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).
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AN IRON-RED AND GREEN-ENAMELED 'DRAGON' DISH, KANGXI PERIODChina, 1662-1722. Finely potted with deep curving sides, decorated in the center of the well with a large writhing iron-red five-clawed dragon pursuing the flaming pearl amidst wispy flames, all within a green ruyi-head border, the exterior decorated with four striding dragons each pursuing a flaming pearl.Provenance: From an important European private collection, and thence by descent to the last owner. The base lacquered with an inventory number, 'P807'.Condition: Good condition, commensurate with age, some wear and firing irregularities, fritting to rim. Good, consistent sound.Weight: 782 gDimensions: Diameter 28.2 cmThe base with an apocryphal underglaze-blue six-character mark da Ming Chenghua nianzhi within a double circle.Literature comparison: The dragons painted on the present dish are stylistically closely related to those painted on iron-red-decorated wares made during the Zhengde reign. Compare a related Zhengde-marked 'dragon' bowl, painted with two iron-red dragons striding above green-enameled waves, in the Idemitsu Museum, illustrated in Chinese Ceramics in the Idemitsu Museum, Tokyo, 1986, no. 176. Compare a Zhengde-marked iron-red decorated dragon dish at Christie's London, 14 May 2013, lot 248.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2012, lot 2086 Price: USD 6,250 or approx. EUR 8,000 converted and adjusted for inflation at the time of writingDescription: An iron-red-decorated 'dragon' dish, Kangxi periodExpert remark: Compare the closely related decoration, the main difference being that the ruyi border enclosing the dragon to the interior of the dish is enameled in blue (and not green as in the present lot). Note the similar size (27.9 cm). Further note that this lot was in restored condition, according to Christie's, which most likely was the reason for the rather low auction result.康熙礬紅銅綠釉龍紋盤中國，1662-1722年。侈口，弧腹，圈足。盤中銅綠色釉如意紋開光，開光中礬紅釉五爪龍戲珠紋。外壁一對礬紅釉雙龍戲珠紋。 來源：歐洲重要私人收藏，保存至最後一位主人。圈足内可見收藏編號P807。 品相：品相良好，一些磨損和燒製不規則。敲擊時聲音清亮。 重量：782 克 尺寸：直徑28.2 厘米 圈足内六字雙圈偽款“大明成化年製”。 文獻比較： 此龍紋在描繪風格上與一件正德時期礬紅釉龍紋盤非常相近。比較一件相近的正德款礬紅釉龍紋碗，飾有綠色波浪紋，收藏於出光美術館，見《Chinese Ceramics in the Idemitsu Museum》，東京，1986年，編號176。比較一件正德款礬紅釉龍紋盤，見倫敦佳士得，2013年5月14日，lot 248. 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 2086 價格：USD 6,250（相當於今日EUR 8,000） 描述：清康熙礬紅遊龍戲珠紋盤 專家評論：比較非常相近的裝飾，較不同的是此盤有青花如意紋開光，而非銅綠色釉。請注意相似的尺寸 (27.9 厘米)。請進一步注意，根據佳士得的說法，此盤曾經修復過，因此拍賣結果價格較低。
A FAMILLE ROSE 'HUNDRED DEER' HU-FORM VASE, GUANGXU MARK AND PERIODOpinion: While hu-form vases with the 'hundred deer' motif that date from the 19th century frequently appear on the market, they almost always have apocryphal Qianlong reign marks. The present lot, however, with its fine enameling and large deer-head handles, belongs to the extremely rare group of Guangxu mark and period vases with this motif.China, 1875-1908. The vase of pear shape is finely decorated with a continuous scene of the 'hundred deer' motif depicting a gathering of deer amidst various trees including pine and peach, in a landscape of blue-green rocks and mountains, and a river fed by a waterfall on one side. The neck is flanked by a pair of handles in the form of deer heads with black antlers. The base with a neatly painted iron-red six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From an old European private collection, assembled before 1965. Thence by descent to the last owner.Condition: Very good condition with minor old wear, glaze flaking, shallow surface scratches and firing irregularities, a single hairline (approx. 14 cm long) above the foot, possibly original to the firing process.Weight: 10.3 kg Dimensions: Height 45.3 cmThe 'hundred deer' motif was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, as it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China.Literature comparison: A Qianlong-marked vase of closely related size (45 cm) in the Beijing Palace Museum is illustrated in The Complete Collection of Treasures of the Palace Museum - 39 - Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Other examples include a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67; one in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86; and another from the Grandidier Collection in the Musee Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1981, vol. 7, pl. 190.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2018, lot 834 Price: USD 47,500 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose 'hundred deer' hu-form vase, Guangxu six-character mark in iron-red and of the periodExpert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm) and that this example also bears the rare Guangxu mark. 光緒款及年代粉彩百鹿尊中國，1875-1908年。圓口，垂腹，圈足。通體施白釉，肩部飾鹿首耳。器身繪粉彩山水苑百鹿圖。畫面中山石、樹葉多以綠彩繪成，施彩濃厚;群鹿、枝幹以赭、黑等彩作畫，群鹿活現，枝幹蒼勁，筆繪生動細膩。底書“大清光緒年製”六字篆書款。專家注釋：十九世紀的粉彩百鹿尊雖然經常出現，但大多都是杜撰乾隆款。此拍品琺瑯精美，鹿首耳，極爲稀有。 來源：歐洲私人舊藏，購於1965年，保存到現任藏家。 品相：品相極好，有輕微磨損、釉料剝落、表面淺劃痕和燒製不規則，足部上方有一條冲線（約 14 厘米長），可能是燒製過程中產生的。 重量：10.3 公斤 尺寸：高45.3 厘米 以鹿為紋飾在中國藝術中有著悠久的歷史，鹿是長壽的仙獸，自然也受到歷代帝王的青睞，這在皇宮常見的百鹿尊上可見一斑。 文獻比較： 一件尺寸非常相近乾隆時期的花瓶(45 厘米)，收藏於北京故宮博物院，見《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》，香港，1999年，圖85。其他例子包括上海博物館的一對花瓶，見《胡惠春先生,王華雲女士捐贈瓷器精品選》，上海，1989年，頁67；另一件收藏於南京博物院，見香港中文大學的聯合展覽《淸瓷萃珍 : 淸代康雍乾官窯瓷器》，1995年，編號86；還有一件來自吉美國立亞洲藝術博物館的Grandidier收藏，見《Oriental Ceramics, The World's Great Collections》，東京，1981，卷7，頁190。由於字數限制，完整中文敘述請至www.zacke.at查看。
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。
A YELLOW-GROUND GREEN-ENAMELED 'DRAGON' BOWL, KANGXI MARK AND PERIODChina, 1662-1722. The exterior is masterfully incised and decorated in green enamel with two dragons in pursuit of flaming pearls amidst wispy clouds and flames, below a scrolling foliate band around the rim. The interior shows a central shou character within a double circle, all reserved on an opaque lemon-yellow ground. The recessed base with an underglaze-blue six-character mark da Qing Kangxi nianzhi within a double circle 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: Remarkably good condition commensurate with age, with only minor wear and firing irregularities such as dark spots and uncontrolled glaze pooling, one faint hairline to the rim, near-invisible to the naked eye, and two short glaze lines near the rim.Weight: 80.0 gDimensions: Diameter 10.2 cmLiterature comparison: Compare a near-identical Kangxi mark and period yellow-ground green-enameled bowl illustrated in The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enameled Porcelains Plain Tricolored Porcelains, Shanghai, 2009, page 107, no. 88.Auction result comparison: Type: Near-identical Auction: Christie's New York, 23 March 2018, lot 779Price: USD 30,000 or approx. EUR 35,000 converted and adjusted for inflation at the time of writingDescription: A yellow-ground green-enameled 'dragon' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the period Expert remark: Compare the near identical form and size (10.2 cm) as well as the similar enamels, incised decoration, and mark. 康熙款及年代黃地綠彩龍紋碗中國，1662-1722年。碗撇口，深弧壁，圈足，內外均施黃釉為地其上用綠彩繪製紋樣，外壁口沿飾纏枝紋，腹部為雙龍戲珠紋飾。兩條五爪行龍蜿蜒於碗壁之上，身形矯健，龍口大張，雙目圓睜，尖牙外露，鋒利的龍爪游動，如在雲火之間遊走，威猛異常。近足處繪一周如意紋。碗心綠釉圈內配有壽字。器底青花書“大清康熙年製”六字雙行楷書款。來源：Charles Oswald Liddell爵士於1914年之前購於中國，保存至今。。 品相：品相極好，與年齡相符，只有輕微的磨損和燒製瑕疵，如黑斑和釉池，邊緣有一條微弱的冲線，肉眼幾乎看不出，邊緣附近有兩條短的釉線。 重量：80.0 克 尺寸：直徑10.2 厘米文獻比較：比較一件幾乎相同的康熙款及年代黃地綠彩碗，見《故宮博物院藏文物珍品全集‧顏色釉》，上海， 2009年，頁107，編號88。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2018年3月23日，lot 779 價格：USD 30,000（相當於今日EUR 35,000） 描述：康熙款及年代黃地綠彩龍紋碗 專家評論：比較幾乎相同的外型和尺寸 (10.2 厘米) ，以及釉色、裝飾和底部款識。由於字數限制，完整中文敘述請至www.zacke.at查看。
A PEACHBLOOM-GLAZED BEEHIVE WATERPOT, TAIBO ZUN, 19TH TO EARLY 20TH CENTURYChina. The domed body is incised to the exterior with three dragon roundels and is covered with a peach bloom glaze with characteristic green copper-oxide spots as well as pale lavender to dark gray shadings. The lipped rim, interior, and base glazed white. The recessed base with an apocryphal six-character mark da Qing Kangxi nianzhi.Provenance: Charles M. Blackmon, South Carolina, USA. A notable institution in the Southern United States, gifted from the above in 1969. The wood stand lacquered with accession numbers, '69.10' and '69.10.1 Bottom'. Charles Mason Blackmon was a collector of Asian art. Following his graduation from Harvard University in 1934, Charles' interest in Asian culture grew when he was stationed in Southern China during World War II. His approach to collecting was thorough, as he believed that “determination in finding various objects and a knowledge of them” were important to building a well-rounded collection. Beginning in 1961, Charles became involved with several notable institutions, and over the years loaned some of his most important pieces to museum collections.Condition: Excellent condition with minor wear and firing flaws, including small glaze recesses near the foot.Weight: 526.3 g (excl. stand)Dimensions: Diameter 13 cm (the waterpot) and 16 cm (the stand)With a well-carved and open worked wood stand. (2)Expert's note: The peach bloom glaze on this waterpot is a good example of the sometimes quite successful attempts to recreate the unbelievably rich (and diverse) Kangxi glazes during the 19th century and thereafter. While the present color combination is of remarkable beauty overall, emulating the transmutation so flawlessly executed on the Kangxi wares, it comes up short in its lack of control. The green spotting for example is reminiscent of some of the very best peach bloom vessels made during the early 18th century, but the scattered shadings of pale lavender and gray clearly show the difficulties the artisans encountered in balancing the color spectrum.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 24 June 2020, lot 1018 Price: USD 23,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A peachbloom-glazed 'beehive' waterpot, 19th / early 20th century Expert remark: Compare the closely related form, incised dragon roundels, apocryphal Kangxi mark, and peachbloom glaze, which much like the present lot's glaze is of remarkable beauty. Note the closely related size (13.1 cm).十九至二十世紀初豇豆紅釉團花紋太白尊中國。小口微外侈，短頸溜肩，廣腹，形似半圓球，平底凹足。通體施豇豆紅釉，可見綠色斑點，局部深淺不同的紅色。器腹淺劃三組暗花團螭紋，口沿、圈足内及器內施白釉。圈足内六字款“大清康熙年製”。 來源：美國南卡羅林娜州Charles M. Blackmon收藏；一個美國南部知名機構1969年受贈。木底座上有收藏編號“69.10” 及“69.10.1 Bottom”。Charles Mason Blackmon是一位亞洲藝術收藏家。1934年從哈佛大學畢業後，他在二戰期間駐紮在中國南方，對亞洲文化的興趣與日俱增。他認為“收藏各種物品的決心和對它們的了解”對於建立一個全面的收藏很重要。1961 年開始，查爾斯與幾個著名機構接觸密切。多年來，他一直將一些最重要的藏品借給博物館展出。品相：品相極佳，有輕微磨損和燒製缺陷，包括靠近足部的釉面小凹槽。 重量：526.3 克 (不含底座) 尺寸：直徑13 厘米，總16 厘米 鏤空木底座。 專家注釋：太白尊的豇豆紅釉是一個很好的例子，器身施銅紅釉，因受窯爐溫度影響，又經過氧化，呈色有深淺之別。拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富，2020年6月24日，lot 1018 價格：USD 23,750（相當於今日EUR 27,000） 描述：十九 / 二十世纪初豇豆紅釉團花紋太白尊，《大清康熙年製》仿款 專家評論：比較非常相近的外型、淺劃暗花團紋、康熙仿款、豇豆紅釉，與本拍品的釉面一樣，具有非凡的美感。請注意非常相近的尺寸(13.1 厘米)。
A WUCAI 'DRAGON AND PHOENIX' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. With deep rounded sides rising to an everted rim, the exterior is painted with two phoenixes descending between green and iron-red dragons pursuing 'flaming pearls' amidst flower sprigs, below a band of the Eight Buddhist Emblems alternating with ruyi heads joined by a blue line. The interior with a medallion enclosing five iron-red bats (rare) as well as a double line border below the rim. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.C.186. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition with only minor wear and minimal firing irregularities. The rim with a minuscule filled chip and associated hairline.Weight: 270.0 g Dimensions: Diameter 15.4 cmLiterature comparison: The decorative format of the present bowl is inspired by Kangxi prototypes. Compare two Kangxi-marked examples of different sizes illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, nos. 135-136. A Qianlong-marked example of similar size to the present example is also illustrated, ibidem, no. 158. Another Qianlong example is in the Nanjing Museum, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, page 282.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 May 2013, lot 1923 Price: HKD 870,000 or approx. EUR 133,000 converted and adjusted for inflation at the time of writingDescription: A fine wucai 'dragon and phoenix' bowl, Qianlong six-character seal mark and of the period Expert remark: Note the similar size (15 cm) and the dragon motif inside the bowl, compared to the five iron-red bats design of the present bowl.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 11 September 2019, lot 928 Price: USD 68,750 or approx. EUR 74,500 converted and adjusted for inflation at the time of writingDescription: A wucai 'dragon and phoenix' bowl, Qianlong seal mark and periodExpert remark: Note the smaller size (13 cm) and the interior centering a roundel with an iron-red dragon, compared to the five iron-red bats design of the present bowl.乾隆款及年代五彩龍鳳呈祥碗中國，1736-1795年。敞口，弧壁，圈足，碗形周正。如意雲頭紋與佛教八寶紋作邊飾。腹部繪龍鳳穿花紋兩組，龍一紅一綠，其旁襯以菊花、芙蓉花。碗心青花雙圈内繪製五隻紅色蝙蝠。底書“大清乾隆年製”三行六字篆書款，展示 “龍鳳呈祥”之意。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.C.186。品相：狀況良好，只有輕微磨損和輕微燒製瑕疵，碗沿有微小的磕損修飾和相關冲線。 重量：270.0 克 尺寸：直徑 15.4 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
A FAMILLE ROSE 'BUTTERFLY AND FLOWERS' SAUCER DISH, YONGZHENG MARK AND PERIODOpinion: It has become exceedingly difficult to find 18th century 'boneless' wares in a good state of preservation, regardless of form or size. But being able to offer such a large dish, with such a finely painted Yongzheng mark, and from the period, with such vibrant colors, and in such pristine condition overall, just feels like a once-in-a-lifetime event!China, 1723-1735. Delicately potted, the shallow rounded sides rising from a straight and high foot to a gently everted rim. The interior finely painted in 'boneless style' with bright enamels to depict a butterfly fluttering amid leafy and flowering stems of chrysanthemum and peony with two still-closed buds. The recessed base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi within a double circle and of the period.Provenance: A Scottish private collection. Condition: Magnificent condition commensurate with age. Only minor old wear and tiny firing irregularities. The foot rim with two minor nicks. A Yongzheng-era porcelain dish in such well-preserved condition must be considered extremely rare.Weight: 256.9 gDimensions: Diameter 19.8 cmThe combination of flowers and butterflies to decorate Chinese porcelain can be seen from as early as the Ming dynasty's Yongle reign, when it was used on blue and white wares, such as the pear-shaped vase in the Sir Percival David collection, British Museum, London, illustrated by R. Scott, Elegant Form and Harmonious Decoration: Four Dynasties of Jingdezhen Porcelain, London, 1992, p. 38, no. 25. The combination of butterflies and flower sprays painted in overglaze enamels on porcelain, however, became particularly popular at the Imperial Court during the Yongzheng reign, following the development of the famille rose palette of enamel colors, see a famille rose bowl, Yongzheng mark and period, decorated with roundels enclosing butterflies and flowers, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, vol. 39, Hong Kong, 1999, pp. 78-9, no.68.This bowl is an early example of the new confidence among painters during the reign of Yongzheng to increasingly handle areas of multiple color without using formal borders for separation. This technique is known as 'boneless style', because there virtually is no inner skeleton to the design. In the present lot for example, the pink and white colors of the large peony flower are not separated by any lines. This technique was not widely used, most likely because it was too difficult to implement on a mass production scale. It represented a great challenge to the artists, where unskilled painters would require outlines to complete their sections of decoration, and if not handled well, would give the impression that the piece was unfinished.The fluttering butterfly depicted on this dish emphasizes the fragile, shimmering beauty of the wings. Designs of butterflies suggest duplication of an auspicious wish, since the character for butterfly is a homophone for 'repeat'. It also is a homophone with 'die' meaning 'Over seventy or eighty years of age', and thus expresses a wish for longevity. Butterflies also symbolize happiness in marriage and everlasting romantic love. The latter interpretation is due to a number of traditional Chinese stories in which butterflies play a significant part. Feng Menglong (1574-1646), for example, narrates the popular story of the 'butterfly lovers' Liang Shanbo and Zhu Yingtai, who are transformed into butterflies after death. The philosopher Zhuangzi's famous dream of being a butterfly also made them symbols of the boundary between dream and reality.Literature comparison: Compare a related famille rose saucer dish with butterflies and peonies, also with a Yongzheng mark and of the period, 29.7 cm diameter, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021.Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3061 Price: HKD 920,000 or approx. EUR 135,000 converted and adjusted for inflation at the time of writingDescription: A famille-rose saucer dish, mark and period of Yongzheng Expert remark: Compare the closely related manner of painting with similar peony, chrysanthemum, and two-color leaves. Note the slightly smaller size (18.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2013, lot 218 Price: USD 81,250 or approx. EUR 101,500 converted and adjusted for inflation at the time of writingDescription: A pair of famille-rose dishes, Yongzheng mark and period Expert remark: Compare the closely related subject and manner of painting with similar peony, chrysanthemum, two-color leaves, and butterfly. Note the smaller size (15.1 cm) and that the lot is a pair of dishes. 雍正款及年代粉彩花蝶戀紋小碟中國，1723-1735年。胎薄體輕，盤心以沒骨畫法繪牡丹、萱草高低錯落，彩蝶翩翩，畫面生動，風格清新雅緻，敷彩鮮豔。圈足内雙圈青花六字款“大清雍正年製”。 由於字數限制，完整中文敘述請至www.zacke.at查看。
A COPPER-RED GLAZED TAZZA, YONGZHENG MARK AND PERIODOpinion: Copper-red wares were a fixture of the Imperial household during the Yongzheng era, with dishes, bowls and cups of various sizes appearing much more frequently than stem cups let alone tazzas. On top of that, the present lot comes in pristine condition and with immaculate provenance, making it even rarer, and a notable highlight in even the most advanced collection of monochrome wares. Dating from the early heyday of Imperial production, around the time of Tang Ying's arrival at Jingdezhen in 1728, where he was appointed by the Yongzheng Emperor to supervise the porcelain manufacture, the present lot is a powerful testimonial as to why monochrome wares became so popular among the most sophisticated scholars of modern day China.China, 1723-1735. Superbly potted, the shallow rounded sides rising from a splayed hollow foot encircled by a molded bamboo node. The exterior glazed in a rich and warm red, the interior and base glazed white. The base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi and of the period.Provenance: Sotheby's London, 25 May 1965, lot 168. Dr. Wou Kiuan, acquired from the above. Wou Lien-Pai Museum (1968-2022), collection number Q.8.08. A copy of the sale result list for the Sotheby's auction on 25 May 1965, stating the buyer as 'Wou', accompanies this lot. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Some old wear and firing irregularities, such as dark spots, a glaze bubble to the well, small firing cracks, and minimal fritting. A minuscule chip to the rim with associated fill and hairline. The glaze with a splendid, unctuous feel. Refer department for or a video shot under strong blue light, confirming the overall fine condition.Weight: 752.8 gDimensions: Diameter 20.9 cmAuction result comparison: Type: Closely relatedAuction: Sotheby's New York, 11 September 2019, lot 635Price: USD 40,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: A copper-red glazed stembowl, Yongzheng seal mark and periodAuction result comparison: Type: Closely related Auction: Christie's New York, 22 March 2013, lot 1554 Price: USD 30,000 or approx. EUR 36,000 converted and adjusted for inflation at the time of writing Description: A copper-red-glazed stem bowl, Yongzheng six-character mark in underglaze blue in a line and of the periodAuction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 May 2021, lot 2991 Price: HKD 500,000 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A sacrificial-red glazed stem bowl, Yongzheng six-character mark in a line in underglaze blue and of the period雍正款及年代霽紅釉高足碗中國，1723-1735年。碗敞口，淺弧腹，下承中空高足，圈足外撇，圈足外壁起凸棱一道，形似竹節。碗內與圈足內部施白釉，色澤瑩潤，光亮潔淨；外施紅釉，釉面均勻。高圈足內近底處用青花“大清雍正年製”六字款。 專家注釋：雍正年間，霽紅器多為皇室用品，各種大小的盤、碗、杯比高腳杯出現的頻率要高得多，更不用說高足碗。 最重要的是，本拍品完好無損，來源可循，因此顯得更加稀有，同時也是單色釉器皿收藏中的一個亮點。 此拍品應該是1728年唐瑛到景德鎮受雍正皇帝之命督製瓷器之時的產品，那時為御制瓷器盛世之初，這件拍品有力地證明了單色瓷器為何如此盛行。 來源：1965年5月25日倫敦蘇富比，lot 165。吳權博士收藏；吳蓮伯美術館，館藏編號 Q.C.186。由於字數限制，完整中文敘述請至www.zacke.at查看。
A RARE WUCAI 'ZHANG TIANSHI AND THE FIVE POISONS' DISH, WANLI MARK AND PERIODChina, 1573-1620. Exquisitely potted, the shallow rounded sides supported on a tapered foot and rising to an everted rim. Superbly painted in bright enamels and cobalt-blue to the interior with Zhang Tianshi riding a tiger with flame-like mane and bushy tail, raising his sword as he chases a snake hiding behind a craggy rock, all below a gnarled pine tree and above further rockwork and blossoming flowers, enclosed by a double line border and encircled by butterflies, floral motifs, and lingzhi. The exterior similarly decorated with reeds, floral motifs, and a lizard. The recessed base with an underglaze-blue six-character mark da Ming Wanli nianzhi within a double circle and of the period.Provenance: New York trade, by repute acquired from an old Japanese private collection.Condition: Superb condition with minor old wear and distinct firing irregularities, as expected from authentic Wanli wares, including scattered pits and few dark spots. Only minimal rubbing to enamels, occasional light surface scratches.Weight: 191.5 gDimensions: Diameter 16 cmWith a Japanese wood storage box and protective cloth wrapping. (3)The theme in this dish is associated with the Dragon Boat Festival (duanwujie), which falls on the fifth day of the fifth lunar month. Many of the motifs associated with duanwujie relate to the desire to combat evil forces and poisonous creatures. On this dish, we see the legendary Daoist priest Zhang Tianshi, who cuts through evil with his sword.The snake, lizard, centipede, toad, and scorpion constitute the 'Five Poisons' in Chinese traditions. Here, Zhang is depicted chasing two of them, a snake and a lizard, the latter of which is painted to the exterior of this dish. The pomegranate flowers, which are in bloom at the time of the Dragon Boat Festival, are associated with fertility and were worn as amulets by women. Their brilliant red color is also the color of joy.Zhang Tianshi, courtesy name Fuhan, also known as Zhang Daoling and Zhang Ling, among other names, was a Chinese religious leader who lived during the Eastern Han dynasty and founded the Way of the Celestial Masters sect, the first organized form of religious Daoism. In 142 CE, Zhang announced that Laozi had appeared to him, and commanded him to rid the world of decadence and establish a new state consisting only of the 'chosen people'. Zhang became the first Celestial Master and began to spread his newly founded movement throughout the province of Sichuan. The movement was initially called the Way of the Five Pecks of Rice, because each person wishing to join was required to donate five pecks of rice. The movement spread rapidly, particularly under his son Zhang Heng and grandson Zhang Lu. Their rebellion against the Han dynasty is known as the Five Pecks of Rice Rebellion. After the success of the rebellion in 194, they founded the theocratic state of Zhang Han in the Hanzhong Valley of Sichuan, enjoying full independence.Expert's note: Wucai dishes with related designs and Wanli marks were sometimes copied during the Kangxi period. The present lot, however, is without a doubt a genuine Wanli piece, as indicated by the creamy, pale ivory-colored ware, the distinct kiln marks, the fine warping and the inimitable color palette.Literature comparison: A smaller Wanli wucai dish with similar theme but differently rendered with Zhang Tianshi surrounded by all the 'Five Poisons' is in the Palace Museum, Beijing, illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, no. 47. The present dish also relates to a somewhat larger Wanli wucai dish in the collection of the Percival David Foundation and now in the Victoria & Albert Museum, accession number C.1037-1917, illustrated by Rosemary E. Scott and Rose Kerr in Ceramic Evolution in the Middle Ming Period, V&A and Percival David Foundation, London, 1994, p. 22, no. 25, and another in the collection of the Tianminlou Foundation, illustrated by Louise Allison Cort and Jan Stuart, Joined Colors, Smithsonian Institution, Washington, 1993, p. 130, no. 57. The latter two dishes have the theme of the Five Poisonous Creatures on the back and another aspect of the Duanwujie festival - dragon boat races - on the interior.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 November 2016, lot 3400 Price: HKD 525,000 or approx. EUR 74,000 converted and adjusted for inflation at the time of writing Description: A fine and very rare wucai 'Zhang Tianshi' dish, Wanli six-character mark in underglaze blue within a double circle and of the period Expert remark: Compare the closely related depiction of Zhang Tianshi with raised sword, the exterior also with a lizard, and further decoration of butterflies, pomegranate flowers and lingzhi. Note that there is no tiger and no snake. Also note that the dish is of smaller size (14 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 6 April 2016, lot 47 Price: HKD 1,125,000 or approximately EUR 158,500 converted and adjusted for inflation at the time of writing Description: A small wucai 'shoulao' dish, mark and period of Wanli Expert remark: Compare the closely related form and wucai decoration, though depicting a different subject. Note the smaller size (12.3 cm).萬曆款與年代五彩開光《張天師斬五毒圖》盤中國，1573-1620年。盤沿外撇，弧腹，圈足。圈足内有“大明萬曆年製”六字二行青花楷體雙圈款。來源：紐約古玩交易市場，據説購於一個日本私人舊藏。 品相：品相極佳，有輕微的磨損和明顯的燒製不規則現象。琺琅磨損輕微，局部有輕微的劃痕。 重量：191.5 克 尺寸：直徑16 厘米 日本木製盒子。 由於字數限制，完整中文敘述請至www.zacke.at查看。
A GUAN-TYPE VASE, FANG HU, YONGZHENG MARK AND PERIODChina, 1723-1735. The high-shouldered body with curved sides supported on a splayed foot, rising to a waisted neck and lipped rim, flanked by a pair of expressive chilong masks with elegantly curved horns, bulging eyes, and fangs, suspending mock rings. Covered overall in a thick pale-gray glaze suffused with a dense yet subtle crackle and attractively pooling in the recesses. The deeply countersunk base with a finely painted underglaze-blue six-character seal mark da Qing Yongzheng nianzhi and of the period.Provenance: From an English private collection.Condition: Excellent condition with only minor old wear and firing irregularities, including pitting, dark spots, and few glaze recesses. Extremely rare in this pristine state of preservation. The glaze with a subtle, unctuous feel overall.Weight: 4,655 gDimensions: Height 33.2 cmLiterature comparison: For an example of the Han-dynasty model for this vase, see Christie's Paris, 9 June 2016, lot 232.Auction result comparison: Type: Near identical Auction: Christie's Paris, 7 June 2011, lot 194 Price: EUR 28,600 or approx. EUR 35,500 adjusted for inflation at the time of writingDescription: A Guan-type glazed vase, hu, China, Qing dynasty, Yongzheng six-character sealmark and of the period Expert remark: Note the evident damage and repair as well as significant misfirings. Due to these condition issues, which the present lot does not have, the result was appropriate at the time. Note the size (31.7 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 9 April 2006, lot 1614Price: HKD 1,440,000 or approx. EUR 275,000 converted and adjusted for inflation at the time of writingDescription: A rare massive guan-type vase, fanghu, seal mark and period of YongzhengExpert remark: Compare the near identical form. Note the ruyi scepter loop handles and slightly larger size (43.8 cm). 雍正款及年代仿官釉螭龍啣環輔首方壺 中國，1723-1735年。侈口，短頸，碩腹。頸部螭龍啣環輔首。通體施仿官釉，開片細密。足緣施醬色護胎汁。底足內青花六字款“大清雍正年製”。 來源：英國私人收藏 品相：品相極佳，只有輕微的舊時磨損和燒製不規則現象，包括點蝕、黑點和少量釉面凹陷。 在這種原始保存狀態下極為罕見。釉面整體勻潤。 重量：4,655 克 尺寸：高 33.2 厘米 文獻比較：一件漢代方壺，見巴黎佳士得，2016年6月9 日 lot 232。 拍賣結果比較： 形制：幾乎相同 拍賣：巴黎佳士得，2011年6月7日，lot 194 價格：EUR 28,600（相當於今日EUR 35,500） 描述：雍正款及年代仿官釉螭龍輔首方壺 專家評論：請注意此壺有明顯的損壞和修理痕跡，以及明顯的製作不規則。現拍品並沒有這些品相問題。請注意尺寸(31.7厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2006年4月9日，lot 1614 價格：HKD 1,440,000（相當於今日EUR 275,000） 描述：雍正款及年代大型仿官釉方壺 專家評論：比較幾乎相同外型。請注意如意形耳和尺寸較大(43.8厘米)。
A RARE GUAN-TYPE VASE, HU, QIANLONG MARK AND PERIODChina, 1736-1795. The ovoid body supported on a thick spreading foot and tapering to a waisted flared neck, set to either side with a lion-head-form loop handle over a molded mock ring handle at the shoulder, applied overall in a thick bluish-gray glaze suffused with a bold network of steel gray and pale gold crackles stopping at the unglazed foot ring dressed in a dark brown wash in imitation of Song dynasty guan ware. The recessed base with an underglaze-blue six-character mark da Qing Qianlong nianzhi and of the period.Provenance: Swiss trade. Condition: Fine condition overall with wear and firing irregularities, shallow surface scratches, the rim with a small chip and associated minor old repair. Please request further detail images as well as a video, shot under strong blue light, for accurate documentation of the condition of the present lot.Weight: 6,002 gDimensions: Height 37 cmThe crisply molded lion-form loop handles on the present piece are striking, varying from the usual shallow applied lion-mask handles with pendent rings or the rarer elephant-head loop handles. The bold feature is a charming 18th-century innovation on a vase that in both form and glaze references two well-known early accomplishments of Chinese art: the iconic hu form derived from the great bronzes of the Shang dynasty and the rich crackled glaze of the famed Guan wares of the Southern Song dynasty. The official or Guan ware was produced for the court in the capital, Hangzhou, in Zhejiang province. Laohudong in southern Hangzhou appears to have been the most important Guan kiln creating wares with an attractive crackled glaze, a version of which is seen on the present piece. The crackle was purposefully made utilizing refined technical skill to calibrate a cooling rate for the wares that would produce the different layers of fissures and allow them to be filled with two to three different colors. The present piece with its two tones references the jinsi tiexian (gold thread and iron wire).Such a pointed allusion to the past served to both pay homage to the past while simultaneously noting the technical achievements of the present. Archaism enjoyed a major revival during the height of the Qing dynasty under the Yongzheng and Qianlong emperors. The combination of a precious glaze and ancient form suggests a deep appreciation and respect for the past, together with the want for its preservation.Auction result comparison: Type: Near-identical Auction: Sotheby's New York, 17 March 2015, lot 287 Price: USD 87,500 or approx. EUR 107,500 converted and adjusted for inflation at the time of writing Description: A rare Guan-type vase, Hu, Qianlong seal mark and period Expert remark: Compare the identical form, two-tone crackled glaze, and extremely rare lion-form loop handles. Note the smaller size (30 cm).乾隆款及年代仿官釉雙耳壺中國，1736-1795年。仿漢壺尊形制，鼓腹，外撇圈足。頸部兩側有獅首耳，通體及足內均施仿官釉，釉面開片紋。胎體優美，造型素雅，猶可辨趙宋遺韻。圈足内六字篆書款“大清乾隆年製”。 來源：瑞士古玩交易。 品相：整體狀況良好，磨損和燒製不規則，表面淺劃痕，邊緣有小磕損和相應小修。請聯繫部門詢問更多細節圖片以及在強藍光下拍攝的視頻，以準確查看當前拍品的狀況。 重量：6,002 克 尺寸：高37 厘米 這件作品上造型清晰的獅首耳特別引人注目，與通常帶有活環的獅首或較罕見的象首耳不同。此器的造型、釉色都極似宋代的作品，是仿古之作。清雍正時期對宋代五大名窯的仿製取得了空前的成就，摹古水平極高。此時所仿製的宋代官窯釉面或有冰裂紋或無片紋，其紋呈白色或鐵色。胎色黑，頗能體現宋代官窯 “紫口鐵足”的特色，在清代文獻中被稱為“鐵骨大觀”。拍賣結果比較： 形制：幾乎相同 拍賣：紐約蘇富比，2015年3月17日，lot 287 價格：USD 87,500（相當於今日EUR 107,500） 描述：清乾隆官式瑞獸耳壺 《大清乾隆年製》款 專家評論：比較幾乎相同的外型、雙色調的釉面開片，以及罕見的獅首耳。請注意尺寸較小 (30 厘米)。
A BLUE AND WHITE 'DRAGON' DISH, JIAQING MARK AND PERIODChina, 1796-1820. The shallow rounded sides rising from a short tapered foot to an everted rim, vividly painted to the interior in inky tones of cobalt-blue with a central medallion enclosing a five-clawed dragon writhing among flames and reaching for a flaming pearl, within a double-line border repeated at the rim, the reverse with two dragons striding in the same pursuit, enclosed by double-line borders below the rim and above the foot. The recessed base with an underglaze-blue six-character seal mark da Qing Jiaqing nianzhi and of the period.Provenance: From the collection of Seymour Stein, New York. Seymour Stein (b. 1942) is an American entrepreneur and music executive. He co-founded Sire Records and signed bands that became central to the new wave era of the 1970s and 80s, including the Talking Heads, the Ramones, and The Pretenders. His most famous discovery was Madonna, whom he signed in 1982. Ice-T wrote about Stein in his autobiography, stating: “He's cut from that cloth of the old-time music executives like Clive Davis, but he's way more eccentric... Just a little more bizarre, a bit more avant-garde, more of an edgy cat.” Seymour Stein started collecting art in his early twenties, when he worked for Polydor records. During his breaks, he started to explore Sotheby's nearby showroom on London's New Bond Street and occasionally bought Chinese porcelain. “Antiques seemed like a natural partner for records,” he wrote. “You had to learn genres, meet dealers, spot details, figure out value, and above all, find the treasures.” Speaking of Mr. Stein, Madonna noted, “In art, as well as music, Seymour has always been ahead of the trends.”Condition: Good condition with only minor wear and minimal firing irregularities, the rim with three near-invisible and very short hairlines. Please request a detailed condition report video, shot under strong blue light, for further documentation of the condition of this lot.Weight: 317.0 g Dimensions: Diameter 19.5 cmAuction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 May 2014, lot 642 Price: HKD 100,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A fine blue and white 'dragon' dish, seal mark and period of Jiaqing Expert remark: Note the smaller size (16.5 cm)嘉慶款與年代青花開光龍紋盤中國，1796-1820年。敞口弧壁，圈足，胎質堅致白皙，釉汁瑩潤如玉。盤心開光立龍戲珠圖，外壁對稱飾趕珠龍紋，雲龍蒼健兇猛。畫面極為疏朗，筆觸細膩，青花髮色淡雅明快。圈足底青花篆書“大清嘉慶年製”款。 來源：紐約 Seymour Stein收藏。Seymour Stein (生於1942年) 是一位美國企業家和音樂主管。他與人共同創立了 Sire 唱片，並簽約了1970 年代和 80 年代新浪潮時代重要樂隊，包括 Talking Heads、Ramones 和 The Pretenders。他旗下最著名藝人是麥當娜，他與其1982 年簽約。Ice-T 在自傳中寫到了Stein，稱：“他脫離了像克萊夫戴維斯這樣的舊時代音樂高管，但他更加古怪......只是更奇異一點，更前衛一點，更像一隻前衛的貓。”Seymour Stein 在 20 歲時收集藝術品，當時他為 Polydor 唱片公司工作。休息期間，他頻繁拜訪位於倫敦新邦德街附近的蘇富比陳列室，偶爾購買中國瓷器。“古董似乎是記錄的天然夥伴，”他寫道。“你必須學習流派、會見經銷商、發現細節、找出價值，最重要的是，找到寶藏。” 談到Stein先生，麥當娜指出：“在藝術和音樂方面，Seymour 一直走在潮流的前面。”品相：狀況良好，只有輕微磨損和極少的燒製不規則，邊緣有三個幾乎看不見的非常短冲綫。請索取詳細的在強藍光下拍攝的狀況報告視頻，以進一步瞭解拍品詳細情況。 重量：317.0 克 尺寸：直徑19.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年5月26日，lot 642 價格：HKD 100,000（相當於今日EUR 15,000） 描述：清嘉慶青花「趕珠雲龍」圖盤，《大清嘉慶年製》款 專家評論：請注意尺寸較小(16.5 厘米)。
A PAIR OF LARGE 'FAUX-BOIS' JARDINIERES, IMITATING HUANGHUALI, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795)Opinion: This pair of jardinières, made in imitation of Huanghuali wood, was purchased by the current owner at Sotheby's New York in March 2015 for a final price of USD 181,250 against a pre-sale estimate of USD 25,000-35,000. One reason for the intensive competition at this auction may have been that while Sotheby's dated the jardinières to the 19th century, bidders seem to have had a slightly divergent perception of the actual age of this lot. And indeed, there are two very recent scientific findings that speak clearly for a time of origin in the Qianlong period instead of the 19th century:Firstly, Trompe l'Oeil porcelains were primarily produced in the Qianlong reign period, and not in the 19th century. For a detailed scientific consideration of this fact, including respective data analysis, see the webinar by Chih-En Chen, Lecturer of Chinese and East Asian art history at the University of Toronto, held in December 2021 for members of the Oriental Ceramic Society, titled “Feminine Space and Playthings: Recontextualization of Trompe l'Oeil Porcelain in High Qing China”. The corresponding section of the video starts at minute 16:00.Secondly, the strictly realistic and nature-oriented manner of imitating the Huanghuali wood with enamels on porcelain, particularly visible in the characteristic 'ghost eyes' found on the present jardinières, is untypical of the 19th century. As Chih-En Chen explains in detail, starting in minute 19:00 of the video, 'realistic' imitations of wood in Faux Bois porcelains were predominantly made during the 18th century, while 'unrealistic' or abstracted designs of wood emerged only in the 19th century. As we know, during the 18th century artists often imitated one material using another, but were always looking for rather subtle and inconspicuous ways to do so. Likewise, the ostentatious creations from the 19th century constitute a stark contrast to the humble, nature-oriented mindset of the 18th century.These aforementioned two facts lead this author to the conclusion that the present jardinières are in fact older than previously stated by Sotheby's, and without much - if any - doubt were made during the 18th century.Link for the video:https://www.orientalceramicsociety.org.uk/feminine-space-and-playthings-recontextualization-of-trompe-loeil-porcelain-in-high-qing-china-ca-1683-1839-ce (available to OCS members only)Finally, please note that Mr. Chih-En Chen has invested a sheer unfathomable amount of time into the research of Trompe l'Oeil decor in High Qing China - and especially Faux Bois - an effort for which we do not only have the deepest respect but also will remain eternally grateful to Mr. Chih-En Chen. For this reason, we highly recommend watching the video of Chih-En Chen's seminar, it is worth the while. At the time of the Sotheby's sale in 2015, however, none of the substantial scientific findings shown in the video by Mr. Chih-En Chen were available to the public, a fact that explains why Sotheby's experts had to be more cautious in dating the present jardinières. Superbly potted, the tapering sides of each of the two jardinières are finely and boldly enameled to resemble wooden planks, including many details and aspects of the grain such as the characteristic knotholes, with the two raised bands encircling the body neatly painted to mimic the look of rope.The recessed circle in the center of the base is set between two drainage holes and glazed white, each with a very large underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Also note the finely modeled and ruyi-shaped feet of each jardinière.The neatly executed painting of the wood imitation, including distinct peaks and ghost eyes, is inspired by the pronounced grain of huanghuali wood, which was highly prized as a material for furniture in the late Ming and early Qing dynasties, including brush pots or tubs similar to the present jardinières.Provenance: Sotheby's New York, 21 March 2015, lot 684, sold for USD 181,250 or approx. EUR 221,500 converted and adjusted for inflation at the time of writing. A copy of the invoice from Sotheby's New York, dated 21 March 2015, is accompanies this lot. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Very good condition, especially when considering the size and age of these jardinières, with minor old wear and some firing irregularities, shallow surface scratches, the feet with small chips and minor losses to enamels, one jardinière with small chips to one section of the base. Dimensions: Diameter 45.7 cm(2)Literature comparison: Compare a closely related unmarked faux-bois jardinière dated to the Yongzheng or Qianlong periods, in the collection of the Palace Museum, Beijing, accession number Gu154796, and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, no. 235. Two similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, are illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 317, pl. 146, and Gugong Qing ci tulu - Kangxi yao, Yongzheng yao - Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97, respectively.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 4 October 2011, lot 17Price: HKD 8,000,000 or approx. EUR 1,365,000 converted and adjusted for inflation at the time of writing Description: A rare faux-bois jardiniere, seal mark and period of Yongzheng Expert remark: Compare the closely related form and decoration, though the wood is treated more naturalistically than on the present lot and the interior shows yellow enamel in imitation of an oilcloth lining. Note the Yongzheng mark found on this lot instead of the Qianlong mark on the present jardinières.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.一對乾隆款大型仿木紋釉花盆由於字數限制，完整中文敘述請至www.zacke.at查看。
* JOHN KINGSLEY RSW DA PAI (SCOTTISH b. 1956)CRETAN LANDSCAPEoil on canvas, signedimage size 61cm x 76cm, overall size 79cm x 94cm Framed and under glass.Provenance: we are grateful to John Kingsley for confirming the title and commenting "It was near Rethymnon (Crete) as I recall, in the area of the ruined fortress above the town. I visited there around 1990".Note: John Kingsley was born in Glasgow in 1956. He studied drawing and painting at Glasgow School of Art from 1973-77. His art tutors included James Downie Robertson, David Donaldson and Geoffrey Squire. From 1980-86 he exhibited in one-man shows at the annual S.N.O. Promenade Concerts at the Kelvin Hall, Glasgow and in 1986 he was elected a member of Group 81 Artists, who exhibited regularly at the McLellan Galleries, Glasgow. John Kingsley has established a reputation as a leading Scottish contemporary artist. He was a finalist in the Hunting Art Prizes competition in London in 1989, 1993 and 1998, and was highly commended in the same competition in 1996. In 1991 Kingsley won the William Bowie Landscape Prize and in 1992 the Mary Armour Award at the Paisley Art Institute. Kingsley has an international reputation with art works in many public and private art collections across Europe, Australia, Canada and the USA. His paintings are found in the art collections of HRH The Duke of Edinburgh, Argyll and Bute District Council and the Royal College of Physicians and Surgeons, Glasgow and in numerous corporate collections throughout the UK.
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950),STILL LIFE WITH HEN & CORMORANToil on canvas, signed, titled label versoimage size 77cm x 77cm, overall size 95cm x 95cm Framed. Artist's label verso.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),FROM THE CAR PARKoil on board, signed and dated '9944cm x 47cmFramed and under glass.Titled verso, but obscured by the backboard.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),JOUCAS FROM THE SUNFLOWER FIELDoil on board, signed and dated '9436cm x 44cmFramed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).
* JACK MORROCCO DA (SCOTTISH b. 1953),REFLECTIONS, CANAL DU MIDI, NEAR COLOMIERSoil on canvas, signed, titled labels versoimage size 61cm x 91cm, overall size 83cm x 113cm Framed and under glass.Artist's label verso.Label verso: Gullane Art Gallery, Gullane.Provenance: Private Glasgow collector (downsizing).Note: An exceptional and large example by one of Scotland's most successful contemporary artists. Jack Morrocco's work very rarely appears at auction, anywhere.
1 70-cl bt Fine Calvados 'Pere Chanau' 40% 1 70-cl bt Schwarzwalder Wald-Himbeergeist Besondere Qualitat 40% 1 70-cl bt Der Gute Pott Echter Übersee Rum 54% 1 70-cl bt Crème de Cassis de Dijon 3 70-cl bts Abadia da Cova Licor Café 33% 1 70-cl bt Fauconnier Curaco Bleu 20% 1 75 cl bt Amaretto di Saronno Originale 56° proof 1 US quart Irish Mist Liqueur 80° proof Above one 75-cl bottle, eight 70-cl bts and one US quart bottle
Tristan da Cunha: Three uncommon entires, 2 with scarcer Cachet II cancels (cat from £425 each) incl one with 1 1/2d postage due. In addition, letter from Mrs R H Glass of 26 June 1926 (6 pages) giving detail about life on the island and another of 1929 about hard times. One of the entires of 8 May 1923 from Rev Rogers encloses 2 further Catchet II cancels on piece to recipient referring to the Times, Daily Mail etc articles about them.
An unusual Chinese porcelain jar, 20th century, with tubelined style decoration, the neck with small clouds above the shoulder with relief moulded calligraphy which partially reads, Da Ming Yongle... Inner Palace...., above the eight immortals with attributes painted in green and aubergine, standing upon clouds against a blue ground, a band of fiery clouds to the base, 23cmNo apparent damage
Jorge Martins (b. 1940)UntitledOil on canvasSigned and dated 84 on the overlap(small stains)195x145 cmWith labels from Emi Valentim de Carvalho Gallery and Secretaria de Estado da Cultura, Direcção Geral de Acção Cultural with reference to the exhibition "70/80".Exhibitions:"70.80 Arte Portuguesa", Brasília, São Paulo, Rio de Janeiro, 1987, Cat. p. 60.
Noronha da Costa (1942-2020)Untitled, 1967Vinil tempera painted wood and glass bottles, light acrylic diamond polished sheets, mirrored glasses and mirrors(defects to the mirrors)163,5x26,5x17 cm (x2)Partially redone work for the exhibition "Noronha da Costa Revisited (1965-1983)".Exhibitions:"Noronha da Costa Revisitado (1965-1983)", Centro Cultural de Belém (CCB), Lisboa, 2003, Cat. p. 84.
Maria Helena Vieira da Silva (1908-1992)"La Petit Ramoneur", 1977Lithograph on paperSigned and numbered 73-99(slight darkening of the paper) 18x23 cm (image)34,5x41 cm (sheet)Literature:"Vieira da Silva, Obra Gráfica 1933-1991, Colecção Gérard A. Schreiner", Palácio Galveias, Lisboa, 1992, Cat. p. 60.
Nineteen large DM Medal Special Signed Covers. The unbelievably rare set of 19 special signed large RAF Museum Awards Series Covers, in Large black album. The insert cards have been removed and mounted with the covers. This series of flown covers illustrates the principal honours, decorations and campaign medals which have been awarded to members of the Royal Flying Corps, Royal Air Force and Royal Air Force Regiment, the Royal Naval Air Service and the Fleet Air Arm. Each cover which measures a large 32cm x 23cm carries the signatures of seven airmen, whose gallantry or leadership in the service of their country, has been recognised by the award shown. A further special cover has been added to the series to mark the relationship between the RAF and the Luftwaffe. The collection comes housed in a luxury album, and all the covers are laid out in protective sleeves with the inlay cards and signatories photographs shown opposite. This stunning collection bears some of the rarest World War Two autographs you could hope to own, including MRAF Sir Arthur Harris, Sqn Ldr Neville Duke, Leonard Trent VC, Bill Reid VC, Leonard Cheshire VC, Rod Learoyd VC, AVM Don Bennett, AVM Johnnie Johnson, Dambuster David Shannon, Group Captain John Cunningham, Eric Winkle Brown, Peter Twiss, ACM Sir Christopher Foxley-Norris, Dambuster Mickey Martin, Dambuster Bill Townsend, Group Captain Dennis David, Bob Stanford-Tuck, Group Captain James Tait, Hamish Mahaddie, Oliver Philpot, Don Kingaby, Denis Crowley-Milling, Dambuster Tony Burcher, Dambuster Len Sumpter, James Ginger Lacey, Bobby Oxspring, Laddie Lucas and so many more. Full list of covers and autographs. Award of the Air Force Cross signed by Sir Dermot Boyle, FH Bugge, AC Clouston printed, Grp Capt Emmerson, Sir Arthur Harris, and Bill Randle and ACM Keith Williamson. Award of the Distinguished Flying Cross signed by Sir Robin Hooper, Desmond Hughes, HC Rigby, Flt Lt Jimmy Edwards, Grp Capt. Ken Batchelor, Neville Duke and Ivor Broom. Award of the Victoria Cross signed by Leonard Cheshire, John Cruickshank, Norman Jackson, Rod Learoyd, Bill Reid, Leonard Trent and Freddie W Award of the Distinguished Service Order signed by Don Bennett, Harry Burton, John Cunningham, Denys Gillam, Johnnie Johnson, Dave Shannon and Hugh Verity. Award of the Distinguished Service Cross signed by Eric Brown, Fred Russell printed, Peter Twiss, David Morgan, Derry Kearns, Ian Robertson and Sir William Garthwaite. Award of the Military Medal signed by Edward Cerely, John McFarlane, Elspeth Green, William Magrath, Roy Marlow, Harry Simister and Wally Simpson. Award of the OBE signed by Sir Harry Broadhurst, Paul Holder, Earl of Selkirk, Colin Scragg, Denis Smallwood, Sir Geoffrey Tuttle and Sir John Whitley. Award of the Order of the Bath signed by Lord Cameron, William Dickson, Christopher Foxley-Norris, Lewis Hodges, Micky Martin, Denis Spotswood and Augustus Walker. Award of the Conspicuous Gallantry Medal signed by D Allen, Jack Bettany, George Dove, DT Jones, JW Norris, Bill Townsend and J G Wheeler. Award of the 1939-45 Star Battle of Britain signed by Ben Bennions, Dennis David, Bob Doe, H Hallowes, Pat Hancock, Bob Stanford-Tuck and George Unwin. Award of the Aircrew Europe Star signed by Michael Beetham, Harold Bird-Wilson, Wallace Kyle, John Lapsey, Hamish Mahaddie, Fred Rosier and James Tait. Award of the Military Cross to Airmen signed by Brian Coote, Peter Gosse, Arthur Hall, A E Milton, Norman Page, Oliver Philpot and Sir Robert Thompson. Award of the Air Efficiency Award signed by Denis Crowley-Milling, HG Davis, Frank Dodd, Sandy Johnstone, Don Kingaby, HM Stephen and Peter Vanneck. Award of the Distinguished Flying Medal signed by Tony Burcher, E Cummings, Bill Howarth, James Lacey, DA Macdonald, AG Mitchell and Len Sumpter. Award of the George Medal to Airmen signed by R Bullen, Sir Geoffrey Dhenin, John Gray, Michael Lakey, James McCarthy, D Oliver and J Reeson. Mentioned in Despatches signed by Michael Le Bas, Sir Hugh Constantine, Freddie Hazlewood, Anthony Heward, Ian Lawson, Bobby Oxspring and Sir Alistair Steedman. Award of the Air Force Medal signed by John Allen, Ty Barraclough, Peter Crouch, John Donnelly, Ron Emeny, Jack Emmerson and Robert Lockhart. Knights Cross of the Iron Cross signed by Erwin Fischer, Willhelm Johnen, Bernhard Jope, Friedrich Kless, Friedrich Lang, Gerhard Schopfel and Gunther Seeger. The Defence Medal signed by Sir Alan Boxer, Sir Brian Burnett, T Franks, Sir Peter Le Cheminant, Laddie Lucas, Sir Laurence Sinclair and Sir Peter Wykeham. This is such a rare sought after collection. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Oreste Silvestri (1858-1936) Self Portrait in a Landscape Oil on Canvas Born in Pollone in Vercelli to a Piedmontese mother and Lombard father, Silvestri became known as one of the premier acquafortisti of his age. Silvestri can be considered an Italian Impressionist and also participated in many prominent restorations including that of Da Vinci's The Last Supper in 1924. Dimensions: (Framed) 16 (H) x 20 in. (W) (Canvas) 10 (H) x 13 in. (W)
Rolf Diener1906 Gößnitz/Thüringen - 1991 in HamburgBlumenstillleben. 1946Links unten monogrammiert und datiert. Öl auf auf Hartfaser. 33 x 41,5 cm. Rahmen (66 x 74 cm). Der Deutsche Rolf Diener wurde am 29.03.1906 in Gößnitz, Thüringen, geboren. Vier Jahre später zog er nach Hamburg, wo er von 1927-1931 die Landeskunstschule Hamburg besuchte - sein Mentor war Arthur Illies. Der 2. Weltkrieg bedeutete ein kurzzeitiges Aus seines künstlerischen Schaffens, da er als Werkzeugmacher tätig war. Danach ging er wieder einer künstlerischen Betätigung nach und studierte von 1948-1951 am Baukreis, einer Künstlervereinigung der Nachkriegszeit, in Hamburg unter Arnold Fiedler. Diener setzte sich mit verschiedensten Strömungen der Klassischen Moderne auseinander, bevor er sich der Abstrakten Malerei zuwendete. Diese Form der Malerei vollzieht einen Bruch mit den Grundprinzipien der abendländischen Malerei. Sie ist nicht gegenständlich - sondern im Gegensatz dazu ist sie über das Komponieren mit Farben, Linien und geometrischen Formen, losgelöst von Darstellungen und nicht-gegenständlich. Charakteristische Motive des deutschen Künstlers sind Darstellungen von Häfen, abstrakte Kompositionen sowie Stillleben. Diese Motive greift Diener in verschiedenen Schaffensphasen immer wieder auf, wodurch man anhand der einzelnen Werkgruppen eine Wandlung von der gegenständlichen zur abstrakten Malerei nachvollziehen kann. Literatur: Heydorn, Volker Detlef, Maler in Hamburg. Bd. 1-3, Hamburg 1974. Seupher, Michael, Knaurs Lexikon Abstrakter Malerei. München 1957. Burmeister, Ronald, Rolf Diener vergessener abstrakter Maler in Hamburg. Hamburg 1974 (als Manuskript veröffentlicht)
A selection of Victorian and later silver items to include a 1977 Jubilee dish with pierced decoration, London 1977; Da-Mar silverware with pressed glass dish, silver spoon with figural finial, Birmingham 1870, marks for Frederick Elkington, Victorian sugar tongs, London 1883 marks for Josiah Williams & Co - George Maudsley Jackson, and a propelling pencil, Birmingham 1916 marks possibly for J William Caldicott - Edward Barker & Son, total weight 187.2g Location:
18th-century French and Italian manuscripts Collection with 10 Greek sketches including notes regarding work, including Memoria dell'Abiura di Silvestro et altri Legni da Velletri Atheisti, 1p., 1719; Annotatione circa la misura del miglio Romano, 1p., n.d.; Copia del Bando emanato in Roma contra la Casa Cavaffa & ordina del Popolo Romano, 1p., n.d.; Notizie circa la Sacros. Image del Salvadore di Sancta Sanctorum, 3pp., n.d.; Nota e memoria delle Medag. poste da Sisto V nelle fondamta. della Guglia da lui evetta nella Piazza Vaticana, 2pp., n.d.; Monsieur Jean Viry Ebeniste doit au Soeur Pammelier de Beaune en compagnie marchand de bois pour la provision... 11pp., 1769; several French cabinet-makers bills or receipts, one signed by Legrain and Falconnet, 1713, 1p.; Indenture, in Latin, respecting land in Stopsley & Luton, 44th year of the reign of Queen Elizabeth. [1601-02], 11 x 39cm, worn and partly illegible; [Hamilton, Capt. P.W.] 15 pencil sketches of Greece, removed from an album, several captioned in pencil, various sizes, [c.1850]; and others, similarNote: Provenance: From the library of the late William St Clair, FBA, FRSL.
Pomardi, Simone Viaggio nella Grecia fatto da Simone Pomardi negli anni 1803, 1805 & 1806. Rome: Presso Vincenzo Poggioli Stampatore Camerale, 1820. First edition, 2 volumes, 8vo,[vii], 183; 171; folding map and 90 plates, some folding, contemporary half calf, lacking the folding plan of Athens, rubbedNote: Provenance: From the library of the late William St Clair, FBA, FRSL.
Lorenzo Da Ponte (d.i. Emmanuele Conegliano). Memoiren von Lorenz da Ponte von Ceneda. Von ihm selbst in New-York herausgegeben. Aus dem Italienischen. 6 Tle. in 2 Bde. Stuttgart, Franckh, 1847. 1 Bl. 222 S., 2 Bll. 1 Bl., 212 S., 2 Bll. 12°. Marmorierte Ppbde. d. Zt. goldgepr. RSchild und Sprenkelschnitt (berieben Rücken mit Defekten, ein Gelenk angeplatzt). Selten, kein Exemplar im internationalen Handel für uns nachweisbar. - Erste deutsche Ausgabe. Kapp, 3338. - Memoiren eines sehr abenteuerlichen, Kontinente umspannenden Lebens. Emmanuele Conegliano (1749-1838) hatte ca. 30 Opernlibretti verfasst und wurde unter dem Namen Lorenzo da Ponte weltberühmt. Für Mozart hatte er die Libretti für "Figaro", "Don Giovanni" und "Cosi fan tutte" erschaffen. Wegen geplatzter Wechsel, für die er sich verbürgt hatte, mußte er Wien verlassen und ließ sich ab 1805 zusammen mit seiner Familie zuerst in Pennsylvania, später in New York nieder. Ein Höhepunkt von Da Pontes Aufenthalt in den USA war die erste Aufführung von Mozarts "Don Giovanni" im Jahre 1825. Seine zuerst 1823 in New York erschienenen "Memorie di Lorenzo Da Ponte, da Cèneda. Scritte da esso" bieten eine spannende Lektüre von hohem Quellenwert. Hier vorliegend in der ersten deutschen Ausgabe erschienen sie bei Franckh in Stuttgart in der Reihe: "Das belletristische Ausland", Bändchen 814-819. - Stellenweise etwas stockfleckig. Ein Titelblatt mit 5 mm Abschnitt im Fußsteg. Ecken bestoßen.
Astronomie - - Astronomisches Manuskript mit 2 mont. Tuschezeichnungen. (London?), wohl Anfang des 18. Jh. S. 114-165. Gr.-8°. Ohne Umschlag mit 1 Metallstift geheftet (angerändert, an der Heftung etwas eingerissen). Wohl aus einem größeren Werk stammend, da die Seitennummerierung auf S. 114 beginnt. Enthalten sind zwei erstaunliche Illustrationen der Geometrie einer Finsternis. Eine Tafel zeigt eine Sonnenfinsternis, die andere eine Mondfinsternis. Auf S. 120 wird die totale Sonnenfinsternis vom 3. Mai 1715 erwähnt, die von London aus gesehen wurde und als Halleysche Finsternis bekannt ist, nach Edmond Halley (1656-1742), der sie mit einer Genauigkeit von 4 Minuten vorhersagte. Das Manuskript ist undatiert, die Seiten sind mit Wasserzeichen versehen, aber unleserlich. Es scheint keine Abschrift eines veröffentlichten Werks zu sein. Das Manuskript beginnt am Ende eines Kapitels, die Abschnitte über Sonnen- und Mondfinsternis sind aber vollständig. Es folgt Kapitel 7 "De Cometis" und dann Buch 3 "De physicis mundi systematibus" mit Artikeln über das "Systema cartesianum" einschließlich des kartesischen Wirbels, der Sonnenflecken und der Planetenbewegung. - Stellenweise etwas (stock)fleckig u. wasserrandig. Erste u. letzte Seite stärker fleckig, letzte Seite leicht wasserrandig u. besonders nachgedungelt mit verblasster Schrift u. geringem Textverlust. Astronomy - Handwritten manuscript with 2 pasted in plates with hand illustrated diagrams of eclipses. Likely early 1700s. - Presumably taken from a larger work as page numbering starts at p. 114. Included are two stunning illustrations of the geometry of an eclipse. One plate is of a solar eclipse, the other lunar. On p. 120, the total solar eclipse of 3 May 1715 is mentioned, viewed from London. It was known as Halley's Eclipse, after Edmond Halley (1656-1742) who predicted it to within 4 minutes accuracy. The manuscript is undated, pages watermarked but unreadable. It does not appear to be a copy of a published piece, no results found for small segments of the text. The manuscript starts part way through a chapter, the sections on solar and lunar eclipse are complete. Followed by chapter 7 "De Cometis" and then Book 3 "De physicis mundi systematibus" followes with articles on "Systema cartesianum" including Cartesian vortex, solar spots, and planetary motion. - No wrapper as part of a larger work, metal pin binding (somewhat torn along the pin, edges untrimmes with some chips and tears). First and last page quit strongly stained and soiled, last page dampstained and particularly darkenes with faded lettering and loss of some text to chips in page edge). Some foxing and staining.
Hans Arp. Wortträume und schwarze Sterne. Auswahl aus den Gedichten der Jahre 1911-1952. 1953.Umschlag in Holzschnitt und mit vier (1 signierten) lose beiliegenden Holzschnitten (2 schwarzweiße, 2 hellblau-schwarze), jeweils auf Bütten gedruckt. Mit einem Vorwort ("Wegweiser") von Arp. 94, (2) S. + 4 Tafeln (Plastiken Arps). Gr.-8°. Illustr. Brosch. (stellenw. minim. verblasst, einige zarte Knickspuren, 1 kl. Randläsur). Insgesamt sehr gutes Exemplar, zumal die Broschur außerordentlich empfindlich ist. Sehr selten. Eins von 100 Exemplaren der Vorzugsausgabe, dieses nicht nummeriert, da es sich um das Belegstück der Verlegerin Marguerite Schlüter handelt. Einer der Holzschnitte signiert (während für die Verkaufsauflage alle Graphiken signiert worden sind). - Satz der Texte aus der Bodoni, gedruckt auf feingeripptes Maschinenbütten. Buchgestaltung von Flora Klee-Palyi. Die Vorzugsausgabe ist deutlich größer als die Normalausgaben. Cover in woodcut and with four (1 signed) loosely enclosed original woodcuts (2 black and white, 2 light blue and black), each printed on laid paper. - Overall a very good copy, especially as the pamphlet is exceptionally delicate. Very rare. One of 100 copies of the special edition, this one not numbered, as it is the copy of the publisher Marguerite Schlüter. One of the woodcuts signed (while for the sale edition all prints were signed). - Typesetting of the texts from the Bodoni, printed on fine-ribbed machine-made paper. Book design by Flora Klee-Palyi. The special edition is considerably larger than the normal editions.
China - - Sammlung von 11 Tsuso-Malereien. China, 19. Jh. Je Gouache auf Markpapier. Blattmaße je ca. 26,5 x 19 cm. Auf Papier und unter blauer Bordüre montiert, 2 Bll. zusätzlich auf späteren Seidendeckeln mit floralem Muster montiert. Unter Tsuso-Malereien verstehen sich kleinformatige Bilder, die im Zuge einer großen ausländischen Präsenz im China des frühen 19. Jahrhunderts in Guangzhou (Kanton) angefertigt wurden. Insbesondere bei Handelsreisenden aus der westlichen Welt erfreuten sie sich einer großen Beliebtheit. Das für die Herstellung verwendete Markpapier des immergrünen Baumes Tetrapanax Papyrifera fördert die farbleuchtenden Eigenschaften dieser Malweise, da die Gouache-Farbe nicht in das Papier eindringt, sondern an der Oberfläche haftet. Die Blätter zeigen ein Herrscherpaar auf dem Thron sowie Personen in traditionellen Kostümen. - Papierbedingt teils rissig und mit Fehlstellen. 1 Bl. mit größerer Fehlstelle im Motiv. Farben in leuchtendem Zustand. China - Collection of 11 Tsuso paintings. 19th century. Each gouache on pith paper. Mounted on paper and under a blue border, 2 sheets additionally mounted on later silk covers with floral design. - Tsuso paintings are small-format pictures made in the course of a large foreign presence in China in the early 19th century in Guangzhou (Canton). They were particularly popular with commercial travellers from the Western world. The pith paper of the evergreen tree Tetrapanax Papyrifera used for the production enhances the colour-brightening properties of this painting technique, as the gouache colour does not penetrate the paper but adheres to the surface. The sheets show a pair of rulers on a throne as well as persons in traditional costumes. - Paper partly cracked and with missing parts. 1 sheet with larger loss in the motif. Colours in bright condition.
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