A DINGYAO ‘LOTUS’ STEM CUP, NORTHERN SONG DYNASTYChina, 960-1127. With rounded sides rising from a short splayed stem to a lobed rim, decorated on the interior with a central lotus bloom and finely incised bands of floral scrolls radiating outwards, applied overall with a pale ivory glaze.Provenance: E.W. Hendriks Oriental Art, Amsterdam, 1997. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Excellent condition with wear and firing flaws, such as microscopic frits, glaze recesses, pitting, and dark spots, one minor hairline (ca. 3 cm long) to sides. All commensurate with age and exactly as expected on this type of ware.Weight: 85.9 gDimensions: Height 5 cm, Diameter 10.9 cmLiterature comparison: For an earlier white-glazed stem cup, of related form clearly serving as inspiration for the present lot, see Christie’s New York, 19 March 2009, lot 685. See also Ting Ware White Porcelain, National Palace Museum, Taipei, Taiwan 1987, no. 93.Auction result comparison: Compare with a closely related but undecorated Dingyao stem cup at Bonhams London in Fine Chinese Art on 5 November 2009, lot 133, sold for GBP 15,600.北宋定窯花口高足杯中國，960-1127年 。花體弧腹，杯中央有蓮花紋，壁若花瓣，高足外撇。杯身通施象牙白釉，釉色溫潤淨潔。 來源：阿姆斯特丹E.W. Hendriks Oriental Art藝廊，1997。Dr. Koos de Jong收藏，1997年購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：狀況極佳，有磨損和燒制缺陷，例如微小熔塊，釉料凹陷，凹痕和黑斑，側面有一根細線縫（約3厘米長）。 一切都與年齡相符。 重量：85.9 克 尺寸：高5 厘米, 直徑10.9 厘米 拍賣結果比較：一件相近但素面定窯高足杯見倫敦邦翰思Fine Chinese Art 拍場，2009年11月 5日lot 133, 售價GBP 15,600.
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AN IVORY-GLAZED EWER, FIVE DYNASTIES TO SONG DYNASTYChina, 10th-11th century. The globular body rising from a short ring foot to a short waisted neck with a cupped mouth, the shoulder and neck applied with one strap and two lug handles, with an elegantly curved spout, covered in a finely crackled creamy white glaze, the base left unglazed.Provenance: Fai Kei Ferros Velhos, Macao, 1998. Dr. Koos de Jong, acquired from the above (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Good condition with old wear and firing flaws, such as microscopic frits, firing cracks, dark spots, and glaze recesses, the with an old repair at the tip, some minor chipping.Weight: 274.7 gDimensions: Height 13 cmLiterature comparison: Art Chinois (coll. Uberto Draghi), Musee Royal de Mariemont 1990, no. 93, p. 194. Tang and Liao Ceramics, 1984, p. 122, ill. 94. Bright as Silver White as Snow. Chinese White Cera¬mics from Late Tang to Yuan Dynasty, The Denver Art Museum, Denver 1998, no. 31, p. 146.Auction result comparison: Compare with a related but larger ewer at Sotheby’s London in Important Chinese Art on 4 November 2020, lot 355, bought-in at an estimate of GBP 3,000-5,000.五代至宋白釉執壺 中國，十至十一世紀。球形器，短足，短頸，嘴呈杯狀，扁平手柄，優雅彎曲的壺嘴。壺身覆蓋著開片的白色釉，底部未上釉。 來源：Fai Kei Ferros Velhos, Macao, 1998. Dr. Koos de Jong收藏，購於上述收藏（發票丟失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam) 品相：有舊磨損和燒制缺陷，例如微小熔塊，燒制裂紋，黑斑和釉面凹陷，尖端處有舊修復物，有些碎裂。 重量：274.7 克 尺寸：高13 厘米 拍賣結果比較：一件相近但更大的執壺見倫敦蘇富比Important Chinese Art 拍場，2020年11月4日lot 355, 估價GBP 3,000-5,000.
A MOLDED QINGBAI ‘LOTUS POND’ TRIPOD CENSER AND OPENWORK COVER, SONG DYNASTYChina, 960-1279. Of circular form, supported on three trefoil feet, the domed cover molded with a central chrysanthemum surrounded by lotus flowers, the body incised with fish and lotuses surrounded by scrolling vines, applied overall with a thin and finely crackled pale green glaze.Provenance: Property of a European gentleman living in London. Previously from an English collection formed in the 1980s.Condition: Excellent condition with minor wear and firing flaws, including three evenly spaced spur marks and minimal glaze flakes, intentional crackling, minimal losses.Scientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia Tecnologie per i Beni Culturali, in Milan, Italy, reference number NLL04, dated 21 February 2017, and is consistent with the suggested period of manufacture. A copy of the thermoluminescence analysis report accompanies this lot.Weight: 342.2 gDimensions: Height 11 cm, Diameter 10.5 cmAuction result comparison: Compare with a related tripod censer and openwork cover from the Song dynasty, of slightly smaller size and covered with an ivory-white glaze, at Sotheby’s London in Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares on 14 May 2008, lot 289, sold for GBP 3,500.宋代青白荷塘三足蓋爐中國, 960-1279年。圓形三足爐，足成如意形，蓋上鏤空雕刻菊花紋與荷花紋 。爐身隱約可見荷塘魚戯，纏枝紋，整體上塗有薄而細密的開片青白釉。來源：倫敦歐洲紳士收藏。來自一個建立於1980年代的英國收藏。 品相：狀況極佳，有輕微磨損和燒製瑕疵，包括三個均勻分佈的痕跡和極少的開片，極少缺損。 科學檢測報告：一份意大利米蘭Arcadia Tecnologie per i Beni Culturali研究所出具的熱釋光報告， NLL04號, 2017年2月21日，與目前斷代一致。隨附熱釋光檢測報告副本。 重量：342.2 克 尺寸：高11 厘米, 直徑10.5 厘米 拍賣結果比較：一件宋代鏤空三足蓋爐，尺寸稍小，白釉，見倫敦蘇富比 Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares 拍場2008年5月14日 lot 289, 售價GBP 3,500.
A DING-TYPE IVORY-GLAZED SOFT-PASTE VASE, YUAN TO MINGChina, 1279-1644. The ovoid body rising from a splayed foot with bowstring to a cylindrical neck with cut-out flanges and an everted rim, covered overall in a creamy ivory glaze, the base and interior left unglazed.Provenance: Hungarian private collection. Old collector’s label to base.Condition: Excellent condition with minor wear and expected firing irregularities. There are two such flaws to the inner foot which look a bit like small chips, but are more likely to be from production.Weight: 504.8 g Dimensions: Height 20 cm元明仿定窯雙耳瓶中國，1279-1644年。折沿，圓柱形頸，雙耳，鼓腹，足外撇，整體覆蓋著乳白色的釉料，底部和內部均未上釉。 來源：匈牙利私人收藏，瓶底可見藏家老標簽。 品相：狀況極佳，有輕微磨損和預期的燒製不規則現象。 內腳有兩個磕損，但更可能是由於製作引起的。 重量：504.8 克 尺寸：高 20 厘米
A BAMBOO OPIUM PIPE WITH IVORY, SILVER AND YIXING CERAMIC FITTINGS, LATE QING TO REPUBLICChina, late 19th to early 20th century. The bamboo stem with ivory mouthpiece and silver fittings incised with lotus scrolls, the silver saddle incised and embossed with lotus flowers and a bird, holding a Yixing ceramic pipe bowl with evenly spaced alternating Shou and double happiness characters to the underside.Provenance: Viennese private collection.Condition: Good condition with wear, light scratches, minuscule nicks, traces of use, natural age cracks to the bamboo stem, some with old fill. The ivory fittings with a fine, naturally grown, honey-brown patina.Weight: 537.1 gDimensions: Length 58.3 cmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清末民初鑲銀竹雕烟槍中國，十九世紀末至二十世紀初。象牙煙嘴，竹烟桿，花卉紋銀製配件，花鳥紋銀製煙葫蘆座，宜興陶瓷煙葫蘆上飾有壽字和喜字。 來源：維也納私人收藏 品相：狀況良好，有磨損，輕微的划痕，微小的刻痕，使用痕跡，竹桿的自然乾裂縫，有些帶有舊填料。 象牙配件具有精美的自然生長的蜂蜜棕色包漿。 重量： 537.1 克 尺寸：長58.3 厘米
A HARDWOOD OPIUM PIPE WITH IVORY, HARDSTONE AND SILVERED COPPER FITTINGS, LATE QING TO REPUBLICChina, late 19th to early 20th century. The hardwood stem ingeniously carved as a segment of bamboo, the ivory mouthpiece with an amber finial, the ivory saddle carved as a hand grasping the hardstone pipe bowl carved as a chrysanthemum, each with silvered copper fittings as well.Provenance: German private collection.Condition: Good condition with wear, natural age cracks, light scratches, few minor dents, traces of use.Weight: 93.4 gDimensions: Length 30 cmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清末民初竹節形鑲象牙硬木烟槍 中國，十九世紀末至二十世紀初。硬木巧妙地雕刻成一段竹節，象牙煙嘴配琥珀頂，石煙葫蘆與烟桿之間是如手狀的象牙鞍，鍍銀的銅配件。 來源：德國私人收藏 品相：狀況良好，有磨損，自然裂縫，輕微划痕，少量凹痕，使用痕跡。 重量：93.4 克 尺寸：長30 厘米
A HARDWOOD OPIUM PIPE WITH JADEITE, IVORY AND ZITAN FITTINGS, LATE QING TO REPUBLICChina, late 19th to early 20th century. The dark and finely grained hardwood stem carved in relief with two confronting butterflies between a central flower, the jadeite mouthpiece of an even white tone, the ivory saddle carved as a hand grasping the zitan and ivory pipe bowl incised with four lines of characters.Provenance: German private collection. Condition: Good condition with minor wear, few natural age cracks, light scratches, few minuscule nicks, traces of use.Weight: 191.1 gDimensions: Length 39.5 cmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清末民初鑲翡翠紫檀烟槍 中國，十九世紀末至二十世紀初。深色細密的硬木烟桿浮雕花卉紋，中間有兩朵相向的蝴蝶，玉色均勻的翡翠煙嘴，煙葫蘆和烟桿之間連接由象牙所制，紫檀制配件。象牙葫蘆上刻有一詩。 來源：德國私人收藏 品相：狀況良好，有磨損，木材自然老化，在銀上有凹痕，小刻痕，到處都有輕微的划痕，使用痕跡。 重量：191.1 克 尺寸：長39.5 厘米
A ‘MUTTON FAT’ WHITE JADE SNUFF BOTTLE, QING DYNASTYChina, 18th-19th century. Of flattened ovoid form. A test on the Mohs scale reveals a hardness between 7-8. The pure jade, with one tiny russet inclusion to one side, is superbly hollowed. The stone is of an unusually even ivory-white color, and presumably to accentuate this, a slightly glossier surface polish has been applied.Provenance: French private collection.Condition: Pristine condition with only very minimal natural flaws to the material and microscopic chipping to the lip.Stopper: Coral cabochon with an incised and gilt metal fitting and neatly carved spoonWeight: 85.6 g Dimensions: Height including stopper 62 mm. Diameter neck 17 mm and mouth 7 mmPure white jade was always valued at Court, from the Song dynasty onwards, and much of the finest material was left undecorated, such as the present bottle. Plain white jade snuff bottles in the National Palace Museum collection Taipei are illustrated in Snuff Bottles in the Collection of the National Palace Museum, Taipei, 1991, pls. 111, 114, 116 and 117.Auction comparison: Compare to a related bottle at Sotheby’s Hong Kong, Snuff Bottles from the Mary and George Bloch Collection: Part X, 1 June 2015, lot 172, sold for HKD 437,500.清代羊脂白玉鼻烟壺中國，十八至十九世紀。扁圓形。莫氏硬度測試結果為7-8。白玉，只有在一面可見細微脈絡，掏膛極好。白玉顏色異常均勻，牙白色，並且為了突出這一點，表面拋光極好。 來源：法國私人收藏. 品相：原始狀態，材料的自然瑕疵極少，壺唇微磕。 壺蓋：珊瑚壺蓋，鎏金金屬刻紋蓋托，雕刻整齊的小壺匙. 重量：85.6 克 尺寸：總高62 毫米，頸部直徑17 毫米，嘴部直徑7 毫米 拍賣結果比較：一件相近鼻烟壺見香港蘇富比 Snuff Bottles from the Mary and George Bloch Collection: Part X拍場，2015年6月1日lot 172, 售價HKD 437,500.
AN AQUAMARINE GLASS ‘KUILONG’ SNUFF BOTTLE, QING DYNASTYChina, 18th – early 19th century. Each side carved in relief with a pair of confronting archaistic upright coiling kuilong, their bodies decorated with scrolls. The flattened ovoid body rising from an oval foot to a cylindrical neck with a remarkably wide mouth.Provenance: British private collection.Condition: Very good condition with minor wear, microscopic nibbling to mouth, and manufacturing flaws, such as cloudy white inclusions and bubbles.Stopper: Apple green jadeite cabochon with a particularly fine ivory spoon of attractive shape and honey-golden patina.Weight: 47.9 gDimensions: Height including stopper 85 mm. Diameter neck 16 mm and mouth 11 mmAuction result comparison: Compare with a related red glass snuff bottle with kuilong at Sotheby’s New York in Important Chinese Art on 13-14 September 2016, lot 217, sold for USD 5,000, and another at Sotheby’s New York in Asian Art on 18 March 2017, lot 1562, sold for USD 8,750.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清代寶藍色料夔龍紋鼻烟壺中國，十八至十九世紀。兩側浮雕相對的古老盤曲夔龍紋。扁平式，橢圓形底足，圓柱形的直頸，寬嘴。 來源：英國私人收藏 品相：有輕微磨損，細微磕損和製造缺陷例如渾濁的白色内含物和氣泡。 壺蓋：翡翠壺蓋，形狀優美的蜜金色包漿象牙小壺匙 重量：47.9 克 尺寸：總高85 毫米；頸部直徑16 毫米；嘴部直徑11 毫米 拍賣結果比較：一件紅料夔龍紋鼻烟壺見紐約蘇富比 Important Chinese Art 拍場2016年9月13-14日lot 217, 售價USD 5,000；另一件見紐約蘇富比 Asian Art 拍場2017年3月18日 lot 1562, 售價USD 8,750.
AN IMPERIAL ENAMELED WHITE GLASS ‘BOYS’ SNUFF BOTTLE, QIANLONG MARK AND PERIODChina, 1760-1780. Masterfully painted in soft enamels of imperial yellow, pink, blue, green, and turquoise on a translucent ivory-white ground with two scenes of boys at play below a ruyi-tassel border at the shoulder and neck, the recessed base with a blue-enameled four-character Qianlong nianzhi mark within a double square and of the period.Provenance: From the collection of Mary Ann Edmondson Bresee (1932-2017), Georgia, USA, avid collector and former member of the International Chinese Snuff Bottle Society. Her grandfather was Walter T. Candler, son of Asa G. Candler, the founder of the Coca-Cola Company. Her bottles were exhibited both at the Cummer Museum of Art and Gardens and the Norton Museum of Art. Collector’s label ‘LH1’ to spoon.Condition: Superb condition with some wear. Flaws in the glass include minuscule bubbles to the foot rim, partially polished off as a part of the manufacturing process. The crisp and fresh enamels with minor pitting and microscopic crackling in some areas.Stopper: Gilt bronze with incised floral decorations, black collar, and neatly carved spoonWeight: 40.7 gDimensions: Height including stopper 58 mm. Diameter neck 17 mm and mouth 6 mmFour boys are playing a game of blind man’s buff to one side and three boys are performing gymnastics to the other, each in a fenced garden. In Chinese art the depiction of young boys at play is considered a sign of good fortune, representing the blessing of having many sons to carry on the family name. The shoulders of the bottle show birds in flight amid bamboo and craggy rockwork as well as blossoming prunus and wutong behind lingbi stones. The flattened globular body rises from a short broad oval foot to a tapering neck.Of the two main Palace painted enamel arts (on glass and on metal), those on glass are the rarer. During the Qianlong reign enameled metal wares, including snuff bottles, ran into the thousands, whereas enameled glass wares were produced only in the low hundreds. A rough estimate of the total number of enameled glass snuff bottles produced during the period comes to about three hundred. This was mainly due to the greater difficulty of producing them successfully, the need for multiple firings to correctly mature different colors and layers of enamel, and the much higher failure rate during production. In the early phase of the art form, from the late Kangxi until the 1750s or early 1760s, technical control of the enamels was still marginal, and all known examples exhibit some degree of pitting or discoloration of the enamels. This continued to be a problem with some colors into the second half of the Qianlong reign. Although far from obtrusive, in the present bottle the blue enamel on some of the boys’ clothing in particular is pitted, but it is otherwise remarkably well fired.The present type of translucent, milky-white glass was frequently used as an alternative to opaque white glass within the Palace workshops and is ideally suited to the equally translucent enamels. One of the key features of Palace enamels on glass is the softness, translucency, and delicacy of much of the palette, which allows for very subtle shading and gradations of color.A distinctive feature of Qianlong painted enamels on glass is the relative thinness of the enamels and the painterly quality of the brushwork. Court artists, highly trained in the tradition of calligraphic brushwork that gave Chinese painting one of its most profound inner languages, were involved in drawing up the designs and sometimes in painting the enamels. Failing that, it was skilled enamellers trained in the same aesthetic and overseen by court artists who produced them from preparatory sketches. Artistically, these early, painterly enamels represent the apogee of glass enameling during the Qing dynasty, and the present bottle well exhibits this exceptional quality.This design is purely Chinese in its conception, without any hint of the Western influence that appears, not unnaturally, in some wares with European subjects that rely to a greater extent on the use of color and chiaroscuro rather than line to create form. The red blossoms drawn without any in the present bottle do not by that quality reflect Western influence, but rather the 'bodiless' style made famous by Yun Shouping (1633–1690), whose works would have been well known to any court artist a mere half century after the painter's death. Here, the blossoms are balanced against the other elements of the design featuring the elegant black lines of the calligrapher's brush, with well-modulated, expressive strokes.Expert’s note: The reign marks on earlier Qianlong enameled glass bottles are usually flush with the foot, in contrast to the raised blue enamel marks of the mid- to late reign as seen on the present bottle. Together with the masterful quality of the painting as well as the use of translucent glass and soft enamels, this allows us to further narrow the likely dating of this bottle to circa 1760-1770.Literature comparison: Compare a bottle in the Palace Museum, Beijing, included in Snuff Bottles, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2003, no. 9. See also another bottle of this type from the J & J Collection, reproduced in Moss, Graham, Tsang, The Art of the Chinese Snuff Bottle. The J & J Collection, no. 187.Auction result comparison: Compare with a related bottle, dated 1736-1760, at Bonhams Hong Kong in Snuff Bottles from the Mary and George Bloch Collection Part I on 28 May 2010, lot 132, sold for HKD 5,248,000, and another, dated 1750-1780, at Christie’s Hong Kong in Important Chinese Snuff Bottles from a Distinguished American Collection on 7 October 2014, lot 18, sold for HKD 4,120,000.乾隆款與年代御制琺琅彩白料嬰戯圖鼻烟壺 中國，1760-1780年。在半透明的象牙白地上，使用黃色、粉紅色、藍色、綠色和青綠色等琺瑯彩精美描繪孩童玩耍場景。頸部飾如意紋。底足内凹凹進，藍色四字“乾隆年制”款。 來源：美國佐治亞州Mary Ann Edmondson Bresee（1932-2017）收藏。她曾是國際中國鼻煙壺協會的會員。 其祖父是Walter T. Candler，可口可樂公司創始人Asa 克Candler的兒子。 她的鼻烟壺在Cummer Museum of Art and Gardens博物館和Norton Museum of Art博物館均有展出。 圖片：Mary Ann Edmondson Bresee (1932-2017) 品相：狀況極佳，有些磨損。 玻璃中有些瑕疵，包括足部邊緣的微小氣泡，在製造過程部分打磨過。 琺瑯局部有輕微裂紋。 壺蓋：鎏金銅雕花卉紋，黑色蓋托，小壺匙 重量：40.7 克 尺寸：含蓋總高58 毫米，頸部直徑17 毫米，嘴部直徑6 毫米 專家注釋：乾隆時期早期款識通常與腳齊平，與本瓶中晚期所繪的藍色琺琅彩款相反。 再加上繪畫的精湛品質，以及使用半透明玻璃和洋彩，使我們可以進一步明確此鼻烟壺的年代，大約為1760-1770。 拍賣結果比較：一件相近1736-1760年間的鼻烟壺見香港邦翰斯Snuff Bottles from the Mary and George Bloch Collection Part I 拍場，2010年5月 28日 lot 132, 售價HKD 5,248,000, ；以及另一件1750-1780年間的鼻烟壺見香港佳士得 Important Chinese Snuff Bottles from a Distinguished American Collection 拍場，2014年10月7日 lot 18, 售價HKD 4,120,000.
AN OPENWORK AND RETICULATED CANTON IVORY SNUFF BOTLE WITH MATCHING STOPPER, QING DYNASTYChina, 19th century. Deeply carved and painted in shades of blue, green, yellow, red, and brown, depicting a continuous scene of court ladies seated in pavilions with their attendants and musicians playing flutes, cymbals, and pipa.Provenance: French private collection.Condition: Excellent condition with minor wear, occasional light scratches, few natural age cracks, no losses whatsoever.Stopper: Stained ivory carved with floral and geometric decorations, matchingWeight: 169.6 gDimensions: Height including stopper 104 mm. Diameter neck 26 mm and mouth 9 mmThe figures are surrounded by wutong and willow as well as craggy rockwork, all above a key-fret band at the foot below a lappet border and another key-fret band at the neck above scrolling clouds. The bottle of rounded rectangular form with a short waisted neck and thick oval foot rim.Expert’s note: Due to the depth of the carving as well as the many exposed and reticulated areas, with not a single loss or chip whatsoever, this piece must be considered rare.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清代廣東象牙雕彩繪鼻烟壺 中國，十九世紀。象牙雕刻，藍色、綠色、黃色、紅色和棕色彩畫庭院中夫人賞景場景，侍女與舞者、樂人在旁演奏長笛和琵琶。 來源：法國私人收藏 品相：狀況極佳，輕微磨損，偶有輕微划痕，很少的自然裂紋，無任何損失。 壺蓋：匹配的上色象牙雕刻花卉紋壺蓋 重量：169.6 克 尺寸：含蓋總高104 毫米，頸部直徑26 毫米 嘴部直徑9 毫米 折方形，短頸，橢圓形底足。 專家注釋：鑒於雕刻的深度以及衆多鏤空區域，卻沒有任何損失或碎屑，這件作品可算是非常罕見的。
A CARVED IVORY SNUFF BOTTLE, MEIJIJapan, Meiji, late 19th century, made for the Chinese market, workshop mark incised to base. Of flattened circular form, with a recessed base and slanted lip, oval foot ring and wide opening to the mouth. Finely carved and stained depicting the lucky god Shou-lao mounted on a crane, the reverse with a boy attendant serving peaches, both surrounded by dense swirling clouds. The neck and stopper with a circumferential key-fret design.Provenance: Belgian private collection.Condition: Superb condition with minimal associated surface wear and age cracks. Fine patina, naturally grown into a warm honey-brown tone, the grain still well visible.Stopper: Matching stopper and spoonWeight: 40.1 g Dimensions: Height including stopper 59 mm. Diameter neck 10 mm and mouth 6 mmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 明治時期象牙鼻烟壺 日本，明治時期，十九世紀末。為中國市場所作，底足可見“壽”字。扁平式圓形，橢圓形底足内凹，嘴唇傾斜。 開光精細雕刻並染色描繪壽老，他坐在仙鶴上。另一面可見一個童子端著桃子。四周如意祥雲圍繞。頸部和塞子上可見雷紋。 來源：比利時私人收藏. 品相：極佳的狀態，表面輕微磨損和年代裂紋。 細膩包漿，自然長成溫暖的棕褐色，象牙紋理仍然清晰可見。 壺蓋：匹配壺蓋，小壺匙 重量：40.1 克 尺寸：總高59 毫米，頸部直徑10 毫米，嘴部直徑6 毫米
A RHINOCEROS HORN SNUFF BOTTLE, QING DYNASTYChina, 1750-1850. Of flattened ovoid form with an oval foot and a tall cylindrical neck with a wide mouth, the material of an attractive golden honey-brown tone mottled with black veins and shadings.Provenance: French private collection. Condition: Very good condition with old wear, some traces of use and natural age cracks.Stopper: Amber cabochon and carved spoonWeight: 27.3 gDimensions: Height including stopper 64 mm. Diameter neck 18 mm and mouth 10 mmLiterature comparison: Compare with a closely related bottle, dated 18th-19th century, in T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, p.247, no.185.Auction result comparison: Compare with another Rhinoceros horn snuff bottle at Bonhams Sydney in Fine Asian Art on 3 May 2016, lot 55, sold for AUD 12,200.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清代犀角鼻烟壺 中國，1750-1850年。扁平卵形，橢圓形底足，圓柱形直頸，大口，迷人的金色蜜棕色調，帶有黑色的紋理。 來源：法國私人收藏. 品相：狀況良好，有舊磨損，使用痕跡和自然裂縫。 壺蓋：琥珀壺蓋，小壺匙 重量：27.3 克 尺寸：總高64 毫米，頸部直徑18 毫米，嘴部直徑10 毫米 拍賣結果比較：另一件犀角鼻烟壺見悉尼邦翰斯Fine Asian Art 拍場，2016年5月3日lot 55, 售價AUD $12,200.
A GILT BRONZE ‘PEACH AND BAT’ WASHER, QIANLONGChina, 1736-1795. Cast in the form of a peach growing from a gnarled branch, a bat with wings spread out above the rim, a ribbon with two small coins above. The exterior of the washer is finely incised with a Shou character to the base and further characters to the side, the bottom section of the peach neatly stippled.Provenance: French private collection. Condition: Very good condition with minor wear, a small dent to the underside, minuscule nibbling to the edges.Weight: 53.2 gDimensions: Width 8 cmThe splendor of the Qianlong court is captured in this ingeniously crafted washer in the form of an auspicious peach, the fruit of immortality in Daoism. While the handle is subtly cast as a gnarled branch, the base shows a shou medallion which - using the rather complex repousse technique - also appears on the inside. Together with the bat the rebus ‘May you have both blessings and longevity’ (fushou shuangquan) is formed. This auspicious motif, combined with the high level of craftsmanship, suggests this washer may have been created for a high ranked official or even a member of the imperial family, possibly on the occasion of a birthday.The peach was one of the Qing Emperor's favorite motifs and it was thus used as a form for washers and boxes made of various materials. Boxes also adorned with a shou character and bats include a coral example, attributed to the Yongzheng period, in the Qing court collection and still in Beijing, included in the exhibition ‘China, The Three Emperors, Royal Academy of Arts, London, 2005, cat. no. 294. An ivory version sold at Sotheby’s on 7th November 2007, lot 207. A silver filigree box in the Palace Museum, Beijing, is published in Zhongguo jinyin boli falangqi quanji [The complete collection of Chinese gold, silver, glass and enameled wares], vol. 3, Jinyin qi [Gold and silver wares], Shijiazhuang, 2004, pl. 308.Auction result comparison: Compare with a closely related ‘peach and bat’ box and cover, made of gold, at Sotheby’s Hong Kong in Gems of Chinese Art – The Speelman Collection II, 3 October 2018, lot 3430, sold for HKD 1,500,000.乾隆福壽桃形筆洗 中國，1736-1795年。鑄成桃子狀，從一個桃枝上長出，一對蝙蝠的翅膀在邊緣上方展開，一條絲帶挂著兩個小銅幣。 筆洗外壁裝飾壽字紋字樣，桃子的底部整齊。 來源：法國私人收藏. 品相：狀況極佳，有輕微磨損，下側有小凹痕，邊緣微微磕損。 重量：53.2 克 尺寸：寬 8 厘米 拍賣結果比較：一件相近的黃金福壽蓋盒售于香港蘇富比 Gems of Chinese Art – The Speelman Collection II拍場, 2018年10月3日，lot 3430, 售價HKD 1,500,000。
AN IVORY JADE BANGLE, LIANGZHU CULTUREChina, Liangzhu Culture, c. 3300-2200 BC. Of circular form, the sides finely incised with taotie masks on three rectangular registers, the opaque stone of a grayish-white color with dark grayish-black and russet veins.Provenance: Formerly in the collection of Dr. Simon Kwan, Hong Kong. The collection of a member of the Rockefeller family, acquired from the above, circa 1990 (old collector’s label to base reading “Liangzhu, Ex. Coll. Kwan 18,000“). US private collection, acquired from the above in 2017. Dr. Simon Kwan (b. 1941) is a former Hong Kong architect, receiving many awards for his work over the years. He is also a painter and a dedicated researcher and scholar in the field of Chinese art and design. He has written many papers and delivered many lectures on Chinese art at universities and institutions in Hong Kong and abroad. In 1994, the Institute of Chinese Studies at the Chinese University of Hong Kong held an exhibition of 239 jades from Dr. Kwan’s private collection, Chinese Archaic Jades from the Kwan Collection.Condition: Naturally aged condition commensurate with age, possibly with alterations from the period. Extensive erosion, smaller losses with old fillings, minor nicks here and there, encrustations, natural fissures, some of which may have developed into small cracks over time. Good natural patina, unctuous feel. Inspected under strong blue light.Weight: 192.1 gDimensions: Height 3.8 cm, Inner Diameter 5.1 cm, Outer Diameter 7.2 cmAuction result comparison: Compare with a related jade bangle at Christie’s Hong Kong in The Chang Wei-Hwa Collection of Archaic Jades, Part I - Neolithic Period on 27 November 2019, lot 2724, sold for HKD 2,375,000.良渚文化象牙色玉手鐲 中國，良渚文化，公元前 3300-2200 年。側面雕刻饕餮紋，灰白色的不透明石頭帶有深灰黑色和赤褐色的脈絡。 來源：原為香港関善明博士收藏。洛克菲勒家族成員大約在1990年從上述收藏購得，舊藏家的標籤上標有“ Liangzhu，Ex。Coll。Kwan 18,000”。 美國私人收藏，於2017年從上述收藏中獲得。関善明博士（生於1941年）是一位前香港建築師，多年來因其工作獲得許多獎項。 他還是一位畫家以及中國藝術和設計領域的專家和學者。 他在香港和國外的大學和機構中撰寫了許多論文，並發表了許多關於中國藝術的演講。 1994年，香港中文大學中文研究所舉辦了一場展覽，展示了關博士私人收藏的239件玉器包括中國高古玉。 圖片: 関善明博士於1999年12月2日在香港大學名譽大學獎學金頒獎典禮上 品相：自然老化的狀況與年齡相稱，可能與該時期的變化有關。 廣泛的侵蝕，舊時填充物修補，局部小刻痕，結殼，自然裂縫，隨著時間的流逝，其中一些可能會發展成小裂縫。 良好油潤的天然包漿。 在強烈的藍光下檢查過。 重量：192.1 克 尺寸：高 3.8 厘米, 內圈直徑5.1 厘米, 外圈直徑7.2 厘米 拍賣結果比較：一件相似玉鐲，售于香港佳士得The Chang Wei-Hwa Collection of Archaic Jades, Part I - Neolithic Period 拍場2019年11月 27日，lot 2724, 售價HKD 2,375,000。
A MOTTLED GREEN JADE CONG, LIANGZHU CULTUREChina, Late Neolithic, c. 3300-2200 BC. Of cylindrical form with square projections on four corners, each corner carved with two different registers of stylized mask, one comprising twin bands of narrow parallel grooves above incised circular ‘eyes’ and a short raised band with rounded ends for the ‘nose’, and the other with larger eyes and without the parallel bands.Provenance: Old French private collection. Note the old inventory number, neatly inscribed in red lacquer to the inner ring of the cong.Condition: Good condition commensurate with age, some nicks and nibbling to the edges, the stone with natural fissures, some of which may have developed into minor cracks over time. Fine patina.Weight: 814.8 gDimensions: Height 5.9 cm, Diameter 9.1 cmThe dark green jade mottled and streaked with cloudy off-white and black veins and inclusions. Cong are the most characteristic artifacts of the Liangzhu culture and are a kind of counterpart to the “cosmic” Bi discs, as well as possibly having a symbolic connection to the goddess of the earth.The majority of the comparable examples from controlled excavations have been discovered in the richly furnished tombs of two of the most important Liangzhu culture cemeteries, Yaoshan and Fanshan in Yuhang County, Zheiiang Province and in other sites: see the examples reproduced in Zhongguo meishu quanji, nos. 172, 175, 177, 180 and 181.Literature comparison: A Liangzhu jade cong of similar form, material and also carved with two registers of masks at the corners, with the top register representing a man, and the bottom register representing a monster mask, is currently in the Zhejiang Provincial Institute of Cultural Relics and Archaeology, and illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 17, no. 18 (fig. 3). Another example similar to the present lot with linear designs, but with only one register of masks, is also in the Zhejiang Provincial Institute of Cultural Relics and Archaeology and illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 30, no. 39. For additional 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: Compare with a related cong of similar form but slightly smaller size, also carved with two registers of masks at the corners, the stone of an ivory-white tone, at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 30 May 2018, lot 3080, sold for HKD 3,700,000.良渚文化玉琮中國，新石器時代晚期，公元前約 3300-2200 年。内圓外方，雕刻人面紋。 來源：法國私人老收藏，内圈可見紅漆書寫的收藏編號。 品相：良好的狀態與年齡相稱，有一些缺口和邊緣磨損，有天然裂縫的石頭，隨著時間的流逝，其中一些可能會發展成細微的裂縫。 良好的包漿。 重量：814.8 克 尺寸：高5.9 厘米, 直徑9.1 厘米 拍賣結果比較：一件相似尺寸略小的琮，四角雕有人面紋，象牙白色調，售于香港佳士得Important Chinese Ceramics and Works of Art 拍場2018年5月30日，lot 3080, 售價HKD 3,700,000.
A HUANGHUALI ‘LOTUS’ BRUSH POT, BITONG, MID-QINGChina, 18th-19th century. The naturalistic vessel deftly rendered with tall and gently curved walls depicted as overlapping lotus petals, the exterior superbly carved in relief with lotus leaves, flowers, pods, and buds. The wood of a warm dark-honey tone.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Excellent condition with old wear, some light scratches and minuscule nicks mostly to bases.Weight: 731.7 gDimensions: Height 13 cmLiterature comparison: Compare with a similar zitan brushpot with magnolia design, late Ming dynasty and with a signature of Wen Fu, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, no.23.Auction result comparison: A related huanghuali brush pot with magnolia design was sold by Bonhams London in Fine Chinese Art on 5 November 2020, lot 94, for GBP 10,062.明代中期黃花梨雕蓮池筆筒 中國，十八至十九世紀。筆筒圓滑的弧形筒壁，精美浮雕成蓮池中重疊蓮花、蓮葉、蓮蓬與花苞。溫暖的深蜜色木料。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今。 品相：狀況極佳，有舊磨損，一些輕微的划痕，大部分在底部。 重量：731.7 克 尺寸：高 13 厘米 拍賣結果比較：一件相近的黃花梨木蘭筆筒售于倫敦邦翰思Fine Chinese Art 拍場，2020年11月5日, lot 94, 售價 GBP 10,062.
AN EXCEPTIONAL OPENWORK AND RETICULATED IVORY ‘HUNDRED BOYS’ VASE AND COVER, LATE QING TO REPUBLICChina, late 19th to early 20th century. The ovoid body rising from a waisted foot to a concave neck with an everted rim, meticulously carved with innumerable boys engaging in leisurely pursuits, decorated with key-fret, bat, ruyi-head, leiwen, and floral bands.Provenance: From the private collection of a French diplomate. Condition: The neck with discoloration and extensive crackling to the ivory due to heat influence, areas of touchup limited to the neck, otherwise in superb condition with minor wear, minuscule nicks, and occasional light scratches. The lid slightly paler than the vase.Weight: 2,044 gDimensions: Height 32.6 cmThe domed oval cover with a finial in the form of two boys seated on a lotus leaf, one playing the flute and the other gleefully laughing.The present piece is decorated with the subject of the ‘Hundred Boys’, a very popular motif in porcelain decoration as it symbolizes the Chinese perpetual wish for many sons. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 63, the 'Hundred Boys' theme has its origins in the Western Zhou dynasty when King Wen of the Zhou adopted one son in addition to his ninety-nine sons to complete the number of one hundred.Auction result comparison: Compare with a closely related vase and cover, possibly from the same workshop, but slightly larger and depicting immortals as the main subject instead of the hundred boys, at Christie’s London, in Chinese Ceramics, Works of Art and Textiles, 11 November 2011, lot 1345, sold for GBP 32,450.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清末民初象牙鏤空雕嬰戯圖瓶 中國，十九世紀末至二十世紀初。瓶身呈圓柱形，瓶身分層精心雕刻著嬰戯圖，有玩耍的，有玩琴的，有舞龍的，並裝飾著雷紋、蝙蝠與纏枝花卉紋。 來源：法國外交家私人收藏 品相：頸部因熱影響而變色，表面有大量裂紋，頸部有修補。基本狀況極佳，輕微磨損，微小的划痕。 蓋子比花瓶略微白。 重量：2,044 克 尺寸：高32.6厘米 拍賣結果比較：比較一個可能來自同一家工作室相似但稍大一些的圖瓶，主要描述仙人而非嬰戯，於2011年11月11日在倫敦佳士得Chinese Ceramics, Works of Art and Textiles拍場，lot 1345，成交價GBP 32,450。
A CARVED TORTOISESHELL ‘FIGURAL’ SNUFF BOX AND COVER, QING DYNASTYChina, Canton, 19th century. Of circular shape with matching cover, the top delicately carved in deep and partially reticulated relief with elaborate figural scenes amid pavilions and garden courtyards, two people in a boat. Provenance: From a German private collection. Condition: Good condition with fine naturally grown patina, old wear and traces of use, few small losses here and there.Weight: 9 g Dimensions: Diameter 7 cm The base with a circumferential bamboo border. The sides of the box with further intricately carved designs, the base with a matching depiction in shallow relief. Auction result comparison: For a closely related box see Sotheby’s New York in Asian Art, 14 September 2019, lot 1297, sold for USD 7,500.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清代玳瑁雕人物故事鼻烟蓋盒 中國，廣東，十九世紀。圓形蓋盒，盒蓋表面浮雕花園中兩個人乘著小船的故事場景 來源：德國私人收藏 品相：狀況良好，自然包漿，舊時磨損和使用痕跡，局部有缺損。 重量：9 克 尺寸：直徑7厘米 盒子外壁四周雕刻精美的竹林庭院景觀。 拍賣結果比較：一件相近的蓋盒售于紐約蘇富比Asian Art拍場, 2019年9月14日，lot 1297, 售價USD 7,500。
A LARGE IVORY FIGURE OF AN IMMORTAL, LATE MING DYNASTYChina, 17th century. The bearded figure wearing a distinct ruyi-shaped cap and a long flowing robe, the shoes also of ruyi-head form, holding a long ancestral tablet incised with two stylized shou characters, the face with a benign expression.Provenance: German private collection. Old collector’s label with inventory number ‘311’ to base. Condition: Good condition with minor wear, extensive natural age cracks, few minuscule nicks. Fine natural honey-golden patina. Weight: 2,760 g (total)Dimensions: Height 43 cmMounted on a wood base. (2)Auction result comparison: Compare with a related, slightly smaller figure at Christie’s London, in Fine Chinese Ceramics and Works of Art, 6 November 2012, lot 138, sold for GBP 10,000.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 明末大型象牙雕仙人像 中國，十七世紀。留著鬍鬚的仙人頭戴高冠，身著長袍，手持長笏板，衣服下方刻有兩個壽字，臉帶喜慶笑容。 來源：德國私人收藏，底部有藏家舊標簽“311”。 品相：狀況良好，磨損小，自然裂紋，微小的缺口。 天然蜂蜜金色包漿。重量：縂2,760 克尺寸：高43 厘米 裝置在木底座上。 拍賣結果比較：一件相近但更小的雕像見倫敦佳士得Fine Chinese Ceramics and Works of Art拍場2012年11月 6日 lot 138, 售價GBP 10,000.
A LADY IMMORTAL IVORY FIGURE, MING DYNASTYChina, 1368-1644. The tall female figure carved wearing long flowing robes tied at the waist, the hair arranged in a high chignon, holding a book in one hand, the face with a calm expression.Provenance: Massol, Drouot, Paris, 23 November 2001, by repute (the invoice is lost). French private collection, acquired from the above.Condition: Extensive wear, natural age cracks, losses. Fine, naturally grown golden-brown patina, nicely worn in all the right places. Overall as expected and commensurate with age.Weight: 144.6 g (the figure only)Dimensions: Height 15.7 cm (the figure only)With a wood base. (2)Auction result comparison: Compare with a closely related figure of an immortal at Sotheby’s Hong Kong in Chinese Art, Including Snuff Bottles and Jades from an Old Hong Kong Family Collection on 28-29 November 2019, lot 643, sold for HKD 50,000.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 明代象牙雕刻書卷仕女圖中國，1368-1644年。一個修長的侍女穿著長袍，綬帶繫在腰部，髮髻高聳，一隻手握著一本書，表情呈沉思狀。來源：法國私人收藏，據說購於巴黎Massol, Drouot，2001年11月23日(發票遺失)。品相：大量磨損，自然老化裂縫，缺損。 精美，自然生長的金棕色包漿，纖塵不染。總體上與預期相符，並與年齡相稱。重量：像144.6 克 尺寸：像高15.7 厘米木底座。拍賣結果比較：一件相似人像見香港蘇富比Chinese Art, Including Snuff Bottles and Jades from an Old Hong Kong Family Collection 拍場2019年11月28-29日 lot 643, 售價HKD 50,000.
A RETICULATED IVORY ‘SCHOLARS’ BRUSH POT, BITONG, QING DYNASTYChina, 18th-19th century. Of cylindrical form, superbly carved in different levels of relief with a continuous scene of scholars inside and outside of pavilions surrounded by bamboo and wutong trees, one scholar painting on a scroll with others inspecting, an old man fishing under a large tree with a boy beside him holding a giant fish, all against a finely pierced diaper-pattern ground.Provenance: Langlade, Drouot, Paris, 12 October 2000, by repute (the invoice is lost). French private collection, acquired from the above.Condition: Very good condition with minor wear, natural age cracks, some nibbling, and minuscule losses here and there. Fine, naturally grown patina.Weight: 232.9 gDimensions: Height 11.3 cm, Diameter 8.7 cmAuction result comparison: Compare with a closely related bitong, dated 18th-19th century, at Sotheby’s New York, in Fine Chinese Ceramics & Works of Art, on 11-12 September 2012, lot 202, sold for USD 8,125. Also compare with a related bitong, dated 18th century, at Christie’s Hong Kong, in Exceptional Chinese Works of Art from an Important European Collection, on 30 November 2011, lot 2902, sold for HKD 920,000.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清代象牙雕文士筆筒中國，十八至十九世紀。圓柱形筆筒，局部鏤空浮雕，錦地紋，竹子和梧桐樹包圍的涼亭內外的學者場景，一位學者與其他人一起做畫，一位老人正在大樹下釣魚，在他旁邊一個男童抱著一條大魚。來源：法國私人收藏，據說購於巴黎Langlade, Drouot，2000年10月12日(發票遺失)。品相：狀況極佳，有輕微磨損，自然老化裂紋，有些零星缺損。 天然包漿細膩。重量：232.9 克尺寸：高11.3 厘米, 直徑8.7 厘米 拍賣結果比較：一件十八至十九世紀筆筒見紐約蘇富比Fine Chinese Ceramics & Works of Art拍場2012年9月11-12日 lot 202, 售價USD 8,125. 另一件相似的十 八世紀筆筒見香港佳士得Exceptional Chinese Works of Art from an Important European Collection拍場2011年11月30日 lot 2902, 售價HKD 920,000.
A HUGE RETICULATED CANTON IVORY CARD CASE AND COVER, QING DYNASTYChina, early 19th century. Of rectangular form, densely carved in openwork with figures in leisurely pursuits, all set in a bustling town with pavilions and trees.Provenance: From a noted British collection of ivory works of art.Condition: Superb condition with only very minor wear, microscopic natural age cracks and nibbling.Weight: 240.4 gDimensions: Size 15 x 10 cmExpert’s note: This is by far the largest of all Canton ivory card cases ever, at least in the 35-year career of this author. It therefore clearly deserves the title “Mother of all card cases”.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清代廣東象牙雕名片蓋盒 中國，十九世紀初。長方形，精細鏤空雕刻小鎮人物生活場景，熙熙攘攘，可見涼亭樹木，人物小船等。 來源：英國知名象牙藝術品收藏 品相：狀況極佳，僅極少磨損，細微的自然裂紋和咬傷。 重量：240.4 克 尺寸：15 x 10 厘米 專家注釋: 在筆者35年職業生涯中，這是迄今為止所有廣州象牙名片盒中最大的。 它顯然值得擁有“所有名片盒之母”的稱號。
A RETICULATED IVORY ‘PEACOCK’ TABLE SCREEN PLAQUE, QINGChina, 19th century. The fan-shaped plaque finely carved in openwork and high relief with a peacock perched on a gnarled branch bearing magnolias, of which a few have blossomed, as well as craggy rockwork and bamboo, the edges with neatly incised key-fret designs.Provenance: French private collection. Collector’s number inscribed to the reverse.Condition: Pristine condition with minor wear, few minuscule nicks and occasional light scratches, no losses whatsoever.Weight: 143.7 g Dimensions: Size 7.5 x 14 cmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清代象牙浮雕孔雀桌屏中國，十九世紀。桌屏雕刻精美，木蘭樹木蘭盛開，樹下立著一只孔雀。 來源：法國私人收藏，背面有藏家收藏編號 品相：狀況極佳，輕微磨損，細微小划痕，局部有輕微的划痕，沒有任何缺損。 重量：143.7 克 尺寸：7.5 x 14 厘米
A CARVED OPENWORK IVORY ‘MYTHICAL BEAST’ STAND, QING DYNASTYChina, 1644-1912. The flat rectangular stand supported on four scroll feet issuing from Buddhist lion masks, finely carved in openwork with two mythical beasts with scrolling bushy tails, scaled bodies, and large bulging eyes chasing a brocade ball, the edges of the stand carved with geometric decorations.Provenance: British private collection. Condition: Excellent condition with minor wear. Few minuscule nicks to the underside, some of which may already have occurred at carving. Fine natural patina and grain. Some age-related hairlines.Weight: 43.1 gDimensions: Height 2.5 cm, Length 8.5 cmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清代象牙鏤空雕神獸底座 中國，1644-1912年。扁平的長方形支架，支撐在獅首四足之上。鏤空精雕細刻，兩只神獸，滾動著濃密的尾巴，鱗片狀身體，大而鼓起的眼睛追著錦緞球，支架的邊緣刻有幾何裝飾。 來源：英國私人收藏 品相：狀況極佳，磨損小。 底面上很少有微小的刻痕。 天然包漿。 一些與年齡相關的細紋。 重量：43.1 克 尺寸：高2.5 厘米, 長8.5 厘米
A CARVED IVORY BASE WITH A HIDDEN ‘BIRDS AND PRUNUS’ SCENE, QINGChina, 1644-1912. Of rectangular form with rounded sides and canted corners, this piece serves as a base or pedestal for a small figure or object. However, a look to the underside reveals a finely carved openwork composition to the interior of the hollow base.Provenance: French private collection.Condition: Very good condition with minor wear, few natural age cracks and occasional light scratches, no losses whatsoever.Weight: 124.3 g Dimensions: Size 8.2 x 12.1 cmThe interior well hollowed and skillfully carved in a reticulated manner with two birds perched on a gnarled prunus branch with buds and blossoms as well as a willow to one side.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清代象牙雕委角方形花鳥飾件 中國，1644-1912年。委角矩形，此物可能是用作小形人物或物體的底座或基座。但是，從底面的外觀可以看出，空心底座的內部精美鏤空雕刻。 來源：法國私人收藏. 品相：狀況極佳，磨損很小，少量自然老化裂紋，偶有輕微刮擦，無任何缺損。 重量：124.3 克 尺寸：8.2 x 12.1 厘米
‘FISHERMEN IN A LANDSCAPE’, SIGNATURE OF WU ZHEN (1280-1354)Ink on silk. Grippingly painted with two fishermen on a boat in front of high cliffs with a stream flowing in between and two gnarled trees. With a silk brocade frame and mounted as a hanging scroll with finely carved ivory handles.Inscriptions: Top right, poem and seal of Zhang Zhao. Bottom right, poem and seal of Xianyu Biren, the third son of Xianyu Shu (1246-1302), an official and calligrapher during the Yuan dynasty. Center left, signature and seal of Wu Zhen.The exterior of the scroll inscribed: Yuanren jihe shuhua (‘Collection of Paintings from the Yuan Dynasty’). Mi Tai.Provenance: From a private estate in Texas, USA, by repute acquired in Japan between 1945 and 1950, and thence by descent in the same family. Label with collector’s inventory number to one scroll end.Condition: Good condition with some wear, soiling, minor tears and losses, small old repairs and touchups.Dimensions: Size incl. mounting 118 x 61.5 cm, Image size 45 x 47 cmWu Zhen (1280-1354) was a painter during the Yuan dynasty. He lived the life of a recluse and was never very famous or successful during his lifetime, but in the Ming period he came to be designated one of the Four Great Masters of the late Yuan dynasty and his style was favored by many Ming painters, most notably Shen Zhou (1427–1509). Wu was fond of doing ‘ink-plays’, and his drawing shows simplicity and directness.吳鎮款《孤舟漁翁》 絹本設色。山澗中一條小船上兩名漁夫，在高高的懸崖前，兩棵粗狀的樹。錦緞裝裱，立軸，精美雕刻的象牙手柄。 款識：張昭題詞並鈴印；鮮于必仁題詞並鈴印，鮮于必仁為鮮于樞 (1246-1302)第三子, 擅長樂府工書法。吳鎮落款鈴印。 立軸上可見注釋“元人集合書畫“。 來源：德克薩斯私人遺產，據説1945-1950年間購於日本，據説自此保存在同一家族至今。立軸一端有藏家收藏標簽。 品相：狀況良好，有一些磨損，污跡，輕微的撕裂和缺失，少量的舊時維修和修整。 尺寸：含框118 x 61.5 厘米, 畫面45 x 47 厘米
‘MOUNTAIN LANDSCAPE’, ANONYMOUS, YUAN TO MING DYNASTYInk on silk. Painted with a series of houses hidden between craggy rocks and dense clusters of trees, all in front of a vast mountain backdrop. With a silk brocade frame and mounted as a hanging scroll with fine ivory handles.Inscriptions: Top right, poem and signature of Xianyu Biren, the third son of Xianyu Shu (1246-1302), an official and calligrapher during the Yuan dynasty, one seal ‘Xianyu Biren’. Center right, signature and two seals. Top center, calligraphy and one seal. Top left, calligraphy and two seals.Provenance: From a private estate in Texas, USA, by repute acquired in Japan between 1945 and 1950, and thence by descent in the same family. Label with collector’s inventory number to one scroll end.Condition: Good condition with some wear, soiling, minor tears and losses, small old repairs and touchups.Dimensions: Size incl. mounting 118 x 62 cm, Image size 45 x 47 cm元明《山水》 絹本設色。山水岩石間一片屋，高山雄偉。帶有錦緞錦緞框架，並作為帶有精美象牙手柄的懸掛式捲軸安裝。 款識：鮮于必仁題詞並鈴印，鮮于必仁為鮮于樞 (1246-1302)第三子, 擅長樂府工書法。及另外兩名書畫大家題詞。 來源：德克薩斯私人遺產，據説1945-1950年間購於日本，據説自此保存在同一家族至今。立軸一端有藏家收藏標簽。 品相：狀況良好，有一些磨損，污跡，輕微的撕裂和缺失，少量的舊時維修和修整。 尺寸：含框118 x 62 厘米, 畫面45 x 47 厘米
‘PINE AND CLIFFS’, SIGNATURE OF WANG MENG (1308-1385)Ink and watercolors on silk. Dramatically painted with a gnarled pine tree in front of high towering cliffs, with a small house hidden between them, further cliffs and mountains building up in the background. With a silk brocade frame and mounted as a hanging scroll with fine ivory handles.Inscriptions: Top right, signed Huanghe shanren Wang Meng, two seals. Top center-right, poem and signature of Qian Pu (1408-1488), a Ming official and calligrapher, two seals ‘Qian Pu’ and ‘Zi Yuanpu’. Top center-left, signature and poem of Wang Shuying (d. 1402), a Ming scholar and official, one seal ‘Yuancai’.The exterior of the scroll inscribed: Yuanren shuhua (‘Painting from the Yuan Dynasty’). Shuangye (‘Frost Leaf’).Provenance: From a private estate in Texas, USA, by repute acquired in Japan between 1945 and 1950, and thence by descent in the same family. Label with collector’s inventory number to one scroll end.Condition: Good condition with some wear, soiling, minor tears and losses, small old repairs and touchups.Dimensions: Size incl. mounting 131 x 60 cm, Image size 44 x 46.5 cmWang Meng (1308-1385) was a painter during the Yuan dynasty and one of the Four Great Masters of this period. He was the youngest of the group, and the least famous in his own time. Nevertheless, his style influenced later Chinese painting. In contrast to the relatively spare style of his compatriots, his ropy brushstrokes piled one on the other to produce masses of texture combined in dense and involved patterns. Wang Meng was wrongly accused of conspiring against the Ming Emperor Taizu and spent the last five years of his life in jail.王蒙(1308-1385)款《霜葉》 絹本設色。近景山崖高聳，山脚松林葱鬱，山間隱隱藏著山居，遠方山脈連綿。帶有錦緞錦緞框架，並作為帶有精美象牙手柄的懸掛式捲軸安裝。 款識：黃鶴山人王蒙題詞鈴印；錢溥（1408-1488), 明代政治人物和書法家，題詞鈴印 ；王叔英(？-1402) 題詞鈴印。立軸上可見注釋“元人書畫““霜葉”。來源：德克薩斯私人遺產，據説1945-1950年間購於日本，據説自此保存在同一家族至今。立軸一端有藏家收藏標簽。 品相：狀況良好，有一些磨損，污跡，輕微的撕裂和缺失，少量的舊時維修和修整。 尺寸：含框131 x 60 厘米, 畫面44 x 46.5 厘米
‘TREES AND CLIFFS’, ANONYMOUS, YUAN TO MING DYNASTYInk on silk. Painted with three old, gnarled trees next to a small hut and in front of a high towering cliff with mountains in the background. With a silk brocade frame and mounted as a hanging scroll with fine ivory handles.Inscriptions: Top right, poem and signed, one seal. Top center-right, poem and signature of Guo Wentong (1425-1487), a Ming official and poet. Top left, poem and signature of Wei Su (1303-1372), an official during the Yuan and Ming dynasties from Linchuan.Provenance: From a private estate in Texas, USA, by repute acquired in Japan between 1945 and 1950, and thence by descent in the same family. Label with collector’s inventory number to one scroll end.Condition: Good condition with some wear, soiling, minor tears and losses, small old repairs and touchups.Dimensions: Size incl. mounting 118 x 60 cm, Image size 44.5 x 44.5 cm元至明《翠靄虛亭》 絹本設色。近景小島上三棵遒勁樹，旁邊是一個小亭子，對面高聳的懸崖峭壁。錦緞裝裱，立軸，精美雕刻的象牙手柄。款識：畫面空白處可見題詞鈴印；郭文通(1425-1487) 題詞鈴印；危素 (1303-1372) 題詞鈴印。 來源：德克薩斯私人遺產，據説1945-1950年間購於日本，據説自此保存在同一家族至今。立軸一端有藏家收藏標簽。 品相：狀況良好，有一些磨損，污跡，輕微的撕裂和缺失，少量的舊時維修和修整。 尺寸：含框118 x 60 厘米, 畫面44.5 x 44.5 厘米
A LARGE WESTERN ASIATIC CHLORITE BOWL, 3RD MILLENNIUM BCThe deep rounded sides rising from the flat base to the slightly incurved rim, the interior finely carved in relief with three registers, the upper and lower depicting confronting horses with a tall, flame-like flower in between, the central register with several hounds attacking an antelope.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: “Quatre pots anciens en pierre sculptee avec decor d’incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Scratches, nicks, losses, cracks, erosion, encrustations. Remnants of old varnish.French Export License: Certificat d’exportation pour un bien culturel Nr. 184685 dated 9 June 2017 has been granted and is accompanying this lot.Weight: 2,509 g Dimensions: Diameter 29.5 cmAuction result comparison: Compare with a related but earlier Western Asiatic bronze bowl, dated c. 8th-6th century BC, at Christie’s London in Antiquities on 30 April 2008, lot 24, sold for GBP 11,250.公元前三千年大型西亞綠泥石碗深圓的側面，平底，邊緣略微彎曲，碗內精細浮雕圍獵場景，馬群、獵犬和羚羊，以及一朵大蓮花。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在目錄清單裏這麽描述本拍品：一組4件鑲嵌著象牙或骨質的罐，高21-30厘米，Massoudi 或北伊朗。隨附目錄清單副本及其封面。 圖片：Arthur Huc (1854-1932) 品相：狀況良好，尤其是在考慮到它的年代時。 划痕、缺口、缺損、裂縫、腐蝕和結殼。舊時清漆殘留。 法國出口證書：隨附2017年6月9日出具的Certificat d’exportation pour un bien culturel 證書，編號 184685 。 重量：2,509 克 尺寸：直徑 29.5 厘米 拍賣結果比較：一件相近但公元前八至六世紀西亞銅碗見倫敦佳士得Antiquities 拍場2008年4月 30日 lot 24, 售價GBP 11,250.
A WESTERN ASIATIC CHLORITE ‘SNAKE’ VESSEL, 3RD MILLENNIUM BCWith a slightly domed base and tapering sides rising to a flat everted rim, carved in relief to either side with a large, archaic snake coiled around a bull with an elongated body and large oval eyes, divided by incised palm leaves, the beasts‘ eyes neatly inlaid in bone, the snake with many circular recesses to take inlays.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: “Quatre pots anciens en pierre sculptee avec decor d’incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Very good condition, especially when considering the dating of this piece. Scratches, nicks, losses, minor fills, encrustations, most inlays lost (except for the animals’ eyes). Remnants of old varnish.French Export License: Certificat d’exportation pour un bien culturel Nr. 184684 dated 9 June 2017 has been granted and is accompanying this lot.Weight: 3,644 g Dimensions: Height 16 cm, Diameter 30 cmLiterature comparison: A related chlorite vessel with two zebu, of smaller size, dated 2600-2350 BC and attributed to Al-Rafiah, on the east coast of the island of Tarut, is in the collection of the Metropolitan Museum of Art, accession number 2014.717.Auction result comparison: Compare with a related but considerably larger chlorite vessel, dated c. 2500-2600 BC, at Christie’s New York in Antiquities on 8 June 2001, lot 332, sold for USD 58,750.公元前三千年西亞綠泥石蛇紋罐平底略凸，側面逐漸變細，罐表面浮雕纏繞著公牛的大蛇，細長的身體和橢圓形的大眼睛，間隔蕉葉紋，獸眼鑲嵌著骨珠，蛇身帶有許多圓形凹槽，曾經有鑲嵌。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在目錄清單裏這麽描述本拍品：一組4件鑲嵌著象牙或骨質的罐，高21-30厘米，Massoudi 或北伊朗。隨附目錄清單副本及其封面。 圖片：Arthur Huc (1854-1932) 品相：狀況良好，尤其是在考慮它的年代時。 划痕、缺口、缺損、小修和結垢，大部分鑲嵌物丟失（動物的眼睛除外）。 舊清漆餘留。 法國出口證書：隨附2017年6月9日出具的Certificat d’exportation pour un bien culturel 證書，編號. 184684。 重量：3,644 克 尺寸：高16 厘米, 直徑30 厘米 拍賣結果比較：一件相近但更大的公元前2500-2600年的綠泥石罐見紐約佳士得Antiquities 拍場2001年6月 8日 lot 332, 售價USD 58,750.
A LARGE AND HEAVY WESTERN ASIATIC CHLORITE ‘SCORPION’ JAR, 3RD MILLENNIUM BCWith a slightly domed circular base, the sides with two semicircular handles and tapering toward the flat everted rim, finely carved with female figures with bone-inlaid eyes holding vertically hanging scorpions by the tail in each hand, below a band of horizontally positioned scorpions, the circular and oval tail segments with deep recesses to take inlays.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: “Quatre pots anciens en pierre sculptee avec decor d’incrustations ivoire ou os? Haut: 21 cm à 30, Etiquettes: Massoudi ou Iran Nord?” (Four old carved stone jars with inlays of ivory or bone? Height: 21 cm to 30, labels: Massoudi or Northern Iran?). A copy of the inventory list and cover page are accompanying this lot.Condition: Good condition, especially when considering the dating of this piece. Scratches, nicks, small losses, encrustations, cracks, minor old fills, most inlays lost (except for the figures’ eyes). Remnants of old varnish.French Export License: Certificat d’exportation pour un bien culturel Nr. 184681 dated 9 June 2017 has been granted and is accompanying this lot.Weight: 11.9 kg Dimensions: Height 22.5 cmAuction result comparison: Compare with a related chlorite jar from the same period, decorated with hybrid scorpion-men, with similar recesses for inlays, but of much smaller size (7.3 cm high), at Christie’s London in Antiquities on 15 May 2002, lot 265, sold for GBP 19,975.公元前三千年大型西亞綠泥石蠍子紋罐圓底微凸，肩部側面雙耳。罐子裝飾著女性人物，雙手提著蠍子的尾巴。頸部蠍子紋飾帶有著圓形和橢圓形深凹口可以鑲嵌寶石。 來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在目錄清單裏這麽描述本拍品：一組4件鑲嵌著象牙或骨質的罐，高21-30厘米，Massoudi 或北伊朗。隨附目錄清單副本及其封面。 圖片：Arthur Huc (1854-1932) 品相：狀況良好，尤其是在考慮到這件拍品的年代。 划痕、缺口、小缺損、結垢和裂縫，小修，大部分鑲嵌物丟失（人物的眼睛除外）。殘留的舊清漆。 法國出口證書：隨附2017年6月9日出具的Certificat d’exportation pour un bien culturel 證書，編號 184681 。 重量：11.9 公斤 尺寸：高22.5 厘米 拍賣結果比較：一件同一年代的綠泥石罐，蠍子紋，相似鑲嵌物，但尺寸更小 (高7.3 厘米), 見倫敦佳士得Antiquities 拍品2002年5月15日 lot 265, 售價GBP 19,975.
A RARE IVORY-VENEERED CASKET, 18TH-19TH CENTURYIndia. Of rectangular form, supported on four feet, with a hinged and tiered cover, metal fittings, lined to the interior with red velvet. The sides and top carved in shallow relief with various views of architectural monuments, likely taken from European copperplate engravings of the 17th to 18th century. The scrolling floral borders finely incised.Provenance: From a noted British collection of ivory works of art. Condition: Good condition with minor wear, natural age cracks, minor gaps at the joints, minimal warping, tiny splits, nicks, and losses here and there. Fine, naturally grown, golden-brown patina.Weight: 1,707 gDimensions: Size 18 x 27 x 15 cmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person.
A Georgian string inlay mahogany bedside cabinet, with drop leaf to the back, one side with pull out slide and pull out drawer, the front with two graduated drawers with ivory inlaid escutcheons, raised on four tapered legs on caster wheels, 75.5 cm high x 50 cm wide x 38 cm deep (with leaf down)
Two 19th century English miniature portraits on ivory, to include one depicting a young Victorian lady with blond ringlets, in a blue dress with lace trim, the reverse with inscription 'C. Whittby (?), 1864', within a velvet and brass glazed frame, 10.5 cm x 8 cm, the other portrait depicting a late Georgian seated gentleman wearing a cravat, in a glazed oval frame, 9.3 cm x 7.5 cm
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