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Lot 698
A JAIPUR BLUE POTTERY 'PARVATI' FLASK, INDIA, RAJASTHAN, 19TH CENTURY OR EARLIERFinely molded and painted in bright cobalt-blue and turquoise-green to depict Parvati seated on her husband Shiva's mount, Nandi, holding a rosary in one hand, adorned with scarves and jewelry, her face with a calm expression, the foot and neck with petal borders, the short sides with lotus blossoms and foliage.Provenance: London trade. Condition: The fragmentary flask with wear, losses, chips, and light scratches.Weight: 723.7 g Dimensions: Height 26.8 cmBlue pottery is widely recognized as a traditional craft of Jaipur of Central Asian origin. The name' blue pottery' comes from the eye-catching cobalt blue dye used to color the pottery. It is one of many Eurasian types of blue and white pottery and is related in its shapes and decoration to Islamic and Chinese pottery. Jaipur blue pottery, made out of ceramic frit material similar to Egyptian faience, is glazed and low-fired. No clay is used: the 'dough' for the pottery is prepared by mixing quartz stone powder, powdered glass, Multani Mitti (Fuller's Earth), borax, gum, and water.Literature comparison: Compare a closely related flask illustrated in Kristine Michael, 'Earthen Jewels: Pottery Treasures from the Hendley Collection', in Chandramani Singh (ed.), Treasures of the Albert Hall Museum, Jaipur, p. 50. Further related examples are on display in the Albert Hall Museum.
Lot 273
A RARE PAIR OF CLOISONNE ENAMEL 'BUDDHIST LION' MOON FLASKS, BIANHU, 19TH CENTURYChina. Each with a flattened globular body displaying brightly hued Buddhist lions playing with brocade balls above a turquoise ground with swirling clouds, the neck flanked by a pair of handles in the form of Buddhist lions, the foot decorated with a key-fret border. (2)Provenance: From the collection of Dr. Aurel Gonda, acquired in Shanghai circa 1937-1947, and thence by descent to the present owner. Dr. Aurel Gonda (1885-1964) was an Austro-Hungarian physician who served as a councilman and health official in Vienna. A street in Inzersdorf, in the 23rd district of Vienna, is named after him. He was the brother of architect Charles Henry Gonda, who was active in Shanghai between the 1920s and 1940s. As C. H. Gonda rose to be a renowned architect, he ran in the same circles as foreign elites, including Shanghai's top oligarch Victor Sassoon. In 1938, Aurel Gonda and his family escaped fascist Vienna and joined C. H. Gonda in Shanghai. After the Communist victory in China in 1949, the brothers and their families left for the US and settled in Lakewood, New Jersey.Condition: Good condition and presenting notably well. Some wear, traces of use and expected manufacturing irregularities. Each flask with a dent and associated minor losses to the enamels. One of the handles slightly loose.Weight: 2,116 g and 1,870 gDimensions: Height 28.4 cm (each) Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 June 2013, lot 322Price: USD 32,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: A pair of large Chinese cloisonne enamel moon flasks, late Qing dynastyExpert remark: Compare the closely related form, handles and style - despite the fact that in this example we find dragons instead of Buddhist lions as the main motif. Note the significantly larger size (54.6 cm).十九世紀一對罕見銅胎掐絲琺瑯太獅扁壺中國。扁壺，小口外撇，頸部外鼓，青綠色地上，雲彩飛舞，色彩鮮豔，太獅玩錦球，頸部兩側一對太獅耳朵，足部飾有雷紋。 (2) 來源： Dr. Aurel Gonda收藏，約於1937-1947年間購於上海，保存在同一家族至今。Dr. Aurel Gonda (1885-1964) 曾是來自奧匈帝國的醫生，曾在維也納擔任議員和衛生部官員。維也納第 23 區 Inzersdorf 的一條街道以他的名字命名。他的兄弟Charles Henry Gonda 曾是一位建築師，在 1920 年代至 40 年代活躍於上海。隨著 C. H. Gonda 成為著名建築師，他與外國精英打交道，其中包括上海的頂級寡頭Victor Sassoon。 1938 年，Aurel Gonda 和他的家人逃離了法西斯維也納，並在上海與 C. H. Gonda 會合。 1949 年共產黨在中國取得勝利後，兄弟倆和他們的家人前往美國，定居在新澤西州萊克伍德。 品相：狀況良好，一些磨損、使用痕跡。每個扁壺都有凹痕和琺瑯輕微缺損。 其中一個手柄略微鬆動。 重量：分別爲2,116 克與1,870 克 尺寸：各高 28.4 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年6月19日，lot 322 價格：USD 32,500（相當於今日EUR 40,000） 描述：清代末期一對罕見銅胎掐絲琺瑯扁壺 專家評論：比較非常相近的外型、手柄和型制，但此對扁壺手柄和裝飾主題是龍而非太獅。請注意尺寸明顯較大 (54.6厘米)。
Lot 172
A MAGNIFICENT GILT BRONZE FIGURE OF MAITREYA, 17TH CENTURY, PUBLISHED BY SCHROEDERPublished: Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pages 446-447, nos. 121D & E (illustrated).Central Tibet. Finely cast, seated in bhadrasana ('European pose') on a stepped rectangular throne with his feet resting on a lotus blossom, the hands in dharmachakramudra holding the stems of lotuses flowering along his upper shoulder supporting a flask and stupa, clad in a richly pleated robe neatly incised with geometric and floral designs. His serene face with sinuously lidded downcast eyes below gently arched brows centered by a raised urna and bow-shaped lips, flanked by long pierced earlobes. The hair arranged in tight curls, the high ushnisha surmounted by a jewel.Provenance: From the collection of Mr. and Mrs. John Marsing, and thence by descent in the family. John Marsing (1918-1998) was a Danish businessman who, at the age of 20, had established a pharmaceutical company, Marsing & Co. The firm expanded during the mid-20th century and had branches all over Europe, Canada, and Korea. Marsing was very interested in Asian culture and a passionate collector of Asian works of art, particularly from the Himalayas, China, and Korea. He built a substantial collection over decades, buying in Asia and from antique dealers in Denmark as well as auction houses all around Europe. Condition: Good condition with some wear and casting irregularities, small dents, minor losses, remnants of pigment. The base sealed.Weight: 987 g Dimensions: Height 17.5 cmMaitreya awaits the day when the teachings of the Gautama Buddha, Shakyamuni, are forgotten by earth's inhabitants, at which point he will descend from the Tushita Heaven to become a Buddha. The present lot exudes reassurance through his benevolent facial expression and graceful gesture. It depicts Maitreya in his Buddha form, which is much rarer than the more commonly encountered bodhisattva form. Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2022, lot 424 Price: USD 44,100 or approx. EUR 40,500 converted at the time of writing Description: A gilt-bronze figure of Maitreya, Tibet, 17th-18th centuryExpert remark: Note the larger size (26.7 cm) and that the bronze depicts Maitreya in his more common bodhisattva form, unlike the present lot. Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2015, lot 28 Price: USD 35,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A gilt copper alloy figure of Maitreya, Tibet, 16th/17th centuryExpert remark: Note the slightly larger size (21.8 cm) and that the bronze depicts Maitreya in his more common bodhisattva form, unlike the present lot.十七世紀重要銅鎏金彌勒佛坐像西藏中部。彌勒通體鎏金，雙手當胸結說法印，並持蓮花莖，雙腿垂足而坐，為“善跏趺坐”，跣足踏於覆蓮台上，承坐於高束腰金剛座上；螺發，肉髻高聳，摩尼寶珠頂嚴；面龐飽滿，額際高廣，白毫凸出，雙眼微合，凝視天下，法相端莊；雙耳垂齊，頸部蠶節紋明顯。上身穿坦右肩袈裟，下穿僧裙，衣領暗刻纏枝紋，衣褶自然流暢，原裝全包式封底，封板中心鏨刻十字金剛杵紋。出版：Ulrich von Schroeder，Indo-Tibetan Bronzes，香港，1981年，第446-447頁，圖 121D & E。 來源：John Marsing私人收藏，在同一家族保存至今。John Marsing (1918-1998) 是一位丹麥商人。二十歲時，他成立了一家製藥公司 Marsing & Co。該公司在二十世紀中葉擴大規模，在歐洲、加拿大和韓國都設有分公司。Marsing 對亞洲文化非常感興趣，並且熱衷於收藏亞洲藝術品，尤其是來自喜馬拉雅山、中國和韓國的藝術品。幾十年來，他的收藏一直在發展，從亞洲、丹麥的古董商以及歐洲各地的拍賣行購買。品相：狀況良好，有一些磨損和鑄造不規則、小凹痕、輕微缺損、顏料殘留。底座密封。 重量：987 克 尺寸：高17.5 厘米 此拍品通過突出彌勒仁慈的面部表情和優雅的手勢散發出慈悲之心。它以佛陀的形象描繪了彌勒，這比更常見的菩薩形像要罕見得多。
Lot 7
AN IMPERIAL JADE-INLAID CINNABAR LACQUER WALL VASE INSCRIBED WITH A POEM BY HONGLI (1711-1799), QIANLONG PERIODThe poem inscribed on the jade plaque was composed by Hongli (1711-1799), better known as the Qianlong Emperor (reigned from 1736-1795). It is recorded in Qing Gaozong yuzhi shiwen quanji (Anthology of Imperial Qianlong Poems and Texts), volume 3, juan 58, page 19, figure 1, and can be translated as follows:Jade carved into flowers are fragrant like orchids,Between the garden steps, a few are elegantly planted.Who knows their essential beauty?Youdu, once asked this, answered with "Xie An".China, 1736-1795. Finely cast from gilt-bronze into baluster form flattened on one plane, mounted on the body with a shaped yellowish-celadon jade plaque inscribed in clerical script with a thirty-one-character Imperial poem, all surrounded by superbly carved blossoms of peony, chrysanthemum, and prunus borne on leafy branches against a diaper ground, framed by bands of prunus blossoms below the neck and above the foot, the neck flanked by two short tubular handles incised with scroll.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.J.111. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Superb condition with expected minor wear, few minuscule nicks, the back with light surface scratches, the wood base with a small chip. Fine, naturally grown patina overall.Weight: 512.2 g Dimensions: Height 18.6 cmMounted on a short wood base, probably zitan and dating from the same period. (2)Hongli was the fourth son of Yongzheng and born to Noble Consort Xi. He was adored by his grandfather, the Kangxi Emperor, and some historians argue to this day that Kangxi appointed Yongzheng as his successor only because Hongli was his favorite grandson. One of China's eternal visionaries, Kangxi is said to have spotted the singular leadership talent of the later Emperor Qianlong in Hongli when he was still a child. In 1796, the Qianlong Emperor abdicated in favor of his son, the Jiaqing Emperor, in a filial act so as not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase ranks among the most unusual and rarest examples produced during the Qianlong reign, as it combines gilt-bronze, cinnabar lacquer and carved jade.Expert's note: Carved cinnabar lacquer and gilt-bronze wall vases combined with jade inlays are very rare. The examples that come up for auction now and then almost invariably have condition issues such as strong wear to the gilding, losses and cracks to the lacquer, cracks or - worse - replacements to the jade inlays, and others. The pristine condition of the present wall vase makes it not just exceptionally rare, but literally unique. Literature comparison: Compare a pair of wall vases in the National Palace Museum, Taipei, included in the museum's exhibition The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, 2014, pl. II-48 (fig. 1), where the author notes that 'Lacquerware with jade inlay on a copper body is very rarely seen'.Also compare two boxes, one rectangular, the other chime-shaped, both inset with jade plaques, in the Palace Museum Beijing, illustrated in Carved Lacquer in the Collection of the Palace Museum, Beijing, 1964, cat. nos. 313 and 315. Compare a jade plaque inset in a cinnabar lacquer moon flask, similarly incised with a Qianlong seal mark and of the period, at Christie's Hong Kong, 27 April 1997, lot 21.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 25 April 2004, lot 19 Price: HKD 744,000 or approx. EUR 139,000 converted and adjusted for inflation at the time of writing Description: A very rare jade inlaid cinnabar lacquer wall vase, Qing dynasty, Qianlong periodExpert remark: Compare the closely related (and extremely rare) combination of carved lacquer and jade with an Imperial poem. Note the similar size (18 cm). Also note that the jade plaque on this example has several cracks, whereas on the present example it is in perfect condition.乾隆時期御製剔犀鑲玉刻御詩壁瓶中國，1736-1795年。鑲鎏金銅，剔犀掛瓶，頸部左右分別有一貫耳。瓶身錦地纏枝花卉紋，瓶身中央鑲嵌玉牌，上雕刻一首御詩。
Lot 58
A RARE 'HUNDRED SHOU-CHARACTER' BAMBOO VENEER SNUFF BOTTLE, ZHUHUANGChina, 1750-1800. Of rounded spade shape, with plain narrow sides tapering towards the flat foot, the slightly flared neck of rectangular section, each main face neatly carved with 50 shou characters. The matching bamboo stopper with veneer surmounted by a ball shaped finial. The bamboo with a naturally grown, golden-brown patina overall.Provenance: Robert C. Eldred Co., 10 December 2004, lot 495. A private collection in the United States, acquired from the above. Eldred's is the oldest continuously operating auction house in New England, founded in 1947 by Robert C. Eldred, Sr. In 1978, his son Robert C. Eldred, Jr. became President of the company, leading it for over three decades until his retirement in 2014. Condition: Excellent condition with expected old wear and minor traces of use.Stopper: Bamboo, bone spoonWeight: 14.6 gDimensions: Height including stopper 65 mm. Length neck 13 mm and mouth 6 mmThis bottle belongs to a group of bamboo bottles of distinctive type, apparently developed in the Beijing Palace workshops during the late 18th century.Bamboo veneer, or zhuhuang, was a technique developed in Jiangxi province in the mid-Qianlong period and taken up by the Palace Workshops thereafter remaining popular at the Court well into the 19th century. It required tremendous skill, using the inner layer from the cortex of the bamboo, which was resistant to insects, to create the veneer. This was then decoratively applied to a base form, usually also made of bamboo, and subsequently carved.The subject of the present bottle, the 100 shou longevity characters, is appropriately matched with the bamboo medium as the grass is known for its long life. A bamboo veneer bottle such as this would have been appropriate for a scholar-official in the court, because bamboo is also representative of the attributes of a gentleman, being strong, yet flexible, and evergreen (symbolizing constancy).Literature comparison: A bottle of the identical design is in the collection of the Palace Museum in Beijing and illustrated in Masterpieces of Snuff Bottles in the Palace Museum, Beijing, 1995, fig. 186, p. 181. Another identical bottle, from the collection of Denis Low, is illustrated in Robert Kleiner, Treasures from the Sanctum of Enlightened Respect, Hong Kong, fig. 207, 1999, p. 242. This spade-shaped example probably bears the closest comparison to two moon-flask bottles illustrated in Snuff Bottles in the Collection of The National Palace Museum, Taipei, 1992, Catalogue, nos. 414 and 415, p. 271.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 14 September 2010, lot 96Price: USD 46,875 or approx. EUR 60,500 converted and adjusted for inflation at the time of writingDescription: A rare bamboo veneer 'hundred shou character' snuff bottle Expert remark: Compare the closely related form, decoration, and material. Note the size (54 mm).清代竹簧壽字鼻煙壺中國，1750-1800年。扁平鼻煙壺，成圓形，近足部内收，平足，方口，直頸。側面成素面。正面背面開光，分別雕刻50個壽字。壺蓋成穹頂狀，上有頂珠。表面自然金棕色包漿。 來源：Robert C. Eldred Co.，2004年12月10日，lot 495；美國私人收藏，購於上述拍賣。Eldred's是新英格蘭最老的拍賣行之一，由Robert C. Eldred成立於1947年。1978年他的兒子Robert C. Eldred成爲公司總裁，領導公司三十多年，直至2014年退休。 品相：狀況極佳，有預期的舊磨損和輕微使用痕跡。 壺蓋：竹子，骨勺 重量：14.6 克 尺寸：含蓋高 65 毫米，頸部長13毫米，口部直徑 6 毫米 此類鼻煙壺為十八世紀晚期北京清宮廷御作坊所製。 竹簧是一大發明與創造，至乾隆中期在江西地區竹簧工藝達到高峰，並被宮廷御作坊採用，此後一直在清廷中流行到 19 世紀。其製作工藝相當複雜，將竹子留下薄層的竹簧，經過煮、曬、壓平後，膠合在木胎上，然後磨光，再在上面刻飾各種圖案。此瓶題材為百壽字，寓意吉祥；而竹子又是四君子之一，剛勁而不失柔韌，像這樣的竹簧鼻煙壺，適合宮廷朝臣使用。 文獻比較： 一件幾乎相同設計的鼻煙壺，收藏於北京故宮博物院，見《故宮鼻煙壺選萃》，北京，1995年，圖186，頁181。另一件幾乎相同的鼻煙壺，來自Denis Low收藏，見Robert Kleiner，《Treasures from the Sanctum of Enlightened Respect》，香港，圖207，1999年，頁242。比較一件鏟子形與兩個扁壺形的鼻煙壺，見《故宮鼻煙壺》圖錄，台北，1992年，編號414和415，頁271。
Lot 197
AN IMPORTANT BUDDHIST VOTIVE PAINTING DEPICTING BUDDHA, EARLY MING DYNASTY, 1400-1450Published: Roderick Whitfield et al., Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy, Wou Lien-Pai Museum, Hong Kong, 2011, pages 16-17, elaborately discussed in Roderick Whitfield's essay “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”, and page 109, no. 6 (note that the size is erroneously noted as 136.5 x 68 cm).Expert's note: According to Roderick Whitfield in his essay “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”, written in 2008, the present lot exhibits numerous features which are typical of Buddhist paintings on silk dating from the first half of the fifteenth century, some originating from the capital and others from Shanxi province. Roderick Whitfield (b. 1937) is a British scholar and art historian who was the Percival David Professor at the School of Oriental and African Studies of the University of London, as well as Assistant Keeper at the British Museum between 1968 and 1984 and head of the Percival David Foundation of Chinese Art between 1984 and 1993.China, first half of the 15th century. Ink and watercolors on silk. Depicting the Buddha seated on a double lotus over an elaborate hexagonal tiered throne supported by two striding guardian figures centered by a lion, his left hand holding a small flask and his right held above his lap, wearing loose-fitting robes and adorned with jewelry, backed by a circular halo of multi-colored rays of light. His serene face with heavy-lidded eyes and pursed lips, his blue hair arranged in spiral curls around the central ushnisha. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.38. The frame with an old label, 'KW P38', as well as further old labels to the back. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Extensive wear, creasing, losses, tears, and soiling. Minor old touch-ups here and there. The wood frame with wear, chips, and losses.Dimensions: Image size 148 x 70 cm, size incl. frame 157.5 x 80 cmWith a finely carved old gilt wood frame. (2)The present image is a symbolic representation placed on a wall during Buddhist rituals. From the Buddhist perspective, paintings and calligraphy belong to Silpakarma-vidya, one of the five types of knowledge and wisdom. Over time monks and laymen painted and practiced calligraphy and Buddhist-themed works became more sophisticated during the Song and Yuan dynasties. By the early Ming dynasty, votive paintings, such as the present example, were used within private chapels and side pavilions of major temple monasteries.As explained in Caroline Gyss-Vermandes' pioneering article about the sets of Shuilu (Water and Land) paintings obtained by Paul Pelliot from “a library in the Imperial Palace” and now in the Musee Guimet (Demons et Merveilles: vision de la nature dans une peinture liturgique du XVe siecle, Arts Asiatiques 43, 1988, pages 106-122), such paintings were not objects of worship, but rather illustrations of the pantheon invoked in the Water and Land rituals, hung up in a prescribed order on the left and right walls of the sanctuary, while the main deities, in a larger size, were hung slightly higher on the north wall. Literature comparison: Compare a related painting of the Medicine Buddha, dated 1477, in the University of Oregon Museum of Art, illustrated in Marsha Weidner, Latter Days of the Law: Images of Chinese Buddhism 850-1850, cat. no. 5, pl. 3.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 17 March 2016, 1110 Price: USD 112,500 or approx. EUR 130,000 converted and adjusted for inflation at the time of writing Description: A Buddhist Figure, ink and color on silk, anonymousExpert remark: Compare the closely related manner of painting. Note the smaller size (95.7 x 50.4 cm).1400-1500年明初重要還願佛陀坐蓮像中國，十五世紀上半葉，絹本水墨設色。出版：Roderick Whitfield et al.，《Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy》，吳蓮伯美術館，香港，2011年，頁16-17，Roderick Whitfield的文章 “Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art”，頁109，圖 6 (請注意，錯誤尺寸136.5 x 68 厘米)。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 P.38。框上和背面有老標籤。 品相：大量磨損、摺痕、缺損、撕裂和汙跡，多處輕微的小修補，木框有磨損、刻痕和缺損。 尺寸：畫面148 x 70 厘米，含框 157.5 x 80 厘米 描金雕刻木框 (2)
Lot 686
Harry Powell for James Powell and Sons, a cut glass and silver mounted Roman Flask decanter, silver London 1906, design number 01502, the spherical body engraved with interlocking concentric rings, lens cut rosettes, plain baluster neck and rigaree band, the hammered collared stopper with moulded teardrops, 24cm high Note: the original design illustration after an antique example in Cologne, is reproduced in Evans, W. et al, 1995, Whitefriars Glass, Museum of London, p.267 pl.393
Lot 239
A small collection of various plated wares to include a bosun's whistle of typical form, leather mounted glass and plated hip flask, figure of a pointer dog on stone base, a Walker & Hall plated stirrup cruet stand, a plated "swan" four section toast rack, a cricket bat pipe tamper, an embossed white metal rectangular miniature casket, a Mappin & Webb prince's plate brandy warmer and an "alpaca" white metal mounted matte pot
Lot 38
A small collection of silver, comprising; a small Victorian silver hip flask, London 1840, a cream jug and sugar bowl, Birmingham 1969, together with two silver toast racks, a silver pedestal bon bon dish, a pair of silver sugar tongs and five silver teaspoons, total weight approx 20.3oz (12)
Lot 981
Roman, Romano-British, Bronze brooches (3), late 1st to early 2nd century, including piriform with bilobed terminal, central rivetted stud containing red enamel; lozenge shape with four arms and a central boss (now missing) (cf. Hattatt 1001); disc with side lugs and two dolphins at one end, pin intact; flask with handle on one side, chain loop at one end, body is recessed for enamel, hinged pin complete (cf. Hattatt 1147); together with a Celtic fibula with knobbed decoration on the high arched bow with extended catch plate [4]. All about very fine £100-£120 --- Provenance: From a UK collection
Lot 1053
Tudor and Stuart, Assorted artefacts (6), including brass nutcrackers; seal ring and pipe tamper (2), one seal engraved with r*i, second with double-headed eagle; gilt lion’s head military buckle; silver annular brooch; lead powder flask [6]. Varied state £80-£100 --- Provenance: All found in Norfolk
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