Officium Beatae Mariae Virginis. Nuper reformatum: & Pii V. Pont. Max. iussu editum. Hymni plures Graece translati & suis numeris restituti; Antiph. collecta & preces ... adiuncta , ac recognita per F[r]eder. Morellum. Paris: H. de Marnef für Dionysiam Cavellat 1616. 11,8 x 7,3 cm. Mit HzDruckermarke auf dem Titel und 22 (1 ganzseit.) Texthz. 40 Bll., 403 num. Bll., 5 Bll. Hellbraunes Ldr. mit Rv., Filetenverg. mit Eckfleurons, Schließen und Goldschnitt. (Geringe Gebrauchsspuren; Blatt 108 mit kl. Brandloch, Titel mit Besitzeintrag.)Hübsches Stundenbuch mit griechisch/lateinischem Text in Rot u. Schwarz gedruckt und herausgegeben von Frédéric Morell, unter Einbeziehung des neuesten gegenreformatorischen Gedankenguts. Für ein Stundenbuch dieser Größe recht umfangreich illustriert.
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Willis, Nathaniel Parker: American scenery; or land, lake, and river. Illustrations of transatlantic nature. From drawings by W(illiam) H(enry) Bartlett., engraved in the first style of art, by R. Wallis, J. Cousen, Willmore, Brandard, Adlard, Richardson, &c. 2 Bde. London: Virtue 1840. 26,5 x 21 cm. Mit 2 gest. Titelbll., 1 gest. Porträt, 1 gest. Kte. und 117 (65+52) Stahlstichtafeln. IV (i.e. VI), 140 SS.; IV, 104 (v. 106) SS. Grünes OrLdr. mit Rt., Rv., goldgepr. Deckeleinfassung und Innenkantenvergoldung; Goldschnitt.(Leicht berieben mit Kratzspuren. Bd. II mit Feuchtfleck am Rücken. Kupfertitel in Bd. II mit Riss und ohne das letzte Textblatt. Teils stärker stockfleckig, besonders die Tafeln).Sabin 3784. Andres III, 987. - Erstausgabe, zunächst in 30 Lieferungen erschienen. Es existieren zahlr. Neuauflagen ohne Jahr. - Die Tafelverzeichnisse zählen in Bd. I das Porträt und in Bd. II den gest. Titel als erste Tafel. - Mit zahlr. schönen Ansichten von Bauwerken und der Landschaft Nordamerikas.
Chardin, John: The Travels into Persia and the East-Indies. The First Volume (alles). 2 Tle. in 1 Bd. London: M. Pitt 1686. 30,7 x 20 cm. Mit gestochenem Frontispiz-Porträt, Kupfertitel, gestochener Titelvignette, 3 gest. Textvign. und gest. Initiale sowie 16 (10 t. mehrf. gef.) Kupfertafeln und mehrf. gef. Kupferstichkarte. 7 Bll., 417 (recte 351) S., 4 Bll., 154 SS., 4 Bll. (letztes w.). Ldr. mit erneuertem R. unter Verwendung des alten Rs. (Deckel berieben. Vereinzelt etwas gebrauchs- und altersfleckig, die Tafeln teils mit Einrissen und Knickfalten.) Cox I, 250. MNE I, 135. Henze I, 558. - Erste Ausgabe, zeitgleich mit der ersten französischen Ausgabe in London erschienen. - Chardin (1643-1713) war Hugenotte und musste nach England emigrieren. Er bereiste 1665 im Alter von 22 Jahren das erste Mal den Osten. 1671 fand seine wichtigste Reise statt, bei der er die Grenzstaaten des Schwarzen Meeres besuchte. "His route differed from that usually taken by travellers to the East Indies in that he proceeded by way of the Black Sea and the countries bordering thereon. His account of the Persian court ... are of great interest. Sir William Jones regarded his narrative as the best yet published on the Mohammedan nations" (Cox).
Vauban (S. le Prestre de): De l'attaque et de la defense des places. Den Haag: P. de Hondt 1737. 25 x 19,5 cm. Mit 36 (1 kolor.) gefalt. Kupfertafeln. 10 Bll., 216 SS. Ldr. mit Rt. und Rv. (Berieben und bestoßen, R. restauriert. Die Tafeln 24 und 25 zum Schluss eingebunden. Stellenweise l. gebrauchs- und altersfleckig. Titel mit verblasstem hs. Eintrag von alter Hand.) Jähns II, 1435. Graesse VI, 2, 266. - Erste Ausgabe des klassischen Werkes über Befestigungsanlagen; gewidmet Friedrich dem Großen als Kronprinz. Die Tafeln zeigen Festungsanlagen, Werkzeuge, Minen u. a. Erst 1742 erschien ein zweiter Teil.
Wildt, Johann (Ferus, Joh.): Iobi Historia. Christlich und nützlich Predig weyß außgelegt, darinnen nicht alleyn nötige vermanug zur geduld, sonder auch Catholische underrichtung ...... Mainz: F. Behem 1558. 31,3 x 19,4 cm. Mit 1 Texthz., monogr. "SF". 3 Bll., 1 w. Bl., 332 [r. 342] Bll. Blindgepr. Schweinsldr. mit Messingschließen, hs. Rs. (Leichte Bereibungen.Titel gestempelt und mit hs. Besitzeintrag. Leichte Altersspuren.)VD16 W 2971. - Eine von 2 Varianten, hier die Variante ohne den Wappenholzschnitt auf der Titelseite verso. Der Textholzschnitt, monogrammiert "SF", zeigt die Leiden Hiobs.
Bonfini, Antonius: Des aller mechtigsten künigreichs inn Ungern, wahrhafftige Chronick und anzeigung, wie das anfang, auff und abgang genommen, wie auch auf das vilfaltig anfechtung ... und uberfall gelitten, und andern Nationen schwerlich zugefügt, unnd sich der Türckischen angriff ... so Ritterlich erwert hat. Durch H. Boner in Tütsch gebracht. (Bern: Apiarius) für R. Winther, Basel 1545. 30,7 x 20 cm. Mit Druckermarke und 30 Texthz. 5 Bll. (ohne 1 w.), CCCLXXX Bll. Späteres Pgt mit Rs. (Etwas berieben. Vorsätze erneuert, stellenweise etwas gebrauchs- bzw. altersfleckig, gegen Ende hin wurmstichig.)VD 16 B 6597. Apponyi III, 1734 (leichte Abweichung im Titel). - Erste deutsche Ausgabe der illustrierten Chronik einer der wichtigsten Quelle zu den Türkenkriegen; erstmals auf Lateinisch 1543 erschienen. Im Kolophon "vollendet auff den 5. Tag Martii", so auch bei Apponyi.
![Hrabanus Maurus: De Laudib[us] sancte Crucis opus. erudicione versu prosaqu[e] mirificium. Pforzheim: Th. Anshelm 1503. 28,8](https://cdn.globalauctionplatform.com/f5edf029-5408-4d3e-8106-af1100a2310e/5f3b2d2e-5b69-4769-8208-af1100cb5eee/468x382.jpg)
Hrabanus Maurus: De Laudib[us] sancte Crucis opus. erudicione versu prosaqu[e] mirificium. Pforzheim: Th. Anshelm 1503. 28,8 x 20,5 cm. Mit 2 Textholzschnitten (15,8 x 12,9 cm) und 30 blattgroßen Figurengedichten in Rot und Schwarz. 10 nn. Bll., 59 Bll., 1 Bl., 14 Bll., 1 Bl. Braunes HLdr. des 18. Jrdt. (Bezug m. kl. Fehlstellen und im Unterrand m. äußerlichem Brandfleck. Titelblatt stärker fleckig und mit Exlibrisstempel. Innen teils gering feuchtfleckig im Rand, alters- und gebrauchsfleckig. Etwas knapp beschnitten.) VD16 H 5271. Adams R 3. Fairfax Murray (German) 350. - Erster und einziger Frühdruck der Figurengedichte des Fuldaer Abts und späteren Bischofs Hrabanus Maurus. Eindrucksvolles typographisches Dokument wegen der Verbindung von rotem und schwarzem Typendruck mit dem Holzschnitt. Ein Meisterwerk des Pforzheimer Druckers Th. Anshelm. Diese Kreuzgedichte des Hrabanus Maurus sind das berühmteste Beispiel der mittelalterlichen Figurengedichte.
Bourges, Jacques de: Wahrhaffte und eigendliche Erzehlung von der Reise des Bischofs von Beryte, auß Franckreich zu Wasser und Lande nach China ... Verteutscht durch T. R. C. S. C. S. Leipzig: Ritzsch 1671. 19 x 15,5 cm. Mit 8 halbseitigen Textkupfern. 1 Bl., 182 SS. Mod. Pp. (Gebrauchsspuren. Titelblatt verso gestempelt. Etwas feucht- bzw. altersfleckig. 1 Kupfer verkehrtherum eingebunden, 1 kl. Brandloch mit Buchstabenverlust.)Löwendahl 149. VD17 39:149425K. Kainbacher 54. - Einzige deutsche Ausgabe der zuerst 1666 in Paris erschienenen Reisebeschreibung. Jacques de Bourges (1630-1714) begleitete den Bischof von Beryte, Pierre Lambert de la Mothe (1624-1679) auf seiner Reise die nach Kanton führen sollte. Der Bischof war dort für den Posten des Apostolischen Vikars vorgesehen. Die Reise führte über Algier, Syrien, Arabien, Persien und Indien nach Indochina, wo der Bischof seine Reise abbrechen musste. Er verstarb 1679 in Siam; Bourges war bereits vorher wieder nach Europa zurückgekehrt und China wurde somit, entgegen dem irreführenden Titel niemals erreicht.
Tischbein, Heinrich Wilhelm: Homer nach Antiken gezeichnet. Mit Erläuterungen von Ch. G. Heyne. 6 Hefte in 1 Bd. Göttingen: H. Dieterich 1801 - (04). 50,5 x 35 cm. Mit 4 gest. Porträttafeln, 13 Kopf- und Schlussvign., 8 gest. Bordüren, 8 gest. Initialen und 33 Kupfertafeln (dav. 1 doppelblattgr.) von H. W. Tischbein. 1 Bl., 52 SS. + 1 Bl., 32 + 38 + 42 + 33 + 25 SS. Geglättetes bordeauxrotes Kalbsldr. mit Messingbeschlägen und Messing-Wappenschild des Königreiches Großbritannien und Filetetenvergoldung auf dem Vorderdeckel. (Berieben und feuchtfleckig. Fileten oxidiert, Rücken, Beschläge und Vorsätze neu. Vereinzelt etwas feuchtfleckig. Die doppelblattgr. Tafel im Falz geschnitten und mit leichtem Bildverlust mit säurefreiem Klebeband neu fixiert.) Rümann 2640. Graesse VI/2, 163. Andresen "Die deutschen Maler-Radirer" 21-102. Nagler XXI, 153,1. - Komplette Reihe des beeindruckenden Illustrationswerkes des "Goethe-Tischbeins", mit den Kommentaren des Philologen Heyne. - "Die Art und Weise bekannt zu machen, wie die alten Künstler, die dem heroischen Zeitalter näher waren als wir, die Dichtungen Homer's auffassten und darstellten, und zwar in einer getreuen Copie der Denkmäler, die uns von ihnen übrig sind - das bezeichnet Tischbein selbst als den Hauptzweck dieses berühmten, nicht zur Vollendung gebrachten Prachtwerkes. Er widmete diesem weitgreifenden Werke die letzten zehn Jahre seines Aufenthaltes in Italien, grosse Arbeiten und einen beträchtlichen Teil seines Vermögens" (Andresen S. 33). - Seine Zeichnungen, teils auch von seinen geschicktesten Schülern ausgeführt, übertrug er selbst auf die Kupferplatte, als Gehilfen dienten ihm hin und wieder der Waldeck'sche Hofmaler Unger und der Kupferstechers R. Morghen. Mit dem sechsten Heft endete jedoch das gemeinsame Unternehmen Tischbeins und Heynes.1819 kaufte Cotta den Verlag nebst einer großen Menge von Zeichnungen und uneditierten Kupferplatten und gab eine Fortsetzung in drei Heften 1821-1823 heraus. Ein bereits vorbereitetes viertes Heft erschien nicht mehr; eine französische Ausgabe erschien gleichzeitig mit der deutschen bei Colignon.
Herbert, Thomas: A relation of some yeares travaile, begunne anno 1626. Into Afrique and the greater Asia, especially the territories of the Persian monarchie: and some parts of the orientall Indies, and Iles adiacent. Of their religion, language, habit, discent, ceremonies, and other matters concerning them. Together with the proceedings and death of the three late ambassadours: Sir D. C. Sir R. S. and the Persian Nogdi-Beg. As also the two great monarchs, the king of Persia and the great Mogol. London: Stansby and Bloome 1634 (Kupfertitel 1677). 26,6 x 18,5 cm. Mit Kupfertitel (der Ausgabe von 1677) und 36 Kupfern im Text. 1 w. Bl., 4 Bll., 225 SS., 7 Bll. Ldr. mit Rs. und schwarzgepr. Deckelfileten.(Rücken erneuert. Einband berieben und bestoßen. Kupfertitel mit Braunfleck. Stellenweise feuchtfleckig. Letztes Bl. mit zahlr. Vermerken von alter Hand.)STC 13190. Sabin, 31471. Gay 62. Cox I, S.248. Kat. Maggs Bros. 374. Henze II, S. 571. - Erstausgabe mit dem Kupfertitel der dritten Ausgabe von 1677. Es existieren zwei Varianten des Impressums (vgl. STC 13190.3). - Die Kupfer zeigen Küstenansichten, Fische und Vögel (darunter ein Pinguin, Flamingo und ein Dodo), Kostümtafeln, Karten u.a. - Herbert reiste in Gefolgschaft Sir Dodmore Cottons nach Persien und gelangte unter anderem nach Coom, Cashan und Bagdad. Desweiteren bereiste er das Kap der Guten Hoffnung, Madagaskar und Surat. Auf dem Rückweg nach England entlang der Ostküste Nordamerikas reflektiert Herbert über die Entdeckung der Neuen Welt. Das letzte Kapitel "A discourse and proofe that Madoc ap Owen Gwynedd first found out that continent now call'd America" ist mit Versen der frühen walisischen Barden versehen, welche er als Beweis dafür sieht dass Madoc mit mehreren Schiffen zu einem unbekannten Land im Westen aufbrach. Herbert stellt fantasievolle Analogien zwischen der walisischen Sprache und mexikanischen Namen her und sieht auch Bezüge in den Sitten und Gebräuchen der indigenen Bevölkerung als Beweis für eine walisische Kolonie im neunten Jahrhundert in Amerika (vgl. Sabin).
GENIUS Zeitschrift für alte und werdende Kunst. Hrsg. von C. G. Heise, H. Mardersteig und Kurt Pinthus (Bd. I). Erstes - Drittes Jahr in 3 Bden. München: Kurt Wolff 1919-21. 34,5 x 25,5 cm. Mit 16 OrGraphiken und zahlr. weiteren Illustr. im Text und auf Taf. Pgt. m. farbigen Rs. und Deckelvignetten aus intarsiertem Leder, Kopfgoldschnitt; OrUmschl. eingebunden, Schuber. Im Rückdeckel signiert vom Buchbinder J. Niederhöfer, Frankfurt a.Main. (Schuber berieben und mit Defekten bzw. Einrissen. OrGraphiken von Epper und Nauen etwas gebräunt, vereinzelt Einrisse und wenige weitere Alters- und Gebrauchsspuren). Diesch 2968. HDO 120. - Vollständige Reihe der Zeitschrift mit OrGraphik v. E. Heckel (Dube 264), F. Marc (Lankheit (831,3), F. Masereel, K. Schmidt-Rottluff (Schapire 189 und 274; 2 Blätter), R. Seewald (Jentsch H 77), A. Kanoldt, E. Scharff, H. Nauen u. a. Mit Texten von A. Döblin, H. Hesse, G. Heym, F. Kafka, K. Pinthus u. a. - Aus der Bibliothek von Hans L. Merkle (Exlibris im Innendeckel).
Symes, Michael: An account of an embassy to the kingdom of Ava, sent by the governor-general of India, in the year 1795. Second edition. 3 Bde. und Atlasbd. London: Wilson for Debrett 1800. 21,5 x 13 cm. XVIII (r. XXVIII), 364 SS.; X, 416 SS.; IX, 372 SS. Marmor. Ldr. mit je zwei Rs. und Rv. Dazu Atlasbd.: Relation de l'ambassade anglaise, envoyée en 1795 dans le royaume d'Ava, ou l'empire des Birmans. Paris: Buisson 1800. 35 x 26,5 cm. Mit 30 Kupfertafeln (darunter 2 gef. Ktn.), 2 Bll. Titel und Tafelverzeichnis. Späteres HLdr. mit Rs. und Rv, mont. Deckelschild.(Textbde. berieben, Gelenke aufgeplatzt, kl. Fehlstellen an Kopf und Schwanz, Vorsatz leimschattig. Leicht gebräunt und altersfleckig. Atlasbd. mit erneuertem Vorsatz. Faltktn. mit Knickspuren, Tafeln im Rand leicht gebräunt und vereinzelt stockfleckig.)Cox I, S.309. Henze V, S.275. - Textbde. der zweiten englischen Ausgabe mit Atlasband der franz. Ausgabe. - Die Tafeln, gestochen von Tardieu, Delignon, Niquet und Delvaux, mit einer Karte von Birma, einer Karte des Irrawaddy-Stroms, Ansichten und Plänen von Monumenten, Kostümtafeln, eine Schrifttafel, Pflanzen u.a. - Mit einer sehr frühen Beschreibung von Burma: "The only satisfactory account of Burma till then published" (vgl. Cox). - Textbde. mit Buchbinderschild: J. Searle, London.
Rau, Johann: Cosmographia. Das ist: Ein schöne, richtige und volkomliche Beschreibung deß Göttlichen Geschöpffs, Himmels und der Erden. Frankfurt a. M.: Basse 1597. 36 x 23 cm. Mit 21 blattgr. Kupferkarten im Text und auf 1 Tafel, 92 Textholzschnitten, 1 gefalt. Stammtafel und 2 verschied. Druckermarken (ohne Porträt). 17 Bll., 1 w. Bl., 1031 SS., 6 Bll. Blindgepr. Schweinsldr. über Hz.-Deckeln. mit Messingschliessen. (Geringe Bereibungen und Gebrauchsspuren. Vordere Vorsätze erneuert. Zu Beginn stärker wurmstichig, später abflauend. S. 117 bis 122 mit stärkeren Gebrauchsspuren, ansonsten nur geringere Altersspuren. Ohne das häufig fehlende Porträt Karls V.)VD 16 R 380. Alden 597/59. Sabin 67977. - Erste Ausgabe der Kosmographie. Unter den Textholzschnitten 60 Stadtansichten, z. B. von Aachen, Augsburg, Basel, Braunschweig, Bremen, Brüssel, Genua, Hamburg, Köln, Königsberg, Konstantinopel, Lübeck, Mainz, München, Prag, Rom etc., allesamt aus dem Städtebuch Saur's; die blattgroßen Kupferkarten aus M. Quad's "Europae descriptio", darunter Weltkarte (Shirley 197), Europa, Bayern, Böhmen, Dänemark, Deutschland, England, Flandern, Frankreich, Holland, Italien (Tafel), Österreich, Schwaben , Schweiz usw.
Heures. - Gebetbuch. Illuminierte französische und lateinische Handschrift auf Pergament. Frankreich, letztes Drittel des 19. Jahrhunderts.114 x 86 mm. 95 Bll. (das erste leer), röm. paginiert von fol. 4v-94v in ungewöhnlicher Schreibweise I-IXXXI. Schriftspiegel unterschiedlich, meist 55 x 37 mm. Frakturschrift in Französich und stellenwiae Lateinisch von einer Hand in schwarzer und roter Tinte. Mit Ausnahme des zweiseitigen Inhaltsverzeichnisses am Schluss sind sämtliche Seiten mit reichem Bordürenschmuck in Deckfarben und Gold ausgestattet. In der Art mittelalterlicher Stundenbücher finden sich in dem vielfältig variierten Rankenwerk Tiere, Pflanzen, Früchte, Menschen und viele fantastische Drolerien, oft - gemäß der Widmungsträgerin - mit kindgerechten Motiven. Als christliche Motive vorhanden sind in zwei Bordüren das Porträt der Heiligen Therese als Namenspatronin und ein Kelch mit zwei daraus trinkenden Tauben.Rotbrauner vergoldeter Maroquineinband, im vorderen Innendeckel signiert "R. PETIT" (Rémy Petit, tätig in Paris in der 2. Hälfte des 19. Jhs.); gebunden auf fünf Bünden, mit Rt. "Heures" und ligiertem verg. Monogramm "TB" in den Rückenfeldern und den vier Ecken der Deckel, Stehkanten mit verg. Doppelfileten, Dublüre aus blauem Maroquin mit verg. Bandwerk, eingefasst von schmaler Spitzenbordüre und Fileten, im Mittelfeld wiederholt das Monogramm "TB" in sechs ovalen Intarsien aus rotbraunem Maroquin; Vorsätze aus Pergament; Goldschnitt; zwei Lesebändchen. In braunem, velourgefütterten Maroquin-Steckschuber mit verg. Rt.Dem Vorwort zufolge wurde das Buch von Esther Bernard für ihre Enkelin Thérèse Bernard anlässlich ihrer Erstkommunion geschrieben ("je t'ai fait ce petit livre") und möglicherweise auch mit dem künstlerischen Buchschmuck versehen. - Sehr schönes, nahezu makelloses Manuskript in einem wertvollen Pariser Meistereinband.
Marees, Pieter de: Sechster Theil der orientalischen Indien, Warhafftige Historische Beschreibung deß gewaltigen Goltreichen Königreichs Guinea, sonst das Goltgestatt von Mina genandt, so in Africa gelegen, sampt derselben gantzen Beschaffenheit, auch Religion unnd Opinion, Sitten und Sprachen, Handel und Wandel der Einwohner daselbst, beneben einer kurtzen Erzehlung, was die Schiffe, so bis dahin fahren wollen, für einen Lauff durch die Canarische Inseln, biß an das Capo de Trespunctas, da das Goldgestatt anfänget, halten müssen. (Übers. von) Gotthard Arthus. Text und Abbildungen in 1 Band. Frankfurt a. M.: Gedruckt v. W. Richter für Joh. Theod. und Joh. Israel de Bry 1603. 30,8 x 20,5 cm. Mit 1 gest. Titelvign., 26 gest. halbseitigen Abb. 3 Bll., 1 w. Bl., 154 SS.; Titelblatt, 26 Bll. Pgt.(Restauriertes Exemplar. R. erneuert. Meist nur geringe Alters- und Gebrauchsspuren.) VD17 3:314757H. Lindesiana 79 ff. Böhme 125. - Die deutschsprachige Ausgabe enthält im 58. Kapitel ein Glossar der Eingeborenensprache.
Pidou de Saint Olon, François: The present state of the empire of Morocco. With a faithful account of the manners, religion, and government of that people. London: printed for R. Bently, W. Freeman u. a. 1695. 15,2 x 9 cm. Mit gest. Front., 6 gest. Tafeln und 1 Faltplan. 12 Bll, 216 SS., 6 Bll., 1 w. Bl. Ldr. mit blindgepr. Deckeln, erneuertem Rücken mit Rv. unter Verwendung des alten Rs. (Deckel etw. berieben und bestoßen, geglättet. Etwas gebrauchs- und altersfleckig.) Paulitschke 646. Vgl. Lipperh. Ma2. Gay 1275. - Englische Übersetzung der französischen Originalausgabe im selben Jahr, erstmals 1694 erschienen. - Pidou de Saint Olon hielt sich 1693 als französischer Gesandter in Marokko auf. Die Kupfer zeigen einen Grundrissplan der marokkanischen Hafenstadt Larache und diverse Kostüme der Bevölkerung. - Mit Wappenexlibris aus der Bibliothek von Sir Jacob Astley Bart, in der Melton Constable Hall in Norfolk.
Skinner, Joseph: The present state of Peru: Comprising its geography, topography, natural history, ... The whole drawn from original and authentic documents, chiefly written and compiled in the peruvian capital. London: R. Phillips 1805. 26,2 x 20,2 cm. Mit 20 kol. Kupfertafeln (davon eine als Frontispiz). XIV, 487 SS., 1 nn. S. HLdr. mit Rs. und Rv.(Vorderdeckel lose. Leicht gebräunt und stellenweise feucht- bzw. altersfleckig).Lipperh. Md 5. Hiler S. 802. Colas 2751. - Erstausgabe. - Mit kolorierten Kostümtafeln der Einwohner von Peru, sowie Textbeiträgen zur Geographie, Topographie, Flora und Fauna, Brauchtum, der indigenen Bevölkerung und gegenwärtigen Kunst, Literatur und Philosophie des Landes.
![Caracciolus, Robertus: Sermones de laudibus sanctor[um]. Augsburg: Anton Sorg, 23. Febr. 1490. 27 x 19,6 cm. 219 Bll. (v. 220](https://cdn.globalauctionplatform.com/f5edf029-5408-4d3e-8106-af1100a2310e/dafaeb30-678e-4ce7-916b-af1100caf834/468x382.jpg)
Caracciolus, Robertus: Sermones de laudibus sanctor[um]. Augsburg: Anton Sorg, 23. Febr. 1490. 27 x 19,6 cm. 219 Bll. (v. 220; ohne das letzte w. Bl.). Blindgeprägtes braunes Ldr. (Restauriertes Exemplar. Vorderdeckel lose, Rücken und Schließbänder fehlen. Deckelbezüge mit Fehlstellen und stärker berieben. Erste Lagen lose, Titelblatt restauriert mit Papierfehlstellen. Ränder etwas altersfleckig.) GW 6056. BSB Ink. C-117. - R. Carraciolus war bei seinen Zeitgenossen ein geschätzter und ausgezeichneter Prediger.
Richenthal, Ulrich von: Costnitzer Concilium. So gehalten worden im Jahr Taussend, vier hundert und dreytzehen. Jetzt auffs neuw zugerichtet ... Frankfurt am Main: (Reffeler für Feyerabend) 1575. 30 x 19,5 cm. Mit Titelhz., doppelblgr. Hz. von Jost Amman, 32 meist blattgr. und meist kolor. Hz. von J. Breu d. Ä. und über 1000 kolor. Wappenhz. 4 Bll. (letztes weiss), 206 num, 1 Bl.Angebunden: Das Heldenbuch. Welchs auffs new Corrigiert und gebessert ist, mit schönen Figuren geziert. Frankfurt a. M.: w. Han und S. Feyerabend (1560). Mit gr. Titelhz., (wh. auf S. 169) von Virgil Solis und zahlr. kl. Hz. im Text von J. Breu d. Ä., H. Brosamer und H. Weiditz. 187 Bll. (recte 184; = Bll. 74, 142, 168 weiss). Blindgeprägtes Schweinsldr. über Holzdeckeln mit Messingbeschlägen. (Berieben und gebrauchsfleckig; Schließbänder fehlen. Das Concilium teilw. feucht- und altersfleckig, stellenweise unschön reparierte Papierverletzungen. Das Kolorit wohl etwas später ergänzt, t. unsauber und durch Feuchtigkeit in Mitleidenschaft gezogen. Im "Heldenbuch" Bl. 181 mit großem hinterlegtem Randausriss mit Textverlust, das Titelblatt hinterlegt und mit kl. Kritzelei, kleinere reparierte Papierverletzungen. Feucht- und altersfleckig.)1.) VD16 R 2203. Andresen 206. Becker 19. - Dritte Ausgabe des Konzilienbuches nach der Inkunabelausgabe Augsburg 1483. Mit den Holzschnitten von Jörg Breu, sowie einigen Holzschnitten von Jost Amman. Sie zeigen Papst und Kaiser mit ihrem Gefolge auf dem Weg zum Konzil; das Konzil mit Kardinälen, die Verurteilung und Verbrennung von Huß und Hieronymus uvm., sowie die doppelblattgr. Darstellung des Turniers aus dem "Thurnierbuch" von 1566. 2.) VD16 H 1568. Neufforge 250. - Dritte Ausgabe aus dem 16. Jh. - "Letzte Zusammenfassung der deutschen Heldensage, auch der Nibelungensage, in volksmäßigen, rhapsodenhaften Strophen" (Neufforge).
![Breydenbach, Bernhard von: Dis buch ist innhaltend die heilige[n] reiysent gein Jherusalem zu dem heiligen grab und furbasz z](https://cdn.globalauctionplatform.com/f5edf029-5408-4d3e-8106-af1100a2310e/cb36928d-186e-4d52-b4a6-af1100cad8bb/468x382.jpg)
Breydenbach, Bernhard von: Dis buch ist innhaltend die heilige[n] reiysent gein Jherusalem zu dem heiligen grab und furbasz zu der hochgelobten jungfrouwen und merteryn sant katheryn. [Speyer: Peter Drach, um 1503]. 31,7 x 21,7 cm. Mit Holzschnittabb auf Titel, 2 doppelblattgr. Holzschnittabb., 7 Textholzschn. und 7 weitere Holzschnittabb. im Text mit Schriftzeichen. 106 Bll. (v. 112). Braunes Ldr. des 18. Jhdt. auf 8 Bünden m. Rs., Rv. (Stärker berieben und bestoßen. Es fehlen 5 große mehrfach gefalt. Holzschnitttafeln sowie der dort auf der Rückseite gedruckte Text und es fehlen die Holzschnitte am Schluss vor Lage R. Teils etwas alters- und gebrauchsfleckig; alte Reparaturen und Überklebungen.) VD 16 B 8259. Fairfax-Murray 97. Wohl dritte deutsche Ausgabe. - Von den großformatigen Abbildungen nur die Ansichten von Corfun (Korfu) und Parentz (Parec) komplett vorhanden. Es fehlen oder sind nur in Fragmenten vorhanden: Venedig, Modon, Candia, Rhodos und Jerusalem. - Innendeckel mit Exlibris von Ida Schoeller (vorliegendes Ex. nicht in ihrem Ausstellungskatalog von 1915) und von H. G. Roederstein.
Allom, Thomas - George Newenham Wright: China, in a series of views, displaying the scenery, architecture, and social habits, of that ancient empire. 4 Vol. in 2 Bde. London u. Paris: Fischer, son & co (1843-44). 27 x 21 cm. MIt 4 gest. illustr. Titeln und 124 Stahlstichtafeln (davon 4 als Frontispiz). 96 SS.; 72 SS.; 68 SS.; 56 SS. HLdr. mit Rs. und Rv.(Ecken und Kanten berieben. Stellenweise leicht stock- bzw. altersfleckig.)Andres III, 920. Löwendahl II, 986. - Ohne den Textteil "Life of Kang-He, emperor of China" von Karl Friedrich August Gützlaff. - Allom kopierte chinesische Zeichnungen aus der Sammlung des Sir George Thomas Staunton und verwendete Amateurzeichnungen von Captain Stoddard, R. Varcham und Lieutenant Frederic White, die während der Opiumkriege zahlreiche Aquarelle von Orten im Inneren Chinas anfertigten, welche dem Westen bisher unbekannt waren. Das Werk mit den schönen klaren und feinen Stahlstichen erfreute sich auch über die Grenzen Englands hinaus großer Beliebtheit.
Mid 20th century silver travelling communion set, comprising chalice, paten, wafer box, spoon, and pair of silver mounted glass bottles, chalice, paten, wafer box, and spoon hallmarked A R Mowbray & Co Ltd, London 1960, screw threaded interiors to bottles marked with leopard head and lion passant, contained within a fitted travelling case with carry handle, approximate weighable silver 4.29 ozt (133.5 grams)Condition Report:General wear commensurate with age and use, including surface scratches and nicks.Bottles with residue to interior.Hallmarks generally clear and legible, however makers mark to chalice worn, and no visible hallmarks to covers of bottles.Case with wear to exterior, particularly to edges, and interior more heavily worn where bottles have sat against velvet lining, and silk with fading and marks.
Modern silver pepper grinder, of tapering cylindrical form with central girdle, and engraved crest, hallmarked Laurence R Watson & Co, London 1998, H9cmCondition Report:General wear commensurate with age and use, predominantly in the form of surface scratches.Hallmarks with some wear, in particular makers mark.
Two Edwardian silver vesta cases, the first example of plan rounded square form, hallmarked Williams (Birmingham) Ltd, Birmingham 1902, the second of plain oblong form hallmarked Arthur Wright, Birmingham, date letter worn and indistinct, together with a 1920's silver compact, of circular form with engraved initials to panel and engine turned decoration, hallmarked R Davis & Co, Birmingham 1920, approximate weighable silver 1.51 ozt (47.1 grams)Condition Report:General wear commensurate with age and use, including surface scratches, nicks, and indentations.Vesta cases both with knocks, and some compression.Hallmarks to oblong vesta case worn, other hallmarks also with some wear but generally still legible.
Augsburg binding.- Petrus de Palude. Sermones Thesauri novi de sanctis, collation: a b6 c-h8.6 i-m6 n-q8.6 r-t6 v8 x-z6 A8 B6 C8 D-F6 G-K8.6, 255 ff. (of 256, lacking final blank), b6 blank, 53 lines, Gothic type, initial spaces with guide-letters, opening initial 'R' on c1r in green on a gold ground, marginal flourish at foot in blue, green and pink and surrounded by 7 bezants (dulled), other initials in red, occasional early ink marginalia, the odd small marginal hole, spotting or foxing, some staining, occasional minor marginal worming, mostly light browning, contemporary ornately blind-stamped panelled calf from an Augsburg workshop [Kyriss 84, plate 171], tooled with a hunting roll, and rosette, star and other tools, title tooled on front cover, spine in compartments and tooled with palmettes, metal center- and corner-pieces, remains of metal clasps, foot of spine worn, head of spine with short split either side (?repaired), some loss of leather to lower cover, rubbed and scuffed, folio (276 x 191mm.; binding 284 x 202), Strasbourg, Martin Flach, 1493.⁂ A rare copy in commerce of this collection of sermons by the French theologian and Archbishop Palude. Here in an attractive unsophisticated contemporary Augsburg binding. Provenance: Robert Raydl, Dominican (1498 inscription to front pastedown recording the sale of the book to him by a pastor Christophor of ?Gravenkirchen). Literature: Goff P-516; BSB-Ink S-335; GW M41815.
Shepherds Kalender (The)...Newly augmented and corrected, collation: A-Q⁶ R⁴, largely printed in black letter, numerous woodcut illustrations, diagrams and decorations, lower half of title cut away and replaced with later paper, affecting title-vignette, imprint and full-page woodcut to verso, A2-3 with loss to lower corner, affecting catchword of A2 and a few letters to verso, K2 with rust-hole affecting a couple letters of text, some damp-staining to first and last few leaves, occasional light spotting or marking, final few gatherings slightly browned, contemporary calf, rebacked, worn, [STC 22423], folio, [for John Wright], [1631].⁂ Profusely illustrated with curious cuts, this work seldom appears on the market. The 1631 edition has appeared at auction only 3 times, and no more recently than 1947.Provenance: Geo. Frere (early ink inscription to pastedown and head of A2).
The Irish Rebellion of 1641.- Temple (Sir John) The Irish Rebellion: or an History of the Beginnings and first Progresse of The Generall Rebellion...Together with the Barbarous Cruelties and Bloody Massacres which ensued thereupon, first edition, title within double-rule border, woodcut initials and headpieces, occasional light marginal marking or finger-soiling, the odd spot, but a good copy generally, contemporary calf, a few light stains, hinges and joints strengthened and repaired, [Wing T627], 4to, by R. White, 1646.⁂ First edition of this important contemporary history that did much to inflame English opinion against the Irish.Provenance: Fairfax of Cameron; Fox Pointe Collection (bookplates).
![Binding.- [Allestree (Richard)] The Causes of the Decay of Christian Piety, engraved title vignette and 2 plates, 2pp. advert](https://cdn.globalauctionplatform.com/7f555423-35bb-47ba-900e-af0400c3d8cc/5b9a6946-7118-4fb0-a3f9-af0701228b4d/468x382.jpg)
Binding.- [Allestree (Richard)] The Causes of the Decay of Christian Piety, engraved title vignette and 2 plates, 2pp. advertisement at rear, bookplate to pastedown, contemporary ink ownership name to title, some damp-staining or light even browning, contemporary black morocco ornately tooled in gilt with sprays of flowers, intricate leaf details, drawer handles etc., joints lightly rubbed, corners bumped, still a very attractive binding, [Wing A1105], 8vo, R. Norton for Robert Pawlett, 1679.
Baudelaire (Charles) Oeuvres Complètes, 7 vol., half-titles, frontispiece, some light marginal browning, tan crushed half morocco gilt by R. Petit, spines gilt in compartments with flower motifs, monogram to foot and green and brown morocco labels, spines a little darkened, some light toning to covers, t.e.g., 8vo, Paris, Lévy, 1870-80.
Hardy (Thomas) Tess of the d'Urbervilles. A Pure Woman..., 3 vol., first edition in book form, second impression revised, [one of 500 copies], half-titles, with initial blank in vol. 3 and final blanks in vol. 2 & 3, small booklabels to pastedowns, vol. 1 front free endpaper laid down to pastedown, all vol. hinges slightly weak but holding, original decorated tan cloth, upper covers blocked in gilt with two vertical wavy lines of honeysuckle and gold disks designed by Charles Ricketts, spines toned, some toning and staining to covers, lightly rubbed, spine ends a little bumped, [Purdy p.74], 8vo, James R. Osgood, McIlvaine & Co., 1892.⁂ One of 500 copies (the first impression of the previous year was 1000), with a few very minor corrections or changes to spelling and imprints. Hardy's tragic tale of a fallen woman shocked Victorian readers, particularly the subtitle of the novel "A Pure Woman". It was first published in the Graphic from July to December 1891 in weekly instalments, having being rejected by several other periodicals, but with the seduction and mock-baptism scenes removed and some alterations. Both sections were published separately prior to serialisation but reinstated with the original text when issued in book form.
James (M. R.) A Warning to the Curious, first edition, half-title, faint very occasional spotting, original cloth, very light fading to edges, fractional bumping to spine extremities, dust-jacket, small loss to spine head, tear to lower joint and across spine, small tears and minor loss to top edge, a little rubbed, but still a very good example of a scarce jacket, 8vo, 1925.⁂ M. R. James' last collection, and one of his bleakest. Scarce in the macabre dust-jacket.
Audubon (John James) The Birds of America, 8 vol., half-titles, 500 hand-coloured lithograph plates, very occasional trimming to caption or imprint, without the biography of Audubon in vol.1, vol.1 half-title and front free endpapers detached, contemporary red half morocco over marbled boards, gilt, g.e., occasional rubbing to joints and extremities, [Nissen IVB 52 for earlier Lockwood editions; Anker 19 for similar]; Ayer/Zimmer 25-26], 8vo, New York, George R. Lockwood, [c.1889].⁂ After Audubon's death his sons, Victor and John, issued several editions of the Birds of America. In these editions the background of the plates is coloured. The text, with a few alterations, is the same as in Ornithological Biography, 1831-39. The plates of the original 8vo edition, with the exception of 17, were the same as those in the folio edition whose figures were reduced by means of a camera lucida by John W. Audubon. In the present edition some of the plates are stated to have been redrawn.
A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BCOpinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris.Condition: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國，公元前約1500-1400年。器體呈梯形，長方形內直，肩部平直，兩側有對稱的長方形孔，弧刃，兩側略外張，器身中部有較大的圓孔，肩下及兩側各飾夔紋，柄上有饕餮紋。由於字數限制，完整中文敘述請至www.zacke.at查看。
A VERY FINE AND RARE MOTTLED EMERALD-GREEN JADEITE SNUFF BOTTLE, 1780-1880China. Well hollowed, of flattened globular form with tapering foot and waisted neck. The translucent stone is of a distinct icy-green color with a dense network of emerald-green veins and patches. Superb polish with an unctuous feel overall.Provenance: Sotheby's New York, 21 January 1982, lot 224. Rachelle Holden, New York, acquired from the above. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Very good condition with minor wear, minuscule nibbling to the rim and mouth, the stopper also with nibbling to the rim. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Small area of polish to one side of the mouth rim.Stopper: Pink tourmaline with green jadeite finialWeight: 119.0 gDimensions: Height including stopper 63 mm. Diameter neck 19 mm and mouth 6 mm. 1780-1880年罕見素面翡翠鼻烟壺中國。掏膛良好，口外撇，束頸，豐胸圓腹，平底。半透明的玉料呈獨特的冰綠色，翠綠色紋理，整體大氣瑩潤。 來源：1982年1月21日紐約蘇富比，lot 224；紐約Rachelle Holden購於上述拍賣。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相極好，輕微磨損，邊緣和唇部有細微的磕損，壺蓋也有磕損。具有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。壺嘴一側局部光滑。 壺蓋：粉紅碧璽，翡翠頂重量：119.0 克 尺寸：高 （含蓋）63 毫米，頸部直徑19 毫米及壺口直徑6 毫米
A SANDSTONE HEAD OF SHIVA, ANGKOR WAT STYLEKhmer Empire, 12th century. His face finely carved with full pursed lips, framed by a mustache, almond-shaped eyes and ridged eyebrows, his forehead centered with his third eye, flanked by elongated earlobes, a tiara carved with a central floral band, knotted at the back, and set in front of his headdress, combed into a high cylindrical-shaped chignon.Provenance: The collection of Jean-Marc Andral, acquired in 1996 from Galerie Rambagh, Brussels (invoice lost). Jean-Marc Andral is a Belgian manager based in Brussels and active in the healthcare industry for over 25 years. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, encrustations, nicks, scratches, few structural cracks, small chips. Scientific Analysis Report: An Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 22-01042, dated 5 May 2022, written and signed by Dr. R. Neunteufel, analyzing the surface alterations after examination by scanning electron microscopy (SEM) and element analysis with attached energy-dispersed X-ray micro element analyzer (EDX), concludes that the observed surface alterations are not in contradiction with the dating above. A copy of the report accompanies this lot.Weight: 7.9 kg Dimensions: Height 28 cm (excl. stand), 39.2 cm (incl. stand)Mounted to a modern metal stand. (2)Auction result comparison:Type: Closely relatedAuction: Christie's Amsterdam, 8 May 2002, lot 609Price: EUR 14,340 or approx. EUR 21,000 adjusted for inflation at the time of writingDescription: A Khmer, Angkor vat style, sandstone head of shiva, 12th centuryExpert remark: Compare the closely related facial features, headdress, and color of the stone. Note the slightly smaller size (24 cm).
AN INSIDE-PAINTED 'HAWK AND MOON' SMOKY CRYSTAL SNUFF BOTTLE, BY YE ZHONGSAN, DATED 1935China, the bottle ca. 1750-1850, the painting 1935. Depicting a hawk perched on a pine branch, its head raised towards the full moon, the branches encircling the bottle, the reverse with an inscription. Of rectangular form with rounded edges, rising from an oval foot to a straight cylindrical neck, the top slightly concave.Inscriptions: Top center, signed Ye Zhongsan in the year of yihai (1935), one seal.Provenance: Hugh Moss Ltd., Hong Kong, 1993. Rachelle R. Holden, New York, acquired from the above. An old collector's label with inventory number '308' to the base. Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and the foremost authority on Chinese snuff bottles. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life. Condition: Superb condition with only minor wear. Minute fleck on exterior of mouth rim.Stopper: Rose quartz (the metal mount with few minuscule nicks)Weight: 58.8g Dimensions: Height including stopper 73 mm. Diameter neck 17 mm and mouth 6 mm.Ye Zhongsan, from about 1904 onwards, began to take advantage of what we may presume to have been a weakening market for old snuff bottles in the wake of the gradually dying interest in snuff in favor of smoking cigarettes and the political turmoil that attended the aftermath of the Boxer Rebellion of 1900 and the collapse of the Qing dynasty, which would follow in 1911. We suddenly see a reasonable number of old agate and crystal bottles where the natural color shades in the material are imaginatively used as the basis for ink-play paintings. The present 'dark' bottle was deliberately chosen by the artist to show the majestic hawk at night, as he gazes at the full moon, which itself is mostly hidden behind a pine tree. It is quite remarkable that it took until the turn of the century for any inside-painting artists to realize the potential in using such materials that were, after all, readily available and, it would seem, crying out for such treatment. It was Ye Zhongsan's use from the early years of the present century onwards that defined this particular branch of the art, and it remained his prerogative throughout his career, being adopted only occasionally by other artists, including Zhou Leyuan. This again seems strange, since once the idea was established, we might have expected other artists to respond more enthusiastically to it. But of course such initial enthusiasm may well have been impeded by the increased challenge of integrating one's personal artwork into an already existing natural environment.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 29 March 2022, lot 51Price: USD 10,710 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: An inside-painted smokey-quartz snuff bottle, signed Ye Zhongsan, dated 19241935年葉仲三内畫“月下松鷹”煙晶鼻烟壺中國，鼻烟壺可能為清代1750-1850年間，内畫為1935年。描繪一隻棲息在松枝上的鷹，它正回頭望月。松枝環繞整壺，另一面有款識。長方壺形，圓角，圓柱形直頸，壺口略微内凹。 款識：乙亥清和葉仲三作 來源：香港Hugh Moss 藝廊，1993年；紐約Rachelle R. Holden購於上述藝廊。底部可見收藏編號“308”。Hugh Moss (出生於1943) 是一位中國藝術方面的作家、經銷商、藝術家、收藏家，也是中國鼻烟壺界的權威。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相極好，只有輕微磨損。壺口外緣有微小的斑點。 壺蓋：粉紅石英(托片上有一些細微的劃痕) 重量：58.8克 尺寸：高 （含蓋）73 毫米，頸部直徑17 毫米及壺口直徑6 毫米由於字數限制，完整中文敘述請至www.zacke.at查看。
A SLIP-DECORATED AND ENAMELED 'DOVES AND PEKINGESE DOG' SNUFF BOTTLE, YIXING, 1820-1850Published:Hugh Moss, Chinese Snuff Bottles Four: A Magazine for the collector and student of Chinese Snuff-Bottles, London, 1966, p. 45, fig. 11Arts of Asia, September-October 1973, p. 45, fig. 11Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, no. 336JICSBS, December 1979 and March 1980, p. 13, fig. 4Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 126-127, no. 50Exhibited:Tokyo, Mikimoto Hall, An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, 22-31 October 1978, cat. no. 92.China. The stoneware bottle of rounded rectangular form, with a cylindrical neck, and tapering to a recessed oval foot, enameled in blue and reserved on each side with a recessed panel, finely carved and decorated in opaque colored slips, one side depicting a pair of Pekinese dogs, and on the other a pair of doves. The coral stopper finely carved with a bat.Provenance: From the collection of Bob C. Stevens, no. 336. Sotheby's Honolulu, Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part I, 7 November 1981, lot 69. Rachelle R. Holden, New York, acquired from the above. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Magnificent condition with minor old wear, light surface scratches, very few touched-up glaze flakes and microscopic pits.Stopper: Carved coral (minuscule age cracks and chips to stopper)Weight: 44.1 gDimensions: Height including stopper 71 mm. Diameter neck 16 mm and mouth 6 mm.The Daoguang Emperor and his consort were fond of doves and small dogs, respectively, as subjects of paired doves and Pekingese dogs became popular during this period. The symbolism imbued in the pairs of dogs and doves implies a wish for happy marriage.The dove-and-dog Yixing bottles were made in sets and in several different series. One of the finest versions of all is seen in the present lot, with its rounded rectangular shape, blue surround and multi-colored slip decoration. The slip is both painted with a brush and plastered on and carved, or at least manipulated with a blade of some sort. This is the same technique as that of the Slip Master (see for example Moss, Treasury 6, lots 1448-1451), but it is a quite different, more evolved style, with a number of different colors of slip used almost like enamels. This is typical of artistic evolution in the snuff-bottle arts, where a simple idea, drawn initially from the painting style of the literati with its predominance of monochrome ink painting, evolves to a more complex style as the possibilities of the medium are explored. These bottles with their more intriguing designs and multiple colors may be the later wares by the Slip Master, perhaps with a son taking over, or they may be from a different workshop, although we are inclined towards the first option. The bulk of the known examples probably date from the earlier part of the Daoguang reign, although the type may have remained popular throughout the reign. As a rule, however, it is not likely that an Imperial type remained fashionable for thirty years without noticeable changes in style.The dogs and doves on this series are always extremely well depicted, full of life, and the limited range of colors of slip available to the carvers are very thoughtfully and effectively used. While the form remains reasonably constant, and the subject matter is always the same, there are several different compositions within the series. Either each was made as an individual composition of the same theme, or each series was redesigned. Two more are illustrated in Stevens 1976, as nos. 334 and 336, both equally well worked. Between them, however, is a rare example (no. 335) with an enameled design of the same subject, still with the blue surround, that is quite poorly painted, even by the decorative standards of Yixing. The painted version may come from a time later in the reign when the enamel workshop responsible for so many earlier bottles was beginning to show signs of decline.Yixing in Jiangsu province gives its name to this distinctive stoneware. In production for nearly a thousand years in the same place, Yixing ware only came into artistic prominence in the later Ming dynasty, when it was adopted by the literati class as a suitable material for teapots and thence for other items for the scholar's studio. Slip-decorated snuff bottles constitute a considerable portion of the known output. Slip is simply liquid clay which can be applied like a thick paint or used for gluing segments together.Literature comparison: Compare a Yixing bottle decorated with landscape scenes set within a blue-enameled surround, and impressed with a cyclical date, jiyu (1849) is illustrated in An Imperial Qing Tradition, Chinese Snuff Bottles from the Collections of Humphrey K. F. Hui and Christopher C. H. Sin, no. 46. Others of the slip-decorated versions with a blue surround are in Sotheby Parke Bernet, New York, 17 March 1977, lot 44, and Jutheau 1980, p. 94, no. 4, and Robert Kleiner & Co. Ltd. 1994, no. 75 (the designs as a mirror image of the present example), and Parke-Bernet Galleries, New York, 2 December 1969, lot 43 (from the Claar Collection).Auction result comparison:Type: Near identicalAuction: Christie's New York, 22 March 2007, lot 38Price: USD 33,600 or approx. EUR 45,000 converted and adjusted for inflation at the time of writingDescription: An unusual slip-decorated stoneware snuff bottle, Yixing, 1820-1850Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 16 March 2015, lot 1028Price: USD 37,500 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: An enameled and slip-decorated, Yixing snuff bottle, 1800-1880 1820-1850年宜興紫砂掛釉加彩雙犬鼻烟壺 由於字數限制，完整中文敘述請至www.zacke.at查看。
A CARVED CELADON AND RUSSET JADE SNUFF BOTTLE, MASTER OF THE ROCKS SCHOOL, 1740-1850Published:Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, pp. 118-119, no. 407.Sotheby's Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part III, New York, 1982, no. 156.China. Of rounded rectangular form, finely carved through the russet-brown skin on one side with a scene of pine, lingzhi, rocks and a brick wall, the reverse with a pavilion encircled by swirling clouds which rise from the waves extending around the base. Superb manual polish with an unctuous feel overall.Provenance: From the collection of Bob C. Stevens, California. Sotheby's New York, 25 June 1982, lot 156. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '78' to the base. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Very good condition with minor old wear, a minuscule chip to the rim.Stopper: Jadeite stopperWeight: 70.6 g Dimensions: Height including stopper 66 mm. Diameter neck 16 mm and mouth 5 mm.The Master of the Rocks School seems to have specialized in carvings from two-colored hardstones, such as agate, crystal, chalcedony and jade. The school's main output was bottles carved with landscape designs, but many other subjects are recorded, which may have been partly produced for the Imperial Court. The quality of carving and the use of material in the present bottle are typical of this school.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1563Price: USD 30,000 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A well-carved greenish-yellow and brown jade snuff bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2002, lot 258Price: USD 22,325 or approx. EUR 34,500 converted and adjusted for inflation at the time of writingDescription: A rare and fine carved yellowish-green and russet jade bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.1740-1850年青玉留皮雕鼻烟壺中國。扁平長方削肩，一面棕褐色留皮精雕細刻松樹、靈芝和假山，另一面有一個亭台樓閣，周圍祥雲環繞。精湛的工藝，整體瑩潤。 出版：Bob C. Stevens，The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），紐約，1976年，頁118-119，編號407。 蘇富比Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens，Part III，紐約，1982年，編號156。 來源：Bob C. Stevens舊藏，加利福尼亞；紐約蘇富比1982年6月25日 lot 156；紐約Rachelle R. Holden 舊藏，購於上述拍賣。底部可見Rachelle Holden 收藏標籤“78“。Bob C. Stevens 曾是一位中國鼻烟壺知名收藏家，曾出版過一本書The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），1976年以及1978年。書裏曾記錄過這件拍品。他的藏品的一部分曾在東京Mikimoto Hall（御本廳）展出過。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。 她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相極好，有輕微磨損，邊緣有微小的磕損。 壺蓋：翡翠 重量：70.6 克 尺寸：高 （含蓋）66 毫米，頸部直徑16 毫米及壺口直徑5 毫米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1563 價格：USD 30,000（相當於今日EUR 36,500） 描述：1740-1850年青玉留皮雕鼻烟壺 專家評論：比較非常相近的雕刻風格，棕褐色留皮精雕細刻，並將青玉部分留白。由於字數限制，完整中文敘述請至www.zacke.at查看。
A CARVED CINNABAR LACQUER ZHADOU AND COVER, 18TH CENTURYChina. The zhadou has a wide everted rim carved on top with lotus flowers within a ruyi-head border and incised on the underside with leafy lotus sprays below ruyi heads, all above the slightly rounded sides carved with hexagonal floral diaper. The domed cover is carved en suite around a circle of petal lappets at the base of the semispherical imitation-amber glass finial. The interior and base are entirely covered in black lacquer. Provenance: From a noted French private collection. Condition: Good condition with old wear, expected age cracks, few losses, some nicks here and there. Fine, naturally grown patina overall.Weight: 174.0 gDimensions: Diameter 14.6 cmExpert's note: The Sanxitang (Three Treasures Hall) was a private study of the Qianlong Emperor. It was so named because it was used to house his favorite three pieces of calligraphy, “Timely Clearing after Snowfall” by Wang Xizhi, “Mid-Autumn” by Wang Xianzhi, and “A Letter to Boyuan” by Wang Xun. The hall also houses a closely related zhadou along with a number of other important scholar's objects made during the period.Literature comparison:Lacquer zhadou with covers of this type appear to have been carved with various decorations, and have rims of various shapes. One carved with the sanduo and dated to the Qianlong period is illustrated by S. Kwan in Chinese Lacquer, Hong Kong, 2010, pp. 290-91, no. 103. Also illustrated, page 290, is a photograph from the Sanxitang in which a similar zhadou and cover are shown. Another related example carved with flower scroll, dated 18th century, in the Shenyang Palace Museum, is illustrated by R. L. Thorpe in Son of Heaven: Imperial Arts of China, Seattle, 1988, page 96, no. 28.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2012, lot 1710 Price: USD 10,000 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A carved red lacquer zhadou and cover, 18th century Expert remark: Compare the closely related form and manner of carving with similar lotus blossoms, petal lappets, and hexagonal floral diaper. Note the similar size (15.3 cm) and lack of a finial.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 16 October 2021, lot 454 Price: EUR 12,008 or approx. EUR 13,000 adjusted for inflation at the time of writingDescription: A carved cinnabar lacquer zhadou and cover, mid-Qing Expert remark: Compare the closely related form and manner of carving with similar ruyi-head rim, lotus blossoms, petal lappets, and hexagonal floral diaper. Note the similar size (15 cm) and gilt bronze finial.十八世紀剔紅纏枝蓮紋渣斗中國。渣斗寬邊折沿如意紋，蓋上剔紅纏枝蓮紋，渣斗外壁錦地紋。蓋上仿琥珀琉璃鈕。渣斗內黑漆。 來源：法國知名私人收藏。 品相：狀況良好，有磨損和年齡裂縫，邊緣有缺損，大面積刻痕，整體包漿細膩。 重量：174.0 克 尺寸：直徑 14.6 厘米 專家注釋：三希堂，古時是清高宗弘曆即乾隆帝的書房。 “三希”即“士希賢，賢希聖，聖希天”，士人希望成為賢人，賢人希望成為聖人，聖人希望成為知天之人，也就是鼓勵自己不懈追求，勤奮自勉。書房名為“三希堂”，乾隆十一年（公元1746年）間在此收藏了晉朝大書法家王羲之的《快雪時晴帖》、王獻之的《中秋帖》和王珣的《伯遠帖》。在乾隆帝的三希堂裏曾存放了一件相似的渣斗和其他文房用品。 文獻比較： 這種類型的帶蓋渣斗，有各種雕刻和裝飾，並有各種形狀的邊框。一件乾隆時期三多渣斗，見S. Kwan，《Chinese Lacquer》，香港，2010年，頁290-91，編號103；也見頁290，一張三希堂的照片裡有相似的渣斗。 另一件相近的十八世紀花纏枝渣斗，收藏於瀋陽博物館，見R. L. Thorpe，《Son of Heaven: Imperial Arts of China》，西雅圖，1988年，頁96，編號28。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1710 價格：USD 10,000（相當於今日EUR 12,500） 描述：清十八世紀剔紅花卉紋渣斗 專家評論：比較非常相近的外型和花卉雕刻、寬邊折沿如意紋、六邊形花紋。請注意相似的尺寸(15.3厘米) ，但蓋上沒有鈕。由於字數限制，完整中文敘述請至www.zacke.at查看。
'MONKEY REACHING FOR THE MOON'S REFLECTION', AN IMPORTANT CAMEO AGATE SNUFF BOTTLE, SUZHOU SCHOOLPublished: Journal of The International Chinese Snuff Bottle Society, June 1975, illustrated on the cover, discussed on page 6, dated 1780-1850Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 160-161, no. 67, dated 1750-1850China, 1750-1850. Superbly well hollowed, of globular shape and waisted neck, resting on a minuscule recessed foot. Finely carved utilizing the opaque white, beige, golden-brown and dark natural layers in the stone to create a three-dimensional scene of exceptional quality, to one side with a monkey in high relief, surrounded by lingzhi and pine cut from the darker areas, reaching for the moon's reflection below him. The reverse with a neatly incised poem in high relief. The translucent stone of a pale gray with inclusions of ochre, white, brown, and greenish-gray.Expert's note: In this bottle, the master carver draws on a common theme in Chan Buddhism: A monkey trying to capture the moon's reflection in water. This image derives from an early Buddhist story in which five hundred monkeys hold onto each other's tails and attempt to seize the reflection of a moon in a well. They fail when the branch from which they are hanging suddenly breaks. The monkeys in this story stand for unenlightened people who cannot distinguish between reality and illusion. On the other side the monkey, hou, is a homonym for the word marquis, the second highest grade among the nobility, and represents the aspiration for a corresponding rise in rank. For this reason, it may be assumed that the present bottle was intended both as a good luck charm and a cautionary tale.Inscription: Top right 'cai zhi xian cao ying chang chun' (everlasting spring is reflected in the celestial herb of immortality).Provenance: Janos Szekeres, Connecticut, USA. Sotheby's New York, 27 October 1986, lot 174 (dated 1800-1880). Christie's New York, 27 November 1991, lot 123. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '212' to the base. Janos Szekeres (1914-1998) was a scientist, inventor, and businessman. Born in Hungary, he later attended the University of Vienna where he graduated in chemistry. In 1941 he enlisted in the US Army Air Force and was sent to Asia, where he spent his free time visiting antique shops and became a collector of Chinese art. Szekeres served on the Board of Directors of the International Chinese Snuff Bottle Society and of the Chinese Art Committee of the Harvard University Art Museums. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first snuff bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with minor old wear, minuscule nibbling to rim, mouth, and exposed areas. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: White and russet hardstone stopperWeight: 44.7 g Dimensions: Height including stopper 55 mm. Diameter neck 16 mm and mouth 5 mm.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 28 November 2005, lot 1525Price: HKD 420,000 or approx. EUR 78,000 converted and adjusted for inflation at the time of writingDescription: A finely carved Suzhou agate snuff bottleExpert remark: Compare the closely related form, the singular appearance and utilization of the opaque white layer in the stone, the color of the agate, the fine incision work, as well as the closely related size (55 mm).Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 28 May 2010, lot 55Price: HKD 360,000 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: An agate 'Liu hai' snuff bottle, Zhiting School, Suzhou, 1730-1850Expert remark: Compare the closely related form, the singular appearance and utilization of the opaque white layer in the stone, the color of the agate, the fine incision work, as well as the related size (44.1 mm).蘇作瑪瑙巧雕 “猴子撈月”鼻烟壺中國，1750-1850年。掏膛極好，弦唇，束頸，豐胸，收腹，平底。淺灰色半透明石料，夾雜著赭色、白色、棕色和灰綠色。 出版：《中國鼻烟壺學會期刊》，1975年6月，封面圖片，文字見第6頁，斷代1780-1850年間。 Rachelle Holden，Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary，New York，1994年，頁160-161，編號67，斷代1750-1850 間。 專家注釋:《群猴撈月》原是一則流傳於古印度的寓言故事，後經佛教徒附加上宗教的涵義收入佛典，隨著佛典漢澤傳入中國。這則寓言提示人們看問題一定要看清它的本質，不要為表面現象所迷惑，草率行事而造成白費力氣的結果。 款識：採芝仙草映長春 來源：美國康乃狄克州Janos Szekeres收藏；1986年10月27日紐約蘇富比 lot 174 (斷代為1800-1880)；1991年11月27日紐約蘇富比 lot 123；紐約Rachelle R. Holden購於上述拍賣。底部可見Rachelle Holden 的收藏標籤號 “21”。由於字數限制，完整中文敘述請至www.zacke.at查看。
A LARGE AND IMPORTANT BUDDHIST VOTIVE PLAQUE, GILT COPPER REPOUSSE, EARLY TANG DYNASTYExpert's note: This seems to be by far the largest and most detailed of all early Tang dynasty gilt repousse votive plaques that have been on the market in a long time. The extent to which this magnificent work of art was cherished by Hisazo Nagatani becomes best perceptible when one looks at the Japanese storage box in which this jewel was kept, with its outer casing, neatly inscribed and made from light wood and elegant red lacquer, the inner storage box with its abundant padding, tightly fitted to the exact dimensions of the plaque itself.China, 618-907, circa 7th century. The thin plaque finely decorated with the central figure of Buddha seated in dhyanasana atop an elaborate lotus throne growing from neatly incised waves flanked by two lions, his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, a flaming halo behind him and the bodhi tree towering above, flanked by two acolytes and surrounded by groups of worshipping monks and attendant bodhisattvas, all below swirling clouds and two flying apsaras.Provenance: From the collection of Hisazo Nagatani, and thence by descent within the family. The lacquered and padded wood box with an old label, 'Gilt Bronze Slab'. Hisazo Nagatani (1905-1994) was a Japanese-American collector, scholar, and noted dealer of Asian art. Growing up near his birthplace Osaka, he developed a passion for Asian art early on and joined Yamanaka & Co. in 1922, at the age of only 17. He soon moved to Beijing, traveling throughout China, and handling bronzes, porcelains, jades, and other works of art, before relocating to the United States. He eventually became the manager of the Yamanaka gallery on the Magnificent Mile in Chicago until the firm had to cease operations in the United States. In 1944, he opened his own gallery, Nagatani & Co., which flourished for many decades, selling to such important collectors as Robert Mayer, Stephen Junkunc, Avery Brundage, and the Alsdorfs. Nagatani later donated many of his works of art and his important library to museums.Condition: Good and original condition, commensurate with age, displaying simply spectacularly. Extensive wear, tears and losses, minor dents, small nicks, light scratches. Fine, naturally grown patina with malachite encrustations to the front, the back with extensive malachite, cuprite, and azurite encrustations. The gilt remarkably well preserved overall.Weight: 303.2 gDimensions: Height 24.4 cm (the plaque), Size 7 x 38.4 x 29.2 cm (the padded storage box) and 11 x 40.6 x 31.3 cm (the lacquered box)With a Japanese wood storage box, the inner silk padding fitted specifically for the present plaque, and an old Japanese lacquered wood box. (3)Literature comparison: Similar images of the Buddha seated under a roofed structure flanked by numerous bodhisattvas can be found in paintings from the Dunhuang caves, dated to the early 8th century, as evidenced by the fragment in the British Museum, illustrated by A. Farrer and R. Whitfield, Caves of the Thousand Buddhas: Chinese Art from the Silk Route, New York, 1990, page 24, no. 1 and cover. Compare, also, the gilt-bronze plaque in the Hakutsuru Fine Art Museum, Kobe, dated to the Sui dynasty of significantly smaller size (15.4 cm. high) with similar imagery, but lacking the Bodhi tree, illustrated by S. Mizuno, Bronze and Stone Sculpture of China from the Yin to the T'ang Dynasty, Tokyo, 1960, fig. 123.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2004, lot 74 Price: USD 17,925 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A small gilt-metal Buddhist plaque, Tang dynasty Expert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers, as well as the similar tear line at the top. Note the much smaller size (9.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 October 2001, lot 507 Price: HKD 1,035,000 or approx. EUR 183,000 converted and adjusted for inflation at the time of writing Description: A very rare repousse gilt-copper Buddhist votive plaque, early Tang dynasty, 7th centuryExpert remark: Compare the closely related form and subject with a similar depiction of the Buddha seated under a canopy surrounded by bodhisattvas and worshippers. Note the smaller size (19.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2005, lot 237 Price: USD 102,000 or approx. EUR 150,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-copper Buddhist plaque, early Tang dynasty, 7th century Expert remark: Note the significantly smaller size (11.4 cm).唐初大型重要許願錘鍱鎏金銅牌中國，618-907年，約七世紀。薄薄的銅牌上精美錘鍱佛陀坐禪坐於蓮座上，蓮座從波浪中升起，兩側是兩隻獅子，右手上舉施無畏印，左手下垂施與願印，身著長袍，衣褶條紋流暢，身後有光背。菩提樹高高聳立，兩側有僧眾、侍從菩薩，兩飛天。由於字數限制，完整中文敘述請至www.zacke.at查看。
AN INSIDE-PAINTED ROCK CRYSTAL 'TROMPE L'OEIL' SNUFF BOTTLE, BY MA SHAOXUAN (1867-1939), DATED 1898Published:Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 314-315, no. 139 (erroneously stating the bottle was once in the Mary and George Bloch Collection)China. Of flattened form, with slightly concave top, finely painted on the interior on one main side with a collection of old, tattered and inscribed paper items, including envelopes, books and rubbings, the reverse painted with an excerpt from a Tang dynasty historical chronicle.Inscriptions: Signed 'Ma Shaoxuan', one seal, and dated to the third month of the Wuxu year (corresponding to 1898) Provenance: Robert Kleiner, London, 1992. Rachelle R. Holden Collection, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '244' to the base. Robert Kleiner (1948-2014) was an important expert on Chinese snuff bottles, beginning his long career at Sotheby's Chinese Art department in London. Along with Hugh Moss and Bob Hall, Robert Kleiner became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with only minor old wear. A few small scattered inclusions in the crystal.Stopper: Pink tourmaline stopper, black plateletWeight: 66.6 g Dimensions: Height including stopper 75 mm. Diameter neck 19 mm and mouth 6 mm.The calligraphy on the reverse side of this bottle is transcribed from the famous Tang stele by Ouyang Xun called Jiu Cheng Gong li quan ming (The Sweet Spring of Jiucheng Palace). Ouyang Xun (AD 557-641) was one of the four masters of the early Tang. The paintings on the other side include burnt and torn examples of the Jin Hui Dui and a fan-shaped painting by Yun Shouping, calligraphy from the book entitled Zuo Zhong Tang (a famous general), a torn book entitled Si Shu (essential reading for scholars), and an envelope inscribed You Shanghai Ji (posted from Shanghai).Ma Shaoxuan (1867-1939) was one of the most technically accomplished artists of the Beijing school of painting, which was first started by Zhou Leyuan and included other leading artists such as Ding Erzhong, Ye Zhongsan and Ziyizi. Ma's famous monochromatic portrait bottles of leading Qing officials and personalities were highly sought after among the influential minority of his day and continue to be among the most coveted of all inside-painted bottles. Executed only in black ink, with the use of vermillion solely for seals, each portrait is a technically impeccable, photographic likeness of the sitter. Ma's extraordinary renown led to his being commissioned in 1911 to paint two portraits of the young Xuantong Emperor.Literature comparison:Compare a closely related rock crystal snuff bottle by Ma Shaoxuan, illustrated by Nancy Berliner, The 'Eight Brokens'. Chinese Trompe-l'oeil Painting, Orientations, February 1992, p. 70.Auction result comparison:Type: Near identicalAuction: Christie's New York, 24 March 2011, lot 1578Price: USD 20,000 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: An inside-painted glass snuff bottle, signed Ma Shaoxuan, dated start of the hot season in the jihai year, corresponding to 1899Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2013, lot 1088Price: USD 40,000 or approx. EUR 48,000 converted and adjusted for inflation at the time of writingDescription: A rare inside-painted rock crystal snuff bottle, Ma Shaoxuan (1867-1939), Beijing, probably 1905 1898年馬少宣款水晶内畫鼻烟壺中國。壺直口，豐肩，長方扁圓腹，橢圓形圈足。壺體為無色透明水晶為材，施以內繪技法，一面內畫彩色字畫殘片 。另一面楷書節錄唐歐陽詢書《九成宮醴泉銘》：“維貞觀六年孟夏之月，皇帝避暑乎九成之宮，此則隨之仁壽宮也，冠山抗殿，絕壑為池。節錄”。書法字體挺拔剛健，工整俊秀。 出版：Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁314-315，編號139 (錯誤認爲瓶子曾經在瑪麗和喬治布洛赫收藏中) 。 款識：馬少宣作；鈴印「少宣」 來源：1992年紐約 R. Holden 收藏購於購於倫敦Robert Kleiner & Co. Ltd.藝廊。底部可見Rachelle Holden 收藏標籤，上有編號 '244'。英國私人收藏，購於倫敦Robert Kleiner & Co. Ltd.藝廊。隨附一份2000年11月20日開具的發票副本，確認了相關描述和斷代。由於字數限制，完整中文敘述請至www.zacke.at查看。
A FAMILLE ROSE 'BUTTERFLY AND FLOWERS' SAUCER DISH, YONGZHENG MARK AND PERIODOpinion: It has become exceedingly difficult to find 18th century 'boneless' wares in a good state of preservation, regardless of form or size. But being able to offer such a large dish, with such a finely painted Yongzheng mark, and from the period, with such vibrant colors, and in such pristine condition overall, just feels like a once-in-a-lifetime event!China, 1723-1735. Delicately potted, the shallow rounded sides rising from a straight and high foot to a gently everted rim. The interior finely painted in 'boneless style' with bright enamels to depict a butterfly fluttering amid leafy and flowering stems of chrysanthemum and peony with two still-closed buds. The recessed base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi within a double circle and of the period.Provenance: A Scottish private collection. Condition: Magnificent condition commensurate with age. Only minor old wear and tiny firing irregularities. The foot rim with two minor nicks. A Yongzheng-era porcelain dish in such well-preserved condition must be considered extremely rare.Weight: 256.9 gDimensions: Diameter 19.8 cmThe combination of flowers and butterflies to decorate Chinese porcelain can be seen from as early as the Ming dynasty's Yongle reign, when it was used on blue and white wares, such as the pear-shaped vase in the Sir Percival David collection, British Museum, London, illustrated by R. Scott, Elegant Form and Harmonious Decoration: Four Dynasties of Jingdezhen Porcelain, London, 1992, p. 38, no. 25. The combination of butterflies and flower sprays painted in overglaze enamels on porcelain, however, became particularly popular at the Imperial Court during the Yongzheng reign, following the development of the famille rose palette of enamel colors, see a famille rose bowl, Yongzheng mark and period, decorated with roundels enclosing butterflies and flowers, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, vol. 39, Hong Kong, 1999, pp. 78-9, no.68.This bowl is an early example of the new confidence among painters during the reign of Yongzheng to increasingly handle areas of multiple color without using formal borders for separation. This technique is known as 'boneless style', because there virtually is no inner skeleton to the design. In the present lot for example, the pink and white colors of the large peony flower are not separated by any lines. This technique was not widely used, most likely because it was too difficult to implement on a mass production scale. It represented a great challenge to the artists, where unskilled painters would require outlines to complete their sections of decoration, and if not handled well, would give the impression that the piece was unfinished.The fluttering butterfly depicted on this dish emphasizes the fragile, shimmering beauty of the wings. Designs of butterflies suggest duplication of an auspicious wish, since the character for butterfly is a homophone for 'repeat'. It also is a homophone with 'die' meaning 'Over seventy or eighty years of age', and thus expresses a wish for longevity. Butterflies also symbolize happiness in marriage and everlasting romantic love. The latter interpretation is due to a number of traditional Chinese stories in which butterflies play a significant part. Feng Menglong (1574-1646), for example, narrates the popular story of the 'butterfly lovers' Liang Shanbo and Zhu Yingtai, who are transformed into butterflies after death. The philosopher Zhuangzi's famous dream of being a butterfly also made them symbols of the boundary between dream and reality.Literature comparison: Compare a related famille rose saucer dish with butterflies and peonies, also with a Yongzheng mark and of the period, 29.7 cm diameter, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021.Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3061 Price: HKD 920,000 or approx. EUR 135,000 converted and adjusted for inflation at the time of writingDescription: A famille-rose saucer dish, mark and period of Yongzheng Expert remark: Compare the closely related manner of painting with similar peony, chrysanthemum, and two-color leaves. Note the slightly smaller size (18.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2013, lot 218 Price: USD 81,250 or approx. EUR 101,500 converted and adjusted for inflation at the time of writingDescription: A pair of famille-rose dishes, Yongzheng mark and period Expert remark: Compare the closely related subject and manner of painting with similar peony, chrysanthemum, two-color leaves, and butterfly. Note the smaller size (15.1 cm) and that the lot is a pair of dishes. 雍正款及年代粉彩花蝶戀紋小碟中國，1723-1735年。胎薄體輕，盤心以沒骨畫法繪牡丹、萱草高低錯落，彩蝶翩翩，畫面生動，風格清新雅緻，敷彩鮮豔。圈足内雙圈青花六字款“大清雍正年製”。 由於字數限制，完整中文敘述請至www.zacke.at查看。
A THANGKA OF A LAMA AND CHANGKYA RÖLPE DORJE (1717-1786), QIANLONG PERIODChina, 1736-1795. Gold and distemper on cloth. The elderly lama is seated with legs crossed on cushions resting on the platform of a throne with offerings placed before him, his right hand raised in karana mudra and holding a vajra, the left lowered in the same gesture and holding a ghanta. He is wearing loose-fitting monastic robes and a tall yellow pointed cap, characteristic of the Gelugpa sect. Above the lama is a smaller image of a high pontiff, probably Changkya Rölpe Dorje, holding a vase and lotus stems coming to full bloom at the shoulders and wearing a folded hat, which is also associated with portraits of the Panchen Lama. All within a rich verdant landscape with trees, mountains, and waterfalls amid thick swirling clouds.Provenance: Belgian trade.Condition: Extensive wear, soiling, staining, creasing, minor losses, small tears. The silk brocade mounting faded. Overall fair condition.Dimensions: Image size 39 x 27.5 cm, Size incl. frame 54 x 41 cmExpert's note: The small upper figure in the present thangka probably depicts Changkya Rölpe Dorje, the preceptor of the Qianlong Emperor, and is one of a small group of works that consistently portray the idiosyncratic physiognomy of this eminent figure, with a fine mustache, sparse goatee, and a particularly notable strabismus of the left eye.Changkya Rölpe Dorje (1717-1786) was born in Amdo and educated at the court of the Yongzheng Emperor where he formed a strong relationship with his fellow student Hongli, the future Qianlong Emperor. Promoted to state preceptor by the new emperor, he became one of the most important and influential figures at the Qianlong court, in both religious and diplomatic affairs. He was recognized as the incarnate Changkya Khutukhtu, the Mongolian lineage of Buddhist masters. He presided over complex Buddhist state rituals, revitalized ancient Buddhist traditions and promoted revised teaching systems and Buddhist iconographic programs. He compiled the renowned illustrated pantheon of Three Hundred and Sixty Icons, and was responsible for the translation of important Buddhist texts into Mongolian. Under the auspices of the emperor, Changkya Rölpe Dorje was responsible for the prodigious production of almost all Imperial Buddhist works of art seen in the eighteenth century, and is regarded as a visionary character that greatly contributed to the legacy of the Qianlong reign.Literature comparison: Compare a related portrait in the Staatliches Museum für Völkerkunde in Munich, published by Andreas Lommel, Kunst des Buddhismus, München, 1974, p. 161, pl. 87. Compare a related thangka of a Gelugpa lama, dated to the first half of the 19th century, in the Ashmolean Museum, University of Oxford, accession number EA1983.26.Auction result comparison: Type: Related Auction: Sotheby's Paris, 18 December 2012, lot 30 Price: EUR 228,750 or approx. EUR 275,500 adjusted for inflation at the time of writing Description: Tangka imperial de Changkya Hutuktu Rölpe Dorje (1717-1786) detrempe sur tissu Chine, dynastie Qing, epoque Qianlong (1736-1795) Expert remark: Compare the related depiction of Rolpai Dorje with similar fine mustache, sparse goatee, and faint strabismus of the left eye. Compare the related manner of painting with similar robes, pointed cap, lotus blossoms, and clouds. Note that this is an Imperial thangka of slightly larger size (48.4 x 33 cm). Auction result comparison: Type: Related Auction: Christie's London, 7 November 2014, lot 485 Price: GBP 22,500 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A thangka probably depicting the Changkya Hutuktu Rolpai Dorje (1717-1786), China, Qianlong period Expert remark: Compare the related manner of painting with similar robes, folded cap, lotus blossoms, and clouds. Note this thangka probably depicts a young Changkya Rölpe Dorje and is of slightly larger size (55.3 x 38.1 cm).乾隆喇嘛與章嘉·若必多吉唐卡中國，1736-1795年，布面膠彩描金。畫面中央一位年邁的喇嘛盤腿墊子上，面前有供品，他的右手舉起施羯剌拏手印並拿著金剛杵，左手拿著一個金剛鈴。 他穿著寬鬆的僧袍，頭戴黃色尖頂高帽，格魯派的特色。喇嘛上方是一個較小的高僧像，可能是章嘉·若必多吉，手持花瓶，肩部盛開的蓮花，頭戴折疊帽，這也與班禪喇嘛的肖像有關。四周山水景觀。 來源：比利時古玩交易。 品相：大面積磨損、污漬、皺褶、小缺損、小撕裂。絲錦鑲嵌褪色。總體狀況良好。 尺寸：畫面39 x 27.5 厘米，總54 x 41 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
A LARGE AND EXCEPTIONAL GRAY SCHIST STATUE OF A DANCING SHIVA, EARLY MALLA DYNASTIESNepal, c. 12th-15th century. Finely carved in openwork, depicting the deity dancing on a pedestal, above Nandi and two figures, flanked by two attendants, his upper left holding a naga, the lower left with a bowl, the right hands with a dagger and hourglass drum, adorned in elaborate jewelry, including a beaded pendant, armlet and a sash made of skulls. The face with downcast eyes, a mustache and curled beard framing the pursed lips, the head surmounted by a conical headdress centered by a skull, backed by a flaming mandorla, and flanked by two dancing figures.Provenance: A Nepalese private collection, by repute acquired in Rajasthan, India circa 1950. A noted Spanish private collection, acquired in 1969 from the above in Katmandu, Nepal, and thence by descent in the same family to the last owner. Condition: Excellent condition, commensurate with age. Extensive wear, encrustations and signs of weathering and erosion, all exactly as expected. Losses, nicks, scratches, structural cracks, and minor old repairs to nose and fingers. Scientific Analysis Report: An Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 22-01044, dated 5 May 2022, written and signed by Dr. R. Neunteufel, analyzing the surface alterations after examination by scanning electron microscopy (SEM) and element analysis with attached energy-dispersed X-ray micro element analyzer (EDX), concludes that the observed surface alterations are not in contradiction with the dating above. A copy of the report accompanies this lot. Dimensions: Size 95 x 50.5 cmLiterature comparison:Compare a related black schist figure from Nepal, Uma Mahesvara, Malla dynasty, dated to the 11th century, in the collection of the Princeton University Art Museum, accession number 2002.393.馬拉王朝初期大型灰色片岩雕舞王濕婆尼泊爾，約十二至十五世紀。神尊在台座上翩翩起舞，正上方為護法南迪及左右侍者，左上侍者持蛇，左下手持碗，右邊侍者手持匕首和鼓。濕婆佩戴精美珠寶以及頭骨腰帶。雙眼微垂，鬍鬚捲曲，嘴唇微抿，頭上戴著一個以骷髏為中心的圓錐形帽飾，背後是火焰光背，兩側是兩個跳舞的人物。 來源：尼泊爾私人收藏，據説1950年前後購於印度拉賈斯坦邦；一個知名西班牙私人收藏在尼泊爾加德滿都購於上述收藏，在同一家族保存至最後一任藏家。 品相：狀況極佳，與年齡相稱。大面積磨損、結殼，以及風化和侵蝕的跡象。鼻子和手指有缺損、刻痕、劃痕、結構裂縫和輕微的修補。 科學檢測報告：Institute of Scientific Authenticity Testing研究所出具的專家檢測報告 AA 22-01044，2022年5月5日，由 Dr. R. Neunteufel博士簽署，通過電子顯微鏡（SEM）掃描和附加的能量分散X射線微量元素分析儀（EDX）對金屬進行分析後，得出結論，其表面變化與上述測年並不矛盾。隨附報告複印件。 尺寸：95 x 50.5 厘米 文獻比較： 比較一件相近十一世紀馬拉王朝尼泊爾黑色片岩雕濕婆像，收藏於普林斯頓大學藝術博物館，編號2002.393。
A LONGQUAN CELADON BARBED-RIM DISH, SONG TO YUAN DYNASTYChina, 960-1368. The concave shallow sides supported on a short tapered foot and rising to a wide everted barbed rim, covered in a finely crackled soft sea-green glaze, thinning toward the edges and darkening in the recesses, skillfully utilized to heighten the barbed rim with a neatly carved line, the unglazed foot rim burnt to orange.Provenance: From a German private collection. Condition: Excellent condition with minor old wear, traces of use and firing irregularities such as scattered brown spots, pitting and glaze recesses. The glaze with intentional crackling.Weight: 277.5 g Dimensions: Diameter 17.3 cm Literature comparison: A Longquan celadon dish of similar shape is in the Percival David Foundation and shown by M. Medley in the Illustrated Catalogue of Celadon Wares, 1977, pl. V, 47. Another Longquan dish of similar shape and glaze, with the rim divided into petal lobes, is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, Volume Three (II), London, 2006, p. 581, no. 1570. Auction result comparison: Type: Closely related Auction: Christie's New York, 19 September 2014, lot 844 Price: USD 56,250 or approx. EUR 66,000 converted and adjusted for inflation at the time of writingDescription: A rare Longquan celadon guan-type dish with foliate rimExpert remark: The pre-auction estimate for this lot was USD 10-15.000. Compare the closely related form with its barbed rim and similar size (16 cm). Note the guan-type glaze.宋至元龍泉青釉菱口盤中國，960-1368年。胎體厚重，菱花口，折沿直壁，通體滿施青釉，光素無紋，釉面浮光瀲灩，釉色碧綠似玉，圈足內留有澀圈墊燒火石紅痕。器型沉穩大氣，線條流暢。 來源：德國私人收藏。 品相：品相極佳，有輕微磨損、使用痕跡和燒製不規則現象，例如散落的褐色斑點、麻點和釉面凹陷。釉料局部開片。 重量：277.5 克 尺寸：直徑17.3 厘米 文獻比較： 一件相近形制的龍泉盤，收藏於Percival David Foundation，刊登於M. Medley，《Catalogue of Celadon Wares》，1977年，第五版，頁47。另一件形制和釉色相近的龍泉盤，花瓣狀盤沿，見康蕊君，《玫茵堂中國陶瓷》，卷三(II)，倫敦，2006年，頁581，編號1570。拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年9月19日，lot 844 價格：USD 56,250（相當於今日EUR 66,000） 描述：罕見南宋仿官窯龍泉菱口盤 專家評論：預展時此盤估價約10-15.000 USD。比較非常相近的外型，以及花瓣盤沿和相似的尺寸 (16 厘米)。請注意仿官窯的釉面。
A RARE RECTANGULAR HUANGHUALI KANG TABLE, 18TH CENTURYChina. The well-figured single board floating panel top of typical miter, mortise and tenon construction, supported on the underside with two transverse stretchers, over a narrow waist and raised-edge apron neatly carved in shallow relief with ruyi heads to each side and joining the square-section legs ending in inverted L-shaped feet, each pair of legs conjoined on the shorter sides with a gently curved rectangular stretcher.Provenance: From the collection of Dr. Ruth and Friedrich Boss, acquired in China between 1911 and 1938, and thence by descent in the same family. Dr. Ruth Boss (1888-1958) was the personal medical doctor of the Xuantong Empress (1906-1946), Consort of Puyi, the Last Emperor of China.Condition: Excellent condition with fine age cracks, superb naturally grown patina, minor splits and gaps as expected, old wear and traces of use, some shallow surface scratches.Dimensions: Length 106 cm, Height 34 cm, Depth 38 cmExpert's note: The present table is notable for the inverted L-shaped feet, a feature that is rare in kang tables.Literature comparison: Compare a related kang table, also raised on inverted L-shaped feet, but with a pierced apron and stretchers carved as archaistic scrolls, illustrated in R. H. Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties, Hong Kong, 1979, p. 151, pl. 46 and 46a.Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 1008 Price: USD 18,900 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A rare rectangular huanghuali kang table, 18th century Expert remark: Note the closely related form with similar inverted L-shaped feet. Note the size (157.8 cm)十八世紀黃花梨炕桌 中國。桌面單板，傳統的榫眼和榫結構，束腰下牙條，沿邊起陽線，牙條中央淺浮雕如意紋，如意紋下向兩側迂迴成卷葉狀。牙條四角直接往下成方腿，方腿向内迂迴形成彎曲的L形足。 來源： Dr. Ruth 與 Friedrich Boss私人收藏，1911年至1938年間購於中國，自此保留在同一家族至今。Dr. Ruth Boss (1888-1958) 曾是末代皇帝溥儀之后婉容 (1906-1946) 的私人醫生。 品相：狀況良好，具有良好的自然年齡裂縫，極好的自然形成的包漿，預期中的細小 裂痕和縫隙，磨損和使用痕跡，表面些微淺劃痕。 尺寸：長106 厘米，高34 厘米，寬 38 厘米 專家注釋：這樣L形足的炕桌是很罕見的。 文獻比較： 比較一件相近的炕桌，也有相同的向内迂迴形成彎曲的L形足，但有一個穿孔的牙條和雕刻卷軸紋的底座，見R. H. Ellsworth，《Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties》，香港，1979年，頁151，編號46和46a。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2022年3月25日，lot 1008 價格：USD 18,900（相當於今日EUR 18,500） 描述：清十八世紀黃花梨長方形炕桌 專家評論：請注意非常相近的外型和向内迂迴形成彎曲的L形足。請注意尺寸(157.8 厘米)。
A CAMEO AGATE SNUFF BOTTLE, OFFICIAL SCHOOL, 1740-1840Published:Hugh Moss, Chinese Snuff Bottles of the Silica or Quartz Group, London, 1971, p. 58, no. 149Rachelle Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 148-149, no. 61China. Well hollowed, of flattened form, rising from an ovoid foot to a straight cylindrical neck, the pale gray stone cleverly carved utilizing the brown and light gray markings to depict a sage and his attendant under a pine tree with a ruyi shaped cloud floating at the top left, the reverse with a horse tethered to a post and a sun drifting amid clouds, incised with a ri character (for 'sun'). The rockwork extending from above the base around the bottle. The work finely detailed and incised. The translucent stone of a pale gray color with brownish black and gray inclusions. Provenance: Squadron Leader S. B. Johnston. Hugh M. Moss, Hong Kong, acquired from the above. Gerd Lester, New York, acquired from the above. Rachelle R. Holden, New York, acquired from the above in 1981. A collector's label from Rachelle Holden with inventory number '48' to the base. S. B. Johnston was an English pilot for the Royal Air Force, who was promoted from Flight Lieutenant to Squadron Leader in 1968. Gerd Lester was a passionate collector of snuff bottles who wrote many articles for Arts of Asia. Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Rachelle Holden (1934-2020) was a famous collector of snuff bottles. She purchased her first bottle in 1974, finding the art form fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Excellent condition with minor old wear and possibly microscopic nibbles.Stopper: CoralWeight: 57.2 g Dimensions: Height including stopper 67 mm. Diameter neck 16 mm and mouth 6 mm.A tethered horse forms the rebus 'Can catch the wind', indicating that this would be an encouraging and complimentary gift for someone of still undiscovered talent.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1560Price: USD 25,000 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A finely carved cameo agate snuff bottle, official school, 1740-1840Expert remark: Compare the closely related form and utilization of the dark markings, the color of the agate and the fine incision work, as well as the size (60 mm). 1740-1840年瑪瑙巧雕人物鼻烟壺中國。掏糖良好，寬肩微削，橢圓形圈足，圓柱形短頸，平唇。褐色半透明石頭，利用焦糖色斑紋，巧妙雕刻，一面描繪松樹下的聖賢和他的侍從，左上角飄浮如意祥雲；反面是拴在柱子上的馬和祥雲，雲中刻有“日”字。雕刻細緻入微，淺灰色半透明瑪瑙，帶有棕黑色和灰色內含物。出版：Hugh Moss，《Chinese Snuff Bottles of the Silica or Quartz Group》，倫敦，1971年，頁58，編號149。 Rachelle Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁148-149，編號61。 來源：S. B. Johnston少校舊藏；香港Hugh M. Moss購於上述收藏；紐約Gerd Lester購於上述收藏；紐約Rachelle R. Holden1981年購於上述收藏。底部可見Rachelle Holden收藏編號“48”。S. B. Johnston是英國皇家空軍的一名飛行員，1968 年從飛行中尉晉升為少校。Gerd Lester 是一位熱情的鼻烟壺收藏家，為亞洲藝術雜誌撰寫了許多文章。Hugh Moss (出生於1943) 是一位中國藝術方面的作家、經銷商、藝術家、收藏家，也是中國鼻烟壺界的權威。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：極好的品相，有輕微磨損，有細微磕損。 壺蓋：珊瑚 重量：57.2 克 尺寸：高 （含蓋）67 毫米，頸部直徑16 毫米及壺口直徑6 毫米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1560 價格：USD 25,000（相當於今日EUR 32,000） 描述：1740-1840年造辦處作瑪瑙巧雕鼻烟壺 專家評論：比較非常相近的外型和利用深色斑紋雕刻，瑪瑙的顏色和巧雕，以及尺寸(60 毫米)。
* WILLIAM NORMAN GAUNT (BRITISH 1918 - 2001),BOATS ON THE CLYDEwatercolour on paper, signedimage size 34cm x 47cm, overall size 67cm x 82cm Mounted, framed and under glass.Note: William Norman Gaunt was born in Leeds In 1918 and studied at Lancaster School of Art under Walter Bayes RWS. He gained his National Diploma in 1949 and was made a Fellow of the International Institute of Arts and Letters in 1959. His work is well renowned for his characterful depictions of figures, coastal scenes and equestrian portraits. Gaunt worked in oils but was also a gifted watercolourist. It's not known how often he visited Scotland but he is known to have painted in Kirkcudbright, Sutherland, Loch Earn, in Glasgow and around the Clyde. His Scottish paintings were sold by T&R Annan & Sons (Glasgow). Norman Gaunt's Scottish paintings rarely appear at auction. In our opinion "Boats on The Clyde" is a fine example of Gaunt's watercolour work and although undated we believe it was probably painted in the late 1940's or early 1950's.
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