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Lot 2867
Pocket Watch Verge Fusee 'James Mackie, London' - ca. 1800 inner case: silver 925/1000 -outer case: silver 925/1000 - verge fusee - enamel dial, the dial has been repaired in the center and beneath the 6 hour position. The chain is in a good condition, the movement is in a running condition but runs bad/not at all - 2 (reasonable) - diameter: 54 mm - glass: the mineral is slightly damaged
Lot 631
Hornby, Merit - A collection of 16 boxed OO gauge model railway rolling stock, building and scenic accessories. Lot includes Hornby Pullman First Class 'Ruth'; R022 Mineral Wagon 'Cory'; R8001 Waiting Room; R504 Engine Shed and similar. Items appear to be in Good overall condition in Fair - Good boxes with storage imperfections, and are unchecked for completeness.
Lot 78
A mixed group of collectables, comprising a Victorian clear glass three ring decanter and stopper, 27cm, two Chinese cloisonne dishes, both 9.5cm, a Chinese ceramic dish painted with three goldfish, 10.5cm, a Arista Designs resin sculpture of an otter, 10cm high, a small metal bird figure, a chinese red resin Buddha, a mineral / rock specimen, and an African figural carving. (9)
Lot 15
AN IMPERIAL ‘REALGAR’ GLASS MALLET VASE, QIANLONG MARK AND PERIODChina, 1735-1796. Swirled together of brilliant, fiery orange and yellow-ochre opaque glass to resemble the realgar mineral, the body of beehive-domed form rising to a slender cylindrical neck with a straight rim. The recessed foot rim with a wheel-cut four-character Qianlong reign mark enclosed within a double square.Provenance: An old estate in Boston, Massachusetts. A notable US private collection, acquired from the above.Condition: Very good condition with minor wear, two minuscule chips around the foot rim.Weight: 341.1 gDimensions: Height 15.6 cmThe naturalistic pattern achieved on realgar glass makes vessels of this type attractive and unique. Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, op. cit., p. 126, note that the “swirling patterns visible at the surface of this vessel are full of possibilities for the imaginative mind. It may read as a landscape, drifting incense smoke or a variety of strange living creatures, but it also represents the endlessly changing patterns of energy from which all phenomena emanate in the Chinese view, particularly expressed by Daoism. To the Daoist scholar it would be a work of art of subtle complexity and endless fascination, to be enjoyed like incense smoke as a meditative aid.”Realgar (xiong huang), found in the southern provinces of China, was believed to contain the essence of gold and, possibly for this reason, became a source of fascination despite its poisonous qualities. It is believed that it was mixed in drugs used by Daoists in their quest for the elixir of immortality. It is the Daoist alchemy that made realgar popular to the extent that despite the material's highly toxic nature and its soft crumbly texture, which does not lend itself to the artisans' tools without great difficulties, realgar was used for the carving of Daoist figures. For example, a realgar sculpture of the Immortal He Xian Gu, in the British Museum, London, is illustrated in R. Soame Jenyns, Chinese Art, The Minor Arts, II, London, 1965, pl. 200.The attractiveness of realgar inspired copies to be made in glass such as the present vase. Richard John Lynn in 'Technical aspects and Connoisseurship of Snuff Bottles: Late Traditional Chinese Sources', JICSBS, Summer, 1995, p. 8, mentions Zhou Jixu, a late Qing connoisseur, who believed that realgar glass was among the earliest types of glass made at the Qing Imperial Glassworks. For this reason, the dating of the present vase can probably be narrowed to ca. 1740-1750.Qianlong mallet form glass vases were inspired by Yongzheng period prototypes. See a blue glass vase published in Zhongguo jin yin boli falang qi quanji, vol. 4, Shijiazhuang, 2004, pl. 154. For the origins of the mallet form, see a Northern Song dynasty (960-1127) celadon vase illustrated in Sekai toji zenshu, vol. 12, Tokyo, 1977, pl. 207, and another published in Longquan Celadon of China, Hong Kong, 1998, pl. 90.Literature comparisons: A similar vase of smaller size, with its realgar-colored surface decorated with irregular red and yellow veins, as seen on the present vase, bearing a four-character Qianlong reign mark on the base, from the Qing Court collection and still in Beijing, is illustrated in Luster of Autumn Water, Glass of the Qing Imperial Workshop, Beijing, 2005, pl. 25, and also in Zhongguo jin yin boli falang qi quanji, vol. 4, Shijiazhuang, 2004, pl. 216. For further examples of realgar glass vessels see a hexafoil vase, from the Sloane Collection in Jenyns, op.cit., pl. 81, together with a snuff bottle, pl. 201f. A bottle attributed to the Palace Workshop, the body suffused with patches of bright red and yellow, is illustrated in Chinese Snuff Bottles from the Burghley House Collection, Stamford, England, Hong Kong, 1989, pl. 5. Also compare with a closely related glass dish, showing near-identical design of the lip, color of the glass body and incision of the mark, at e-yaji.com, lot 1819.Auction result comparison: A closely related ‘realgar’ glass mallet vase with Qianlong mark and of the period was sold by Sotheby’s Hong Kong in Water, Pine and Stone Retreat Collection on 8 October 2009, lot 1802, for HKD 2,660,000.乾隆款與年代御制雄黃色料馬蹄式瓶 中國，1735-1796。花瓶色澤明亮，艷麗的橙色和黃色不透明料間雜旋轉而成，猶如雄黃，蜂巢狀的主體，頸部呈細長圓柱形，邊緣筆直。圈足内凹，雙方框四字乾隆款。 來源：波斯頓一個老遺產。美國貴族私人收藏，購於上述遺產。 品相：狀況極好，輕微磨損，圈足上兩処細微磕碰。 重量：341.1 克 尺寸：高15.6 厘米 乾隆時期的料器瓶受雍正時期風格影響。《中國金銀玻璃琺琅器全集》第四冊（石家莊，2004年，圖154）中的藍色料器瓶。馬蹄形瓶原可見Sekai toji zenshu第十二冊（東京, 1977, 圖 207）中記載的北宋 (960-1127) 青瓷瓶和另一件記載于《中國龍泉青瓷》（香港，1998，圖 90）。 文獻比較：一件相似馬蹄瓶，尺寸稍小，雄黃色表面呈不規則紅黃色經絡紋，底足亦有乾隆四字款，來自清王室收藏，仍留在北京，記載于Luster of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, 圖 25；在《中國金銀玻璃琺琅器全集》第四冊（石家莊，2004年，圖216）。其他雄黃料器如一個六角玻璃瓶，來自Sloane Collection in Jenyns, op.cit., 圖81, 與一個鼻烟壺，圖201f. 一個記爲御制鼻烟壺，表面紅黃色塊，記載在Chinese Snuff Bottles from the burghley House Collection, Stamford, England, Hong Kong, 1989, 圖 5。 拍賣結果比較：一件相近的乾隆款與年代的雄黃色馬蹄瓶，售于香港蘇富比Water, Pine and Stone Retreat Collection 拍場，2009年10月8日，lot 1802，售價HKD 2,660,000。
Lot 21
A JADE AND GILT-BRONZE ‘WUFU’ OPIUM PIPE, QING DYNASTYChina, 18th-19th century. The pipe constructed from three pieces of celadon green jade, all with a fine and smooth polish. The bowl holder made of gilt-bronze with a neatly incised depiction of five bats ‘wu fu peng shou’ amid scrolls of clouds in high relief. The bowl itself made from Yixing ceramic and with a silver fitting and painted inscription on top. Provenance: From an old French private collection. By repute, this has been in the same family for a long time. Condition: Excellent condition with minimal nicks and losses here and there, old wear and traces of use. Good patina and some natural impurities and fissures to the mineral.Weight: 665 g Dimensions: Length 46.3 cm Exquisitely cast and incised with highly accurate depictions of bats against a punched and chased ground, the metalwork is quintessentially Yongzheng in character. Elegant and unassuming at first glance, it exhibits the highest skills of the craftsmen in their ability to successfully control the temperamental fire gilding, while hinting at China’s glorious metalwork tradition and conveying portents of good fortune.清代鎏金玉烟槍 中國，十八至十九世紀。該煙槍由三段青玉製成，表面光滑細緻。 碗架由鎏金銅製成，整齊地刻有五只蝙蝠“五福捧壽”的字樣，四周祥雲圍繞。 碗本身由宜興陶瓷製成，並帶有銀色配件，並在頂部塗有噴漆字樣。 來源：法國私人老收藏，據説在同一家族保存很久 品相：狀況極佳，局部划痕和損失極少，有舊磨損和使用痕跡。良好的包漿和一些天然雜質以及玉石内裂縫。 重量：665克 尺寸：長 46.3厘米
Lot 22
A JADE OPIUM PIPE, QING DYNASTYChina, 19th century. The pipe constructed from three pieces of celadon-gray jade, all with a fine and smooth polish. The elegant bowl holder is made from silver plated metal, the bowl itself from Yixing stoneware. It bears a silver manchette and copper fitting as well as a neatly painted stylized flower decor on top and a two-character mark punched into the underside. Provenance: From an old French private collection. By repute, this has been in the same family for a long time. Condition: Excellent condition with few minimal nicks here and there, old wear and traces of use, good patina and some natural impurities and fissures to the mineral.Weight: 335 g Dimensions: Length 38 cm清代玉雕烟槍 中國, 十九世紀。煙斗由三件青灰色玉製成，表面光滑。葫蘆架由鍍銀金屬製成，煙葫蘆本身由宜興陶瓷製成，鈕和銅製配件，頂部飾有簡潔的花紋，下側則刻有兩個字。 來源：法國私人老收藏，據説已經在同一家族保存很久了。 品相：狀況極佳，局部有少量划痕，陳舊的磨損和使用痕跡，良好的包漿以及玉石裏一些天然雜質和裂縫。 重量：335克 尺寸：長38 厘米
Lot 33
A MASSIVE CARVED ‘MELON’ DUAN INKSTONE, EARLY QINGChina, 18th century. The stone with its numerous greenish-yellow ‘eyes’ is carved as leafy vines bearing lobed melons as well as plums, the lapidary cleverly utilizing the shadings of the mineral to accentuate the fruit. The well is carved as a melon with the stalk clearly visible and continuing as a vine along the inkstone.Provenance: Wing Kei Curios & Porcelain, Hong Kong, 1 March 1996. Mrs. McGrady, Brighton, England, acquired from the above. The original receipt, describing the piece as an “old Chinese ink-stone” and erroneously as “garlic flowers […] (60-70 years old)”, accompanies this lot.Condition: Good condition with wear, natural age cracks, traces of ink and pigment, minuscule nicks, light scratches, few very minor losses. Significant traces of use to the well on one side indicate that this was primarily used by the artist who once owned this inkstone.Weight: 3,810 g Dimensions: Height 7 cm, Length 25 cmAuction result comparison: Compare with a related melon-form duan inkstone, however of considerably smaller size, at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art (Including The Su Zhu An Collection of Inkstones) on 27 November 2013, lot 3268, sold for HKD 437,500.清初瓜葉隨形端硯 中國，十八世紀。硯石上有許多綠黃色的石眼，隨形雕刻成藤状，四周可见瓜果。砚堂被雕刻成瓜形，根莖清晰可見，並沿著砚边像藤蔓一樣延伸。 來源：香港Wing Kei Curios & Porcelain（永基古玩瓷器）, 1996年3月1日。英國Brighton 的Mrs. McGrady購於上述藝廊。隨附原始發票，上面注明中國砚堂，把图样描写为“韭菜花纹 60-70年老”。 品相：狀況良好，有磨損，自然裂縫，墨水和顏料痕跡，微小的划痕，幾乎沒有很小的缺损。 砚堂一側有大量使用痕跡，表明此砚曾經被经常使用。 重量：3,810 克 尺寸：高 7 厘米, 長25 厘米 拍賣結果比較：一個近似但較小的瓜形端硯，香港佳士得Important Chinese Ceramics and Works of Art (Including The Su Zhu An Collection of Inkstones) 拍场2013年11月 27日，lot 3268, 售價HKD 437,500。
Lot 35
A TRANSLUCENT BANDED AGATE BOWL, QING DYNASTYChina, 18th-19th century. The deep rounded sides rising from a straight ring foot to a slightly everted rim. The almost transparent stone is brilliantly polished and shows attractive variegated tones of milky gray, caramel, and honey. The base with a neatly incised four-character Yongzheng nianzhi seal mark and possibly of the period.Provenance: British private collection. Condition: Excellent condition with minor wear.Weight: 100.9 gDimensions: Diameter 11.2 cmThe agate used for the present bowl is exceptional for both its beautiful coloration and its highly translucent quality. Agate, with rippling layers of color ranging from bright honey to coffee brown, is one of only a few hardstones in ancient China that were valued as much as jade and introduced no later than the Han dynasty. Therefore, the bowl possibly belongs to a group of vessels carved from this material in the Imperial Jade Workshop, yuzuo, within the Imperial Palace Works, Zaobanchu, during the Yongzheng reign and bearing the respective Imperial mark. In any case, it certainly demonstrates the superb craftsmanship achieved almost exclusively by the Imperial Workshops.The Yongzheng Emperor took a personal interest in the artistic production during his period with a special focus on carved hardstones. Records in the archives of the Imperial Jade Workshops, yuzuo, dated between 1724 and 1729, note that he specifically ordered agate brush washers and bowls to be kept undecorated in order to show the original pattern of the agate stone. Pieces with intricate, cluttered designs or made from stones of unsatisfactory quality were rejected and sent back to the workshops, because only plain, elegant vessels could serve the purpose of showing off the superiority of the stone, while carved designs were literally limited to serve the purpose of hiding natural flaws in the mineral. When comparing the number of agate vessels and jade carvings bearing Yongzheng and Qianlong reign marks, it is evident that the Yongzheng emperor greatly admired the natural virtues of the agate stone, while the Qianlong period saw a much larger output of jade carvings.Expert’s note: The strictly traditional shape of the present bowl, with its elegantly rounded sides, flared lip and comparatively massive circular foot rim, places it firmly in the 18th century. The exceptional quality of the agate stone and completely undecorated design would make a dating to the Yongzheng period reasonable at the very least. One small detail, however, possibly points to a later date: The inner side of the foot shows a series of irregular grooves from manual lathing, hardly visible to the naked eye. While remnants of such grooves occasionally appear on hardstone carvings from the 18th century and earlier, on an Imperial piece we would expect these to have been eliminated completely by manual polish, even on the inner sides of the foot rim.Literature comparison: For examples of agate carvings see a group of vessels, some inscribed with Yongzheng reign marks and of the period, in the National Palace Museum, Taipei, included in the museum's exhibition Harmony and Integrity: The Yongzheng Emperor and His Times, National Palace Museum, Taipei, 2009, cat. nos. II-61-70. Compare also a shallow bowl in the Palace Museum, Beijing, published in Chinese Jades Throughout the Ages, vol. 11, Hong Kong, 1996, pl. 28, and an agate cup and dish, published in Yang Boda, Zhongguo yuqi quanji, Hebei, 2005, pp.553 and 550, nos. 10 and 62. A lobed agate bowl, being offered as a tribute by a high official during the reign of Qianlong, is illustrated in Qingdai gongting shenghuo ('Life in the Forbidden City during the Qing Dynasty'), Hong Kong, 1985, pl. 280; and a set of six cups, from the Musee Guimet, Paris, included in the exhibition Emperor Kangxi and the Sun King Louis XIV, National Palace Museum, Taipei, 2011, cat. no. 1A-13. Also compare the shape of the present bowl with a pair of white jade bowls of exactly the same form, dated to the Qianlong period, at Sotheby’s Hong Kong in Imperial Pursuits: Treasures from the Palace Workshops, on 2 May 2005, lot 555.Auction result comparison: Compare with a related agate cup with an incised Yongzheng seal mark at Sotheby’s Hong Kong in Fine Chinese Ceramics and Works of Art on 8 October 2014, lot 3774, sold for HKD 1,060,000, and a lobed agate bowl, of larger size and unmarked, at Sotheby’s Hong Kong in Important Chinese Art on 3 October 2018, lot 3605, sold for HKD 1,250,000.清代瑪瑙碗 中國，十八至十九世紀。天然瑪瑙製成，乳白色的底色，飄著焦糖色和蜂蜜色的片狀花斑，間有細密如纏絲的條帶狀紋路。盞身光素，敞口微外撇 ，直圈足，底足刻篆書“雍正年制”兩行款。 來源：英國私人收藏 品相：狀況極好，輕微磨損 重量：100.9 克 尺寸：直徑11.2 厘米 拍賣結果比較：一個相似雍正款瑪瑙碗 售于香港蘇富比Fine Chinese Ceramics and Works of Art 拍場2014年10月 8日，lot 3774, 售價HKD 1,060,000；一件尺寸較大、無落款的瑪瑙碗售于香港蘇富比Important Chinese Art拍場2018年10月3日，lot 3605, 售價HKD 1,250,000。
Lot 358
A GRAY JADEITE ‘DOUBLE CAT’ SNUFF BOTTLE, LATE QING TO EARLY REPUBLICChina, 1830-1930. Carved in relief with two cats in dynamic poses, cleverly utilizing the different shadings of the stone, well-hollowed. The semitranslucent mineral of a mottled gray tone with milky white shadings and occasional black speckles. The two cats symbolize ‘double happiness’.Provenance: From the private collection of Dr. Mary Kaufman, New York, USA. Thence by descent within the same family. Dr. Kaufman (1927-2013) was a well known NYC snuff bottle collector.Condition: Excellent condition with minor old wear and traces of use.Stopper: Aventurine Weight: 69.1 gDimensions: Height including stopper 64 mm. Diameter neck 17 mm and mouth 7 mmAuction result comparison: Compare with a related jade snuff bottle, also carved with two cats in relief and utilizing different shadings of the stone, at Bonhams New York in Chinese Art from the Scholar’s Studio on 15 September 2014, lot 8072, sold for USD 4,750.清末民初墨白玉貓戯鼻烟壺中國，1830-1930年。巧雕兩隻動感十足的貓，巧妙地利用了玉料的不同紋理。半透明的玉料，呈斑駁的灰色調，帶有乳白色紋理和偶有的黑色斑點。 兩隻貓象徵著“雙喜臨門”。來源：美國紐約Mary Kaufman博士私人收藏，之後傳承於同一家族。Kaufman博士(1927-2013)是一位紐約知名鼻烟壺收藏家。品相：品相極好，輕微舊時磨損和使用痕跡。 壺蓋：砂金石 重量：69.1 克尺寸：總高64 毫米；頸部直徑17 毫米；嘴部直徑7 毫米 拍賣結果比較：一件相似玉鼻烟壺, 浮雕兩隻貓，并利用石料不同紋理，見紐約邦瀚斯Chinese Art from the Scholar’s Studio 拍場2014年9月15日 lot 8072, 售價USD 4,750.
Lot 361
A CARNELIAN SNUFF BOTTLE, QING DYNASTYChina, 1750-1880. Of compressed ovoid form with a convex top and a flat foot, the semi-translucent mottled and finely polished stone shading from creamy-beige to a soft vermilion-red.Provenance: From the collection of Dr. Erika Pohl-Ströher (1919-2016), thence by descent in the same family. Dr. Erika Pohl-Ströher was a German-born Swiss resident and heiress to the hair care and cosmetics company Wella AG. She was a passionate collector and had amassed in her lifetime various important art collections, as well as one of the world’s most valuable collections of gems and minerals.Condition: Good condition with some minor nibbling around the mouth and some natural inclusions and fissures, some of which may have developed into hairlines.Stopper: Gilt silver with many hallmarks surmounted by an apple-green jade cabochon, and with the matching gilt silver spoonWeight: 40.3 g Dimensions: Height including stopper 53 mm. Diameter neck 13 mm and mouth 5 mmRed or orange chalcedony is referred to as carnelian, the warm tones resulting from the inclusion of iron (in the form of hematite in the redder material, and limonite in the orangey-yellow variety). Carnelian is often found in pebble form at ground level or in gravel deposits in the Arabian and Egyptian deserts, India, Japan and China. In China, these deposits are found in the mineral-rich Xinjiang province, which provided red chalcedony in a number of varieties.This material was commonly used to produce a range of small, compressed ovoid bottles of a form favored at Court during the Qing dynasty. For a smaller version of darker red color, see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, Vol. 2, Quartz, no. 202.Auction comparison: Compare with a related carnelian bottle at Christie’s New York, The Meriem Collection of Important Snuff Bottles, 19 September 2007, lot 659, sold for USD 2,375.清代紅玉髓鼻烟壺 中國，1750-1880年。扁平式，削肩，扁平足，半透明的石料，從奶油色的米色到柔和的朱紅色，美麗的紋理。 來源：Erika Pohl-Ströher（1919-2016）博士收藏，保存於同一家族至今。 Erika Pohl-Ströher博士是德國出生的瑞士人，是護髮和化妝品公司Wella AG的女繼承人。 她是一位忠誠的收藏家，一生中積累了許多重要的藝術收藏以及世界上最有價值的寶石和礦石收藏之一。 圖片：Dr. Erika Pohl-Ströher 品相：狀況良好，嘴部周圍有一些小小的磕損，還有一些天然的內含物和裂紋，其中一些可能已發展成髮絲細線裂紋。 壺蓋：鎏金鑲玉壺蓋，匹配的鎏銀小壺匙 重量：40.3 克 尺寸：總高53 毫米，頸部直徑13 毫米，嘴部直徑5 毫米 拍賣結果比較：一件相近紅玉髓鼻烟壺見紐約佳士得 The Meriem Collection of Important Snuff Bottles拍場，2007年9月19日 lot 659, 售價USD 2,375.
Lot 370
A ‘REALGAR’ GLASS SNUFF BOTTLE, QING DYNASTYChina, 18th to early 19th century. Of high-shouldered tapering form, the body with horizontal striations of brilliant orange and pale olive-green with mottled splashes of red imitating the mineral realgar, carved on the narrow sides with a pair of lion mask and ring handles.Provenance: From an old private collection in New York, USA, and thence by descent within the family to the present owner.Condition: Very good condition with minor wear and minuscule nibbles, the neck possibly minimally smoothened.Stopper: Quartz cabochon with a carved and stained spoonWeight: 48.3 gDimensions: Height including stopper 70 mm. Diameter neck 16 mm and mouth 9 mmThere is a wide range of glass, particularly popular with the snuff-bottle maker, which imitated realgar. Realgar is the least toxic of all arsenic compounds, but it tends to break down on long exposure to sunlight and eventually disintegrates into a fine powder. It is the fifth basic element to the Chinese and played an important role for the alchemist, for whom it symbolized longevity and immortality.The present bottle is superbly made, with excellent carving and integrity of form. The abstract markings suggest the heart of a blazing fire in which everything is transformed. This is particularly appropriate for the Daoist alchemist attempting to transform base metal into gold and limited existence into immortality as metaphors for the transformation of human consciousness.Literature comparison: For a realgar glass bottle still in the Imperial Collection, see Masterpieces of Snuff Bottles in the Palace Museum, Beijing, 1995, p. 82, no. 58. For a series of five realgar glass bottles of various types, in The Victoria and Albert Museum, in bequests from 1901-1936, see H. White, Snuff Bottles from China, London, 1992, pl. 63. For a discussion of bottles based on the substance realgar, see H. Moss, V. Graham and K. B. Tsang, The Art of the Chinese Snuff Bottle: The J & J Collection, New York, 1993, pp. 578-579, nos. 345-346.Auction result comparison: Compare with a related bottle carved with chilong at Christie’s New York in The Blanche B. Exstein Collection of Chinese Snuff Bottles on 21 March 2002, lot 1, sold for USD 7,638. Compare also with a closely related but marked bottle at Christie’s Hong Kong in Important Chinese Snuff Bottles from the J & J Collection on 25 April 2004, lot 804, sold for HKD 191,200, and another at Bonhams Hong Kong in Snuff Bottles from the Mary and George Bloch Collection Part I on 28 May 2010, lot 72, sold for HKD 216,000.清代仿雄黃料鼻烟壺 中國，十八至十九世紀初。削肩，扁平，呈亮橙色和泛着淡淡的橄欖綠色，並帶有红色斑纹，仿雄黃。两肩獅面衔耳環。 來源：紐約私人老收藏, 在同一家族保存直至現任藏家 品相：狀況極佳，略有磨損，磕损很小，頸部可能略微打磨过。 壺蓋：石英，染色雕刻小壺匙 重量：48.3 克 尺寸：總高70 毫米，頸部直徑16 毫米，嘴部直徑9 毫米 拍賣結果比較：一件相近螭龍纹鼻烟壺見紐約佳士得The Blanche B. Exstein Collection of Chinese Snuff Bottles拍場，2002年3月21日 lot 1, 售價USD 7,638. ；一件相近但有款的鼻烟壶見香港佳士得Important Chinese Snuff Bottles from the J & J Collection 拍場，2004年4月25日 lot 804, 售價HKD 191,200, ；以及香港邦翰斯Snuff Bottles from the Mary and George Bloch Collection Part I 拍場，2010年5月28日 lot 72, 售價HKD 216,000.
Lot 41
A CARVED AMETHYST FIGURE OF GUANYIN, QIANLONG MARK AND OF THE PERIODChina, 1736-1795. The four-character reign mark is engraved in seal-script to the base. The slender goddess wears long robes falling down in masterfully arranged drapes with neatly incised hems, stands with her hands folded above her waist, the face carved with a gentle expression and her hair drawn up into a tall topknot draped by a cowl. Provenance: Property from a private owner in California, USA. Condition: Fissures, flaws and clouds inherent to the mineral. Some minute nicks to the edges. One crack through the neck with an old restoration.Weight: 1,570 g Dimensions: Height 25 cmThe transparent stone is of a pale violet tone with lighter inclusions, fine veining, and shows a smooth hand-polish with a silky matt shine, different to the polish found on later statues and typical of the 18th century. The present amethyst statue, skillfully carved in the round, is unusual for its wonderful craftsmanship and the use of the scarce material. Only a limited number of amethyst carvings from the Qing dynasty is known, predominantly small in size, such as seals and snuff bottles, designed for the scholar’s desk or the gentleman’s pocket. One such example is a pale amethyst flower vessel carved with lingzhi and clouds, preserved in the Shenyang Palace Museum. Another amethyst carving, in the form of a reclining immortal, is in the collection of the National Palace Museum, Taipei. Literature comparison: See also an amethyst oval seal carved with a recumbent chilong and the hall name Leshantang (Delight in Goodness Hall), made during the Yongzheng period for the future Qianlong Emperor while he was still a prince, preserved in the Palace Museum, Beijing, and published in Classics of the Forbidden City: Imperial Seals of the Ming & Qing Dynasties, Beijing, 2008, catalog number 182, page 222.乾隆款及年代紫晶雕觀音像 中國，1736-1795。底部有乾隆四字款。觀音穿著飄逸長袍，下擺整齊，雙手交叉置於腹部。臉部表情溫和，頭戴天冠。 來源：美國加利福尼亞私人財產 品相：天然礦石固有的裂縫，缺陷和雲層。 邊緣有些刻痕。頸部有一條舊時修復痕跡。 重量：1,570克 尺寸：高25 厘米
Lot 89
AN APPLE- AND EMERALD-GREEN JADEITE ‘LINGZHI’ PLAQUE, QING DYNASTYChina, 1644-1912. Of rectangular form, carved in relief with lingzhi funghi, as well as a bixie and a small chilong to one side, with finely incised details. The stone of translucent light apple green ground suffused with brilliant emerald green streaks. Pierced with a small aperture at the top.Provenance: From a private collection in Southern California, USA.Condition: Excellent condition with minor wear. Some natural flaws to the mineral.Weight: 53.5 gDimensions: Size 6 x 4 cmAuction result comparison: Compare with a related apple and emerald green jadeite plaque carved with gourds at Christie’s Hong Kong in Magnificent Jadeite Jewelry on 30 November 2006, lot 2643, sold for HKD 38,400.清代靈芝翡翠如意紋挂墜中國，1644-1912年。圓角長方形，浮雕靈芝如意紋，另一面為辟邪與螭龍紋，細節精緻。半透明的淺綠色石料，散佈著鮮豔的翠綠色條紋。 頂部穿孔。 來源：南加利福尼亞私人收藏 品相：狀況極佳，小磨損小。自然瑕疵。 重量：53.5 克 尺寸：6 x 4 厘米 拍賣結果比較：一件翡翠葫蘆挂墜見香港佳士得Magnificent Jadeite Jewelry 拍場2006年11月30日 lot 2643, 售價HKD 38,400.
Lot 46
Contemporary BilliB of Knightsbridge wall clock, burr walnut back plate with curved mineral glass enclosing silvered dial with subsidiary dials constant seconds days of the week, months of year with moon phase aperture and pointer date, Kieninger three train triple chime movement, Westminster Whittington and St Michael W20cm H71cm
Lot 102
A diamond solitaire ring, the old oval/cushion cut stone weighing approx. 1.00 carats in eight claw setting, band marked '18ct PT', gross wt. 2.45g, size L. Condition - sold without certificate, however, stone is lively, a few dark mineral inclusions visible with naked eye and more visible with 10x loupe, appears colourless, minor wear to setting and band, the cut of stone is a little irregular with thin/thick girdle, abrasion (visible with naked eye) and chip to star facet, also a natural to girdle, one of the dark mineral inclusions to upper girdle facet is surface reaching but no fractures nor any visible signs of treatment. Approx. stone measurements: length 6.74mm, width 5.74mm and depth 3.65mm
Lot 13
Minerals: A Group of Eight Large Various World Mineral Specimens, comprising - Calcite, Missouri, USA, 30cm by 24cm by 12cm, Amethyst, Vera Cruz, Mexico, 25cm by 14cm by 4cm, Quartz/ Pyrite/ Sphalerite, 19cm by 16cm by 8cm, Pyrite, Quiravilca, Peru, 26cm by 25cm by 12cm, Quartz on stand, 20cm by 12cm by 24cm, Stibnite, 21cm by 9cm by 11cm, Pyrite, 23cm by 15cm by 16cm, Large flat Amethyst, 30cm by 19cm by 7cm, together with two Coral sections, (qty). Very heavy weight cannot be posted, suggest courier or collect in person, 30/12/20
Lot 312
Three wristwatch dials, one signed Rolex, 27mm, one signed Rolex Oyster Perpetual Officially Certified Chronometer, 27mm, one unsigned, 28.5mm x 18mm; together with a Cousins flat mineral glass, two Rolex 2130 mainsprings within sealed packaging and a Rolex cal. 2135 2135-668 corrector mechanism (within Rolex Original packaging), all within a compartmented plastic container with various small containers
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