Pokémon TCG - Complete Team Rocket Expansion 1st Edition & Unlimited. This lot contains a complete Team Rocket expansion, the fourth Pokémon trading card set released early 2000. This collection has a number of 1st edition cards including Dark Dragonite, Dark Gyarados & Rainbow Energy. The set comes complete in the official Pokémon TCG vintage ring binder and includes the games first ever 'secret rare' Dark Raichu. Condition Report: The overall condition of this collection is Excellent to Good.
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Pokémon TCG - Complete Gym Hero's set with four PG graded cards - 1st edition and unlimited. This lot contains a complete Gym Hero's expansion, a set released in mid 2000. The set features Pokémon belonging to the gym leaders from the first generation. This lot contains four cards graded by Pokégrade, a UK based grading company, the cards and their grades are: Sabrina's Gengar 7, LT. Surges Magneton 6, LT. Surges Fearow & Erika's Clefable 6. This lot also contains a number of 1st edition cards such as LT. Surge's Raichu, Misty's Poliwrath, Blaine's Kangaskhan, and a number of other common and uncommons. Condition Report: The overall condition of this set is Near Mint to Excellent.
Pokémon TCG - Gym Hero's & Gym Challenge partial Complete Sets with five PG graded cards - 1st edition and unlimited. This lot contains a partial complete Gym Hero's & Gym Challenge expansion, sets released in mid & late 2000. The set features Pokémon belonging to the gym leaders from the first generation. This lot contains five cards graded by Pokégrade, a UK based grading company, the cards and their grades are: Erka's Venusaur 6, Rocket's Mewtwo 7, Giovanni's Nidoking 7, Koga's Ditto 7 & Rocket's Zapdos 6. This lot also contains a number of 1st edition cards, specifically from Gym Challenge. The unlimited holos in this set are Blaine's Arcanine, Koga's Beedrill, Blaine, Brock's Rhydon, Rocket's Moltres, Lt Surges Fearow & Magneton Condition Report: The overall condition of this set is Near Mint to Excellent.
Pokémon TCG Base Set, Jungle & Fossil Collection. This lot contains a partial complete collection of the first three Pokémon trading card sets released in 1999. The Base Set comes with all the holographic cards and is only missing the trainer and energy cards. The Jungle set has the non-holos missing alongside the one trainer card from the set, the collection features two copies of a holo Flareon.The Fossil set is very much the same, only missing the non holo cards. The collection also comes with a Black Star promo Eevee (11) in Near Mint condition and a Rocket's Moltres in Poor condition. It also features two Pokémon magazines from Pokémon 'Strategies' and 'Pokémon Magic'. An amazing way for someone to instantly build up a collection from the early days of the game.
Pokémon TCG Sealed Base Set Promotional Boxset. This item is one of the rarest Pokémon items out there that pre-dates the first release. This boxset was given to local game stores/specialist trading card stores before The first Pokémon set was released as a way to showcase the game. The box contains three sealed Base Set booster packs of each artwork (Charizard, Blastoise and Venusaur), these are typically 'long crimp' packs but it is unknown if they are 1st edition or unlimited packs. It also contains the first learn how to play structure deck that has the 1st edition Machamp in. The boxset also includes a bunch of promotional items designed to be given out or displayed in store such as a players guide and window stickers. Condition Report: This item is sealed but has a very minor tear in the seal at the front. The item was authenticated and comes from a former Hasbro/Wizards of the Coast employee.
Yu-Gi-Oh! TCG Summoned Skull 2002 Collectors Tin Sealed. This item is sealed but it does have four very small tears in the shrink wrap. This was the first ever collectors Tins ever made and contains sealed booster packs from The Legend of Blue-Eyes White Dragon, Metal Raiders and Magic Ruler alongside a promo of Summoned Skull.
Yu-Gi-Oh! TCG Lord of D 2002 Collectors Tim Sealed. This item is sealed but it does have two very small tears in the shrink wrap. This is from the first ever line of collectors tins and contains sealed booster packs from The Legend of Blue-Eyes White Dragon, Metal Raiders and Magic Ruler alongside a promo of Lord of D
Yu-Gi-Oh! TCG Vintage Collection 1300+ Cards. This lot contains over 1300 cards ranging from sets such as LOB, MRD, POTD to Battle Pack and more. This lot primarily contains commons but you will find Super rare, Shatter Foil and other. This lot also comes with a four-pocket binder to store your cards in. This is a great lot for anyone who wants to collect older cards or play older formats of the card game. This lot also features a tin from the first ever wave of collectible tins. Condition Report: The condition of the cards range from every condition - Near Mint all the way to Poor but the majority of these cards have been played with.
Yu-Gi-Oh! TCG Vintage Collection 1800+ Cards. This lot contains five official Yu-Gi-Oh! tins jam-packed with over 1800 cards ranging from the very first set up to the current year. This lot primarily contains commons but you will find Super rare, Shatter Foil, Secret rares and others. This lot also comes with an official Yu-Gi-Oh! 9-pocket binder to store your cards in. This is a great lot for anyone who wants to collect older cards or play older formats of the card game. Condition Report: The condition of the cards range from every condition - Near Mint all the way to Poor but the majority of these cards have been played with.
Yu-Gi-Oh! TCG Vintage & Modern Collection 2200+ Cards. This lot contains six official Yu-Gi-Oh! tins jam-packed with over 2200 cards ranging from cards from very first sets all the way up to the current year. This lot primarily contains commons but you will find other rarities such as regular Rare. This is a great lot for anyone who wants to collect older cards or play older formats of the card game. Condition Report: The condition of the cards range from every condition - Near Mint all the way to Poor but the majority of these cards have been played with.
Yu-Gi-Oh! TCG Vintage Collection 1600+ Cards. This lot contains four official Yu-Gi-Oh! tins jam-packed with over 1600 cards ranging from the very first set up to the Yu-Gi-Oh! GX era. This lot primarily contains commons but there is a possibility you will find Super rare or regular rare cards. This lot also comes with an official Yu-Gi-Oh! 9-pocket binder to store your cards in. One tin in particular has a bunch of cards in 1st edition from Ancient Sanctuary, Invasion of Chaos and other sets from that year. This is a great lot for anyone who wants to collect older cards or play older formats of the card game. Condition Report: The condition of the cards range from every condition - Near Mint all the way to Poor but the majority of these cards have been played with.
Yu-Gi-Oh! TCG Vintage Collection. This lot contains two folders full of cards. The first folder is full of commons from the first three years worth of sets and stricture decks, this includes many iconic cards and monsters from the original show. The second folder is full of 'Rares' from the same sets/eras. This folder has just over 135 1st and unlimited rares with the vast majority in Excellent condition. This is a great lot for anyone who wants to collect older cards or play older formats of the card game. Condition Report: The condition of the cards in he first folder range from every condition - Near Mint all the way to Poor but the majority of these cards have been played with.
Yu-Gi-Oh! TCG Vintage Collection 1900+ Cards. This lot contains four official Yu-Gi-Oh! tins jam-packed with over 1900 cards ranging from cards from very first sets of the game. This lot also contains an open box of Ancient Sanctuary filled with cards from Legend of Blue-eyes White Dragon, the first set released in 2001. This lot primarily contains commons but you may find other rarities such as regular Rare. This lot also contains an official Yu-Gi-Oh! folder also full of cards. This is a great lot for anyone who wants to collect older cards or play older formats of the card game. This lot contains a mixture of 1st edition and unlimited cards. Condition Report: The condition of the cards range from every condition - Near Mint all the way to Poor but the majority of these cards have been played with.
Yu-Gi-Oh! TCG Vintage & Modern Collection 1500+ Cards. This lot contains four Yu-Gi-Oh! tins/boxes jam-packed with over 1500 cards ranging from cards from very first sets of the game all the way up to the most recent set. This lot primarily contains commons but you may find other rarities such as regular Rare, in fact his collection has over 80 rares from the most recent set, Tactical Masters. This lot also contains a 4-Pocket binder full of OCG Japanese and Korean cards including the original SDK Kaiba Structure deck. This is a great lot for anyone who wants to collect older cards or play older formats of the card game. This lot contains a mixture of 1st edition and unlimited cards. Condition Report: The condition of the cards range from every condition - Near Mint all the way to Poor, newer cards will be Near Mint but a lot of the older cards have been played with.
Yu-Gi-Oh! TCG Collection 180 Secret, Ultra and Super Rares. This lot contains an official Yu-Gi-Oh! folder completely filled with Secret, Ultra and Super Rare cards ranging from the very first structure decks all the way up to sets released this year. This lot also comes with an empty Master Collection Golden folder. Condition Report: The condition of these cards range from Near Mint to Poor, however the newer the card the better the condition.
Yu-Gi-Oh! TCG Vintage Collection 180 Secret, Ultra and Super Rares. This lot contains an official Yu-Gi-Oh! folder completely filled with Secret, Ultra, Super and regular Rare cards ranging exclusively from the early days of the game. This includes cards from the very first structure decks, promos from the video games, original Secret rares and many iconic cards. Condition Report: The condition of these cards range from Good to Poor.
A JIZHOU REVERSE-DECORATED 'LOTUS' MEIPING, SOUTHERN SONG TO YUAN DYNASTYChina, 1127-1368. Skillfully painted in swift brushwork with a continuous scroll of lotus, detailed with furled leaves, the present vase is particularly notable for its black-coffee brown glaze that provides a striking contrast with the lotus in white reserve.Published: Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 102. Mentioned in the foreword by Li Zhiyan, Research Fellow at the Beijing Palace Museum, as “an outstanding example demonstrating its bold form, coupled with delicate painting”.Provenance: The Jiyuanshanfang Collection. A noted American private collector, acquired from the above. The Jiyuanshanfang Collection is currently housed on New York's Upper East Side and was originally founded upon an old family collection. A comprehensive catalog of the collection titled “Song Ceramics: The Eight Kiln Groups” was published in 2008 with a foreword written by Li Zhiyan, Research Fellow at the Beijing Palace Museum. Another contributor to this catalog was Martin Lorber, formerly Director of Sotheby's New York. Jiyuanshanfang's first exhibition was held in 2012 at the Morris Museum in New Jersey. In 2015, Jiyuanshanfang lent early Chinese ceramics to a large-scale exhibition at the Norton Museum of Art in Palm Beach, Florida, titled “High Tea: Glorious Manifestations - East and West”.Condition: Very good condition with minor wear and firing flaws, few small chips to foot.Weight: 859.1 gDimensions: Height 23.6 cmWell potted, the rounded sides rising to a slightly waisted neck with a thick lipped rim. Boldly painted to the exterior with a vivid arrangement of lotus flowers and leaves reserved against an opaque glaze of dark brown, framed by line borders at the shoulder and above the foot, the glaze stopping unevenly above the foot, revealing the dark ware.Literature comparison: See a closely related Southern Song Jizhou meiping, also decorated with a white lotus pattern against a black background, excavated from Chaohu, Anhui, now preserved in the Anhui Provincial Museum, illustrated in Zhongguo wenwu jinghua daquan, taoci juan, Hong Kong, 1993, p. 290, no. 406. A similar lotus pattern can also be found on a printed textile from a tomb in Fujian whose occupant died in 1243, see Fuzhou Nansong Huangshengmu, Beijing, 1982, p. 125, fig. 91.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 December 2015, lot 229 Price: HKD 400,000 or approx. EUR 55,000 converted and adjusted for inflation at the time of writing Description: A rare 'Jizhou' 'lotus' vase, Southern Song dynasty Expert remark: Compare the near identical decoration and glaze. Note the different form and slightly smaller size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2021, lot 832 Price: USD 27,500 or approx. EUR 28,000 converted and adjusted for inflation at the time of writing Description: A rare painted Jizhou bottle, Southern Song dynasty Expert remark: Note the closely related form and subject matter. Note that the vase is not reverse-decorated and of slightly smaller size (18.4 cm).南宋至元代吉州窯黑地白花蓮紋梅瓶中國,1127-1368年。小口,唇外卷,短頸,溜肩,橢圓形腹,矮圈足。器體輕薄細緻。口、頸部施黑釉,肩以下為蓮花、荷葉及蓮蓬果組成的黑地白花圖案,全器圖案裝飾飽滿,色調柔和富麗。 出版: 《宋瓷八大窯系一覽——吉緣山房藏品》,美國加州,2008年,第 102頁。北京故宮博物院研究員李志延在前言中提到:"這是一個展示其大膽的形式,加上精緻的繪畫的傑出例子"。 來源:吉緣山房收藏;美國知名私人收藏購於上述收藏。吉緣山房收藏坐落於紐約上東區,最初建立在一個古老的家庭收藏基礎之上。曾出版過《宋瓷八大窯系一覽——吉緣山房藏品》(美國加州,2008年)一書,北京故宮博物院李知宴做前言 。此畫冊的另一作者為Martin Lorber,紐約蘇富比前經理。吉緣山房收藏的第一個展覽是2012年年在新澤西Morris Museum;2015年年吉緣山房曾給佛羅里達Norton Museum of Art出借過一批中國早期瓷器參加“High Tea: Glorious Manifestations - East and West” 展覽。 品相:狀況極好,輕微磨損和燒製缺陷,足部輕微小磕損。 重量:859.1 克 尺寸:高23.6 厘米 由於字數限制,完整中文敘述請至www.zacke.at查看。
AN ARCHAIC BRONZE RITUAL FOOD VESSEL, DING, EARLY WESTERN ZHOU DYNASTYChina, 11th-10th century BC. The deep, rounded body is massively cast and raised on three columnar supports, the exterior with a flat-cast band of three taotie masks in relief below the rim from which two sturdy U-shaped loop handles rise. The interior with a crisp two character pictogram in oracle bone script below the rim.Inscriptions: To interior below the rim, 'hao' (good).Provenance: Nellie Clay Foster, acquired in China during the 1930s, and thence by descent in the family. Nellie 'Nelchen' K. A. Foster (nee Armstrong, d. 1950) was a socialite and amateur poet in Louisville, Kentucky, USA. She married the noted naturalist and yachtsman Henry Clay Foster (d. 1950). Nellie and Henry both traveled across Asia in the 1930s. According to information provided by the family, they got acquainted with a curator or consultant of the Metropolitan Museum in New York during one of their journeys through China. On one occasion this curator - possibly Gijs Bosch-Reitz (1860-1938) - had discovered five ancient bronzes for sale, of which he could only afford the purchase of three. As the story goes, the owner insisted on selling all five bronzes at once, and so Nellie was invited to pick two pieces. Her first choice was the present ding vessel, which she kept in her New Jersey home until her death.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, nicks and cracks, all pretty much as expected from ancient bronzes. Beautiful, naturally grown patina with extensive malachite encrustation. X-Ray and CT: The images clearly document the outstanding overall condition of this lot. The crisply cast relief is remarkably well-preserved (see x-ray image 4). Note the three distinct areas of minor erosion at the inside bottom of the vessel (CT image 25). Further note the characteristic remnants of soil inside the legs (CT images 21 and 22).Weight: 3,022 gDimensions: Diameter 20 cm, height 23.6 cmLiterature comparison: Compare a closely related bronze ding decorated with a similar taotie band, dated to the Western Zhou dynasty, 11th century BC, 23.1 cm wide, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.328. Compare a closely related bronze ding decorated with a similar taotie band, dated to the Western Zhou dynasty, 11th-10th century BC, 17.5 cm wide, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number FSC-B-603.Auction result comparison: Type: Closely related Auction: Christie's, 15 December 2010, lot 273 Price: EUR 46,600 or approx. EUR 59,000 converted and adjusted for inflation at the time of writing Description: A bronze tripod food vessel, ding, China, Western Zhou dynasty Expert remark: Compare the closely related form and taotie band. Note the smaller height (19.5 cm).Auction result comparison: Type: Closely related Auction: Christie's, 19 September 2014, lot 986 Price: USD 87,500 or approx. EUR 106,000 converted and adjusted for inflation at the time of writing Description: A large bronze ritual tripod food vessel, ding, late Shang-Western Zhou dynasty, 11th century BC Expert remark: Compare the closely related form, taotie band, and inscription to interior below the rim. Note the larger height (30.2 cm).西周初期饕餮紋青銅鼎中國,公元前十一至十一世紀。鼎體渾圓且深,向上收口,兩側對稱設耳,鼎體上部有扁平浮雕饕餮紋。 款識:鼎内邊緣下可見“好” 來源:上世紀三十年代Nellie Clay Foster購於中國,保存在同一家族。Nellie 'Nelchen' K. A. Foster (nee Armstrong, 1950年逝世) 是美國肯塔基州路易斯維爾的社交名流和詩人。她嫁給了著名的博物學家和帆船運動員Henry Clay Foster (1950 年逝世)。 Nellie 和 Henry 都在 1930 年代遊歷了亞洲。據家人提供的信息,他們在一次中國之旅中結識了紐約大都會博物館的一位策展人或顧問。 品相:狀況極佳,大面積磨損、風化和侵蝕的跡象、輕微的缺損、刻痕和裂縫。美麗、自然生長的皮殼,帶有大量綠色鏽斑。清晰的浮雕保存得非常好,可在 X 射線圖像(可根據要求提供)上也見到,清楚地記錄了該拍品出色的整體狀況。 重量:3,022 克 尺寸:直徑 20厘米,高23.6 厘米 文獻比較: 比較一件非常相近的公元前十一世紀西周饕餮紋青銅鼎(寬23.1 厘米),收藏於亞瑟·M·賽克勒美術館,史密森尼學會,編號S1987.328。比較一件非常相近的公元前十至十一世紀西周饕餮紋青銅鼎(17.5 厘米寬),收藏於亞瑟·M·賽克勒美術館Freer Gallery of Art,史密森尼學會,編號FSC-B-603。由於字數限制,完整中文敘述請至www.zacke.at查看。
AN EARLY THANGKA OF GUHYASAMAJA AKSHOBHYAVAJRA, 13TH-14TH CENTURYCentral Tibet. Distemper and gilt on cloth. Superbly painted with the dark-blue, three-headed, and six-armed deity at the center, seated in dhyanasana on a lotus pillow atop a tiered throne supported by snow lions, backed by a lotus-petaled mandorla and halo. He is holding ritual implements including vajra, ghanta, padma, chakra, and khadga, and richly adorned with elaborate gold jewelry.Provenance: Daffos & Estournel, Paris, 2004. A private collection in Milan, Italy, acquired from the above. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age, with some old wear, creasing, minor losses and aging to pigments, few loose threads, possibly microscopic touch-ups here and there. The painting laid down on textile and double-matted. Presenting very well overall.Dimensions: Image size 27.7 x 20.1 cm, Size incl. mounting 49.2 x 40 cmGuhyasamaja Akshobhyavajra is flanked by two goats standing on elephants. The throne arch is topped by Garuda holding a naga in his mouth, flanked by two lamas in the upper register.The Guhyasamaja Tantra is one of the most important scriptures of Tantric Buddhism, written in Sanskrit. In the practice of the Arya Tradition, the central deity of the Guhyasamaja is the blue-black Akṣhobhyavajra, a form of Akshobhya, one of the five tathagathas, sometimes called the dhyani buddhas. Akṣobhyavajra holds a vajra and bell (ghanta) in his first two hands, and his other hands hold the symbols of the four other tathagathas: The wheel of Vairocana and the lotus of Amitabha in his rights, and the gem of Ratnasambhava and the sword of Amoghasiddhi in his lefts. Expert's note: Rarely is this iconographic subject so clearly delineated, allowing the viewer to follow the contours of the body, examine hands and ritual implements silhouetted against the red background, and to gaze upon the otherworldly countenance of Guhyasamaja.Literature comparison: Compare a related mandala thangka of Guhyasamaja Akshobhyavajra, dated to the 14th century, in the collection of the Rubin Museum of Art, object number F1997.43.1.Auction result comparison: Type: Related Auction: Sotheby's New York, 22 March 2018, lot 926 Estimate: USD 700,000 or approx. EUR 810,000 converted and adjusted for inflation at the time of writing Description: A thangka depicting Guhyasamaja, Tibet, 15th century Expert remark: Note that the deity is depicted in union with his consort and that the thangka is of significantly larger size (105 x 90 cm).Auction result comparison:Type: RelatedAuction: Christie's New York, 15 September 2008, lot 6Price: USD 242,500 or approx. EUR 329,000 converted and adjusted for inflation at the time of writingDescription: An Important thangka of the Akshobya Vajra Guhyasamaja Mandala, Central Tibet, late 14th centuryExpert remark: Note that the lot comprises a mandala thangka of larger size (91.4 x 83.2 cm), with a central depiction of Guhyasamaja Akshobhyavajra and consort.十三至十四世紀密集不動金剛唐卡西藏中部。布面膠畫描金。主尊軀體為藍色,頭戴五葉冠,象徵五佛或五菩薩,結跏趺坐在蓮台。有六隻手臂,都持有法物,並分別拿金剛杵、金剛鈴、法輪、匕首與噴焰摩尼,後有光背。 來源:巴黎Daffos & Estournel,2004年;義大利米蘭私人收藏;貝加莫Leonardo Vigorelli購於上述收藏。Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家,專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後,他在義大利米蘭創立了 Dalton Somare 藝術畫廊,如今由他的兩個兒子經營。品相:狀況極好,有一些磨損、摺痕、輕微缺損和顏料老化,些微鬆散的線,有輕微修飾。這幅畫鋪在紡織品上,並經過雙重處理。 尺寸:畫面27.7 x 20.1 厘米,總49.2 x 40 厘米 由於字數限制,完整中文敘述請至www.zacke.at查看。
A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BCOpinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris.Condition: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國,公元前約1500-1400年。器體呈梯形,長方形內直,肩部平直,兩側有對稱的長方形孔,弧刃,兩側略外張,器身中部有較大的圓孔,肩下及兩側各飾夔紋,柄上有饕餮紋。由於字數限制,完整中文敘述請至www.zacke.at查看。
A RARE PALE CELADON JADE 'SANYANG AND TAIJITU' GROUP, 18TH CENTURYChina. Carved as three recumbent rams, the larger animal with its head turned to the right, two smaller rams nestled at its side, each with wisps of vapor billowing from the mouths, with fine hair markings on the edge of the tails. The larger ram with a taijitu symbol emerging from its vapor. The translucent stone of an even pale celadon tone.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings. Condition: Excellent condition with minor wear, a fine natural fissure to the larger ram's head, and possibly microscopic nicks here and there. The stone with an attractive soft polish.Weight: 353.5 g Dimensions: Length 10.2 cmThe ram is a symbol of filial piety, kindness, and patience. The three rams, san yang, are also an auspicious motif, related both to the sun and to male children, as they provide a rebus for san yang kai tai, the opening up of the new growth in spring, which in turn symbolizes happiness and good fortune. Furthermore, the motif of three goats with the taijitu symbol suggests the auspicious beginning of a new year, based on a quotation from the I Ching (Yijing or Book of Changes).A taijitu is a symbol or diagram in Chinese philosophy representing Taiji, the "utmost extreme", in both its monist (wuji) and its dualist (yin and yang) aspects. Such a diagram was first introduced by Song dynasty philosopher Zhou Dunyi (1017-1073) in his Taijitu shuo. The modern Taoist canon, compiled during the Ming era, has at least half a dozen variants of such taijitu. The two most similar are the "Taiji Primal Heaven" (tà ijà xiāntiān tú) and the "wuji" (wújà tú) diagrams, both of which have been extensively studied during the Qing period for their possible connection with Zhou Dunyi's taijitu.Literature comparison:Compare with three jade groups of the three rams in the Palace Museum, Beijing, one illustrated in Jadeware (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, pl. 88 (fig. 1). Compare two groups illustrated in Zhongguo Yuqi Quanji, vol. 6, pls. 269 and 307. Compare also one jade group of rams in the Tianjin Municipal Museum, illustrated in Cang Yu, Hong Kong, 1993, pl. 216.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 March 2011, lot 1462Price: USD 80,500 or approx. EUR 101,500 converted and adjusted for inflation at the time of writingDescription: A finely carved pale greenish-white jade ram group, sanyang, 18th centuryExpert remark: Compare the closely related pose, the vapor, as well as the color of the jade, and the size (7.7 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 12 September 2018, lot 330Price: USD 55,000 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A white jade 'san yang' group, Qing dynasty, 18th centuryExpert remark: Compare the closely related pose, the vapor, the yin-yang symbol on the back, as well as the color of the jade, and the size (11.7 cm).十八世紀罕見青白玉三羊開泰擺件中國。青白玉圓雕三羊,趴伏於地,昂首擺尾,神態溫順。大羊口中叼著一株靈芝。玉質堅實,光澤柔美,刀法細膩,打磨精緻圓潤。 來源:Michael Sherrard CBE,QC 收藏,於 2000 年之前購買,保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師,被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院,尤其是香港和新加坡,參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄,題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家,尤其喜愛玉雕。 品相:狀況良好,輕微磨損,公羊頭部有細密的天然裂縫,有微小的刻痕。 重量:353.5 克 尺寸:長10.2 厘米由於字數限制,完整中文敘述請至www.zacke.at查看。
A VERY FINE AND RARE MOTTLED EMERALD-GREEN JADEITE SNUFF BOTTLE, 1780-1880China. Well hollowed, of flattened globular form with tapering foot and waisted neck. The translucent stone is of a distinct icy-green color with a dense network of emerald-green veins and patches. Superb polish with an unctuous feel overall.Provenance: Sotheby's New York, 21 January 1982, lot 224. Rachelle Holden, New York, acquired from the above. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Very good condition with minor wear, minuscule nibbling to the rim and mouth, the stopper also with nibbling to the rim. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Small area of polish to one side of the mouth rim.Stopper: Pink tourmaline with green jadeite finialWeight: 119.0 gDimensions: Height including stopper 63 mm. Diameter neck 19 mm and mouth 6 mm. 1780-1880年罕見素面翡翠鼻烟壺中國。掏膛良好,口外撇,束頸,豐胸圓腹,平底。半透明的玉料呈獨特的冰綠色,翠綠色紋理,整體大氣瑩潤。 來源:1982年1月21日紐約蘇富比,lot 224;紐約Rachelle Holden購於上述拍賣。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,輕微磨損,邊緣和唇部有細微的磕損,壺蓋也有磕損。具有天然裂縫的玉料,隨著時間的推移,其中一些可能已經發展成細小的裂縫。壺嘴一側局部光滑。 壺蓋:粉紅碧璽,翡翠頂重量:119.0 克 尺寸:高 (含蓋)63 毫米,頸部直徑19 毫米及壺口直徑6 毫米
A YELLOW-GROUND BLUE AND WHITE 'GARDENIA' DISH, KANGXI PERIODChina, 1661-1722. Well potted with low rounded sides rising to slightly flaring rims, the dish finely painted in underglaze-blue with a central gardenia spray bearing two flowers and buds, the cavetto with evenly spaced sprays of nine grapes on a leafy vine, a beribboned Buddha's hand, a gnarled branch laden with two pomegranates and a persimmon branch with four fruits. The exterior is painted with eight rose blossoms on a continuous meander, all on a rich Imperial yellow ground within double-line borders. The recessed base with an apocryphal six-character mark Daqing Xuande nianzhi in underglaze blue and within a double circle.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. The base with an old paper label, inscribed in brown ink: 'Liddles No 2 collection'. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with some wear and manufacturing flaws, fritting, and light surface scratches.Weight: 710 g Dimensions: Diameter 26.3 cmThis design found much popularity in the mid-Ming period and similar dishes were produced in varying sizes with either a pomegranate or a stylized flower, often identified as gardenia, in the interior. The design was first produced during the Xuande period, and continued through the Jiajing reign, peaking in popularity during the Hongzhi and Zhengde periods.Literature comparison:Compare a related yellow ground blue and white dish, dated to the Kangxi period, 1700-1722, in the collection of the Victoria and Albert Museum, accession number C.373-1921.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 24 March 2018, lot 1559Price: USD 20,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A yellow-ground 'double vajra' dish, Qing dynasty, Kangxi periodExpert remark: Compare the closely related colors, the double line borders and the apocryphal Xuande mark. Note the smaller size (20.6 cm).康熙黃地青花梔子花果紋盤中國,1661-1722年。黃彩青花,侈口窄唇,淺斜壁,圓腹,矮圈足。盤內底繪折枝青花花卉,外圈以雙圈藍色弦紋,內壁畫有葡萄、石榴、櫻桃等花果,外壁繪轉枝梔子花七朵,四片葉如花開,與梔子花相隔。造型勻稱精美,形態端莊穩重。圈足内白釉,底中心青花雙圈内書“大明宣德年製”六字雙行楷款。 來源:Michael Sherrard CBE,QC 收藏,於 2000 年之前購買,保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師,被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院,尤其是香港和新加坡,參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄,題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家,尤其喜愛玉雕。 品相:品相極好,有一些磨損和製造缺陷和輕微的表面劃痕。 重量:710 克 尺寸:直徑26.3 厘米 此類紋飾在明代中期很受歡迎,類似的盤子有不同大小的,內部有石榴或折枝花卉,統稱爲梔子花紋。梔子花紋飾始見於宣德一朝,中有間斷,成化年間復燒,弘治、正德年間,梔子花紋盛極一時。 文獻比較: 比較一件相近的康熙時期1700年至1722年黃地青花紋盤,收藏於維多利亞與亞伯特博物館,編號 C.373-1921。 拍賣結果比較: 形制:非常相近 拍賣:紐約蘇富比,2018年3月24日,lot 1559 價格:USD 20,000(相當於今日EUR 22,500) 描述:清代康熙黃地雙金剛杵紋盤 專家評論:比較非常相近的顏色,雙圈開光,以及底部雙層偽款。請注意尺寸較小 (20.6 厘米)。
AN IMPORTANT AND RARE BLACK AND TURQUOISE 'CAT' PORCELAIN NIGHTLIGHT, KANGXIChina, 1661-1722. The crouched feline with the tail curled against its haunches, the fur with vivid tiger-like striping, the face neatly detailed with pierced alert eyes and pricked ears, the top of its back with a circular aperture, the interior hollow. The remarkably thin biscuit is superbly modeled overall.Provenance: Charlotte Horstmann & Gerald Godfrey, Ltd., Hong Kong, 7 April 2003. A private collector, acquired from the above, and thence by descent. The interior with three inventory labels. A copy of the previous owner's personal notes, detailing the purchase of the present lot, noting a date of 7 April 2003, and a purchase price of USD 26,000 or approx. EUR 39,600 (converted and adjusted for inflation at the time of writing), accompanies this lot. Charlotte Horstmann (1908-2003) was a legendary art dealer in Hong Kong, widely recognized as one of the three doyennes of the Asian art world, together with Helen Ling in Singapore and Connie Mangskau in Bangkok. She was born in Berlin to missionaries who moved with their daughter to Beijing shortly after her birth. In the 1920s and 1930s, she worked as an interpreter, meeting important art collectors and academics such as John D. Rockefeller Jr. and Lawrence Sickman. She became an antiques dealer in Beijing and in 1950 moved to Bangkok, taking her now-famous collection of Ming furniture with her. In 1955, she moved to Hong Kong and opened a small shop on Ice House Road. Over time, this shop became a destination for stars, politicians, business magnates, and high-ranking government officials from around the world. In 1981, she renamed the shop Charlotte Horstmann & Gerald Godfrey, Ltd., the younger, English-born Godfrey being a partner in the business since its move to Hong Kong in 1955. In 1987, they opened a subsidiary gallery in London, Mayfair.Condition: Excellent condition with only minor old wear, mostly originating from tender caressing over centuries, and minimal manufacturing flaws. The interior with traces of soot. Extremely rare in this magnificent state of preservation, especially when considering the fragility of this item.Weight: 332.5 gDimensions: Length 19.5 cmCat nightlights were made as early as the late Ming period. Two blue and white examples were found in the first Hatcher cargo (sold at Christie's Amsterdam, 14 March 1984, lots 279 and 280). The French Jesuit François Xavier d'Entrecolles (1664 in Lyon - 1741 in Beijing), Chinese name Yin Hongxu, was famously struck by the form on his Kangxi period visit to Jingdezhen, writing, “I have seen a cat painted after life, in the head of which a little lamp was put to illuminate the eyes, and was assured that in the night the rats were terrified by it.”Literature comparison:Compare two related cat nightlights in the collection of the Philadelphia Museum of Art, one with a turquoise glaze dated to the 18th century, accession number 1955-50-345, and the other decorated with famille verte enamels and dated to the Kangxi period, accession number 1955-50-346.Auction result comparison: Type: Related Auction: Christie's New York, 21 January 2009, lot 15 Price: USD 11,250 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: A rare blue and white cat nightlight, Kangxi periodAuction result comparison: Type: Related Auction: Sotheby's New York, 24 January 2014, lot 31 Price: USD 8,750 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Chinese export aubergine and green-glazed biscuit 'cat' night light, circa 1800.康熙出口瓷貓夜燈中國,1661-1722年。貓形夜燈,尾巴蜷縮在一側,虎紋,雙眼警覺,耳朵豎起,背部的頂部有一個圓形的孔,內部是空洞的。非常薄的素胚,整體造型生動。 來源:香港Charlotte Horstmann & Gerald Godfrey 藝廊,2003年4月7日;私人收藏,購於上述藝廊,保存至今。燈内有三個標籤。隨附一份2003年4月7日出具的前任藏家個人注釋副本,買價USD $26,000 ,相當於現在的 EUR 39,600 。 品相:品相極好,只有輕微磨損,可能因爲幾個世紀以來一直小心愛護,缺陷極少。內部有煙灰的痕跡。 重量:332.5 克 尺寸:長 19.5 厘米 由於字數限制,完整中文敘述請至www.zacke.at查看。
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。
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。
'A RELAXING DINNER', OIL ON CANVAS, CHINESE SCHOOL, QING DYNASTYOpinion: The remarkably fine detail and the moody character of the scene overall are both proof of the high level achieved by Chinese masters in the mastery of the European oil painting technique shortly after 1800.China, first half of 19th century. Finely painted with four men seated at a table with bowls and chopsticks before them, two conversing with each other and making gestures, one picking his teeth with the tip of his long pipe, the eldest looking on from the top of the table, a female servant outside the pavilion holding a tray with cups, the background with willows, pines, and buildings.Provenance: French trade. Condition: Craquelure and old wear, otherwise in good condition with only few minor scattered areas of inpainting (inspected under strong blue light). Laid down on a modern canvas backing.Dimensions: Size incl. frame 57 x 70.5 cm, Image size 50.5 x 64 cmWith a modern frame. (2)China trade paintings were created in Asia for export to the Western market. While such works have existed for centuries, the period between the 18th and 19th centuries saw a boom, producing the majority of existing works. This era coincided with a rapid increase in trade between China and the West, fueled by the commercial expansion in southern China and the growth of Hong Kong.Auction result comparison: Type: Closely related Auction: Christie's New York, 14 October 2020, lot 171 Price: USD 80,000 or approx. EUR 86,000 converted and adjusted for inflation at the time of writing Description: Chinese school, first half 19th century, An Official's Family at Leisure, a set of fourExpert remark: Note that the lot comprises four paintings of similar size (51.4 x 65.4 cm).清代油畫《亭中會友》中國,十九世紀上半葉,布面油畫。畫中四人圍坐一桌,桌上擺著酒菜碗筷,幾個人顯然正在暢談,一人抽著煙斗。庭外來了一位端著茶杯的侍女。繪畫精美細緻,近處亭臺棧欄,背景可見岸邊柳樹、松樹和房屋。 專家注釋:人物的著色已出現明暗對比和光影處理。畫中的人物,其五官與服飾,有著濃厚的東方情調。而遠景中景近景刻畫層次分明,可見中國畫家在1800年以後已能精準地掌握歐洲油畫精隨。 來源:法國古玩交易市場。 品相:油彩產生龜紋,有磨損,品相總體良好,只有少量輕微修補(在強藍光下檢查)。鋪設在現代帆布襯底上。 尺寸:總57 x 70.5 厘米,畫面50.5 x 64 厘米 現代木框。 在十八世紀下半葉到十九世紀中葉,由於外貿通商的環境和形勢,形成了以廣州十三行為代表的外銷畫現象,從廣州傳到香港、上海等地,然後這些外銷油畫則主要銷往歐洲,後也及至美國。這樣就使得清代外銷油畫目前主要被歐美的公私藏家收藏。拍賣結果比較: 形制:非常相近 拍賣:紐約佳士得,2020年10月14日,lot 171 價格:USD 80,000(相當於今日EUR 86,000) 描述:十九世紀上半葉中國油畫閒暇時的官員家庭 專家評論:請注意此組油畫有四幅,且尺寸相近 (51.4 x 65.4 厘米)。
A SPECTACULAR PORTRAIT OF A SECOND-RANK CIVIL OFFICIAL, IMPERIAL SCHOOL, YONGZHENG, PRE-1730Expert's note: Before the Yongzheng Emperor's new regulations for hat finials in 1730, first-rank officials used a ruby bead and small white pearl, while second-rank officials wore a ruby bead and a small red gemstone. Afterwards, first-rank officials' finials were set with translucent red glass or ruby beads, while those of second-rank officials held coral beads or red glass in imitation of coral, with both using small white pearls. The hat finial of the present official is clearly set with a ruby and not a coral bead, which is evidenced by the paler color of his coral necklace, as well as a smaller red stone. Therefore, this portrait must have been painted before the 1730 regulations were put in place. For more information on Qing-dynasty hat finial regulations before and after 1730, see Gary Dickinson & Linda Wrigglesworth, Imperial Wardrobe, London, 1990, page 106.China, before 1730. Ink, gilt, and watercolors on silk, with a silk brocade frame and laid down on paper. The elderly aristocrat wearing a red official hat (chao guan) with a gold finial holding a large ruby and a smaller red gemstone. Note the exceptional quality of the painting and remarkable attention to detail - as found for example on the silk rug with its distinct forbidden stitch, the gilt-outlined swirling clouds on the rank badge, and the robe hems, which all appear strikingly lifelike.Provenance: Chicago trade, USA, sold for the benefit of a noted cultural nonprofit organization. European trade, acquired from the above.Condition: Very good condition with only minor wear, some soiling, little creasing, small losses, few minor touchups. Dimensions: Image size 155.6 x 77 cm, Size incl. mounting 175 x 80.8 cmSeated on a fine wooden yokeback chair with a tiger skin seat cover, wearing a midnight blue surcoat (pu fu) over a blue silk formal court robe (chao fu), the collar of the surcoat and hems of the robe decorated with sinuous dragons amid colorful clouds, matching the golden pheasant rank badge, his left hand holding a white pearl from his coral court necklace between two fingers, the realistically treated face marked by heavy-lidded eyes, deep wrinkles, and a gray mustache and beard. Note the texture of the soft fur of the tiger's pelt and coat edges, as well as the rough quality of the embroidered cloud-scroll bands of the coat cuffs.At the beginning of the Qing dynasty, the chao guan was worn on semi-formal occasions without its usual ornate spike. The Yongzheng Emperor appears to have felt that this was unsatisfactory. Easily identified hat finials were introduced in 1727 by the Yongzheng Emperor and were worn on all official and public occasions. The new insignia was a large round bead of material of the appropriate color, along with a smaller pearl or stone of the same color as the bead, mounted on a gilt base. The highest-ranking officials wore plain opaque red beads, while the lowest wore silver. In 1730, regulations were introduced to allow the use of colored glass instead of precious stones.Literature comparison: Compare a related portrait of Lirongbao, the father-in-law of Emperor Qianlong, painted posthumously during the 18th or 19th century and now in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institute, accession number S1991.130, illustrated in J. Stuart and E. S. Rawski, Worshiping the Ancestors: Chinese Commemorative Portraits, Washington, D.C., 2001, p. 161, fig. 6.8. Note the ruby bead and small white pearl on the finial, indicating that this painting was made after 1730.Auction result comparison: Type: Closely related Auction: 17 September 2010, lot 1060 Price: USD 74,500 or approx. EUR 98,000 converted and adjusted for inflation at the time of writing Description: Anonymous (18th/19th century), Portrait of a Civil Official Expert remark: Note that the coral bead and white pearl of the hat finial worn by this official were only used after the 1730 regulations (see Expert's note), which clearly indicates this portrait was painted after 1730 and thus after the present lot, although both works share the same level of artistic skill. Note the size (156.2 x 76.2 cm).雍正時期二品官員肖像畫中國,1730年前。絹本設色描金。br />專家注釋:1730年雍正皇帝頒布帽飾新規之前,一品官佩戴紅寶石珠和小白珠,二品官佩戴紅寶石珠和小紅寶石。之後,一品官的頭飾上鑲有半透明的紅玻璃或紅寶石珠,二品官員則戴珊瑚珠或仿珊瑚的紅玻璃,均用白色的小珍珠。拍品上的官員的朝冠上顯然鑲有紅寶石,而不是珊瑚珠,這從他的珊瑚項鍊的顏色較淡,以及一顆較小的紅色石頭就可以看出這一點。 因此,這幅肖像一定是在 1730 年的法規實施之前繪製的。有關 1730 年前後清朝帽飾規定的更多信息,參見 Gary Dickinson 和 Linda Wrigglesworth,Imperial Wardrobe,倫敦,1990年,頁106。 來源:美國芝加哥古玩交易,為資助一個知名的非盈利文化組織;歐洲古玩交易。 品相:狀況極好,只有輕微磨損、一些污漬、少量摺痕、缺損和修補。 尺寸:畫面155.6 x 77 厘米,總175 x 80.8 厘米由於字數限制,完整中文敘述請至www.zacke.at查看。
A SLIP-DECORATED AND ENAMELED 'DOVES AND PEKINGESE DOG' SNUFF BOTTLE, YIXING, 1820-1850Published:Hugh Moss, Chinese Snuff Bottles Four: A Magazine for the collector and student of Chinese Snuff-Bottles, London, 1966, p. 45, fig. 11Arts of Asia, September-October 1973, p. 45, fig. 11Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, no. 336JICSBS, December 1979 and March 1980, p. 13, fig. 4Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 126-127, no. 50Exhibited:Tokyo, Mikimoto Hall, An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, 22-31 October 1978, cat. no. 92.China. The stoneware bottle of rounded rectangular form, with a cylindrical neck, and tapering to a recessed oval foot, enameled in blue and reserved on each side with a recessed panel, finely carved and decorated in opaque colored slips, one side depicting a pair of Pekinese dogs, and on the other a pair of doves. The coral stopper finely carved with a bat.Provenance: From the collection of Bob C. Stevens, no. 336. Sotheby's Honolulu, Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part I, 7 November 1981, lot 69. Rachelle R. Holden, New York, acquired from the above. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Magnificent condition with minor old wear, light surface scratches, very few touched-up glaze flakes and microscopic pits.Stopper: Carved coral (minuscule age cracks and chips to stopper)Weight: 44.1 gDimensions: Height including stopper 71 mm. Diameter neck 16 mm and mouth 6 mm.The Daoguang Emperor and his consort were fond of doves and small dogs, respectively, as subjects of paired doves and Pekingese dogs became popular during this period. The symbolism imbued in the pairs of dogs and doves implies a wish for happy marriage.The dove-and-dog Yixing bottles were made in sets and in several different series. One of the finest versions of all is seen in the present lot, with its rounded rectangular shape, blue surround and multi-colored slip decoration. The slip is both painted with a brush and plastered on and carved, or at least manipulated with a blade of some sort. This is the same technique as that of the Slip Master (see for example Moss, Treasury 6, lots 1448-1451), but it is a quite different, more evolved style, with a number of different colors of slip used almost like enamels. This is typical of artistic evolution in the snuff-bottle arts, where a simple idea, drawn initially from the painting style of the literati with its predominance of monochrome ink painting, evolves to a more complex style as the possibilities of the medium are explored. These bottles with their more intriguing designs and multiple colors may be the later wares by the Slip Master, perhaps with a son taking over, or they may be from a different workshop, although we are inclined towards the first option. The bulk of the known examples probably date from the earlier part of the Daoguang reign, although the type may have remained popular throughout the reign. As a rule, however, it is not likely that an Imperial type remained fashionable for thirty years without noticeable changes in style.The dogs and doves on this series are always extremely well depicted, full of life, and the limited range of colors of slip available to the carvers are very thoughtfully and effectively used. While the form remains reasonably constant, and the subject matter is always the same, there are several different compositions within the series. Either each was made as an individual composition of the same theme, or each series was redesigned. Two more are illustrated in Stevens 1976, as nos. 334 and 336, both equally well worked. Between them, however, is a rare example (no. 335) with an enameled design of the same subject, still with the blue surround, that is quite poorly painted, even by the decorative standards of Yixing. The painted version may come from a time later in the reign when the enamel workshop responsible for so many earlier bottles was beginning to show signs of decline.Yixing in Jiangsu province gives its name to this distinctive stoneware. In production for nearly a thousand years in the same place, Yixing ware only came into artistic prominence in the later Ming dynasty, when it was adopted by the literati class as a suitable material for teapots and thence for other items for the scholar's studio. Slip-decorated snuff bottles constitute a considerable portion of the known output. Slip is simply liquid clay which can be applied like a thick paint or used for gluing segments together.Literature comparison: Compare a Yixing bottle decorated with landscape scenes set within a blue-enameled surround, and impressed with a cyclical date, jiyu (1849) is illustrated in An Imperial Qing Tradition, Chinese Snuff Bottles from the Collections of Humphrey K. F. Hui and Christopher C. H. Sin, no. 46. Others of the slip-decorated versions with a blue surround are in Sotheby Parke Bernet, New York, 17 March 1977, lot 44, and Jutheau 1980, p. 94, no. 4, and Robert Kleiner & Co. Ltd. 1994, no. 75 (the designs as a mirror image of the present example), and Parke-Bernet Galleries, New York, 2 December 1969, lot 43 (from the Claar Collection).Auction result comparison:Type: Near identicalAuction: Christie's New York, 22 March 2007, lot 38Price: USD 33,600 or approx. EUR 45,000 converted and adjusted for inflation at the time of writingDescription: An unusual slip-decorated stoneware snuff bottle, Yixing, 1820-1850Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 16 March 2015, lot 1028Price: USD 37,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: An enameled and slip-decorated, Yixing snuff bottle, 1800-1880 1820-1850年宜興紫砂掛釉加彩雙犬鼻烟壺 由於字數限制,完整中文敘述請至www.zacke.at查看。
A LIFE-SIZED TERRACOTTA HEAD OF VAJRAPANI IN THE FORM OF HERACLESAncient region of Gandhara, 4th-5th century. Powerfully modeled, the face framed by dense facial hair arranged into long voluminous curls, wavy hair, a billowing mustache below a straight nose, and a full beard set around full lips, the eyebrows and pupils with cold paint.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”. Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot. Condition: Very good condition, fully consistent with the age of the sculpture. Some firing flaws, dents and losses to exposed areas, the nose tip with a small old repair. Remnants of a varnish coating which was applied a long time ago. Some ancient pigment is well preserved, especially to the eyebrowsFrench Export License: Certificat d'exportation pour un bien culturel Nr. 185423 dated 3 July 2017 has been granted and a copy is accompanying this lot.Weight: 10.2 kg Dimensions: Height 48.5 cm (incl. stand), 32.5 cm (excl. stand)This large terracotta head is an extremely rare legacy of the ancient kingdom of Gandhara, encapsulating the rich cultural interplay and hybrid art styles derived from Hellenistic and Indian influences. It depicts the bodhisattva Vajrapani, the protector of Buddhism, represented with the iconography of the Greek god Hercules, who was widely venerated as a hero and savior in western Asia during the early centuries of the present era. As a great champion, yet one who nevertheless understood the human condition, Hercules was easily assimilated into Mahayana Buddhism. Like other Gandharan bodhisattvas, he is depicted as an earthly prince with his aristocratic bearing and posture, but the naturalistic face is reminiscent of Greco-Roman sculpture. The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic iinfluences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to the 6th centuries. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.Literature comparison: Compare a related terracotta head of Dionysos, dated to the 4th-5th century Gandharan, in the collection of the Metropolitan Museum of Art, accession number 1979.507.2. Sculptures with similarly substantial beards are also common to Gandharan Atlantes, see Zwalf, Gandharan Sculpture, London, 1990, pp. 208-10 and 216, nos. 362-64, 366, and 377.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2019, lot 3105Estimate: HKD 1,500,000 or approx. EUR 199,500 converted and adjusted for inflation at the time of writingDescription: A monumental terracotta statue of Vajrapani in the form of Hercules, Gandhara, 4th-5th centuryExpert remark: Compare the similar facial features and the wavy beard and hair. Note that the provenance of this statue is identical to the present lot and stated as “Collection of Arthur Huc (1854-1932), France, by repute.”Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 2 October 2018, lot 4Price: HKD 625,000 or approx. EUR 85,000 converted and adjusted for inflation at the time of writingDescription: A bronze inlaid marble head of a bearded man, ancient region of Gandhara, circa 3rd centuryExpert remark: Compare the closely related wavy beard and hair as well as the similar size (31 cm). Note that the head is carved from marble with bronze-inlaid eyes, and is dated slightly earlier.陶土金剛手菩薩神頭像呈赫拉克勒斯形象犍陀羅, 四至五世紀。由於字數限制,完整中文敘述請至www.zacke.at查看。
'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。
'SCHOLAR UNDER PINE TREE', BY ZHANG DAQIAN (1899-1983) AND PU RU (1896-1963), DATED 1946China. Ink and watercolors on paper, mounted as a hanging scroll. Depicting a scholar dressed in a long flowing robe, his head covered by a cowl and turned towards the towering, gnarled pine tree, holding a wood cane in his left.Expert's note: Zhang Daqian and Pu Ru are well known for their collaborative paintings. They were good friends and their seemingly disparate styles complemented each other very well, as evidenced by this superb painting. Together they created several scroll paintings as well as fan paintings. While the tree is clearly painted by Pu Ru in his characteristic style, the scholar undoubtedly is by Zhang Daqian, a subject the master painted many times during his long-lasting career, always displaying his brilliant technical abilities to their full extent. Zhang Daqian often lamented that while it is easy to paint fair ladies, it is difficult to portray great man. Zhang saw depicting a gentleman scholar as most challenging - the figure had to be without bitterness, without coarseness, without effeminacy, and instead be poised and carefree, like the great historical figures of bygone times.Inscriptions: Upper left, signed 'Shuren Zhang Daqian', and two seals, 'Zhang Yuan' and 'Daqian'. Center right, signed, 'Xishan Yishi Pu Ru', inscribed and signed, 'dedicated to Mr. Zhuming, made by Zhang Daqian', dated, 'on an autumn day in the year of Bingxu (corresponding to 1946)', and two seals, 'Pu Ru Zhi Yin' and 'Xinshe'.Provenance: From a noted private collector. Condition: Very good condition with minor wear and minimal soiling, the mounting with little creasing.Dimensions: Image size 78 x 48.5 cm, Size incl. mounting 200.5 x 60.2 cmPu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power, and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Zhang Daqian (1899-1983) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known 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. He affected the long robe and long beard of a traditional Chinese scholar.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2016, lot 1260Price: HKD 875,000 or approx. EUR 118,000 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (1899-1983) and Pu Ru (1896-1963), Scholar and PineExpert remark: Compare the closely related composition, the layers and folds of the robe, and use of color. Note the size (108 x 67.5 cm)Auction result comparison:Type: Closely relatedAuction: China Guardian Auctions, Beijing, 15 August 2020, lot 198Price: CNY 1,058,000 or approx. EUR 154,500 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (1899-1983) and Pu Ru (1896-1963), Hermit under pineExpert remark: Compare the closely related composition, use of colors, and pose of the scholar. Note the size (95.7 x 50 cm).1946年張大千及溥儒款《松下高士》中國,紙本設色,掛軸。描繪一位身著飄逸長袍的文士,向后轉向一棵參天松樹,左手拄著一根木杖。 專家注釋:張大千和溥儒曾是好友,經常合作作畫,看似截然不同的風格卻相得益彰。這幅《松下高士》就證明瞭這一點。溥儒畫的那棵松樹,而文士無疑是張大千的作品。這位大師在漫長的繪畫生涯中多次畫做過類似的題材,始終將他精湛的技藝展現得淋漓盡致。張大千常感嘆,畫淑女容易,畫偉人難。 他描繪君子文人是最有挑戰性的——人物必須沒有苦澀、沒有粗俗,而是像過去的偉大歷史人物一樣沉著。 款識:蜀人張大千爰;竹銘先生屬張大千作此高士為補之,丙戌秋日西山逸士溥儒並記鈴印:張爰,大千;溥儒之印,心畲 來源:知名私人收藏。 品相:狀況極好,小磨損,少量髒污,幾乎沒有摺痕。 尺寸:畫面 78 x 48.5 厘米, 總 200.5 x 60.2 厘米 由於字數限制,完整中文敘述請至www.zacke.at查看
A LARGE AND MASSIVE SPINACH-GREEN KHOTAN JADE FIGURE OF GUANYIN, PROBABLY TAKEN FROM THE OLD SUMMER PALACE IN BEIJING IN 1861China, ca. mid-18th to mid-19th century. Finely carved standing, cradling a lingzhi sprig and ruyi scepter in her delicate hands, wearing a long flowing robe cascading in voluminous folds, her serene face with heavy-lidded eyes, the neatly incised hair tied up into a high chignon secured by a ruyi-head hairpin. The stone of a deep spinach-green tone with creamy, russet, and cloudy inclusions.Provenance: Eugenie de Montijo (1826-1920), Empress of the French from her marriage to Emperor Napoleon III, and thence by descent in the family. Christie's London, 12 October 1950, lot 121. The Graham Collection, London, acquired from the above and thence by descent in the 1970s to a private English collector. A copy of the lot entry in the Christie's London auction catalog from 12 October 1950, stating the present lot was “Formerly the Property of the Empress Eugenie” and with handwritten notes by a previous owner, accompanies this lot.It is probable that the present statue was originally located at the Old Summer Palace, Yuanmingyuan, in Beijing and subsequently part of the loot of several hundred pieces sent to Empress Eugenie directly by General Charles Cousin-Montauban (1796-1878).In the morning of 21 September 1860 General Cousin-Montauban was the commanding officer of the Anglo-French troops, fighting the battle at the bridge of Palikao against the Qing Imperial forces, a decisive event of the Second Opium War. Their victory allowed the Western forces to take the Chinese capital Beijing and eventually defeat the Qing Empire. On 6 October 1860, French and British troops captured the Old Summer Palace, looting the Imperial collections over the next few days, again under the command of General Cousin-Montauban.In 1861, General Charles Cousin-Montauban sent numerous crates of the enormous French loot of the Summer Palace to Empress Eugenie in France as a personal gift to the Imperial French household, with the first shipment arriving in February 1861. The inventory of this shipment numbers some 800 objects, with over 300 coming directly from the sack of the Summer Palace. As a reward, the general eventually received the title of Comte de Palikao by Emperor Napoleon III in 1862.In 1863, the Empress established a museum of Chinese art called the Musee Chinois (Chinese Museum) at the Palace of Fontainebleau. She carefully curated the collections and displays of this museum, at the time almost exclusively consisting of the objects taken from the Old Summer Palace in 1860. In later years, Eugenie combined the Chinese collection with gifts originating from the French embassies in Siam, Cambodia, Japan, Korea, and Tibet to collectively form the core of the Asian art collection in Fontainebleau, which she later complemented with objects confiscated by the state during the French Revolution and kept since then at the National Library, some diplomatic and non-diplomatic gifts, and acquisitions she made on the French art market using the Imperial household's personal budget. The museum has been preserved in a layout largely similar to that of the 1860s and is one of the world's oldest museums specifically dedicated to Asian art. It is unknown which and how many of the pieces from the museum went with Empress Eugenie to England after her husband was overthrown in 1870, but there are speculations that the amount was quite substantial.Empress Eugenie of France was born MarÃa Eugenia Ignacia Agustina de Palafox y Kirkpatrick, 19th Countess of Teba, 16th Marchioness of Ardales, in Granada, Spain. She was Empress of the French from her marriage to Emperor Napoleon III on 30 January 1853 until the Emperor was overthrown on 4 September 1870. Napoleon and Eugenie had one child together, Napoleon, Prince Imperial (1856-79). After the fall of the Empire, the three lived in exile in England. Eugenie outlived both her husband and son and spent the remainder of her life working to commemorate the Second French Empire. After World War I, Eugenie lived long enough to see the collapse of other European monarchies, such as those of Russia, Germany and Austria-Hungary. She left her house in Farnborough with all her collections to the heir of her son, Prince Victor Bonaparte.Published: The Times, London, 13 October 1950, a column in the paper relating to various jades in the Christie's sale including this figure of Guanyin from Princess Eugenie which sold at 250 Guineas (at the time, the cost of house in London averaged at ca. 1.500 Guineas). A copy of a newspaper clipping with this column accompanies this lot.Condition: Very good condition with some old wear, natural inclusions and imperfections of the stone, few minuscule nicks here and there, light scratches. The wood base with minor losses, natural age cracks and a fine naturally grown patina.Weight: c. 24 kg (without the base) Dimensions: Height 75 cmWith a matching wood base dating from the same period, finely carved with lotus petals. (2)Literature comparison: Compare the movement of the robes, expression, high chignon with hairpin, and wood stand on a closely related jade figure of Guanyin, dated 19th century, 72.4 cm high, in the collection of the Metropolitan Museum of Art, accession number 39.65.24a, b.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1515 Price: USD 290,500 or approx. EUR 378,000 converted and adjusted for inflation at the time of writing Description: A large mottled jadeite figure of Guanyin Expert remark: Note the much smaller size (39.4 cm) 大型和田碧玉觀音立像,可能來自1861年圓明園之劫中國,約十八世紀中期至十九世紀中期。 來源:Eugenie de Montijo歐珍妮·德·蒙提荷(1826-1920),是法蘭西第二帝國皇帝拿破崙三世的妻子和法國最後一位皇后,保存在同一家族;倫敦佳士得,1950年10月12日,lot 121;倫敦 Graham Collection,購於拍賣,一直保存至上世紀七十年代被一英國私人收藏家收藏。隨附倫敦佳士得拍賣目錄文字副本,上描述 “Formerly the Property of the Empress Eugenie” (歐珍妮皇后財產)與上任藏家手寫注釋。 由於字數限制,完整中文敘述請至www.zacke.at查看。
AN EXTRAORDINARILY RARE AND SPECTACULAR TERRACOTTA RELIEF OF A THINKING PRINCE SIDDHARTA UNDER THE BODHI TREE, ANCIENT REGION OF GANDHARAScientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan, dated 4 February 2019, reference no. 116L, 117L. The result is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Expert's note: The frescoes painted to the two columns on the present sculpture display a decidedly Chinese influence. Numerous such mural paintings have been found in Imperial tombs in China dating to the Northern Qi period (550-577), but the paintings on the present sculpture are among the oldest Buddhist frescoes in the history of mankind. They are also closely related to the paintings on the ceilings and walls of the Ajanta Caves, which were painted between 200 BC and 600 AD, and are the oldest known frescoes in India. They depict the Jataka tales, stories of Buddha's life in former existences as a Bodhisattva. The narrative episodes are shown one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819.Kushan period, 4th-6th century. Superbly modeled, Prince Siddharta is standing in contrapposto, his feet resting on two small lotus pedestals, a prostrate caparisoned elephant at his feet. One hand resting on his waist and the other raised with one finger placed on his forehead in a deeply pensive expression. He is wearing loose-fitting robes cascading in voluminous folds and richly adorned with fine jewelry and billowing scarves. His serene face with heavy-lidded almond-shaped eyes and slender lips forming a calm smile. The hair arranged in wavy locks secured by an elaborate floral headdress. All below a canopy representing the legendary bodhi tree.Provenance: A private collection in Venice, Italy, acquired in the Italian antiques trade between 1985 and 1992. Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Superb condition, commensurate with age and presenting magnificently overall. Some wear and weathering, firing flaws as expected, some nicks and cracks, losses to exposed areas, remnants of old varnish. The ancient pigments are remarkably well-preserved. Overall, fully consistent with the high age of this sculpture and with no visible signs of repairs or touchups worth mentioning. Drilled holes from sample-taking. Dimensions: Size 59 x 81 cm (excl. stand), Height 63 cm (incl. stand)Mounted on an associated stand. (2)Prince Siddharta is flanked by two flying apsaras as well as Maitreya to his right and Padmapani to his left, the bodhisattvas each standing on lotus pedestals and similarly dressed, Padmapani holding a lotus flower in his hand, both backed by halos and standing below similar leafy canopies, all framed by two massive columns, each with a superbly painted fresco, depicting a bodhisattva with a halo.This sculpture is a perfect example of the rich cultural interplay and hybrid art styles of the Gandharan empire in the first centuries CE. It represents the bodhisattva who will be born as the historic founder of Buddhism, Prince Siddhartha, sitting in a celestial abode called the Tushita heaven, where he teaches the gods and meditates on his future birth. Like other Gandharan bodhisattvas, he looks like an earthly prince, richly dressed and bejeweled.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influences. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the 1st century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired earthenware instead of stone such as schist, marble or sandstone became popular during the later Gandharan period from the 4th to 6th centuries AD. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such a large and expensive sculpture would have been a highly meritorious Buddhist offering. Only a few terracotta statues from this period and of this spectacular size have ever been recorded.Literature comparison: Compare a related terracotta sculpture of a pensive Prince Siddharta, dated 4th-6th century, in the collection of the Dallas Museum of Art, object number 2010.17. Note the similar pose with one finger placed on his forehead and one foot resting on a separate lotus pedestal.犍陀羅罕見紅陶浮雕悉達多菩提樹下證道圖貴霜王朝,四至六世紀。科學檢測報告:米蘭Arcadia,Tecnologie Per I Beni Culturali 研究所2019年2月4日出具的熱釋光檢測報告,編號116L,117L。結果表明年代與上述建議相符。隨附檢測報告複印件。 品相:狀況極佳,與年齡相稱。一些磨損和風化、燒製缺陷,一些刻痕和裂縫,有清漆的殘留。彩繪保存極好。總體而言,與這座雕塑的年代相符,沒有明顯的維修或修飾,有取樣鑽孔。 尺寸:59 x 81 厘米 (不含底座),高63 厘米 (含底座)有底座。由於字數限制,完整中文敘述請至www.zacke.at查看。
A MASSIVE BRONZE RAIN DRUM, DONG SON CULTUREVietnam, first millennium BC. The heavy, round drum with a waisted base, the top and side finely cast in relief with concentric bands of decoration, the top with a star symbol in the center and groups of stylized frogs applied at the rim, the sides with pairs of small loop handles.Provenance: Leonardo Vigorelli, Bergamo, Italy, acquired ca. 1995 in Brussels, Belgium. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Excellent condition, commensurate with age. Extensive old wear, some casting flaws, small nicks and dents, few cracks, minor losses, signs of weathering and erosion overall. Fine, naturally grown patina with malachite and cuprite encrustations. Dimensions: Height 42.3 cm, Diameter 66 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Bronze rain drums were invented by the Dong Son people and produced from about 600 BC or earlier until the third century AD. They are one of the culture's most astounding examples of metalworking. The discovery of Dong Son drums in New Guinea is seen as proof of trade connections - spanning at least a thousand years - between this region and the technologically advanced societies of Java and China.Bronze drums are still being used ceremoniously in Southeast Asia by the Yi people, Zhuang people, Miao people and Qabiao people in northern Vietnam and southern China. They are generally struck in the center with a soft mallet, and on the side with a wood or bamboo stick. Among the ethnic Vietnamese, they are still used in some rituals, such as those to the Hung kings, but are rarely used as a musical instrument anymore. In Thailand, the Dong Son drum is also used in some ceremonies, where it is called the Mahorathuek.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 29 March 2018, lot 36Estimate: 400,000 or approx. EUR 54,500 converted and adjusted for inflation at the time of writingDescription: A copper alloy ritual drum, Dong Son culture, Vietnam, circa 3rd/2nd century B.C.Expert remark: Compare the form and star decoration at the center. Note the smaller size (35.2 cm).
A LARGE AND HIGHLY IMPORTANT WHITE MARBLE TORSO OF BUDDHA, NOTHERN QI DYNASTYChina, 6th century. Depicting a standing Buddha, dressed in loose robes draped over both shoulders and elegantly falling in stepped folds flaring at the hems in stylized pleats, the robe open at the chest to reveal the tied underskirt. The overall simple and naturalistic style clearly dates it to the later sixth century. Clinging tightly, the diaphanous drapery reveals the elegant body's form, characteristically indicated by incised lines and relief ridges.Provenance: Old Italian private collection, acquired 1971 from Wing Tat Hong Gallery, Hong Kong. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, encrustations, losses, nicks and surface scratches, minor cracks. Remnants of ancient pigment. Displaying supremely. Dimensions: Height 92 cm (excl. base) and 101.5 cm (incl. base)Mounted to a modern metal base. (2)Expert's note: This magnificent sculpture embodies a profound spirituality achieved through the remarkable plasticity of drapery and form. The figure represents a standing Buddha and the monk's robes, which he wears, are arrayed to cover both shoulders. The size, sensitivity of carving, crisp treatment of the gracefully draped folds, both those falling in parallel curved lines down the front of the subtly indicated body and those of the hem, closely relate this figure to other imposing white marble statues of a similar date.Only occasionally encountered among Chinese Buddhist sculptures, white marble first rose to popularity during the Northern Qi period, when sculptors occasionally carved Buddhist images in beautiful white marble from Dingzhou, in southwest Hebei province. Although a quarry site can never be taken as the probable site at which a particular image was sculpted, the use of white marble nevertheless suggests that this extraordinary sculpture might have been carved in the vicinity of Dingzhou, likely in Hebei or Shanxi province.Faint traces of polychromy, evident on the shoulders, suggest that the sculpture was once entirely painted, as were virtually all early Indian and Chinese Buddhist sculptures in wood and stone. The brilliant pigments of the sculptures and wall paintings at Dunhuang, in Gansu province, suggest that the original colors of this Buddha would have been stunning.If the missing right arm was raised in the abhayamudra, then the left might have shown a variation of the varadamudra, the gift-giving gesture, also associated with preaching. Moreover, if the right arm displayed the abhayamudra then the present sculpture likely represented either the Historical Buddha Shakyamuni or Amitabha, the Buddha of Boundless Light, in a preaching mode. Because the sculpture lacks an identifying inscription, not to mention its right arm and any distinguishing iconographic attributes, the exact identity of this Buddha likely will remain an enigma.Literature comparison:Compare a related figure of Amitabha Buddha in the Royal Ontario Museum, illustrated in Homage to Heaven, Homage to Earth, 1992, p. 163, pl. 92. Compare a related figure illustrated in Chinese Marble Sculptures of the Transition Period, B.M.F.E.A., no. 12, Stockholm, 1940, pl. II (b). Compare a related sculpture in the Eskenazi exhibition Sculpture and ornament in early Chinese art, London, 11 June to 13 July 1996, no. 31.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 203Price: EUR 101,575 or approx. EUR 143,500 adjusted for inflation at the time of writingDescription: A Chinese stone torso of Buddha, Northern Qi dynasty Expert remark: Compare the closely related pose and manner of carving with similar diagonal pleats. Note the size (148 cm).北齊大型漢白玉立佛殘件中國,六世紀。立佛左右臂貼身,從肘部起殘缺,低開領的通肩袈裟,袈裟顯得輕薄而貼身,順著身體結構起伏,雙腿輪廓隱約可見。 來源:義大利私人舊藏,1971年購於香港Wing Tat Hong 藝廊;貝加莫Leonardo Vigorelli收藏,購於上述收藏。Leonardo Vigorelli Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家,專門研究非洲和古代印度教佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後,他在義大利米蘭創立了 Dalton Somare 藝術畫廊,如今由他的兩個兒子經營。品相:狀況良好,與年齡相稱。大面積磨損、風化和侵蝕跡象、結殼、缺損、刻痕和表面劃痕、輕微裂縫。顏料殘餘。 尺寸:高92 厘米 (不含底座),總101.5 厘米 現代金屬底座。由於字數限制,完整中文敘述請至www.zacke.at查看。
A RARE AND MASSIVE MOTTLED JADE CONG, LIANGZHU CULTUREChina, late Neolithic period, c. 3300-2200 BC. The thick-walled cong is of short square section with rounded sides and a cylindrical interior, each corner carved with a stylized human and animal mask design. The eyes and noses as well as the raised bands above the human mask and recesses in between are finely incised with line and scroll designs. The faces are divided with a gently recessed vertical band to the center of each side.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Good condition, commensurate with age. Some wear, weathering, and minor alterations, as well as small nicks and nibbling to edges, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 1,349 g Dimensions: Diameter 10 cmThe partly translucent stone is of an olive-green and russet-brown tone with russet veins and inclusions as well as patches of cream tone and areas of opaque ivory-white calcification.The present cong displays the distinctive characteristic of Liangzhu culture cong vessels, with a square outer section around a circular inner part and decorated with stylized masks neatly arranged on each of the four corners. The exceptional craftsmanship is particularly notable in the very delicate and precise quality of the carving and incised decoration, enhanced by the lustrous patina formed on the surface over time.Literature comparison: Compare a similar jade cong, Liangzhu culture, also carved with two registers of stylized human and animal masks excavated in 1984 from Fuquanshan in Qingpu County, Shanghai, now in the Shanghai Administrative Committee of Culture Heritage, illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 17, pl. 19. See another related example of a jade cong, included in the Min Chiu Society Thirtieth Anniversary Exhibition: Selected Treasures of Chinese Art, Hong Kong, 1990, no. 195. For several other examples of two-tiered cong, see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53, and 54.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2015, lot 470 Price: USD 60,000 or approx. EUR 75,500 converted and adjusted for inflation at the time of writing Description: A mottled olive-green, russet-brown and ivory-colored opaque jade cong, China, Neolithic period, Liangzhu culture, 3rd millennium BC Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (6.5 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 5 April 2016, lot 1 Price: HKD 375,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A mottled green jade vessel, cong, Neolithic period, Liangzhu culture Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (7.5 cm).良渚文化玉琮中國 ,新石器時代末期,公元前約3300-2200年。器呈外方內圓的筒形,兩端琢成圓口,上下穿透,四角各有不同人面紋。 來源:Irene與 Wolfgang Zacke (1942-2022)。自1968 年起,這對夫婦活躍在藝術貿易界,並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980年代後期,他們一直在收集中國古代玉器,幾十年來建立了極富多樣性的收藏。 品相:品相良好,一些磨損、風化、細微變化、刻痕,邊緣有一些小磕損,玉料帶有天然的內沁和裂縫,隨著時間的推移,其中一些已經發展成細小的裂縫。 重量:1,349 克 尺寸:直徑10 厘米這件玉琮展現了良渚文化的鮮明特色,外方內圓,均以四角為中軸線,雕琢神人獸面紋,雕琢精細。玉質精良,玉色深綠,局部得見黃白沁斑,不透明的象牙白色鈣化區域。表面包漿細膩。由於字數限制,完整中文敘述請至www.zacke.at查看。
A SCHIST FIGURE OF MAITREYA, ANCIENT REGION OF GANDHARAKushan period, 2nd-3rd century. Dressed in a finely pleated robe draped elegantly over his left shoulder, richly bejeweled wearing a foliate collar, a floral armlet, and an elegant necklace. His wavy hair is gathered in a double-looped topknot secured by a beaded headdress. His face bears a serene, introspective expression, marked by almond-shaped eyes, gently arched brows centered by an urna, full lips, and wavy mustache.Provenance: From the collection of Jean-Marc Andral, acquired in c. 1996 in Brussels. Jean-Marc Andral is a Belgian manager based in Belgium and active in the healthcare industry for over 25 years.Condition: Good condition, commensurate with age, with areas of professional cleaning and reconstruction. Extensive wear, losses, nicks, signs of weathering and erosion, encrustations, few structural cracks. Dimensions: Height 75 cm (excl. stand)Mounted on a modern metal pedestal and stand. (2)According to Buddhist tradition, Maitreya is a bodhisattva who will appear on Earth in the future, achieve complete enlightenment, and teach the pure dharma. According to ancient scriptures, Maitreya will be a successor to the present Buddha. The prophecy of his arrival refers to a time in the future when the dharma will have been forgotten by most of the terrestrial world. In the ancient Greco-Buddhist arts of Gandhara, during the first centuries in northern India, Maitreya was the most popular figure to be represented along with Buddha Gautama.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2010, lot 144 Price: USD 68,500 or approx. EUR 90,000 converted and adjusted for inflation at the time of writing Description: A gray schist figure of Maitreya, Gandhara, 2nd/3rd century Expert remark: Compare the closely related face, robes, topknot, headdress, and collar. Note the size (55.6 cm) as well as the missing halo, feet, and base, indicating that this figure and the present lot were originally of similar size.犍陀羅片岩彌勒佛貴霜王朝,二至三世紀。彌勒佛身披飄逸長袍,衣紋流暢,綴以項鍊及耳環,杏眼臉,雙眉之間有白毫,長捲髮束成精緻的髮髻,串珠頭飾固定;面容表情安詳寧靜。 來源:Jean-Marc Andral收藏,於大約1996 年間購於布魯塞爾。Jean-Marc Andral是布魯塞爾的比利時經理,活躍於醫療保健行業超過 25 年。 品相:狀況良好,曾被專業清洗。大面積磨損、缺損、刻痕、風化和侵蝕的跡象、結殼、少量結構裂縫。 尺寸:高75 厘米(不含底座) 現代金屬支架與底座。 根據佛教傳統,是釋迦牟尼佛的繼任者,將在未來娑婆世界降生成佛,證悟圓滿,傳授清淨佛法的菩薩。在印度北部最初幾個世紀的犍陀羅古希臘佛教藝術中,彌勒佛與釋迦牟尼佛極受推崇。 拍賣結果比較: 形制:非常相近 拍賣:紐約佳士得,2010年3月23日,lot 144 價格:USD 68,500(相當於今日EUR 90,000) 描述:公元二至三世紀犍陀羅灰片岩彌勒佛 專家評論:比較非常相近的面部、長袍、髮髻、髮型和項圈。請注意尺寸 (55.6厘米),以及沒有光背、腳和底座,但仍可以斷定此像原始尺寸相似。
AN ARCHAIC BRONZE RITUAL FOOD VESSEL, GUI, WESTERN ZHOU DYNASTYChina, 11th-10th century BC. Well cast with the compressed body resting on a tall splayed foot, decorated below the gently everted rim with a band of stylized mythical birds, the two pairs on the main sides centered by an animal mask cast in high relief, the other two centered on the horned animal heads that surmount the handles, all above a bowstring band, the foot with a geometric band. The beast handles are neatly incised and set with pendent tabs.Provenance: The MacLean Collection of Asian Art Museum, acquired 1996 in Hong Kong and deaccessioned in 2022. The MacLean Collection has been formed over the last fifty years by Barry MacLean, a businessman from Chicago, who began to collect in the early 1970s. Over time, he made many trips to Asia for business, and began to narrow his focus to ancient bronzes from China and their archaistic counterparts from later dynasties. The MacLean Collection of Asian Art is housed in a museum which was designed by Larry Booth and completed in 2003. Since 2004, the museum has published seven books, held thirteen exhibitions, lent objects to many other museums, and awarded a dozen fellowships to train future specialists and enthusiasts.Published: Richard A. Pegg and Zhang Lidong, The MacLean Collection: Chinese Ritual Bronzes, Chicago, 2010, pl. 19.Condition: Very good condition, commensurate with age. The vessel is slightly leaning and has some old wear as well as minor casting flaws, minuscule nicks, and small dents. The lower body has two small fills, invisible to the naked eye, but precisely detected on the five X-ray images provided (available in the online catalog at www.zacke.at or via e-mail upon request). Spectacular, naturally grown patina overall with several layers of malachite encrustation and small areas of azurite and cuprite. The crisply cast decorations are extremely well-preserved, which makes this one of the most attractive examples of its kind. In such pristine condition, it must be considered exceedingly rare.Weight: 2,878 gDimensions: Width 28 cm (across handles)Gui were used during ritual ceremonies for storing cooked rice or millet. While this vessel shape first appeared in the Erligang phase, they were not widely produced and examples from this period are rare. The form increased in popularity from the early Western Zhou dynasty onwards, and numerous variations of the original shape also began to appear. The present vessel, with its rounded body, everted rim and animal-head handles represents the most popular form.Literature comparison: A related gui unearthed from Xi'an, Shaanxi province, now in the National Museum of China, Beijing, is illustrated in Zhongguo qingtongqi quanji [Complete collection of Chinese archaic bronzes], vol. 5, Beijing, 1996, pl. 61. Another from the collection of T. Yamamoto is published in Sueji Umehara, Nihon Schūcho Shina kodō Seikwa/ Selected Relics of Ancient Chinese Bronzes from Collections in Japan, vol. 2, Osaka, 1960, pl. 107. Jessica Rawson notes in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, p. 415, that these types of gui vessels are more common in early Western Zhou, and lists five other examples, including one from Liaoning Kezuo Shanwanzi illustrated in Wenwu, 1977.12, p. 23-33, fig. 55. Compare also a related bronze gui, dated to the Western Zhou dynasty, in the collection of the British Museum, museum number 1955,0519.2. Finally compare a related bronze gui, dated to the Western Zhou dynasty, late 11th to early 10th century, in the collection of the Freer Gallery of Art at the National Museum of Asian Art, Smithsonian Institution, accession number F1924.14a-b.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 23 September 2020, lot 570Price: USD 478,800 or approx. EUR 540,500 converted and adjusted for inflation at the time of writingDescription: An important archaic bronze ritual food vessel (gui), Western Zhou dynasty Expert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized birds. Note the similar size (29.5 cm) and that this gui has a six-character inscription.Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 15Price: USD 125,000 or approx. EUR 157,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel (gui), early Western Zhou dynasty, 11th-10th century BCExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized kui dragons. Note the similar size (29.5 cm) and that the gui has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 16 March 2015, lot 3181 Price: USD 149,000 or approx. EUR 184,000 converted and adjusted for inflation at the time of writing Description: A bronze ritual food vessel, gui, the gui early Western Zhou dynasty, 11th century BC, the inscription laterExpert remark: Compare the closely related form, animal masks, and beast handles, as well as the related stylized taotie designs. Note the similar size (29.2 cm) and that this gui has a later-added inscription.西周青銅夔紋簋中國,公元前十一至十世紀。圓簋,折沿,雙耳,圓腹,圈足,耳做獸首形,下有附珥,圈足外有外凸的圈足座。口沿下有一圈有夔紋與獸面紋飾帶,器腹素面,足部飾橫條紋。由於字數限制,完整中文敘述請至www.zacke.at查看。
'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。
A CARVED CELADON AND RUSSET JADE SNUFF BOTTLE, MASTER OF THE ROCKS SCHOOL, 1740-1850Published:Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, pp. 118-119, no. 407.Sotheby's Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part III, New York, 1982, no. 156.China. Of rounded rectangular form, finely carved through the russet-brown skin on one side with a scene of pine, lingzhi, rocks and a brick wall, the reverse with a pavilion encircled by swirling clouds which rise from the waves extending around the base. Superb manual polish with an unctuous feel overall.Provenance: From the collection of Bob C. Stevens, California. Sotheby's New York, 25 June 1982, lot 156. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '78' to the base. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Very good condition with minor old wear, a minuscule chip to the rim.Stopper: Jadeite stopperWeight: 70.6 g Dimensions: Height including stopper 66 mm. Diameter neck 16 mm and mouth 5 mm.The Master of the Rocks School seems to have specialized in carvings from two-colored hardstones, such as agate, crystal, chalcedony and jade. The school's main output was bottles carved with landscape designs, but many other subjects are recorded, which may have been partly produced for the Imperial Court. The quality of carving and the use of material in the present bottle are typical of this school.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1563Price: USD 30,000 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A well-carved greenish-yellow and brown jade snuff bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2002, lot 258Price: USD 22,325 or approx. EUR 34,500 converted and adjusted for inflation at the time of writingDescription: A rare and fine carved yellowish-green and russet jade bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.1740-1850年青玉留皮雕鼻烟壺中國。扁平長方削肩,一面棕褐色留皮精雕細刻松樹、靈芝和假山,另一面有一個亭台樓閣,周圍祥雲環繞。精湛的工藝,整體瑩潤。 出版:Bob C. Stevens,The Collector's Book of Snuff Bottles(《鼻烟壺收藏手冊》),紐約,1976年,頁118-119,編號407。 蘇富比Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens,Part III,紐約,1982年,編號156。 來源:Bob C. Stevens舊藏,加利福尼亞;紐約蘇富比1982年6月25日 lot 156;紐約Rachelle R. Holden 舊藏,購於上述拍賣。底部可見Rachelle Holden 收藏標籤“78“。Bob C. Stevens 曾是一位中國鼻烟壺知名收藏家,曾出版過一本書The Collector's Book of Snuff Bottles(《鼻烟壺收藏手冊》),1976年以及1978年。書裏曾記錄過這件拍品。他的藏品的一部分曾在東京Mikimoto Hall(御本廳)展出過。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,有輕微磨損,邊緣有微小的磕損。 壺蓋:翡翠 重量:70.6 克 尺寸:高 (含蓋)66 毫米,頸部直徑16 毫米及壺口直徑5 毫米拍賣結果比較: 形制:非常相近 拍賣:紐約佳士得,2012年3月23日,lot 1563 價格:USD 30,000(相當於今日EUR 36,500) 描述:1740-1850年青玉留皮雕鼻烟壺 專家評論:比較非常相近的雕刻風格,棕褐色留皮精雕細刻,並將青玉部分留白。由於字數限制,完整中文敘述請至www.zacke.at查看。
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。
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。
'MONKEY REACHING FOR THE MOON'S REFLECTION', AN IMPORTANT CAMEO AGATE SNUFF BOTTLE, SUZHOU SCHOOLPublished: Journal of The International Chinese Snuff Bottle Society, June 1975, illustrated on the cover, discussed on page 6, dated 1780-1850Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 160-161, no. 67, dated 1750-1850China, 1750-1850. Superbly well hollowed, of globular shape and waisted neck, resting on a minuscule recessed foot. Finely carved utilizing the opaque white, beige, golden-brown and dark natural layers in the stone to create a three-dimensional scene of exceptional quality, to one side with a monkey in high relief, surrounded by lingzhi and pine cut from the darker areas, reaching for the moon's reflection below him. The reverse with a neatly incised poem in high relief. The translucent stone of a pale gray with inclusions of ochre, white, brown, and greenish-gray.Expert's note: In this bottle, the master carver draws on a common theme in Chan Buddhism: A monkey trying to capture the moon's reflection in water. This image derives from an early Buddhist story in which five hundred monkeys hold onto each other's tails and attempt to seize the reflection of a moon in a well. They fail when the branch from which they are hanging suddenly breaks. The monkeys in this story stand for unenlightened people who cannot distinguish between reality and illusion. On the other side the monkey, hou, is a homonym for the word marquis, the second highest grade among the nobility, and represents the aspiration for a corresponding rise in rank. For this reason, it may be assumed that the present bottle was intended both as a good luck charm and a cautionary tale.Inscription: Top right 'cai zhi xian cao ying chang chun' (everlasting spring is reflected in the celestial herb of immortality).Provenance: Janos Szekeres, Connecticut, USA. Sotheby's New York, 27 October 1986, lot 174 (dated 1800-1880). Christie's New York, 27 November 1991, lot 123. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '212' to the base. Janos Szekeres (1914-1998) was a scientist, inventor, and businessman. Born in Hungary, he later attended the University of Vienna where he graduated in chemistry. In 1941 he enlisted in the US Army Air Force and was sent to Asia, where he spent his free time visiting antique shops and became a collector of Chinese art. Szekeres served on the Board of Directors of the International Chinese Snuff Bottle Society and of the Chinese Art Committee of the Harvard University Art Museums. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first snuff 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: Excellent condition with minor old wear, minuscule nibbling to rim, mouth, and exposed areas. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: White and russet hardstone stopperWeight: 44.7 g Dimensions: Height including stopper 55 mm. Diameter neck 16 mm and mouth 5 mm.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 28 November 2005, lot 1525Price: HKD 420,000 or approx. EUR 78,000 converted and adjusted for inflation at the time of writingDescription: A finely carved Suzhou agate snuff bottleExpert remark: Compare the closely related form, the singular appearance and utilization of the opaque white layer in the stone, the color of the agate, the fine incision work, as well as the closely related size (55 mm).Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 28 May 2010, lot 55Price: HKD 360,000 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: An agate 'Liu hai' snuff bottle, Zhiting School, Suzhou, 1730-1850Expert remark: Compare the closely related form, the singular appearance and utilization of the opaque white layer in the stone, the color of the agate, the fine incision work, as well as the related size (44.1 mm).蘇作瑪瑙巧雕 “猴子撈月”鼻烟壺中國,1750-1850年。掏膛極好,弦唇,束頸,豐胸,收腹,平底。淺灰色半透明石料,夾雜著赭色、白色、棕色和灰綠色。 出版:《中國鼻烟壺學會期刊》,1975年6月,封面圖片,文字見第6頁,斷代1780-1850年間。 Rachelle Holden,Rivers and Mountains Far From the World - The Rachelle R. Holden Collection,A Personal Commentary,New York,1994年,頁160-161,編號67,斷代1750-1850 間。 專家注釋:《群猴撈月》原是一則流傳於古印度的寓言故事,後經佛教徒附加上宗教的涵義收入佛典,隨著佛典漢澤傳入中國。這則寓言提示人們看問題一定要看清它的本質,不要為表面現象所迷惑,草率行事而造成白費力氣的結果。 款識:採芝仙草映長春 來源:美國康乃狄克州Janos Szekeres收藏;1986年10月27日紐約蘇富比 lot 174 (斷代為1800-1880);1991年11月27日紐約蘇富比 lot 123;紐約Rachelle R. Holden購於上述拍賣。底部可見Rachelle Holden 的收藏標籤號 “21”。由於字數限制,完整中文敘述請至www.zacke.at查看。
A TIGER-FORM JADE PENDANT, LATE SHANG DYNASTYChina, 13th-11th century BC. The crouching tiger carved in profile, the body well detailed and decorated with double-line grooves, the mouth pierced for suspension. The translucent stone of a celadon tone with extensive russet shading, some black patches, and small areas of alteration.Provenance: A Western private collection. Roger Keverne Ltd., London, United Kingdom, December 2007. A distinguished English private collection, acquired from the above. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020. Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition, London, 2007, page 101, no. 84.Condition: Very good condition overall with some old wear, traces of use and shallow surface scratches, an area of calcification to the tip of the tail with an associated minuscule loss. Fine, naturally grown patina. The jade with natural inclusions and fissures.Weight: 11.3 g Dimensions: Length 6.5 cmAn important stylistic feature of the present pendant is the use of the so-called double-line grooves. On first inspection, it appears that these rise in low relief. But in fact this is an optical illusion, or trompe-l'œil effect, as those slender “relief lines” are actually flush with the object's surface and seem to rise in relief only because of the intaglio lines, or grooves, that flank them. Such trompe-l'œil lines are a rare feature, and found on the very finest Shang jades only.The tiger, called hu or laohu in Chinese, is among the most recognizable of the world's charismatic megafauna. Originating in China and northern Central Asia, the tiger was known to the earliest Chinese, who likely feared, admired, and respected it for its strength, ferocity, and regal bearing. Though its precise symbolism in Shang times (c. 1600-1046 BC) remains unknown, the tiger doubtless played a totemic, tutelary, or talismanic role. By the Western Han period (206 BC-AD 9)—a thousand years after this pendant was made—the tiger was regarded as the “king of the hundred beasts”, or baishou zhi wang, due to its power and ferocity and especially to the markings on its forehead which typically resemble the character wang, or “king”. In addition, not only did the tiger figure among the twelve animals of the Chinese zodiac, but it gained a place among the auspicious animals that symbolize the four cardinal directions—the white tiger, or baihu, of the west, the azure dragon of the east, the vermillion bird of the south, and the black tortoise of the north.Literature comparison: Compare a related jade tiger plaque, also dated to the Shang dynasty, in the collection of the Asian Art Museum in San Francisco, object number B60J538. Compare a related jade tiger plaque, also dated to the Shang dynasty, circa 1200-1050 BC, in the collection of the British Museum, museum number 1935,0115.19.Auction result comparison: Type: Closely related Auction: Bonhams, 30 May 2017, lot 20 Price: HKD 562,500 or approx. EUR 84,000 converted and adjusted for inflation at the time of writing Description: A jade tiger and a jade bird, the tiger Shang dynasty, the bird Western Zhou dynastyExpert remark: Compare the closely related pose and manner of carving, also employing double-line grooves, the mouth similarly pierced for suspension, the eyes and mouth near-identical. Note the smaller size (3.9 cm) and that the lot also comprises a small jade bird (2.5 cm) from a later period.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 15 December 2016, lot 9 Price: EUR 20,000 or approx. EUR 23,500 adjusted for inflation at the time of writingDescription: Pendentif en jade Dynastie Shang, ca. 1200-1100 avant J.-C.Expert remark: Compare the closely related pose and manner of carving, with similar double-line grooves. Note the slightly larger size (8.2 cm).商末虎形青玉珮中國,公元前十三至十一世紀。珮呈扁片狀,以陰刻雙線技法雕琢半蹲老虎的側身形,虎口處,琢一小穿。局部淺褐色沁。 來源:西方私人收藏 ;英國倫敦Roger Keverne Ltd.藝廊,2007年12月;一個傑出的英國私人收藏,購於上述藝廊。Roger Keverne曾任倫敦亞洲藝術主席和BADA總裁。他在 Spink & Son 開始了 50 年的職業生涯,年僅 28 歲就升任亞洲部負責人。他於 1992 年離開 Spink,與他的妻子兼商業夥伴 Miranda Clarke 一起在倫敦梅菲爾開設了自己的畫廊 ,最終於 2020年 6 月關門。 出版:Roger Keverne,《Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition》,2007年,倫敦,頁101,編號84. 品相:整體狀況極好,有一些磨損、使用痕跡和表面淺劃痕、尾部尖端有鈣化區域以及相應的微小缺損。細膩的包漿,有天然內沁和裂縫的玉料。 重量:11.3 克 尺寸:長 6.5 厘米由於字數限制,完整中文敘述請至www.zacke.at查看。
A LARGE COPPER ALLOY FIGURE OF MANIKKAVACAKAR, TAMIL NADU, 14TH-15TH CENTURYSouth India. Boldly cast standing in tribhanga atop a double lotus pedestal supported on a stepped base decorated with beaded edges, incised lotus and geometric designs. He is holding prayer beads in his right hand, a manuscript in his left, wears a tight-fitting dhoti and is adorned with beaded jewelry. The serene face with large almond-shaped eyes with incised pupils below elegantly arched brows, the full lips forming a calm smile, flanked by pendulous pierced earlobes. Provenance: From a private collection in London, United Kingdom, acquired prior to 2000. Thence by descent.Condition: Very good condition with minor wear and casting flaws, small nicks, light scratches, minor dents. The back of the legs with remnants of an old label which have left marks on the patina.Weight: 7,856 gDimensions: Height 38.5 cmManikkavacakar (Tamil: 'One whose words are like gems') was a 9th-century Tamil saint and poet who wrote Tiruvasakam, a book of Shaiva hymns. Speculated to have been a minister to the Pandya king Varagunavarman II (c. 862-885), he lived in Madurai and is revered as one of the Nalvar, a set of four prominent Tamil saints alongside Appar, Sundarar, and Sambandar. The other three contributed to the first seven volumes (Tevaram) of the twelve-volume Shaivite work Tirumurai, the key devotional text of Shaiva Siddhanta. Manikkavacakar's Tiruvasakam and Thirukkovaiyar form the eighth volume. These eight are considered to be the Tamil Vedas by the Shaivites, and the four saints are revered as Samaya Kuravar (religious preceptors). Manikkavacakar's works are celebrated for their poetic expression of the anguish of being separated from God, and the joy of God-experience, with his ecstatic religious fervor drawing comparisons with those of Western saints like St. Francis of Assisi. Manikkavackar's stone image is worshiped in almost all Shiva temples of Tamil Nadu.Expert's note: There is a remote possibility that the present figure dates from the 12th-13th century, especially when comparing the metallurgy and some physical characteristics with the statue of Yashoda at the Metropolitan Museum. If this were the case, however, it would also mean that the lower two-thirds of the base would have been replaced or at least re-decorated at a later point in time, probably between the 15th and 17th centuries.Literature comparison: Compare a closely related bronze of the Shaiva saint Sambandar, dated to the 15th century, 52.1 cm high, in the collection of the Norton Simon Museum, accession number F.1972.25.3.S. Compare also a related bronze depicting Yashoda with the infant Krishna, dated early 12th century, the cast of similar copper-brown patina and with similar wear and casting flaws, in the collection of the Metropolitan Museum of Art, accession number 1982.220.8.Auction result comparison: Type: Related Auction: Nagel, Stuttgart, 11 December 2020, lot 1656 Price: EUR 57,600 or approx. EUR 59,500 adjusted for inflation at the time of writing Description: A fine bronze figure of Sambhandar, South-India, Vijayanagar period, ca. 13th ct.Expert remark: Compare the closely related pose and coppery tone of the bronze. Note the similar size (37 cm).
AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURYExpert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance. 大理國罕見觀音銅像中國,雲南,大理王國,十二世紀至十三世紀中期。由於字數限制,完整中文敘述請至www.zacke.at查看。
AN EXCEEDINGLY RARE MINIATURE CLOISONNE HAT STAND, JIAQINGOpinion: This splendid little 'hat stand', the perfect receptacle for the finest and smallest brushes, belongs to a rare group of miniature cloisonne scholar's objects, examples of which only seldomly come up for auction. However, the present lot even stands out from this illustrious group, with its unusually fine enameling, naturalistic subject matter, and the extremely rare hat stand form, including the hallmark apertures.China, 1796-1820. Of cylindrical form, the turquoise ground finely decorated in bright enamels and gilt wire with butterflies and crickets amid leafy sprays of blossoming peony, chrysanthemum, plum, and hibiscus, all framed by a ruyi-head band below the rim and a leafy lappet border above the foot, the body further pierced with quatrefoil apertures. The interior of turquoise enamel. The rim, foot, and base of gilt bronze.Provenance: From a noted English private collection, acquired in the 1970s, and thence by descent to the last owner. Condition: Excellent condition with minor old wear and manufacturing irregularities.Weight: 50.8 gDimensions: Height 5.8 cmHat stands made from porcelain first appeared at the beginning of the Jiaqing reign (1796-1820) and were originally conceived as unusually tall, cylindrical vessels only. But commencing later in the Jiaqing period, and through to Daoguang and Tongzhi, these tall vessels were equipped with a number of distinct apertures cut into the body, promoting a flow of air and thus assisting in the removal of odors from the hat, which was placed on top of the vessel. From Guangxu (1875-1908) onwards the apertures slowly disappeared again.The decoration of butterflies and various flowers offers opportunities for symbolic and auspicious meaning. For example, the combination of a butterfly and plum blossom signifies a quest for blissful love. In Daoism, butterflies represented the freedom of the soul.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 1 June 2011, lot 3874Price: HKD 150,000 or approx. EUR 24,500 converted and adjusted for inflation at the time of writing Description: A rare miniature cloisonne enamel brushrest, Qianlong periodExpert remark: Note the small size (3.5 cm)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2007, lot 1423Price: HKD 144,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A rare pair of miniature cloisonne enamel scroll weights, Qing dynasty, 18th centuryExpert remark: Note the small size (5.7 cm)嘉慶掐絲琺瑯花卉紋帽座中國,1796-1820年。圓柱體。帽傘上近口沿處裝飾如意雲頭紋一周,腹部主題紋飾為蝴蝶紋理、勾連紋、卷草紋、如意雲頭等紋樣。松石綠地,鎏金靚麗,光彩照人。 專家注釋:這件精美絕倫的小“帽架”,屬於稀有的迷你景泰藍文人藏品,很少見。其琺瑯異常精美,傳統題材,極為罕見的帽架形式,包括用來熏香用的小孔。 來源:英國知名私人收藏,上世紀七十年代前購買,保存至今直到家族最後一位主人。 品相:狀況極好,有輕微的磨損和製造瑕疵。 重量:50.8克 尺寸:高5.8厘米 帽座最初為瓷器,最早出現於嘉慶年間(1796-1820年),初期為異常高大的圓柱形器。從嘉慶後期開始,直到道光和同治,開始在帽架上鏤空,内置熏香,從而有助於去除帽子上的氣味。從光緒(1875-1908)開始,這些孔又慢慢消失了。 拍賣結果比較: 形制:相近 拍賣:香港佳士得,2011年6月1日,lot 3874 價格:HKD 150,000(相當於今日EUR 24,500) 描述:乾隆時期小型掐絲琺瑯筆擱 專家評論:請注意尺寸非常小 (3.5厘米) 。 拍賣結果比較: 形制:相近 拍賣:香港佳士得,2007年5月29日,lot 1423 價格:HKD 144,000(相當於今日EUR 25,500) 描述:清代十八世紀一對小型掐絲琺瑯紙鎮 專家評論:請注意尺寸非常小 (5.7厘米)。
'BUDDHA AMITABHA', BY ZHANG DAQIAN (1899-1983)China. Ink, gilt, and watercolors on silk. Superbly painted with Buddha Amitabha seated in dhyanasana on a lotus throne, with each of the overlapping petals showing the Three Jewels. He is wearing a loose-fitting monastic robe decorated with flowerheads and a broad waistband with lotus scroll. His chest is marked with a wan symbol. The serene face with a fine expression. All within a roundel above swirling clouds and below lotus blossoms falling from the sky.Inscriptions: Signed 'Zhang Daqian'. Dedicated to a 'follower from Luojun'. Dated 'Summer of the Year of Bingxu' (corresponding to 1946). Three seals of the artist.Provenance: UK trade, by repute acquired from a British private collection.Condition: Good condition with minor wear, soiling, distinct foxing and minimal losses. With a Japanese silk brocade mounting and a kiri (paulownia) wood frame. The backside with a Japanese paper mounting that shows significant tears and losses.Dimensions: Image size 61 x 24.5 cm, Size incl. frame 79 x 39.2 cmZhang Daqian was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Zhang's first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon. He affected the long robe and long beard of a traditional Chinese scholar.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 2 June 2015, lot 1529 Price: HKD 5,440,000 or approx. EUR 779,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian (1899-1983), Buddha Amitabha Expert remark: This painting is also dated 1946 by inscription and depicting Buddha Amitabha, albeit in a slightly different manner inspired by the Mogao caves. Note the size (97 x 49 cm).Auction result comparison:Type: Related Auction: Christie's Hong Kong, 30 November 2010, lot 2642 Price: HKD 2,780,000 or approx. EUR 486,000 converted and adjusted for inflation at the time of writing Description: Zhang Daqian (1899-1983), Worshipping Buddha and Bodhisattvas Expert remark: Note the size (90 x 44.6 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 11 October 2021, lot 3094 Price: HKD 945,000 or approx. EUR 119,500 converted and adjusted for inflation at the time of writingDescription: Zhang Daqian (Chang Dai-chien, 1899-1983), BodhisattvaExpert remark: Note the size (49.5 x 39.5 cm). 張大千(1899-1983) 《阿彌陀佛像》中國。絹本水墨設色,繪製阿彌陀佛坐蓮像,每瓣蓮瓣皆可見三寶。他身著寬鬆的袈裟,衣紋綫條流暢,胸口可見萬字元,面部表情平靜細膩, 身後有光背,下方可見如意祥雲。款識:擬清人丁觀鵬佛造像,嵗在丙戌夏日,羅郡清信弟子大千張爰敬造鈴印:大千毫髮,張大千,星閣來源:英國古玩市場,據説來自英國私人收藏。品相:狀況良好,磨損、汙漬、明顯的修補和輕微缺損。日本絲織錦裝裱和桐木框架。背面有日本紙裝裱,明顯的撕裂和缺損。尺寸:畫面61 x 24.5 厘米,總 79 x39.2 厘米拍賣結果比較: 形制:非常相近 拍賣:香港佳士得,2015年6月2日,lot 1529 價格:HKD 5,440,000(相當於今日EUR 779,000) 描述:張大千《無量壽佛》 專家評論:這幅畫的年代也是1946年,畫的是無量壽佛,不過畫法與莫高窟略有不同。請注意尺寸(97 x 49厘米)。 拍賣結果比較: 形制:相近 拍賣:香港佳士得,2010年11月30日,lot 2642 價格:HKD 2,780,000(相當於今日EUR 486,000) 描述:張大千《龍女禮佛圖》 專家評論:請注意尺寸(90 x 44.6厘米)。 拍賣結果比較: 形制:相近 拍賣:香港蘇富比,2021年10月11日,lot 3094 價格:HKD 945,000(相當於今日EUR 119,500) 描述:張大千《南無普賢菩薩》 專家評論:請注意尺寸(49.5 x 39.5厘米)。
AN INSIDE-PAINTED ROCK CRYSTAL 'TROMPE L'OEIL' SNUFF BOTTLE, BY MA SHAOXUAN (1867-1939), DATED 1898Published:Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 314-315, no. 139 (erroneously stating the bottle was once in the Mary and George Bloch Collection)China. Of flattened form, with slightly concave top, finely painted on the interior on one main side with a collection of old, tattered and inscribed paper items, including envelopes, books and rubbings, the reverse painted with an excerpt from a Tang dynasty historical chronicle.Inscriptions: Signed 'Ma Shaoxuan', one seal, and dated to the third month of the Wuxu year (corresponding to 1898) Provenance: Robert Kleiner, London, 1992. Rachelle R. Holden Collection, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '244' to the base. Robert Kleiner (1948-2014) was an important expert on Chinese snuff bottles, beginning his long career at Sotheby's Chinese Art department in London. Along with Hugh Moss and Bob Hall, Robert Kleiner became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with only minor old wear. A few small scattered inclusions in the crystal.Stopper: Pink tourmaline stopper, black plateletWeight: 66.6 g Dimensions: Height including stopper 75 mm. Diameter neck 19 mm and mouth 6 mm.The calligraphy on the reverse side of this bottle is transcribed from the famous Tang stele by Ouyang Xun called Jiu Cheng Gong li quan ming (The Sweet Spring of Jiucheng Palace). Ouyang Xun (AD 557-641) was one of the four masters of the early Tang. The paintings on the other side include burnt and torn examples of the Jin Hui Dui and a fan-shaped painting by Yun Shouping, calligraphy from the book entitled Zuo Zhong Tang (a famous general), a torn book entitled Si Shu (essential reading for scholars), and an envelope inscribed You Shanghai Ji (posted from Shanghai).Ma Shaoxuan (1867-1939) was one of the most technically accomplished artists of the Beijing school of painting, which was first started by Zhou Leyuan and included other leading artists such as Ding Erzhong, Ye Zhongsan and Ziyizi. Ma's famous monochromatic portrait bottles of leading Qing officials and personalities were highly sought after among the influential minority of his day and continue to be among the most coveted of all inside-painted bottles. Executed only in black ink, with the use of vermillion solely for seals, each portrait is a technically impeccable, photographic likeness of the sitter. Ma's extraordinary renown led to his being commissioned in 1911 to paint two portraits of the young Xuantong Emperor.Literature comparison:Compare a closely related rock crystal snuff bottle by Ma Shaoxuan, illustrated by Nancy Berliner, The 'Eight Brokens'. Chinese Trompe-l'oeil Painting, Orientations, February 1992, p. 70.Auction result comparison:Type: Near identicalAuction: Christie's New York, 24 March 2011, lot 1578Price: USD 20,000 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: An inside-painted glass snuff bottle, signed Ma Shaoxuan, dated start of the hot season in the jihai year, corresponding to 1899Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2013, lot 1088Price: USD 40,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writingDescription: A rare inside-painted rock crystal snuff bottle, Ma Shaoxuan (1867-1939), Beijing, probably 1905 1898年馬少宣款水晶内畫鼻烟壺中國。壺直口,豐肩,長方扁圓腹,橢圓形圈足。壺體為無色透明水晶為材,施以內繪技法,一面內畫彩色字畫殘片 。另一面楷書節錄唐歐陽詢書《九成宮醴泉銘》:“維貞觀六年孟夏之月,皇帝避暑乎九成之宮,此則隨之仁壽宮也,冠山抗殿,絕壑為池。節錄”。書法字體挺拔剛健,工整俊秀。 出版:Holden,《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection,A Personal Commentary》,紐約,1994年,頁314-315,編號139 (錯誤認爲瓶子曾經在瑪麗和喬治布洛赫收藏中) 。 款識:馬少宣作;鈴印「少宣」 來源:1992年紐約 R. Holden 收藏購於購於倫敦Robert Kleiner & Co. Ltd.藝廊。底部可見Rachelle Holden 收藏標籤,上有編號 '244'。英國私人收藏,購於倫敦Robert Kleiner & Co. Ltd.藝廊。隨附一份2000年11月20日開具的發票副本,確認了相關描述和斷代。由於字數限制,完整中文敘述請至www.zacke.at查看。
A SONGHUA INK STONE, BOX AND COVER, QIANLONG MARK AND PERIODChina, 1736-1795. The soft grayish-green ink stone is of magnificent quality with distinct striations and deeply carved with a lingzhi-shaped well. The outline conforms with the highest possible precision to that of the shallow box and cover, which in turn is finely carved on the top through the grayish-green outer layer to the purplish-brown under layer with two crested cranes perched on the trunk of a gnarled pine tree, the burls in the wood superbly sculpted, the pine leaves and the cranes' plumages neatly incised.The base of the inkstone incised in a line with a four-character seal mark Qianlong nianzhi and of the period.Provenance: Mrs. Walter Sedgwick, collection no. 307, as per old label to base, and thence by descent. Probably Sotheby's London after 1968 and from there into a French collection. Parisian trade, acquired from the above. Mrs. Walter Sedgwick (1883-1967) was an English collector of Chinese art who came from a family of architects. Quite unusually at the time, she collected independently of her husband who was a barrister with little interest in Chinese art. She lent many pieces to the 1935-36 Chinese exhibition at the Royal Academy. Soame Jenyns described her as a collector of impeccable taste and in 1953 dedicated his book 'Ming Pottery and Porcelain' to her. She donated and bequeathed Chinese objects to the British Museum from 1933 to 1968 and was a generous benefactor to the British Museum, the Fitzwilliam in Cambridge, and the Victoria & Albert Museum. After her death, her collection was sold off by Sotheby's London beginning in 1968. Mrs. Sedgwick was the aunt of Professor Jessica Rawson.Condition: Excellent condition with only minor wear and traces of use.Weight: 243.6 gDimensions: Length 9 cmExpert's note: The present lot was no doubt made during the Qianlong period, a fact illuminated by a Songhua ink stone, box, and cover dated to the Republic period at Christie's Hong Kong, 9 October 2019, lot 270. Although this later example appears quite similar to the present lot at first glance, it quickly becomes evident that it does not even remotely show the same exceptional skill and attention to detail. Closer study reveals a vast number of small yet striking differences, including the two cranes, which lack the crests and open beaks, as well as the pine leaves, which lack the raised edges of their central circles, and last but not least the Imperial mark itself, which is by far not as neatly incised.Songhua stone, for its color, quality and ease of grinding the ink, was one of the preferred materials for making inkstones for the scholar's table during the Qing dynasty. Chi Jo-hsin in 'A study of the Sunghua Inkstone Tradition', Special Exhibition of Sunghua Inkstone, National Palace Museum, Taipei, 1993, page 38, notes that 'during the Qianlong period, an inventory of inkstones in the Imperial Household was compiled. Of the more than two hundred entries, six sunghua inkstones with imperial reign marks of the K'ang-hsi, Yung-cheng and Ch'ien-lung periods are recorded, five of which are in the collection of the National Palace Museum.'Design on inkstones often imitated fine paintings and it is known that the Qianlong emperor commissioned his court painters to design the lids of many of his inkstones. Shapes of the ink pool and cover also became more varied during the Qianlong emperor's reign, when new shapes in the form of peaches, crescent-moons and flowers were introduced alongside the traditional circular, octagonal and oblong shapes.In Qianlong's poetry collection 'Shengjing tuchan zoayang shier shou' (Twelve Miscellaneous Poems on the Native Products of Shengjing), the emperor praises the stone as 'Songhua yu' (Songhua jade) and mentions that it is the product of the Yuantong River in Jilin province in northeast China and can be used for making inkstones.Zhou Nanquan notes in 'Songhuashi yan' (Songhua Inkstone), Wenwu, 1980, no. 1, pages 86-87, that Songhua stone was used for the production of imperial inkstones from the early to mid-Qing dynasty. Zhou further notes that in the 39th year of Qianlong's reign (corresponding to 1774), official records mention a total of 120 Songhua stone pieces, whether worked or as raw material, in the Palace collection.Records from the fourth day of the twelfth month of the 39th year of Qianlong's reign note that on three occasions, raw material amounting to 38 pieces from Jilin province, was sent to the palace and, out of five stone pieces, eight inkstones and their boxes were made. It was customary with Songhua stone from the palace to have the inkstones in original boxes of the same material, usually using the different stratified colors. Currently there are eighty Songhua inkstones in the Palace Museum collection, of which ten are attributed to Kangxi, sixteen to Yongzheng, thirteen to Qianlong, nine to Jiaqing, one to Daoguang and five to Guangxu's reigns.Literature comparison: A related ink stone, box, and cover was included in Selected Treasures of Chinese Art, Hong Kong, 1990, cat. no. 238. A related Qianlong inkstone and cover of rectangular shape, also carved with pine trees and cranes, was included in the Special Exhibition of Songhua Inkstone, National Palace Museum, Taipei, 1993, cat. no. 57.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 2931 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A Songhua ink stone, box and cover, Qianlong incised four-character seal mark and of the period Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and four-character seal mark incised in a line. Note the similar size (9.6 cm). Further note that this example arguably does not show the same exceptional skill and attention to detail as the present inkstone.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 23 October 2005, lot 23 Price: HKD 2,696,000 or approx. EUR 517,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of QianlongExpert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (10 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 23 October 2005, lot 149 Price: HKD 1,912,000 or approx. EUR 367,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of Qianlong Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, cranes, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (9.5 cm).乾隆款及年代松花硯中國,1736-1795年。由於字數限制,完整中文敘述請至www.zacke.at查看。
A BLACK SCHIST STELE OF BUDDHA SHAKYAMUNI, PALA PERIODNortheastern India, Bihar, 10th century. Well carved seated in dhyanasana on a double lotus base, supported on a stepped pedestal adorned with numerous smaller figures, the palm of the hand and soles of the feet with neatly incised circles. Buddha's face with a benign expression and almond shaped eyes, the hair in tight curls surmounted by an ushnisha, wearing a sanghati draped over one shoulder, flanked by two pillars surmounted by stupas centering a nimbus with a stylized foliate border.Provenance: The personal collection of Arturo Schwarz, Milan, late 1990s. Leonardo Vigorelli, Bergamo, acquired from the above. Arturo Schwarz (1924-2021) was an Italian scholar, art historian, poet, writer, lecturer, art consultant and curator of international exhibitions. He lived in Milan, where he amassed a large collection of Dada and Surrealist art, including many works by personal friends such as Marcel Duchamp, Andre Breton, Man Ray, and Jean Arp. In 1975, Schwarz started working as curator and author, writing extensive publications on the work of Marcel Duchamp, as well as books and numerous essays on the Kabbalah, Tantrism, alchemy, prehistoric and tribal art, and Asian art and philosophy. His 1977 book on Man Ray's works and life was the first to reveal Ray's real name. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, some losses, nicks and surface scratches, structural cracks. The finely polished surface with a solid, naturally grown patina and an unctuous feel overall. Dimensions: Height 61.2 cm (excl. base) and 64.2 cm (incl. base)Mounted to a modern metal base. (2)Literature comparison:Compare a related stone figure of Buddha, 10th century, Bihar, in the collection of the British Museum, museum number 1942,0415.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 September 2011, lot 268Price: USD 86,500 or approx. EUR 111,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of seated Buddha, Northeastern India, Pala period, circa 10th century Expert remark: Note the related size (63.5 cm)Auction result comparison:Type: RelatedAuction: Bonhams New York, 20 March 2018, lot 3224Price: USD 250,000 or approx. EUR 290,000 converted and adjusted for inflation at the time of writingDescription: A blackstone stele of crowned Buddha, Bihar, Pala period, 10th centuryExpert remark: Note the size (45 cm)Auction result comparison:Type: RelatedAuction: Christie's Paris, 22 June 2016, lot 11Price: EUR 71,100 or approx. EUR 83,000 adjusted for inflation at the time of writingDescription: A rare sedimentary stone stele of Shakyamuni Buddha, Northeast India, Pala Period, 10th centuryExpert remark: Note the size (31 cm)
A RARE AND COMPLETE SET OF FOUR JADE OPENWORK SWORD FITTINGS, WESTERN HAN DYNASTYChina, 206 BC to 8 AD.Comprising:1) A pommel (shou) of circular form, the domed center carved as a dragon, encircled by alternating taotie masks and archaic scroll,2) A sword guard (ge) carved with central taotie masks to each side, the nose extending to the pointed lower end, flanked by phoenixes and archaic scroll,3) A scabbard chape (bi) of trapezoidal form carved with sinuously coiled dragons,4) A scabbard slide (zhi) carved with a central bi disc flanked by two confronting dragons with tails terminating in phoenix heads.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Excellent condition, commensurate with age. Expected wear, alterations and weathering, minuscule nibbling and losses, soil and iron rust encrustations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Weight: 113.6 g (total) Dimensions: Length 14 cm (the scabbard slide), 7 cm (the scabbard chape), and 6.8 cm (the sword guard), Diameter 6.7 cm (the pommel)The translucent jades are of a fine, greenish-yellow tone with cloudy inclusions, and scattered black speckles. The distinct iron rust encrustation indicates that the jades were buried with a source of iron, doubtlessly the decomposed blade.Expert's note: Xi'an City was the capital of China during the Western Han (202 BC-8 AD) period. According to metallographic studies of iron swords excavated in this region, all known examples were found in a severely decomposed condition. Consequently, they presented a wide range of damage such as fractures, incompleteness, and thick layers of corrosion. Such corrosion leaves notable decaying marks on their corresponding jade fittings, which take centuries to develop into the russet 'spiderweb' crackle found on the present lot. These alteration marks are inimitable, not only because they leave behind irreversible scars on the jade itself, but also because their metallurgic composition is quite unique.In ancient China, there were two pathways known for soft iron making: One was the so-called “direct process” in which bloomery iron, with a low-carbon content, was smelted in a furnace and then directly used for smithing larger numbers of lower quality blades. The second, so-called “indirect process” was more complex: After smelting from a blast furnace, cast iron was decarburized through a liquid-state procedure called Chaogang. This produced still-malleable iron with a significantly higher carbon content of up to 1%, or - in other words - steel of the best possible quality for the manufacture of high-end blades. Needless to say, jade was used primarily for fittings of blades from this group, a sign of almost exuberant luxury, marking its owner as a person of nobility. Similar fittings were also found on bronze swords, but only the ones discovered near the remnants of iron blades are encrusted with distinct rust patterns such as the present lot.This exceptional set of sword fittings exemplifies the best jade carving of the early Western Han period. Note the extreme thinness of the jades in several areas, with some parts of the guard and the chape measuring an incredible 1 mm in thickness.Literature comparison: Compare a closely related set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 - Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82. Compare four sword fittings from the Myers collection, dated to the Western Han period, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, nos. 130-133.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 2711 Price: HKD 8,460,000 or approx. EUR 1,148,000 converted and adjusted for inflation at the time of writing Description: An important set of three jade 'chilong' sword fittings and a jade sword guard, Western Han dynasty Expert remark: Note the smaller size (the largest 8.8 cm)西漢罕見一套四件玉劍飾中國,公元前206年至公元8 年。一套四件 來源:Irene與 Wolfgang Zacke (1942-2022)。自1968 年起,這對夫婦活躍在藝術貿易界,並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期,他們一直在收集中國古代玉器,幾十年來建立了極富多樣性的收藏。 品相:狀況極佳,有磨損、風化、磕損、缺損、土壤結殼與鏽斑。具有天然內沁和裂縫的玉料,隨著時間的推移,其中一些已經發展成細小的裂縫。 重量:總113.6克 尺寸:劍璏長 14 厘米,劍珌7 厘米,劍格6.8 厘米,劍首直徑 6.7 厘米 玉質細膩,有綠色、赭色斑,瑩潤有澤。玉石上明顯的鐵鏽斑。由於字數限制,完整中文敘述請至www.zacke.at查看。
A HU WENMING PARCEL-GILT CENSER, GUI, MING DYNASTYChina, 16th-17th century. The rare copper-alloy and gilt-bronze incense burner is decorated on each side with a central band of various mythical sea creatures including winged dragons and horses rising from waves and chasing flaming pearls, all finely chased and incised in relief, between bands of neatly silver-inlaid key-fret around the neck and foot, flanked on either side by imposing dragon-head loop handles. Cast with a rectangular gilt panel on the base bearing the incised Hu Wenming mark.Inscriptions: To base, 'Yunjian Hu Wenming zhi' ('made by Hu Wenming of Yunjian [modern Songjiang, near Shanghai]).Provenance: United Kingdom trade. Condition: Good condition with extensive wear to gilt, minor casting flaws, few small dents, nicks, and shallow surface scratches. Fine naturally grown patina overall with scattered encrustations.Weight: 696.6 gDimensions: Width 19.7 cm (across handles)Hu Wenming is one of the most renowned metalworkers in Chinese history and one of the few whose name and style are discussed in Chinese art-historical writing. Most of the works attributed to Hu Wenming are scholarly objects, such as incense burners and brush pots, characterized by densely worked backgrounds covered with naturalistic and other motifs cast in high relief.Literature comparison: The same mark can be found on a slightly smaller censer with similar decoration in the main band and with similar handles, in the Palace Museum Collection and listed as a 'national first-grade cultural relic', illustrated in Illustrated Important Chinese Cultural Relics Ranking Standard- Bronze, Beijing, 2006, pl. 143. For other related censers with the same primary decoration and mark, but with variations to the decorative bands, see one illustrated in The Literati Mode, Sydney L. Moss, Ltd., London, 1986, pp. 291-2, no. 145, and another illustrated in Sotheby's Hong Kong Twenty Years, Hong Kong, 1993, no. 402.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2017, lot 8117 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A rare parcel-gilt bronze censer, gui, Ming dynasty, Yunjian Hu Wenming zhi seal markExpert remark: Compare the closely related gui form and decoration with similar copper-alloy reliefs, silver inlays, and dragon handles. Note that the censer bears the same mark as the present lot and is of similar size (26.7 cm), but that the gilt to the central band and handles is well-preserved.Auction result comparison: Type: Closely related Auction: Christie's London, 13 May 2011, lot 1039Price: GBP 30,000 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A fine parcel-gilt bronze censer, late Ming dynasty, 16th/17th century, Hu Wenming Expert remark: Compare the closely related gui form and decoration with similar copper-alloy reliefs, silver inlays, and dragon handles. Note that the censer bears the same mark as the present lot, is of smaller size (17 cm), and shows similarly extensive wear to the gilt.明代胡文明款鎏金簋形爐中國,十六至十七世紀。罕見的鎏金銅簋形爐,束頸處飾錯銀雷紋帶;圓腹,浮雕瑞獸;圈足處飾錯銀雷紋帶。圈足内有胡文明款。 款識:雲間胡文明製 來源:英國古玩市場。 品相:狀況良好,鍍金磨損嚴重,輕微鑄造缺陷,小凹痕、刻痕和表面輕微淺劃痕。自然包漿。 重量:696.6 克 尺寸:寬 19.7 厘米 (雙耳之間) 文獻比較:同樣的款識可見於一件稍小的香爐,有相同的紋帶和和把手,收藏於北京故宮博物院,列為「國家一級文物」,見《文物藏品定級標準圖例‧青銅卷》,北京,2006年,編號143。一件相近的相同款識和裝飾的香爐,但有多種紋帶,見Sydney L. Moss,Ltd. ,《The Literati Mode》,倫敦,1986年,頁291-2,編號145,另一件見香港蘇富比《 Twenty Years》,香港,1993年,編號402。 拍賣結果比較: 形制:非常相近 拍賣:香港佳士得,2017年11月27日,lot 8117 價格:HKD 562,500(相當於今日EUR 76,000 ) 描述:明代胡文明款鎏金簋形爐 專家評論:比較非常相近的簋形外型和銅合金浮雕、嵌銀和龍形把手。請注意款識相同,且尺寸相似(26.7 厘米),但紋飾和把手上的鎏金保留完好。由於字數限制,完整中文敘述請至www.zacke.at查看。
A FAMILLE VERTE 'DRAGON' SWEETMEAT SET, KANGXI PERIODChina, 1662-1722. The central dish of six-lobed form enameled in green, yellow, aubergine, black, and white with three fierce sinuous dragons chasing flaming pearls amid wispy flames, the rim with a diapered pattern interrupted by plum blossoms, the exterior with stylized bamboo sprays. The six surrounding fan-shaped dishes with foliate upper rims similarly decorated with a single dragon each. (7)Expert's note: It is extremely rare to find a complete seven-piece set from the Kangxi period with both the biscuit porcelain and the enamels in such pristine condition.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. Each dish with an old printed and handwritten label 'No. 4603' to base. Stefanos Lagonico was a member of the wealthy Greek community of Alexandria whose family settled in Egypt in the late 19th century. His collection of important Iznik ceramics was formed after the First World War, comprising mostly plates and jugs from the classic period (post 1570). At least six pieces from this collection were included in the important 1925 Exposition d'Art Musulman in Alexandria. Lagonico eventually left Egypt for Switzerland, just before the rise of nationalism and the abolition of the Capitulations in May 1937. His son Jean, an importer of dried fruits and nuts from the Levant, inherited most of the collection, and kept it in obscurity at his house in southern France until its dispersal at auction beginning in 1991.Condition: Superb condition with only minor old wear, some expected firing flaws, and light surface scratches.Weight: 389.6 g (the central dish) and 1,252 g (the six surrounding dishes in total) Dimensions: Diameter 39.5 cm (total) and 19 cm (the central dish), length 19 cm (each of the six surrounding dishes)Auction result comparison: Type: Closely related Auction: Aguttes, Paris, 31 May 2022, lot 66 Price: EUR 20,150Description: Ensemble de sept raviers en biscuit et emaux de la famille verte, XVIIIe Siècle, periode Kangxi Expert remark: Compare the closely related form, diapered band with plum blossoms, and famille verte decoration on the biscuit porcelain. Note the similar size (40 cm).康熙素三彩龍紋攢盤中國,1662-1722年。此攢盤是由一個內盤和六個外盤共同組成葵花式,造型優美,設色雅緻明麗,構圖疏朗有致;綠地龍紋,線條挺拔,畫工精良。如此完好的康熙龍紋攢盤,實屬難得。 來源:亞歷山大港Stefanos Lagonico,在同一家族保存了幾代。每一個盤底都有一個打印並手寫的標籤No. 4603。 Stefanos Lagonico是富有的亞歷山大希臘社區的成員,他的家人在十九世紀後期定居在埃及。他的重要伊茲尼克陶瓷收藏是在第一次世界大戰後建立的,主要包括古典時期(1570 年後)的盤子和水壺。該系列中至少有六件作品曾在 1925 年亞歷山大港藝術博覽會中展覽。後來,Lagonico 離開埃及前往瑞士,就在 1937 年 5 月民族主義興起和投降條約廢除之前。他的兒子 Jean 是黎凡特干果和堅果的進口商,他繼承了大部分藏品,並一直默默無聞地保存在他法國南部的房子裏,直到 1991 年開始被拍賣。 品相:狀況極佳,只有輕微的磨損、一些燒製缺陷和輕微的表面劃痕。 重量:内盤389.6克,六個外盤1,252 克 尺寸:直徑 39.5 厘米(總),内盤19 厘米,外盤分別19 厘米 拍賣結果比較: 形制:非常相近 拍賣:巴黎Agutte,2022年5月31日,lot 66 價格:EUR 20,150 描述:康熙素三彩攢盤 專家評論:比較非常相近的外型、梅花邊裝飾、素三彩。請注意相似的尺寸(40厘米)。
AN ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI, LATE SHANG TO EARLY WESTERN ZHOU DYNASTYChina, ca. 1050 BC. Of elongated pear shape with a waisted neck and flared rim, cast below the neck with a single border of leiwen in deep relief, the splayed hollow foot encircled by two bow-string bands. The bronze skin with a magnificent, naturally grown patina showing a multitude of deep-green malachite and cuprite encrustations. Provenance: Christie's South Kensington, London, 28 July 1994. Catherine Farrell, London, acquired from the above. A copy of the provenance statement, written and signed by Catherine Farrell, dated 8 July 2022, attesting to her purchase of the present lot at Christie's South Kensington on 28 July 1994 as well as it being authenticated by Dr. Jessica Rawson in 1990, whose appraisal mentioned in the letter confirms the dating above, accompanies this lot. Dame Jessica Mary Rawson (b. 1943) is an English art historian, curator, and sinologist. She is also an academic administrator, specializing in Chinese art. Between 1976 and 1994, she served as Deputy Keeper and then Keeper of the Department of Oriental Antiquities at the British Museum in London and from 2006 to 2011 as pro-vice-chancellor of Oxford University. She has been involved in a number of high-profile exhibitions such as the Mysteries of Ancient China.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Old wear, signs of weathering and erosion, minor nicks here and there. Solid, naturally grown patina with extensive malachite and cuprite encrustation.X-Ray: Images 18-22 confirm the excellent original condition of this lot.Weight: 317.8 g Dimensions: Height 13.4 cmZhi goblets such as the present example served as drinking vessels. They were employed in important ritual performances aimed at paying homage to the ancestors. According to Chinese beliefs, the ancestors were deemed active participants in the life of their offspring, which they could positively influence if provided with the correct necessities for their own afterlife, see Jessica Rawson, 'The Power of Images: The Model Universe of the First Emperor and its Legacy', in Historical Research, no.75, 2002, pp. 123-154.Expert's note: The Qianlong emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The form of the present zhi vessel has served as the inspiration for a number of jade zhi now in private and public collections, including no. 40 in this catalog (please see the lot entry for further examples). This clearly shows that bronze zhi such as the present lot were already highly valued 300 years ago.Literature comparison: Compare a closely related zhi, of similar form and also with a leiwen band below the neck and two bow-string bands around the foot, dated to the early Western Zhou period, mid-11th to early 10th century BC, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1981.106. Compare a related zhi, also decorated with leiwen and bow-string bands, dated Shang dynasty to Western Zhou period, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1956.87.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2014, lot 10 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: The Fu Xin Zhi, a bronze ritual wine vessel, late Shang dynasty, 13th-11th century BC Expert remark: Compare the related form and manner of casting with similar leiwen and bow-string bands, additionally with taotie mask and flanges. Note the larger size (15.2 cm) and that the zhi has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2018, lot 1103 Price: USD 37,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A rare small bronze ritual wine vessel, zhi, late Shang-early Western Zhou dynasty, 11th century BC Expert remark: Compare the similar form and manner of casting with leiwen and bow-string bands, additionally with taotie mask and flanges. Note the smaller size (11.4 cm) and that the zhi has a two-character inscription.商末至西周青銅觶中國,約公元前1050 年。器身細高,敞口,直唇,體呈橢圓形,下腹外鼓,喇叭形高圈足,頸部雷紋帶,圈足上兩道弦紋。該器壁勻薄,造型挺拔優美。青銅表皮自然生長的包漿,呈現出大面積深綠色的銅鏽。 來源:1994年7月28日倫敦南肯辛頓佳士得;倫敦Catherine Farrell購於佳士得。隨附一份Catherine Farrell寫的關於來源説明的複本,日期爲2022年7月8日由於字數限制,完整中文敘述請至www.zacke.at查看。
A LARGE FRAGMENTARY BUST OF A FEMALE DEITY, GILT COPPER-ALLOY, PROBABLY DENSATIL, TIBET, 14TH-15TH CENTURYOpinion: The particularly well-proportioned female image, possibly Prjanaparamita, with its simple yet sensuous appearance is - at first glance - evocative of high Newari craftsmanship, popularly commissioned by wealthy Tibetan monastic patrons during the 14th and 15th centuries. However, after looking at some of the characteristics more closely, several distinct features make an attribution to the Densatil monastery seem more appropriate. Chief among the diagnostic traits that can identify a work from the Densatil are the convexly stepped eyebrows and the precisely incised double-lined eyelids and lips. The oval pinna, remotely signifying a lotus-petal, from which the lavish hairbands issue seamlessly, is another unequivocal feature, as are the extra-thick and heavy casting overall and the leaning head, which indicates that the present lot may once have been part of a larger supporting structure. For example compare a gilt bronze support, Densatil, 15th century, at Christie's New York, 27 March 2003, lot 105.Finally, the harrowing brutality to which this image was evidently exposed is a silent monument to the destruction of Densatil during China's Cultural Revolution (1966-1978), where one of the most inspiring cultural heritages of mankind became victim to an unconscionable mob.Superbly cast, richly adorned with a beaded and a floral necklace above her voluptuous breasts as well as lotiform armlets, the face with a serene expression, the eyes with distinct sinuous lids and raised brows, both heightened with subtle incision work, as well as full lips forming a calm smile, the neatly incised hair parted in the middle and secured by a tiara.Provenance: From a private collection in Paris, France.Condition: Condition overall as expected and commensurate with age. Extensive wear and losses. Dents, nicks, scratches and battering. Wear to gilt. All semi-precious stone inlays are now lost. Several distinct ritual patches.Weight: 3,472 g Dimensions: Height 33 cmHeavily cast gilt copper-alloy figures of this type are characteristic of the Densatil style, a Kagyu monastic complex in central Tibet, southeast of Lhasa, that has long been considered one of the great treasures of Tibet. Founded in the late 12th century, it enjoyed generous patronage and was lavishly decorated during a period of expansion from circa 1360 until the early 16th century. The monastery was known for eight extraordinary memorial stupas symbolizing Buddha's first teaching in Benares. These stupas were called tashi gomang, meaning "many doors of auspiciousness," and were multi-tiered copper-alloy structures filled with deities such as the present example, standing more than ten feet tall and resplendent with inlays of semiprecious stones. Prior to the destruction of Densatil during China's Cultural Revolution (1966-1978), eight of them dating between 1208 and 1432 stood in the Monastery's main hall.Followers of the charismatic Phagmo Drupa Dorje Gyalpo (1110-1170) constructed the Densatil Monastery. His school, which came to be known as Phagmo Drupa Kagyu, was one of the four primary schools of the Kagyu lineage of Tibetan Buddhism. Its noble house became so powerful that their dynasty ruled from the mid-fourteenth to the mid-fifteenth century. Eventually it had died out by the end of the seventeenth century, but the Densatil Monastery survived intact under the control of other Tibetan Buddhist schools until it was eventually destroyed. Today the monastery is undergoing reconstruction thanks to the efforts of the Tibetan Autonomous Region Ministry of Culture and the Drigung (Drikung) Kagyu school.Literature comparison: Compare with a statue of Prajnaparamita from tier 3 of the tashi gomang stupas, dating to 1370, in About the 18 stupas and other treasures once at the Densatil monastery, by Jean-Luc Estournel, September 2020.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2014, lot 1016 Price: USD 617,000 or approx. EUR 731,000 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of a Nagaraja, Densatil Style, 15th century Expert remark: Compare the heavy and massive casting as well as the similar treatment of the eyes, lids, brows, breasts and pinna.十四至十五世紀西藏大型銅鎏金女神半身像專家注釋:特別勻稱的女性形象,可能是般若菩薩,其簡單而感性的外觀 - 乍一看 - 令人回想起十四世紀和十五世紀西藏寺院富有的贊助人經常委託的紐瓦里工藝。然而,在更仔細地研究了一些特徵之後,幾個不同的地方,讓人更能確定,這座半身像可能來自丹薩替寺,比如她凸出的階梯式眉毛和清晰的雙眼皮和嘴唇。橢圓形耳廓,蓮花髮帶,是另一個明確的特徵。整體厚重,包括傾斜的頭部,這表明本拍品可能有更大的支撐結構。例如,比較一個鎏金青銅支架。丹薩蒂爾寺,15世紀,紐約佳士得,2003年3月27日,編號105。 丹薩替寺在中國文化大革命(1966-1978)期間被毀,實在令人痛心。 來源:法國巴黎私人收藏。 品相:整體狀況符合預期,大面積磨損和缺損。凹痕、刻痕、劃痕,鎏金磨損。很多寶石遺失,幾個修補。幾個儀式留下來的明顯斑塊。 重量:3,472克 尺寸:高33厘米 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。

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