Type: Remotely relatedAuction: Bonhams New York, 22 July 2020, lot 1183Price: USD 16,325 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: Chaekgeori (Scholar's accoutrements), Joseon dynasty (1392-1897), 19th centuryAuction result comparison: Type: Closely related Auction: Galerie Zacke Vienna, 6 March 2021, lot 659Price: EUR 17,696 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A 'chaekgori' six-panel screen, Joseon dynasty, with 'hidden' artist sealExpert remark: Compare the closely related manner of painting and motifs. Note that the lot only comprises a six-panel screen.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2011, lot 992Price: USD 458,500 or approx. EUR 564,500 converted and adjusted for inflation at the time of writingDescription: Scholar's Accouterments (chaekgori), second half 19th centuryExpert remark: Note that the lot comprises a ten-panel screen (139 x 29 cm each panel), and that the painting is executed in ink and color on silk instead of paper.朝鮮王朝八片靜物畫屏，隱藏的藝術家鈴印韓國，十九世紀，紙本設色。八片靜物畫屏安裝為一個八片折疊屏風，描繪了一系列文房用品如書籍、捲軸和其他物品。絲綢錦架，硬木框架和金屬配件。右起第一個畫屏的下部，展示了各種印章，以印章的形式隱藏的藝術家簽名。 來源：德國私人舊藏，上世紀七十年代購於韓國，保存在同一家族至今。 品相：品相良好，有些磨損。邊緣有輕微撕裂、摺痕、缺損、少量污漬和褪色。整體狀況極好。 重量：12.6 公斤 尺寸：畫屏179 x 342 厘米，畫面 139 x 328.6 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 59
AN IMPERIAL 'YUNLONG' BOOK COVER, INSCRIBED BY EMPEROR QIANLONG, CARVED SPINACH-GREEN JADE, DATED BINGYIN YEAR, 1746Opinion: As a sale result list from a 1965 Sotheby's auction shows (accompanying lot no. 78), the London salerooms of the Swinging Sixties were dominated by the who's who of today's most illustrious provenances in Chinese art, such as Bluett, Moss, Marchant, Clayton, Sparks and a certain “Wou”. A rather inconspicuous fixture of the English art scene in these days, Dr. Wou Kiuan was the previous owner of the present lot. He had the at the time rare advantage of being able to read Chinese, and thus instantly recognized that this jade plaque once served as an Imperial book cover and not, as oftentimes assumed, a mere book leaf. Dr. Wou's immense passion and superior knowledge sometimes allowed him to pick up extremely important Chinese works of art with rare inscriptions, right under the noses of the most experienced dealers and collectors, because they simply were unable to read Chinese. The present lot is proof of this fact, exactly like the 'yulan zhi bao' soapstone seal used by Emperor Qianlong, which sold for 131 million Hong Kong dollars on April 29, 2022.China, 1746. Superbly incised and gilt to one side with a fierce front-facing five-clawed cloud dragon, Yunlong, sinuously writhing around a flaming pearl amid swirling clouds, all above the terrestrial diagram and crashing waves. The other side with an incised and gilt inscription. The opaque stone of a deep spinach-green tone with paler green shadings, and cloudy inclusions cleverly used by the lapidary to amplify the cloud dragon appearance.Inscriptions: To the reverse, 'After examination, 25 texts have been determined in order […] they will be compiled in a collection […] Qianlong on a Spring day in the Bingying Year' (corresponding to 1746)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 late1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Very good condition with minor old wear, particularly to gilt inscription, which is nonetheless remarkably well-preserved. Minuscule nibbling to edges. Exceedingly rare in this pristine state of preservation.Weight: 649.5 g Dimensions: Size 27.4 x 12.5 cmFinely incised and gilt jade books reveal the dexterity of the carver with the medium, as such thin plaques were extremely fragile and could break if excessive pressure was applied when carving. During the Qianlong period, the production of jade books attained a new apex of quality, reflecting the Emperor's deep admiration and the increased availability of the material following the pacification of the Hui people in Xinjiang. These books were made under imperial orders by artisans working in the Palace Workshop belonging to the Neiwufu in the jade workshops of Suzhou, or in those belonging to the Huai and Changlu Administrations.Literature comparison: Compare a related jade album of 'Three rarities of literature', with a similarly incised and gilt dragon decoration to the cover, in the collection of the National Palace Museum, Taipei, accession number 故玉003497N000000000.Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 5 April 2017, lot 3615 Price: HKD 875,000 or approx. EUR 130,500 converted and adjusted for inflation at the time of writingDescription: An imperially inscribed celadon jade album leaf, mark and period of Qianlong, dated Yichou Year (in accordance with 1745) Expert remark: Compare the closely related incised and gilt dragon decoration. Note that this is an album leaf and not an album cover such as the present lot.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 23 March 2011, lot 705 Price: USD 302,500 or approx. EUR 385,000 converted and adjusted for inflation at the time of writing Description: Two inscribed leaves from a spinach-green jade book, Qing dynasty, Qianlong period, dated to the Gengxu Year (corresponding to 1790)Expert remark: Compare the closely related incised and gilt dragon decoration. Note that this comprises two jade book leaves, and not an album cover such as the present lot.乾隆丙寅年青白玉描金御製詩玉冊中國，1746年。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 16
A JIADING SCHOOL BAMBOO BRUSHPOT, BITONG, SIGNED ZHOU E, 18TH CENTURYOpinion: Finely carved and incised with openwork and undercutting, most cleverly combining high and low reliefs of different colors with a multitude of depth grades and variations of polishes to enhance both contrast and perspectives for the viewer, all exactly as expected from the best of the Jiading school of bamboo carving.China. Carved to one side with two sages seated under a tall gnarled pine tree, wearing loose-fitting robes and short chignons, one pointing to the sky with two fingers, a craggy rockwork table with a potted lingzhi and a teapot with two cups next to them, further detailed with a standing attendant fanning a stove below a teapot. Carved to the other side with a groom and four horses in various poses, including one on its back with its legs in the air.Inscriptions: To one side, 'Zhou E', with seal 'Zhou'.Provenance: Jonathan Bennett, London, United Kingdom. A Hungarian private collector, acquired from the above via the UK auction market. The interior with an old paper label inscribed 'Equipment so when really set-up we […] plenty of recreation'. Jonathan Bennett is an English dealer of Chinese art, specializing in 18th century and earlier porcelain as well as works of art including jades, bronzes, bamboo, and lacquer. He began his career at Sotheby's on New Bond Street and has been an independent dealer for over three decades.Condition: Good condition with minor wear, expected age cracks, some with old fills, minuscule nicks, light scratches. Magnificent patina overall, testifying to how much this bitong was appreciated by scholars over the past centuries.Weight: 281.7 gDimensions: Height 14 cmZhou E (artist name Jiantang) was active during the mid-Qing dynasty and a member of the Jiading School of bamboo carving. During the late Ming dynasty, Jinling and Jiading, both located in Jiangsu Province, became the two key regions for the highest quality of bamboo carving. By the time of the mid-Qing dynasty, Jinling had slowly lost its edge, while Jiading continued on with the heritage of the Three Zhus (Zhu He, Zhu Ying and Zhu Zhizheng) for generation after generation. Around early-Qing, Jiading carvers of bamboo started to combine high and low reliefs of different color to enhance contrast, as can be seen in the present bitong. This specific skill grew more and more sophisticated over time and the levels of depths in protrusion increased from initially one or two to six different grades. After these improvements Jiading eventually became the leading region for the very best bamboo carvings.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 1 June 2011, lot 3865 Price: HKD 800,000 or approx. EUR 132,500 converted and adjusted for inflation at the time of writingDescription: A finely carved bamboo brushpot, late Ming / early Qing dynasty, 17th centuryExpert remark: Note that this brushpot is signed Sansong, which is the signature used by Zhu Zhizheng, a founding member of the Jiading School, and dated by inscription to the Jiacheng cyclical year. Note the striking resemblance of the scene, including the standing attendant fanning a stove below a teapot. Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 31 May 2010, lot 1943 Price: HKD 250,000 or approx. EUR 42,500 converted and adjusted for inflation at the time of writingDescription: An unusual carved and reticulated bamboo brushpot, Qing dynasty, 17th/18th centuryExpert remark: Note that the brushpot is signed Zhong Qian.十八世紀嘉定派周鍔款竹雕筆筒中國。一側雕刻著松下兩位聖人，衣著寬鬆，一個用手指指著天空，正在談笑風生。身旁一個的石桌，桌上一個盆栽靈芝，一個茶壺，旁邊有兩個杯子 ，一位站立的侍者茶壺旁煽著火。 另一面雕刻著一個馬夫和四匹馬，姿勢各異，其中一匹正仰臥著，雙腿懸空戲耍。專家注釋：精雕細刻，局部鏤空，巧妙雕刻，結合紋理和光澤，完全符合嘉定派的竹雕風格。 款識：周鍔；鈴印：周 來源：英國倫敦Jonathan Bennett; 匈牙利私人收藏，通過英國拍賣行購於上述收藏。筆筒內有一個舊紙標籤，上面寫著“Equipment so when really set-up we […] plenty of recreation“。 Jonathan Bennett 是一位來自英國的中國藝術品經銷商，專營十八世紀及更早的瓷器以及玉器、青銅器、竹雕和漆器等古玩。他的職業生涯始於新邦德街的蘇富比，三十多年來一直是一名獨立經銷商。 品相：狀況良好，有輕微磨損，老化裂縫，一些填充物，微小的刻痕和劃痕。整體有自然的包漿，説明了幾個世紀以來此筆筒一直受到原主的喜愛。重量：281.7 克 尺寸：高14 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 71
AN INSIDE-PAINTED 'HAWK AND MOON' SMOKY CRYSTAL SNUFF BOTTLE, BY YE ZHONGSAN, DATED 1935China, 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。
Lot 180
A GILT COPPER REPOUSSE FIGURE OF GREEN TARA, 17TH-18TH CENTURYTibetan-Chinese. Well modeled seated in lalitasana, the right hand in varada mudra and the left in vitarka mudra, holding a lotus stem coming to full bloom at the shoulder, wearing elaborate jewelry and an incised robe falling in drapes, the face with a benevolent expression flanked by pendulous earlobes, crowned with a five-leaf tiara enclosing the hair coiled into an elaborate chignon. The seal plate with a punched double vajra.Provenance: From an old British private collection, acquired in the 1970s. A Belgian private collection, acquired from the above. Old label to base with manual inscription: “Nepal Tibet - Bronze dore - Acquis dans les annees 1970 Coll. A + JP de (…) Mc DONALD GB” (Nepal Tibet, gilt bronze, acquired in the 1970ies, collection of A + JP Mc Donald, UK) Condition: Good condition commensurate with age and still presenting remarkably well. Some wear and manufacturing flaws, minor dings and dents, small tears and losses, light scratches, minuscule old repairs. The base sealed and possibly still filled with sacred contents. Good, naturally grown patina overall.Weight: 1,055 gDimensions: Height 27 cmThis elegant seated figure of Tara exhibits many characteristics common to Buddhist imagery from the Qianlong period (1736-1795), made in the lamaist workshops in and around Beijing. In the latter half of Qianlong's reign, when the construction of Buddhist temples and the associated Buddhist images reached its apogee, the use of repousse, where thin metals are beaten rather than cast, became more prevalent in an effort to save materials and time. The artisans of the period quickly mastered the process, and details such as the ornately worked crown and flowers at the shoulders in the present figure demonstrate the mastery of the technique.Green Tara, also known as Shyamatara, is venerated as a savior and liberator from samsara, the earthly realm of birth and rebirth. According to Buddhist mythology, Green Tara emerged from a lotus bud rising from a lake of the tears of Avalokiteshvara, shed for the suffering of all sentient beings. She embodies compassion in a dynamic form, hence the usual depiction of the goddess with right leg outstretched, ready to leap out to ease suffering. Her right hand is always held out in varada mudra, a gesture of compassion and charity, and the left hand in vitarka mudra, a gesture of teaching.Auction result comparison: Type: Closely related Auction: Galerie Zacke, 27 September 2019, lot 68 Price: EUR 10,744 or approx. EUR 12,000 adjusted for inflation at the time of writing Description: A gilt copper statue of Manjusri, Tibetan-Chinese, 17th-18th century Expert remark: Compare the closely related repousse work, gilding, incision work, inlays, and double lotus base with similar petals and beaded edge. Note the related size (29.8 cm)Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2019, lot 673 Price: USD 21,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A repousse gilt-bronze figure of Tara, Inner Mongolia or China, late 18th century Expert remark: Compare the closely related repousse work and lotus base with similar petals and beaded edge. Note the size (39.4 cm).Auction result comparison: Type: Related Auction: Bonhams London, 16 May 2019, lot 171Price: GBP 15,062 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A large gilt-copper repousse figure of Green Tara, Tibet, 16th centuryExpert remark: Compare the closely related expression, pose, and jewelry. Note the size (40.4 cm) and that this statue is of an earlier date. 十七至十八世紀銅鎏金錘鍱綠度母坐蓮像漢藏。綠度母頭戴花冠，面相方圓，慈眉善目，神態沉靜。耳垂花璫，胸戴瓔珞，袒露上身，下著錦褲，雙肩豎出蓮花法器，單腿伸出自然坐於單層覆蓮座上。底座密封雙金剛杵印。 來源：英國私人舊藏，購於上世紀七十年代；一個比利時私人收藏，購於上述收藏。底部有舊標籤 “Nepal Tibet - Bronze dore - Acquis dans les annees 1970 Coll. A + JP de (…) Mc DONALD GB” (尼泊爾或西藏，銅鎏金，購於1970年代，英國 A + JP Mc Donald收藏) 品相：品相良好，與年齡相稱。一些磨損和製造缺陷、輕微的凹痕、小撕裂和缺損、輕微的劃痕與維修。底座密封，造像内可能還裝了聖物。 整體良好，自然包漿。 重量：1,055 克 尺寸：高 27 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 81
A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIODChina, 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).
Lot 208
'ADMIRING THE WATERFALL' FU BAOSHI, DATED 1963China. Black ink and watercolors on paper. Depicting a scholar with a cane standing below a monumental waterfall, his head raised in awe towards the cliff. Silk brocade frame and mounted as a hanging scroll.Expert's note: Fu Baoshi reached his first artistic peak during his stay in Chongqing. Inspired by the geographical eccentricity of the location, he painted a series of landscapes and waterfalls which later became known as the “Landscapes of Jingangpo” - the mountain suburb of his residence. During his later years, he kept painting variations of these landscapes, including the present work, further improving the emotional density of the scenes. As Fu recalled, “There is a myriad of breath-taking scenery surrounding Jingangpo. Everywhere you look, fenben [artist's sketch books and preparatory drawings] exist in abundance. Those who live in the Southeast [Chongqing is located in the Southwest] cannot and dare not embrace this realm made possible only by the local misty atmosphere and the majestic peaks.”The composition of the present work emphasizes grandeur and monumentality. Technically, Fu Baoshi mostly eschews outlines and utilizes dappling of the brush and ink washes. In spite of the first impression, each element is rendered meticulously and with distinctive purpose. The distant rocks with atmospheric effect on the very top of the work contrast with the near and clear ones on the bottom. The seeming disorder of the falling waters, upon closer examination, is consisted of logically cascading waterflows seeking ways between protruding rock spires. A giant tree is rising above the cliff on the left. Near the bottom stands a lofty scholar, halting to admire the wonders of nature that take his breath away. Fu Baoshi uses flesh color to accent the head of the minuscule figure and razor sharp minuscule brushstrokes for the staff and the outlines of the robe, which do not shy a tenfold magnifying, adding vitality and a point of entry for the viewers to experience this pictorial world vicariously. The minuscule figure further highlights the colossal towering peaks and waterfalls.Fu Baoshi's family later reminisced about their time there: “Jingangpo, where we lived, was a typical mountain district of Sichuan province. Villages are scattered in layers of mountains and hills, where streams, bamboo groves, thickets, and forests are ubiquitous. And in the mountains there are the secluded ancient temples. In the summer, fog and mist frequently permeates the air, causing one to lose one's direction. However, this type of scenery was beloved by father [Fu Baoshi] the most.” The present work, in every way, exemplifies the finest of Fu Baoshi's waterfalls.Inscriptions: Upper right 'Fu Baoshi in Nanjing, May 1963', one seal 'Baoshi zhi yin'. Lower left, one collector's seal 'Yang Qilin suocang shuhua'.Provenance: From the collection of Yang Qilin, Singapore. Collector's seal 'Yang Qilin suocang shuhua' to lower left of painting. Thence by descent to the auction market, a noted private collector acquired from the above. Yang Qilin (1917-1998), was born in Chao'an, Guangdong Province, and later lived in Singapore. During his lifetime he collected more than 1,000 calligraphies and paintings, among them many highly important works. Together with Huang Manshi, Liu Zuochu and Chen Chuchu, he was known as the "Four Great Collectors of Paintings and Calligraphy in Singapore". Condition: Excellent condition with minor wear and traces of age, and few small creases to the mounting.Dimensions: Image size 51.5 x 28.5 cm, Size incl. mounting 201.5 x 46.7 cmThe finely polished hardwood scroll handles are probably carved from ebony. Fu Baoshi (1904-1965) was a Chinese painter from Xinyu, Jiangxi Province. Credited with revolutionizing Chinese ink painting, Fu is perhaps the most original figure painter and landscapist of China's modern period, and one of the most important artists of the 20th century overall. In 1933, Fu went to Japan to study the History of Oriental Art at the Tokyo School of Fine Arts. After returning to China, he taught in the Art Department of Central University (today Nanjing University). At this time, Fu developed a new style, smoothly incorporating foreign ideas and techniques, and began creating boldly individualistic yet sometimes strongly nationalistic work. He also sought to revive early schools of realist depiction that made greater use of color and ink wash. His most important and acclaimed works of landscape painting employed skillful use of inking methods, such as washing, rubbing or dotting, creating a distinct style that encompasses a sheerly enormous range of varieties, but all within strict traditional rules. His detailed paintings of miniature figures remain unmatched to this day, due to his remarkably delicate and thus inimitable brushstrokes.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 October 2018, lot 1319Price: HKD 3,240,000 or approx. EUR 438,500 converted and adjusted for inflation at the time of writingDescription: Fu Baoshi, Expedition to the WaterfallExpert remark: Note the size (96.5 x 37 cm)Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 8 July 2020, lot 1074Price: HKD 812,500 or approx. EUR 104,500 converted and adjusted for inflation at the time of writingDescription: Fu Baoshi (1904-1965), Viewing WaterfallExpert remark: Note the size (69 x 33 cm)傅抱石款《觀瀑圖》，1963年中國，紙本設色，掛軸。散鋒皴擦水口的山石，透過其佈局襯托出流水的質感和動勢，構圖滿密，瀑布飛泉依山勢曲折而下，水勢湍急。一人立于石台之上，沉浸在震耳欲聾的水聲中，暢然忘返。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 209
'BLACK AND RED LOTUS' BY ZHANG DAQIAN (1899-1983)China. Ink and watercolors on cardboard. Depicting a blossoming lotus flower amid large leaves, boldly painted with alternating thin and thick brushstrokes. The cardboard with silver specks and a thin gold border.Expert's note: Although Zhang Daqian's lotus paintings are not uncommon, there exist only few examples where the artist was able to ingeniously portray the subject in such a prolific and balanced manner despite a small format, in this case only 27 x 24 cm. Zhang uses the boneless painting technique to arrange the overlapping foliage, while the lotus leaves painted with varying shades of ink emphasize the sense of three dimensionality, as if they would sway with the wind. The lotus flower is accentuated by meticulously dotted and splashed red buds, a technique that looks simple but in fact is both time-consuming and resource-draining, and thus not frequently seen in the artist's oeuvre. Nevertheless it contributes significantly to the majestic aura of the painting. Black and red lotus bring to mind a well-known saying by Yang Wanli of the Southern Song dynasty: “Lotus leaves towards the horizon in endless green. Lotus blossoms bathed in sunlight in peerless red.” With its unusually small-scale yet fine composition, this masterpiece is a prime model for understanding Zhang Daqian's accomplishments in lotus painting.Inscriptions: Lower right, signed 'Daqian jushi Yuan'. One seal, 'Zhang Yuan zhi yin' Provenance: From a notable Hong Kong private collection. Condition: Excellent condition with minor wear, some minor stains, rubbing and soiling mostly to edges.Dimensions: Image size 27.1 x 24.1 cm, Size incl. frame 56.8 x 49.1 cmFramed behind glass. (2)Zhang Daqian (1899-1983) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally active as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Chang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon and affected the long robe and long beard of a traditional Chinese scholar. Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 8 October 2020, lot 3097Price: HKD 1,638,000 or approx. EUR 210,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian, Lotus Expert remark: Note the significantly larger size (50.8 x 63.5 cm) and that this lot is also painted on cardboardAuction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 1 December 2015, lot 1351Price: HKD 4,840,000 or approx. EUR 700,000 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (1899-1983), Lotus in BloomExpert remark: Note the significantly larger size (57.8 x 91 cm) and that this lot is also painted on cardboard 張大千 (1899-1983) 款《墨荷》中國，紙本設色。荷葉間盛開的荷花，構圖飽滿，疏密有致，用筆豪放大氣，格調清新典雅。灑銀紙細金邊框。 專家注釋：雖然張大千的荷花並不少見，但很少有藝術家能夠在幅面很小的情況下以如此巧妙地描繪，此畫27 x 24厘米。沒骨法並用深淺不一的水墨描繪的荷葉，彷彿隨風搖曳。此幅作品規模異常小，構圖精美。 款識：大千居士爰鈴印：張爰之印 來源：香港知名私人收藏。 品相：狀況極好，有輕微磨損和污漬，邊緣有磨擦痕跡和污點。 尺寸：畫面27.1 x 24.1 厘米，含框56.8 x 49.1 厘米 鏡片。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2020年10月8日，lot 3097 價格：HKD 1,638,000（相當於今日EUR 210,000） 描述：張大千《荷塘香溢》 專家評論：請注意尺寸明顯較大 (50.8 x 63.5 厘米) ，以及此圖為紙板鏡框。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2015年12月1日，lot 1351 價格：HKD 4,840,000（相當於今日EUR 700,000） 描述：張大千《蓮花盛開》 專家評論：請注意尺寸明顯較大 (57.8 x 91 厘米)，以及此圖應為紙板鏡框。
Lot 147
A RARE AND SIGNED GILT-SPLASHED ARCHAISTIC WINE VESSEL, JUE, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. Superbly cast, with a characteristic pair of short posts on the mouth rim dividing the elongated pouring mouth and an exaggerated lip, decorated around the exterior of the cylindrical receptacle with taotie-masks against leiwen-ground and divided by vertical flanges, one side with a loop-handle emerging from an animal-head, all raised on three long tapered legs, decorated overall with characteristic gilt splashes. The base carved with a six-character seal script mark.Inscriptions: To base, 'Boshen zuo Baoyi' (Boshen made this precious yi).Provenance: The Property of a Gentleman. Christie's Hong Kong, 30 April 2001, lot 771. The Collection of Hedda and Lutz Franz, Hong Kong, acquired from the above. The silk box with an old label from the Christie's sale. Hedda and Lutz Franz, who met in Hong Kong in 1979, have spent over forty years assembling a spectacular collection of Chinese art, at first focusing on snuff bottles and eventually branching out into scholar's objects and paintings, as well as Japanese inro and Kilim carpets. The couple has worked closely together with their friend and advisor, Hugh Moss, and have published five books on their collection, entitled Franz Art, with one book, Franz Art Jade, winning a Silver award at the 2011 Gold Ink Awards in Chicago.Condition: Excellent condition with minor old wear and casting irregularities, few minuscule nicks, occasional light scratches. Fine natural patina overall.Weight: 948.7 g Dimensions: Height 21.5 cmWith a fine velvet-padded silk storage box. (2)The base is inscribed in archaic script with Boshen zuo Baoyi, 'Boshen made this precious yi'. Yi may be translated as a cup or libation vessel. It is interesting to note that not only the form and decoration were copied in reverence to archaism, but the inscription had been taken directly from characters inscribed on late Shang/early Zhou dynasty vessels. The name Boshen appears to be unrecorded.Bronze vessels of this type were valued by the literati class in China for their reverence to archaism, and those bearing an epigraphic inscription were considered even more precious. Gerard Tsang and Hugh Moss in Arts from the Scholar's Studio, Hong Kong, 1986, page 184, quote Ulrich Hausmann saying, “Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable; so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. ...what could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.”Literature comparison: Compare a near identical gold-splashed censer, bearing the same five-character archaic inscription, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 161. A further gold-splashed jue is illustrated in Egan Mews, 'Gold-splashed Bronzes in the collection of Mr. Randolph Berens', Connoisseur, November, 1915, p. 144, and a pair, bearing the same inscription as the present example, was included in the exhibition The Minor Arts of China, Spink & Son, London, 1987, cat. no. 77.Auction result comparison: Type: Near identical Auction: Sotheby's Hong Kong, 4 April 2012, lot 139 Price: HKD 524,000 or approx. EUR 85,500 converted and adjusted for inflation at the time of writing Description: A gilt-splashed bronze censer, jue, signed Boshen, Qing dynasty, 18th centuryExpert remark: Note that this jue bears the same mark as the present lot and is of similar size (21 cm). This jue is also the one illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 161Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 27 November 2013, lot 3591 Price: HKD 600,000 or approx. EUR 94,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-splashed archaistic wine vessel, jue, late Ming dynasty, 17th centuryExpert remark: Note that this jue bears the same mark as the present lot and is of similar size (22 cm).明末清初罕見灑金饕餮紋銅爵中國，十七至十八世紀。灑金地，爵杯仿先秦禮器爵所製，作圜底杯式，流部扁寬，角略長而尖，流角相對，處於同一高度；口沿設一對扁柱狀帽頭，腹中部弦紋圍成的帶狀開光內，以雲雷紋為地，飾饕餮紋，器物雄渾莊重。底承三棱狀足，踞地沉穩。整器包漿均潤厚潤。 由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 82
A FALANGCAI 'PEONIES AND WUFU' CORAL-GROUND DISH, QIANLONG MARK AND PERIODThe falangcai color palette of the present dish first appeared on Kangxi period yuzhi bowls, such as an example in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, page 4, number 2.China, 1736-1795. Delicately potted, the shallow sides supported on a short tapered foot and rising to an everted rim. The exterior finely painted against a coral ground in rich and vibrant enamels to depict four different peony blossoms interlinked by leafy scrolls and divided by dots and flowerheads. The interior glazed white and neatly decorated in shades of iron-red above the glaze with five bats (wufu), each painted in a slightly different manner and position. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From the collection of Captain Charles Oswald Liddell, acquired in China before 1914 and thence by descent. Born in Edinburgh, Scotland, Captain Charles Oswald Liddell (1854-1941) worked in China from 1877 to 1913. He married Elizabeth Birt in 1880 in Shanghai and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin, and Harbin. Liddell collaborated with A. W. Bahr in an exhibition in Shanghai in 1908, as Chairman of the North China branch of the Royal Asiatic Society and in writing descriptions for it, which were printed by A. W. Bahr in “Old Chinese Porcelain and Works of Art in China” in 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: Prince Chun, the last Regent of the Qing Dynasty, and the private secretary and adviser to Li Hong Zhang. In May 1929, Bluett offered a part of the collection, publishing a catalog of “The Liddell Collection of Old Chinese Porcelain” with 229 entries. One of two Guyuexuan bowls in this exhibition was sold to the Hon. Mountstuart Elphinstone for GBP 150 and was part of the Elphinstone gift to the Percival David Foundation. The second of the two bowls was acquired by Charles Russell, and was subsequently in the collections of Barbara Hutton and Robert Chang, eventually selling in Hong Kong in 2006 for GBP 10,000,000. Condition: Good condition with minor old wear and minimal firing irregularities, the exterior rim with four small and shallow glaze chips and associated touchups. No hidden damages whatsoever (inspected under strong blue light). For a detailed video of the dish taken under blue light, please refer department.Weight: 161.9 g Dimensions: Diameter 15.9 cmAuction result comparison: Type: Related Auction: Christie's Hong Kong, 1 June 2011, lot 4014 Price: HKD 400,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writing Description: A rare famille rose ruby-ground 'bats' dish, Qianlong iron-red six-character seal mark and of the period Expert remark: Compare the similar bat decoration to the interior of the dish, also painted in iron-red, the five bats however more formalized than on the present dish and encircling a shou character. Note the ruby ground, iron-red mark, and smaller size (10.6 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2022, lot 2727 Price: HKD 2,016,000 or approx. EUR 252,500 converted at the time of writing Description: A fine and very rare enameled coral-ground famille rose 'peony' bowl, Qianlong six-character seal mark in underglaze blue and of the period Expert remark: Compare the closely related coral ground and falangcai enamels, more specifically the near-identical leaves, also neatly painted in two distinct shades of green. Compare also the related peony blossoms and the underglaze-blue six-character seal mark. Note the different form and smaller size (11.1 cm).乾隆款與年代珊瑚紅地粉彩牡丹五福紋盤中國，1736-1795年。盤敞口，弧壁，淺腹，圈足。盤內施白釉。外壁珊瑚紅地，粉彩描繪纏枝盛開的牡丹四朵，色澤不一。盤内珊瑚紅色釉蝙蝠五隻。足內施白釉，青花書“大清乾隆年製”篆書款。 本盤的琺瑯彩最早運用在康熙時期的御製碗上，如北京故宮博物院收藏的一個例子，《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》，香港，1999年，頁4，編號2。由於字數限制，完整中文敘述請至www.zacke.at查看。
Lot 203
'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)。
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