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A porcelain Blanc de Chine Foo-dog with a mounted figure. China, Kangxi.Afm.: 16 x 13 cm.

A Chinese Kangxi blue and white plate. 26cm diameter

A Chinese famille verte charger, Kangxi period 38cm diameter

A late 19th century Chinese blue and white ovoid jar. 22cm tall, apocryphal Kangxi mark

Eight Chinese blue and white octagonal plates, Kangxi period, 20.3 cm wide

A group of Chinese porcelain, Kangxi dynasty and later. Comprising: an Export teabowl and saucer with dark blue borders, a coffee-cup with initials, a Famille Rose fluted teabowl with figures, a saucer with flowers, teabowl and saucer with Famille Rose and underglaze blue flowers. a blue and white coffee-cup with foliate design, a blue and white saucer with lappet-shaped landscape and flower borders, a Canton teapot and cover with flowers and insects, a Canton teabowl and a saucer painted with figures (damages) Condition Report: In mixed condition with both cups showing chips

A Pair of Chinese Qing Dynasty Kangxi Nian Zhi - "Kangxi Period Make" blue and white blossom design vases. [25.5cm high]

A Chinese famille verte jar and cover, Kangxi four character mark to base, 21.5cm high.

Chinese Kangxi plate decorated in blue and white with a figure looking over a wall with two figures in a garden, the border with further panels of figures, the reverse with six character mark D27cm

A RARE PAIR OF DOUCAI 'POMEGRANATE AND FOLIAGE' DISHES, YONGZHENG MARKS AND PERIODChina, 1723-1735. Each dish is delicately potted with shallow rounded sides supported on a short tapered foot, finely painted in cobalt-blue and shades of green, red, yellow, and aubergine, the interior with a central medallion enclosing a fruiting pomegranate tree, encircled by grape vines, peony, and pomegranate branches, the exterior similarly painted with fruiting sprays. The bases each with an underglaze-blue six-character mark da Qing Yongzheng nianzhi and of the period. (2)Provenance: Lynn Greenwold, Stow-on-the-Wold, Gloucestershire, United Kingdom, 1985. A private collector in the United Kingdom, acquired from the above. A copy of the original invoice, issued by Lynn Greenwold and dated 19 February 1985, accompanies this lot. Condition: Very good condition with expected old wear and minor firing irregularities, small frits to feet.Weight: 326.1 g and 313.8 g Dimensions: Diameter 19.9 and 19.8 cmAuction result comparison: Type: Closely related Auction: Bonhams London, 12 May 2022, lot 176 Price: GBP 25,500 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A small doucai 'pomegranate and foliage' saucer dish, Yongzheng six-character mark and of the periodExpert remark: Compare the closely related form and decoration. Note that this lot comprises only a single dish of significantly smaller size (11.2 cm). Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 8 April 2011, lot 3157Price: HKD 275,000 or approx. EUR 45,500 converted and adjusted for inflation at the time of writing Description: A pair of doucai dishes, with pomegranates, plums and grapes, Qing dynasty, Kangxi period Expert remark: Compare the closely related form and decoration. Note that this pair has apocryphal Chenghua reign marks and is dated to the Kangxi period, although a dating to the Yongzheng period seems reasonable as well.雍正款及年代一對鬥彩盤開光石榴葡萄盤中國，1723-1735年。胎體緊致細膩，敞口，弧腹，圈足。青花勾勒，使用綠色、紅色、黃色和紫紅色琺瑯，開光描繪一棵石榴樹，盤壁環繞著葡萄藤 、牡丹和石榴樹枝，外壁纏枝紋。圈足内雙圈青花“大清雍正年製”六字款。(2) 來源：英國格洛斯特郡斯托昂澤沃爾德區Lynn Greenwold收藏，1985；英國私人收藏購於上述收藏。隨附1985年2月19日Lynn Greenwold出具的原始發票複印件。 品相：狀況極好，有磨損和輕微燒製不規則，腳上有小熔塊。 重量：分別為326.1 克與313.8 克 尺寸：直徑19.9 與19.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2022年5月12日，lot 176 價格：GBP 25,500（相當於今日EUR 30,000） 描述：清雍正鬥彩花果紋盤，青花「大清雍正年製」楷書款 專家評論：比較非常相近的外形和裝飾。請注意只有一件盤子且尺寸(11.2 厘米)小很多。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2011年4月8日，lot 3157 價格：HKD 275,000（相當於今日EUR 45,500） 描述：康熙一對石榴梅和葡萄鬥彩盤 專家評論：比較非常相近的外形和裝飾。請注意此對盤有青花康熙款，但實際為雍正時期。

AN IMPERIAL GILT-LACQUERED AND JADE-INLAID ARCHAISTIC VESSEL AND COVER, FU, QIANLONG PERIODExpert's note: The usage of jades as inlays for the present vessel clearly confirms the Imperial provenance, see the literature comparison below for further details. China, 1736-1795. The vessel supported on a spreading foot, the body flaring towards the rim and flanked by two loop handles. The tapered cover surmounted by a large wave-like rim and flanked by two smaller loop handles. The exterior finely carved with archaistic masks between key-fret borders, inlaid with four jades of pale celadon color, and finely gilt, the interior lacquered in cinnabar. Provenance: From an Austrian private collection. Condition: Fine condition, commensurate with age and the fragile nature of the lacquer. Old wear, light surface scratches, expected age cracks, minor losses and chips, small old repairs. Naturally grown patina overall.Weight: 1,166 g Dimensions: Height 23.4 cmThe present vessel is modeled after the archaic bronze fu, which was a ritual vessel used to contain food during the Zhou dynasty. The Qianlong Emperor was known to be a zealous collector of archaic bronze vessels and commissioned the publication of the Xiqing gujian (Xiqing mirror of antiquities), an illustrated catalog of his bronze collection. This publication, compiled in 1749, provided models for many of the works of art produced in various materials for the Imperial Court during this period. Vessels of this type were displayed in pairs on the right side of offering tables at the Temple to Imperial Ancestors. They contained cereal offerings of millet, rice or sorghum.Literature comparison: Compare a closely related gilt-lacquered fu vessel and cover, with a Qianlong mark and of the period, in the collection of the Art Museum of the Chinese University of Hong Kong, exhibited in For Blessings and Guidance: the Qianlong Emperor's Design for State Sacrificial Vessels, The Chinese University of Hong Kong Art Museum, Hong Kong, 26 January to 5 May 2019. Similarly decorated gilt-lacquer ritual food vessels of different shapes are illustrated in the exhibition catalog, The Life of Emperor Qianlong, Macau Museum of Art, 2002, p. 61-63. It is noted that ritual vessels of this type were made in bronze, ceramic and gilt-lacquered wood throughout the Qing dynasty, and it is likely that they were re-used by successive emperors, which would account for the appearance of different reign marks on the same vessel. The author also notes that the gilt-lacquered wood examples were produced both with and without jade inlay and that the inlaid examples were reserved for Imperial use.Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2013, lot 1309 Price: USD 17,500 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A rare imperial gilt-lacquered wood archaistic vessel and cover, gui, Qianlong period Expert remark: Note that while this vessel was dated to the Qianlong period, it shows a Kangxi reign mark to the interior of the cover and a Jiaqing reign mark to the base of the vessel. Also note the extensive condition issues of this lot and that the inlays are made from serpentine, not jade, which may indicate that they are later replacements.乾隆時期御製鑲玉金漆簠中國，1736-1795年。覆斗狀，橫截面為長方形，大口，矩形圈足，短邊上有半環耳，有蓋，腹壁斜直。外壁飾雷紋與饕餮紋，鑲嵌四顆青玉，鎏金漆。器内紅漆。 專家注釋：本器鑲玉，應出自皇家，詳情請參閱下文的文獻比較。 來源：奧地利私人收藏。 品相：狀況良好，磨損，輕微劃痕，老化裂縫，輕微缺損和缺口，小修。整體自然包漿。 重量：1,166 克 尺寸：高 23.4 厘米 本器簠，是中國周代特有的青銅食器兼禮器，用來盛放穀物飯食。眾所周知，乾隆皇帝是一位古銅器收藏家，曾下令出版了他的青銅收藏圖錄《西清古鑒》。這本出版於 1749 年的書，是著錄清代宮廷所藏古代青銅器的大型譜錄，為這一時期的朝廷使用各種材料製作的許多器皿提供了模型。此類器物成對陳列於太祖廟供桌右側。

A SUPERB FAMILLE ROSE 'KINGFISHER AND LOTUS' PLAQUE, CHINA, STUDIO OF CHENG YITING (1895-1948)Superbly and delicately enameled with two kingfishers perched on a rock below a large wilting lotus leaf amid further leaves, a bud, and two blossoms, a stream in the background. With a lengthy inscription as well as the artist's signature and seal.Inscriptions: Upper left, signed 'Zhushan Cheng Yiting, painted in Peigu-Zhai' and inscribed 'In the Spring in the style of Nansha Laoren [Jiang Tingxi, 1669-1732]'. Two seals of the artist, 'Yiting' and 'Cheng yin'. Provenance: Bonhams Knightsbridge, 3 November 2014, lot 478 (described as “After Cheng Yiting”, and together with another plaque), sold for GBP 3,125 or approx. EUR 4,400 (converted and adjusted for inflation at the time of writing). A Swedish private collector, acquired from the above, and thence by descent. Condition: Very good condition with minor wear and firing irregularities, few light scratches. The hardwood frame with expected age cracks, nicks and losses, and traces of use.Dimensions: Size 62 x 31 cm (excl. frame)With a fine hardwood frame and brass fitting from the period. (2)This masterfully painted plaque represents a new style pursued by porcelain artists upon the fall of the Qing dynasty. With imperial orders discontinued, craftsmen in the porcelain center of Jingdezhen were released from the constraints of the court and eagerly sought to develop new markets. In 1928, eight of the leading artists formed a group called Yueman hui (Full Moon Society), because they met to exchange ideas during the full moon. This group later became known as Zhushan Bayou (Eight friends of Zhushan), comprised of Cheng Yiting, Wang Qi, Deng Bishan, Wang Dafan, Wang Yeting, He Xuren, Bi Botao, Xu Zhongnan, and Tian Hexian.Cheng Yiting (1895-1948), a native of Leping, Jiangxi province, began learning to paint on porcelain at the age of sixteen at the Jiangxi Ceramics School in Poyang. In 1925 he moved from Jiujiang to Jingdezhen and set up his own business before traveling to Shanghai in 1931 to study under the Zhe School artist, Cheng Zhang (1869-1938). It was during this period that his skills greatly improved and developed the exquisite bird and flower painting style for which he is most famous.Jiang Tingxi (1669-1732) was a noted Chinese painter, and an editor of the 5020-volume encyclopedia Gujin Tushu Jicheng (Complete Collection of Ancient and Modern Writings and Charts), which was published in 1726 and had been compiled by Jiang and Chen Menglei during the reigns of the Kangxi and Yongzheng Emperors. As an official painter and grand secretary to the imperial court, Jiang used a wide variety of artistic styles and focused particularly on paintings of birds and flowers. He was also proficient in calligraphy and his works influenced several later painters. Apart from cultural activity, as a holder of the jinshi degree, Jiang performed important duties in the Qing government's Office of Military Finance, on par with Zhang Tingyu (headed by Yinxiang, the Yongzheng Emperor's brother). He was born in Changshu, Jiangsu. Besides the name Yangsun, he was also known by the pseudonym Nansha.Literature comparison: For an overview of the artists' plaques depicting birds amongst lotus and chrysanthemum, see those from the Muwentang Collection published in Simon Kwan, Chinese Porcelain of the Republic Period, Hong Kong, 2008, nos. 44, 45, 47, 49, and 50. Compare also two related plaques which were included in the exhibition Brush and Clay. Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990, cat. nos. 47 and 48.Auction result comparison: Type: Closely related Auction: Heritage Auctions, New York, 19 March 2019, lot 78195 Price: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writing Description: A Chinese Enameled Porcelain Plaque, 20th century, seal reading “Cheng Yiting” Expert remark: Compare the closely related subject, style, enamels and manner of painting, most notably the similarly wilted leaves. Note the much smaller size (36.8 x 23.9 cm).Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2012, lot 350 Price: GBP 79,250 or approx. EUR 116,250 converted and adjusted for inflation at the time of writing Description: A famille rose rectangular plaque, Republic period, signed and sealed Cheng Yiting Expert remark: Compare the related style, enamels and manner of painting with similar wilted leaves. Note the smaller size (39.5 x 26.7 cm).程意亭(1895-1948) 粉彩《翠鳥荷花》瓷板畫長條形邊框，框體雕飾花卉紋，畫心繪盛開的荷花、荷葉、翠鳥。粉紅的荷花、碧綠的荷葉下，一對翠鳥立於石上。一翠鳥聚精會神的凝視著水面，一翠鳥回首觀望，被他物所吸引。 款識：不妨翠鳥偷窺，為種荷花葉數莖。春仲撫南沙老人大意，翥山程意亭寫於佩古齋；鈴印：意亭，程印 來源：騎士橋邦翰思2014年11月 3日 lot 478 (描述爲程意亭風格，與其他幾件瓷板一起)，售價 GBP 3,125 或相當於 EUR 4,400 (根據通貨膨脹率)；瑞典私人收藏，購於上述拍賣，保存至今。 品相：狀況極好，有輕微磨損和燒製瑕疵，輕微劃痕。硬木框有年代裂縫、刻痕和缺損，有使用痕跡。 尺寸：62 x 31 厘米 (不含框) 同期硬木框與銅扣。(2)

A FAMILLE VERTE BARREL-SHAPED TEAPOT AND COVER, KANGXI PERIODChina, ca. 1700. The body decorated with bosses to the upper and lower rim. The wide, slightly domed lid with a bud-shaped finial. The teapot painted in emerald- and apple-green, yellow, iron-red, and aubergine enamels to one side with a prunus branch and to the other with blossoming peonies. The cover decorated with flowering branches encircled by a diapered band interspersed with auspicious symbols. The elegantly curved spout decorated with flames in iron-red.Provenance: Philip Suval, Inc., New York, 1993. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from Philip Suval, New York, dated 11 June 1993, describing the piece as a famille verte drum shaped teapot and cover, dating it to the Kangxi period, ca. 1700, and stating a purchase price of USD 3,000 or approx. EUR 6,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Philip Suval Inc. was a noted art gallery, operating from at least 1879 in Southampton, New York, with an additional two locations listed in Manhattan by 1930. They are still in business today, specializing in antique ceramics. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Condition: Good condition with minor old wear and expected manufacturing flaws, including dark spots and pitting. The handle with a minuscule hairline.Weight: 547.1 g Dimensions: Length 18.9 cm, Height 11.1 cmLiterature comparison:Compare a related famille verte barrel shaped teapot, with a replaced spout, Kangxi period, in the collection of the Minneapolis Institute of Art, accession number 98.90A,B.Auction result comparison:Type: RelatedAuction: Bonhams London, 6 November 2008, lot 166Price: GBP 3,600 or approx. EUR 6,600 converted and adjusted for inflation at the time of writingDescription: A famille verte powder-blue-ground barrel-shaped 'flowers' teapot and cover, Kangxi periodExpert remark: Compare the closely related barrel-form, decoration, and size (11 cm). Note the powder blue glaze.康熙硬彩開光花卉紋茶壺中國，約1700年。壺體呈直筒式，前有短曲流，流口斜平切，扳彎曲，平壺蓋，鈕做頂珠狀。壺身上下各有一圈寶珠紋，中間開光五彩描繪富貴花卉紋。一側繪有桃樹，另一側繪有盛開的牡丹。壺蓋上描繪花樹。 來源：紐約Philip Suval，Inc.藝廊，1993年；Richard 與 Maxine Markell購於上述藝廊。隨附1993年6月11日原始發票複印本，描述年代為康熙時期，約1700年，價格為USD 3,000 或相當於 EUR 6,000 (根據通貨膨脹率)。Philip Suval Inc.藝廊是一家知名藝廊，至少從 1879 年開始在紐約南安普頓開展業務，到 1930 年在曼哈頓另外兩個地點。他們今天仍在營業，專門從事古董陶瓷。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：狀況良好，有輕微磨損和製造缺陷，包括黑點和點蝕，手柄有細裂紋。 重量：547.1 克 尺寸：長18.9 厘米，高 11.1 厘米 文獻比較： 比較一件相近的康熙粉彩開光花卉紋茶壺，壺口被替換，收藏於明尼阿波利斯美術館，館藏編號98.90A,B。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2008年11月6日，lot 166 價格：GBP 3,600（相當於今日EUR 6,600） 描述：康熙粉彩藍地開光花卉紋茶壺 專家評論：比較非常相近的桶形、裝飾和尺寸(11 厘米)。請注意此壺為藍釉。

A RARE BLUE AND WHITE 'EIGHT IMMORTALS' BEAKER VASE, GU, KANGXI PERIODChina, 1662-1722. The vase is well painted in bright blue tones with ogival-shaped reserves, each enclosing one of the Eight Immortals, four on the neck, two on the convex mid-section, and two on the lower body, all reserved on a diaper ground between various decorative borders.Provenance: From an old French private estate. Condition: Very good condition with some old wear and shallow surface scratches overall, scattered firing irregularities such as pitting, glaze recesses, dark spots. The cobalt-blue with small areas of firing-related fading, as expected from this group. The vase slightly leaning.Weight: 2,740 g Dimensions: Height 43.7 cmThe Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Popular during the Tang and Shang dynasties, these Eight Immortals were said to live on a group of five islands in the Bohai Sea. Their stories were first recorded by the Ming dynasty poet Wu Yuantai. Their status as fabled folk icons makes them well-known in popular culture.Literature comparison: A similarly decorated blue and white baluster vase, dated to the Kangxi period, is illustrated in Blue and White Porcelain with Underglazed Red III: Complete Collection of Treasures of the Palace Museum, vol. 36, Hong Kong, 2000, page 33, no. 27.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2014, lot 2132 Price: USD 37,500 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A blue and white beaker vase, Kangxi period Expert remark: Compare the closely related form, subject, decoration with similar panels, geometric bands, and diapered ground. Note the identical size (43.7 cm). Also compare the cobalt-blue with small areas of firing-related fading, as expected from this group.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 18 September 2007, lot 273 Estimate: USD 30,000 or approx. EUR 41,000 converted and adjusted for inflation at the time of writingDescription: A rare blue and white yen-yen vase, Qing dynasty, Kangxi period Expert remark: Compare the closely related subject and decoration with similar panels, geometric bands, and diapered ground. Note the size (45.7 cm) and phoenix tail form.康熙時期罕見青花開光八仙人物花觚中國，1662-1722年。撇口，口沿下收，鼓腹，圈足。口內素白，外壁以錦地青花裝飾，頸部開光四位八仙中的人物，腹部兩位，腳部兩位。 來源：法國私人老收藏。 品相：狀況極好，整體有一些磨損和淺劃痕，分散的燒製不規則性，如點蝕、釉面凹陷、黑點。青花有小面積的燒製相關褪色。花瓶微微傾斜。 重量：2,740 克 尺寸：高 43.7 厘米 文獻比較： 一件相似的康熙青花觚，見《Blue and White Porcelain with Underglazed Red III: Complete Collection of Treasures of the Palace Museum》，卷36，香港，2000年，頁33，編號27。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年3月21日，lot 2132 價格：USD 37,500（相當於今日EUR 45,500） 描述：清康熙青花錦地開光八仙圖花觚 專家評論：比較非常相近的外形、主題、外壁相似的錦地青花裝飾。請注意幾乎相同的尺寸(43.7 厘米)。比較小區域的琺瑯有褪色。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2007年9月18日，lot 273 估價：USD 30,000 （相當於今日EUR 41,000） 描述：康熙青花鳳尾瓶 專家評論：比較非常相近的主題、外壁相似的錦地青花裝飾。請注意尺寸 (45.7 厘米) ，以及鳳尾的外形。

A WHITE AND BROWN JADE 'LOTUS, CRAB AND MILLET' BRUSH WASHER AND MATCHING WOOD STAND, 18TH CENTURYChina. Exquisitely carved as a furled lotus leaf, finely detailed with veins, the curled stem serving as the foot and handle of the vessel, one side carved with a clambering crab. The superbly polished translucent stone of a pure white tone with pale sugar brown shadings and few russet inclusions and veins.Provenance: An old English private collection. A Hungarian private collection, acquired from the above. Condition: Very good condition with minor wear and few tiny nibbles. The stone with natural fissures, some of which have developed into small hairline cracks over time. The wood stand with minor wear, few expected age cracks, and small losses.Weight: 203.7 g (the washer) and 84.2 g (the stand) Dimensions: Length 11 cmThe matching wood stand, probably huali, lacquered and finely carved in openwork as two lotus leaves borne on curled stems further issuing lotus pods and millet stalks. (2)This brush washer is an exceptional example of the level of carving achieved by craftsmen in the 18th century. From the exquisitely detailed veins of the lotus leaf and modeling of the crab, to the fluid naturalistic form of the leaf, the carving has been expertly positioned and composed within the pebble to ensure minimal wastage and the clever incorporation of the brown portion of the stone to highlight the crab and stem.Lotus-leaf brush washers and water droppers were popular from the Ming dynasty, and were produced in various materials including porcelain, agate, bronze and jade. Such vessels are an example of the ideal natural world that was miniaturized and brought into the scholar's studio. These perfect representations of nature, which encompassed a range of objects including boulder carvings, brush pots and brush washers, proved a means of inspiration and escape for the scholar who was caught in the day-to-day duties of officialdom. An old name in Chinese for crab was jia, a reference to the creature's shell, and the word for lotus is lian.Such scenes were also imbued with auspicious meaning. Together, the crab and lotus formed the rebus lian ke jia di, meaning 'first place in consecutive examinations'. The lotus is also called hehua, and the common name for crab, xie, also combines to form the phrase hexia which means 'harmony'.Expert's note: It is rare to find a brush washer in white and brown jade, as this combination of colors was usually reserved for figural jades. The lapidary has masterfully utilized the different shades of the stone and polished it to a high translucency to further heighten the awe-inspiring effect, and even added a matching stand which strikingly complements the depiction, altogether leaving no doubt that the present lot was made during the 18th century. Literature comparison: Compare a related jade “cup” carved as a lotus leaf surmounted by a crab, dated to the Kangxi period, in the Cleveland Museum of Art, accession number 1952.501.十八世紀白玉褐斑蓮葉筆洗中國。筆洗成捲曲荷葉形，葉紋清晰，卷莖為器足和柄，一側刻有小蟹。表面光滑，呈純白色，帶有淺棕色斑紋和少量赤褐色絮狀物及紋理。 來源：英國私人舊藏；匈牙利私人收藏購於上述收藏。 品相：品相極好，有輕微磨損，具有天然裂隙的石料，隨著時間的推移，其中一些已經發展成細小的裂紋。木架有輕微磨損，輕微老化裂縫，小缺損。 重量：203.7 克 (筆洗)，84.2克 (底座) 尺寸：長11 厘米 配套的木架，可能是花梨木，上漆並精美鏤空，兩片荷葉承載在捲曲的莖上，其間可見蓮藕和花苞(2)

A PAIR OF FAMILLE VERTE SCALLOPED 'HAWK' DISHES, KANGXI PERIODChina, 1662-1722. The shallow dishes with rounded sides rising to a scalloped rim, brightly enameled and with iron-red and gilt, decorated to the interior with a central medallion enclosing a hawk perched on a rock amid crashing waves carrying floating prunus and below a cloudy sky, encircled at the lobed rim with four rectangular panels of different landscapes with auspicious creatures including Buddhist lions, a phoenix, a qilin, a horse, and a crane. The recessed base with an underglaze-blue floral mark within a double circle. (2)Provenance: New York trade. Condition: Very good condition with minor wear, light surface scratches, minor rubbing to the iron-red, and manufacturing irregularities including dark spots. Each dish with a short hairline to the rim.Weight: 147.9 g and 131.3 g Dimensions: Diameter 16.2 cm and 15.9 cm Auction result comparison: Type: Related Auction: Christie's London, 13 May 2014, lot 84 Price: GBP 8,125 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A famille verte lobed dish, Kangxi period Expert remark: Compare the closely related form with similarly scalloped rims, the decoration with similar panels and famille verte enamels. Note the larger sizes (28.2 cm).康熙一對硬彩開光《江上雄鷹》花口盤中國, 1662-1722年。花口，淺弧壁，圈足，明亮的琺瑯彩，盤中開光，一隻雄鷹棲息在江中岩石上，波濤澎拜，空中祥雲；盤沿上邊緣有獅子、鳳凰、麒麟、馬和仙鶴等吉祥圖案。圈足内雙圈青花花卉款。 來源：紐約古玩交易。 品相：狀況極好，有輕微磨損、表面劃痕、釉面磨損，以及包括黑點在內的製造瑕疵。每個盤子邊緣都有一條短冲線。 重量：分別為147.9 克 與 131.3克 尺寸：直徑 16.2 厘米 與15.9 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2014年5月13日，lot 84 價格：GBP 8,125（相當於今日EUR 11,500） 描述：康熙時期粉彩花口盤 專家評論：比較非常相近的花口外形，裝飾有相似的紋帶和粉彩琺瑯。請注意尺寸較大(28.2釐米)。

A BLUE AND WHITE 'EIGHT HORSES OF MU WANG' BOWL, KANGXI PERIODChina, 1662-1722. Of conical form, supported on a straight foot and rising to an everted rim protected by a copper band, which is original to the piece. The widely flared sides painted to the exterior with seven lively horses in a continuous grass field landscape with mountains in the background. The interior with a medallion showing the eighth horse, resting between two craggy rocks with its abdomen facing upwards.Provenance: From a private collection in London, United Kingdom. Condition: Very good condition with only minor wear, few firing irregularities, and light scratches.Weight: 299 g Dimensions: Diameter 17.5 cmThe recessed base with an apocryphal six-character mark da Ming Jiajing nianzhi within a double circle.The charming scene represents the Eight Horses of King Mu Wang, who reigned during the Zhou dynasty in the 10th Century BC, and these Eight Horses were his favorite chargers which pulled the Emperor's chariot as he progressed about his realm to visit the Goddess Hsi Wang Mu.Expert's note: The present lot belongs to a small yet well-recorded group of blue and white bowls, all painted with the Eight Horses of Mu Wang, and bearing six-character marks da Ming Jiajing nianzhi within a double circle. Note that it has most recently been suggested by some scholars that these bowls might rather date to the Jiajing period (1521-1567) instead of the Kangxi period (1662-1722).Literature comparison:For a pair of dishes with similar iron-painted rims and Jiajing marks, dated to the early Qing dynasty, see Yeo and Martin, Chinese Blue & White Ceramics, Arts Orientalis, Singapore, 1978, p. 248 and pl. 160, nos. 296 and 297. Another bowl of similar form, horse decoration, and Jiajing mark, dated to the later Transitional period is published in Richard Kilburn, Transitional Wares and Their Forerunners, Oriental Ceramic Society of Hong Kong, 1981, p. 148, no. 97.Auction result comparison: Type: Closely relatedAuction: Galerie Zacke, Vienna, 11 March 2022, lot 489 Price: EUR 8,848 Description: A blue and white 'eight horses of Mu Wang' bowl, Kangxi periodExpert remark: Compare the closely related form, motif, manner of painting, and Jiajing mark. Note the size (16.7 cm).康熙時期青花《穆王八駿》碗中國，1662-1722年。碗敞口，微外撇，斜腹，圈足，口沿施醬色釉。碗外壁青花描繪群山為景，七匹馬或是嬉戲，或是休憩，或是奔跑。碗内開光青花繪製第八匹馬。 來源：英國倫敦私人收藏。 品相：狀況極好，只有輕微磨損、燒製不規則和輕微劃痕。 重量：299 克 尺寸：直徑17.5 厘米 圈足内青花雙圈僞“大明嘉靖年製”款。 專家注釋：這類青花碗產量雖小，但記錄詳實，均繪《穆王八駿圖》，雙圈內書“大明嘉靖年製”六字款。最近一些學者提出這些碗可能是嘉靖時期（1521-1567）而非康熙時期（1662-1722）。 文獻比較： 一對清代初期嘉靖款相似瓷盤，見Yeo和Martin，《Chinese Blue & White Ceramics，Arts Orientalis》，新加坡，1978年，頁248和圖160，編號296和297。另一件相似外形的過渡時期嘉靖款馬圖碗，出版於Richard Kilburn，《Transitional Wares and Their Forerunners》，香港陶瓷學會，1981年，頁148，編號97。 拍賣結果比較： 形制：非常相近 拍賣：維也納Galerie Zacke，11 3月 2022年，lot 489 價格：EUR 8,848 描述：康熙 “穆王八駿”青花碗 專家評論：比較非常相近的外形、畫風和嘉靖款。請注意尺寸(16.7 厘米)。

A WHITE JADE WEIGHT OF A BUDDHIST LION WITH CUB, 17TH CENTURYChina. Depicting a very interactive scene between a recumbent Buddhist lion mother and its cub, the lion carved with its legs tucked beneath, the head facing backwards towards its cub, the faces expressively carved. Their bushy eyebrows, tails, backbones, manes, and features are all finely detailed. The translucent stone of a fine white tone with cloudy inclusions, hues of pale celadon, and faint russet accents.Provenance: British trade. Condition: Very good condition with minor wear, minuscule nibbling, the stone with natural fissures.Weight: 197.7 g Dimensions: Length 7.8 cm Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 29 November 2017, lot 3062Price: HKD 125,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A white jade 'Buddhist lion and cub' carving, late Ming-early Qing dynasty, 17th centuryExpert remark: Compare the closely related motif, incision work, and size (8.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 1 June 2016, lot 3369Price: HKD 187,500 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A celadon and russet jade 'lion and cub' group, Kangxi period (1662-1722)Expert remark: Compare the closely related motif and fine incision work. Note the size (10.2 cm).十七世紀白玉太獅少獅鎮紙中國。白玉雕琢，太獅臥於地上，少獅倚其懷中。太獅面部口微張，雙目瞪圓，威中帶有暖意；少獅四爪張開，一副攀爬姿態，活潑可愛。玉質油潤，雕工細膩，製作精良。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損，微小的磕損，帶有天然裂縫的玉料。 重量：197.7 克 尺寸：長 7.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年11月29日，lot 3062 價格：HKD 125,000（相當於今日EUR 16,500） 描述：明末/清初白玉太獅少獅擺件 專家評論：比較非常相近的主題、雕刻和尺寸(8.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2016年6月1日，lot 3369 價格：HKD 187,500（相當於今日EUR 25,500） 描述：清康熙青白玉太獅少獅把件 專家評論：比較非常相近的主題、雕刻。請注意尺寸 (10.2 厘米)。

A FAMILLE VERTE BOTTLE VASE, YUHUCHUNPING, KANGXI PERIODChina, 1661-1722. Well potted, the pear-shaped body rising from a splayed foot to a waisted neck with everted rim, finely painted to the exterior with evenly spaced flowering prunus branches, framed to the shoulder and foot with bands of lotus blossoms and scrolling vines, the neck with a geometric border. The base with an iron-red monogram.Provenance: Robert H. Ellsworth, New York, USA. Michael B. Weisbrod, New York, USA, acquired from the above, ca. 1990. Two old inventory numbers '2' and '929' to the mouth and base. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years, the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong. Condition: Some old wear, glaze flakes, expected firing flaws including dark spots and pitting, the base drilled, the foot with some chips, a small glaze crack, and minuscule losses.Weight: 1,294 g Dimensions: Height 25 cmExpert's note: According to Michael B. Weisbrod, the vase was acquired from Robert H. Ellsworth, who confirmed it as a Kangxi period vessel. Robert Hatfield Ellsworth (1929-2014) was a noted Manhattan-based collector and dealer of Asian paintings, works of art and furniture from the Ming and Qing dynasties. He was a supporter of architectural restoration in Huangshan and an honorary Chinese citizen.Auction result comparison:Type: RelatedAuction: Christie's London, 7 November 2008, lot 360Price: GBP 3,000 or approx. EUR 5,400 converted and adjusted for inflation at the time of writingDescription: A famille verte bottle vase, KangxiExpert remark: Compare the closely related form and enamels. Note the smaller size (17.4 cm) and different subject.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.康熙硬彩玉壺春瓶中國，1661-1722年。玉壺春瓶撇口，束頸，頸以下漸向外闊，其腹部渾圓大氣，至近底處內斂，圈足微外撇。腹部團花紋，近足部纏枝花卉紋。圈足内鐵紅單字款。 來源：紐約Robert H. Ellsworth收藏；紐約Michael B. Weisbrod約於1990年購於上述收藏。口部和底部分別有收藏標籤 '2' 與 '929'。Michael B. Weisbrod購於上述收藏。Michael B. Weisbrod是一位著名的中國藝術學者，在五十多年的時間內發表了大量有關中國藝術的文章。1972 年，Michael 加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術畫廊。這對父子團隊於 1977 年在紐約麥迪遜大道開設了他們的藝廊，在接下來的四十五年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終在上海和香港也開設了分店。 品相：局部磨損，釉層剝落，預期的燒製缺陷，包括黑點和麻點，底座鑽孔，足部有一些缺口，小釉裂和微小的損失。 重量：1,294 克 尺寸：高 25 厘米 專家評論：據Michael B. Weisbrod所述，這個玉壺春瓶購於Robert H. Ellsworth處，Ellsworth確認為康熙時期。Robert Hatfield Ellsworth (1929-2014年) 曾是曼哈頓著名的明清繪畫、藝術品和傢俱收藏家和經銷商。他是黃山建築修復的支持者和榮譽中國公民。拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2008年11月7日，lot 360 價格：GBP 3,000（相當於今日EUR 5,400） 描述：康熙時期硬彩玉壺春瓶 專家評論：比較非常相近外型和琺瑯。請注意尺寸較小 (17.4 厘米) 和不同的主題。

A LUDUAN-FORM BRONZE CENSER, MING DYNASTYChina, 1368-1644. Finely cast standing foursquare, the chest of the hollow body with a long strip of scaling, the sides with swirls and stylized ruyi-heads, flanking a short tail. The hinged cover rendered in the form of a single-horned head with bulging eyes, scrolling mane, and funnel-shaped ears, the mouth wide open revealing tongue and teeth.Provenance: Galerie Gross, Wiesbaden, Germany, 12 December 1980. An old German private collection, according to the family acquired from the above, and thence by descent. Condition: Very good condition with expected old wear and casting irregularities. The hinge original and remarkably well-preserved, thus functioning properly. A few minuscule nicks and small dents. Naturally grown, rich and very dark patina overall.Weight: 4,612 g Dimensions: Height 30 cm (excl. base, incl. pegs) and 33.5 cm (incl. base)With an old wood base. (2)The throne of the Emperor of China in the Hall of Supreme Harmony in the Forbidden City in Beijing has two incense burners shaped as luduan, the legendary auspicious creatures who can travel 18,000 li (9,000 km) in a single day and speak all world languages. A legend says that a luduan once appeared to Genghis Khan and convinced him to abandon his efforts to conquer India.Luduan are mythical creatures with strong lion bodies, a single horn and the paws of a bear. They are believed to have the ability to foretell the future, give life to the good, and kill the evil. According to legend, they were originally known as 'jiaoduan', and their name changed to 'luduan' because the character for 'lu' matched their appearance better. Known as guardians of enlightened rulers, luduan were said to appear in areas where a wise and virtuous leader was present.The auspicious nature of luduan was particularly appropriate for the purpose of these censers. Cast with hinged or removable heads, they were made for burning incense and smoke would emerge from the beast's mouth, animating and empowering the sculpture. As Chuimei Ho and Bennet Bronson note in their discussion of a pair of Qianlong cloisonne enamel examples from the Palace Museum, Beijing, included in the exhibition 'Splendors of China's Forbidden City, The Glorious Reign of Emperor Qianlong' by The Field Museum, Chicago, 2004, these burners were traditionally valued at the Imperial Court, as with their open mouths and smoke billowing forth, they were a reminder to the emperor that he should always be receptive to honest advice (see page 37).The origin of incense burners of this form is difficult to determine. An example attributed to the Song dynasty was recovered from the Ming dynasty tomb of the scholar-official Zhang Shupei (1552-1615) in Tonglian, Sichuan (Wenwu, 1989, no. 7, pp 45-46, figs 14-16). Mythical beast incense burners, however, became a popular model only from the Xuande period onwards. A censer in the form of a mythological animal was included in the painting 'Enjoying Antiquities' by Du Jin (ca. 1467-1505), where two scholars are depicted scrutinizing a selection of antiquities (illustrated in Through the Prism of the Past, Antiquarian Trends in Chinese Art of the 16th to 18th Century, National Palace Museum, Taipei, 2003, catalog no. I-44). A drawing of a similar beast is also published in the Shizu zhai jian pu (Ten Bamboo Studio Catalogue of Letter Paper Designs), a woodblock printed book of stationery papers from 1645, compiled by Hu Zhengyan and illustrated in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, volume 1, Hong Kong, 1978, page 179, figure 15. Its popularity continued well into the Kangxi reign, when censers of this form were made in a variety of media, including porcelain, cloisonne enamel, and bronze.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 4 April 2017, lot 60 Price: HKD 350,000 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A Rare Bronze Luduan-Form Censer, Yuan-Ming Dynasty (1279-1644)Expert remark: Note the similar size (35.2 cm) Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 3 June 2015, lot 2870 Price: HKD 275,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: A Bronze Luduan-Form Censer and Cover, Late Ming Dynasty, 17th CenturyExpert remark: Note the smaller size (23 cm)明代甪端銅香薰中國，1368-1644年。銅香薰，作獨角甪端形象，昂首傲立，蹲伏狀。雙目圓瞪，發須如火焰紋，前胸配以纓絡鈴鐺，身體兩側有如意狀紋飾，頭部與身體相分開。腹部中空，設計巧妙。體態飽滿圓潤。 來源：德國威斯巴登Galerie Gross藝廊，1980年12月12日；一個德國私人收藏，在同一家族保存至今。 品相：狀況極好，有磨損和鑄造不規則現象。原始鉸鏈且保存完好，因此可以正常使用。一些微小的刻痕和小凹痕。自然包漿細膩。 重量：4,612 克 尺寸：高 30 厘米 (不含底座，含釘子)，33.5 厘米 (不含底座) 木底座。(2)

A LARGE UNDERGLAZE-BLUE AND COPPER-RED GLAZED CHARGER, KANGXI PERIODChina, 1662-1722. The shallow rounded sides supported on a short foot, the interior painted in shades of cobalt blue and copper red with a river landscape at night, the full moon emerging from wispy clouds above a flock of birds at flight, two sages standing by a stream with pavilions scattered amid rocks, trees, and bushes. Provenance: British trade Condition: Very good condition with minor wear, light surface scratches, and firing flaws including pitting, dark spots, a porcelain wart, and firing cracks.Weight: 2,317 g Dimensions: Diameter 37.8 cmLiterature comparison: Compare a related underglaze blue and copper red dish, 36.5 cm diameter, also dated to the Kangxi period, in the British Museum, museum number Franks.493.+.Auction result comparison:Type: RelatedAuction: Christie's New York, 16 March 2015, lot 3589Price: USD 62,500 or approx. EUR 74,000 converted and adjusted for inflation at the time of writingDescription: A large underglaze-blue and copper-red-decorated dish, early Kangxi period, circa 1670Expert remark: Compare the related form, colors, shadings, style and period. Note the size (33.2 cm).康熙大型青花釉裏紅山水盤中國，1662-1722年。敞口，弧腹，淺盤，圈足。滿月浮雲，月下江景，空中飛鳥，二人立於江邊，亭台樓閣散佈在岩石、樹木林中。 來源：英國古玩交易。 品相：狀況非常好，有輕微磨損、表面劃痕和燒製缺陷，包括點蝕、黑點和燒製裂紋。 重量：2,317 克 尺寸：直徑37.8 厘米 文獻比較： 比較一件相近康熙青花釉裏紅山水盤，直徑36.5 厘米，收藏於大英博物館，館藏編號 Franks.493.+。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月16日，lot 3589 價格：USD 62,500（相當於今日EUR 74,000） 描述：清康熙早期(約1670年) 青花釉裏紅西廂記人物故事圖大盤 專家評論：比較相近的外形、顏色、陰影、風格和年代。請注意尺寸 (33.2 厘米)。

A CELADON JADE FIGURE OF BUDDHA, 17TH-18TH CENTURYChina. Finely carved, seated in dhyanasana, holding an offering bowl in his lowered right hand, his raised left held in abhaya mudra, wearing heavily pleated robes draped over his right shoulder and opening at the chest to reveal a beaded necklace. His serene face with heavy-lidded eyes centered by a circular urna and slender lips forming a benevolent smile. The superbly polished stone is of a deep celadon tone with cloudy inclusions and russet veins. Note the high translucency of the jade, particularly striking in the left hand.Provenance: The trade in Paris, France.Condition: Very good condition with minor old wear, few minuscule nicks, remnants of ink, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 1,180 g (excl. stand) Dimensions: 16.5 cm (excl. stand) and 19.5 cm (incl. stand)With a finely carved and fitted zitan double lotus stand, dating from the same period. (2)Buddhism flourished during the Qing dynasty, and was encouraged by the devotion of the Kangxi, Yongzheng, and Qianlong emperors. Buddhist artifacts were consequently produced in significant numbers for the imperial court, particularly as ceremonial gifts, such as for the birthdays of members of the court. The popularity of the present form of Buddha carved in jade is apparent from a number of examples of the highest quality surviving in the Imperial collections, most notably in the Palace Museum, Beijing.Expert's note: The present jade shows superficial remnants of ink, which we have left in place to some extent, despite the fact they are rather easy to remove, as they indicate appreciation by a previous collector, perhaps a scholar or artist who often had ink-stained fingers as they handled this Buddha.Literature comparison: See for example a fine celadon jade Buddha, illustrated in Compendium of Collections in the Palace Museum, Jade 8: Qing Dynasty, Beijing, 2011, no. 234, and other Buddhas illustrated ibidem, nos. 236-238. The Imperial association for such jade Buddhas is further evidenced by a related white jade Buddha from the Prince Kung Collection, illustrated in the catalog produced by American Art Galleries, The Remarkable Collection of the Imperial Prince Kung of China, New York, 1913, no. 71. A celadon jade figure of Buddha Shakyamuni, holding a small stupa, is illustrated in Treasures from Snow Mountains, Gems of Tibetan Cultural Relics, Shanghai Museum, 2001, no. 37.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 May 2021, lot 2718 Price: HKD 1,375,000 or approx. EUR 168,000 converted and adjusted for inflation at the time of writing Description: A pale greenish-white jade seated figure of Buddha, Qing dynasty, 18th centuryExpert remark: Note the similar size (17.2 cm) Auction result comparison: Type: Closely related Auction: Christie's London, 9 November 2012, lot 1281 Price: GBP 70,850 or approx. EUR 105,000 converted and adjusted for inflation at the time of writing Description: A large celadon jade Buddha mounted on a gilt bronze stand, 18th centuryExpert remark: Note the larger size (24.2 cm incl. stand) Auction result comparison: Type: Closely related Auction: Sotheby's London, 7 November 2012, lot 231 Price: GBP 70,850 or approx. EUR 105,000 converted and adjusted for inflation at the time of writing Description: A celadon jade figure of Buddha, Qing dynasty, 18th centuryExpert remark: Note the similar size (15.9 cm)十七至十八世紀青玉佛中國。釋迦牟尼佛全跏趺坐，雙臂自然下垂，左手於胸前施無畏印，右手腹前托一小缽；螺髮規整，雙耳垂肩，眉彎與鼻脛相連，慈顏垂視，嘴角略帶微笑，神態怡然，法相莊嚴；身軀端正，著袒左肩式袈裟，袒露前胸。衣褶自然流暢，刻工栩栩如生。青玉有白色絮狀紋理。 來源：法國巴黎古玩交易。 品相：狀況極好，有輕微磨損與微小的劃痕，墨水殘留，帶有天然裂縫的石料，隨著時間的推移，其中一些可能已經發展成細小的裂紋。 重量：1,180 克 (不含底座) 尺寸：16.5 釐米 (不含底座) ，19.5 釐米 (含底座) 紫檀雕刻雙層蓮座，來自同一時期。 (2)

A CLOISONNE ENAMEL 'LOTUS' BOTTLE VASE, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIODChina, 1736-1795. The globular body supported on a spreading foot, rising to a tall neck tapering towards the gilt rim, brightly decorated with stylized lotus blooms borne on meandering leafy tendrils below a ruyi-head band, the foot encircled with C-scrolls and circles, all reserved on a turquoise ground. The base incised with a five-character mark Qianlong nianzhi tong and of the period.Provenance: From a private collection in South Africa, gifted to the previous owner by a former diplomat in Yugoslavia on 26 June 1982. French trade, acquired from the above. Condition: Very good condition with old wear as expected and some manufacturing irregularities, including minimal pitting, as well as minor nicks to enamels.Weight: 278.8 g Dimensions: Height 12.7 cmBased on its size and shape, this vase was made to hold incense instruments. These types of small cloisonne vases, censers, and instruments (luping sanshi) which were made for the burning of incense had an additional character below the reign mark and were made for the Qianlong court. Some scholars have suggested that the fifth character under the Qianlong mark could have been a way to number the large group of objects in the correct order, see H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, pp. 74-79.Literature comparison: Compare a similar cloisonne enamel vase in the Pierre Uldry collection, published in Brinker and Lutz in Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, no. 285, p 283. Compare a related cloisonne enamel vase, Qianlong mark and period, in the Palace Museum, illustrated by Zheng Xinmiao, ed., Compendium of Collection in the Palace Museum: Enamels 2 - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, pl. 154. For a Kangxi-marked example of similar size and decoration from the Qing Court Collection, see Metal-bodied Enamel Ware. The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pl. 81.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 May 2013, lot 2057 Price: HKD 300,000 or approx. EUR 44,500 converted and adjusted for inflation at the time of writing Description: A small cloisonne enamel bottle vase, Qianlong incised four-character mark and of the periodExpert remark: Compare the closely related form, motif, and four-character mark with an additional character. Note the size (12.3 cm).乾隆五字款及年代銅胎掐絲琺瑯蓮紋長頸瓶中國，1736-1795年。鎏金口，長頸，斜肩，圓腹，圈足。藍地，銅胎掐絲琺瑯，口沿下緣飾一圈如意雲紋，頸及腹飾番蓮紋，圈足飾幾何紋。底有陰刻“乾隆年製”橫向單行楷款，其下有一個“同”字。 來源：南非私人收藏，1982年6月26日由前南斯拉夫外交官贈予前主人；法國古玩交易，購於上述收藏。 品相：狀況極好，有磨損和一些製造缺陷，包括最小的點蝕，以及琺瑯上有輕微劃痕。 重量：278.8 克 尺寸：高 12.7 釐米 根據這個長頸瓶的大小和形狀，可以推測它曾是用來裝香的。這些供燒香用的小景泰藍花瓶、香爐和器具（爐瓶三事）在年號下方加了一個字，是為乾隆宮廷製作的。 一些學者認為，乾隆標記下的第五個字元可能是一種以正確順序對一大組擺飾進行編號的方式，見 H. Brinker和A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，第 74-79頁。 文獻比較： 比較一件相似的銅胎掐絲琺瑯瓶，收藏於Pierre Uldry collection，出版於Brinker和Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，編號285，頁283。比較一件相近乾隆款及年代銅胎掐絲琺瑯瓶，收藏於故宮博物院，見Zheng Xinmiao等編，《故宮博物院藏品大系‧琺瑯器編‧清掐絲琺瑯》，北京，2011年，圖154。一件清廷收藏康熙款相似尺寸的例子，見《故宮博物院藏文物珍品全集‧金屬胎琺瑯器》，香港，2001年，圖81。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得， 2013年5月29日，lot 2057 價格：HKD 300,000（相當於今日EUR 44,500） 描述：清乾隆掐絲琺瑯纏枝蓮紋小瓶，《乾隆年製》楷書橫款 專家評論：比較非常相近的外形、主題、四字年代款和一字款。請注意尺寸(12.3 厘米)。

A POWDER-BLUE GROUND 'THREE CARP' BOTTLE VASE, KANGXI PERIODChina, 1662-1722. The globular body rising from a short foot to a tall cylindrical neck, finely painted with three large iron-red carps swimming among gilt-decorated algae, floral blooms, and small aquatic creatures, the confronting carps with black pupils and gilt highlights.Provenance: British trade. Condition: Very good condition with minor wear and firing irregularities, some rubbing to gilt, light surface scratches to base, the vase slightly leaning.Weight: 2,638 g Dimensions: Height 44 cmExpert's note: A 19th-century dating for the present vase can be safely excluded due to the fine use of and characteristic wear to the gilt, the skillful shadings of the iron-red, the brilliance of the powder-blue glaze, as well as the distinct pottery marks inside the neck and the fact that the vase is slightly leaning. These features do not appear in such coherent unity on later pieces, removing any doubt as to the Kangxi dating of this piece.Auction result comparison: Type: Related Auction: Christie's London, 5 November 2013, lot 417 Price: GBP 20,000 or approx. EUR 29,500 converted and adjusted for inflation at the time of writing Description: A pair of powder-blue ground iron-red and gilt decorated vases, Kangxi periodExpert remark: Compare the closely related subject, manner of painting, and decoration with similar iron-red and gilt on a powder-blue ground. Note the smaller size (36.1 cm), different form, and that the lot comprises a pair. Auction result comparison: Type: Related Auction: Christie's New York, 29 March 2006, lot 444 Price: USD 15,600 or approx. EUR 21,500 adjusted for inflation at the time of writing Description: An Iron-Red and Gilt-Decorated Powder-Blue-Ground Rouleau Vase, Kangxi Period (1662-1722)Expert remark: Compare the closely related subject with four carps painted in similar iron-red and gilt on a powder-blue ground. Also note the similar size (45.1 cm).康熙粉青紅彩三鯉長頸瓶中國，1662-1722年。細長頸，球腹，圈足。瓶身細繪三條礬紅釉大鯉魚，描金水藻、花卉和小型水生動物，對峙的鯉魚黑瞳描金突出。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和燒製不規則，描金有一些摩擦，底部有輕微的劃痕，花瓶略微傾斜。 重量：2,638 克 尺寸：高 44 厘米 專家注釋：由於鎏金的使用和特有的磨損以及礬紅色巧妙的陰影、粉藍色釉的光彩以及獨特的器型，可以排除這件花瓶為十九世紀的產品。這些特徵並沒有在後來的作品中如此連貫地統一出現，從而消除了關於這件作品為康熙時代的疑問。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年11月5日，lot 417 價格：GBP 20,000（相當於今日EUR 29,500） 描述：康熙一對藍地礬紅釉描金花瓶 專家評論：比較非常相近的主題、繪畫風格和相似的藍地礬紅釉和描金。 請注意尺寸較小(36.1 厘米)，不同的外形，以及此瓶為一對。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2006年3月29日，lot 444 價格：USD 15,600（相當於今日EUR 21,500） 描述：康熙藍地礬紅釉描金花瓶 專家評論：比較非常相近的主題，以礬紅釉畫有四條鯉魚。請注意相似的尺寸(45.1 厘米)。

A BLUE AND WHITE GINGER JAR AND COVER, TRANSITIONAL PERIOD, CHINA, C. 1643-1645Of ovoid form, finely painted in shades of cobalt blue with shaped panels enclosing floral sprays and butterflies against an ice-crack ground with scrolling leafy lotus sprays, below a band of pendent drops of alternating size, the cylindrical cover with a broad band of precious objects to the sides and leafy lotus sprays to the flat top, all against ice-crack grounds and divided by line borders.Provenance: Michael Hatcher, recovered from the 'Hatcher wreck' in 1983. Christie's Amsterdam, 14 March 1984. Felix Tikotin, acquired from the above and thence by descent. The base with an old label, 'The Hatcher Collection. Christie's Amsterdam. 14-03-1984'. Michael Hatcher (b. 1940) is a British explorer and marine salvor who specialized in salvage work in the South China Sea. In 1981 he was involved in investigating the wreck of the Dutch submarine K XVII. He is especially known for his recovery of large quantities of Chinese porcelain from the VOC ship Geldermalsen (known as the 'Nanking cargo') which was sold at auction by Christie's in Amsterdam in 1986. Previously, he had discovered another ship in the South China Sea, which became known as the 'Hatcher wreck'. A part of the cargo salvaged in this wreck was sold at Christie's Amsterdam in March 1984, including the present lot. Condition: Excellent condition with minor wear and firing irregularities, including kiln grit to the base, the mouth rim with a small smoothened area, probably inherent to manufacture. The exterior with surface alteration consistent with objects from maritime salvage.Weight: 2,896 g Dimensions: Height 30 cmThe present ginger jar was recovered among some 25,000 vessels found on the wreck of an unidentified Asian ship in the South China Sea. This ship is known as the 'Hatcher wreck' after Captain Michael Hatcher who discovered her in 1983. There is no written record testifying to the exact year of her sinking but the covers of two oviform jars inscribed in underglaze blue with a cyclical date corresponding to 1643 make fairly precise dating of the wreck possible. The cargo primarily consisted of two types of blue-and-white porcelain made at Jingdezhen at the end of the Ming dynasty - late variations of 'kraak' ware and examples of a 'transitional' style characterized by landscape motifs and naturalistic plants and birds. The ship may have been on its way to Indonesia, carrying also spices, silk and other commodities for sale to the Dutch whose East India Company had offices in Batavia (modern Jakarta). Chinese junks sailing to Batavia or Bantam varied in size from 200 to 800 tons. The journey out was made over three weeks during December and January and the return trip took place in June and July.Auction result comparison: Type: Related Auction: Christie's London, 12 November 2004, lot 216 Price: GBP 3,824 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A blue and white ginger jar and cover, KangxiExpert remark: Compare the closely related form and decoration with similarly shaped panels enclosing floral sprays against an ice-crack ground. Note the smaller size (25.5 cm) and the fact that this jar is somewhat later than the present lot.約1643-1645年間青花開光花卉紋蓋罐短頸，豐肩，腹下斂；青花冰裂紋地，纏枝蓮紋和蝴蝶；兩面葉形開光，裏面描繪菊花紋。短頸無釉，圈足未上釉，露胎。 來源：Michael Hatcher，1983年從 'Hatcher 沉船' 找到；阿姆斯特丹佳士得，1984年3月14日；Felix Tikotin購於上述拍賣，保存至今。底部有一舊標籤 'The Hatcher Collection. 阿姆斯特丹佳士得. 14-03-1984'。Michael Hatcher (出生於 1940年) 是英國探險家、海上救助員，專門在南海從事打撈工作。1981 年，他參與調查荷蘭潛艇 K XVII 的殘骸。他因從 1986 年在阿姆斯特丹佳士得拍賣會上出售的 VOC 船 Geldermalsen（被稱為“南京船貨”）中回收了大量中國瓷器而聞名。此前，他還在中國南部發現了另一艘船，後來被稱為“海切爾沉船”。1984 年 3 月，在這艘沉船中打撈出的部分貨物在佳士得阿姆斯特丹拍賣行出售，包括本批貨物。 品相：狀況極佳，有輕微磨損和燒製不規則，包括底部有窯砂，口緣有一個小的平滑區域，可能是製造所固有的。 重量：2,896 克 尺寸：高30 厘米

A SMALL LAC BURGAUTE MALLET VASE, KANGXI PERIOD, JIANG QIANLI MARKChina, 1662-1722. The cylindrical body with the rounded shoulder surmounted by a tall slender neck, the lacquer intricately decorated with minuscule inlays of mother-of-pearl and gold depicting foliate panels enclosing floral and geometric diapered designs, between a lappet band at the shoulder and a floral band above the foot. The neck with floral diaper between dense foliate bands interspersed with flowerheads at the shoulder and below the mouth, the recessed base with a similar design enclosed by a geometric border and centered by the gold-foil-inlaid two-character seal mark 'Qianli' within a mother-of-pearl-inlaid roundel.Provenance: From a Hungarian private collection. Condition: Good condition with minor old wear, small losses, few minuscule nicks and age cracks.Weight: 33.9 gDimensions: Height 10 cmWith a velvet-padded silk storage box. (2)Jiang Qianli, alias Jiang Qiushui, was a master craftsman from Yangzhou in Jiangsu province. For early studies of Jiang's work see Li Zhongqing 'A Mother-of-Pearl Lacquer Tray by Jiang Qianli', Wenwu, 1959, no. 11, pp. 59-61, and Paul Moss, Emperor, Scholar, Artisan, Monk - The Creative Personality in Chinese Works of Art, London, 1984, page 258. Jiang's name is also mentioned in a number of historical records, including the 1810 edition of the Jiaqing Yangzhou fu zhi (Chronicles of Yangzhou Prefecture in the Jiaqing period) in which Zhang Shiyuan and Yao Youtian record: During the early years of the Kangxi reign there was Jiang Qiushui, whose skill produced mother-of-pearl inlaid lacquerware that was noted for its exquisiteness. These wares were widely sought after for use at banquets. A couplet says, 'Where there are drinking cups and serving trays, there one finds Jiang Qiushui'. Jiang Qianli is traditionally thought to have lived in the late Ming or Kangxi periods, and his mark subsequently appeared on numerous inlaid lacquer pieces. The style of his true work is very intricate, with simple shapes embellished with perfect control and attention to detail, down to the tone and placement of each piece of inlay. The present lot appears to be of a quality associated with the master himself.Auction result comparison: Type: Related Auction: Bonhams London, 6 November 2014, lot 432 Price: GBP 13,750 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A small 'lac burgaute' baluster vase, Kangxi, Qianli two-character mark Expert remark: Compare the closely related decoration with similar floral diaper inlaid with gold foil and mother-of-pearl, as well as the two-character Qianli mark. Note the baluster form and smaller size (6.6 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2022, lot 3025 Estimate: HKD 700,000 or approx. EUR 84,500 converted at the time of writing Description: A small mother-of-pearl inlaid black-lacquered vase, Qianlong two-character seal mark Expert remark: Compare the closely related decoration with floral diaper inlaid with gold foil and mother-of-pearl. Note the inlaid Qianlong seal mark, which may be a later addition, and the size (10.7 cm).康熙江千里款黑漆螺鈿小瓶中國，1662-1722年。細長頸，溜肩，黑漆地，精緻鑲嵌金箔與螺鈿，精美組合，展現了花卉紋和幾何紋。圈足内幾何邊框中心內嵌金箔“千里”二字篆書款。 來源：匈牙利私人收藏。 品相：狀況良好，有輕微的磨損、細微小劃痕和老化裂紋。 重量：33.9 克 尺寸：高10 厘米 配絲絨絲質收納盒。(2) 江千里，字秋水，明末清初揚州鑲嵌漆器工藝家。關於江千里早期作品，可見Li Zhongqing 'A Mother-of-Pearl Lacquer Tray by Jiang Qianli'，文物，1959年，編號11，頁59-61；以及 Paul Moss，Emperor，Scholar，Artisan，Monk - The Creative Personality in Chinese Works of Art，倫敦，1984年，頁258。在衆多文獻記錄中都曾提到過江千里的名字，比如1810年版的《嘉慶揚州府志》中曾提到過 》：“康熙初維揚有士查二瞻，工平遠山水畫及米家畫，人得寸紙尺縑為重。又有江秋水者以螺鈿器皿最精工巧細，席間無不用之，時有一聯雲：“杯盤處處江秋水，捲軸家家查二瞻。” 江千里被認為生活在明末清初，他的款記隨後出現在許多鑲嵌漆器上。他真正的作品風格非常複雜，簡單的形狀點綴著完美的工藝和對細節的關注，包括每件鑲嵌物的色調和位置。 目前的拍品完全具有此品質。

A FAMILLE VERTE 'FLORAL' DISH, KANGXI MARK AND PERIODChina, 1662-1722. The interior finely decorated in shades of yellow, aubergine, green, and iron-red with a petal-lobed medallion enclosing peonies and other flowers growing from behind a tall pierced craggy rock, encircled by a band of peonies against a trellis-patterned ground followed by a band of chrysanthemums and leafy stems, all below a narrow geometric band in underglaze-blue. The base with an underglaze-blue six-character mark da Qing Kangxi nianzhi and of the period.Provenance: French trade, by repute acquired from an old private estate in northeastern France. The base with an old label. Condition: Good condition with expected old wear, little rubbing to enamels, few small chips to rim.Weight: 1,282 g Dimensions: Diameter 32.6 cmThe exterior similarly painted with floral sprays above a band of stiff leaves. The deep rounded sides supported on a short tapered foot with channeled foot rim and rising to an everted rim.Auction result comparison: Type: Closely related Auction: Christie's London, 22 January 2013, lot 319 Price: GBP 5,000 or approx. EUR 7,500 converted and adjusted for inflation at the time of writing Description: A Chinese famille verte dish, Kangxi underglaze blue six-character mark and of the periodExpert remark: Compare the closely related decoration with similar colors, floral motif, trellis-patterned ground, underglaze-blue band below the rim, and Kangxi reign mark. Note the near-identical size (33 cm).康熙款與年代硬彩開光富貴花卉紋盤中國，1662-1722年。盤內以黃色、紫紅色、綠色和礬紅色精心描繪，盤中央開光描繪牡丹花卉和假山。盤沿一圈青花回紋帶，其下多圈花卉紋帶。圈足内青花“大清康熙年製”六字款。 來源：法國古玩交易，據説購於法國東北部一個私人舊藏。底部有一個老標籤。 品相：狀況良好，有磨損，琺瑯輕微摩擦，邊緣輕微磕損。重量：1,282 克 尺寸：直徑32.6 厘米 外壁描繪紅色果實，底足呈雙圈足狀。拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2013年1月22日，lot 319 價格：GBP 5,000（相當於今日EUR 7,500） 描述：康熙款及年代粉彩盤 專家評論：比較非常相近的裝飾和顏色、 花卉主題，網格狀開光，盤沿一圈青花回紋帶，以及康熙款。請注意幾乎相同的尺寸(33 厘米)。

A GREEN, YELLOW AND AUBERGINE-GLAZED BISCUIT FIGURE OF A DAOIST IMMORTAL, KANGXI PERIODChina, 1662-1722. Molded as Lue Dongbin, standing on an egg-and-spinach-splashed rectangular plinth, dressed in an elegant, green-glazed robe and wearing an aubergine scholar's hat, holding a fly whisk in his right hand, a sword tucked into his belt. The ovoid face with heavy-lidded eyes, a long mustache and chin beard framing the mouth, and side whiskers below the ears. Provenance: From the estate of David Dunham, United States. The base with an old label, 'came from China in 1937 - valuable - 1 of the 8 immortals', and a lacquered inventory number '5636'. Condition: Very good condition with minor wear, few minuscule chips to the feet, and manufacturing flaws including firing cracks and glaze imperfections.Weight: 830.7 g Dimensions: Height 31.1 cmLiterature comparison: Compare a related porcelain figure of a Daoist immortal, 15 cm high, also dated to the Kangxi period, in the British Museum, registration number Franks.826.Auction result comparison:Type: Closely relatedAuction: Christie's London, 7 November 2017, lot 138Price: GBP 8,125 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A green, yellow and aubergine-glazed biscuit figure of guan ping, Kangxi periodExpert remark: Compare the closely related motif, pose, and glazes. Note the smaller size (20 cm).康熙時期五彩呂洞賓立像中國，1662-1722年。堆塑呂洞賓立於長方形底座上，身著長袍，頭戴紫紅色文人帽，右手持拂塵，腰間別劍。面容安詳，雙眼平視前方，長鬚，開臉生動，用彩純正。來源：美國David Dunham私人收藏。底部有老標籤 'came from China in 1937 - valuable - 1 of the 8 immortals' 以及一個收藏編號 '5636'。 品相：品相極佳，輕微磨損，足部輕微磕損，製造缺陷包括燒製裂紋和釉面瑕疵。 重量：830.7 克 尺寸：高 31.1 厘米 文獻比較： 比較一件相近的康熙陶瓷道人像，15 厘米高，收藏於大英博物館，收藏編號Franks.826。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2017年11月 7日 ，lot 138價格：GBP 8,125（相當於今日EUR 11,500）描述：清康熙素三彩關平立像專家評論：比較非常相近的主題、姿勢和釉面。請注意尺寸較小(20 厘米)。

A DOUCAI 'CRACKED ICE AND PRUNUS' BALUSTER VASE, LATE QING DYNASTYChina, 19th century. The ovoid body tapering towards the foot, surmounted by a waisted neck with everted rim, finely painted in green, yellow, red, turquoise, and aubergine enamels with underglaze blue and gilt, depicting flowering prunus against a cracked ice ground. The recessed base with a double circle in underglaze blue.Provenance: From an old German private collection, acquired before 2007. Condition: Very good condition with minor wear, little rubbing to the gilt, and manufacturing flaws including fritting to lip and scattered dark spots.Weight: 3,302 g Dimensions: Height 45.4 cmThe 'prunus on crackled ice' motif is symbolic of the passing of winter and the coming of spring. This decorative design gained much popularity during the Kangxi period and continued to be used in the Qianlong reign and thereafter when it was applied to a variety of media, including cloisonne, ceramics, and enameled metal wares.清末鬥彩冰梅紋瓶中國，十九世紀。敞口外撇，豐肩，圈足。青花地，一道道縱橫交錯的線條，模仿冰面出現的裂縫；再在冰裂紋上粉彩畫梅樹梅花，青花勾勒。 來源：德國私人收藏，購於2007年前。 品相：狀況極好，有輕微磨損，鎏金輕微摩擦，以及製造缺陷，包括唇部磨損和分散的黑點。 重量：3,302 克 尺寸：高45.4 厘米 “冰梅”紋象徵著冬去春來，梅花是傲骨的象徵。“冰梅”紋在康熙年間盛行，並應用於景泰藍、陶瓷、琺瑯金屬器等多種材質上。

A BLUE AND WHITE 'ANTIQUE TREASURES' BOTTLE VASE, KANGXI PERIODInscriptions: To the neck, 'As an accompaniment on the table, clearing the air in the Qin studio', and with two seals, '[…] quan' and 'Juanqing'.China, 1662-1722. Exceptionally well painted in neatly graduated shades of deep cobalt blue with precious objects including censers, a quadrilobed vase holding a coral branch and a peacock feather, a ruyi scepter, and a qin, as well as shaped panels enclosing landscapes. The slightly waisted neck further with a ruyi-head border. The compressed globular body supported on a massive, spreading foot.Provenance: From an English private collection, and thence by descent within the family. Condition: Good condition commensurate with age with minor wear and expected firing irregularities, including few dark spots and minute glaze recesses, a stabilized hairline and tiny old fills, the foot with few minuscule chips, minor crackling to base.Weight: 3,200 g Dimensions: Height 42.7 cmThe base with an apocryphal underglaze-blue six-character mark da Ming Jiajing nianzhi.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2011, lot 1658 Price: USD 35,000 or approx. EUR 43,500 converted and adjusted for inflation at the time of writing Description: An unusual large blue and white bottle vase, Kangxi periodExpert remark: Compare the closely related form and decoration. Note the near-identical size (45.7 cm).康熙時期青花博古紋長頸瓶中國，1662-1722年。青花描繪如意型開光博古紋，如香爐、花瓶、如意和琴等書房用品。長頸中央一道如意紋。 長頸，鼓腹，圈足外撇。 款識：案頭堪作伴，琴堂氣欲清。鈴印：？泉，鎸清 來源：英國私人收藏。，在同一家族保存至今。 品相：品相良好，有輕微磨損，製造瑕疵，例如黑點和微小的釉面凹陷，小修補，足部有磕損，底部有輕微的裂紋。 重量：3,200 克 尺寸：高 42.7 厘米 圈足内青花六字款，仿“大明嘉靖年製“款。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24日，lot 1658 價格：USD 35,000（相當於今日EUR 43,500） 描述：康熙大型青白人物場景瓶 專家評論：比較非常相近的外形和裝飾。請注意幾乎相同的尺寸(45.7 厘米)。

SEVEN 'SILK PRODUCTION' PAINTINGS, AFTER JIAO BINGZHEN (FL. 1689-1726), QING DYNASTYChina, 18th-19th century. Ink and watercolors on paper. Each skillfully painted to illustrate a different stage of silk production, including the preparation and inspection of twig frames and trays for the silkworms and mulberry leaves, as well as the loading and weighing of baskets filled with silkworm cocoons and the soaking of such cocoons in order to free the silk. Provenance: English trade. Condition: Good condition with minor wear, soiling, and creasing.Dimensions: Image size 25.5 x 25 cm (each)Each painting is matted and framed. (14)Didactic images of silk and rice production first appeared in Chinese culture around 1145 with the Southern Song dynasty court painter Lou Shou (1090-1162). Accompanied by poetic inscriptions describing the individual steps of production, these imperially sponsored images demonstrated the Emperor's interest in fostering sound agricultural and sericulture practices for these key economic engines and sources of food and clothing for the nation, as well as government revenue through taxation.In the seventeenth century, the Kangxi Emperor commissioned the court artist Jiao Bingzhen (fl. 1689-1726) to create a new edition of the Gengzhi tu, which was published as woodblock printed albums in 1696. As a result of the book's wide distribution, the imagery from the 1696 edition soon began appearing in a variety of media, on porcelain vases, lacquer screens, fine embroidery, and paintings, as seen in the present lot.Literature comparison: An album of woodblock prints, with 46 illustrations on the cultivation of grain and silk, commissioned by the Kangxi Emperor, dated 1696, is in the British Museum, registration number 1949,0709,0.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 27 January 2014, lot 397 Price: USD 7,500 or approx. EUR 8,600 converted and adjusted for inflation at the time of writing Description: A set of six Chinese silk production pictures, 19th century Expert remark: Note the similar sizes (23.7 x 24.1 cm) and that the lot comprises six album leaves, each with two pictures, four of which are framed.Auction result comparison: Type: Closely related Auction: Christie's London, 14 May 2019, lot 178 Price: GBP 11,250 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: Formerly attributed to Jiao Bingzhen (fl. 1689-1726), Sericulture Expert remark: Note the size (30.4 x 26.6 cm) and that the lot comprises an album of 24 leaves, twelve of which are closely related paintings, the other twelve with calligraphy reproducing the text of the Kangxi Emperor's poems inscribed on Jiao Bingzhen's original paintings.清代《蠶織圖》中國，十八至十九世紀，紙本設色。描繪中國南方蠶織戶養蠶、下蠶、繅絲生產的過程。 來源：英國古玩交易。 品相：狀況良好，有輕微磨損、污漬和摺痕。 尺寸：畫面分別為25.5 x 25 厘米 裝框。(14)文獻比較： 一組1696 年康熙皇帝委託製作的版畫畫冊，共 46 幅有關種植糧食和絲綢的插圖，收藏於大英博物館，館藏編號 1949,0709,0.1。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年1月27日，lot 397 價格：USD 7,500（相當於今日EUR 8,600） 描述：十九世紀一組六幅《製絲綢過程》 專家評論：請注意相似的尺寸 (23.7 x 24.1釐米)，以及此為六幅畫。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2019年5月14日，lot 178 價格：GBP 11,250（相當於今日EUR 14,500） 描述：焦秉貞款（fl. 1689-1726）《蠶業》 專家評論：請注意尺寸(30.4 x 26.6釐米) 。這是一本24頁的畫冊，其中十二幅是密切相關的繪畫，另外十二幅是複製康熙皇帝在焦秉貞原畫上題寫的詩文。

A RARE PAIR OF MING-STYLE GREEN-ENAMELED 'DRAGON' BOWLS, KANGXI PERIODChina, 1662-1722. Each with deep rounded sides supported on a short foot and rising to an everted rim, the exterior finely incised with two five-clawed dragons amid flames and clouds, reserved on the biscuit and covered with green enamel, the interior similarly decorated with three clouds.Provenance: From an old German private collection, acquired in 1980 and thence by descent in the same family. German trade, acquired from the above. Condition: Excellent condition with only very minor old wear and some firing irregularities.Weight: 338 g and 345.9 g (excl. stands) Dimensions: Diameter 18.7 and 18.9 cmThe recessed bases each with an apocryphal underglaze-blue six-character mark da Ming Chenghua nianzhi within a double circle.Each bowl with a finely carved zitan stand, dating from the Qing dynasty. (4)Imperial porcelain bowls decorated with green-enameled dragons first appeared in the Chenghua period, with and sometimes without reign marks, and either enameled with dragons over the glaze or over the biscuit. More were manufactured in later periods of the Ming dynasty, particularly during the Hongzhi and Zhengde reigns, where they were always inscribed with their corresponding reign marks. This motif, which is also found on matching saucer dishes, required each vessel to be fired twice: First the design was incised on the biscuit and covered with a layer of wax, which would melt during the first firing and reveal the pinkish buff body underneath. This was later filled with green enamel and fired a second time at a much lower temperature. The result is rather spectacular, because the dragons appear as if they are literally leaping off the surface of the bowls.Literature comparison: For the Chenghua prototype of this design, see two bowls with dragons enameled over the biscuit silhouettes, in the National Palace Museum, Taipei, included in the Museum's exhibition Chenghua ciqi tezhan (Special Exhibition of Ch'eng-Hua Porcelain Ware), Taipei, 2003, cat. nos. 110 and 111. Porcelain wares decorated with green dragons continued to be produced in the Qing dynasty, from the Kangxi to the Guangxu reigns, such as a dish with an apocryphal Hongzhi mark, in the Palace Museum, Beijing, illustrated in Miscellaneous Enameled Porcelains, Plain Tricolour Porcelains. The Complete Collection of Treasures in the Palace Museum, Shanghai, 2009, pl. 75. Furthermore, compare with entry 5 in Marchant, 90th Anniversary Exhibition, Qing Porcelain from Private Collections. Auction result comparison: Type: Closely related Auction: Christie's London, 20 February 2020, lot 134 Price: GBP 23,750 or approx. EUR 31,000 converted and adjusted for inflation at the time of writing Description: A green-enameled 'dragon' bowl, 18th centuryExpert remark: Compare the closely related form, incised and green-enameled dragon design, apocryphal Ming reign mark, and near-identical size (18.4 cm)康熙一對明代風格綠釉龍紋碗中國，1662-1722年。敞口，略外撇，深弧腹，圈足。外壁暗刻綠釉一對五爪龍，雲中戲珠；碗中三朵綠色雲紋。 來源：德國私人老收藏，於 1980 年入藏，並由同一家族繼承；德國古玩交易，購於上述收藏。 品相：狀況極佳，只有非常輕微的磨損和一些燒製不規則現象。 重量：分別為338 克與 345.9 克 (不含底座) 尺寸：直徑 18.7與18.9 厘米 圈足內青花“大明成化年製”。 每個碗都有一個精雕細刻的紫檀座，可追溯至清代。(4) 綠釉龍紋碗最早出現於成化年間，有或無年號，或在釉上或在素胎上繪龍紋。明朝後期，特別是弘治、正德年間，多會使用相應的年號。龍紋也出現在配套的碟子上，每個容器都需要燒製兩次：首先，將設計刻在素胎上並覆蓋一層蠟，在第一次燒製時蠟會融化，露出下面的淺黃色體 。之後用綠釉填充，並在低溫下進行第二次燒製。龍看起來栩栩如生。 文獻比較： 此設計的成化原型，見兩個碗，上面有琺瑯彩龍，收藏於臺北故宮博物院，《故宮成化瓷器精選》，臺北，2003年，圖錄編號110和111。清代從康熙至光緒年間持續出產綠龍紋瓷器，例如一件北京故宮博物院偽弘治款瓷盤，見《故宮博物院藏文物珍品全集》，上海，2009年，圖75。

A RARE 'JUN-IMITATION' WATERPOT, PINGGUOZUN, KANGXI PERIODOpinion: No other examples of this specific glaze type, combined with this specific form and mark, appear to have come on the market. The unique imitation Jun ware purplish-red glaze, derived from copper, combined with the simple apple-form and auspicious artemisia leaf mark, firmly places the jar within the Kangxi period. The high age of the jar is further cemented by its early provenance.China, 1662-1722. Delicately potted, the 'apple jar' is of compressed globular form with an inverted rim, covered overall in an elegant purplish-red, somewhat experimental glaze, attractively and irregularly pooling below the mouth and transmuting to a bluish celadon, building a distinct line of glaze drops in remarkably high relief around the central body. The white base with an underglaze-blue artemisia leaf mark.Provenance: From the collection of Dr. Frederick Whiting (1861-1946), mostly assembled before 1930, and thence by descent in the same family. The base with an old label, '75'. An 1890 graduate of the University of Vienna, Austria, Dr. Whiting was a Fellow of the American College of Surgeons and a member of the American Otological Society, the New York Otological Society, and the New York Academy of Medicine. Dr. Whiting was also a member of numerous clubs, among others the New York Athletic Club, the Clove Valley Rod and Gun Club, the Century Association, and the Society of Cincinnati in the State of Connecticut. He was a recognized collector of American paintings and Chinese porcelains, and a respected author, having written numerous scientific articles as well as a book on surgical techniques titled The Modern Mastoid Operation.Condition: Excellent condition with minor wear and firing irregularities, with a subtle orange tinge to the foot rim and stained craquelure to the interior. Dimensions: Height 6.4 cm (excl. stand), Diameter 8.5 cmWeight: 237 g (excl. stand)With a finely carved zitan stand. (2)When the Kangxi Emperor came to the throne, he immediately began to show an interest in the production of porcelain and encouraged the potters to experiment, improve and rediscover earlier techniques. One of those rediscoveries was the attempt at replicating Jun ware of the Song Dynasty, remarkable for its thick luscious glaze of intense coloration which can vary from light to deep turquoise blue splashed with purplish-red derived from copper. The splashes added a flamboyant effect, which had an immense appeal to the literati and nobility of the time. The present lot seems to be one of the rather early prototypes from this group.During the early Qing dynasty, up until the early 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including artemisia leaf marks.康熙時期罕見仿鈞釉蘋果尊中國，1662-1722年。器呈侈口，無頸、圓腹，器口頸若果蒂下凹於圓腹之中，底內凹。器體小巧玲瓏，豐滿圓潤。全器施玫紅色仿均釉，近足部成淺藍色，釉色流淌和緩且變化自然。圈足內施白地青花蒿葉款。 專家注釋: 市場上似乎沒有這種特殊釉面類型的例子，並帶有這種特殊款識標記。獨特的仿鈞窯玫紅色釉料，以銅為原料，結合簡潔的蘋果形和吉祥的蒿葉款，所以此罐應來自康熙時期。 來源：Dr. Frederick Whiting (1861-1946) 收藏，大多藏品購於1930年前，在同一家族保存至今。底座有一個老標籤 '75'。 Whiting 博士於 1890 年畢業於奧地利維也納大學，是美國外科醫學院的院士，也是美國耳科學會、紐約耳科學會和紐約醫學院的成員。 Whiting博士還是許多俱樂部的成員，其中包括紐約運動俱樂部、丁香穀杆槍俱樂部、世紀協會和康涅狄格州辛辛那提協會。 他是一位公認的美國繪畫和中國瓷器收藏家，也是一位受人尊敬的作家，撰寫了大量科學文章以及一本名為《The Modern Mastoid Operation》的外科技術書籍。 品相：品相極佳，有輕微磨損和燒製不規則，足緣略帶橙色，內部有裂紋。 尺寸：高 6.4 釐米 (不含底座)，直徑 8.5 釐米 重量：237 克 (不含底座) 紫檀雕刻底座。 (2)

A FAMILLE VERTE 'LADIES' DISH, KANGXI PERIODChina, 1661-1722. The shallow dish with scalloped rim, boldly painted in gilt and bright enamels of emerald-green, apple-green, yellow, red, and aubergine, as well as iron-red. The central roundel depicting two court ladies in a garden beside a prunus tree, a table with antique treasures to their right, encircled by a band of floral sprays interspersed with four cartouches enclosing Buddhist lions and auspicious objects. The rim painted with gilt and iron-red lappets. Provenance: From the private collection of Richard and Maxine Markell. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Their earliest works date from the beginning of the Qing dynasty, and generally reflect the Western taste for the famille verte and famille rose wares of the Kangxi, Yongzheng, and Qianlong reigns. Condition: Very good condition with only minor old wear and manufacturing flaws including pitting and dark spots, and minor fritting.Weight: 495.5 g Dimensions: Diameter 23.7 cmAuction result comparison:Type: Closely relatedAuction: Christie's New York, 26 January 2015, lot 65Price: USD 9,375 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A famille verte dish, Kangxi periodExpert remark: Compare the closely related form, motif, rim, and glaze. Note the larger size (38 cm).康熙硬彩開光人物圖盤中國，1661-1722年。折沿，淺圓腹，描金，明亮的五彩琺瑯，盤中央開光描繪了花園中的兩位婦人，右邊是一張擺放著古董珍寶的桌子；盤壁飾纏枝花卉紋以及佛獅和八寶紋。盤沿描金。 來源：Richard 與 Maxine Markell私人收藏。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。 Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：品相極好，只有輕微的磨損和製造缺陷，包括點蝕和黑點。 重量：495.5 克 尺寸：直徑 23.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年1月26日，lot 65 價格：USD 9,375（相當於今日EUR 11,500） 描述：康熙時期硬彩開光人物圖盤 專家評論：比較非常相近的外形、主題、盤沿和釉面。請注意尺寸較大 (38 厘米)。

A SMALL LAC BURGAUTE BOX AND COVER, KANGXI PERIODChina, 1662-1722. Of globular form, raised on a low foot, the domed cover decorated in the center with a chrysanthemum blossom encircled by concentric rows of geometric motifs followed by six radiating petals of different diaper patterns meticulously inlaid with mother-of-pearl and gilt. The rims framed by geometric bands and floral borders, the foot and rim of the cover protected by a band of gilt metal. The interior lacquered in black with a peach to the center of the dome and a branch of flowers to the well of the box. The recessed base similarly inlaid with a taiji symbol surrounded by flowers.Provenance: Austrian private collection. Condition: Good condition with little wear, light surface scratches, few minuscule nicks, minor losses to the inlays, small chips to the rims with associated flaking and minor losses, the gilt metal rims slightly loose.Weight: 8 g Dimensions: Diameter 3.4 cmLiterature comparison: Compare a box of similar form and decoration, illustrated in the catalog to the Oriental Ceramic Society exhibition, The Arts of the Ch'ing Dynasty, London, 1964, no. 385, and subsequently included in the Spink & Son catalog The George de Menasce Collection, Part I, London, 1971, no. 131. A related lobed box inlaid with the Qianli mark is illustrated by H. Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no. 144.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 16 May 2013, lot 387Price: GBP 13,750 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A pair of 'lac burgaute' circular boxes and covers Kangxi, two-character Qianli marksExpert remark: Compare the closely related form, fine inlays, and size (3.7 cm). Note that the lot comprises two boxes, each with a two-character Qianli mark.康熙髹黑漆嵌螺鈿圓蓋盒中國，1662-1722年。球形，盒蓋邊緣和盒子圈足鎏金。以黑漆嵌薄螺鈿技術，盒蓋上錦地花卉紋飾一朵菊花，花瓣呈放射狀，盒子外壁眼神相同紋飾，青光閃閃，精細優美。盒内髹黑漆，圓頂中央有一個桃子，盒子的内有一枝花。 凹陷的底座鑲嵌著一個被花卉紋環繞的太極符號。 來源：奧地利私人收藏。 品相：狀況良好，輕微磨損和表面劃痕，局部螺鈿缺損，邊緣有小缺口，鎏金邊緣略微鬆動。 重量：8 克 尺寸：直徑 3.4 厘米 文獻比較： 比較一件相似外形和裝飾的圓蓋盒，見東方陶瓷學會展覽圖錄，《The Arts of the Ch'ing Dynasty》，倫敦，1964年，編號385，以及見《Spink & Son catalog The George de Menasce Collection》，第一輯，倫敦，1971年，編號131。一件相近的千里款花瓣蓋盒 ，見 H. Moss，《Arts from the Scholar's Studio》，香港，1986年，編號144。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2013年5月16日，lot 387 價格：GBP 13,750（相當於今日EUR 23,000） 描述：清康熙黑漆螺鈾球形蓋盒一對 「千里」篆書款 專家評論：比較非常相近的外形、精美鑲嵌和 尺寸(3.7 厘米)。請注意此為兩件盒子，皆有千里款。

A BLUE AND WHITE 'SAGE AND ATTENDANT' BEAKER VASE, GU, KANGXI PERIODChina, 1662-1722. Of cylindrical form with a flaring mouth and foot, the bulging middle section vibrantly painted with detached floral sprigs, leaves, and a beetle, below a river landscape scene with a sage and his attendant walking toward a bridge below towering trees and swirling clouds, and above a similar landscape scene with the same sage and attendant continuing their journey as well as a fisherman in a boat and a scholar seated on a rocky outcrop.Provenance: From a private collection in Oxfordshire, United Kingdom, acquired in London during the 1990s. Condition: Good condition with some old wear and expected firing irregularities, a small chip to the rim, minor fritting to the rim and lower bowstring, drilled to base with associated glaze nibbles, the foot with a tiny chip. Small smoothened areas, possibly inherent to the manufacture. The vase slightly leaning. Overall presenting spectacularly well.Weight: 2,979 g Dimensions: Height 43 cmThe base with an apocryphal underglaze-blue six-character mark da Ming Chenghua nianzhi.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 11 June 2021, lot 3253 Price: HKD 250,000 or approx. EUR 30,500 converted and adjusted for inflation at the time of writing Description: A large blue and white 'figural' gu-form beaker vase, Kangxi periodExpert remark: Compare the closely related form, subject, decoration, and manner of painting. Note the related size (44.5 cm) and empty double circle to base. Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2013, lot 138 Price: USD 37,500 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A blue and white beaker vase (gu), Qing dynasty, Kangxi period Expert remark: Compare the closely related form, decoration, manner of painting, and apocryphal Chenghua reign mark. Note the related size (44.7 cm).康熙青花山水人物紋花觚中國，1662-1722年。撇口，口沿下收，鼓腹，圈足。腹部描繪花枝、葉子和小昆蟲。上下描繪聖人和他的侍從在山水景觀中，並可見一個漁夫在船上，一個學者坐在岩石露頭上。 來源：英國牛津郡私人收藏。，上世紀九十年代購於倫敦。 品相：狀況良好，有一些磨損，邊緣有一個小缺口，邊緣和弦紋下有輕微的磨損，底部的鑽孔有釉料磨損，足部有一個小缺口。花瓶微微傾斜。 重量：2,979 克 尺寸：高 43 厘米 圈足内有青花仿“大明成化年製”六字款。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2021年6月11日，lot 3253 價格：HKD 250,000（相當於今日EUR 30,500） 描述：清康熙青花山水高士圖花觚 專家評論：比較非常相近的外形、主題、裝飾和繪畫風格。請注意相近的尺寸(44.5 厘米) 和圈足沒有款式。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2013年3月19日，lot 138 價格：USD 37,500（相當於今日EUR 45,000） 描述：清康熙青花高土賞游圖觚 專家評論：比較非常相近的外形、裝飾和繪畫風格，以及成化款。請注意相近的尺寸(44.7 厘米)。

A BLUE AND WHITE YENYEN VASE, KANGXI PERIODChina, 1662-1722. Painted in deep purplish underglaze blue with figures in mountainous river landscapes, on both the body and the neck a scholar converses with an attendant on a river bank while a fisherman is in a sampan in the river nearby. Note the finely graduated shades of blue, adding a third dimension to the magnificent scene.Provenance: The Holzapfel Collection (label to base). A Swedish private collection, formed during the 1950s and 1960s, acquired from the above, and thence by descent in the family. Condition: The mouth rim with a small chip and associated old fill. A U-shaped crack extending from there, with a section of the mouth broken off and sensitively reattached. Some wear, expected firing irregularities, extensive fritting to rim, but no spraying or overpainting of any kind.Weight: 3,536 g Dimensions: Height 44 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 29 March 2006, lot 431 Price: USD 27,600 or approx. EUR 37,000 converted and adjusted for inflation at the time of writing Description: A blue and white yenyen vase, Kangxi periodExpert remark: Note the size (45.1 cm)康熙青花山水人物鳳尾尊中國，1662-1722年。尊撇口、長頸、溜肩、腹以下漸斂，近足處外撇、圈足。通體青花裝飾。器身採用通景式構圖繪山水人物圖，畫面中高山聳立，流水潺潺，幾位人物坐於石板之上或談笑風生，或舉桿垂釣，悠然自得，表現出士大夫避世隱逸的生活情趣。 來源：Holzapfel 收藏 (見底部標籤)；瑞典私人收藏，建立於上世紀五六十年代，購於上述收藏，在同一家族保存至今。 品相：口邊有一個小嗑損和相關的小修補。一條U型的裂紋從那裡延伸出來，口部一部分被折斷，經過黏貼。一些磨損，邊緣有大量熔塊，但沒有任何類型的噴塗或塗漆。 重量：3,536 克 尺寸：高 44 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2006年3月29日，lot 431 價格：USD 27,600（相當於今日EUR 37,000） 描述：康熙青花鳳尾尊 專家評論：請注意尺寸(45.1 厘米)

A RARE WUCAI 'MONTH' CUP, KANGXI MARK AND PERIODChina, 1662-1722. Delicately potted with deep rounded sides rising from a short foot to a flared rim, superbly enameled around the exterior with a red-flowering peach tree with small blossoms among scant leaves, representing the third month, the reverse inscribed in underglaze blue with a poem followed by a seal mark, the recessed base with an underglaze-blue six-character mark da Qing Kangxi nianzhi and of the period.Inscriptions: To one side, 'Fenghua xinshe yan / shijie jiuchun nong' (The swallow returns when the blossoms sway in the breeze / It is the season in late spring when farmers return to their fields). One seal, 'Shang' (appreciation). Provenance: From the collection of Carl Gustav Kjellin, acquired in Shanghai during the 1940s, and thence by descent in the family. Carl Gustav Kjellin (1910-1990) was a Swedish diplomat who was stationed in China until 1945 and thereafter at the Swedish embassy in Tokyo. He acquired most of his collection of Chinese porcelain and works of art during his time in Asia. Condition: Perfect condition with only minor wear. Minimal firing irregularities, including a microscopic glaze blister of less than 2 mm to the rim. Weight: 28.5 g Dimensions: Diameter 6.5 cmThis finely potted cup is one of the so-called 'month cups', made at the imperial kilns during the Kangxi reign. One was made for each month of the lunar calendar. As in the case of the current example, these cups are so thinly potted that the blue of the inscription on the exterior can be seen through the porcelain from the interior of the vessel. Their decoration is characterized by very delicately painted decoration in underglaze blue and wucai enamels. Each of the cups has on one side a floral design appropriate to a particular month, and on the other side a poem which complements the design. Each of the cups also bears an underglaze blue seal character after the poem, which can be read as 'shang' (appreciation).Literature comparison: Compare a closely related cup included in the Oriental Ceramic Society exhibition Enamelled Polychrome Porcelain of the Manchu Dynasty (1644-1912), London, 1951, cat. no. 253. The Percival David Foundation in London has one of the few complete sets of cups for all twelve months, now in the collection of the British Museum, registration number PDF.815. The design on the current cup is very similar to the third month cup in the Percival David Foundation and bears the same poem, see Rosemary Scott, For the Imperial Court - Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp. 82-83, no. 23. The Palace Museum, Bejing owns at least two sets, illustrated in Chugoku toji zenshu (Complete works on Chinese ceramics), Kyoto, 1981-86, vol. 21, pl. 61, and in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 65, no. 48. One is in the Idemitsu Museum of Art, Tokyo, illustrated in Idemitsu Bijutsukan zohin zuroku, Chugoku toji (Chinese Ceramics in the Idemitsu Collection), Tokyo, 1987, pl. 221. One set in the Hong Kong Museum of Art was included in the exhibition 'The Wonders of the Potter's Palette', Qing Ceramics from the Collection of the Hong Kong Museum of Art, 1984-5, cat. no. 15.Auction result comparison: Type: Near identical Auction: Sotheby's London, 6 November 2019, lot 149 Price: GBP 112,500 or approx. EUR 149,000 converted and adjusted for inflation at the time of writing Description: A rare wucai 'month' cup, Kangxi mark and period Expert remark: Compare the near identical form, decoration, enamels, and size (6.5 cm).Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 May 2013, lot 1911 Price: HKD 2,670,000 or approx. EUR 393,000 converted and adjusted for inflation at the time of writing Description: A fine famille verte 'peach blossom' cup, Kangxi six-character mark within double-circles and of the period Expert remark: Compare the near identical form, decoration, enamels, and size (6.5 cm). Note that the enamels on this month cup are described as 'famille verte'. It appears that for these month cups, the terms 'famille verte' and 'wucai' are interchangeable, however to this author, the term 'wucai' seems more accurate due to the presence of underglaze-blue decoration. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 April 2012, lot 45 Estimate: HKD 18,000,000 or approx. EUR 2,756,000 converted and adjusted for inflation at the time of writing Description: An extremely rare set of twelve wucai 'month' cups, marks and period of Kangxi Expert remark: Note that this lot comprises a complete set of twelve wucai month cups, the third month cup being near identical to the present lot.康熙款五彩桃花花神杯中國，1662-1722年。撇口、深腹、淺圈足、胎體輕薄、器型精巧絕倫，造型規整優美，胎質乳白、器薄如紙、晶瑩剔透；外壁用一年十二個月中的三月桃花來裝飾，並配以相應的詩句。圈足青花“大清康熙年製”六字款。 款識：風花新社鷰，時節舊春農；印：賞 來源：Carl Gustav Kjellin私人收藏，購於上世紀四十年代，之後在同一家族保存至今。Carl Gustav Kjellin (1910-1990) 是一名瑞典外交官，1945 年之前出使中國，此後在瑞典駐東京大使館工作。他收藏的大部分中國瓷器和藝術品都是在亞洲期間獲得的。 品相：狀況完美，只有輕微磨損。燒製不規則性，如邊緣小於 2 毫米的微觀釉泡。 重量：28.5 克 尺寸：直徑 6.5 厘米

A COPPER-RED AND UNDERGLAZE-BLUE 'LOTUS' SQUARE VASE, EARLY QING DYNASTYChina, 18th century. Finely painted with variously shaped panels enclosing flowers and rockwork, surrounded by lotus blossoms borne on leafy scrolling vines. Covered in a transparent glaze save for the unglazed broad foot rim, the recessed square in the center glazed as well.Provenance: British trade. Condition: Very good condition with minor old wear and expected firing irregularities typical of period and ware, minor fritting to shoulders, tiny frits to rim and edges. The vase slightly leaning.Weight: 3,927 g Dimensions: Height 44 cmAuction result comparison: Type: RelatedAuction: Sotheby's New York, 21 September 2022, lot 391 Price: USD 25,200 or approx. EUR 23,500 converted at the time of writing Description: A copper-red and underglaze-blue 'landscape' quadrangular vase, Qing dynasty, Kangxi periodExpert remark: Compare the closely related form and underglaze-blue and copper-red decoration. Note the related size (46.4 cm). Note also that unlike the present lot this vase has considerable condition issues, including a restored break at the mouth rim, a restored chip to one shoulder, a hairline crack, and overspray.清初青花紅彩開光方瓶中國，十八世紀。青花卷葉紋地，瓶身開光描繪花卉紋。圈足未上釉。 來源：英國古玩交易。 品相：狀況良好，有輕微磨損和燒製不規則，肩部有輕微的熔塊，邊緣有小的熔塊。花瓶微微傾斜。 重量：3,927 克 尺寸：高 44 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2022年9月21日，lot 391 價格：USD 25,200（相當於今日EUR 23,500） 描述：清康熙青花釉裏紅山水人物圖方瓶 專家評論：比較非常相近的外形和青花釉裏紅。請注意相近的尺寸(46.4 厘米)。請注意，與本拍品不同，此花瓶存在相當大的狀況問題，包括口緣破損修復、肩部破損修復、髮際線裂紋和過度噴漆。

A FAMILLE ROSE 'CONCH' INK PALETTE, JIAQING MARK AND OF THE PERIODChina, 1796-1820. Finely modeled as a flattened conch, with stepped layers depicting the concentric cone shape, the exterior textured with raised dots under a pale turquoise-green glaze, the opening of the shell formed as the sunken well, further painted in penciled iron-red lines with swirls. The rim finely gilt. The reverse with an underglaze-blue six-character seal mark da Qing Jiaqing nianzhi and early in the period, c. 1796-1798.Provenance: Sotheby's Hong Kong, 25 April 2004, lot 59, sold for HKD 480,000 or approx. EUR 45,000 (this amount is for one of originally two pieces, converted and adjusted for inflation at the time of writing). A private collector in the United States, acquired from the above, and thence by descent. Condition: Very good condition with minor wear, mostly to gilt. A microscopic nick with a 2 mm hairline to the edge, almost invisible to the naked eye.Weight: 84 g Dimensions: Length 8.8 cmWith a padded box. (2)Expert's note: Although dated Jiaqing period, the style of imitating living objects, as exemplified by the current lot, is typical of the late Qianlong period. While the Qianlong Emperor abdicated in 1795, when he assumed the title of the Emperor Emeritus, the works of art produced during the early Jiaqing period retain many stylistic qualities of the Qianlong period. It is commonly agreed that this period of transition lasts between 1796-1798. Literature comparison: Compare three Qianlong washers imitating shells illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl. 86, and other related examples illustrated in Geng Baochang, Ming Qing ciqi jianding, Hong Kong, 1993, pl. 468.Auction result comparison:Type: RelatedAuction: Christie's New York, 24 March 2011, lot 1750Price: USD 11,875 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: A rare small blue-enameled shell-form ink palette, Qianlong four-character seal mark in iron red and of the periodExpert remark: Compare the closely related form with similar raised bosses. Note the size (7.6 cm) and Qianlong reign mark.Auction result comparison: Type: Related Auction: Christie's London, 15 May 2012, lot 317 Price: GBP 12,500 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A small underglaze blue, iron-red and gilt decorated 'shell-form' brush washer, xi, Jiaqing underglaze blue six-character seal mark and of the period Expert remark: Compare the closely related form, gilt rim, and underglaze-blue Jiaqing seal mark. Note the closely related size (8.9 cm).嘉慶款及年代粉彩海螺水墨調色盤中國，1796-1820年。扁平海螺形，層層疊疊呈同心圓錐形，外施淡青綠色釉下點綴凸點，殼口微凹，再以礬紅釉細描繪，邊緣精美鎏金。盤底青花“大清嘉慶年製”六字款，約爲1796-1798年間。 來源：香港蘇富比，2004年4月25日，售價HKD 480,000 或 EUR 45,000 (這個價格為原來兩件中的一件，根據通貨膨脹率)；美國私人收藏。，購於上述拍賣，保存至今。品相：狀況極好，輕微磨損，主要是鎏金部分。邊緣有2毫米細微刻痕，肉眼幾乎看不見。 重量：84 克 尺寸：長8.8 厘米 配置帶襯墊的盒子 (2) 專家注釋：雖為嘉慶時期，但本拍品的風格，頗具乾隆晚期之典型。雖然乾隆皇帝於1795年退位，為太上皇，但嘉慶初期的藝術作品仍保留了許多乾隆時期的風格特徵。這一過渡期持續在 1796 年至 1798 年之間。 文獻比較： 比較三件乾隆貝殼水洗，見《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，圖86，以及相近的例子，見耿寶昌，《明清瓷器鑑定》，香港，1993年，圖468。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年3月24日，lot 1750 價格：USD 11,875（相當於今日EUR 15,000） 描述：乾隆四字款藍釉海螺水墨調色盤 專家評論：比較非常相近的外形。請注意尺寸 (7.6 厘米) 和乾隆款。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2012年5月15日，lot 317 價格：GBP 12,500（相當於今日EUR 19,000） 描述：青花描金礬紅彩海螺形洗，六字篆書款 專家評論：比較非常相近的外形，鎏金邊緣，以及藍色琺瑯嘉慶款。請注意非常相近的尺寸(8.9 厘米)。

A SUPERB DOUCAI DOUBLE-GOURD VASE, LINGZHI MARK, LATE 17TH TO EARLY 18TH CENTURYChina, c. 1680-1730. Finely painted in underglaze blue and enamels in shades of green, red, yellow, and aubergine to the upper pear-shaped section with three boys at play and to the lower section with a continuous scene of officials meeting foreign envoys in a garden with palm trees and lingbi stones. The recessed base with a lingzhi fungus mark within a double circle, neatly painted in underglaze blue.Provenance: A noted private collection in Texas, USA. Christie's New York, 19 March 2021, lot 871 (dated 18th century), sold for USD 15,000 or approx. EUR 15,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. A copy of the original invoice from Christie's accompanies this lot.Condition: Magnificent condition with only minor wear to enamels, some shallow surface scratches here and there, and few firing irregularities. Extremely rare to find an authentic, early and large piece of Doucai ware in such a pristine state of preservation.Weight: 957 gDimensions: Height 26.5 cmExpert's note: During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus marks in double circles.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 March 2017, lot 1213Price: USD 118,750 or approx. EUR 131,000 converted and adjusted for inflation at the time of writing Description: A Large Doucai Vase, Kangxi-Yongzheng Period (1662-1735) Expert remark: Compare the subject, style of painting, enamels, and material. Note the larger size (39 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.十七世紀末至十八世紀初鬥彩人物場景葫蘆瓶中國，約1680-1730年。葫蘆形瓶，上部分可見三個在玩耍的兒童，下部為官員在園中會見外國使節的場景。青花勾勒，琺瑯彩繪製。圈足內雙圈靈芝款。 來源：美國德克薩斯知名私人收藏；紐約佳士得，2021年3月19日，lot 871 (描寫為十八世紀)，售價 USD 15,000或相當於 EUR 15,000 (根據通貨膨脹率)；私人藏家，購於上述拍賣。隨附佳士得原始發票複印本。 品相：狀況極佳，僅琺瑯有輕微磨損，表面有一些淺劃痕，輕微燒製不規則。難得有保存如此完整的早期大件鬥彩瓶。 重量：957 克 尺寸：高 26.5 釐米 專家注釋：清朝初期，直至 1680 年代，中國局勢動盪不安，宮廷器物的製作和年號在瓷器上的使用受到各種形式的限制。在此期間，出現了不同類型的其他款識，包括雙圈靈芝標記。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月17日，lot 1213 價格：USD 118,750（相當於今日EUR 131,000） 描述：清康熙/雍正鬥彩亭臺仕女圖瓶 專家評論：比較主題、繪畫風格、琺瑯和材料。請注意尺寸較大(39 厘米)。

A LARGE PAINTING DEPICTING SHOULAO AND AN ATTENDANT, BY GU JIANLONG (1606-1687), DATED 1679China. Ink and watercolors on paper. Depicting Shoulao holding a lingzhi fungus in his right hand, his face with a cheerful expression, dressed in fine robes with a floral hem, a jade pendant in the form of a ruyi cloud tied to his waist, followed by his attendant carrying his master's cane with attached gourd, the attendant also dressed in fine robes embellished with medallions of scrolling clouds, both standing in a rocky landscape below a gnarled pine tree backed by clouds, with rockwork issuing lingzhi in the foreground.Inscriptions: Upper left, inscribed 'The magical fungus of immortality', 'Painted in the autumn of the Year of Ji Wei (corresponding to 1679) in the manner of Tang Ziwei (also known as Tang Yin, 1470-1523)', 'Painted in the Studying Straw Hall of Deep Willow', and signed 'Yun Chen Gu Jianlong'. Two seals, 'Gu Jianlong Yin' and 'Yun Chen'. Provenance: From the collection of James Kedzie Penfield, and thence by descent in the same family. James Kedzie Penfield (1908-2004), after graduating from Stanford, joined a hand-picked team who traveled to China to work for the American Diplomatic Corps during the 1930s and 1940, where, according to his daughter, he spent the best years of his life. During his stay, he established friendships with local artists, including Zhang Daqian, one of the most famous Chinese painters of the 20th century, and was gifted a painting by him as a farewell present, which was sold at Woolley & Wallis on 1 July 2020, lot 15, for GBP 50,000. In 1954, James Penfield became the High Commissioner for Austria and was sent there to re-establish a neutral and democratic country.Condition: The painting with extensive wear, tears, creasing, losses, touch-ups, soiling, and stains, but overall displaying remarkably well despite obvious signs of age. Mounted and stabilized behind a solid wood frame with glass. The frame with few small nicks and light scratches.Dimensions: Image size 226 x 107 cm, Size incl. fame 239.5 x 119.5 cmGu Jianlong (1606-1687) was born in Suzhou Taichang and served at the Qing court as a painter during the 1660s and 1670s, where he painted portraits of the Emperors Shunzhi and Kangxi as well as of the Imperial family.Literature comparison:Compare a related silk scroll painting by Gu Jianlong, in the British Museum, registration number 1910,0212,0.486. Compare also a related portrait of Ma Shiqi (1650-1714), illustrated in Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art, p. 347-348, no. 255.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2021, lot 852Price: USD 50,000 or approx. EUR 53,000 converted and adjusted for inflation at the time of writingDescription: With signature of Gu Jianlong (1606-after 1687), Shoulao on a White DeerExpert remark: Compare the closely related motif. Note the slightly smaller size (182.5 x 97 cm).顧見龍(1606-1687)款《長壽仙芝》，1679年中國，紙本水墨設色。壽老右手持一株靈芝，面帶喜色，身著細花邊長袍，腰佩如意佩，侍從手持仙杖跟在後面，仙杖上掛著一個葫蘆，同樣身著精美的長袍，上面飾有雲紋理。一側青松高聳，祥雲浮動。面前地上靈芝遍地。 款識：長壽仙芝, 時己未之秋仿唐子畏筆意寫於深柳讀書草堂，雲臣顧見龍製；鈴印：顧見龍印，雲臣 來源：James Kedzie Penfield私人收藏，保存在同一家族至今。James Kedzie Penfield (1908-2004) 從斯坦福大學畢業後，於1930 年至 1940 年間前往中國為美國外交使團工作。據他的女兒說，他在那裡度過了一生中最美好的時光。在中國，他與藝術家建立了友誼，其中包括二十世紀最著名的中國畫家之一張大千，並獲張大千贈送一幅畫作為告別禮物，該畫於 2020 年 7 月 1 日在 Woolley & Wallis 售出，Lot 15，售價 50,000 英鎊。1954 年，James Penfield 成為高級專員，並被派往奧地利重建一個中立和民主的國家。 品相：磨損、撕裂、摺痕和汙漬，儘管有明顯的年代痕跡，但整體狀體極好。帶玻璃的木框。框架有一些小劃痕。 尺寸：畫面226 x 107 釐米, 總 239.5 x 119.5 釐米 顧見龍(1606-1687) 生於蘇州太倉，1660 至 1670 年代在清宮任畫家，曾為順治、康熙及皇室畫像。

AN IMPERIAL MOLDED GOURD 'SHOU' SNUFF BOTTLE, QIANLONG SHANGWAN MARK AND OF THE PERIODChina, 1736-1795. Of square section and double-gourd form with a short cylindrical neck, the lower bulb with four main sides each enclosing shou medallions alternating with pairs of triangular panels, the upper bulb with four sides similarly molded with shou characters. The mouth rim neatly fitted with a tortoiseshell top platelet. The base with a molded Qianlong shangwan four-character mark which is only partly legible.Provenance: From the collection of Chip and Muffy Matthews, St. Louis, USA. Churchill “Chip” Matthews, Jr. (1940-2021) and Martha “Muffy” Matthews were American collectors of Chinese snuff bottles who traveled extensively. Chip was a US army veteran, who founded the noted medical company Wrymark Inc. in 1989. In 2013, their private garden was featured by St. Louis Homes and Lifestyles as the 'Garden of the Year'. Condition: Very good condition with extensive old wear as expected and some manufacturing irregularities, including the partially obscured Qianlong mark, and few tiny nicks.Stopper: Gilt metalWeight: 11.6 g Dimensions: Height incl. stopper 94 mm. Diameter neck 17 mm and mouth 5 mmGourd vessels such as the present example were formed by placing a wooden mold around the young gourd and allowing the natural growth within these confines to form the shape and decoration. None of the decoration or the mark is cut by a knife, all is a mirror of the carved decoration within the mold. The earliest known use of such a technique appears to date to the Warring States period (480-221 BC). A gourd mouthpiece for a musical instrument was found in a Chu tomb in Changsha, Hunan province. Though 16th-century texts attest to the gourd-molding technique, the earliest extant examples appear to date to the reign of Kangxi.The appreciation of gourd molding, which had flourished under the Kangxi Emperor, experienced a short revival during the Qianlong era where it was reserved for an exclusive group of gourd vessels commissioned by the Emperor himself for his personal enjoyment and collection.Expert's note: For further discussions on gourd vessels see W. Weng and Y. Boda, The Palace Museum: Peking, Treasures of the Forbidden City, p. 287, and H. Moss, Arts from the Scholar's Studio, nos. 91 and 92. Hugh M. Moss, ibidem, page 124, states, “The Kangxi and Qianlong periods mark the height of decorated gourds for the good reason that both Emperors were keen collectors. The Kangxi Emperor's enthusiasm is vouched for by his development of this humble art form in the palace, and is further endorsed by the demonstration of the Qianlong Emperor's interest, when he wrote a foreword to a poem entitled 'In Praise of a Gourd Vessel', as follows: “The manufacture of gourd vessels started in the Kangxi era when the Emperor ordered that gourds be grown into molds to produce bowls, jars, dishes, and boxes as required. The vessels are admirably natural and yet exquisite, something not possible by man alone.”Literature comparison: A larger Kangxi prototype and a Qianlong gourd vase of related form, are both illustrated in Wang Shixiang, The Charms of Chinese Gourd, Hong Kong, 1993, pls. 9 and 22 respectively.Auction result comparison: Type: Closely related Auction: Sotheby's London, 18 May 2018, lot 311 Price: GPB 7,500 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A molded gourd 'shou' snuff bottle, Qianlong mark and period Expert remark: Compare the closely related form and design. Note the near-identical size (8.8 cm excluding stopper) and that the mouth-rim of this bottle was fitted with later wood, probably to replace the original tortoiseshell platelet.乾隆款及年代葫蘆形壽字紋鼻煙壺中國，1736-1795年。方形切面，葫蘆形，圓柱短頸；上下四個側面都有壽字紋。口緣整齊，玳瑁蓋鈕。底部有“乾隆賞玩”四字款，非常模糊。 來源：美國聖路易士Chip 與Muffy Matthews收藏。Churchill "Chip" Matthews，Jr. (1940-2021年) 與 Martha "Muffy" Matthews 是來自美國的經驗豐富的中國鼻煙壺收藏家。Chip 是一名美國退伍軍人，他於 1989 年創立了著名的醫療公司 Wrymark Inc.。2013 年，他們的私人花園被聖路易士Homes和Lifestyles 雜志評為“年度花園”。 品相：狀況極好，大量磨損和一些製造瑕疵，包括部分模糊的乾隆款，以及一些微小的刻痕。 壺蓋：鎏金金屬 重量：11.6 克 尺寸：含蓋高94 毫米，頸部直徑17 毫米與頸部直徑5 毫米

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。

A RARE COPPER-RED GLAZED WATER POT, PINGGUO ZUN, KANGXI MARK AND PROBABLY OF THE PERIOD (1662-1722)Expert's note: The present lot clearly distinguishes itself from the usual late 19th century wares by its magnificent crushed strawberry glaze, which is well-controlled and even, only mutating to a fine liver tone in two distinct areas. Also note the remarkable pale celadon corona circling the foot, another obvious hallmark of an early 18th-century glaze.Of classic pingguo zun form, the compressed globular body deeply depressed after the wide shoulders to create an overturned channel and rising to a low waisted neck and lipped rim. The exterior covered with a rich glaze of crushed-strawberry tone thinning to a paler shade at the shoulder and to a distinct pale celadon corona circling the foot, the sides with two circular patches of a darker liver-red tone. The rim, interior, and base covered in a transparent glaze. The recessed base with an underglaze-blue six-character mark da Qing Kangxi nianzhi and probably of the period.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. The base lacquered with an old inventory number, 'AMA-2866', and further with two old labels, one reading 'Art Ancien de Chine & Extrême-Orient Geneve. Kang Shi. 1662-1722. 2866' and the other inscribed with further inventory numbers. The wood stand with two old labels, 'AMA 2866' and '4096/2 […] imperiale'. According to the collector's personal notes, the present lot was acquired on 30 April 1973 from Wing Po Chai (probably in Hong Kong). A copy of the corresponding entry in the collector's notebook accompanies this lot.Condition: Very good condition with expected old wear and minor firing irregularities, minute fritting and small smoothened areas to the foot, probably inherent to the manufacture. The glaze with an unctuous feel and subtle luster overall.Weight: 249.6 g (excl. stand) Dimensions: Diameter 9.5 cm (at the widest points)With a finely carved and open worked wood stand. (2)Water pots for washing brushes were designed to be placed on a Chinese scholar's desk. This form is known as pingguo zun (apple jar), of which there are two variations: ones with a short waisted neck and lipped rim, such as the present lot, and ones with an incurved rounded neck. The form of the present lot is the classic, earlier, and considerably rarer variation.The use of copper-red glaze at Jingdezhen was revived by the Kangxi Emperor after a decline in usage during the late 15th century. With the effort to reproduce classic Ming jihong ('sacrificial red') porcelains, Qing copper-red pieces quickly outnumbered their Ming counterparts. Nigel Wood in Chinese Glazes, London, 1999, p. 180, notes how the French Jesuit missionary, François Xavier d'Entrecolles (1664-1741), wrote letters giving detailed accounts of the copper-red production at Jingdezhen, the sourcing of the copper for the glaze, the recipes and the kiln location of the firing of these wares. Pere d'Entrecolles was aware of the difficulties involved in the making of copper-red wares and his account confirms the high level of technical knowledge of the potters at Jingdezhen.Literature comparison: Compare a water pot of closely related form, covered with a peach bloom glaze, 9.5 cm diameter, with a Kangxi mark and of the period, in the Metropolitan Museum of Art, accession number 29.100.331, illustrated by Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, page 237, fig. 238. Compare a copper-red glazed bowl, with similar shadings of pale celadon and transmutations of liver-red, 15.5 cm diameter, with a Kangxi mark and of the period, at Christie's Hong Kong, 28 May 2014, lot 3434.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 22 September 2020, lot 113 Price: USD 315,000 or approx. EUR 339,500 converted and adjusted for inflation at the time of writing Description: A Fine Peachbloom-Glazed Brush Washer, Kangxi Mark and Period Expert remark: Compare the related glaze.康熙款罕見釉裏紅蘋果尊，或爲其年代小口外撇，肩部凹下，鼓腹，圈足。通體覆蓋著紅釉，在肩部處逐漸變淡為淺色，兩側有兩個圓形的深紅色斑塊。 口沿和底足白釉。圈足内青花“大清康熙年製“六字款，或為這一時期。 專家注釋：本拍品與十九世紀末常見的瓷器明顯不同，其華麗的紅釉控制得當，均勻，僅在兩個不同的區域轉變為細膩的牛肝紅色。另請注意環繞足部的顯著淡青色暈圈，這是十八世紀早期釉料的另一個明顯標誌。來源：瑞士日內瓦知名私人收藏，自 1960 年代開始收集，保存至今。底部有一個老庫存編號'AMA-2866'，另外有兩個標籤'Art Ancien de Chine & Extrême-Orient Geneve. Kang Shi. 1662-1722. 2866' 與其他庫存編號。木底座上有兩個標籤 'AMA 2866' 與 '4096/2 […] imperiale'. 根據藏家個人記錄，這件拍品于1973年4月30日購於榮寶齋 (可能在香港). 隨附一份進入收藏的庫存單複印件。 品相：狀況極好，有磨損和輕微燒製不規則、微小磨損和足部的小光滑區域，釉色潤潤，整體光澤微妙。 重量：249.6 克 (不含底座) 尺寸：直徑9.5 厘米 (最寬處) 木底座鏤空雕刻。 (2)

A GILT-BRONZE FIGURE OF BUDDHA, ZANABAZAR SCHOOLMongolia, 17th-18th century. Heavily cast, seated in dhyanasana with the right hand lowered in bhumisparsha mudra and the left on the lap, wearing a long-flowing robe, the hems incised with a geometric border, the serene face with downcast eyes painted with black pupils, the red mouth with a gentle smile, flanked by elongated ears, the hair in tight curls surmounted by an ushnisha with globular jewel, the base with an original seal in the form of a double vajra. Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. Two labels, 'Antique gilt bronze Buddha on lotus base shrine. 17/18 century', 'HC21/04.75'. A lacquered inventory number '222.14.QI' to the base, indicating an earlier museum deaccession. Another inventory number, '222' lacquered to the top of the base. Condition: Very good condition with minor old wear, few nicks, small dents, light scratches, and expected casting flaws.Weight: 1,137 g Dimensions: Height 15.8 cmThis heavily cast bronze belongs to the Zanabazar artistic school of Mongolia, founded in the 17th century by Jetsun Lobzong Tenpai Gyaltsen (1635-1723). He was an important Mongolian religious figure and personal guru to the Kangxi Emperor. Zanabazar was at an early age recognized by both the Panchen Lama and Dalai Lama as the reincarnation of the Tibetan Lama, Taranatha (1575-1634), and proclaimed the First Jetsundamba, an honorific title. He traveled to Tibet to continue his religious instruction before returning to Mongolia in 1651, bringing fifty sculptors and painters with him in an attempt to establish the Geluk order amongst the Mongols.During his time as a religious leader of the Khalkha Mongols, Zanabazar oversaw a proliferation of Buddhist art in the region. He is especially known for his visualization and design of gilt-bronze sculpture, subsequently carried out by Nepalese bronze casters, which are widely recognized as some of the finest Buddhist gilt-bronze sculptures created.Zanabazar bronze sculptures exhibit a cohesive style testament to the vision of the great leader, characterized by richly gilt surfaces overall, finely modeled and smoothly sloping contours with embellishments limited to borders, full figures standing or seated on an elevated double-lotus base, and a minimalist aesthetic that endows the figures with a sense of stability. Auction result comparison:Type: RelatedAuction: Bonhams London, 14 May 2014, lot 209Price: GBP 20,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writingDescription: A fine gilt-bronze figure of Buddha, Zanabazar School, 17th centuryExpert remark: Compare the related pose, facial expression, lotus base, and gilding. Note the smaller size (11.2 cm).Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 2 October 2018, lot 127Price: HKD 500,000 or approx. EUR 65,500 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy figure of Amitabha, Mongolia, Zanabazar school, 17th centuryExpert remark: Compare the related pose, facial features, lotus base, and fine incision work. Note the slightly smaller size (13.5 cm).札那巴札爾派銅鎏金佛像蒙古，十七至十八世紀。佛陀結跏趺座，右手觸地印，左手擱膝，身著長袍，面容安詳，垂眸塗黑瞳，面帶溫和的微笑，兩側是細長的耳垂，螺髻中央頂寶珠。雙金剛杵印密封底。 來源：英國倫敦紳士收藏，收藏亞洲藝術已超過五十年，保存至今。兩個標籤'Antique gilt bronze Buddha on lotus base shrine. 17/18 century'與 'HC21/04.75'；底部一個收藏編號 '222.14.QI'，表明可能來自博物館；另一個收藏編號 '222' 。 品相：狀況極好，有輕微的磨損、少量劃痕、小凹痕和鑄造缺陷。 重量：1,137 克 尺寸：高 15.8 厘米

A FAMILLE VERTE SQUARE BALUSTER 'IMMORTALS' VASE, QING DYNASTYChina, 19th century. Brightly enameled to each side in yellow, aubergine, green, and black. One side depicting two courtiers in a garden pointing at two celestial court ladies framed in clouds, another side with Duowen and another guardian standing below Tongzi, the third side depicting Magu, He Xiangu, a female attendant, and a crane, and the fourth side with two heavenly kings including Zengzhang who raises his sword. The neck decorated with a pavilion hidden behind clouds, mountains, and rockwork, and the shoulders with lotus blossoms to each corner.Provenance: From the private collection of Dr. Ma Luk, Hong Kong, thence by descent in the same family. From a private collection, Arizona, USA, acquired from the above. Dr. Ma Luk (1883-1963) graduated from the Hong Kong College of Medicine and became one of the leaders of the local medical community in Hong Kong. After spending a few years working for the Chinese Public Dispensary, he had the rare distinction of being the first Chinese doctor to join a European group practice in 1908, Drs. Fitzwilliams and Allan. He later started his own clinic in Central District and gradually expanded it into a large group practice, the Ma Luk Sun Hospital. Dr. Ma was also a director of the newly formed Yeung Wo Nursing Home in 1922. He served the Hong Kong Chinese Medical Association as vice president from 1933-1934 and was also active as the Chairman of the Chinese Club. He was admitted to the Order of St. John for his long service for the St. John Association and Brigade. Dr. Ma Luk was an important art collector and patron.Condition: Very good condition with only minor old wear and some firing irregularities including glaze flaking, minor fritting, little pitting. Even from the 19th century, this piece must be considered very rare in this splendid state of preservation.Weight: 4,454 g Dimensions: Height 49.4 cmThe base with an apocryphal, underglaze-blue, six-character mark da Qing Kangxi nianzhi.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 14 September 2005, lot 688Price: USD 10,200 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A pair of famille verte square vases, 19th CenturyExpert remark: Compare the related form, size (50.8 cm), color of the enamels, and Kangxi reign mark. Note the lot comprises two vases.清代五彩仙人圖方瓶中國，十九世紀。綠地五彩琺瑯描繪祥雲中的神仙，有瑤池仙女、麻姑，有護法天王、二郎神以及哪吒等。頸部飾亭臺樓閣，肩部纏枝蓮紋。 來源：香港Ma Luk 醫生私人收藏，在同一家族保存至今；美國亞利桑那州私人收藏，購於上述收藏。Ma Luk (1883-1963) 醫生畢業於香港醫學院，成為香港本地醫學會領袖之一。在中國公立醫局工作了幾年後，他成為 1908 年第一位加入歐洲集體執業的中國醫生。後來，他在中環開設了自己的診所，並逐漸擴展為大型團體診所，即馬六新醫院。馬醫生亦於1922年出任新成立的楊和護養院院長。1933-1934年任香港中華醫學會副會長，亦積極擔任華人會主席。由於長期為聖約翰協會和旅服務，他被授予聖約翰勳章。Ma Luk醫生是一位重要的藝術收藏家和讚助人。 品相：狀況極好，只有輕微的磨損和一些燒製不規則現象，包括釉面剝落、輕微熔塊、小點蝕。 重量：4,454 克 尺寸：高49.4 厘米 底足内青花“大清康熙年製”寄托款。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2005年9月14日，lot 688 價格：USD 10,200（相當於今日EUR 14,000） 描述：一對十九世紀五彩方瓶 專家評論：比較相近的外形、尺寸 (50.8 厘米)、琺瑯顏色和康熙款。請注意此為一對方瓶。

AN IMPERIAL GUANGZHOU ENAMEL 'LOTUS AND SHOU' SNUFF BOTTLE, YONGZHENG MARK AND PERIODChina, 1723-1735. Of ovoid form, the short waisted foot and neck each with a flat gilt-copper rim. Finely enameled on a yellow ground with formal scrolling flowers and vines as well as a circular medallion with the character shou (longevity) between a bat and a neatly detailed lotus blossom. The neck and foot enameled with bands of formalized lotus petals and line borders. The concave base with a red-enameled four-character mark Yongzheng nianzhi and of the period.Provenance: Belgian trade. Condition: Fine condition commensurate with age showing expected old wear and some manufacturing irregularities, rubbing to gilt, minor flaking to enamels, minute nicks to the copper alloy foot and lip. One small chip to the shoulder with an associated old repair. While the enamels are generally crisp and quite well preserved, the yellow background is somewhat faded.Stopper: Gilt bronze, possibly matching, good spoon Weight: 124.5 g Dimensions: Height incl. stopper 100 mm. Diameter neck 15 mm and mouth 6 mmAs noted by Hugh Moss, “extant examples of Yongzheng painted enamels on metal are almost as rare as those surviving from the Kangxi reign. [...] Of all surviving marked enamels from the Yongzheng era (there are not many), more than half are southern.” Yellow-ground enamel on copper examples of this form and from the “southern” group, e.g. from Guangzhou, are rare and vary in decoration including designs of dragons, deer in landscape, and bats, lotus and Shou, as seen on the present bottle.The Imperial Enamel Workshop which was first established in Beijing by the Kangxi Emperor utilizing the knowledge of Jesuit priests and enamellers from Guangzhou, was producing enamel works since circa 1715 as attested to by a Jesuit priest, Father de Maille, see H. Garner, The Origins of Famille Rose, TOCS, vol. 37, 1967-1969, London, 1970, page 4. However, the most important Chinese craftsmen came from Guangzhou as shown in a Court memorial dated 1716 noting the Viceroy of Guangdong and Guangxi sent two artisans to Beijing to serve in the Enamel Workshop, see Yang Boda, Tributes from Guangdong to the Ch'ing Court, Hong Kong, 1987, page 63. By the Yongzheng period, technical challenges were gradually overcome and the painting became more refined and controlled.This bottle exhibits the Guangzhou tendency to elaborate on Beijing decorative motifs in a novel manner. Although the subject of formalized flowers on a yellow ground was common to both the Palace workshops in Beijing and on Guangzhou wares for the court, the style was generally different. The standard northern style tended to be simpler and more powerful, while its southern counterpart was more complex and ornate, often using a greater range of filling colors within outlined areas, such as scrolling vines and leaves.The lotus is a symbol of harmony in marriage as well as a Buddhist symbol of purity, because the perfect flower emerges from mud and murky waters. The overlapped lotus petals used as decorative borders in the present lot are derived from the bases of Buddhist sculptures from the sixth century onwards, which are usually surrounded by a series of registers of petals opening up to the Buddha seated above. The bat (fu) forms one of the most popular rebuses in Chinese art as it is a pun on the word for 'blessings'.Literature comparison: Yongzheng reign-marked enamel snuff bottles are extremely rare, with only a small number from the Qing court collection still preserved in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Snuff Bottles, Hong Kong, 2003, nos. 129-133.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2008, lot 261 Price: USD 73,000 or approx. EUR 96,000 converted and adjusted for inflation at the time of writing Description: A very rare and unusual Guangzhou enamel snuff bottle, Imperial, Guangzhou, Yongzheng four-character mark in brown enamel and of the periodExpert remark: Compare the related motif and form. Note the similar size (height 8.9 cm excl. stopper). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 10 February 2021, lot 3026 Price: HKD 604,800 or approx. EUR 73,300 converted at the time of writing Description: A Canton Enamel 'Millefleurs' Snuff Bottle Mark and Period of YongzhengExpert remark: Compare the quality of the painting, the enameling technique, and the execution of the mark.雍正款與年代御用廣州琺瑯纏枝蓮紋福壽紋鼻煙壺中國，1723-1735年。口略外撇，短頸，卵形，壺身成卵形，圈足；口部和足部邊緣包鍍金銅。淡黃色地，精美琺瑯，肩部蕉葉紋，在蝙蝠與纏枝蓮紋之間團壽紋。 圈足内紅彩“雍正年製”四字款。 來源：比利時古玩交易。 品相：品相良好，有磨損，琺瑯輕微剝落，足部和唇部包銅有微小刻痕。肩部有小磕損和相應的修補。 壺蓋：鎏金銅，可能原配，小勺精緻 重量：124.5 克 尺寸：含壺蓋高100 毫米，頸部直徑15 毫米，壺口直徑6 毫米

A PAIR OF LOTUS-SHAPED WATER POTS, CHINA, EARLY 19TH CENTURYOf globular form with three rows of petals issuing from a coiled stem at the base, the upper rim with small green petal tips, the exterior finely enameled in delicately graduated shades of pink, the interior covered in a turquoise glaze, one waterpot with a turquoise base, the other with a bright green base. (2)Provenance: Alistair Sampson Antiques Ltd., London, 1997. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from Alistair Sampson Antiques Ltd., London, dated 24 February 1997, describing the lot as a pair of lotus-shaped waterpots, dated to the early 19th century, accompanies this lot. Alistair Sampson (1929-2006) was a lawyer, noted antiques dealer, and humorist. After completing military service in the Royal Navy, he practiced law, specialized in criminal and family law, and was appointed a judge's marshal. By his own account, Sampson was a collector almost all his life, specializing in Leeds creamware. In 1969, he made the long-pondered change to become a dealer, focusing on seventeenth and eighteenth-century English pottery and opened a shop on Brompton Road where he sold antiques from all over the world, ranging from paintings to metalwork to Western and Chinese ceramics. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Their earliest works date from the beginning of the Qing dynasty and generally reflect the Western taste for the famille verte and famille rose wares of the Kangxi, Yongzheng, and Qianlong reigns. Condition: Very good condition with minor wear to the enamels, and manufacturing flaws including few glaze recesses, and little pitting.Weight: 69.3 g and 73.8 g Dimensions: Height 4.7 cm and 4.6 cmAuction result comparison:Type: RelatedAuction: Christie's New York, 23 January 2012, lot 373Price: USD 3,500 or approx. EUR 4,400 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese export lotus-form waterpots, 19th centuryExpert remark: Compare the related form and color. Note the sizes (11 cm).十九世紀初一對蓮花形水丞成球形花苞狀，三層蓮瓣，邊緣有綠色花瓣尖，精美細膩的漸變的粉色釉，內部覆蓋著綠色釉，一個圈足内淺綠色，另一個為亮綠色。 來源：倫敦Alistair Sampson Antiques Ltd.藝廊，1997年；Richard 與Maxine Markell購於上述藝廊。隨附一份1997年2月24日Alistair Sampson Antiques Ltd.藝廊出具的原始發票複印本，認爲這對水丞為十九世紀初。Alistair Sampson (1929-2006年) 是一名律師、著名的古董商和幽默家。在皇家海軍服完兵役後，他從事法律工作，專攻刑法和家庭法，並被任命為法官元帥。根據他自己的說法，他幾乎一生都是一名收藏家，專攻利茲白釉器皿。1969 年，他做出了深思熟慮的轉變，成為一名專注於十七和 十八 世紀英國瓷器的經銷商，並在 Brompton Road 開了一家商店，出售來自世界各地的古董，從繪畫到金屬製品，再到西方和中國的陶瓷。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。 多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。 他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：狀況極好，琺瑯有輕微磨損，製造缺陷如少量釉面凹陷和點蝕。 重量：分別69.3 克與73.8 克 尺寸：高 4.7 厘米與4.6 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年1月23日，lot 373 價格：USD 3,500（相當於今日EUR 4,400） 描述：十九世紀一對中國出口蓮花形水丞 專家評論：比較相近的外形和顏色。請注意尺寸 (11 厘米)。

A POWDER-BLUE GLAZED DISH, KANGXI PERIODPublished & Exhibited: Jan Wirgin, Kang-Hsi porcelain: selected objects from Swedish collections, Museum of Far Eastern Antiquities, Stockholm, 1974, no. 67, page 94, plate 15a.China, 1662-1722. The shallow rounded sides with molded ribs as well as a flared and barbed rim, overall covered in a vibrant powder blue glaze save for the rim and underside. The base with an artemisia leaf mark within a double circle painted in underglaze blue.Provenance: From the collection of Professor Jan Wirgin (1932-2020). The base with an old label from the Museum of Far Eastern Antiquities 'OEstasiatiska Museet Utst. 1973, Nr 67'. Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, serving first as a curator and then between 1981-1998 as its director. Furthermore, he published numerous articles during his time as the editor of the Museum's Bulletin. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most-read books for students of Chinese art history in Sweden.Condition: Very good condition with minor wear, the rim with a minuscule hairline and microscopic frits. Manufacturing flaws including dark spots, pitting, and kiln grit.Weight: 325.1 g Dimensions: Diameter 20.3 cmAuction result comparison:Type: RelatedAuction: Bonhams San Francisco, 19 June 2012, lot 6298AEstimate: USD 4,000 or approx. EUR 5,000 converted and adjusted for inflation at the time of writingDescription: A small powder blue glazed porcelain dish, 18th centuryExpert remark: Compare the related powder-blue glaze. Note the slightly smaller size (16 cm) and the fact that this dish is not barbed.康熙粉青釉葵口盤中國，1662-1722年。淺圓盤，葵口，折沿，圈足内施白釉，盤身覆蓋粉藍色釉。圈足青花雙圈蒿葉紋。出版&展覽：Jan Wirgin，《Kang-Hsi porcelain: selected objects from Swedish collections》，瑞典斯德哥爾摩東亞博物館，1974年，編號67，頁94，圖15a。 來源：Jan Wirgin (1932-2020) 教授收藏。底部有斯德哥爾摩東亞博物館標籤 “OEstasiatiska Museet Utst. 1973，Nr 67” 。Jan Wirgin先生曾在斯德哥爾摩大學學習古典漢語和藝術史。之後，他進入斯德哥爾摩東亞博物館，先是擔任策展人，然後在 1981 年至 1998 年間擔任博物館館長。此外，他在擔任東方博物館公報的編輯期間，發表了大量文章。其中，最著名的是《中國藝術史》（1972）一書，至今仍是瑞典中國藝術史學生最重要的書籍之一。 品相：狀況非常好，輕微磨損，邊緣有細小的細紋和微小的熔塊。製造缺陷，包括黑點、麻點和窯砂。 重量：325. 尺寸：直徑 20.3 厘米拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年6月19日，lot 6298A 估價：USD 4,000（相當於今日EUR 5,000） 描述：十八世紀小型粉青釉盤 專家評論：比較相近的粉青釉。請注意尺寸稍小(16 厘米) ，以及此盤盤沿沒有葵口。

A BLUE AND WHITE 'DRAGON' BOMBE CENSER, TRANSITIONAL TO EARLY KANGXI PERIODChina, c. 1630-1680. Boldly painted to the exterior with a pair of confronted sinuous four-clawed dragons centered by a flaming pearl below a band of clouds. Covered overall with a transparent glaze save for a central circular section to the interior and the foot rim. The recessed base with a double circle.Provenance: Property of a Gentleman, acquired in 1986. Sotheby's New York, 23 March 2019, lot 1520, estimate of USD 6,000 or approx. EUR 6,300 (converted and adjusted for inflation at the time of writing). Condition: Good condition with minor wear and firing irregularities, including small glaze recesses, dark spots, minute firing cracks, and scattered burst glaze bubbles. The rim with a short hairline crack and few tiny frits.Weight: 1,900 g Dimensions: Diameter 23.8 cmExpert's note: During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus marks and double circles.Literature comparison: A related censer bearing a Chongzhen mark in the Butler Family Collection, similarly decorated with a pair of five-clawed dragons, with a dedicatory inscription dated to 1639, is illustrated in Shanghai Museum (ed.), Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collection: Beauty's Enchantment, Shanghai, 2005, pp. 78-79, cat. 7. Another Shunzhi period example in the Beijing Palace Museum, cyclically dated to 1659, is illustrated by Chen Runmin, Qing Dynasty Blue and White Porcelain, Beijing, 2005, pp.52-53. Auction result comparison: Type: Closely related Auction: Sotheby's New York, 28 September 2021, lot 712 Price: USD 9,450 or approx. EUR 9,400 converted and adjusted for inflation at the time of writing Description: A blue and white 'dragon' bombe censer, 17th century Expert remark: Compare the closely related bombe form, blue and white decoration with similar four-clawed dragons, double-circle mark, and size (23.8 cm).明清過渡時期至康熙初年青花龍紋爐中國，約1630-1680年。球狀爐身，三個小圓錐形足，縮頸，爐唇外翻。青花描繪雙龍戲珠紋。圈足内雙圈款。 來源：紳士舊藏，購於1986年；紐約蘇富比2019年3月23日 lot 1520，估價USD 6,000 或相當於 EUR 6,300 (根據通貨膨脹率)。 品相：品相良好，有輕微磨損和燒製瑕疵，包括釉面凹陷、黑點、微小燒製裂紋和分散釉面氣泡。邊緣有一條衝線和一些細小的熔塊。 重量：1,900 克尺寸：直徑23.8 厘米 文獻比較： 一件相近的1639年崇禎款香爐 ，有相近的五爪龍紋，見上海博物館編，《上海博物館與英國巴特勒家族所藏：十七世紀景德鎮瓷器》，上海，2005年，頁 78-79，圖錄編號7。另一件1659年順治時期例子，收藏於北京故宮博物院，見 Chen Runmin，《Qing Dynasty Blue and White Porcelain》，北京，2005年，頁52-53。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2021年9月28日，lot 712 價格：USD 9,450（相當於今日EUR 9,400） 描述：十七世紀青花雲龍趕珠紋爐 專家評論：比較非常相近的球狀爐身、相似的青花五爪龍紋、雙圈款和 尺寸(23.8 厘米)。

A PAIR OF BLUE AND WHITE 'LOTUS' MALLET VASES, KANGXI PERIODChina, 1662-1722. Rising from a splayed foot to a broad rounded shoulder and long slender neck, finely painted in cobalt blue with lotus blossoms borne on leafy scrolling vines framed by double line borders around the foot and rim. The recessed bases each with a double circle mark in underglaze blue. (2)Provenance: Austrian trade. Condition: Good condition with minor wear and firing irregularities including dark spots and pitting, one vase with a repaired crack to the upper rim.Weight: 551.2 g and 536.7 g Dimensions: Height 25.4 cm and 25.2 cmExpert's note: During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including empty double circles. The usage of some of these marks continued well into the later Kangxi era and then started again in the 19th century, mostly on Kangxi revival pieces.Auction result comparison:Type: RelatedAuction: Sotheby's Melbourne, 22 November 2006, lot 369 Price: AUD 24,000 or approx. EUR 23,000 converted and adjusted for inflation at the time of writing Description: A large blue and white squat baluster vase, Kangxi period Expert remark: Compare the closely related dense scrolling lotus design. Note the larger size (43 cm) and that this listing is for a single vase only.康熙一對青花纏枝蓮紋長頸瓶中國，1662-1722年。長頸，豐肩，足外撇；青花描繪纏枝蓮紋，圈足内青花雙圈款。 (2) 來源：奧地利古玩交易。 品相：品相良好，有輕微磨損和燒製不規則現象，包括黑點和點蝕，一個花瓶邊緣有小修。 重量：分別為551.2 克與536.7 克 尺寸：分別高 25.4 厘米與25.2 厘米 專家注釋: 清朝初期至 1680 年代，中國局勢動盪不安，宮廷器物的製作和年號在瓷器上的使用受到各種形式的限制。在此期間，開始使用不同類型的其他標記，包括空心雙圓圈。其中一些款識的使用一直持續到康熙後期，然後在十九世紀再次開始。 拍賣結果比較： 形制：相近 拍賣：墨爾本蘇富比，2006年11月22日，lot 369 價格：AUD 24,000（相當於今日EUR 23,000） 描述：康熙青花纏枝蓮紋長頸瓶 專家評論：比較非常相近的纏枝蓮紋裝飾。請注意尺寸較大 (43厘米) ，以及此瓶為單瓶。

A FAMILLE VERTE 'GALLOPING HORSES' BALUSTER JAR AND COVER, LATE QING DYNASTYChina, 19th century. Of stoutly potted baluster form, painted in bright enamels with horses leaping through auspicious objects and flowerheads amid waves crashing against mountain peaks, all reserved on a spiral-covered emerald-green ground, the domed cover similarly decorated.Provenance: From the estate of Joseph Rondina, New York, USA. Joseph Rondina (1927-2022) was born into a first-generation Florentine American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing further to include Indian, Chinese, Korean and Japanese art. His clientele consisted of stars from stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad. Condition: Excellent condition with some old wear and expected firing irregularities, few minuscule glaze flakes here and there.Weight: 8.1 kg Dimensions: Height 45.5 cmIt is said that some of Vincent van Gogh's most important 'swirling' self-portraits were directly inspired by the spiral-ground motif as seen on the present jar, of which the origins date back to the early Kangxi period.Auction result comparison:Type: RelatedAuction: Christie's Paris, 6 July 2022, lot 189Price: EUR 21,420Description: A Famille Verte 'Horse' Baluster Jar and CoverExpert remark: Compare the closely related design. Note that this lot dates from the Kangxi period.清末五彩奔馬紋將軍罐中國，十九世紀。罐身為直口，豐肩，斂腹，附寶珠頂高圓蓋。罐身綠地五彩描繪奔騰駿馬圖，點綴花卉江崖紋。 來源：美國紐約Joseph Rondina收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀況極佳，有一些磨損和預期的燒製不規則性，很多極小的釉面開片。 重量：8.1 公斤 尺寸：高 45.5 厘米 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得，2022年7月6日，lot 189 價格：EUR 21,420 描述：清康熙五彩奔馬紋將軍罐 專家評論：比較非常相近的設計。請注意此罐為康熙時期。

A RARE BLUE-GROUND POLYCHROME-DECORATED 'DRAGON' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. Superbly potted with deep rounded sides rising from a straight foot to a gently flared rim, the exterior vividly enameled with two ferocious dragons, one in green enamel, the other iron-red, racing through green, yellow and iron-red flames in pursuit of flaming pearls positioned above cruciform clouds, resting on a band of overlapping petals, all reserved on a washed underglaze-blue ground, the interior with a central medallion enclosing a similar green dragon. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in North Yorkshire, United Kingdom. Condition: Very good condition with expected wear and shallow surface scratches, minimal firing irregularities, few barely visible glaze lines. Weight: 227.8 g Dimensions: Diameter 14 cmLiterature comparison: A Kangxi-marked bowl of this same design was included in the exhibition Joined Colors, Decoration and Meaning in Chinese Porcelain, Ceramics from Collectors in the Min Chiu Society, Hong Kong, illustrated by L.A. Cort and J. Stuart, Catalogue, Hong Kong, 1993, p. 84, pl. 13. Qianlong-marked bowls of this type are relatively rare, examples include one sold at Christie's New York, 28 March 1996, lot 363, and another at Sotheby's Hong Kong, 1 December 1977, lot 648.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 May 2013, lot 1924 Price: HKD 870,000 or approx. EUR 132,000 converted and adjusted for inflation at the time of writing Description: A rare blue-ground polychrome-decorated 'dragon' bowl, Qianlong six-character seal mark and of the periodExpert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in excellent condition. Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 28 May 2014, lot 3456 Price: HKD 475,000 or approx. EUR 72,000 converted and adjusted for inflation at the time of writing Description: A Rare Blue-Ground Polychrome-Decorated 'Dragon' Bowl, Qianlong Six-Character Seal Mark and of the Period (1736-1795)Expert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in restored condition.乾隆款及年代罕見青花藍地紅綠彩龍紋碗中國，1736-1795年。胎體緊緻，碗口略外撇，深弧腹。碗外壁青花藍地，分別用紅彩與綠彩描繪兩條矯健雲龍戲珠，被綠色、黃色和鐵紅色火焰環繞。腹底飾一圈重疊花瓣紋。碗內開光内藍地綠彩雲龍。足底青花“大清乾隆年製”款。 來源：英國北約克郡私人收藏。 品相：品相極好，有磨損和表面劃痕，製造瑕疵，少量不明顯的釉面裂紋。 重量：227.8 克 尺寸：直徑14 厘米 文獻比較： 一件相同設計康熙款碗，見Joined Colors，《Decoration and Meaning in Chinese Porcelain，Ceramics from Collectors in the Min Chiu Society》，香港，見L.A. Cort和J. Stuart，圖錄，香港，1993年，頁84，編號13。一件乾隆款碗，售於Christie's New York，1996年3月28日，lot 363，以及售於香港蘇富比，1977年12月1日，lot 648。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2013年5月29日，lot 1924 價格：HKD 870,000（相當於今日EUR 132,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗品相極佳。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2014年5月28日，lot 3456 價格：HKD 475,000（相當於今日EUR 72,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗曾修復過。

A LARGE BLUE AND WHITE 'QILIN' DISH, TRANSITIONAL TO EARLY KANGXI PERIODExpert's note: The 'Dexin Tang zhi' inscription to the base is a studio mark that apparently was used during the Kangxi period. For the dating range, we chose the beginning of the Chongzhen reign (1627) and the end of the British Museum dating for their dish (1683).China, 1627-1683. The interior boldly painted in shades of cobalt blue with a lively qilin sitting on its scaly back haunches, one front leg outstretched, the other with hoof raised, the head gazing forward with bulging eyes and mouth agape revealing sharp fangs, all amid rockwork and a lush plantain tree. The reverse with two spirals and a lozenge. The recessed base with an underglaze-blue four-character studio mark within a double circle.Inscriptions: To the base, 'Dexin Tang zhi'Provenance: Swedish trade. By repute acquired from an old private estate. Condition: Old wear, a shallow chip to the rim, four hairlines, and some manufacturing flaws including firing cracks, pitting, minuscule frits along the rim, and wave-shaped glaze pooling partially burned to pale orange in the firing process. Overall displaying exceptionally well.Weight: 2,318 g Dimensions: Diameter 35.6 cmStoutly potted with rounded sides supported on a short tapered foot. Covered in a transparent glaze below the cafe-au-lait rim.Literature comparison:Compare a related blue and white dish with qilin, marked 'yu tang dia qi', 35.6 cm diameter, dated to the Kangxi period, 1662-1683, in the British Museum, registration number Franks.769.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 19 March 2019, lot 312Price: USD 16,250 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A fine and large blue and white 'qilin' dish, Qing dynasty, Shunzhi periodExpert remark: Compare the closely related form, motif, colors, and size (35 cm)過渡時期至康熙初期大型青花麒麟盤中國，1627-1683年。淺弧腹，圈足。盤内青花著色濃淡不一，活潑的麒麟成坐姿，一隻前腿伸出，另一隻蹄子抬起，頭部向前回視，大眼圓睜，張牙咧嘴，周圍岩石樹木。盤背面青花繪製兩個螺旋紋和一個菱形。圈足内青花四字款。 專家注釋：“德馨堂製”款在康熙時期被使用，但對於年代界定，我們定的範圍是崇禎年間（1627 年）至大英博物館預測的康熙初期（1683 年）。 款識：德馨堂製 來源：瑞典古玩交易，據説購於私人舊藏。 品相：磨損、邊緣淺缺口、四條冲線和一些製造缺陷，包括燒製裂紋、點蝕、沿邊緣的微小熔塊，以及在燒製過程中部分燒成淺橙色的波浪形釉料堆積。整體品相良好。 重量：2,318 克 尺寸：直徑 35.6 厘米 盤胎緊致，盤沿施醬色釉。文獻比較： 比較一件相近的1662-1683年康熙玉堂款青花麒麟盤，直徑35.6釐米，收藏於大英博物館，館藏編號 Franks.769。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月19日，lot 312 價格：USD 16,250（相當於今日EUR 17,000） 描述：清順治青花芭蕉麒麟圖大盤 專家評論：比較非常相近的外形、主題、顏色和尺寸(35釐米)。

A FAMILLE VERTE 'PHOENIX' PORCELAIN WINE COOLER, KANGXI PERIODChina, 1662-1722. The globular body supported on a short spreading foot and rising to a broad cylindrical neck set with two shell-molded handles below the bulbous mouth and lipped rim. Finely decorated in gilt and bright enamels to the exterior with birds and flowers above a band of shaped panels enclosing floral sprays against a floral diapered ground, the foot with a scroll band, the neck with phoenixes and peonies, the mouth with a floral band, the handles with scrolling vines. The interior sparsely decorated with a floral band below the rim and a floral spray to the base.Provenance: From an old French private estate. Condition: Very good condition with some wear to gilt and enamels, expected firing flaws including glaze recesses and dark spots, and minor chips to the foot.Weight: 668.7 g Dimensions: Height 13.8 cmLiterature comparison: Compare a related famille verte wine cooler, of different form, but with closely related decoration, 21 cm high, also dated to the Kangxi period, illustrated by David S. Howard, A tale of Three Cities, Canton, Shanghai and Hong Kong - Three Centuries of Sino-British Trade in the Decorative Arts, Sotheby's London, 1997, no. 106.康熙時期硬彩鳳穿牡丹冰酒器中國，1662-1722年。敞口，口沿下微鼓，兩側有貝殼狀手柄，頸部微束，鼓腹，短圈足。外壁描金，精美琺瑯描繪鳳穿牡丹紋，頸部有鳳凰和牡丹，腹部白地纏枝花卉紋。器內纏枝花卉紋。 來源：法國私人收藏。 品相：狀況極好，鎏金和琺瑯有一些磨損，燒製缺陷，包括釉面凹陷和黑點，足部有輕微缺口。 重量：668.7 克 尺寸：高 13.8 厘米 文獻比較： 比較一件不同外形的康熙粉彩冰酒器，但裝飾非常相近，21 厘米高，見David S. Howard，《A tale of Three Cities，Canton，Shanghai and Hong Kong - Three Centuries of Sino-British Trade in the Decorative Arts》，倫敦蘇富比，1997年，編號106。

A FAMILLE VERTE BRUSHPOT, BITONG, KANGXI PERIODChina, c. 1700. Well potted, of cylindrical form with straight sides finely decorated to the exterior in bright enamels with a court lady and young boy playing in a fenced garden amid blossoming flowers, gnarled trees, and craggy rockwork as well as a stool behind the lady. The base with an unglazed ring between the foot rim and countersunk center.Provenance: Arts et Decors, Zurich, Switzerland, 1991. A private collection in Berlin, Germany, acquired from the above. The base with an old label, 'J10N000'. A copy of a signed “Pedigree” certificate from Arts et Decors, dated 11 September 1991, confirming the dating above, accompanies this lot. Arts et Decors was a noted gallery in Zurich run by Marguerite Iseli-Mooser, who has been described as the “Grand Dame” of the Swiss antique trade. The gallery was a hot spot among international collectors of 18th-century French furniture for many decades. After her retirement in 2004, Koller conducted a single owner sale of her inventory and part of her private collection, which also included Chinese porcelain of the 18th and 19th centuries. Condition: Good condition with minor old wear and some firing irregularities. The mouth and foot rim with minor fritting and associated small touchups and fills.Weight: 657 g Dimensions: Height 11.8 cmAuction result comparison: Type: Closely related Auction: Christie's London, 6 November 2013, lot 970 Price: GBP 11,250 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A Chinese famille verte brush pot, bitong, Kangxi periodExpert remark: Compare the closely related form, decoration, and subject. Note the size (12.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 18 March 2014, lot 431Price: USD 23,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A famille-verte cylindrical brushpot, Qing dynasty, Kangxi periodExpert remark: Compare the closely related form, decoration, subject, and size (13.3 cm).康熙硬彩人物場景筆筒中國，約1700年。筆筒成圓柱體。外壁用明亮的琺瑯精美描繪園中人物場景，一位夫人正和小男童戲耍，四周鮮花盛開，假山樹木林立，婦人身後還有一張凳子。圓底未上釉。 來源：瑞士蘇黎世Arts et Decors藝廊，1991年；德國柏林私人收藏，購於上述藝廊。底座有老標籤 'J10N000'。隨附一份Arts et Decors 藝廊由 “Pedigree” 簽名的證書複印本，時間爲1991年9月11日，確認時間約爲1700年。Arts et Decors 藝廊是蘇黎世知名藝廊，Marguerite Iseli-Mooser經營，被譽為瑞士古董貿易的“貴婦人”。幾十年來，該藝廊一直是十八世紀法國家具國際收藏家最喜歡的藝廊。 2004年她退休後，Koller 將她的存貨和部分私人收藏進行了拍賣，其中還包括十八世紀和十九世紀的中國瓷器。品相：狀況良好，有輕微磨損和一些燒製不規則。邊緣有輕微小修補和填充。 重量：657 克 尺寸：高11.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2013年11月6日，lot 970 價格：GBP 11,250（相當於今日EUR 16,500） 描述：康熙粉彩人物場景筆筒 專家評論：比較非常相近的外形、裝飾和主題。請注意尺寸(12.5 厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2014年3月18日，lot 431 價格：USD 23,750（相當於今日EUR 27,000） 描述：清康熙五彩人物圖筆筒 專家評論：比較非常相近的外形、裝飾、主題和尺寸 (13.3 厘米)。

AN EXCEEDINGLY RARE PAIR OF INCISED YELLOW-GLAZED 'FLORAL MEDALLION' BOWLS, KANGXI MARKS AND PERIODChina, 1662-1722. Each bowl is incised on the exterior with four floral roundels divided by cloud scrolls above petal lappets around the foot, the interior with another floral medallion in the center enclosed within a double circle, covered inside and out with an egg-yolk yellow glaze, save for white base. Each bowl with an underglaze-blue six-character mark within a double circle da Qing Kangxi nianzhi and of the period. (2)Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. Each bowl with an old collection label, 'VWS'. One bowl with an old label, '62'. French trade, acquired from the above. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Superb condition with only minor wear and firing irregularities: The first bowl with a faint glaze line to the rim, the second bowl with three faint glaze lines to the rim, all of which are inherent to the manufacture. None of these glaze lines are visible to the naked eye, or even under the strongest blue light. Also, they are not noticeable to the touch.Weight: 162.1 g and 147.6 g Dimensions: Diameter 12 cm (each)Literature comparison: Compare a closely related yellow-glazed incised bowl, 12 cm high, also with a Kangxi mark and of the period, sold at Christie's London, 13 December 1976, lot 55, and illustrated by Regina Krahl, Chinese Ceramics from the Gulexuan Collection, p. 128, no. 97. A bowl of this design from the Elphinstone collection in the Percival David Foundation, London, is listed in the Foundation's Illustrated Catalogue of Ming and Qing Monochrome Wares, London, 1989, no. A599. Another bowl of this design from the Kostolany collection was included in the exhibition Monochrome Porcelain of the Ming and Manchu Dynasties, Oriental Ceramic Society, London, 1948, cat. no. 188.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 26 November 2014, lot 3291 Price: HKD 325,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: An incised yellow-enameled 'floral medallion' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the periodExpert remark: Compare the closely related form, decoration, Kangxi mark, and size (11.8 cm). Note that the lot comprises only one bowl.康熙款及年代一對黃釉暗刻團花碗中國，1662-1722年。碗直口，深腹，圈足略高，器型規整。內外滿施黃釉為地。口沿外及足牆均飾兩道弦紋，外壁以暗刻技法飾四朵團花，間以如意雲紋，近底足刻變體蓮花瓣紋，紋飾簡潔生動。圈足內白地青花雙圈“大清康熙年製”款。 (2) 來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。每個碗上都有一個收藏舊標籤 'VWS'；一個碗上有標籤 '62'；法國古玩交易，購於上述收藏。 品相：品相極佳，只有輕微磨損和燒製不規則：一個碗的邊緣有一條微弱的釉裂，第二個碗的邊緣有三條輕微的釉裂，這些釉紋沒有一條是肉眼可見的，甚至在最強烈的藍光下也是如此。此外，它們觸摸起來並不明顯。 重量：分別爲162.1克與147.6克 尺寸：直徑12 厘米 (每個)

A RARE SANCAI GLAZED 'BOVINE' RHYTON, KANGXI PERIODChina, 1662-1722. Well modeled in the form of a bovine head with two horns joined by a raised rope leading to the animal's nostrils. Further detailed with large eyes and splashed with aubergine, green, and ochre glazes, all typical for this ware and as expected for the period.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. 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: Fine wear overall. Some firing irregularities, minuscule hairlines, the horns with small old repairs, a minute chip with associated fill to the rim.Weight: 161.5 g (excl. base) and 225.5 g (incl. base) Dimensions: Length 11.7 cm (excl. base) and 11 cm (the base)With a fitted huali wood base from the late 19th century. (2)康熙罕見三彩牛頭杯中國，1662-1722年。牛頭形，牛頭有兩個角，兩角之間有一根交叉的白色繩紋。大眼炯炯，五彩釉，十分典型的的特徵，並且符合該時期的特點。 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：整體品相良好。一些製造瑕疵、細小的裂紋，兩角有小修，邊緣有一個微小的開片與其小修充。 重量：161.5 克 (不含底座)，225.5 克 (含底座) 尺寸：長11.7 厘米（不含底座) ，11 厘米 (底座) 十九世紀末花梨木底座。(2)

A PEACHBLOOM-GLAZED 'BEEHIVE' WATERPOT, 19TH CENTURYChina. The domed body with short waisted neck and slightly everted rim, the exterior covered in a mottled raspberry glaze interspersed with green copper oxide splashes, a band of raspberry glaze around the inner rim, the interior and base covered in a white glaze. Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. The base with three old labels, 'Kang Shi F72.500 LC/3', 'AMA 4612/2', and 'Asia-Africa Museum Geneve', and a lacquered inventory number, '[…]612'. The wood stand with two old labels, 'AMA 2881/L/03 Kang-Shi' and 'AMA 4612/2' to the top and three old labels, 'AMA 2881 HC3 Kang-Shi', 'AMA 4612/2' and 'Lum Chai 28831' to the underside. A copy of a handwritten entry in the inventory of the collection, describing the present waterpot, accompanies this lot. Condition: Very good condition with minor wear and manufacturing flaws including pitting. The wood stand with minor wear.Weight: 360.0 g (excl. stand), 477.1 g (incl. stand) Dimensions: Diameter 10.7 cm (excl. stand), 11.5 cm (incl. stand)With a carved wood stand of circular form with four feet, dating from the same period. (2)The recessed base with an apocryphal underglaze-blue six-character mark da Qing Kangxi nianzhi.The peachbloom glaze has been the focus of scientific research since the mid-20th century. Both the overall soft pinkish red of the glaze, and the areas of clear green which appear to a greater or lesser extent within it owe their hue to copper. Firing in a reducing atmosphere creates the red color, while re-oxidation creates the green. This was therefore a glaze that had to be applied very precisely and fired with great care. Research suggests that a copper-lime pigment was applied between two layers of colorless glaze. The copper-lime pigment was applied by blowing through a bamboo tube with fine silk gauze over the end to achieve an effect similar to modern spraying techniques. This allowed the thickness of the copper-lime layer to be adjusted so that some areas would be thicker than others. In those thicker areas, there was additional flux, which thinned the upper glaze layer and allowed the copper to re-oxidize and produce clear green. In the other areas, some of the pigment was undissolved making it appear slightly opaque and yet smooth on the surface, while the majority of the copper did dissolve and produced a rich pinkish red and creating one of the most highly esteemed glazes from the Qing imperial kilns.十九世紀豇豆紅釉水丞中國，圓唇，無頸，半球狀腹，圈足。通體施豇豆紅釉，口與圈足施白釉。 來源：瑞士日內瓦知名私人收藏，自 1960 年代開始收集，保存至今。該收藏的一個重要部分被永久借出，並在日內瓦的亞非博物館展出了幾十年。底足三個標籤 'Kang Shi F72.500 LC/3'，'AMA 4612/2'，與 'Asia-Africa Museum Geneve'，以及一個庫存編號 '[…]612'。木底座上有兩個標籤 'AMA 2881/L/03 Kang-Shi' 與 AMA '4612/以及底部三個標籤 'AMA 2881 HC3 Kang-Shi'，'AMA 4612/2' 與'Lum Chai 28831' 。隨附一份進入收藏的手寫庫存單複印件。 品相：狀況極好，有輕微磨損和製造缺陷，包括點蝕。木架有輕微磨損。 重量：360.0 克 (不含底座)，477.1 克 (含底座) 尺寸：直徑10.7 厘米 (不含底座)，11.5 厘米 (含底座) 來自同時期的四足雕刻木底座。 (2) 圈足内仿“大清康熙年製“六字款。紅釉是以氧化銅為著色劑，燒製時先在坯上施一層底釉，然後吹上一層顏色釉料，再蓋上一層面釉，入窯高溫還原焰燒成，呈色變化較多。最早出現於唐代的長沙窯。元代始成功地燒製出紅釉器物。明代永樂、宣德時燒製出著名的“寶石紅”釉。清代康熙時，在繼承前代的基礎上不斷創新，先後燒製出郎窯紅、豇豆紅和霽紅。其中以豇豆紅的燒製難度最大，在淡雅的釉色中有萬千變化，基本無大件器物。