AN EXCEEDINGLY RARE FAMILLE VERTE BISCUIT FIGURE OF BUDDHA, KANGXI PERIODChina, 1661-1722. Seated in dhayanasana on a double lotus pedestal, the robes enameled in aubergine and finely decorated with medallions enclosing cranes, blue with ruyi-shaped clouds and dharmachakra, and green with butterflies and floral sprigs, secured at the waist with a blue ribbon. The face with a benevolent expression and downcast eyes, flanked by elongated earlobes, the hair in tight curls and painted in blue. The lotus pedestal supported by a base with two dragon heads centered by waves and a flowerhead.Provenance: From the collection of Sheila Rosevear Urquhart (1908-1992), and thence by descent in the same family. Born in China during a turbulent time, Sheila spent an unforgettable childhood in the public concessions of Shanghai after the fall of the Qing government when she was only three years old. In 1932, she left China for Burma with her husband. Her memoirs were published in 2009 in the book 'Sons of Heaven' which shares her upbringing in China and includes personal drawings.Condition: Superb and absolutely original condition with only minor old wear and firing flaws. No repairs of any kind, no fills, and no losses. A ceramic figure from the Kangxi period in such pristine collection must be considered extremely rare.Weight: 1,168 g Dimensions: Height 27.8 cmAuction result comparison: Type: Related Auction: Christie's New York, 23 January 2008, lot 16 Price: USD 8,125 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A Biscuit Glazed Buddha, Kangxi periodAuction result comparison:Type: RelatedAuction: Christie's New York, 24 March 2011, lot 1720Price: USD 35,000 or approx. EUR 42,500 converted and adjusted for inflation at the time of writingDescription: A Rare Glazed Biscuit Figure of a Seated Luohan, Kangxi Period康熙素三彩佛陀坐像中國，1661-1722年。佛陀結跏趺坐坐於雙層蓮座上，著坦胸式寬袖袈裟，長眉細眼，面龐圓潤，神色沉靜肅穆。釋迦牟尼衣飾上以素三彩黃、綠、紫三色為主，修飾蝴蝶花卉紋。腰部飾藍色束帶。蓮座底部修飾雙龍。整尊塑像設色沉靜，造型沉穩。 來源： Sheila Rosevear Urquhart (1908-1992) 收藏，保存在同一家族至今。Sheila出生在中國的動蕩時期，三歲時在清政府垮台後的上海租界渡過了難忘的童年。1932年，她隨丈夫離開中國前往緬甸。她的回憶錄於 2009 年出版在《Sons of Heaven》一書中，文中分享了她在中國的成長經歷，其中包括她的繪畫。 品相：極好的且絕對原始的品相，只有輕微的磨損和燒製缺陷。沒有任何形式的維修，沒有填充，也沒有缺損。如此質樸康熙年間的造像，可謂極為罕見。 重量：1,168 克 尺寸：高27.8 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2008年1月23日，lot 16 價格：USD 8,125（相當於今日EUR 10,500） 描述：康熙釉彩佛像 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年3月24日，lot 1720 價格：USD 35,000（相當於今日EUR 42,500） 描述：康熙釉彩羅漢坐像
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A PEACHBLOOM-GLAZED BEEHIVE WATERPOT, TAIBO ZUN, 19TH TO EARLY 20TH CENTURYChina. The domed body is incised to the exterior with three dragon roundels and is covered with a peach bloom glaze with characteristic green copper-oxide spots as well as pale lavender to dark gray shadings. The lipped rim, interior, and base glazed white. The recessed base with an apocryphal six-character mark da Qing Kangxi nianzhi.Provenance: Charles M. Blackmon, South Carolina, USA. A notable institution in the Southern United States, gifted from the above in 1969. The wood stand lacquered with accession numbers, '69.10' and '69.10.1 Bottom'. Charles Mason Blackmon was a collector of Asian art. Following his graduation from Harvard University in 1934, Charles' interest in Asian culture grew when he was stationed in Southern China during World War II. His approach to collecting was thorough, as he believed that “determination in finding various objects and a knowledge of them” were important to building a well-rounded collection. Beginning in 1961, Charles became involved with several notable institutions, and over the years loaned some of his most important pieces to museum collections.Condition: Excellent condition with minor wear and firing flaws, including small glaze recesses near the foot.Weight: 526.3 g (excl. stand)Dimensions: Diameter 13 cm (the waterpot) and 16 cm (the stand)With a well-carved and open worked wood stand. (2)Expert's note: The peach bloom glaze on this waterpot is a good example of the sometimes quite successful attempts to recreate the unbelievably rich (and diverse) Kangxi glazes during the 19th century and thereafter. While the present color combination is of remarkable beauty overall, emulating the transmutation so flawlessly executed on the Kangxi wares, it comes up short in its lack of control. The green spotting for example is reminiscent of some of the very best peach bloom vessels made during the early 18th century, but the scattered shadings of pale lavender and gray clearly show the difficulties the artisans encountered in balancing the color spectrum.Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 24 June 2020, lot 1018 Price: USD 23,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A peachbloom-glazed 'beehive' waterpot, 19th / early 20th century Expert remark: Compare the closely related form, incised dragon roundels, apocryphal Kangxi mark, and peachbloom glaze, which much like the present lot's glaze is of remarkable beauty. Note the closely related size (13.1 cm).十九至二十世紀初豇豆紅釉團花紋太白尊中國。小口微外侈，短頸溜肩，廣腹，形似半圓球，平底凹足。通體施豇豆紅釉，可見綠色斑點，局部深淺不同的紅色。器腹淺劃三組暗花團螭紋，口沿、圈足内及器內施白釉。圈足内六字款“大清康熙年製”。 來源：美國南卡羅林娜州Charles M. Blackmon收藏；一個美國南部知名機構1969年受贈。木底座上有收藏編號“69.10” 及“69.10.1 Bottom”。Charles Mason Blackmon是一位亞洲藝術收藏家。1934年從哈佛大學畢業後，他在二戰期間駐紮在中國南方，對亞洲文化的興趣與日俱增。他認為“收藏各種物品的決心和對它們的了解”對於建立一個全面的收藏很重要。1961 年開始，查爾斯與幾個著名機構接觸密切。多年來，他一直將一些最重要的藏品借給博物館展出。品相：品相極佳，有輕微磨損和燒製缺陷，包括靠近足部的釉面小凹槽。 重量：526.3 克 (不含底座) 尺寸：直徑13 厘米，總16 厘米 鏤空木底座。 專家注釋：太白尊的豇豆紅釉是一個很好的例子，器身施銅紅釉，因受窯爐溫度影響，又經過氧化，呈色有深淺之別。拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富，2020年6月24日，lot 1018 價格：USD 23,750（相當於今日EUR 27,000） 描述：十九 / 二十世纪初豇豆紅釉團花紋太白尊，《大清康熙年製》仿款 專家評論：比較非常相近的外型、淺劃暗花團紋、康熙仿款、豇豆紅釉，與本拍品的釉面一樣，具有非凡的美感。請注意非常相近的尺寸(13.1 厘米)。
A SONGHUA INK STONE, BOX AND COVER, QIANLONG MARK AND PERIODChina, 1736-1795. The soft grayish-green ink stone is of magnificent quality with distinct striations and deeply carved with a lingzhi-shaped well. The outline conforms with the highest possible precision to that of the shallow box and cover, which in turn is finely carved on the top through the grayish-green outer layer to the purplish-brown under layer with two crested cranes perched on the trunk of a gnarled pine tree, the burls in the wood superbly sculpted, the pine leaves and the cranes' plumages neatly incised.The base of the inkstone incised in a line with a four-character seal mark Qianlong nianzhi and of the period.Provenance: Mrs. Walter Sedgwick, collection no. 307, as per old label to base, and thence by descent. Probably Sotheby's London after 1968 and from there into a French collection. Parisian trade, acquired from the above. Mrs. Walter Sedgwick (1883-1967) was an English collector of Chinese art who came from a family of architects. Quite unusually at the time, she collected independently of her husband who was a barrister with little interest in Chinese art. She lent many pieces to the 1935-36 Chinese exhibition at the Royal Academy. Soame Jenyns described her as a collector of impeccable taste and in 1953 dedicated his book 'Ming Pottery and Porcelain' to her. She donated and bequeathed Chinese objects to the British Museum from 1933 to 1968 and was a generous benefactor to the British Museum, the Fitzwilliam in Cambridge, and the Victoria & Albert Museum. After her death, her collection was sold off by Sotheby's London beginning in 1968. Mrs. Sedgwick was the aunt of Professor Jessica Rawson.Condition: Excellent condition with only minor wear and traces of use.Weight: 243.6 gDimensions: Length 9 cmExpert's note: The present lot was no doubt made during the Qianlong period, a fact illuminated by a Songhua ink stone, box, and cover dated to the Republic period at Christie's Hong Kong, 9 October 2019, lot 270. Although this later example appears quite similar to the present lot at first glance, it quickly becomes evident that it does not even remotely show the same exceptional skill and attention to detail. Closer study reveals a vast number of small yet striking differences, including the two cranes, which lack the crests and open beaks, as well as the pine leaves, which lack the raised edges of their central circles, and last but not least the Imperial mark itself, which is by far not as neatly incised.Songhua stone, for its color, quality and ease of grinding the ink, was one of the preferred materials for making inkstones for the scholar's table during the Qing dynasty. Chi Jo-hsin in 'A study of the Sunghua Inkstone Tradition', Special Exhibition of Sunghua Inkstone, National Palace Museum, Taipei, 1993, page 38, notes that 'during the Qianlong period, an inventory of inkstones in the Imperial Household was compiled. Of the more than two hundred entries, six sunghua inkstones with imperial reign marks of the K'ang-hsi, Yung-cheng and Ch'ien-lung periods are recorded, five of which are in the collection of the National Palace Museum.'Design on inkstones often imitated fine paintings and it is known that the Qianlong emperor commissioned his court painters to design the lids of many of his inkstones. Shapes of the ink pool and cover also became more varied during the Qianlong emperor's reign, when new shapes in the form of peaches, crescent-moons and flowers were introduced alongside the traditional circular, octagonal and oblong shapes.In Qianlong's poetry collection 'Shengjing tuchan zoayang shier shou' (Twelve Miscellaneous Poems on the Native Products of Shengjing), the emperor praises the stone as 'Songhua yu' (Songhua jade) and mentions that it is the product of the Yuantong River in Jilin province in northeast China and can be used for making inkstones.Zhou Nanquan notes in 'Songhuashi yan' (Songhua Inkstone), Wenwu, 1980, no. 1, pages 86-87, that Songhua stone was used for the production of imperial inkstones from the early to mid-Qing dynasty. Zhou further notes that in the 39th year of Qianlong's reign (corresponding to 1774), official records mention a total of 120 Songhua stone pieces, whether worked or as raw material, in the Palace collection.Records from the fourth day of the twelfth month of the 39th year of Qianlong's reign note that on three occasions, raw material amounting to 38 pieces from Jilin province, was sent to the palace and, out of five stone pieces, eight inkstones and their boxes were made. It was customary with Songhua stone from the palace to have the inkstones in original boxes of the same material, usually using the different stratified colors. Currently there are eighty Songhua inkstones in the Palace Museum collection, of which ten are attributed to Kangxi, sixteen to Yongzheng, thirteen to Qianlong, nine to Jiaqing, one to Daoguang and five to Guangxu's reigns.Literature comparison: A related ink stone, box, and cover was included in Selected Treasures of Chinese Art, Hong Kong, 1990, cat. no. 238. A related Qianlong inkstone and cover of rectangular shape, also carved with pine trees and cranes, was included in the Special Exhibition of Songhua Inkstone, National Palace Museum, Taipei, 1993, cat. no. 57.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 2931 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A Songhua ink stone, box and cover, Qianlong incised four-character seal mark and of the period Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and four-character seal mark incised in a line. Note the similar size (9.6 cm). Further note that this example arguably does not show the same exceptional skill and attention to detail as the present inkstone.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 23 October 2005, lot 23 Price: HKD 2,696,000 or approx. EUR 517,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of QianlongExpert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (10 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 23 October 2005, lot 149 Price: HKD 1,912,000 or approx. EUR 367,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of Qianlong Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, cranes, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (9.5 cm).乾隆款及年代松花硯中國，1736-1795年。由於字數限制，完整中文敘述請至www.zacke.at查看。
A WUCAI 'DRAGON AND PHOENIX' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. With deep rounded sides rising to an everted rim, the exterior is painted with two phoenixes descending between green and iron-red dragons pursuing 'flaming pearls' amidst flower sprigs, below a band of the Eight Buddhist Emblems alternating with ruyi heads joined by a blue line. The interior with a medallion enclosing five iron-red bats (rare) as well as a double line border below the rim. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.C.186. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition with only minor wear and minimal firing irregularities. The rim with a minuscule filled chip and associated hairline.Weight: 270.0 g Dimensions: Diameter 15.4 cmLiterature comparison: The decorative format of the present bowl is inspired by Kangxi prototypes. Compare two Kangxi-marked examples of different sizes illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, nos. 135-136. A Qianlong-marked example of similar size to the present example is also illustrated, ibidem, no. 158. Another Qianlong example is in the Nanjing Museum, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, page 282.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 May 2013, lot 1923 Price: HKD 870,000 or approx. EUR 133,000 converted and adjusted for inflation at the time of writingDescription: A fine wucai 'dragon and phoenix' bowl, Qianlong six-character seal mark and of the period Expert remark: Note the similar size (15 cm) and the dragon motif inside the bowl, compared to the five iron-red bats design of the present bowl.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 11 September 2019, lot 928 Price: USD 68,750 or approx. EUR 74,500 converted and adjusted for inflation at the time of writingDescription: A wucai 'dragon and phoenix' bowl, Qianlong seal mark and periodExpert remark: Note the smaller size (13 cm) and the interior centering a roundel with an iron-red dragon, compared to the five iron-red bats design of the present bowl.乾隆款及年代五彩龍鳳呈祥碗中國，1736-1795年。敞口，弧壁，圈足，碗形周正。如意雲頭紋與佛教八寶紋作邊飾。腹部繪龍鳳穿花紋兩組，龍一紅一綠，其旁襯以菊花、芙蓉花。碗心青花雙圈内繪製五隻紅色蝙蝠。底書“大清乾隆年製”三行六字篆書款，展示 “龍鳳呈祥”之意。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.C.186。品相：狀況良好，只有輕微磨損和輕微燒製瑕疵，碗沿有微小的磕損修飾和相關冲線。 重量：270.0 克 尺寸：直徑 15.4 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
A FAMILLE VERTE 'DRAGON' SWEETMEAT SET, KANGXI PERIODChina, 1662-1722. The central dish of six-lobed form enameled in green, yellow, aubergine, black, and white with three fierce sinuous dragons chasing flaming pearls amid wispy flames, the rim with a diapered pattern interrupted by plum blossoms, the exterior with stylized bamboo sprays. The six surrounding fan-shaped dishes with foliate upper rims similarly decorated with a single dragon each. (7)Expert's note: It is extremely rare to find a complete seven-piece set from the Kangxi period with both the biscuit porcelain and the enamels in such pristine condition.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. Each dish with an old printed and handwritten label 'No. 4603' to base. Stefanos Lagonico was a member of the wealthy Greek community of Alexandria whose family settled in Egypt in the late 19th century. His collection of important Iznik ceramics was formed after the First World War, comprising mostly plates and jugs from the classic period (post 1570). At least six pieces from this collection were included in the important 1925 Exposition d'Art Musulman in Alexandria. Lagonico eventually left Egypt for Switzerland, just before the rise of nationalism and the abolition of the Capitulations in May 1937. His son Jean, an importer of dried fruits and nuts from the Levant, inherited most of the collection, and kept it in obscurity at his house in southern France until its dispersal at auction beginning in 1991.Condition: Superb condition with only minor old wear, some expected firing flaws, and light surface scratches.Weight: 389.6 g (the central dish) and 1,252 g (the six surrounding dishes in total) Dimensions: Diameter 39.5 cm (total) and 19 cm (the central dish), length 19 cm (each of the six surrounding dishes)Auction result comparison: Type: Closely related Auction: Aguttes, Paris, 31 May 2022, lot 66 Price: EUR 20,150Description: Ensemble de sept raviers en biscuit et emaux de la famille verte, XVIIIe Siècle, periode Kangxi Expert remark: Compare the closely related form, diapered band with plum blossoms, and famille verte decoration on the biscuit porcelain. Note the similar size (40 cm).康熙素三彩龍紋攢盤中國，1662-1722年。此攢盤是由一個內盤和六個外盤共同組成葵花式，造型優美，設色雅緻明麗，構圖疏朗有致；綠地龍紋，線條挺拔，畫工精良。如此完好的康熙龍紋攢盤，實屬難得。 來源：亞歷山大港Stefanos Lagonico，在同一家族保存了幾代。每一個盤底都有一個打印並手寫的標籤No. 4603。 Stefanos Lagonico是富有的亞歷山大希臘社區的成員，他的家人在十九世紀後期定居在埃及。他的重要伊茲尼克陶瓷收藏是在第一次世界大戰後建立的，主要包括古典時期（1570 年後）的盤子和水壺。該系列中至少有六件作品曾在 1925 年亞歷山大港藝術博覽會中展覽。後來，Lagonico 離開埃及前往瑞士，就在 1937 年 5 月民族主義興起和投降條約廢除之前。他的兒子 Jean 是黎凡特干果和堅果的進口商，他繼承了大部分藏品，並一直默默無聞地保存在他法國南部的房子裏，直到 1991 年開始被拍賣。 品相：狀況極佳，只有輕微的磨損、一些燒製缺陷和輕微的表面劃痕。 重量：内盤389.6克，六個外盤1,252 克 尺寸：直徑 39.5 厘米(總)，内盤19 厘米，外盤分別19 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎Agutte，2022年5月31日，lot 66 價格：EUR 20,150 描述：康熙素三彩攢盤 專家評論：比較非常相近的外型、梅花邊裝飾、素三彩。請注意相似的尺寸(40厘米)。
A RARE WUCAI 'ZHANG TIANSHI AND THE FIVE POISONS' DISH, WANLI MARK AND PERIODChina, 1573-1620. Exquisitely potted, the shallow rounded sides supported on a tapered foot and rising to an everted rim. Superbly painted in bright enamels and cobalt-blue to the interior with Zhang Tianshi riding a tiger with flame-like mane and bushy tail, raising his sword as he chases a snake hiding behind a craggy rock, all below a gnarled pine tree and above further rockwork and blossoming flowers, enclosed by a double line border and encircled by butterflies, floral motifs, and lingzhi. The exterior similarly decorated with reeds, floral motifs, and a lizard. The recessed base with an underglaze-blue six-character mark da Ming Wanli nianzhi within a double circle and of the period.Provenance: New York trade, by repute acquired from an old Japanese private collection.Condition: Superb condition with minor old wear and distinct firing irregularities, as expected from authentic Wanli wares, including scattered pits and few dark spots. Only minimal rubbing to enamels, occasional light surface scratches.Weight: 191.5 gDimensions: Diameter 16 cmWith a Japanese wood storage box and protective cloth wrapping. (3)The theme in this dish is associated with the Dragon Boat Festival (duanwujie), which falls on the fifth day of the fifth lunar month. Many of the motifs associated with duanwujie relate to the desire to combat evil forces and poisonous creatures. On this dish, we see the legendary Daoist priest Zhang Tianshi, who cuts through evil with his sword.The snake, lizard, centipede, toad, and scorpion constitute the 'Five Poisons' in Chinese traditions. Here, Zhang is depicted chasing two of them, a snake and a lizard, the latter of which is painted to the exterior of this dish. The pomegranate flowers, which are in bloom at the time of the Dragon Boat Festival, are associated with fertility and were worn as amulets by women. Their brilliant red color is also the color of joy.Zhang Tianshi, courtesy name Fuhan, also known as Zhang Daoling and Zhang Ling, among other names, was a Chinese religious leader who lived during the Eastern Han dynasty and founded the Way of the Celestial Masters sect, the first organized form of religious Daoism. In 142 CE, Zhang announced that Laozi had appeared to him, and commanded him to rid the world of decadence and establish a new state consisting only of the 'chosen people'. Zhang became the first Celestial Master and began to spread his newly founded movement throughout the province of Sichuan. The movement was initially called the Way of the Five Pecks of Rice, because each person wishing to join was required to donate five pecks of rice. The movement spread rapidly, particularly under his son Zhang Heng and grandson Zhang Lu. Their rebellion against the Han dynasty is known as the Five Pecks of Rice Rebellion. After the success of the rebellion in 194, they founded the theocratic state of Zhang Han in the Hanzhong Valley of Sichuan, enjoying full independence.Expert's note: Wucai dishes with related designs and Wanli marks were sometimes copied during the Kangxi period. The present lot, however, is without a doubt a genuine Wanli piece, as indicated by the creamy, pale ivory-colored ware, the distinct kiln marks, the fine warping and the inimitable color palette.Literature comparison: A smaller Wanli wucai dish with similar theme but differently rendered with Zhang Tianshi surrounded by all the 'Five Poisons' is in the Palace Museum, Beijing, illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, no. 47. The present dish also relates to a somewhat larger Wanli wucai dish in the collection of the Percival David Foundation and now in the Victoria & Albert Museum, accession number C.1037-1917, illustrated by Rosemary E. Scott and Rose Kerr in Ceramic Evolution in the Middle Ming Period, V&A and Percival David Foundation, London, 1994, p. 22, no. 25, and another in the collection of the Tianminlou Foundation, illustrated by Louise Allison Cort and Jan Stuart, Joined Colors, Smithsonian Institution, Washington, 1993, p. 130, no. 57. The latter two dishes have the theme of the Five Poisonous Creatures on the back and another aspect of the Duanwujie festival - dragon boat races - on the interior.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 November 2016, lot 3400 Price: HKD 525,000 or approx. EUR 74,000 converted and adjusted for inflation at the time of writing Description: A fine and very rare wucai 'Zhang Tianshi' dish, Wanli six-character mark in underglaze blue within a double circle and of the period Expert remark: Compare the closely related depiction of Zhang Tianshi with raised sword, the exterior also with a lizard, and further decoration of butterflies, pomegranate flowers and lingzhi. Note that there is no tiger and no snake. Also note that the dish is of smaller size (14 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 6 April 2016, lot 47 Price: HKD 1,125,000 or approximately EUR 158,500 converted and adjusted for inflation at the time of writing Description: A small wucai 'shoulao' dish, mark and period of Wanli Expert remark: Compare the closely related form and wucai decoration, though depicting a different subject. Note the smaller size (12.3 cm).萬曆款與年代五彩開光《張天師斬五毒圖》盤中國，1573-1620年。盤沿外撇，弧腹，圈足。圈足内有“大明萬曆年製”六字二行青花楷體雙圈款。來源：紐約古玩交易市場，據説購於一個日本私人舊藏。 品相：品相極佳，有輕微的磨損和明顯的燒製不規則現象。琺琅磨損輕微，局部有輕微的劃痕。 重量：191.5 克 尺寸：直徑16 厘米 日本木製盒子。 由於字數限制，完整中文敘述請至www.zacke.at查看。
'LUOHANS', ATTRIBUTED TO DING GUANPENG (ACTIVE 1708-1771)China. Ink and watercolors on paper, with a silk brocade frame and mounted as a handscroll. Depicting various luohans in remarkably fine detail, including an elderly Asita playing with his characteristically long eyebrows beside a younger monk bowing to him and holding a censer, with further luohans carrying staffs, books, chimes, flywhisks, and other monastic accoutrements, all wearing loose-fitting robes cascading in voluminous folds and standing amid crashing waves.Inscriptions: Lower left, signed 'Painted with respect by the subject Ding Guanpeng', two seals, 'Subject' and 'Ding Guanpeng'Provenance: British trade. Condition: Very good condition with minor wear and little foxing. Dimensions: Image size 21.7 x 139.4 cm, Size incl. mounting 31.6 x 159.5 cmNote that the figure to the very left appears to be Guanyin, not a Luohan, standing in a characteristic pose with her arms shrouded in her long sleeves and wearing a cowl.Ding Guanpeng (active 1708-1771) was a Chinese painter who lived during the Qing dynasty. A native of Beijing, he was active from the later part of the Kangxi period to the mid-Qianlong period. At one point he studied oil painting under Giuseppe Castiglione. He was noted for painting people and landscapes, both in his own distinct style and by precisely copying the work of important masters. He spent about 50 years in the Palace Academy and painted at least 200 major works with his own hand.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 1 November 2004, lot 887Price: HKD 239,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writingDescription: Ding Guanpeng (active 1742-1754, attributed to)Expert remark: Note the size (66 x 38 cm each) and that this lot comprises six paintings and has important and well documented provenance 丁觀鵬（活躍於1708-1771年）款《觀音羅漢圖》中國，紙本水墨設色，卷軸。細節精美地描繪了幾位羅漢，比如長眉羅漢，一位年輕的僧人正向他鞠躬並舉著香爐。其他羅漢分別拿著自己的法器如法杖、書籍、編鐘、拂塵等，衣袍寬鬆，衣紋線條流暢。羅漢們站在在洶湧的海浪上，迎向觀音。觀音身著長袍，衣袍飛揚，似是迎風而行。 款識：臣丁觀鵬薰沐敬繪；鈴印：臣，丁觀鵬 來源：英國古玩交易市場。 品相：狀況極好，輕微磨損、褐變。 尺寸：畫面21.7 x 139.4 厘米，總31.6 x 159.5 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2004年11月1日，lot 887 價格：HKD 239,000（相當於今日EUR 46,000） 描述：丁觀鵬款《菩提達摩》 專家評論：請注意尺寸(各66 x 38 厘米) ，此組畫共有六福，有重要且記載完好的來源。
A MAGNIFICENT POWDER-BLUE AND GILT-DECORATED ROULEAU VASE, KANGXI PERIODChina, 1662-1722. Of cylindrical form, the neck with a galleried rim, gilt-decorated with two larger rectangular panels depicting pheasants perched on a rock and surrounded by chrysanthemums, prunus, and peonies, further with four smaller panels of square and circular shape, each with auspicious flowers, all above a dense floral diaper pattern. The upper rim with a key-fret border, and a lappet band above the foot. The interior covered in white.Provenance: From a private collection on the East Coast, North America. A notable private collector in Kensington, London, United Kingdom, acquired from the above. Sotheby's London, Important Chinese Art, 3 November 2021, lot 170, bought in at a net reserve of GBP 30,000 or EUR 37,500 converted and adjusted for inflation at the time of writing. Condition: Excellent condition with minor old wear and some firing irregularities, light surface scratches, minuscule fritting to the rim. The gilt is particularly well preserved.Weight: 4,626 g Dimensions: Height 47.8 cmBlue monochromatic wares with gilt decoration first appeared in the Yuan dynasty. During the Kangxi period it was the custom to spray the cobalt oxide onto the porcelain which gave an attractive, mottled quality to the wares. More often than not, the powder blue was further ornamented with gilt-painted decoration, the cool metallic tones contrasting effectively with the rich mottled blue as witnessed on this vase.Literature comparison: Compare a closely related powder blue rouleau vase with gilt decorations, with a Kangxi mark and of the period, in the collection of the Metropolitan Museum of Art, accession number 79.2.153.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2015, lot 457Price: USD 125,000 or approx. EUR 153,500 converted and adjusted for inflation at the time of writingDescription: A gilt-decorated powder-blue-ground rouleau vase, China, Qing dynasty, Kangxi period (1662-1722)Expert remark: Compare the near identical form and decoration as well as the similar size (46.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.康熙霽藍釉描金棒槌瓶中國，1662-1722年。盤口，短直頸，圓折肩，圓筒狀長腹，圈足。通體施霽藍釉，描金錦地。腹部開光，描金繪製了牡丹、梅花與菊花等富貴花卉，雉鷄栖息在樹下。畫面富貴華麗，細節生動。 來源：北美東海岸私人收藏；英國倫敦肯辛頓知名私人收藏，購於上述收藏；2021年11月3日倫敦蘇富比Important Chinese Art, lot 170, 底價GBP 30,000 ，相當於現在的EUR 37,500。 品相：狀況極佳，有輕微磨損和一些燒製不規則、表面淺劃痕、邊緣有微小熔塊。描金保存得極好。 重量：4,626克 尺寸：高47.8厘米 霽藍釉描金紋瓷器最早出現於元代。康熙年間，有將氧化鈷噴在瓷器上的工藝，使瓷器具有誘人的斑駁質感。更多時候，霽藍釉被描金進一步裝飾，金色與這個花瓶上豐富的斑駁藍色形成鮮明對比。 文獻比較： 比較一件非常相近的康熙款及年代霽藍釉描金棒槌瓶，收藏於大都會藝術博物館，編號79.2.153。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月19日，lot 457 價格：USD 125,000（相當於今日EUR 146,500） 描述：清代康熙霽藍釉描金棒槌瓶 專家評論：比較幾乎相同的外型、描金和尺寸 (46.5厘米)。
A MONOCHROME YELLOW-GLAZED BOTTLE VASE, TIANQIUPING, QING DYNASTYChina, 1644-1912. The globular body surmounted by a tall, slightly waisted tubular neck, covered overall in a rich yellow glaze stopping unevenly above the bare foot rim, the base and interior with a white glaze.Provenance: From a private collection in Cambridgeshire, United Kingdom, acquired before 1990. An old photography of the vase in the collector's home, portrayed together with the family cat, in its original frame, accompanies this lot. Condition: Very good condition with minor old wear, shallow surface scratches and some expected manufacturing flaws such as dark spots, minimal pitting, glazes recesses and some irregularities to the foot rim.Weight: 2,666 g Dimensions: Height 34.8 cmAuction result comparison:Type: Closely relatedAuction: Christie's New York, 1 July 2021, lot 259Price: USD 7,500 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A Chinese yellow-glazed porcelain bottle vase, Qing dynasty, 19th centuryExpert remark: Compare the closely related form and rich yellow glaze. Note the smaller size (20.9 cm) and the apocryphal Chenghua mark.Auction result comparison:Type: Related Auction: Christie's New York, 1 July 2021, lot 243Price: USD 13,750 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A pair of Chinese yellow-glazed porcelain baluster vases Expert remark: Compare the closely related rich monochrome glaze. Note the larger size (48.2 cm), apocryphal Kangxi marks, and that the lot comprises a pair.清代單色黃釉天球瓶中國，1644-1912年。瓷胎天球瓶，直口，長頸部向下微斂，寬圓肩，碩圓腹，矮圈足。通體施黃釉，底足和瓶内施白釉。 來源：英國康橋郡，購於1990年前。隨附一張老照片，上可見藏家家中放在書架旁的天球瓶以及藏家的貓。 品相：狀況極好，有輕微的磨損、表面淺劃痕和一些預期的製造缺陷，例如黑點、釉面凹陷和圈足一些不規則之處。 重量：2,666克 尺寸：高34.8厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年7月1日，lot 259 價格：USD 7,500（相當於今日EUR 7,500） 描述：清代十九世紀黃釉瓶 專家評論：比較非常相近的外型和濃厚的黃色釉料。請注意尺寸較小 (20.9厘米) ，以及此瓶為成化款。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2021年7月1日，lot 243 價格：USD 13,750（相當於今日EUR 13,500） 描述：清代十九世紀一對黃釉瓶 專家評論：比較非常相近的濃厚單色釉。請注意尺寸較大 (48.2厘米)，為康熙款，以及此瓶為一對。
A BLUE AND WHITE DOUBLE GOURD VASE, KANGXI PERIODChina, 1662-1722. Of double gourd shape, with a flaring rim, painted in underglaze blue with peonies amid meandering vines and foliage, the neck decorated with a geometrical border. The recessed base with an underglaze-blue artemisia leaf mark within a double circle.Provenance: S. Marchant & Son, London, 11 February 1972. A private collection in Rhineland, Germany, acquired from the above and thence by descent within the same family. A copy of the original invoice from Marchant, dated 11 February 1972 and confirming the dating above, accompanies this lot. Condition: Excellent condition with minor wear and manufacturing flaws.Weight: 602.8 g Dimensions: Height 21.3 cmDuring 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 and double circles.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 15 September 2016, lot 866Price: USD 6,250 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A blue and white double-gourd vase, Kangxi period (1662-1722)Expert remark: Note the similar size (19.4 cm)康熙青花牡丹紋葫蘆瓶中國，1662-1722年。葫蘆形，壺口外撇，青花牡丹紋，蔓蔓枝葉，頸部飾條紋。圈足內雙圈樹葉款。 來源：倫敦S. Marchant & Son藝廊，1972年2月11日；德國萊茵州私人收藏，購於上述藝廊，保存在同一家族至今。隨附一份Marchant於1972年2月11日出具的原始發票副本。 品相：狀況良好，有輕微磨損和製造缺陷。 重量：602.8 克 尺寸：高21.3 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2016年9月15日，lot 866 價格：USD 6,250（相當於今日EUR 7,500） 描述：清康熙青花纏枝花卉紋葫蘆瓶 專家評論：請注意相似的尺寸 (19.4 厘米)。
A RARE TIANBAI ANHUA-DECORATED 'DRAGON' BOWL, KANGXI PERIODChina, 1662-1722. Delicately potted, the deep conical sides supported on a short straight foot and rising to a gently everted rim. Finely carved in anhua with two scaly sinuous dragons in pursuit of flaming pearls amid clouds and flames, encircling a central anhua-carved four-character apocryphal mark Yongle nianzhi. Provenance: Cecilia Lindqvist (1932-2021), and thence by descent within the family. Cecilia Lindqvist (Chinese name: Lin Xili) was a Swedish sinologist, university professor and author of several books on China, including Kingdom of Characters in 1989 and Qin, about the seven-stringed zither, in 2006. She first visited China in 1960 with a letter of recommendation by the King of Sweden and went on to study the country extensively. Lindqvist is one of the very few authors to receive the August Prize, a notable Swedish literary award, twice.Condition: Excellent condition with minor wear and minimal firing irregularities.Weight: 78.8 gDimensions: Diameter 13.3 cmLiterature comparison: Dishes of this decoration and quality in the Kangxi Period are rare and based upon early 15th-century prototypes. A Yongle prototype of the current bowl is in National Palace Museum, Taipei, accession no. Gu ci 017642, and was exhibited in The International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935‑36, cat. no. 213.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2020, lot 3641Price: HKD 302,400 or approx. EUR 38,500 converted and adjusted for inflation at the time of writing Description: A fine and rare tianbai anhua-decorated 'dragon' bowl, Qing dynasty, Kangxi periodExpert remark: Compare the closely related anhua-carved dragon and the apocryphal Yongle mark, which on this piece is carved to the underside, and not the interior as on the present lot. Note the different form and similar size (12.5 cm).康熙甜白釉暗花龍紋碗中國，1662-1722年。敞口斜壁，形如斗笠，形制周正簡約。胎體盈薄，質地細膩，壁可透光，通體罩施純淨白釉。外壁光素，碗暗刻雲龍紋，強光下才能看見，一對神龍穿梭于如意祥雲之間，追逐火珠。釉色溫柔恬靜肖似永樂甜白。碗内偽款“永樂年製”。 來源：Cecilia Lindqvist (1932-2021年)，保存在同一家族。Cecilia Lindqvist (中文名: 林西莉) 曾是一位瑞典漢學家、大學教授和關於中國的多本書籍的作者，其中包括1989年的《漢字王國》與2006年《林西莉古琴的故事》。1960年，她帶著瑞典國王的推薦信首次訪華，之後一直持續研究中國及其文化。林西莉是為數不多的兩次獲得奧古斯特獎的作家。 品相：狀況極佳，輕微磨損，少量燒製不規則。 重量：78.8 克 尺寸：直徑 13.3 厘米 文獻比較： 康熙時期這種以十五世紀初原型為基礎的裝飾和品質的盤子很罕見。此碗的永樂原型收藏於臺北故宮博物院，藏品號Gu ci 017642；並曾於1935‑36年在倫敦皇家藝術學院《The International Exhibition of Chinese Art》展出，圖錄編號213。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2020年10月9日，lot 3641 價格：HKD 302,400（相當於今日EUR 38,500） 描述：清康熙甜白釉暗刻雲龍戲珠紋盌 《永樂年製》仿款 專家評論：比較非常相近的永樂款暗花龍紋，但此碗款識刻於圈足，而非碗內。請注意不同的外型和相似的尺寸(12.5厘米)。
A PAIR OF LARGE 'FAUX-BOIS' JARDINIERES, IMITATING HUANGHUALI, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795)Opinion: This pair of jardinières, made in imitation of Huanghuali wood, was purchased by the current owner at Sotheby's New York in March 2015 for a final price of USD 181,250 against a pre-sale estimate of USD 25,000-35,000. One reason for the intensive competition at this auction may have been that while Sotheby's dated the jardinières to the 19th century, bidders seem to have had a slightly divergent perception of the actual age of this lot. And indeed, there are two very recent scientific findings that speak clearly for a time of origin in the Qianlong period instead of the 19th century:Firstly, Trompe l'Oeil porcelains were primarily produced in the Qianlong reign period, and not in the 19th century. For a detailed scientific consideration of this fact, including respective data analysis, see the webinar by Chih-En Chen, Lecturer of Chinese and East Asian art history at the University of Toronto, held in December 2021 for members of the Oriental Ceramic Society, titled “Feminine Space and Playthings: Recontextualization of Trompe l'Oeil Porcelain in High Qing China”. The corresponding section of the video starts at minute 16:00.Secondly, the strictly realistic and nature-oriented manner of imitating the Huanghuali wood with enamels on porcelain, particularly visible in the characteristic 'ghost eyes' found on the present jardinières, is untypical of the 19th century. As Chih-En Chen explains in detail, starting in minute 19:00 of the video, 'realistic' imitations of wood in Faux Bois porcelains were predominantly made during the 18th century, while 'unrealistic' or abstracted designs of wood emerged only in the 19th century. As we know, during the 18th century artists often imitated one material using another, but were always looking for rather subtle and inconspicuous ways to do so. Likewise, the ostentatious creations from the 19th century constitute a stark contrast to the humble, nature-oriented mindset of the 18th century.These aforementioned two facts lead this author to the conclusion that the present jardinières are in fact older than previously stated by Sotheby's, and without much - if any - doubt were made during the 18th century.Link for the video:https://www.orientalceramicsociety.org.uk/feminine-space-and-playthings-recontextualization-of-trompe-loeil-porcelain-in-high-qing-china-ca-1683-1839-ce (available to OCS members only)Finally, please note that Mr. Chih-En Chen has invested a sheer unfathomable amount of time into the research of Trompe l'Oeil decor in High Qing China - and especially Faux Bois - an effort for which we do not only have the deepest respect but also will remain eternally grateful to Mr. Chih-En Chen. For this reason, we highly recommend watching the video of Chih-En Chen's seminar, it is worth the while. At the time of the Sotheby's sale in 2015, however, none of the substantial scientific findings shown in the video by Mr. Chih-En Chen were available to the public, a fact that explains why Sotheby's experts had to be more cautious in dating the present jardinières. Superbly potted, the tapering sides of each of the two jardinières are finely and boldly enameled to resemble wooden planks, including many details and aspects of the grain such as the characteristic knotholes, with the two raised bands encircling the body neatly painted to mimic the look of rope.The recessed circle in the center of the base is set between two drainage holes and glazed white, each with a very large underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Also note the finely modeled and ruyi-shaped feet of each jardinière.The neatly executed painting of the wood imitation, including distinct peaks and ghost eyes, is inspired by the pronounced grain of huanghuali wood, which was highly prized as a material for furniture in the late Ming and early Qing dynasties, including brush pots or tubs similar to the present jardinières.Provenance: Sotheby's New York, 21 March 2015, lot 684, sold for USD 181,250 or approx. EUR 221,500 converted and adjusted for inflation at the time of writing. A copy of the invoice from Sotheby's New York, dated 21 March 2015, is accompanies this lot. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Very good condition, especially when considering the size and age of these jardinières, with minor old wear and some firing irregularities, shallow surface scratches, the feet with small chips and minor losses to enamels, one jardinière with small chips to one section of the base. Dimensions: Diameter 45.7 cm(2)Literature comparison: Compare a closely related unmarked faux-bois jardinière dated to the Yongzheng or Qianlong periods, in the collection of the Palace Museum, Beijing, accession number Gu154796, and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, no. 235. Two similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, are illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 317, pl. 146, and Gugong Qing ci tulu - Kangxi yao, Yongzheng yao - Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97, respectively.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 4 October 2011, lot 17Price: HKD 8,000,000 or approx. EUR 1,365,000 converted and adjusted for inflation at the time of writing Description: A rare faux-bois jardiniere, seal mark and period of Yongzheng Expert remark: Compare the closely related form and decoration, though the wood is treated more naturalistically than on the present lot and the interior shows yellow enamel in imitation of an oilcloth lining. Note the Yongzheng mark found on this lot instead of the Qianlong mark on the present jardinières.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.一對乾隆款大型仿木紋釉花盆由於字數限制，完整中文敘述請至www.zacke.at查看。
A Chinese porcelain famille verte dragon vase, of double gourd form, painted with two dragons writhing amongst clouds, the lower dragon with a long stem of lingzhi issuing from its mouth, above rocks and spuming waves, apocryphal six character Kangxi mark, 23.5cmIn good condition throughout.
A collection of Chinese blue & white porcelain, Qing, 19th century and later, comprising a dragon bowl with four character kangxi mark, 19.7cm dia, on wood stand; a bowl painted with a procession of trades people, four character mark, 15.2cm dia; a pair of dragon vases, 21cm; a miniature vase and cover with applied chilong, 10.7cm high; cups, saucers, a miniature vase and a cup and cover. Qty: 14One large vase with breaks and losses to the rim. A small vase with breaks and losses to the rim. The Kraak style cup marked Jade/Precious broken in two and glued and the corresponding saucer has a piece broken off and glued back in place. The other saucer also has a glued section. The cover of the small cup has rim chips and the cup has an inverted Y shape crack. The bowl with figures has a fine 3cm vertical hairline rim crack. Faults visible in online images.
A pair of Chinese blue & white vases, Qing, 19th century, of hexagonal form, painted with panels of auspicious fruits and flowers between bands of wanzi, ruyi heads and leiwen (meander), apocryphal Kangxi four character mark, 25cmA private London collection.One vase has a very small burst glaze blister on one corner edge. Some firing cracks are visible on the interior but not on the exterior. Some small glaze air bubbles burst on the rim but no signs of any post production chips, cracks or restoration. Both vases are generally in good condition
A Chinese Dehua blanc de chine figure of Guanyin, Qing Dynasty, Kangxi, late 17th century, seated in lalitasana holding a ruyi sceptre, dressed in long flowing robes, upon a caparisoned shishi, 26.5cm, 21cmH. M. Barker collection, London, UK.Tip of tail restored. The base of tail has been broken off and glued. Fingernails missing on the right hand, a section of the left hand missing and a bangle on the left wrist partially missing. Some small hairline firing cracks to the body (some issuing from other cracks) and obvious larger firing cracks to the underside. A small chip to the shi shi blanket at the rear.
18th century Chinese Kangxi famille verte porcelain plate depicting a bird perching on a blossoming tree. Marked along the underside with a double circle with a pictorial Fangding ritual censer in underglaze blue. From the collection of Katherine Walker Griffith, a descendant of T.B. Walker, founder of The Walker Art Center (Minneapolis, Minnesota) and a renowned collector of Chinese porcelain.Height: 1 in x diameter: 8 1/4 in.
19th-century Chinese famille verte vase depicting bouquets of flowers, drilled as a lamp. With a Kangxi style mark along the underside. From the collection of Katherine Walker Griffith, a descendant of T.B. Walker, founder of The Walker Art Center (Minneapolis, Minnesota) and a renowned collector of Chinese porcelain.Height: 23 1/2 in x diameter: 8 3/4 in.
Chinese Kangxi period blue and white porcelain vase with a high shoulder. The decoration along the exterior depicts a scene of a scholar's studio interspersed with auspicious Buddhist symbols. Marked along the underside with an underglaze blue double ring mark, characteristic of the period.Height: 9 1/2 in x diameter: 5 1/2 in.
Chinese blue and white wine jug, moon shape decorated with dragons scrolling amidst foliage in underglaze blue and with a domed cover, 19th Century, 22cm; also a Chinese blue and white small moon flask, with salamander handles and domed cover, decorated with figures, 19.5cm; and a Chinese blue and white Meiping covered vase, decorated with figures on a bridge in blue and white, four character Kangxi mark, height 32.5cm (3)
Chinese blue and white small Meiping vase, 19th Century, decorated with prunus blossom, Kangxi four character mark, 13cm; also a Chinese blue and white shouldered vase, with trumpet neck, Kangxi mark, 15cm; and a pair of blue and white ovoid vases with trumpet necks, painted with figures with a fawn and a bird, Kangxi six character mark within a double circle, height 15.5cm (4)
Chinese blue and white bottle vase, late 19th Century, decorated with panels featuring a table and objects against a ground of prunus blossom and cracked ice, painted Kangxi six character mark to the base, height 20cm; also a small Chinese blue and white Meiping vase decorated with flowers, painted Kangxi four character mark, height 14cm (2)
Chinese blue and white jar, late 19th Century, shouldered form decorated with birds, bats, fruit and lotus flower, painted Kangxi four character mark, height 11cm; also a Chinese blue and white small sleeve vase, decorated with a continuous landscape, painted Kangxi four character mark, height 16cm (2)
A group of Chinese blue and white porcelain vases, to include: a pair of sleeve/cylinder vases and two baluster shaped vases together with three unassociated covers, two of the vases with brown etched archaic mark to the base, one of the cylinder vases has a four character Kangxi mark to the base. Largest vase 21cm high approx. (7) B.P. 21% + VAT) Three of the vases and two of the covers are damaged in different degrees.
China - - Joseph Marie Amiot u.a.. Mémoires concernant l'Histoire, les Sciences, les Arts, les Moeurs, les Usages, &c. Des Chinois. Par les Missionnaires de Pekin. Mit insgesamt 190 tls. gefalt. Tafeln und 3 Frontispizen. A Paris, Chez Nyon, 1776-1791. 15 Bde. d. Reihe. 4°. Marmoriertes HLdr. im Stil der Zeit mit reicher RVergoldung und montierten goldgeprägten RSchildern, gesprenkelter Schnitt (Einbände tls. leicht berieben und wurmstichig). Erste Ausgabe dieses monumentalen und wichtigen Werks über China. - Mit Exlibris des Comte de Larodde. - Chadenat, 375 - Cordier, B. s. I, 37 - Boucher de La Richarderie, V, 284. - Die prachtvolle Reihe Memoires concernat les Chinois war eine wichtige Quelle für die europäische Wahrnehmung des chinesischen Weltreiches, seiner Kultur, Wissenschaft, Religion, Gebräuche und Landeskunde (u.a. Musik, Essen, Astronomie, Botanik, Tael-Währung, Pferde, das Leben des Konfuzius, Leben am Hof und im Land, sowie zahlreiche weitere landeskundliche Informationen). Es bildete eine wichtige Grundlage der französischen Sinologie. Die Bände versammeln wichtige Berichte französischer und chinesischer Missionare in Peking. Zu den Missionaren, die zu diesem Werk beigetragen haben, gehören Amiot, Cibot, Bourgeois, Poirot, Ko und Yang. Das Werk gilt zweifellos als das beste Werk, das die Jesuiten über China veröffentlichten. Mit einer mandschu-tartarischen Grammatik, Porträts berühmter chinesischer Persönlichkeiten etc. Bd. 9 enthält eine Parallelübersetzung Französisch-Italienisch von Poirot von Briefen, die der Kangxi-Kaiser (1654-1722) an seine Söhne in Tartar geschrieben hat. Band VII ist ein Nachdruck von Amiot's Art militaire des Chinois (Paris, 1772), der als die erste Übersetzung der alten chinesischen Militärstrategie in eine europäische Sprache gilt. Bis 1814 erschienen noch zwei Nachträge, die u.a. chinesische Chronologie behandelten. - Bd. 1 mit fehlerhafter Paginierung am Ende. Bd. 3 mit tlw. restauriertem Titel. Bd. 9 mit einigen wasserrandigen Bll. - Insgesamt eindrucksvolle und wohlerhaltene Ausgabe in attraktiven Einbänden. 15 vols. of the series. 4°. Marbled half calf in the style of the time, richly gilt and mounted gilt labels, speckled edges. (Bindings partly slightly rubbed and minimally worm-holed). First edition of this monumental and important work on China. - With bookplate of the Comte de Larodde. The magnificent series Memoires concernat les Chinois was an important source for the European perception of the Chinese world empire, its culture, science, religion, customs and regional studies (including music, food, astronomy, botany, tael currency, horses, the life of Confucius, life at court and in the country, as well as numerous other regional studies). It formed an important foundation of French sinology. The volumes bring together important accounts of French and Chinese missionaries in Beijing. Among the missionaries who contributed to this work are Amiot, Cibot, Bourgeois, Poirot, Ko and Yang. The work is undoubtedly considered the best work published by the Jesuits on China. Includes a Manchu-Tartar grammar, portraits of famous Chinese personalities, etc. Vol. 9 contains a parallel French-Italian translation by Poirot of letters written by the Kangxi Emperor (1654-1722) to his sons in Tartary. Volume VII is a reprint of Amiot's Art militaire des Chinois (Paris, 1772), considered the first translation of ancient Chinese military strategy into a European language Until 1814, two more supplements were published, dealing with Chinese chronology, among other things. - Vol. 1 with incorrect pagination at the end. Vol. 3 with partly restored title. Vol. 9 with some waterstained leaves. - Overall impressive and well preserved edition in attractive bindings.
A group of four various 19th century Chinese blue & white porcelain bowls, comprising an 8” diam. bowl with encircling dragons amongst foliage, four-character Kangxi mark; a 6?” dragon & phoenix bowl, six-character Chenghua mark; a 6?” ‘peony’ bowl, six-character Kangxi mark; & a 6¼” ‘chrysanthemums’ bowl (badly damaged). (all restored).
A Chinese export armorial part dinner and tea service, Kangxi period, c.1720, each piece painted in Imari palette with the arms of Robert Chester, director of the East India Company, comprising five 22cm plates, a 24cm plate, a 16cm oval sweetmeat dish, a 10.6cm triangular sweetmeat dish and a tea bowl, saucer, 12.5cm and coffee cup (latter three items damaged)cf. David Sanctuary Howard, Chinese Armorial Porcelain, Vol. I, London, 1974, p. 182, B6.**CONDITION REPORT**All items with some wear to the gilding and tarnish to the silvering on the crest.Five 22cm plates - One with a chip to the edge, two with tiny splinter chips to the edge, all the wave some operation to the edge of the foot.24cm plate - glaze lost to the edge, springing to the underside, abrasion to the foot, small glaxe/firing faults.16cm oval sweetmeat dish - glazed losses around the edge, decorated to the underside also.10.6cm triangular sweetmeat dish - small glaze faults, splinter chip to the underside of one of the triangular corners, springing to the underside.tea bowl - broken in two sections of the rim messily reglued with some splinter losses around the area.saucer - several hairline cracks to the cavetto, a few tiny splinter chips to the edge.coffee cup - large crack to one side, small curved crack to the edge, and other glaze imperfectionsPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese blue and white vase, Kangxi period, painted with birds amid flowers and rockwork, within floral and diaper borders, between floral bands, 21cm high, hairline crack to neck**CONDITION REPORT**There is a hairline crack to the neck, otherwise in good condition with no chips or restoration.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese blue and white hexagonal jardiniere, Kangxi mark but 19th/20th century, painted with the eight horses of Mu Wang, slab built construction with stilt marks to base, 26.5cm high, 28cm wide, cracked**CONDITION REPORT**There are some large cracks to one side of the jardiniere with some white filler to the area and to some splinter faces around the area otherwise in reasonable condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese peachbloom glazed beehive water pot, taibozun, Kangxi six character mark but Republic period, the exterior lightly incised with three chilong roundels, covered in a peachbloom glaze of varying mottled mushroom-green to purple tones, 13cm diameter**CONDITION REPORT**There is a small splinter chip to the inside of the foot rim not visible on the exterior, a few small unglazed patches around the edge of the foot, occasional minor scratching to the glaze, otherwise in good condition with no restoration or cracks detected.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese famille verte ‘Four Beauties’ vase, Kangxi period, the four ladies seated at a table with objects in a pavilion garden landscape, underglaze blue double circle to base, 41.5cm high, neck damaged**CONDITION REPORT**The neck has been broken and messily re-glued, with one section missing and some splinter losses around the area. There is a splinter chip to the edge of the foot. Some wear to the black enamel on the figures of the ladies and to the blue enamels all over. Occasional scratching to the glaze and other enamel colours. Otherwise in reasonable condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese blue and white ‘phoenix and peony’ baluster jar, Kangxi period, with a later wood cover, Provenance - D.C.Monk & Son, former dealers based in Kensington Church Street, London W8 36cm high excluding later wood cover**CONDITION REPORT**Some occasional blurring to the underglaze blue, typical minor glaze imperfections, otherwise in good condition with no restoration, chips or cracks detected. They wood cover is slightly warped and has a crack across part of the piercing, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A pair of Chinese blue and white small dishes, Kangxi six character marks and of the period (1662-1722), each finely painted with scenes from the Romance of the West Chamber, the underside with a river landscape, with everted rims and a circular foot.cf. Sotheby’s, Hong Kong, China / 5000 Years sale, 30 November 2021, lot 422 for a similar pair of Kangxi dishes, apparently from the same workshop bearing ‘qishi baoding zhi zhen’ marks, 15.7cm and 15.8cm diameter, foot later pierced, hairline cracks**CONDITION REPORT**Both dishes are grubby and have been later drilled with two holes through the foot for a metal wire hanger. The dish painted with three figures in a pavilion has a short hairline crack at the 3 o’clock position, a splinter chip to the edge at the 4 o’clock position and a tiny chip at the 12 o’clock position. The dish painted with four figures in a pavilion garden has a hairline crack at the 6 o’clock position, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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