A SMALL JUNYAO FOLIATE VASE AND SAGGAR FRAGMENT, SONG TO YUAN DYNASTYChina, 12th-14th century. The globular body surmounted by a narrow neck with a delicately pronounced foliate rim, covered overall with a finely crackled and vitreous sky-blue Jun glaze, thinning slightly along the edge of the rim. During the firing process, significant quantities of the glaze applied to the vase have flooded the saggar, inherently tying the two together for eternity.Provenance: From a 91-year-old private collector in Lake Forest, Illinois, USA, who has been collecting Song wares for over 50 years. Condition: The saggar has suffered considerable losses over time. The vase cannot be removed, thus its base cannot be inspected. Otherwise in very good condition with expected old wear and minimal firing irregularities. The glaze with inherent crackling overall.Weight: 299.5 g Dimensions: Height 9.5 cm Celebrated for its pale blue glaze, Jun ware was produced at many kilns in northern China, but particularly at ones in central Henan Province. The kilns are believed to have been active from the tenth to the fourteenth or fifteenth century. Thick, opalescent, and translucent, Jun glazes are a variant of celadon glaze; their robin's-egg blue color results from the addition of ash to the glaze slurry before firing. Jun ware lacks decoration because its thick, semi-opaque glaze would obscure any such embellishment. During the twelfth and thirteenth centuries, however, Jun potters sometimes shaped their vessels with molds, the pleasing definition of the shape constituting a form of abstract decoration, as witnessed by this vase's foliate rim.Auction result comparison: Type: Related Auction: Christie's New York, 18 September 2015, lot 2320 Price: USD 112,500 or approx. EUR 135,000 converted and adjusted for inflation at the time of writing Description: A rare Junyao foliate-rimmed vase, Song-Jin dynasty, 12th-13th century Expert remark: Compare the related glaze (albeit with a purple splash) and foliate rim. Note the different form and the size (19 cm).Auction result comparison: Type: Related Auction: Christie's New York, 16 March 2015, lot 3252 Price: USD 149,000 or approx. EUR 179,000 converted and adjusted for inflation at the time of writing Description: A large saggar containing a Junyao petal-loved bowl, Yuan dynasty Expert remark: Compare the related saggar which has been affixed to the bowl during firing. Note the different form and the size (26.5 cm). 宋至元鈞窯卷蓮口小瓶和匣子殘片中國，十二至十四世紀。卷蓮口，縮頸，圓瓶身，釉質細密，釉質呈玻璃質，天藍色鈞釉，沿周緣邊緣漸薄。在燒製過程中，大量釉料下流，粘在匣缽上，將兩者永久地結合在一起。 來源：來自美國伊利諾伊州森林湖一位九十一歲的私人收藏家，他收藏宋器已有五十多年的歷史。 品相：匣子因為年代關係而缺損。匣子和花瓶無法分開，因此無法檢查其底座。其他方面狀況良好，具有磨損和輕微燒製不規則。釉面整體帶有裂紋。 重量：299.5 克 尺寸：高 9.5 厘米拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年9月18日，lot 2320 價格：USD 112,500（相當於今日EUR 135,000） 描述：宋／金鈞窯天藍釉紫斑花口瓶 專家評論：比較相近的釉面(但有紫斑) 和花口。請注意不同的外形和尺寸(19厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月16日，lot 3252 價格：USD 149,000（相當於今日EUR 179,000） 描述：元鈞窯天藍釉紫斑菊瓣盌連匣缽 專家評論：比較相近燒製時固定在碗上的匣缽。請注意不同的外形和尺寸(26.5厘米)。
We found 209761 price guide item(s) matching your search
There are 209761 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
209761 item(s)/page
A SMALL LONGQUAN CELADON-GLAZED PHOENIX-TAIL VASE, YENYEN, YUAN DYNASTYChina, 1279-1368. The ceramic vessel is elegantly potted, the baluster body surmounted by a tall waisted neck with trumpet mouth, the neck with two raised bowstrings, the shoulder with a single bowstring. Covered overall with a thick olive-green glaze pooling around the body, bubble suffused, darkened pooling around recesses, the foot left unglazed revealing the dark gray body partially burnt to orange in the firing.Provenance: From a private collection in New Jersey, USA.Condition: Very good condition with minor wear and firing irregularities, including glaze recesses and pitting. Few microscopic chips to foot rim, likely inherent to the manufacture.Weight: 381 g Dimensions: Height 17.5 cm The present lot is rare due to its small size and exquisite form. Although the Longquan celadon glaze was perfected during the Southern Song period (1127-1279), it was during the Yuan dynasty that production increased, with some 300 kilns active in the Longquan area from the Dayao, Jincun and Xikou kiln complexes in the west to those on the Ou and Songxi rivers. These rivers facilitated the transportation and distribution of the ceramics to other parts of China as well as to the ports of Quanzhou and Wenzhou, for shipment abroad. During this period, new shapes and styles of decoration were introduced, as well as vessels of different sizes.Auction result comparison: Type: Related Auction: Sotheby's New York, 15 September 2018, lot 1384 Price: USD 11,250 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A small 'Longquan' celadon-glazed 'peony' vase, Yuan dynasty Expert remark: Compare the related form, glaze, and size (18.5 cm). Note the floral decoration. 元代龍泉青釉鳳尾尊中國，1279-1368年。尊口喇叭形，束長頸，溜肩，深孤腹，腹以下漸收斂，近足處外撇，圈足露胎。通體施青釉。胎體厚重，釉層勻厚色澤青翠。 來源：美國新澤西私人收藏。 品相：狀況極好，有輕微磨損和燒製不規則，包括釉面凹陷和點蝕。足部輕微小開片，可能是製造過程中產生的。 重量：381 克 尺寸：高17.5 厘米 本拍品體積小，造型精美，實屬難得。雖然龍泉青釉技術在南宋時期（1127-1279）逐漸完善，在元代產量有所增加，從西部的大窯、金村和溪口窯群到龍泉地區，大約有 300 座窯爐活躍在甌江和松溪河畔。這些河流促進了陶瓷的運輸和配送到中國其他地區以及泉州和溫州港口，以運往國外。在此期間，引入了新的裝飾和風格，以及不同大小的器皿。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2018年9月15日，lot 1384 價格：USD 11,250（相當於今日EUR 12,500） 描述：元龍泉窰青釉纏枝牡丹紋瓶 專家評論：比較相近的外形、釉面和尺寸(18.5厘米)。請注意花紋裝飾。
A LARGE CARVED LONGQUAN CELADON JARDINIERE, EARLY MING DYNASTYChina, 14th century. Heavily potted, the rounded sides stand above a double-bowstringed band and unglazed base. The body is surmounted by a short neck rising to a flared barbed rim and is carved with four floral medallions separated by delicate ruyi decorations below a raised petal rim and a band of stylized clouds. Covered overall in a rich olive-green glaze darkening in the recesses.Provenance: English trade. Condition: Very good condition with minor wear and firing irregularities, including pitting and glaze recesses. Occasional light scratches, the rim with a minor glaze flake.Weight: 7.5 kg Dimensions: Height 26 cm, Diameter 32.2 cm Longquan wares first appeared in the Song Dynasty and were produced in the southwestern part of Zhejiang province. Their glossy, rich, greenish glazes garnered much attention, especially towards the Ming Dynasty. It is recorded that in the Taizu year 1393, the first Emperor of the Ming Dynasty specially commissioned for some vessels to be produced at both the Longquan and Jingdezhen kilns, which signifies the parallel importance of these two kilns to the Imperial court. It is also stated that during his reign, eunuchs were sent periodically to these kilns to oversee and supervise the manufacture of ceramics.Auction result comparison: Type: Closely related Auction: Christie's New York, 14 September 2017, lot 704 Price: USD 22,500 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing Description: A rare Longquan celadon carved Jardiniere, early Ming dynasty, 14th century Expert remark: Compare the related form, with a similar everted and barbed rim, and carved decoration, with a similar petal band and peony blossoms, albeit arguably less pronounced. Note also the similar size (30.5 cm). 明初龍泉青釉暗刻花卉紋花缸中國，十四世紀。菱花口，折沿，直頸，豐胸，足部雙弦紋。花缸頸部一周倒芭蕉紋，缸身四個開光，暗刻纏枝花卉紋。通體整體覆蓋著濃郁的橄欖色青釉，凹槽處變暗。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和燒製不規則現象，包括凹坑和釉面凹陷。偶爾有輕微劃痕，邊緣有輕微釉片剝落。 重量：7.5 公斤 尺寸：高 26 厘米, 直徑32.2 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年9月14日，lot 704 價格：USD 22,500（相當於今日EUR 26,000） 描述：十四世紀明代初期龍泉青釉盆 專家評論：比較相近的外形，外翻和不規則盆緣，有相似的浮雕裝飾，雖然不太明顯。請注意相似的尺寸(30.5厘米)。
AN EXCEEDINGLY RARE IMPERIAL ENAMELED COPPER HANDWARMER, QIANLONG MARK AND PERIODChina, (1736-1795). Each side of the vessel is painted intricately with long tailed birds and butterflies in ornate gardens with rockwork, shrubs and flowers, within pink kuilong-bordered panels surrounded by peony, prunus, and lotus blossoms, all reserved on a pale lilac ground, the neck with a key-fret band.The pierced copper-repousse lid is finely enameled and gilt with a central shou character in openwork among colorful clouds, the sides with shaped panels enclosing floral splays reserved against a brocade diapered ground. To the short sides, movable and hinged gilt-bronze overhanging handles.The interior with rich turquoise enamel. The recessed base with a six-character seal mark in blue enamel da Qing Qianlong nianzhi and of the period.Provenance: From a private estate in Belgium, formerly in the collection of Paul Doumer. The base inscribed with an old collector's number '196.' Joseph Athanase Doumer (1857-1932), commonly known as Paul Doumer, was the President of France from 13 June 1931 until his assassination on 7 May 1932. He was Governor-General of French Indochina from 1897 to 1902, and successfully lobbied the French government to approve construction of the Indochina-Yunnan railway in 1898. He served as Minister of Finance of France three times and as President of the French Senate from 1927 until the 1931 presidential election, which he won.Condition: Absolutely original and unrestored condition. Only minor old wear and expected manufacturing irregularities. Minor losses to enamels, mostly on the cover. Slight warping, light scratches, and a few fine and hardly visible hairlines. The condition is very well visible on the images, with no hidden damages whatsoever. The bronze fittings with a good natural patina. Overall exceptionally well preserved, especially given its age, fragility and rarity.Weight: 526 gDimensions: Length 14 cm Expert's note: Without question a masterpiece of Chinese 18th century enameling, this handwarmer exemplifies the softness and elegance achieved on the finest of enameled copper wares produced at the Palace workshops during the first half of the Qianlong reign. The delicacy in the use of the enamels is a key feature of the Palace workshops, allowing for considerable subtlety of expression. The brilliant, more opaque enamels used for the decorative borders in contrast to the softer main subject, demonstrate the range of possibilities available to Court artists. Of the two main Palace painted enamel arts (on glass and on copper), those on copper are more frequent. During the Qianlong reign enameled copper wares, including snuff bottles, ran into the thousands, whereas enameled glass wares were produced only in the low hundreds. Handwarmers, however, were never produced in glass, and therefore must be considered as exceedingly rare, although made from copper.A rough estimate of the total number of enameled copper handwarmers produced during the Qianlong reign comes to less than one hundred, of which only few remain in private hands to this day. This is mainly due to the greater difficulty of producing them successfully, the need for multiple firings to correctly mature different colors and layers of enamel, and the much higher failure rate during production, due to the complex firing and re-firing process necessary to create the enameled openwork copper-repousse cover. It was probably for this reason that the Imperial records also show that the Emperor only rarely distributed enameled openwork copper wares as gifts, preferring to keep most of them for Imperial use, while gifts of standard enameled metal wares were apparently quite frequent.Literature comparison: Compare a closely related enamel handwarmer, also with a Qianlong mark and of the period, 14 cm long, in the Metropolitan Museum of Art, accession number 24.80.473a, b. Compare a related painted enamel handwarmer, dated to the Qianlong period, in the Palace Museum, Beijing, accession number Gu 00116721. Compare a related painted enamel handwarmer, dated to the mid-Qing dynasty, in the Palace Museum, Beijing, accession number Gu 00116718. Compare a related painted enamel handwarmer, dated to the Qianlong period, in the Palace Museum, Taipei, image number K1E000234N000000000PAB.Auction result comparison: Type: Related Auction: Christie's, New York, 30 March 2005, lot 158 Price: USD 36,000 or approx. EUR 51,500 adjusted for inflation at the time of writing Description: A rare painted enamel quadrilobed handwarmer, Qianlong six-character seal mark in ruby-red enamel within a square and of the period (1736-1795)Expert remark: Compare the related enameled decoration, form, and Qianlong reign mark. Note the size (16.2 cm)Auction result comparison: Type: Related Auction: Bonhams New York, 20 November 2006, lot 6241 Price: USD 35,850 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: A fine canton enamel bronze hand warmer, Qianlong mark and period Expert remark: Compare the related enameled decoration, form, and Qianlong reign mark. Note the size (16.5 cm) 乾隆款及年代銅胎琺瑯開光花卉手爐中國，1736-1795年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A CARVED AND CELADON-GLAZED CONG-FORM VASE, KANGXI PERIODChina, 1662-1722. Of square section, well modeled with rectangular sides supported on a short spreading foot and rising to a tall waisted neck. The exterior finely decorated with a band of scrolling vines below the neck and formalized foliate designs above the foot. Covered overall in a rich, vitreous celadon glaze darkening in the recesses and thinning at the edges, save for the foot, which is partly burnt to orange in the firing.Provenance: North England trade. Condition: Expected old wear, traces of use and shallow surface scratches. Some firing irregularities. The base drilled with associated nibbling. Overall displaying very well.Weight: 1,965.8 g Dimensions: Height 28.4 cm Expert's note: The present cong vase can be firmly dated to the Kangxi period due to its distinctive tall neck, a rare feature in vases of this type which does not appear in later examples, where the neck is invariably shorter. Compare a related turquoise-glazed cong-form vase, with a similarly tall waisted neck, also dated to the Kangxi period, at Christie's New York, 29 March 2017, lot 110. 康熙青釉琮形瓶中國，1662-1722年。瓶圓口，短頸，方體，圈足。肩部有一條卷葉紋，底足上方有暗刻卷葉花卉紋。通體施青釉，凹陷處顏色變深，邊緣變薄，足部在燒製過程中部分燒成橙色。 來源：英國北部古玩交易。 品相：磨損、使用痕跡和表面淺劃痕。製造不規則，底座有鑽孔。 重量：1,965.8 克 尺寸：高 28.4 厘米
A FAMILLE VERTE 'ELEGANT BEAUTIES' DISH, KANGXI MARK AND PERIODChina, 1662-1722. The shallow rounded sides supported on a short tapered foot. Finely painted in enamels of green, red, blue, pale yellow, and black tones as well as iron-red showing a court scene with dancers swaying to the music played by modestly dressed musicians on the side, as a dignitary looks on, flanked by his two attendants. The exterior with three evenly spaced floral sprays. The recessed base with a six-character mark da Qing Kangxi nianzhi and of the period.Provenance: Danish trade. Acquired from a local estate.Condition: Good condition with some old wear and firing irregularities, including small glaze recesses, pitting, and dark spots, as well as expected fritting to rim and foot. Two short hairlines extending from the rim.Weight: 850 gDimensions: Diameter 27.5 cm Auction result comparison: Type: Related Auction: Sotheby's New York, 19 March 2019, lot 350 Price: USD 32,500 or approx. EUR 36,500 converted and adjusted for inflation at the time of writing Description: A famille-verte 'elegant beauty' dish, Kangxi mark and period Expert remark: Compare the closely related form and decoration, as well as the related subject. Note the much smaller size (15.2 cm).Auction result comparison: Type: Related Auction: Christies New York, 17 Sept 2010, lot 1376 Price: USD 80,500 or approx. EUR 101,500 converted and adjusted for inflation at the time of writing Description: A Rare Famille Verte 'Birthday' Dish, Kangxi Six-Character Mark and of the Period (1662-1722) Expert remark: Compare the related form, mark and subject. Note the similar size (28.6 cm) and the generally more elaborated painting. 康熙款及年代硬彩“美人圖"盤中國，1662-1722年。淺盤敞口，弧腹，淺圈足。以綠、紅、藍、淡黃與黑色等多色琺瑯彩繪製宮廷美人輕歌曼舞圖，旁邊有一位官員在觀看，一側兩個侍從。外壁有三個均勻分佈的纏枝花卉紋。圈足內有“大清康熙年製"六字款。 來源：丹麥古玩交易，購於當地。 品相：狀況良好，有磨損和燒製缺陷，包括釉面凹陷和黑點，以及邊緣和足部磨損。兩條小冲線。重量：850 克 尺寸：直徑27.5 釐米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年3月19日，lot 350 價格：USD 32,500（相當於今日EUR 36,500） 描述：清康熙五彩美人圖盤 《大清康熙年製》款 專家評論：比較非常相近的外形和裝飾，以及相近的主題。請注意尺寸較小 (15.2 釐米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2010年9月17日，lot 1376 價格：USD 80,500（相當於今日EUR 101,500） 描述：康熙款及年代慶生硬彩盤 專家評論：比較相近的外形、款識和主題。請注意相似的尺寸 (28.6 釐米)，以及更精緻的描繪。
A RARE FAMILLE ROSE RUBY-PINK ENAMELED PETAL-LOBED BOWL, YONGZHENG PERIODChina, 1723-1735. The deep rounded sides supported on a short foot with a row of petals rising to a lobed rim. The interior is finely enameled with a single peony spray. A soft ruby pink glaze covers the exterior stopping neatly at the foot. The base is covered in a transparent glaze.Provenance: From an old private collection in the United Kingdom. Condition: Excellent condition with minor wear and minuscule firing irregularities.Weight: 133.3 g Dimensions: Diameter 10.9 cm Most scholars believe that pink enamel seems first to have appeared in the Chinese palette at the end of the Kangxi reign, in about AD 1720. Microscopic examination of this pink enamel has shown red particles immersed in a clear lead-potassium-silicate glass. The rose color was due to minute colloidal particles of gold. The Chinese rose enamel appears different from the European equivalent - the so-called 'Purple of Cassius', developed by Andreas Cassius of Leyden in c. 1670, for that it does not appear to have been made by the same method. The Chinese enamel has a much lower tin content and the scientists concluded that it was made not by precipitation but by making up a ruby glass and grinding this as a pigment to be dispersed in the clear enamel. The advantage of the Chinese method was that it used less gold, and it was also easier to achieve an even coloration within the enamel.Literature comparison:Compare a related ruby-pink glazed bowl with a foliate rim, 9.2 cm in diameter, dated late 18th/19th century, in the Chicago Museum of Art, accession number 1925.1007.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2013, lot 2108 Price: HKD 930,000 or approx. EUR 125,000 converted and adjusted for inflation at the time of writing Description: A fine and rare pair of famille rose pink-enameled bowls, Yongzheng period Expert remark: Compare the closely related famille rose decoration and peony motif. Note the slightly paler rose-pink glaze, and plain rounded sides. Note the related size (10.5 cm) and that the lot comprises a pair. Auction result comparison: Type: Related Auction: Christie's New York, 15 September 2016, lot 964 Price: USD 13,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: An unusual ruby-pink-enameled deep bowl, 18th century Expert remark: Compare the related ruby-pink glaze, albeit applied also to the interior. Note the different form and the height (10.4 cm).Auction result comparison: Type: Related Auction: Christie's New York, 15 September 2016, lot 948 Price: USD 13,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A famille rose ruby-back bowl, Yongzheng period Expert remark: Compare the related ruby glaze, also applied only to the exterior, the interior however decorated with different motifs. Note the different form and the size (14.8 cm). 雍正時期胭脂紅花口碗中國，1723-1735年。敞口，深弧腹，圈足。外壁施胭脂紅釉，碗内中心粉彩牡丹紋。 圈足内施一層透明釉。 來源：英國私人收藏。 品相：狀況良好，有輕微磨損和燒製不規則。 重量：133.3 克 尺寸：直徑 10.9 厘米 文獻比較： 比較一件相近的十八世紀末至十九世紀胭脂紅花口碗，直徑9.2 厘米，收藏於芝加哥藝術館，館藏編號1925.1007。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2013年5月29日，lot 2108 價格：HKD 930,000（相當於今日EUR 125,000） 描述：清雍正外胭脂紅釉內粉彩牡丹紋盌一對 專家評論：比較非常相近的粉彩裝飾和牡丹主題。請注意較淺的胭脂紅釉，以及普通圓邊。請注意相近的尺寸 (10.5 厘米) ，以及此為一對。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2016年9月15日，lot 964 價格：USD 13,750（相當於今日EUR 16,500） 描述：清十八世紀胭脂紅釉盌 專家評論：比較相近的胭脂紅釉，且內部也有上釉。請注意不同的外形和高 (10.4 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2016年9月15日，lot 948 價格：USD 13,750（相當於今日EUR 16,500） 描述：清雍正粉彩花果紋盌 專家評論：比較相近的粉彩，且內部也有上釉，內部開光不同的主題。請注意不同的的外形和尺寸 (14.8 厘米)。
A FAMILLE VERTE BISCUIT FIGURE OF BUDDHA, QING DYNASTYExpert's note: While the enamels on the Buddha's robe and legwear are quite finely worked, the craftsman paid special attention to the unglazed face, hands and feet. The fingernails and wrinkles of the toes for example show the high level of skill which normally is expected only from 18th century wares.China, 18th-19th century. Finely modeled and seated in padmasana on a single lotus pedestal with the leaves pointing upwards, Buddha holds a miniature seven-tiered pagoda, and is glazed in aubergine, emerald-green, and pale yellow. He wears a beaded necklace and a famille noire robe with a lotus design hem, painted with butterflies, peony, prunus, aster, and hibiscus flowers. The trousers show a soaring crane amidst swirling clouds. The snail-curled hair of the Buddha is glazed in a vibrant blue while the unglaze biscuit face has a serene expression set with heavy-lidded, downcast eyes, subtly smiling lips, and elongated lobes.Provenance: From a private collection in central California, U.S.A. Condition: Superb condition with some old wear, minor firing irregularities, glaze recesses, pitting. Small surface scratches and a minor loss to the top of the miniature pagoda. Overall presenting remarkably well.Weight: 910 g Dimensions: Height 23.6 cm Literature comparison:Compare a related figure of Guanyin, 40.6 cm high, dated to the Kangxi period, in the Metropolitan Museum of Art, accession number 64.279.9a, b. A related but earlier Buddha is in the V&A, London, Nr. C.129-1939.Auction result comparison: Type: Related Auction: Bonhams London, 7 November 2016, lot 316 Price: GBP 4,000 or approx. EUR 6,500 converted and adjusted for inflation at the time of writing Description: A famille verte figure of Buddha, 18th/19th century Expert remark: Note the smaller size (19.5 cm).Auction result comparison: Type: Related Auction: Zacke, Sept 29, 2022, lot 113 Price: EUR 9,100 Description: An Exceedingly Rare Famille Verte Biscuit Figure of Buddha, Kangxi PeriodExpert remark: Note the larger size (27.8 cm). 清代素三彩佛像中國，十八至十九世紀。佛祖結跏趺坐於蓮花座上，青粓色螺髮髻，披蓋兩肩的黑地蓮花紋袍服，敞前胸，佩戴瓔珞，兩手交疊在腹前共作法界定印，持一座小七層寶塔。三彩釉色為紫紅色、翠綠色和淺黃色。黃地袍褲上飾祥雲中飛翔的仙鶴。表情安詳，兩眼微閉，微露笑容，長耳垂。專家注釋：雖然袈裟和腿褲上的琺瑯相當精細，未上釉的臉部、手腳，例如指甲和腳趾的皺紋，都顯示了極高的水準。來源：美國加利福尼亞中部私人收藏。 品相：品相極佳，有一些磨損、輕微的燒製不規則、釉面凹陷、麻點。微型寶塔的表面有小劃痕，頂部有輕微缺損。 重量：910 克 尺寸：高 23.6 釐米 文獻比較： 比較一件相近的康熙觀音像，高40.6 釐米，收藏於明尼亞波利斯藝術博物館，館藏編號64.279.9a，b。一件相近但較早期的佛像，收藏於維多利亞和亞伯特博物館，倫敦，編號C.129-1939。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2016年11月7日，lot 316 價格：GBP 4,000（相當於今日EUR 6,500） 描述：十八至十九世紀硬彩佛像 專家評論：請注意尺寸較小 (19.5 釐米)。 拍賣結果比較： 形制：相近 拍賣：Zacke，2022年9月29日，lot 113 價格：EUR 9,100 描述：康熙素三彩佛陀坐像 專家評論：請注意尺寸較大 (27.8 釐米)。
AN INSIDE-PAINTED GLASS 'CAT' SNUFF BOTTLE, BY WANG XISAN, CHINA, DATED 1959Expert's note: Between 1958 and 1962, Wang Xisan often used a simplified form of the character 'Xi' in his signature. From 1963 onwards, he used the traditional form of this character. The artist's early works are exceedingly rare. For more snuff bottles painted by Wang Xisan from 1959 to 1962, signed with a simplified 'Xi' character, see Wang Ziyong, 60 Years of Wang Xisan's Art Life, Hebei Fine Arts Publishing House, pages 14-15 and 21-23.The flattened globular body raised on a short oval foot and surmounted by a cylindrical neck with flat lip, the shoulders well carved with lion masks suspending mock ring handles in high relief. Masterfully painted to one side with a cat in a rocky landscape amid blooming narcissus. The other side with a prancing cat chasing two butterflies.Inscriptions: To one side, signed 'Wang Xisan' and dated 'jihai nian zhongdong' (mid-winter of 1959). One red seal.Provenance: From a private collection in San Diego, California, USA.Condition: Very good condition with only minor wear, expected manufacturing irregularities, and few minuscule nicks.Stopper: Finely carved coral with chilong decoration, most likely matching Weight: 62.9 g Dimensions: Height including stopper 66 mm. Diameter neck 15 mm and mouth 8 mm. Born in 1938, Wang Xisan (Wang Ruicheng) was the star pupil of Ye Bengqi, the son of Ye Zhongsan, the artist who revitalized the Beijing school of painting in the late 1950s. Ye Bengqi took up the art of enameling again in the early 1960s to teach Wang Xisan, and with earlier Wang Xisan bottles, it is sometimes difficult to distinguish them from his teacher's, or, in some cases, from earlier Qianlong examples. For a discussion on the artist Wang Xisan see H. Moss, V. Graham and K.B. Tsang, A Treasury of Chinese Snuff Bottles, the Mary and George Bloch Collection, Vol. 6, Part 1, Hong Kong, 2008, pp. 273-275. The authors note: “As an artistic genius, Wang rapidly became one of the finest of all enamellers, both artistically and technically, that China has ever produced".Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 March 2018, lot 8000Price: USD 25,000 or approx. EUR 28,000 adjusted for inflation at the time of writing Description: An inside painted crystal snuff bottle, Wang Xisan, 1972Expert remark: Compare the closely related subject and form. Note that this bottle is a later version of the present lot and that it is made from crystal. Also note the similar stopper. 1959年王習三款玻璃內畫《貓》鼻煙壺扁平壺，平唇，圓柱形頸部，削肩，肩部獅面啣環輔首，腹下收斂，橢圓形圈足。壺內一面內畫一隻貓在盛開的水仙花旁休憩； 另一面有一隻在追逐兩隻蝴蝶的貓，刻畫得生動活潑。專家注釋： 1958年至1962年間，王習三的簽名中經常使用簡化的“習"字。 從1963年起，他一直使用繁體字。這位元藝術家的早期作品極為罕見。更多王習三1959年至1962年使用簡體字“習"字的鼻煙壺，參見王自勇《王習三內畫情緣60年》，河北美術出版社，第14-15頁和第21-23頁。 款識：己亥年仲冬，京都王習三；紅印一枚 來源：美國加州聖地亞哥私人收藏。 品相：狀況極好，只有輕微磨損、製造不規則以及一些微小的刻痕。 壺蓋：珊瑚雕螭龍紋，應爲原配 重量：62.9 克 尺寸：含壺蓋高 66 毫米，頸部直徑15 毫米，以及壺口直徑 8 毫米。 王習三，原名王瑞成，生於1938年，是五十年代後期振興京畫的葉仲三之子葉菶祺的得意門生。二十世紀六十年代初期，葉菶祺再次學習琺瑯工藝，並教授王習三，有時很難將他倆的作品與早期的乾隆時期鼻煙壺區分開來。有關藝術家王習三的討論，請參閱 H. Moss、V. Graham 和 K.B. Zeng《中國鼻煙壺珍寶，瑪麗和喬治布洛赫收藏》，第6卷 ，第 1 部分，香港，2008 年，第 273-275 頁。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2018年3月19日，lot 8000 價格：USD 25,000（相當於今日EUR 28,000） 描述：1972年王習三内畫水晶「狸奴」鼻煙壺 專家評論：比較非常相近的主題和外形。請注意此鼻煙壺較現拍品晚，但是是由水晶製成。請注意壺蓋相似。
A RARE FAMILLE ROSE 'NOMAD AND CAMEL' PLAQUE, LATE QING DYNASTYChina, 19th century. Of rectangular form, finely decorated in bright enamels with a nomad family cooped in a tent on a cold day, the mother snuggles the infant closer for warmth, the shelter scattered with several boxes, a tea kettle, a traveling sack, and a sword. A majestic Bactrian camel stands stout as the patriarch wearing a billowing furcoat makes his way uphill. The winter landscape detailed with high frosty mountains, small shrubs, and tree trunks.Provenance: From a private collection in London, United Kingdom.Condition: Very good condition with minor wear and firing irregularities, little rubbing and minimal losses to enamels.Weight: 247.9 g (incl. frame)Dimensions: Image size 12.3 x 19 cm, Size incl. frame 14.5 x 21.3 cm With a wood frame.Auction result comparison: Type: Closely relatedAuction: Christie's London, 20 February 2019, lot 92Price: GBP 6,875 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: A pair of inscribed famille rose and en grisaille 'Camel' and 'Tiger' plaques, Republic periodExpert remark: Note the later date and that this lot comprises of a second plaque depicting tigers. Note the size (38.5 x 25.5 cm). 清末粉彩《牧人與駱駝》瓷板中國，十九世紀。長方形，粉彩描繪冬日游牧家庭生活。帳篷裡，一位母親將嬰兒抱緊以取暖。帳篷裏散佈著幾個盒子、一個茶壺、一個旅行袋和一把劍。身穿大衣的族長正在上山，一頭雄偉的雙峰駝昂首挺立。四周山岩樹木景觀。冬季景觀。 來源：英國倫敦私人收藏。 品相：狀況極好，有輕微磨損和燒製不規則，少量摩擦和琺瑯缺損。 重量：總247.9 克 尺寸：畫面尺寸12.3 x 19 厘米，總14.5 x 21.3 厘米 木框。拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2019年2月20日，lot 92 價格：GBP 6,875（相當於今日EUR 10,500） 描述：民國粉彩墨彩虎及單峰駝圖瓷板一對 專家評論：請注意此瓷板年代較晚，以及合併另一件虎圖瓷板。請注意尺寸 (38.5 x 25.5厘米)。
A FLAMBE GLAZED 'OLIVE-STONE' VASE, GANLANPING, LATE QING DYNASTY TO REPUBLIC PERIODChina, c. 1850-1950. The vase is well potted with an elegant rounded body tapering towards the slightly spreading foot and towards the waisted neck that rises to a flared rim, covered overall in a thick, finely crackled, streaked glaze of a crushed strawberry tone with distinct bluish lavender splashes thinning to mushroom at the rim.Provenance: French trade. Condition: Good condition with minor wear and firing irregularities, including glaze recesses, open bubbles, and pitting. Chips to the foot, minor glaze flaking, the foot smoothened in some areas, probably inherent to manufacturing, due to the uneven glaze dripping along the rim which is expected from this type of ware. Weight: 1,676 gDimensions: Height 31.8 cm Literature comparison: Vases of this unusual shape are rather rare. The form itself, known as ganlanping or 'olive-stone', was much admired in all three of the great Imperial reigns of the Qing dynasty - Kangxi, Yongzheng, and Qianlong. During the Kangxi period the shape was more attenuated, as exemplified by a pale-blue-glazed vase illustrated by John Ayers, The Baur Collection, vol. 3, Geneva, 1972, no. A 328, which has a tall slender neck rising to a slightly everted mouth rim. The somewhat more robust shape seen in the Yongzheng and Qianlong periods has a shorter neck and more widely flared mouth, as well as a slight flare at the foot. Such Yongzheng-marked vases include a blue and white example in the Palace Collection, Beijing, illustrated in Qingdai Yuyao ciqi, vol. 1, Beijing 2005, pp. 80-1, no. 29, and another with a copper-red glaze illustrated ibid., pp. 38-39, no. 9, which is almost the same height as our example. 清末民初窯變釉橄欖瓶中國，約1850-1950年。撇口，細頸，長鼓腹下斂，圈足，形似橄欖。通體施窯變紅釉，釉層均勻，釉面呈現紅藍紫色，鮮豔奪目。邊緣有明顯的藍色薰衣草色斑點。 來源：法國古玩交易。 品相：狀況良好，有輕微磨損和燒製不規則，包括釉面凹陷、開放氣泡和麻點。足部有缺口，釉面輕微剝落，足部在某些區域變得光滑，這可能是製造過程中固有的。 重量：1,676 克 尺寸：高31.8 厘米文獻比較： 這種形狀不尋常的花瓶相當罕見。這種形式本身被稱為“橄欖石"，在清朝康熙、雍正和乾隆時期三朝都備受推崇。康熙時期淡藍色釉橄欖瓶，見John Ayers，《The Baur Collection》，卷3，日內瓦，1972 年，編號328，有一個高而細長的頸部，上升至略微外翻的瓶緣。雍正、乾隆時期的器形較為粗壯，頸部較短，口部較寬，足部稍稍外撇。雍正款青花橄欖瓶，北京故宮收藏，插圖見《清代御窯瓷器》，卷1，北京2005年，頁80-1，編號29。另一件銅紅釉橄欖瓶，插圖，同上書，頁38-39，編號 9，幾乎與我們的拍品相同。
A RARE FAUX-BOIS-DECORATED AND ENAMELED 'QUAILS' BOX AND COVER, REPUBLIC PERIODChina, first half of the 20th century. Of domed circular form, the cover finely enameled with a pair of quails sitting on a craggy rock amid lotus blossoms and millet crops within a gilt border. The panel encircled by a neatly executed abstract faux bois design which is continued to the box and the base. The recessed base with an apocryphal gilt seal mark Qianlong nianzhi.Provenance: A private estate in Boston, Massachusetts, USA. Skinner Boston, 1 December 2011, lot 461. A European private collection, acquired from the above.Condition: Excellent condition with minor wear and firing irregularities.Weight: 1,085 gDimensions: Diameter 17 cm Auction result comparison: Type: Related through the Faux Bois decorAuction: Christie's New York, 18 March 2016, lot 1655Price: USD 15,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: A pair of famille rose and faux bois dishes, Republic periodExpert remark: Compare the related faux bois decoration, encircling the main panels as in the present lot, albeit with smaller borders. 民國仿木釉琺瑯彩《鵪鶉》蓋盒中國，二十世紀上半葉。盒蓋呈圓頂圓形，盒子敞口，子母口，圈足。蓋子和盒子外壁施精美紅棕色仿木釉。蓋子上開光，粉彩琺瑯繪有一對鵪鶉，坐在岸邊山石上，周圍是水仙和蘆葦，描金邊框。圈足内有鎏金寄托款「乾隆年製」。 來源：美國馬薩諸塞州波士頓私人收藏；Skinner Boston，2011 年12月1日，拍品 461；歐洲私人收藏，購自上述拍賣。 品相：狀況良好，有輕微磨損和燒製不規則。 重量：1,085 克 尺寸：直徑17 厘米拍賣結果比較： 形制：樹紋裝飾相近 拍賣：紐約佳士得，2016年3月18日，lot 1655 價格：USD 15,000（相當於今日EUR 18,000） 描述：民國方雲峰款粉彩富貴耄耋圖盤一對 專家評論：比較相近的仿樹紋裝飾，圍繞著一對瓷盤。
A GOLD-, SILVER- AND TURQUOISE-INLAID BRONZE 'DRAGON' GARMENT HOOK, WARRING STATES PERIODChina, 475-221 BC. Superbly cast with a dragon-head hook with neatly inlaid turquoise eyes and crest, finely decorated with a central floral design composed of a turquoise-inlaid circle surrounded by a gold-inlaid band and four ruyi petals, further decorated with turquoise-inlaid angular scroll, terminating in a second dragon head with laidback ears and long snout, the underside with a circular button.Provenance: Collection of Miklos Grunberg, and thence by decent in the same family. Mossgreen Auctions, Melbourne, Australia, 2 June 2008, lot 127. A private collection in Melbourne, Australia, acquired from the above. Miklos Grunberg (1918-1988) was born in Budapest, Hungary, and immigrated to Australia in the 1940s. In the early 1950s, he founded a mining consulting firm in Sydney, where he worked for various mining projects including the Uranium mine in Silver Valley. He was an avid collector of Chinese artifacts and works of art, and he donated several pieces to the National Library of Australia.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, casting flaws, minor losses, tiny nicks, light scratches, small dents, encrustations. The finely polished silver and bronze surface with a rich, naturally grown patina with malachite and cuprite encrustations.Weight: 121.8 gDimensions: Length 20.4 cm Literature comparison:Compare a related turquoise inlaid belt hook of thin elongated shape, dated to the Warring States period, published in Julia White et al., Adornment for the Body and Soul: Ancient Chinese Ornaments from the Mengdiexuan Collection, Hong Kong 1999, p. 109. Compare a related garment hook with geometric decorations, 21 cm long, dated 5th-4th century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number F1948.27. Compare a closely related belt hook with a similar four-petal design in the center, albeit inlaid in turquoise, illustrated in Chinese Art from the Collection of H.M. King Gustaf VI Adolf of Sweden, Tokyo and Osaka, 1971, no. 32. Compare a related turquoise-inlaid gilt-bronze belt hook, dated to the 4th century BC, in the Museum of East Asian Art, Bath, record number BATEA : 238.Auction result comparison: Type: RelatedAuction: Bonhams New York, 21 September 2020, lot 308Estimate: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare inlaid bronze garment hook, Warring States/Western Han dynastyExpert remark: Note the size (21.3 cm). 戰國錯金銀嵌綠松石龍頭鈎中國，西元前475-221 年。鑄工精良，龍頭鉤，一頭眼部和頭部鑲綠松石，鑲嵌工整，龍身錯金銀，飾綠松石，形如龍爪；第二個龍頭可見耳朵和長鼻子。身下有一個圓形鈕。來源：Miklos Grunberg收藏，自此在同一家族保存；澳洲墨爾本Mossgreen 拍賣行，2008年6月2日，lot 127；墨爾本私人收藏購於上述拍賣。Miklos Grunberg (1918-1988) 出生於匈牙利布達佩斯，二十世紀四十年代移居澳洲。二十世紀五十年代初，他在雪梨創立了一家採礦諮詢公司，負責多個採礦項目，包括銀穀的鈾礦。他收藏中國文物和藝術品，並向澳洲國家圖書館捐贈了多件作品。 品相：狀態良好，與年齡相稱。廣泛磨損、風化和侵蝕跡象、鑄造缺陷、輕微損失、微小刻痕、輕微劃痕、小凹痕、結殼。精細拋光的銀和青銅表面具有豐富的自然生長的銅綠，帶有孔雀石和赤銅礦結殼。 重量：121.8 克 尺寸：長 20.4 厘米 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2020年9月21日，lot 308 估價：USD 20,000（相當於今日EUR 22,000） 描述：戰國/西漢局部鎏金銅錯銀嵌松石雙獸首帶鈎一件 專家評論：請注意尺寸(21.3 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LARGE CINNABAR LACQUER 'PHOENIX' FLOWERPOT, MING DYNASTYChina, 15th to early 16th century. With a heavily cast bronze body, finely modeled with deep rounded sides supported on a short foot and rising to an everted rim. Superbly carved through the layers of lustrous deep crimson lacquer to the ochre ground with a pair of phoenixes flying with outstretched wings amid large peony blossoms borne on leafy stems, with neatly incised details such as the feathers, blossoms, and leaves. Provenance: From an old private collection in Cotswold, United Kingdom. Acquired in the 1920s or earlier, and kept in the same family ever since, according to the last owner.Condition: Remarkably well preserved, commensurate with age. Old wear, expected age cracks and splits, small losses, tiny nicks here and there, light scratches. Some sections of the lacquer are slightly loosened.Weight: 4,675 g Dimensions: Diameter 34 cm, Height 27.4 cm The 'two birds' design featuring a pair of birds among flowers was a popular motif in Chinese carved lacquer, particularly from the thirteenth to early fifteenth century. In this example, two phoenixes fly amid lush, blossoming peonies. Such decoration also became standard in other media, such as textiles and ceramics, produced by the Imperial workshops of the Ming dynasty.Literature comparison: Compare a related cinnabar lacquer box and cover, similarly carved on an ochre ground with long-tailed birds and prunus blossoms, 24.2 cm in diameter, dated 1550-1650, in the Victoria & Albert Museum, accession number FE.50-1974.Auction result comparison: Type: Related Auction: Christie's Paris, 12 December 2019, lot 62 Price: EUR 150,000 or approx. EUR 170,000 adjusted for inflation at the time of writing Description: A rare and finely carved red cinnabar lacquer 'peony' box and cover, Xuande six-character mark and of the period (1426-1435) Expert remark: Compare the closely related manner of carving through layers of cinnabar lacquer to an ochre ground, as well as the related peony motif, albeit without phoenixes. Note the reign mark, different form, and the much smaller size (22 cm). 明代大型剔犀鳳鳥紋花盆中國，十五至十六世紀初。銅胎剔犀，弦紋口，深弧形腹。精美剔犀，雕琢一對展翅飛翔的鳳凰，卷葉牡丹，羽毛、花朵、葉子等細節都雕刻得十分細緻。全器漆色鮮紅，色彩純正，布局層次分明，雕刻有力，刀法渾厚婉轉，藏鋒不露，磨工精細圓潤。 來源：來自英國科茨沃爾德的私人舊藏；根據最後一位主人的說法，這件拍品是在 1920 年代或更早時期購入，自那以後一直由同一個家族保管。 品相：保存完好，磨損、年代裂縫和裂口、小缺損、局部微小的刻痕和劃痕。部分漆面有輕微鬆動。 重量：4,675 克 尺寸：直徑 34 厘米，高 27.4 厘米 文獻比較: 比較一件相近的1550-1650年剔犀蓋盒 ，相似的赭石地上雕刻著長尾鳥和李花，直徑24.2 厘米，收藏於Victoria & Albert Museum，館藏編號 FE.50-1974。 拍賣比較： 形制：相近 拍賣：巴黎佳士得，2019年12月12日，lot 62 價錢：EUR 150,000（相當今日EUR 170,000） 描述：明宣德剔紅纏枝牡丹四季花卉紋蓋盒 專家註釋：比較非常相近的雕刻風格，透過層層硃砂漆，到赭色底色，以及相近的牡丹圖案，儘管沒有鳳凰。請注意 年代款、不同的外形，以及尺寸較小 (22 厘米)
A GILT-BRONZE 'FIGHTING DRAGONS' SWORD FITTING, WARRING STATES PERIOD TO HAN DYNASTYChina, 5th century BC to 2nd century AD. Finely cast, the round pommel is decorated with two dragons gripping each other with their claws and biting the other's tail. The smooth bronze is covered overall in gilding and terminating with a hollow square extension for attachment to the sword hilt.Provenance: P.C. Lu Works of Art Ltd, Hong Kong. From a private collection in the northeastern United States, acquired from the above. Started as a small business in January 1976 in Hong Kong, selling Chinese antiques, P.C. Lu was able to scale operations, eventually sending his son Fred to the MIT to pursue his PhD. Today, many objects from his fine collection are housed in the British Museum. Condition: Good condition, commensurate with age. Signs of wear and some weathering, dents, the gilding is worn around the edges exposing the chocolate-brown patina to the bronze. Some nicks to the square fitting.Weight: 101.9 g Dimensions: Diameter 4.7 cm Literature comparison:Compare a closely related hilt fitting, 4.6 cm in diameter, dated to the Han dynasty, in the British Museum, registration number 1932,0316.18. Compare a related bronze fitting dating to the Western Han Dynasty depicting a leopard, illustrated by J. Rawson and E. Bunker in Ancient Chinese and Ordos Bronzes, Hong Kon, 1990, cat. no. 113. Compare a related bronze fitting with three coiled dragons, formerly in the Dr. Carl Kempe Collection, illustrated in Chinese Gold and Silver, Ulricehamn, 1999, cat. no. 11. Compare also a near-identical example in Ancient Chinese and Ordos Bronzes, Jessa Rawson and Emma Bunker, number 113, described there as the depcition of a 'leopard in relief'.Auction result comparison: Type: Related Auction: Bonham's London, 11 May 2021, lot 41 Price: GBP 3,187 or approx. EUR 4,700 converted and adjusted for inflation at the time of writing Description: A rare gold-sheet-mounted bronze embossed 'dragon' fitting, Warring States Period or Han dynasty Expert remark: Compare the similar shape and dragon motif. Note the size (4.5 cm). 戰國至漢代銅鎏金龍紋劍配件中國，西元前五世紀至西元二世紀。圓形鞍頭上飾有兩條雙龍圖案，鑄工精細。整體鎏金光滑，末端有一個空心方形延伸部分，用於連接劍柄。 來源：香港P.C. Lu Works of Art Ltd藝術公司；美國東北部私人收藏購於上述公司。P.C. Lu 藝術公司於1976 年 1 月在香港成立，最初是一家銷售中國古董的小企業，後來擴大運營規模，最終將他的兒子Fred送到麻省理工學院攻讀博士學位。 如今，他的許多精美收藏品都收藏在大英博物館中。 品相：狀況良好，有磨損和一些風化、凹痕，邊緣處有鎏金磨損，可見褐色的銅鏽暴露在青銅色下。 方形配件上有一些刻痕。 重量：101.9 克 尺寸：直徑 4.7 釐米 文獻比較： 比較一件非常相近的漢代劍配件，直徑4.6 釐米，收藏於大英博物館，館藏編號1932,0316.18。比較一件相近的西漢青銅豹紋劍配件，見J. Rawson和E. Bunker，《Ancient Chinese and Ordos Bronzes》，香港，1990年，圖錄編號113。比較一件相近的三條盤龍紋劍配件，曾藏於Dr. Carl Kempe Collection，見《Chinese Gold and Silver，Ulricehamn》，1999年，圖錄編號11。比較一件幾乎相同的例子，Jessa Rawson 和 Emma Bunker，見《Ancient Chinese and Ordos Bronzes》，編號 113，在書中描述為“浮雕豹"。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2021年5月11日，lot 41 價格：GBP 3,187（相當於今日EUR 4,700） 描述：戰國/漢貼金銅蟠龍紋飾 專家評論：比較相似的外型和龍主題。請注意尺寸 (4.5 釐米)
A PAINTED POTTERY 'ARCHER AND TIGER' VASE, HU, HAN DYNASTYChina, 202 BC-220 AD. The ovoid body supported on a short foot and rising to a waisted neck with a flared mouth. The exterior freely painted with confident brushstrokes and brilliant pigments in sky blue, red, amber, white, and black with an archer on horseback hunting a fierce tiger amid wave-like clouds, between borders of C-scroll motifs, all below a band of stiff leaves.Provenance: French trade. By repute acquired from a private collector in Paris.Condition: Good condition, commensurate with age. Old repairs and some touchups as generally expected from Han dynasty excavations. Wear, flaking, losses and fading to pigment. Minor chips, light scratches, extensive soil encrustations.Weight: 5,109 gDimensions: 37.8 cm Expert's note: Expressive polychrome designs on ancient archaic wares from China, such as those on the present lot, are said to have inspired the Art Deco movement in Europe. A good example for this theory may be the design work of noted architect Henry van der Welde (1863 Antwerp - 1957 Zurich).Literature comparison:Compare a closely related covered hu, dated to the 2nd-1st century BC, in The Metropolitan Museum of Art, accession number 1992.165.20a, b.Auction comparison: Type: RelatedAuction: Christie's New York, 15 September 2017, lot 1101Price: USD 22,500 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A rare large painted pottery vase and cover, fanghu, Han dynastyExpert remark: Compare the related colors and manner of painting. Note the different motifs and the size (60.5 cm).Auction comparison: Type: RelatedAuction: Sotheby's New York, 16 September 2008, lot 201Price: USD 21,250 or approx. EUR 27,000 converted and adjusted for inflation at the time of writingDescription: A pair of large painted pottery vases and cover (hu), Han dynastyExpert remark: Compare the related colors and manner of painting. Note the different motifs, the size (60.5 cm), and that the lot comprises a pair. 漢代彩繪狩獵圖陶壺中國，公元前 202 年至公元 220 年。壺口外撇，縮頸，豐胸鼓腹，平足。外壁以天藍色、紅色、琥珀色、白色和黑色描繪馬背上的弓箭手獵虎場景。另飾芭蕉紋、如意紋和雲紋。 來源：法國古玩交易，據説購於巴黎私人收藏。 品相：狀態良好，修復，有磨損、剝落、缺損和顏料褪色，輕微的碎裂、劃痕、大面積的土壤結殼。 重量：5,109 克 尺寸：37.8 厘米 文獻比較: 比較一件非常相近的西元前二至一世紀陶壺，收藏於大都會藝術博物館，館藏編號 1992.165.20a，b。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2017年9月15日，lot 1101 價錢：USD 22,500（相當今日EUR 25,500） 描述：漢代彩繪方陶壺 專家註釋：比較相近的顏色和繪畫風格。請注意不同的主題和尺寸 (60.5 厘米)。拍賣比較： 形制：相近 拍賣：紐約蘇富比，2008年9月16日，lot 201 價錢：USD 21,250（相當今日EUR 27,000） 描述：漢代一對彩繪陶壺蓋 專家註釋：比較相近的顏色和繪畫風格。請注意不同的主題和尺寸 (60.5 厘米)，以及此為一對。
AN ARCHAISTIC BRONZE 'DUCK' PAPERWEIGHT, EARLY QING DYNASTYChina, 17th-18th century. The recumbent bird is boldly cast with its wings tucked to its side and its curved ruyi-form tail feather pointing upwards. The almond-shaped eyes with subtly incised lower lashes beneath stylized swirling head feathers. The intricately patterned wings rest above curling feathers taking the form of archaistic C-scrolls and ruyi heads. The body with minute stippling beneath the duck's wings and extending to the back.Provenance: Dutch trade. Condition: Good condition with significant old wear and expected casting irregularities, light scratches, small nicks, minor dents, few tiny holes probably inherent to manufacturing. The head and tail with remnants of ancient gilt.Weight: 600.9 g Dimensions: Length 12.9 cm This bronze duck is rare as most bronze ducks are cast as incense burners or water droppers, while jade and crystal ducks are carved either in the round or as boxes and covers. The archaistic inspiration is clearly demonstrated in the C-scroll decorations around the wings and relates not only to Song and Ming revival of archaic bronzes but more directly to the Qianlong emperor's instruction to craftsmen to take inspiration from antiquity. See Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp. 49-50.The duck is often seen as the symbol of the first scholar, Zhuangyuan. In Chinese, the character for duck, ya, also bears the radical for the word armor, jia, and jia is the word to classify successful candidates in the final civil service exam. Ducks are also symbolic for filial piety and faithfulness, since they are believed to take a life-time partner.Literature comparison:Compare a prototype archaic bronze 'duck' incense burner and cover with similarly styled head and wings, dated mid-Western Han dynasty, at Bonhams Hong Kong, 29 May 2023, lot 321. Compare a related rock crystal duck-form vessel with similar archaistic C-scrolls, dated to the Qianlong period, at Sotheby's Hong Kong, 7 April 2010, lot 1986. Compare a related jade duck-shaped washer with similar archaistic elements, dated 18th century, at Bonhams Hong Kong, 29 May 2018, lot 23. Compare a related Yixing duck-form vase with similarly stylized wings, dated 20th century, at Sotheby's London, 13 May 2015, lot 224. 清朝初期鴛鴦銅鎮中國，十七至十八世紀。鴛鴦雙翅收於側，尾羽呈弧形如意狀向上翹起，大眼。鎮紙表面浮雕凹凸感強烈，造型栩栩如生。 來源：丹麥古玩交易。 品相：狀況良好，有明顯磨損和鑄造不規則、輕微劃痕、小刻痕、輕微凹痕、少數小孔。頭部和尾部有鍍金的痕跡。 重量：600.9 克 尺寸：長 12.9 厘米文獻比較： 比較一件的西漢中期青銅鴨形熏爐，見香港邦翰斯，2023年5月29日，lot 321。比較一件相近的乾隆款及年代水晶鴨形，見香港蘇富比，2010年4月7日，lot 1986。比較一件相近的十八世紀 白玉雕鴨形洗，見香港邦翰斯，2018年5月29日，lot 23。比較一件相近的二十世紀初宜興窰寶鴨尊《陳鳴遠》款，見倫敦蘇富比，2015年5月13日，lot 224。
A LARGE GREY POTTERY FIGURE OF A TORTOISE, HAN DYNASTYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 24 April 2006, based on sample number C106j27, sets the firing date of three samples taken between 1500 and 2400 years ago. A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.China, 206 BC-220 AD. Heavily potted, the large tortoise stands with its head slightly raised. The boldly modeled face with round bulging eyes and thick lips, the carapace lined with an elegantly curved outer ridge and applied at the top with a row of bosses.Provenance: Guus Roeell, Fine Arts & Antiques Maastricht, Netherlands, c. 2006. A European private collection, acquired from the above. Guus Roeell is an expert in the field of colonial antiques and rare artifacts from across the world, including Chinese works of art. An impressive art connoisseur, Roeell curates his gallery with an exquisite taste for unique craftsmanship and historical contexts.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, encrustations, firing cracks, drilled holes from sample-taking. Possibly with old fills and repairs, as expected from ancient Han dynasty excavations.Weight: 11.9 kg Dimensions: Length 61.2 cm Literature comparisonCompare a related pottery tortoise, 11.7 cm long, dated to the Han dynasty, in the Metropolitan Museum of Art, accession number 68.149.2.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2019, lot 143 Price: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writing Description: A pottery tortoise-form ink stone and cover, Eastern Han dynasty Expert remark: Compare the related subject, pottery, and modeling with similar pose. Note the much smaller size (20.3 cm). 漢代大型灰陶烏龜中國，西元前 206 年至西元 220 年。 巨大的陶龜，微微抬頭。 臉部造型生動，圓凸的眼睛和厚厚的嘴唇，甲殼上可辯脊梁，一排凸起的甲片。科學檢測報告：牛津認證公司於2006年4月24日出具一份熱釋光分析報告，樣本編號為C106j27，確定三個樣本的製作日期在1500至2400年前之間。 隨附一份由Doreen Stoneham 簽署的牛津認證報告副本。 來源：Guus Roeell，荷蘭馬斯特里赫特美術與古董店，約在 2006年；歐洲私人收藏，購自上述藝廊。Guus Roeell 是殖民時期古董和稀有文物（包括中國藝術品）領域的專家。他以對獨特工藝和歷史背景的出色品味來策劃他的畫廊。 品相：狀況非常好，大面積磨損、風化和侵蝕跡象、輕微缺損、結殼、燒製裂紋、取樣造成的鑽孔。可能有填充和修復。 重量：11.9 公斤 尺寸：長61.2 厘米文獻比較： 比較一件相近的漢代陶龜，長11.7 釐米，收藏於大都會藝術博物館，館藏編號68.149.2。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月19日，lot 143 價格：USD 20,000（相當於今日EUR 22,000） 描述：東漢灰陶龜形硯連蓋 專家評論：比較相近的主題、陶製和相似的姿勢。請注意此為一個硯台。請注意尺寸小許多 (20.3 厘米)。
A RARE IRON-SPLASHED 'YUE' FIGURE OF A RECUMBENT RAM, WESTERN JIN DYNASTYChina, 3rd century. The well-modelled ram with its front and rear legs folded beneath the body, with a curvaceous spine and robust rump, its head raised and with a pierced aperture on top, detailed with a pair of bulging eyes and curved striated horns encircling long ears, all highlighted with dark iron splashes and painted overall with a finely crackled olive-green glaze, the body neatly incised beneath the glaze with a pair of wings.Provenance: From the estate of a prominent Chinese musician in New York, USA. Condition: Excellent condition with some wear, encrustations, and firing flaws including kiln grit and glaze recesses.Weight: 299.1 g Dimensions: Length 11.5 cm Expert's note: Stoneware figures of recumbent rams kneeling with their forelegs and their hind legs tucked in and covered in the same olive-green glaze, belong to a group of playful objects for the scholar's desk made in kilns in northern Zhejiang and southern Jinagsu province. Numerous vessels of this type, in the form of various animals, have been recovered from tombs of the Three Kingdoms (220-265) and the Western Jin dynasty (265-316), suggesting they were treasured items.Literature comparison: A closely related figure was included in the exhibition Treasures from the Shanghai Museum, 6000 years of Chinese Art, Asian Art Museum of San Francisco, San Francisco, 1983, cat. no. 57. A closely related figure from the Barlow collection was included in the Oriental Ceramic Society exhibition The Ceramic Art of China, Victoria and Albert Museum, London, 1971, cat. no. 26. See also the ram with brown wash details excavated in 1980 at the Jianbi Brick and Tile Factory, Dantu County, Zhenjiang City, published in Zhongguo chutu ciqi quanji, vol. 7: Jiangsu Shanghai, 2008, no. 64, p. 53 (as early Yue ware, Eastern Jin dynasty, 16 cm long). Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 127 Price: GBP 40,000 or approx. EUR 60,500 converted and adjusted for inflation at the time of writing Description: A rare 'yue' figure of a recumbent ram, Western Jin dynasty, 3rd century AD Expert remark: Compare the closely related modeling, glaze, and iron splashes. Note the larger size (16.3 cm). 西晉越窯青釉臥羊中國，三世紀。羊作跪伏狀，昂首張口，雙耳長伸，卷角後彎，下顎貼塑鬍鬚，臀部上端貼印短尾，頭頂有一圓孔，中空。胎灰白色，釉色瑩潤，眼睛、嘴部、肌肉突出部點有褐彩。 來源：美國紐約知名中國音樂家收藏。 品相：狀況極好，有一些磨損、結殼和燒製缺陷，包括窯砂和釉面凹陷。 重量：299.1 克 尺寸：長11.5 釐米 專家注釋：炻器上的公羊跪臥造型，前腿內收，覆蓋著淺綠色釉，屬於浙北、江南窯爐製作文案用品。 三國（220-265）和西晉（265-316）墓葬中出土了大量此類動物形狀的器皿，非常珍貴。文獻比較： 一件非常相近的瓷羊，展覽於《Treasures from the Shanghai Museum，6000 years of Chinese Art》，舊金山亞洲博物館，1983年，圖錄編號57。一件非常相近的瓷羊，來自Barlow收藏，東方陶瓷學會，展覽於《The Ceramic Art of China，Victoria and Albert Museum》，倫敦，1971年，圖錄編號26。見棕斑瓷羊出土於1980年浙江丹徒區，《中國出土瓷器‧卷七‧江蘇上海》，2008年，編號64，頁53 (東晉越窰瓷器，長16 釐米)。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2019年11月6日，lot 127 價格：GBP 40,000（相當於今日EUR 60,500） 描述：西晉三世紀越窰青釉臥羊水注 專家評論：比較非常相近的模像、釉面和鐵紅點。請注意尺寸較大 (16.3 釐米)。
A COMPLETE SET OF ANTHROPOMORPHIC ZODIAC FIGURES, PAINTED POTTERY, TANG DYNASTYExpert's note: It is rare to find a complete set of twelve zodiac animals. The present set is also unusual for the crispness of its modeling, especially the inspired sculpturing of the heads, with each face showing a unique expression and character. Special care was given to the ox, tiger, and monkey sculptures who are the only figures robed in red, black, and yellow, possibly suggesting a personal connection between the original owners and these years.China, 618-907. Each modeled as a human figure standing ramrod straight with hands clasped beneath the long sleeves of court robes belted below the waist, falling in crisp folds and fanning out in a circle over the tips of their shoes. The robes in shades of red, yellow, cream, and brown. The heads finely modeled comprising the complete group of twelve animals of the Zodiac: the rat, ox, tiger, rabbit, dragon, snake, horse, ram, monkey, rooster, dog, and pig. (12)Provenance: From a private collection in Sussex, United Kingdom, assembled during the 1990s, and thence by descent.Condition: Excellent condition overall, commensurate with age. Wear, weathering and erosion, the original pigments partially faded. Minor chips, cracks, and losses. Soil encrustations. Possibly with small old repairs here and there, as expected from ancient potteries aged more than a millennia.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 19 April 2021, based on sample number C121c56, sets the firing date of two samples taken between 900 and 1500 years ago. A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.Weight: 14.9 kg Dimensions: Height 31 cm (the tallest) Zodiac figures first appeared during the Han dynasty as artisans began casting representations of the animals in bronze as offerings. Form the Northern Wei dynasty (386-534 AD) onwards, the zodiacal animals began to be anthropomorphized, such as in the present lot, and often functioned as grave goods. The heads of each of these figures were molded separately from the bodies and were attached before firing. The hollow interior can be seen from the base, which was necessary to access when attaching the heads to the bodies. Remnants of the sculptors fingerprints are preserved in the interior of many of these figures.Literature comparison:Compare a closely related complete set of twelve zodiac animals, each 30.5 cm high, dated to the 8th century, in the Metropolitan Museum of Art, accession number 2000.662.7a-l. A related complete set of twelve pottery Zodiac figures, Tang dynasty, unearthed in the suburbs of Xi'an, Shaanxi Province in 1955 and currently in the Museum of Chinese History, Beijing, was included in the exhibition China. 5000 Years: Innovation and Transformation in the Arts, The Guggenheim Museum, New York, 1998, cat. no. 108. A related complete set of twelve zodiac animals, excavated in 1950 at Ba Qiao, Shaanxi Province, and currently in the Shaanxi Beiling Museum, was included in the exhibition Gilded Dragons, The British Museum, London, 1999, no. 63. Compare a related set of five zodiac animals, 25.4 cm high, dated to the Tang dynasty, in the Minneapolis Institute of Art, accession numbers 50.46.197-50.46.201.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 January 2019, lot 69 Price: USD 35,000 or approx. EUR 38,000 converted and adjusted for inflation at the time of writing Description: A set of six Chinese large painted red pottery zodiac figures, Tang dynasty Expert remark: Compare the closely related modeling and manner of painting. Note the size (54.2 cm) and that this lot is an incomplete set of only six figures, as opposed to the present lot which is a complete set of twelve. 唐代彩繪十二生肖陶俑中國, 618-907年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A BRONZE FIGURE OF BUDDHA, NEPAL, 14TH-15TH CENTURYHeavily cast seated in dhyanasana with the right hand lowered in bhumisparsha mudra and the left on the lap, wearing a long-flowing robe, the folds gathering below the feet, the serene face with downcast eyes, a sharp nose, the mouth with a gentle smile, flanked by elongated ears, the hair in tight curls surmounted by an ushnisha. The bronze with a rich, smooth, naturally grown patina with malachite encrustations.Provenance: An important European private collection, the base with an old collector's label, 'Buddha Nepal 10th C.' Sotheby's Paris, 16 June 2022, lot 112. A German private collection, acquired from the above.Condition: Good condition with old wear and minor casting irregularities, tiny dents, small nicks, light scratches, and few microscopic losses. The base is pierced with two holes to the front and one hole to the back.Weight: 427.6 g (excl. stand)Dimensions: Height 11 cm (excl. stand) and 15 cm (incl. stand) With an associated fitted wood stand. (2)Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 16 November 2022, lot 60 Price: EUR 32,760 or approx. EUR 34,500 adjusted for inflation at the time of writing Description: A rare large bronze figure of Shakyamuni Buddha Tibet, ca. 14th century Expert remark: Note the larger size (27 cm) and that this figure comes from the same provenance as the present lot. 十四至十五世紀尼泊爾佛陀銅像釋尊結全跏趺坐於蓮花座之上，左手置腹前，施禪定印，右手施觸地印；頭頂高肉髻，螺髮密集，頂嚴寳珠，分明嚴整。眼長眉彎，雙目低垂，呈微笑慈悲和善之態；身著單肩袈裟，袒露前胸，胸襟束帶繫結，衣紋俐落流暢。自然包漿豐富。 來源：歐洲重要私人收藏，底部有一藏家標籤，可見 'Buddha Nepal 10th C.'；巴黎蘇富比，2022年6月16日，lot 112；德國私人收藏，購於上述拍賣。 品相：狀況良好，有磨損和輕微鑄造不規則、微小凹痕、小刻痕、輕微劃痕。底座前面有兩個孔，後面有一個孔。 重量：427.6 克 (不含底座) 尺寸：高 11 釐米 (不含底座) 與15 釐米 (含底座) 木製底座 (2) 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2022年11月16日，lot 60 價格：EUR 32,760（相當於今日EUR 34,500） 描述：西藏約十四世紀銅釋迦牟尼佛坐像 專家評論：請注意尺寸較大 (27 釐米) ，以及來源和本拍品相同。
A LARGE GILT-LACQUERED BRONZE FIGURE OF ZHENWU, THE PERFECTED WARRIOR, MING DYNASTYChina, 1368-1644. Well cast, standing on a rectangular base supported on four spreading feet, his left hand raised in front of his chest and his right holding a sword hilt (the blade now lost), clad in voluminous robes decorated with floral and scroll designs over the characteristic armor. His face with a calm expression marked by heavy-lidded downcast eyes centered by arched brows and a third eye, framed by the neatly incised hair and beard.Provenance: From a private collection in the United States. The base with an old label, 'JPC 62 23/C'.Condition: Good condition with expected wear and casting irregularities, signs of weathering, minor losses, small nicks, the left arm slightly loose, the figure leaning slightly forward, rubbing and losses to lacquer and gilt. The bronze with a rich, naturally grown, dark patina with malachite encrustations to the base.Weight: 5,286 g Dimensions: Height 38.7 cm Zhenwu, originally called Xuanwu (Dark Warrior), first appears in the Daoist pantheon as the embodiment of one of the four cardinal directions, representing the north, depicted emblematically as a tortoise entwined with a snake. The tortoise and snake imagery can be traced back to the late Warring States period, circa 3rd century B.C.In the early Northern Song dynasty, the emperor Song Zhenzong (r. 998-1022) who was an ardent Daoist, decreed that the god's name should be changed to Zhenwu (Perfected Warrior), and ordered a temple to be built in the Song capital city, Kaifeng, for the worship of Zhenwu, who was then represented in human form. During the Yuan dynasty, Zhenwu was elevated to the rank of celestial emperor and referred to as “Supreme Emperor of the Dark Heaven, Primal Sage, and Benevolent Majesty."In the early Ming dynasty, Zhenwu again was favored by the imperial house, and the early Ming emperor Yongle (r. 1403-1424) ordered the construction of many temples dedicated to Zhenwu, including the large temple which still remains as the northernmost building at the meridian of the 'Forbidden City' in Beijing. Zhenwu became one of the most important and most widely venerated of all the Daoist gods during the Ming dynasty and continued to be worshiped by Manchu emperors throughout the Qing dynasty.Auction result comparison: Type: Closely related Auction: Christie's London, 14 May 2019, lot 124 Price: GBP 18,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Zhenwu, 17th century Expert remark: Compare the closely related modeling, with similar face, hair, and dress, and manner of casting and gilding. Compare the similar subject. Note the seated pose and slightly larger size (44 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 28 May 2014, lot 3526 Price: HKD 106,250 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A lacquered bronze figure of Weituo, late Ming/early Qing dynasty, 17th century Expert remark: Compare the related modeling with similar armor and manner of casting and gilding. Note the slightly smaller size (36 cm). Note the different subject, which is generally regarded as less rare. 明代大型銅漆金真武大帝立像中國，1368-1644年。鑄造精良，真武大帝呈立姿，面龐豐腴，雙目微睜，目光下斂，眉毛和鬍鬚濃重，腰板筆直，挺胸抬頭；衣褶婉轉自然，展現出多層次折迭的衣折及立體袖擺，線條簡練生動，內含張力，具有不同凡俗的威儀。鑄造比例勻稱協調，雕刻細膩生動，結構嚴謹。 來源：美國私人收藏，底部老標籤“JPC 62 23/C"。 品相：狀況良好，有磨損和鑄造不規則、風化跡象、輕微損失和小刻痕，左臂略微鬆動，人物稍微向前傾斜，漆金有磨擦和缺損。整像包漿濃厚瑩潤，底部有綠色結殼。 重量：5,286 克 尺寸：高38.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2019年5月14日，lot 124 價格：GBP 18,750（相當於今日EUR 28,500） 描述：明末清初鎏金銅真武大帝坐像 專家評論：比較非常相近模板，相似的臉部、髮型和長袍、鑄造風格和鎏金。比較相似的主題。請注意坐姿和尺寸較大 (44 厘米)。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2014年5月28日，lot 3526 價格：HKD 106,250（相當於今日EUR 15,000） 描述：十七世紀明末至清初鎏金韋駄天銅像 專家評論：比較相近模板、鑄造風格和鎏金。請注意尺寸較小(36 厘米)、不同且較少見的主題。
AN EXCEPTIONALLY LARGE PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL AND A SOGDIAN RIDER, TANG DYNASTYExpert's note: The present lot is extremely rare for its exceptional size of 104 cm, with exceedingly few other examples of comparable height recorded in private or public collections.China, 618-907. Powerfully modeled, the large camel with its head turned to the left, the animal with a wild expression marked by protruding eyes, flaring nostrils, and the wide-open mouth with the tongue extended. The Sogdian rider wearing a fur coat and tall cap, his right arm raised to goad the camel, his mustachioed face with a stern expression as he sits on several rolled mats beneath the red saddle blanket with a dog propping himself up on his leg. The camel further ladened with a saddle bag and two flasks, as well as the yield of a hunt, a slain wild goat, tied to the saddle.Provenance: From a noted private collection in Aix-en-Provence, France. Condition: Some restorations and touch-ups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Drilled holes from sample-taking. Overall, very good condition and displaying magnificently.Scientific Analysis Report: A thermoluminescence analysis report issued by QED Laboratoire, Reference QED1346/FC-0101, dated 20 November 2013, sets the firing date of two samples as consistent with the suggested period of manufacture in Tang dynasty. A copy of the report accompanies this lot.Weight: 35.2 kg Dimensions: Height 104 cm The rider with fur coat and peaked hat represents a Sogdian merchant. A similar hat is worn by a small Tang bronze figure of a Sogdian dancer, included in the exhibition Monks and Merchants: Silk Road Treasures from the Northwest China, Asia Society Museum, New York, 2001-2, and at present on view in the Norton Museum of Art, Palm Beach, Florida, which is discussed and illustrated in the catalog, no. 82. Compare also a standing pottery figure of a similarly attired foreigner, excavated from a tomb of AD 724, illustrated in Treasures of a Nation, Beijing, 1999, pp. 216f, and a camel drover with a pointed hat, depicted together with his animal on a brick from one of the Dunhuang caves in Gansu province, included in The Exhibition of Ancient Art Treasures of the People's Republic of China, Tokyo National Museum, 1979, cat. no. 75.The highly animated depiction of the camel is reminiscent of the running camels from the hunting scenes painted on the walls of Crown Prince Zhuang Huai's tomb in Qianxian near Xi'an, Shaanxi province. The two-humped Bactrian camel was an exotic beast known in China from the Han dynasty, when it was first introduced as a form of tribute offered by the tribes of Turkestan and Central Asia. Prized for their ability to survive extreme hardships of heat, cold, and lack of water when travelling across the desert, camels came to symbolize the freely-flowing trade established along the Silk Road and thus the wealth and cosmopolitan nature of the Tang Court.Literature comparison:A related large painted pottery group of a camel and foreign rider, dressed in a fur coat and wearing a large pointed hat, excavated from the tomb of Wang Chen (buried 679), Chengzhi, Shaanxi province in 1954 and now in the Museum of Chinese History, Beijing, is illustrated by Li Jian (ed.), The Glory of the Silk Road, Art from Ancient China, The Dayton Art Institute, 2003, p. 170, pl. 85.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 15 September 2015, lot 258 Estimate: USD 180,000 or approx. EUR 210,000 converted and adjusted for inflation at the time of writing Description: A magnificent painted pottery camel with Sogdian rider and hunting owl, early Tang dynasty Expert remark: Compare the closely related modeling with a similarly animated camel and Sogdian rider, who however is holding a hunting owl in his hand. Note the related size (99.1 cm).唐代彩繪胡人騎駱駝陶俑由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LACQUER-GILT WOOD FIGURE OF THE STANDING BUDDHA, CHINA, 17TH - 18TH CENTURYThe figure with a downcast gaze, standing tall, one hand reaching towards the earth in a gesture of compassion, the other holding a peach, the life-giving fruit of immortality. The hair in conical whorls framing a gilt ushnisha above a serene face. The bare chest with a wan character in relief.Provenance: The Collection of Jose M. Neistein, and thence by descent in the family. Jose Menache Neistein (1934-2020), a distinguished expert in aesthetics, was born in São Paulo in 1934. He obtained his doctorate in philosophy with a thesis on aesthetics at the University of Vienna, Austria, demonstrating his outstanding intellectual abilities already as a young man. Throughout his illustrious career, Neistein has taught aesthetics at various universities and other institutions around the globe, inspiring countless students with his expertise and knowledge of the filed. Neistein's extensive research on literature, theater, and visual arts has been widely recognized, with his articles published in Germany, Austria, the United States and South America. He has also authored several books on art, solidifying his position as a leading authority in the field. Condition: Good condition with some wear, expected minor age cracks some with associated old repairs, a few small losses, minor flaking to the lacquer and gilding, light scratches, and few shallow chips, overall presenting extremely well.Weight: 1,012 g Dimensions: Height 37.2 cm Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 29 September 2022, lot 173 Price: EUR 16,900 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A large and important lacquer-gilt wood figure of Buddha, 17th-18th century Expert remark: Compare the closely related modeling, manner of carving, and lacquer gilding. Note the size (43.8 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 7 December 2018, lot 1068 Price: USD 12,500 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A Chinese gilt-lacquered wood figure of a Buddha, Ming dynastyExpert remark: Compare the closely related modeling with similar face. Note different pose, stronger wear to gilt, and the much smaller size (27.3 cm).Auction result comparison:Type: RelatedAuction: Bonhams London, 16 May 2019, lot 169Price: GBP 312,562 or approx. EUR 473,000 converted and adjusted for inflation at the time of writingDescription: A Rare Set of Three Gilt-Lacquered Wood Figures of the Buddha, 17th-18th CenturyExpert remark: Compare the lacquer gilding, the patina, the carving technique and style, as well as the size (55 cm). Note that the lot comprises 3 statues. 十七至十八世紀鎏金漆木雕佛陀立像佛陀目光低垂，筆直站立，一隻手伸向大地，做出慈悲的姿勢，另一隻手拿著一顆桃子。長袍下垂，線條流暢，胸前飾有珠寶，寧靜的臉上雙眉見有天眼，雙眼下垂，嘴唇豐滿帶著淡淡的笑容，兩側是長長的耳垂，髮髻高聳。 來源：Jose M. Neistein 收藏，家族傳承； 品相：狀況良好，有一些磨損，有輕微的老化裂紋，一些小修，一些小缺損，金漆和鍍金輕微剝落，輕微的劃痕，和一些淺的缺口。 重量：1,012 克 尺寸：高 37.2 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A SMALL GILT BRONZE FIGURE OF BUDDHA AMITABHA, 17TH-18TH CENTURYTibetan-Chinese. Seated in dhyanasana atop a double lotus throne with beaded edges, his hands held above his lap in dhyana mudra and holding an alms bowl. Dressed in voluminous robes and a scarf incised with foliate designs, the outer robe opening at the chest revealing the similarly decorated undergarment tied above the waist. His serene face with downcast eyes below arched brows, his full lips forming a benevolent smile flanked by long pendulous earlobes, the hair arranged in tight curls over the high ushnisha topped with a jewel.Provenance: A private collection in Hungary. Galerie Zacke, Vienna, 8 December 2018, lot 62, sold for EUR 1,138 or approx. EUR 1,400 (adjusted for inflation at the time of writing). A private collection in Portugal, acquired from the above.Condition: Good condition with expected old wear and casting irregularities. The base sealed with a simple copper sheet. The bowl replaced. Small nicks, some scratches, minor rubbing to gilt. Remnants of ancient pigment.Weight: 111.9 gDimensions: Height 6.8 cm Auction result comparison: Type: RelatedAuction: Sotheby's Paris, 12 December 2017, lot 25Price: EUR 10,000 or approx. EUR 11,500 adjusted for inflation at the time of writingDescription: A small statue of Buddha, Ming dynastyExpert remark: Compare the related modeling, manner of casting, and gilding.Auction result comparison: Type: RelatedAuction: Christie's New York, 22 March 2007, lot 218Price: USD 14,400 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare pair of small gilt-bronze Buddhas, 17th/18th centuryExpert remark: Compare the related modeling, manner of casting, and gilding. Note the larger size (9.8 cm) and that the lot comprises a pair. 十七至十八世紀銅鎏金無量壽佛坐蓮像漢藏。無量壽佛銅鑄鎏金製成，結金剛跏趺坐於蓮座之上。髮束高髻，螺髻。長眉細目，雙目微垂，鼻樑挺直，薄唇，神情平淡嚴肅。雙耳肥厚。身著袈裟，雙手於腹前結禪定印。造型體態豐滿健壯，周身裝飾簡潔考究，細節處均精工細作。 來源：匈牙利私人收藏。維也納Galerie Zacke藝廊，2018 年 12 月 8 日，拍品 62，售價 1,138 歐元或約 1,400 歐元（根據撰寫本文時的通貨膨脹情況進行調整）。 葡萄牙私人收藏。，購自上述。 品相：狀況良好，有磨損和鑄造不規則，底座用簡單的銅片密封。碗換了。小刻痕，一些劃痕，鎏金的輕微摩擦。顏料的殘留物。 重量：111.9 克 尺寸：高 6.8 厘米拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比，2017年12月12日，lot 25 價格：EUR 10,000（相當於今日EUR 11,500） 描述：明十五世紀鎏金銅佛坐像 專家評論：比較相近的模型、鑄造風格和鎏金。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年3月22日， lot 218 價格：USD 14,400（相當於今日EUR 20,000） 描述：十七至十八世紀一對鎏金銅佛像 專家評論：比較相近的模型、鑄造風格和鎏金。請注意尺寸較大(9.8厘米)，以及此為一對。
A PAIR OF MONUMENTAL GILT AND RED LACQUERED WOOD FIGURES OF BUDDHIST LIONS, LATE QING DYNASTYChina, 19th century. Both modeled standing in mirror image, the female with a pup clambering at her feet and the male with a pierced brocade ball, and each with a ball in their mouths. The fierce lions with deeply incised curly manes, mouths agape revealing sharp teeth, and a collar around the neck suspending bells. The rectangular stepped base carved with openworked dragons and petal lappets. (2)Provenance: From the private collection of Lu Xiaguang, and thence by descent. Lu Xiaguang (1906-1994) was a Chinese painter who became a protege of Xu Beihong in 1929 and learned oil painting in the Western style. On Xu's advice, he studied painting at the Ecole des Beaux-Arts in Paris and the Royal Academy of Belgium, after which he returned to Paris. He copied famous paintings from various schools in the Louvre, studied with great concentration, and collected paintings, art objects, and antiques. In 1984, he established the Lu Xiaguang Studio in Paris, which contributed to the cultural exchange between China and France. In 1993, Lu Xiaguang donated his life's work and his art collection of cultural relics, calligraphy, and painting to the People's Republic of China. His works and collection are permanently displayed in the Zhejiang Provincial Museum in Hangzhou. Condition: Good condition with old wear, expected age cracks, flaking and abrasions to lacquer, nicks, scratches, chips and losses. Minor old repairs. Fine, naturally grown patina overall - displaying exceptionally well.Dimensions: Height 145 cm and 148.5 cm Buddhist lion statues are an architectural decoration in front of an entrance to a temple, palace, business, tombs, and home. They are always found as a pair; one male with a ball under his right paw and one female with a cub under her left paw. These guardian lions are thought to protect the building from harmful spiritual influences and harmful people that might be a threat. The male lion guards the exterior of the building, while the female is in charge of the building's interior. The cub represents the continuity of protection.Lions are not native to China, and although live animals were brought to the Chinese court by foreign embassies since at least the Han dynasty (206 BC - AD 220), they were always exotic rarities. In India, the lion is intimately associated with Buddhism, considered a symbol of strength and protector of the Dharma, the Buddhist law, and with the growing popularity of the Buddhist religion during the Tang dynasty (618-907), pairs of lion figures were increasingly placed in front of Buddhist temple gates as guardian animals.The Yongle Emperor's international diplomacy efforts brought China once more in direct contact with foreign lands, their animals, plants and other exotica in the early Ming dynasty. The court welcomed foreign embassies and the Muslim seafarer and diplomat, Court Eunuch Zheng He (c. 1371-1435), embarked on seven extensive maritime expeditions to ports throughout Asia and as far as Africa, which continued into the Xuande reign. At this time, lions were apparently so little known in China that Ma Huan (c. 1380-1460), Zheng He's Muslim interpreter who accompanied him on three voyages, left us a contemporary account describing them in detail: “The lion has a body which resembles a tiger's in shape; it is a dark-yellow color, without stripes; it has a large head and a broad mouth; the tail tapers to a point, which has a lot of hair, black and long, like a tassel; the noise of its roar is like thunder. All the beasts, when they see it, fall down and dare not rise; it is indeed the king among the beasts" (J.V.G. Mills, ed., Ma Huan, Ying-yai Sheng-lan. The Overall Survey of the Ocean's Shores [1433], Hakluyt Society, London, 1970, reprint Bangkok 1997, p. 158-159).Although lions were among the exotic animals that had been brought to China already by some Timurid embassies, and on occasion were received as tribute by Zheng He's delegation, they were rare and desirable enough to be specially purchased on these voyages and be brought back to the court: during the sixth expedition in the Yongle reign, for example, when in 1421 the ships stopped in Aden (ibid., p. 50 and 159), and during the seventh voyage in the Xuande reign, when in 1431 a division of the fleet went to Mecca, where it had, among other things, brought porcelain items as gifts (ibid., p. 51 and 178). 清末一對紅漆描金太獅中國，十九世紀。母獅左前爪抬高摟著著一隻小幼崽，雄性右脚罩著一個花球。獅子火焰狀捲毛，嘴裏還叼著一個小球，雕刻手法細緻，神態生動可愛。(2) 來源：呂霞光私人收藏，傳承至今。呂霞光（1906-1994），中國畫家，1929年師從徐悲鴻，學習西洋油畫。在徐的建議下，他先後在巴黎美術學院和比利時皇家學院學習繪畫，之後返回巴黎。他在盧浮宮臨摹各流派的名畫，潛心研究，收藏繪畫、藝術品、古董。1984年在巴黎成立呂霞光工作室，為中法文化交流做出了貢獻。1993年，呂霞光將其畢生心血收藏的文物、字畫捐贈給中國。他的作品和收藏陳列於杭州浙江省博物館。 品相：狀況良好，有磨損、老化裂紋、剝落和漆面磨損、刻痕、劃痕和缺口，有小修。整體包漿細膩。 尺寸：分別高145 厘米與148.5厘米
AN ARAKAN STYLE GILT BRONZE FIGURE OF BUDDHA RATNASAMBHAVA, BURMA, 16TH - 17TH CENTURYBoldly cast seated in dhyanasana on a stepped plinth, his left hand lowered in varada mudra and his right hand held in dhyana mudra above the lap cradling a jewel. He is wearing a sheer dhoti tied at the waist with an ornate belt and with folds gathering at the top of the base as well as neatly incised scarves, and richly adorned with elaborate beaded jewelry. His serene face with sinuously lidded eyes below gently arched brows, his bow-shaped lips forming a calm smile. The hair arranged in a high chignon behind the foliate tiara and elegantly falling in twisted strands over the shoulders.Provenance: From a private collection in Brussels, assembled between 1970 and 1990. Condition: Wear, signs of weathering and erosion, losses, structural cracks, dents, rubbing to lacquer gilt, scratches, the mandorla lost. With a good patina. Overall presenting remarkably well.Weight: 3,144 g Dimensions: Height 30.5 cm This exceptional example of a crowned Buddha in the classic Arakan style closely resembles those from the Yongle period. Early Ming emperors sent gifts and dignitaries to Lamaist dignitaries in Tibet, employing Tibetan craftsmen to create sacred Buddhist images. Yongle and Arakan bronze have soft, sinuous characteristics of a refined quality. Both the Yongle and Arakan style represent an important and major shift from the Pala-influence of Southeast Asia on styles of sculpture and existed for roughly four centuries. The images consistently wear identical garments, jewelry, and five-leaved crowns. While Chinese written sources make no reference to Arakan, there are clear written sources documenting to the continual interchange of monks between Arakan, Bengal, and Tibet, which peaked in the 16th century. Bronzes of this type are rare and represent a unique cross-cultural exchange during the 15th-17th century.Literature comparison: Compare related Arakan bronze figures of Buddha, dated 15th-16th century, illustrated by Pamela Gutman, Burma's Lost Kingdoms. Splendor of Arakan, 2001, pp. 148-151, nos. 160-162, where the author elaborates on the connection between Yongle and Arakan bronzes.Auction result comparison: Type: Closely related Auction: Bonhams London, 8 September 2009, lot 70 Price: GBP 6,840 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: An Arakan gilded bronze, or other alloy, figure of a seated Buddhist deity, possibly Avalokitesvara, the Bodhisattva of Compassion Expert remark: Compare the closely related modeling, manner of casting, and gilding. Note the similar size (33 cm).
A RARE SCHIST FRIEZE WITH THE SCENE OF THE ENTREATY TO PREACH, ANCIENT REGION OF GANDHARAKushan period, 2nd - 4th century AD. Finely carved with Buddha seated in dhyanasana on a pedestal beneath a canopy of leafy branches from an ashoka tree, his right hand raised in abhaya mudra, wearing a voluminous robe with elegantly carved folds. He is flanked by Brahma and Indra who are kneeling and backed by halos. His serene face with heavy-lidded eyes below gently arched brows, his full lips forming a subtle smile, his neatly incised wavy hair with a high ushnisha.Provenance: From the private collection of a former British diplomat, and thence by descent in the same family. Condition: Very good condition, commensurate with age. Wear, signs of weathering and erosion, small losses, nicks, scratches, and encrustations, all as expected for a schist frieze of nearly two thousand years of age.Weight: 9.8 kg Dimensions: Width 33 cm With Brahma dressed as a sage positioned to his right and Indra with a tall crown to his left, the scene depicts an important moment in the life of Buddha. As described in the Mahavastu, after gaining enlightenment, Buddha was reluctant to teach what was revealed to him, concerned that his insights would be rejected by the world. Observing Buddha's thoughts, Brahma rallied Indra and other gods to implore Buddha to preach and "set rolling the wheel of the dharma" (see Jones, The Mahavastu, Vol. 3., London, 1956, pp. 302-309).The scene is an vital moment in a larger narrative, foreshadowing the creation of the sangha and the wider spread of Buddhism. Within its historic context, this figure speaks to the growth of Buddhism in the ancient region of Gandhara, didactically raising the Buddhist doctrine over Vedic thought and practice, the latter being referenced in the two gods' entreaty to Buddha.Literature comparison:Compare a related schist relief of the seated Buddha, 45.7 cm wide, dated 2nd-4th century, in the National Museum of Asian Art, Smithsonian Institution, accession number S2000.15. Compare a related schist carving of the seated Buddha with worshipers, 34 cm wide, dated 2nd-4th century, in the Victoria & Albert Museum, accession number IM.70-1939.Auction result comparison: Type: Closely related Auction: Bonhams New York, 17 September 2014, lot 82 Price: USD 43,750 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A schist relief panel of the Entreaty to Preach, ancient region of Gandhara, 2nd/3rd century Expert remark: Compare the closely related scene with the Entreaty to Preach showing Brahma and Indra on the seated Buddha's right and left. Note the slightly larger size (44.4 cm).Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 562 Price: USD 29,800 or approx. EUR 39,000 converted and adjusted for inflation at the time of writing Description: A large gray schist relief of Buddha with attendants, Gandhara, 2nd/3rd century Expert remark: Compare the related subject and manner of carving. Note the larger size (50 cm) and that this is a fragment only, with obvious condition issues. 健陀羅片岩佛祖講道場景貴霜時期，二至四世紀。阿育王樹枝繁葉茂的樹冠下，佛陀在以禪坐姿勢端坐於底座上，右手施無畏印，身披天衣，衣紋流畅，如行雲流水。 他的兩側是跪著梵天和因陀羅。佛陀面容平靜，雙眼微閉，面露微笑，頭上有螺髻。 來源：前英國外交官私人收藏，並且在同一家族傳承。 品相：狀況極好，有磨損、風化和侵蝕的跡象、小缺損、刻痕、劃痕和結殼。 重量：9.8 公斤 尺寸：寬 33 厘米文獻比較： 比較一件相近的西元二至四世紀坐佛浮雕片岩，寬45.7厘米，收藏於史密森學會國立藝術博物館，館藏編號S2000.15。比較一件相近的西元二至四世紀坐佛浮雕片岩，34厘米寬，收藏於維多利亞和亞伯特博物館，館藏編號IM.70-1939。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2014年9月17日，lot 82 價格：USD 43,750（相當於今日EUR 52,000） 描述：二至三世紀犍陀羅佛陀講道浮雕片岩 專家評論：比較非常相近的講道場景，梵天和因陀羅分別坐在佛陀的左右兩側。請注意尺寸較大 (44.4厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2008年3月21日，lot 562 價格：USD 29,800（相當於今日EUR 39,000） 描述：二至三世紀犍陀羅佛陀講道浮雕片岩 專家評論：比較相近的主題和雕刻風格。請注意尺寸較大 (50厘米) ，這只是一件殘片，有明顯的品相問題。
A RARE CIZHOU SGRAFFIATO TRUNCATED MEIPING, TULUPING, SONG DYNASTYChina, 960-1279. The high-shouldered body surmounted by a short narrow neck and outwardly curved rim, finely decorated in a cut-slip technique through the outer dark-brown layer of the slip to the white layer underneath and covered overall in a clear pale-crackled glaze. The body encircled with four large peony blooms borne on a meandering scroll with trefoil leaves below scrolling bands, all between overlapping petal-lappets. The mouth left in white slip, the unglazed base revealing the smooth pale gray ware.Provenance: New York trade. Acquired from a private collector, by repute.Condition: Very good condition with ancient wear, the foot with some smoothened chips, shallow surface scratches, some firing irregularities, glaze flakes, and one vertical hairline.Weight: 1,125 gDimensions: Height 15 cm. Diameter 15.5 cm Some of the most attractive Cizhou wares are those made by various kilns in northern China with designs reserved in black against a white ground. The complicated technique used to create the striking decoration in contrasting colors seen on the present piece is known by the Italian term sgraffiato, literally 'scratched'. It first appeared around the late eleventh century, and was created through the application of contrasting layers of slip or glaze. On the present truncated bottle, a layer of dark brown, almost black slip was applied over white slip, which was later carefully incised to create decorative patterns by revealing the pristine white layer beneath, and then finally covered by a layer of clear glaze. This labor-intensive and time-consuming technique adds a sense of opulence and luxury to the stoneware.The vase is also notable for its well-proportioned form, with a small mouth, broad shoulders and a wide base, which is known as 'tuluping' or 'truncated meiping'. This form, which was produced at many northern kilns, is closely related to the taller meiping, a quintessential Song shape, but enjoyed a much shorter period of production. It was produced for only about a hundred years during the eleventh and twelfth centuries, leaving behind a relatively small number of extant examples.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 March 2021, lot 123Estimate: USD 200,000 or approx. EUR 213,000 converted and adjusted for inflation at the time of writingDescription: A superb black-glazed 'Cizhou' sgraffiato 'peony' 'tulu' vase, Northern Song / Jin dynastyExpert remark: Compare the related form and sgraffiato decoration. Note the larger size (23 cm). 宋代磁州窯牡丹紋吐魯瓶中國, 960-1279年。器身短頸，口沿外彎，丰肩。白釉黑彩剔花裝飾工藝，牡丹花紋凸起，黑白兩色對比強烈。畫面構圖飽滿，剔刻流暢奔放有力， 又不失精細與靈巧。牡丹花之間用纏枝相連。底部無釉，露出光滑的淺灰色胎。 來源：紐約古玩交易；據説購於私人收藏。 品相：狀況極好，有磨損，足部有一些刻痕，表面淺劃痕，一些燒製不規則，釉面開片和一條垂直的冲線。 重量：1,125 克尺寸：高 15 厘米, 直徑 15.5 厘米 宋代磁州窯系是北方地區代表性民間瓷窯，這些瓷器保留了白地黑彩圖案。本件拍品中所採用的複雜技術以對比色打造對比鮮明的紋飾，意大利語稱之 sgraffiato 。它首次出現於十一世紀末，是通過應用對比鮮明的釉料層或釉料而製成的。本瓶是在器皿坯體上頂部施白、黑色兩層化妝土，劃出花紋圖案，並清晰去如外面的黑彩，這種耗時的技術為炻器增添了豐富和奢華的感覺。此瓶亦以器形勻稱，小口，寬肩，寬底而著稱，俗稱“吐嚕瓶"或“矮梅瓶"。此器多產於北方，與較高的梅瓶密切相關，是典型的宋器，但生產時間較短。它在十一至十二世紀僅生產了大約一百年，留下了相對較少的現存例子。拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2021年3月17日，lot 123 估價：USD 200,000（相當於今日EUR 213,000） 描述：宋 / 金磁州窰黑釉劃牡丹紋小口瓶 專家評論：比較相近的外形和裝飾。請注意尺寸較大 (23 釐米)。
AN ELABORATE KERALA BRONZE FIGURE OF A FEMALE DEITY, POSSIBLY KALISouth India, 16th-17th century or earlier. Finely cast standing on a tiered square base within a beaded arch, richly adorned with beaded and floral jewelry and festooned with belts and garlands. Her hair is neatly incised and pulled up into a high chignon, falling elegantly in strands over her shoulder. Her serene face with almond-shaped eyes and full lips. The back of her head with a floral strut. The bronze with a rich, naturally grown patina with malachite and cuprite encrustations.Provenance: From an old French family collection. An ancient collector's label on the base and a collectors incision on the top of the base.Condition: Condition commensurate with age and displaying very well, with some wear and minor casting flaws, signs of weathering and erosion, encrustation, scratches, nicks, dents and obvious losses.Weight: 538.1 gDimensions: Height 14.6 cm According to Pratapaditya Pal, Kerala bronzes are among the most underappreciated and least studied schools of Indian art, and he emphasizes in his book The Elegant Image that “[n]owhere else on the subcontinent have the sculptors lavished so much energy and attention to ornamental elements of a bronze ensemble as have the unknown artists of Kerala" (2011, p. 119). He intuits that bronze and stone sculpture, as opposed to wood, must have begun in Kerala under the political hegemony of the Pallava dynasty, which ended in the 9th century. In addition to this, the lavish and flamboyant ornamentation on the present lot indicates an artistic borrowing from the Hoysala style of the 12th - 14th centuries.Literature comparison:Compare a related bronze statue of Shiva, 30.3 cm tall, dated to the 14th-15th century, in the Walters Art Museum, accession number 54.2648. Compare a related bronze statue of Kali, 22.5 cm tall, dated to the 17th century, in the Brooklyn Museum, accession number 87.185.Auction result comparison: Type: Related Auction: Christie's New York, 30 March 2006, lot 67 Price: USD 13,200 or approx. EUR 18,500 converted and adjusted for inflation at the time of writingDescription: A bronze figure of a female deity, India, Kerala, 16th centuryExpert remark: Note the size (35.4 cm). Auction result comparison: Type: Related Auction: Christie's New York, 21 March 2008, lot 762Price: USD 8,125 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A rare bronze figure of Vishnu, India, Kerala, 17th centuryExpert remark: Note the size (29.2 cm).
A JAIN MANDALA, GUJARAT, WESTERN INDIA, 17TH-18TH CENTURYOpaque pigments on cloth. Finely painted with a central seated tirthankara surrounded by various tirthankaras, deities, and other sacred figures, enclosed within foliate panels and medallions, with extensive identifying inscriptions.Provenance: Collection of Jose Ramón Pons Oliveras, Barcelona, Spain, 1998. Collection of Carlos Cruañas Dalmau, Barcelona, Spain, acquired from the above. A copy of the original invoice signed by Jose Ramón Pons Oliveras, dated 15 April 1998, addressed to Carlos Cruañas Dalmau, dating the present lot to the 17th-18th century, and stating a purchase price for the present lot, together with three other Indian paintings also dated 17th-18th century, of EUR 35,000 or approx. EUR 63,000 converted and adjusted for inflation at the time of writing, accompanies this lot. Jose Ramón Pons Oliveras (1928-2013) was a traveler, photographer, and cinematographer of nature, and a noted collector of Indian works of art. He travelled extensively to Asia, Oceania, Africa, and South America, filming in many isolated and inaccessible areas of the world. He acquired rare and important works of art during his travels to India in the 1970s, some of which have been sold by Christie's, including a mottled red sandstone figure of a lion, Mathura, 2nd century, at Christie's New York, 19 March 2013, lot 259.Condition: Good condition with minor wear, soiling, creasing, few loose threads, tiny losses.Dimensions: Size 86 x 80 cm The center with a lotus mandala, the petals of which enclose sixteen seated tirthankaras, listed clockwise beginning from the top: Santi, Rsabha, Ajita, Sambhava, Abhinanda, Sumati, Padmaprapha, Suparsva, Candraprabha, Puspadanta (Subibhi), Sitala, Sreyamsa, Vasupujya, Vimala, Ananta, and Dharma. The eight tirthankaras shown inside the central medallion are Ara, Malli, Suvrata, Nemi (Nami), Aristanemi, Parsva, Mahavira, and Kunthu. The top register with the Blue Matrsakti (Mother Energy) in the center flanked to the left by the three-headed yellow Parayamahasthi with a stallion and to the right by the four-armed goddess Prthvi with a yellow lion. The bottom register with Shakti holding lotuses in her upper hands with her two peacocks in the center, the white Harivakya with four arms to her left, and a yellow-skinned four-armed deity to her right.Auction result comparison: Type: RelatedAuction: Christie's London, 12 June 2014, lot 66Price: GBP 16,250 or approx. EUR 28,000 converted and adjusted for inflation at the time of writingDescription: A Jain mandala with Padmavati, Gujarat, North-West India, 17th/18th centuryExpert remark: Note the size (80 x 71.5 cm).
A CIZHOU POTTERY FIGURE OF A BOY WITH A DUCK, SONG TO YUAN DYNASTYChina, 11th-14th century. Well modeled as a young boy wearing a robe enameled in green and red as well as a necklace in golden amber, holding a duck with boldly painted wings in his lap. The boy's face is neatly detailed with round cheeks and small plump lips, and his hair is tied in three tufted knots.Provenance: From an old private collection in the United Kingdom, and thence by descent in the same family. The interior with an old collector's number, 'c 204'. Condition: Old wear, soil encrustations, and expected firing flaws such as glaze recesses, pitting and dark spots. Obvious losses, chips, and small cracks. The wood base with natural wear, microscopic age cracks, a minor chip and a fine, naturally grown patina overall.Weight: 414.1 g (incl. stand), 310.1 (excl. stand) Dimensions: Height 16.9 cm (incl. stand), 16 cm (excl. stand) With an old fitted stand, dating from the Qing dynasty, carved from a single piece of hardwood showing a nice grain, probably huali. (2)Expert's note: The present figure, of which a significant portion was lost to time, has long ago been furnished with a fitted wood stand, which perfectly follows the boy's proportions and allows him to once again stand upright. This subtle stand, which is barely noticeable as being separate from the figure, shows that this sublime piece of pottery was already highly appreciated (and maybe even loved) long before it came into the previous owner's possession.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 August 2021, lot 1049 Price: HKD 75,600 or approx. EUR 9,100 converted and adjusted for inflation at the time of writing Description: A Cizhou painted figure of a lady, Southern Song-Jin dynasty Expert remark: Compare the related modeling and manner of painting with similar pose and face. Note the size (24.5 cm) and that the figure is accompanied by a straw-glazed figure from the Tang dynasty.Auction result comparison: Type: Related Auction: Sotheby's New York, 16 September 2009, lot 114 Estimate: USD 10,000 or approx. EUR 13,000 converted and adjusted for inflation at the time of writing Description: A rare polychrome 'cizhou' figure of a boy, Northern Song/Jin dynasty Expert remark: Compare the related modeling and manner of painting with similar hair and charmingly plump face. Note this lot is accompanied by a small Cizhou whistle in the shape of a boy.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2014, lot 707 Price: USD 47,500 or approx. EUR 56,000 converted and adjusted for inflation at the time of writing Description: A Cizhou polychromed pottery figure of a Luohan, Yuan dynasty Expert remark: Compare the related modeling and manner of painting. Note the size (29.2 cm). 宋至元磁州彩繪童子像中國，十一至十四世紀。小男童穿著紅綠長袍，戴著金色琥珀項鍊，雙手抱著一隻帶有大鴨子。男孩臉頰圓潤，小嘴撅起，頭髮紮成三個辮子。 來源：英國私人舊藏，在同一家族傳承。內部帶有收藏編號 “c 204"。 品相：有磨損、泥土結殼以及燒製缺陷，例如釉面凹陷、麻點和黑點。明顯的缺口和小裂紋。木質底座自然磨損、微小的老化裂紋、輕微的缺口和自然包漿。 重量：414.1 克 (含底座)，310.1 克 (不含底座) 尺寸：高 16.9 厘米 (含底座)，16 厘米 (不含底座) 配有一個老支架，可以追溯到清朝，由一整塊硬木雕刻而成，呈現出漂亮的紋理，可能是花梨木。(2) 拍賣比較： 形制：非常相近 拍賣：香港蘇富比，2021年8月26日，lot 1049 價格：HKD 75,600（相當今日EUR 9,100） 描述：宋至金磁州彩繪仕女像及唐淡黃釉陶俑 專家註釋：比較相近的模型、 繪畫風格，以及相似的姿勢和臉部。請注意尺寸 (24.5 厘米) ，該人物旁邊還有一尊唐代黃釉人物。 拍賣比較： 形制：相近 拍賣：紐約蘇富比，2009年9月16日，lot 114 估價：USD 10,000（相當今日EUR 13,000） 描述：宋至金代磁州彩繪童子像 專家註釋：比較相近的模型、 繪畫風格，以及相似的髮型和臉部。請注意此像旁邊還有一小童像。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2014年9月19日，lot 707 價格：USD 47,500（相當今日EUR 56,000） 描述：元磁州窰彩繪羅漢坐像 專家註釋：比較相近的模型和繪畫風格。請注意 尺寸 (29.2 厘米)。
A BLUE AND WHITE 'PEONY, PHOENIX AND LONGMA' VASE, MEIPING, CHINA, 14TH-15TH CENTURYFinely painted in ample detail and neatly graduated shades of cobalt blue with a continuous undulating stem bearing four large peony blooms, each with furled petals. The stem growing spiky leaves on scrolling vines, all elaborated in stark contrasts of manifold pale and soft blue tones with innumerable minuscule dots of blackish blue, all between narrow bands of classic scroll and double lines. This main frame is beneath a masterfully painted band of phoenix and longma outlined in deep blue, detailing the fine scales, feathers, wings and tails of these mythical creatures, all enclosed by densely flowering lotus blossoms, and beneath a band of scroll design which encircles the short upright neck with its flared mouth rim. The base with a wide border of rectangular lappets. The broad shoulders elegantly tapering to a slightly splayed foot.Provenance: Belgian trade. Acquired from the estate of a noble family in Belgium, where it has been for quite some time, by repute. Condition: Old wear and weathering. Expected firing flaws, such as glaze gaps and recesses, glaze crackling, minute firing cracks, extensive pitting, minor kiln grit, and a circumferential luting line below the shoulder. One glaze recess is revealing some of the original blue color below the thick and somewhat opaque layer of transparent glaze above. The lower section with a single crack, which has become black over time. The base and the lip have been excised so that the vase could fit into a mounting. This was probably done in the 18th-19th century, shortly after the vase made its way to Europe. The mounting was then removed again, probably during the 20th century, and the base and lip were restored accordingly. This restoration was carried out a long time ago, for that the fills at the lip have turned yellow, now standing out against the original color of the ware.Weight: 4,224 g Dimensions: Height 43.2 cm This elegant meiping is a classic example of early Chinese blue and white porcelain. The form is well-proportioned and the vessel sturdily yet elegantly potted. It is decorated in rich and well-graduated cobalt blue which had to be imported at great expense during this period. The banded design makes good use of the extensive canvas provided by the vase's form. The three major decorative bands are in pleasing contrast to one another. They include four of the most successful motifs of the 14th century: longma and phoenix, the bold peony scrolls, and the lappet panels.The longma is an auspicious creature that, according to legend, is said to represent gratitude. During the Xuande reign it was introduced as a principal decoration and has been a popular subject ever since. While depictions of longma on porcelain from this period are quite common, earlier versions of it are quite rare to find.Literature comparison:Compare the form of the present lot and the longma and phoenix designs with several examples from the 14th century in Toji Taikei, Vol. 41, Gen no Sometsuke, by Yabe Yoshiaki, Publisher Heibonsha, Tokyo, Japan, 1974.For the form:Nr. 37, blue and white vase, Meiping, height 34.6 cmFor the phoenix: Nr. 38, blue and white ''peony and scroll'' vase, Meiping, height 43.7 cmNr. 66, blue and white ''seahorse and phoenix'' vase, same item as Nr. 59, height 25.4 cmFor the longma: Nr. 8, blue and white ''seahorse'' plate, diameter 47 cm, Topkapı Palace MuseumNr. 59, blue and white ''seahorse and phoenix'' vase, same item as Nr. 66, height 25.4 cm 十四至十五世紀青花牡丹神獸梅瓶敞口，折沿，細長頸，扁鼓眶，圈足。青花精美四朵牡丹卷葉紋。青花色彩柔和，間雜黑藍色斑點。肩部滿飾卷草紋與神獸如鳳凰與龍馬，精美描繪了這些神話生物的鱗片、羽毛、翅膀和尾巴。下方是開光芭蕉紋内描繪卷草紋。 來源：比利時古玩交易，購於比利時貴族家庭，據説曾在家族裏很長時間。 品相：磨損和風化，有燒製缺陷，例如釉面凹陷和裂紋，大面積的凹坑、較小的窯砂，以及肩部下方的凹痕。一個釉槽在透明釉層下露出了一些原始的藍色。下部有一條裂紋，隨著時間的推移已經變黑。底座和邊緣已被切除，以便花瓶可以安裝到支架中。 這可能是在上十八世紀至十九世紀完成的，即花瓶傳入歐洲後不久。隨後，可能是在二十世紀，支架再次被拆除，底座和唇緣也相應修復。這次修復是很久以前的事情了，因為唇部的填充物已經變黃，現在在器物的原始顏色的襯托下顯得很突出。 重量：4,224 克 尺寸：高 43.2 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
AN ANNAMESE POLYCHROME 'BIRDS AND BUTTERFLY' DISH, VIETNAM, 15TH-16TH CENTURYThe shallow rounded sides rising from a short foot to an everted lipped rim. Freely and deftly painted, the central panel decorated with two sparrows perched on a flowering peony branch as a butterfly hums nearby, encircled by floral sprays within foliate cartouches against a ruyi and wave ground below a geometric border to the rim, the exterior sides with a lappet border, the unglazed base covered with a reddish-brown wash.Provenance: Blitz Oriental Art, Amsterdam. A private collection in New York, USA, acquired from the above. The base with an old label, 'Blitz Oriental Art Amsterdam.' Blitz Oriental Art was founded in 1978 by Dries and Diana Blitz in Amsterdam, Netherlands. Since its establishment, the business has sold many fine objects to collectors and museums worldwide. They are renowned for their early Chinese ceramics and works of art. Today, pieces bought from Blitz can be found in the British Museum, Metropolitan Museum of Art, National Palace Museum, Taipei, Victoria and Albert Museum, and the Harvard University Art Museums, among others.Condition: Very good condition with minor wear and firing flaws, few microscopic chips. The glaze with crackling overall, inherent to manufacturing, some of which has expanded into superficial glaze lines.Weight: 1,764 gDimensions: Diameter 34 cm Literature comparison:Compare a closely related Annamese dish, dated to the 16th century, in the Brooklyn Museum, accession number 2021.17.1. For a related dish in the Metropolitan Museum of Art, see J. Guy, Vietnamese Ceramics: A Separate Tradition, New York, 1997, p. 314-315, nos. 251 and 252. See also another bird dish of the same size with the addition of underglaze blue outlines to some of the decoration that sold at Christie's London, 7 December 1984, Important Annamese Ceramics: The Mr. and Mrs. Robert P. Piccus Collection, lot 106.Auction result comparison:Type: Closely related Auction: Christie's New York, 23 March 2010, lot 277 Price: USD 6,875 or approx. EUR 8,900 converted and adjusted for inflation at the time of writing Description: An overglazed enameled ceramic dish, Vietnam, Annamese, 15th/16th centuryExpert remark: Note the size (41.8 cm).Auction result comparison:Type: Closely related Auction: Christie's Hong Kong, 23 November - 7 December 2021, lot 3327 Price: HKD 75,000 or approx. EUR 9,200 converted and adjusted for inflation at the time of writing Description: A large and rare Annamese polychrome 'lotus' dish, 15th-16th centuryExpert remark: Note the size (34.5 cm). 越南十五至十六世紀安南折沿開光花鳥盤大盤折沿，弧腹，圈足。盤中央開光描繪牡丹花枝頭棲息的兩隻麻雀，一隻蝴蝶在附近飛舞，周圍環繞著纏枝花卉。内壁波浪紋地如意開光。底座無釉。 來源：阿姆斯特丹Blitz Oriental Art東方藝術藝廊；美國紐約私人收藏購於上述美術館。底部有一個舊標籤，可見 'Blitz Oriental Art Amsterdam' 字樣。Dries 和 Diana Blitz 1978 年在荷蘭阿姆斯特丹創立Blitz Oriental Art 藝廊。自成立以來，該公司已向世界各地的收藏家和博物館出售了許多精美的藝術品。藝廊以早期的中國陶瓷和藝術品而聞名。如今，從 Blitz 購買的藝術品可以在大英博物館、大都會藝術博物館、台北國立故宮博物院、維多利亞和阿爾伯特博物館以及哈佛大學藝術博物館等地找到。 品相：狀況非常好，有輕微磨損、燒製缺陷和微小碎片。釉面整體有裂紋，這是製造過程中所固有的，其中一些已擴展為表面釉線。 重量：1,764 克 尺寸：直徑 34 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2010年3月23日，lot 277 價格：USD 6,875（相當於今日EUR 8,900） 描述：十五至十六世紀安南陶盤 專家評論：請注意尺寸 (41.8 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2021年11月23日- 12月7日，lot 3327 價格：HKD 75,000（相當於今日EUR 9,200） 描述：十五/十六世紀安南彩繪蓮花紋大盤 專家評論：請注意尺寸 (34.5 釐米)。 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A PAIR OF SANCAI FIGURES OF PERSIAN AMBASSADORS, LATE MING DYNASTYChina, 16th - 17th century. Well modeled in mirror image, each standing on a shaped base holding a tributary vase in both hands, wearing elaborate robes secured with a belt and carved with floral and foliate designs, high boots, and tall caps. Their faces with curling mustaches and bushy eyebrows, their mouths agape. (2)Provenance: From an Italian private collection. Each with an old label to the base inscribed in Italian, 'Sancai (three color) pottery. Ming period (1368-1644). Candle holder - Turk with vase (180).' Condition: Expected old wear and firing flaws, small losses, few cracks, some glaze flaking, as well as minor old repairs and touchups. Please request a video of the present lot taken under strong blue light for more details. Weight: 2,923 g and 2,898 g Dimensions: Height 44.3 cm and 43.9 cm Throughout Chinese history, tributary states and tribes were required to periodically send their ambassadors to the Imperial court and pay tribute with valuable gifts. Drawings and paintings with short descriptions were used to record the tribute of these ambassadors and to document cultural aspects of these ethnic groups. Descriptions were written alongside these portrayals, which became later highly valued as historical sources regarding the international relations between China and the rest of the world. The Portraits of Periodical Offering of Liang was painted by the soon to be Emperor Yuan of Liang, Xiao Yi (ruled 552-555 AD) of the Liang dynasty while he was a governor of the Jingzhou province as a young man between 526-539 AD, a post he held again between 547-552 AD. During his time as governor, he had the opportunity to meet many foreigners. One of his paintings depicts a Persian ambassador and likely served as the inspiration for these two figures.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 15 October 2021, lot 194 Price: EUR 15,168 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A rare sancai roof tile depicting a Persian ambassador, late Ming dynasty Expert remark: Compare the similar headdress and curly hair typical of depictions of Persians. Note the size (49 cm). 明末一對三彩波斯人俑中國, 十六至十七世紀。人俑造型精美，站在一個底座上，雙手拿著一個朝貢花瓶，穿著胡人外袍，用腰帶固定，上面刻有花卉和葉狀圖案，穿著高筒靴和高帽。臉上留著捲曲的鬍鬚和濃密的眉毛，嘴巴大張。 (2) 來源：義大利私人收。底座有標籤，可見義大利語“三彩，明代，蠟燭台"字樣。 品相：有磨損和燒製缺陷、小損失、少量裂紋、一些釉料剝落，輕微的舊修和補漆。請向我們索取在強藍光下拍攝的影片，以了解更多詳情。重量：分別爲2,923克與 2,898克 尺寸：分別高 44.3 厘米與43.9厘米 縱觀中國歷史，朝貢國和部落都被要求定期向朝廷派遣使者，並向朝廷進貢。帶有簡短描述的圖畫和繪畫被用來記錄這些使節的貢品，並記錄這些民族的文化。 這些描述後來成為有關中國與世界其他國家之間國際關係的歷史資料，受到高度重視。拍賣結果比較： 形制：非常相近 拍賣：Galerie Zacke，維也納，2021年10月15日，lot 194 價格：EUR 15,168（相當於今日EUR 17,000） 描述：明末罕見三彩波斯人俑 專家評論：比較相似的髮飾和標準的波斯人捲髮。請注意尺寸 (49 釐米)。
AN EARLY FAHUA-GLAZED 'LOTUS' JAR, GUAN, WITH FOUR LION-MASK HANDLES, MING DYNASTYExpert's note: The lion mask-handles in such high relief are extremely rare in fahua-glazed Guan jars of this type. While they did exist with other styles of fahua vessels, like the stools at Sotheby's referenced in the literature comparison below, no other jars of this type are recorded in public or private collections. China, late 15th to early 16th century. Heavily potted with a baluster body supported on a short tapered foot and rising to a short waisted neck with a galleried rim. The exterior is slip decorated and brightly glazed in blue, turquoise, aubergine, yellow, and cream with two egrets, one standing and the other flying, in a lotus pond with blossoms, buds, and leaves, in the back with a small butterfly, all above crashing waves. The shoulder encircled by a band of lotus scroll and applied with four pierced lion-mask handles that once suspended loose bronze rings, below a band of foliate scroll to the neck.Provenance: From the Langlois Collection. Jean-Marie-Charles Langlois (1896-1949) arrived in Vietnam in 1920, where he served as the principal engineer for the Indochinese railways until 1949. As a sinophile who spoke fluent Mandarin, he built an important collection of Asian works of art. In 1949, he was imprisoned by the Viet Minh during a train attack and executed on the same day. His wife and two sons came back to Burgundy near Dijon, France, bringing Jean Langlois' collection with them. Once in France, his family continued to buy Asian works of art on the French art market, thus paying tribute to Jean Langlois's memory.Condition: The raised slip is remarkably well preserved. The jar remains in its absolutely original condition with no restorations of any kind. Obvious glaze losses as seen on images, some of them smoothened. Old wear, expected firing flaws, shallow surface scratches and tiny nicks. Displaying exceptionally well, despite its age of roughly half a millennia.Weight: 4,451 g Dimensions: Height 28.8 cm The term 'fahua' may derive from the Chinese term 'fenhua', meaning 'powdered decoration' and refers to a group of medium-fired glazes developed in the late 15th century on the basis of the Yuan Dynasty liu li glazes (see Q. Wang, A Dictionary of Chinese Ceramics, Shanghai, 1989, p. 220). Due to the very liquid nature of the glazes, the variously colored areas are isolated from one another by clay walls which tend to vary in thickness.Variations in the vivacity of the colors applied, as well as different shapes and subjects of decoration, may be attributed to different eras of production (see D. Lion-Goldschmidt, Ming Porcelain, London, 1978, p. 127). On this matter, Lion-Goldschmidt also notes that the early fahua wares tend to feature motifs of lotus rising from water, as well as cranes, birds, and figures. The author further points out that complimentary decoration on fahua, i.e. that found on necks, rims, and feet, also relates to the designs, found on late 15th century blue and white wares. Egrets or cranes provide a homonym for 'lu' ('a path'), alluding to attainment. When this imagery is combined with flowering lotus (lian) it forms the rebus, 'Yilu lianke' ('May you pass your exams one after another'). Literature comparison:Compare a related pair of fahua-glazed stools also decorated with egrets in a lotus pond and applied with similar lion-mask handles suspending gilt-bronze rings, 44 cm high, dated to the Ming dynasty, at Sotheby's Paris, 11 April 2018, lot 305.Auction result comparison: Type: Closely related Auction: Sotheby's London, 13 May 2015, lot 289 Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writing Description: A large fahua 'lotus' jar, Guan, Ming dynasty Expert remark: Compare the related guan form, lotus pond decoration, and fahua glaze. Note the associated wood cover and that the jar is restored to the neck unlike the present lot which is in absolutely original condition. 明代琺華釉蓮花罐中國，十五世紀末至十六世紀初。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LARGE AND RARE 'QILIN, MYTHICAL HOUND AND BUDDHIST LION' JAR, MING DYNASTY, JIAJING PERIOD, 1521-1567Expert's note: The combination of iron-red and green glazes was utilized primarily during the Jiajing period (1521-1567). According to Daisy Lion-Goldschmidt in Ming Porcelain, New York, 1978, page 164, in her discussion of the 'Red-and-Green' Group, this palette would come to dominate polychrome porcelains, eventually leading to the appearance of famille verte during the second half of the seventeenth century.China. The ovoid body is supported on a flat base and rises to a short and slightly flared neck with a lipped rim. Boldly painted in green, red, and aubergine enamels with three lobed panels enclosing a mythical hound, a Buddhist lion and a Qilin, each with a long snout and standing foursquare amid foliage and rockwork depicted in profile and facing the viewer, surrounded by floral sprays, all beneath a band of phoenixes and peony blossoms below the rim decorated with lingzhi sprays. Covered overall with a finely crackled transparent glaze of a pale-ivory tone, the interior with a dark brown glaze.Provenance: The J. M. Hu, Zande Lou Collection. An old, padded silk box fitted to the vase accompanies the lot. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art. Condition: Remarkably well preserved, commensurate with age. Expected old wear and firing irregularities, including some burst bubbles, firing cracks, tiny bumps, pitting, dark spots, and glaze recesses. Occasional light scratches. Minor chips to base, mostly smoothened over time. Small hairlines. Displaying exceptionally, due to its size and excellent condition.Weight: 13.5 kg Dimensions: Height 40 cm Literature comparison:Compare a related red and green enameled porcelain 'min yao' dish donated by R. Soame Jenyns, 30.3 cm in diameter, dated to the Ming dynasty, likely Jiajing, in the British Museum, registration number 1951,1010.1. Compare a related polychrome enameled jar decorated with horses, with a Jiajing mark and of the period, 18 cm high, in the Metropolitan Museum of Art, accession number 1991.253.58.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2023, lot 1036 Price: USD 32,760 or approx. EUR 30,000 converted at the time of writing Description: A very rare green and red-enameled 'fish' jar, Ming dynasty, 16th century Expert remark: Compare the related form and decoration. Note the different motif and smaller size (24.8 cm high). 嘉靖開光麒麟太獅罐中國。罐小口，豐肩，鼓腹，平足。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A DEHUA LOTUS-LEAF-FORM BRUSH WASHER, CHINA, 17TH CENTURYExpert's note: The present lot has an age of at least 350 years and is preserved in an absolutely superb condition, which must be regarded as extremely rare, given its overall fragility.Delicately modeled in the form of a furled lotus leaf, set with a stem issuing from one side of the rim, an attendant bud extending across the base while the other sprig elegantly loops over towards the center of the leaf. The washer is applied overall with a distinct ivory-white glaze.Provenance: Collection of Major Edward C. Radcliffe, and thence by descent in the same family. Listed in the family archive as 'X3'. Copies of a drawing of the present lot and handwritten notes from the Radcliffe family archive, reading 'X3. Drawn by nightlight. Far better in every respect but drawn to give you an idea. It's amazingly delicate.' and 'X3. Washer, white porcelain with form of an upturned lotus leaf. Blanc de chine. Mr. Morgan wrote and told me that.' accompany this lot. Major Edward Copleston Radcliffe (1898-1967) served as a company commander with the British Expeditionary Force in France. He was wounded during the withdrawal at Dunkirk while holding the line at Calais. In 1948, he emigrated to South Africa for retirement as a successful artist. His collection became renowned only after his death, when several Imperial Chinese works of art were found in his house. Brian John St. Martin Morgan (1930-2018) joined Bluett & Sons in 1954, where he became a director of the company. He also was president of the British Antiques Dealers' Association for a time. Condition: Excellent condition with expected minor old wear and firing irregularities. A microscopic nick to the rim. A small area of the rim has been polished, probably inherent to production.Weight: 75.4 g Dimensions: Length 12.2 cm, Height 3.9 cm Literature comparison:Compare a closely related brush washer, 3 cm high, dated 18th century, in the British Museum, registration number PDF.417. Compare a related brush washer from the Edward T. Chow collection, sold at Sotheby's London, 23 June 1981, lot 303, and again at Sotheby's Hong Kong, 20 November 1985, lot 232.Auction result comparison: Type: Near identical Auction: Christie's New York, 19 March 2015, lot 409 Price: USD 35,000 or approx. EUR 41,500 converted and adjusted for inflation at the time of writing Description: A small Dehua lotus-leaf-form brush washer, late Ming-early Qing dynasty, 17th century Expert remark: Compare the closely related form and glaze. Note the size (10.5 cm). 十七世紀德化荷葉形筆洗精美的捲曲的荷葉，莖從邊緣的一側伸出，與花蕾延伸到底部，而另一根小枝則優雅地環繞到葉子的中心。筆洗通體施象牙色白釉，造型別致，栩栩如生。 來源：Edward C. Radcliffe少校收藏，在同一家族保存，在家庭檔案中“X3"。隨附當前拍品的圖畫副本以及Radcliffe家族檔案中的手寫筆記副本。Edward Copleston Radcliffe（1898-1967 年）曾擔任駐法英國遠征軍連長。他在敦克爾克撤退時在加萊堅守陣地時受傷。1948年，他作為一名成功的藝術家移民到南非退休。直到他死後，他的收藏才開始聞名，當時在他的家裡發現了幾件中國御製藝術品。Brian John St. Martin Morgan (1930-2018) 於 1954 年加入 Bluett & Sons，並成為該公司的董事。他還曾擔任過英國古董經銷商協會主席。 品相：狀況良好，有輕微磨損和燒製不規則。邊緣有一個微小的缺口。邊緣的一小部分區域已被拋光，可能是生產過程中固有的。 重量：75.4 克 尺寸：長12.2 厘米, 高 3.9 厘米 文獻比較： 比較一件非常相近的十八世紀筆洗，3 釐米高，收藏於大英博物館，館藏編號PDF.417。比較一件相近的筆洗，收藏於Edward T. Chow收藏，見倫敦蘇富比，1981年6月23日，lot 303，以及見香港蘇富比，1985年11月20日，lot 232。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2015年3月19日，lot 409 價格：USD 35,000（相當於今日EUR 41,500） 描述：明末/清初德化白釉荷葉形洗 專家評論：比較非常相近的外形和釉面。請注意尺寸 (10.5 釐米)。
A LANGYAO CONICAL BOWL, KANGXI PERIOD (1662-1722)China, early in the Kangxi period, circa 1690-1705. Delicately potted, the conical sides supported on a short straight foot, covered to the interior and exterior with a finely crackled copper-red glaze of rich crushed-strawberry color, thinning at the mouth rim and foot to a pale celadon tone, which also covers the slightly convex base.Provenance: Collection of Major William Guy Horne. Sotheby's 9 July 1942, lot 18 (according to the Bluett archive records). Bluett & Sons, London, United Kingdom. Collection of Major Edward C. Radcliffe, acquired from the above and thence by descent in the same family. Listed in the family archive as 'G1'. The base with an old collector's label, 'Radcliffe Collection, G1', and an old label 'The British Antique Dealers Association, Certified for Customs Purpose Only, Over 100 Years Old.' Copies of an old photograph of the present lot and a handwritten note from the Radcliffe family archive, inscribed in pencil “G1. Bowl Red Ching. (..) Glaze lovely & even, photo seems bad from sun playing tricks. A novice told it is a 'chicken skin' glaze. […] says fairly early Ming (1364-1644)", and later in ink, “end of 17th C. Kang Xi. 4.500", accompany this lot. Major Edward Copleston Radcliffe (1898-1967) served as a company commander with the British Expeditionary Force in France. He was wounded during the withdrawal at Dunkirk while holding the line at Calais. In 1948, he emigrated to South Africa for retirement as a successful artist. His collection became renowned only after his death, when several Imperial Chinese works of art were found in his house.Condition: Excellent condition with expected old wear and firing irregularities, such as dark spots and pitting. Few microscopic nibbles and short hairlines to the rim, and very minor flaking to the glaze.Please request a condition report video for more details. Weight: 654 gDimensions: Diameter 22.8 cm Langyao is a vitreous red glaze that was developed at the Jingdezhen imperial kilns under the supervision of Lang Tingji (1663-1715), governor of Jiangxi Province between 1705 and 1712. This copper glaze turns red after being fired in a reducing or oxygen-deprived atmosphere. It sometimes drips down the vessel during firing, creating drops around the foot. It is incredibly hard to achieve, with layers of clear and copper-rich glazes allowing for depths of color, as clearly evidenced by the present lot. The glaze must be of a certain thickness to turn red, so areas where it is thin can be lighter in color, ranging from pinkish hues to pale celadon and sometimes even white.Expert's note: The present bowl is rare in its close adherence to its fifteenth century predecessors. This explains also why Major Radcliffe originally thought that it is “fairly early Ming" (see Radcliffe family archive and provenance section). The deep copper-red glaze and strongly everted shape of the bowl relate very closely to examples produced during the Xuande period, when Ming copper-red wares were perfected to an intense brilliant red tone known as xianhong. See for example a copper-red-glazed bowl, with a Xuande mark and of the period, in the British Museum, registration number 1947,0712.321.Literature comparison:A related bowl, dated to the Kangxi period, was exhibited by the Oriental Ceramics Society, The World in Monochromes, School of Oriental and African Studies, London, 2009 and illustrated in the catalog, p. 76, no. 168.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 20 September 2013, lot 1365Price: USD 68,750 or approx. EUR 81,000 converted and adjusted for inflation at the time of writingDescription: A Langyao bowl, Kangxi periodExpert remark: Compare the closely related glaze with similar shades of crushed strawberry and pale celadon. Note the slightly more rounded form and the similar size (21 cm). 康熙郎窯斗笠盞中國，康熙早期，約 1690-1705 年。 胎體緊致，圓錐形側面，短圈足。內外均施細碎的草莓色銅紅釉，口沿和足部逐漸變薄，呈淡青瓷色調。 來源：William Guy Horne少校收藏；蘇富比 1942 年 7 月 9 日，拍品 18（根據 Bluett 檔案記錄）；Bluett & Sons藝廊，英國倫敦。Edward C. Radcliffe 少校收藏，購於上述藝廊，並且是同一家族的後裔。 品相：狀況良好，有磨損和燒製不規則，例如黑點和麻點。邊緣有微小的磕損咬痕和短冲線，釉面有非常輕微的剝落。 重量：654 克 尺寸：直徑 22.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月20日，lot 1365 價格：USD 68,750（相當於今日EUR 81,000） 描述：清康熙紅釉撇口盌 專家評論：比較非常相近的草莓色斑和淺青瓷色調相似。請注意外形和相似的尺寸 (21 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Tangmere Wing 1941 print by Robert Taylor. Signed by Group Captain Sir Douglas Bader CBE DSO* DFC*, Group Captain Hugh 'Cocky' Dundas CBE DSO* DFC, Air Vice Marshal Johnnie Johnson CB CBE DSO** DFC*, Wing Commander Ken Holden OBE DFC. They were one of the great fighter units of World War II. Led by the audacious Douglas Bader who had lost both HIS legs in a pre-war flying accident the Spitfire Wing at Tangmere was in the thick of the action during the tumultuous aerial battles that took place over the Channel and Pas de Calais in 1941. Duelling on a daily basis with the cream of the Luftwaffe, especially the pilots of Galland's JG26 based at Abbeville, many of Bader's young Spitfire pilots were to become some of the RAF's greatest fighter leaders: Names such as Hugh 'Cocky' Dundas, Ken Holden and Johnnie Johnson who all signed these now extremely rare prints together, of course, the signature of Douglas Bader. Robert Taylor is one of the few artists who personally knew Douglas Bader and who benefitted from the great fighter leader's knowledge. The striking piece, which portrays Douglas Bader leading his Wing in 'Finger Four' formation across the Sussex coast towards France on a fighter sweep in early 1941, was composed with a great deal of technical and historical input from Douglas Bader and such is their scarcity that pristine examples of these highly sought after pieces rarely, if ever, appear on the secondary market. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
“A non-commissioned officer’s patrole (sic) of the 14th Light Dragoons and 1st Hussars, from Arevalo, took in Blasco Sancho, on the evening of the 25th., shortly after the King had left the place, 2 officers and 27 of the King’s cavalry, who had been left there to follow his rear guard.” Wellington’s despatch to Earl Bathurst from Olmedo, 28 July 1812 refers. The historic and unique Peninsula awards to Troop Sergeant-Major William Hanley, 14th Light Dragoons, who is the only known instance of an N.C.O. being mentioned by name in Napier’s History of the Peninsula War, for his gallant exploit at Blasco Sancho on 25 July 1812, when his patrol of three men of the 14th Light Dragoons and four men of the 1st Hussars of the King’s German Legion captured a piquet of French cavalrymen numbering two officers, two N.C.O.’s and 27 Dragoons; awarded a special Silver Medal by the Officers of the regiment at a full dress parade to commemorate his exploit, he was present in every engagement fought by the regiment in the Peninsula and in North America, and was afterwards appointed Foreman of Stores at the Tower of London until his death on September 1859 Military General Service 1793-1814, 11 clasps, Talavera, Busaco, Fuentes D’Onor, Badajoz, Salamanca, Vittoria, Pyrenees, Nivelle, Nive, Orthes, Toulouse (W. Hanley, Troop Serjeant Major, 14th Light Dragoon) last letter of unit obscured by suspension claw; 14th Light Dragoons, unique silver medal for ‘Blasco Sancho 1812’, engraved, 38mm [Ref: Balmer R77], Obverse: within an engraved wreath ‘Fortitudine Blasco Sancho 26 July 1812. Peninsula.’ Reverse: within an engraved wreath ‘William Hanley Corporal 14th Light Dragoons’, with riveted silver clip and hinged straight bar and silver ribbon slide to contemporary original red ribbon with attached ivorine name label, minor edge bruise and very light contact marks, otherwise toned, good very fine (2) £14,000-£18,000 --- Provenance: Fleming Collection 1871; Seaforth (Stewart Mackenzie) Collection 1873; Eaton Collection 1880 (later Lord Cheylesmore) sold Glendining’s, July 1930; Leyland Robinson Collection, principally acquired and added to by F. J. Ridsdale of Johannesburg, and mainly dispersed by Spink & Son in the early to late 1970s; Alan Harrison Collection to present vendor. One officer and 17 other ranks of the 14th Light Dragoons received the maximum 11 clasps earned by the regiment, all with this same combination. (See Dix Noonan Webb, 17 February 2021, for the example to Sergeant George Kinch.)
 This unique pair of medals has not been offered for public sale since the dispersal of Lord Cheylesmore’s Collection at Glendining’s in July 1930 when it is believed they were acquired by Professor A. Leyland Robinson, of Liverpool, who amassed an impressively large collection of Peninsula War medals (over 700 individual lots including many pairs and groups as well as gold awards), some, but not all, of which was consigned to auction through A. H. Baldwin’s at Glendining’s in October 1952 (128 lots) and February 1953 (132 lots). A substantial part of the collection was acquired privately by Francis J. Ridsdale, of Johannesburg, who added further to it, particularly in regard to Officers’ Gold Medals and Crosses. The present cataloguer had the privilege of handling most of this collection when it was consigned to Spink and Son in the early 1970s for private disposal. It is notable, however, that the pair to Hanley were not at that time disposed of, Mr Ridsdale having then recently acquired some original manuscript accounts of the Blasco Sancho affair [sold with Lot] which gave new importance to Hanley’s awards and were the subject of a lengthy article by F. J. Ridsdale published in the Numismatic Circular in April 1974, as follows: ‘SERGEANT-MAJOR HANLEY AND HIS AWARDS By F. J. Ridsdale, Johannesburg. As all collectors know, there were no general awards for gallantry or distinguished conduct in being at the time of the Napoleonic Wars, but on very rare occasions Regimental Colonels or the Regiments themselves awarded or subscribed for individual awards. Times and customs have also changed very considerably, because I think there is only one instance in Napier's History of the Peninsula War where someone, not an officer, is mentioned by name; Vol. IV of Warne's Edition, 1886, at page 279. The man was Sergeant-Major Hanley of the 14th Light Dragoons, who with a small patrol captured 29 Frenchmen at Blasco Sancho on the 25th July, 1812. I have long had in my collection Sergeant-Major Hanley's Military General Service with 11 bars for Talavera, Busaco, Fuentes D'Onor, Badajoz, Salamanca,, Vittoria, Pyrenees, Nivell, Nive, Orthes and Toulouse, which is the full tale of bars to the Regiment, and a Silver Medal presented to him by the Officers of the Regiment at a full dress parade to commemorate his exploit. The obverse has, within a wreath, "Fortitudine Blasco Sancho, 26th July 1812, Peninsula" and the reverse “William Hanley, Corporal, 14 Light Dragoons”. The medals were in the Stewart Mackenzie and Leyland Robinson collections, and the regimental medal is in Tancred at p. 311. Quite by chance I was able to purchase a short time ago, a letter written by the Duke of Wellington on the 5th May 1831 to Major, the Hon. W. F. de Roos which enclosed manuscript accounts, not only of that exploit, but of another which took place near Pamplona in July 1813. These read as follows: May 5th, 1831 My dear de Roos, Some time has elapsed since I ought to have returned you the enclosed papers. The man is a very good one, but I really do not know what I can now do for him. I have not the most distant recollection of the affair or of the Dispatch. The best thing to do would be to find the Dispatch; and then we will see how we can give the Man an authentic copy of it. Believe me ever yours most sincerely, Wellington (ENDORSEMENT) D. of Wellington Serjt Major Hanley Coventry Barracks 10th July, 1828 Honoured Sir, Agreeably to your desire I have the honour to transmit a Statement of the Capture of a Picquet of the Enemies Cavalry, consisting of Two Officers, one Serjeant and Twenty Six mounted Dragoons and one private Servant with Two Mules and Baggage at Blascho Sancho in Spain on the evening of the 25th July, 1812, by a Patrole under my command consisting of Four men 1st German Hussars, and four of the 14th Lt. Dragoons. As soon as the Brigade arrived at Arévola and Picquets posted, I was ordered to proceed with the Patrole as far as Blascho Sancho to ascertain the route of the enemy, my party being small and in an open country it was necessary to move with great precaution. I accordingly sent one Dragoon 200 yards to my right front, another as far to the left, and a third, one hundred yards in advance, ordering them to keep each other in sight as much as possible (and also the patrole) to circle when in sight of the enemy, or fire if suddenly attacked. The Dragoon on my right front (Private Luke Billington 14th Lt. Dn) owing to some accident discharged his Pistol, wounded his horse in the shoulder, and was consequently unfit to proceed. This happened about 7 miles from Blascho Sancho, he was replaced by one of my party and we proceeded until the advanced Dragoon circled; I trotted to the foot of the hill and dismounted the men, I walked to the top and placed myself behind a stone cross where I had a perfect view of a column of Infantry on parade. We waited some time till at length they marched off and disappeared behind an opposite hill. I mounted the Patrole and galloped for that part of the Town they had le...
Family Group: Three: Major C. F. Wightman, Hertfordshire Regiment British War and Victory Medals (Major C. F. Wightman.); Territorial Force War Medal 1914-19 (Major C. F. Wightman, Herts. R.) nearly extremely fine, the last rare to unit Pair: Second Lieutenant W. P. Westwood, 6th Battalion attached 1/4th Battalion, Suffolk Regiment, who was killed in action on 26 September 1917 British War and Victory Medals (2. Lieut. W. P. Westwood.) nearly extremely fine (5) £600-£800 --- One of only two Territorial Force War Medals recorded as having been issued to the Hertfordshire Regiment. Cecil Frank Wightman served as Signalling Officer in the Hertfordshire Regiment, and later served as a Brigade Major on the Staff of 19th Division Head Quarters, landing in France in June 1916. His home address in 1921 was at The Old Palace, Royston, Herts. In civilian life he was a Fellow of the Royal College of Surgeons, Plarr’s Lives of the Fellows Online carries the following entry: ‘Born at Bungay, Suffolk, 7 January 1870, the fifth son of Henry Wightman, draper, and his wife, née Hambling. He was educated at the Grammar Schools at Bungay and Great Yarmouth, before proceeding to St Bartholomew's Hospital. From the Hospital he passed the final examination for FRCS at the age of 23. He filled the offices of house surgeon at the Scarborough Hospital, at the Chichester Infirmary, and at the Bolton Infirmary. In 1896 he entered into general practice in Leicester, but soon moved to Cornwall Gardens, London, where he practised as a consultant. Failing health led him to settle at Royston in 1902, where he entered into partnership with Dr C W Windsor, and retired in 1926 when his eyesight began to fail. He acted for many years as surgeon to the Royston Hospital, and was instrumental in getting it enlarged as the Royston and District Hospital. During the war he served with the Hertfordshire Regiment, and retired with the rank of major. He died unmarried at the Old Palace, Royston on 4 May 1937, and was buried at Therfield, Royston, Herts. He left £100 to St Dunstan's Home for the Blind. Dr Wightman did much for Royston. He was a good churchman, being Vicar's warden 1917-1929, was interested in the Boy Scout movement, and was the mainstay of the Social Club, where he was president for many years, until he resigned the position in 1933.’ Sold with a copy of his publication First Aid in Accidents, published jointly with Sir John Collie, London, 1912 (this in very distressed condition with covers and binding detached, contents good); two period photographs including the recipient, one being a group photo of a prize presentation, and the other as driver of a vintage motor vehicle; with additional copied press cuttings, including a photograph, and obituary. Walter Peter Westwood was the son of Mrs. Clara Westwood, of 43, Queen's Road, Royston, Hertfordshire, with his widowed mother remarrying Cecil Frank Wightman (see above). Westwood served in the ranks of the Suffolk Regiment as Colour Sergeant, but was commissioned prior to overseas service. He landed in France on 4 May 1917, and was killed in action on the 26 September 1917. He has no known grave and is commemorated on the Tyne Cot Memorial, Belgium.
Crimea 1854-56, 4 clasps, Alma, Inkermann, Sebastopol, Balaklava, clasps mounted in this order with unofficial rivets between third and fourth clasps (Corpl. Wm. Barker. 46th. Regt.) re-engraved naming, slight excess of solder to top clasp carriage, nearly very fine and a rare 4-clasp award to the 46th Foot £200-£240 --- Only a detachment of the Regiment, 6 Officers and 225 men, made up of Sir George Cathcart’s Honour Guard and two companies of the Advance Party, were present at the Battle of Alma, 20 September 1854, and the subsequent actions at Balaklava and Inkermann. D.C.M. Recommendation dated 15 January 1855. William Barker was born near Swaffham, Norfolk, and attested there for the 46th Regiment of Foot on 30 January 1839, aged 21. He served with the Regiment in Gibraltar, India, and in the Crimea; was promoted Corporal on 29 July 1845; and was awarded the Distinguished Conduct Medal, together with a gratuity of £10, for his distinguished conduct in the Crimean War. He was invalided out of the Army on medical grounds on 27 July 1857, after 20 years and 179 days’ service. Sold with copied service papers and medal roll extracts. Note: The recipient’s single Distinguished Conduct Medal was sold by Baldwins in April 2016.
Pair: Private M. Kempton, 59th Regiment of Foot Afghanistan 1878-80, 1 clasp, Kandahar (1239, Pte. M. Kempton, 59th. Foot); Kabul to Kandahar Star 1880 (1239 Private Michl. Kempton 59th. Regt.) third digit of number over-struck on Star; light contact marks and wear to first, good fine and better and extremely rare to unit (2) £500-£700 --- British Battles and Medals states just 13 Afghan Medals with clasp Kandahar; and just 9 Kabul to Kandahar Stars awarded to the 59th Foot. Michael Kempton was born in Glasgow in 1850. He is recorded in the British Army, Worldwide Index 1871, as serving from 1 April 1871 to 30 June 1871 with the 59th Regiment of Foot at Mhow and Bombay, India. He later fought at the Battle of Kandahar on 1 September 1880, and was discharged to pension on 19 June 1883. He died in Gateshead in December 1913.
A rare Great War ‘German East Africa' D.S.O., post-War M.B.E., Great War United States Navy Cross group of six awarded to Commander P. H. Trimmer, Royal Navy Distinguished Service Order, G.V.R., silver-gilt and enamel, lacking integral top riband bar; The Most Excellent Order of the British Empire, M.B.E. (Civil) Member’s 2nd type breast badge, silver; 1914-15 Star (Commr. P. H. Trimmer. R.N.); British War and Victory Medals, with M.I.D. oak leaves (Commr. P. H. Trimmer. R.N.); United States of America, Navy Cross, silver, nearly extremely fine (6) £2,000-£2,400 --- D.S.O. London Gazette 22 February 1918: 'In recognition of the good work and arduous service performed by him in command of the Rufigi River Transport Service, between December, 1916, and July, 1917. He carried out the task of transporting motor-boats overland from Dar-es-Salaam to the river near Kibambawe in spite of almost insurmountable difficulties and often under shell fire. The presence of the motor-boats on the upper Rufigi River was of the very greatest assistance to the military operations.' M.B.E. (Civil) London Gazette 1 June 1953: Captain Philip Henry Trimmer, D.S.O., Royal Navy (Retired), Honorary Secretary, Guildford Unit Committee, Sea Cadet Corps. U.S.A. Navy Cross London Gazette 29 April 1919: ‘For extraordinary heroism in action and distinguished service as Flag Commander (Royal Navy) on the Staff of the Admiral Commanding on the North America Station.' Philip Henry Trimmer was born at Alton, Hampshire, on 25 August 1878. He joined the Royal Navy on 15 July 1892, and was promoted Midshipman on 15 December 1894; Sub-Lieutenant on 15 June 1898; Lieutenant on 31 December 1900; Lieutenant-Commander on 31 December 1908; and Commander on 30 June 1914. His rapid promotion was achieved whilst serving aboard a vast variety of ships in this time, notably T.B.108 and T.B.111, and his Officer's Service Record is littered with praise, notably 'zealous, capable, energetic', and 'intelligent'. Nevertheless, he did make a couple of mistakes, firstly losing confidential documents, and secondly, blamed for a lack of supervision which culminated in a fatality aboard H.M.S. Hibernia whilst coaling. Placed briefly in Command of the cruiser H.M.S. Talbot in the early months of the Great War, Trimmer was transferred to German East Africa in December 1915. Placed in Command of the river transport boats, he was Mentioned in Despatches on 28 January 1917 for 'marked ability on various occasions'. This was followed by the award of the D.S.O. and recommendation for promotion by his superiors. Placed in Command of the yacht Warrior from 20 September 1918 to January 1919, as Flag Commander to Admiral Sir William Grant, Trimmer was further recognised by the United States Government, his Officer's Service Record adding: 'Ability. Professional standing of great assistance when two navies were brought into contact.' Retiring from the Royal Navy on 13 November 1924, and reverting to the rank of Captain, Trimmer later settled in Guildford and served his local branch of Sea Cadet Corps. He died in Surrey in 1959.
Pair: Colonel J. F. Forster, Duke of Cornwall’s Light Infantry Egypt and Sudan 1882-89, dated reverse, 2 clasps, Suakin 1884, The Nile 1884-85 (Major, J. F. Forster. 2/D of C.L.I.); Khedive’s Star, dated 1882, unnamed as issued, minor edge bruising and light pitting, generally very fine, the Suakin clasp rare to unit (2) £700-£900 --- One of only 6 ‘Suakin 1884’ clasps awarded to the Duke of Cornwall's Light Infantry, and the only Officer to receive the clasp. James FitzEustace Forster was born at Swords House, Swords, County Dublin on 27 September 1834, the only son of Joshua M. Forster of St. Croix, West Indies. He purchased a commission as Ensign in the Ceylon Rifles on 19 December 1862, and served in Ceylon from 30 March 1863 to 11 May 1866. On 14 September 1866, Forster next purchased a Lieutenancy in the 1st West India Regiment, with which regiment he served in Hong Kong, exchanging to the 4th West India Regiment on 30 March 1867, serving with them in the West Indies. He purchased his Captaincy in this regiment on 16 September 1868, only to be placed on half-pay on reduction of the unit on 30 December 1869. He was restored to the active list on 19 June 1872, when he joined the 46th Regiment of Foot, and was promoted Major in the 46th on 1 July 1881. Forster served with the 2nd Battalion, The Duke of Cornwall's Light Infantry (as the 46th Foot had become) during the Egypt Campaign of 1882, and took part in the reconnaissance in force from Alexandria on 5 August 1882. He also served in the engagements at El Magfar on 24 August and Tel-el-Maskhuta on 25 August, and in the famous night action at Kassassin on 28 August 1882, where he was severely wounded by gunshot to the thigh. For his services in this campaign he was awarded the Egypt Medal without clasp and the Khedive's Star. He saw further service in the Soudan Expedition of 1884, serving with the Transport Department, and was Mentioned in Despatches (London Gazette 6 May 1884). He was promoted Brevet Lieutenant-Colonel on 21 May 1884, and received the clasp Suakin 1884 to his Egypt Medal, the only officer from the Duke of Cornwall's Light Infantry to receive this clasp. Forster rejoined his battalion and saw further service during the the Gordon Relief Expedition of 1884-85, taking part in the operations of the advanced column under Major General Earle, for which he was awarded the clasp The Nile 1884-85. He was promoted substantive Lieutenant Colonel on 30 November 1884, and Brevet Colonel on 21 May 1888, commanding the Battalion at some point. He retired on 27 September 1889. A Justice of the Peace and a Deputy Lieutenant for County Dublin, Forster died in Dublin on 1 April 1915, aged 81. Sold with a small Carte de Visite studio portrait photograph of the recipient; a photographic image of the recipient wearing his medals; and copied research.
A superb Great War ‘Machine Gunner's’ D.C.M. and Second Award Bar, M.M., and Russian Medal of St. George group of six awarded to Sergeant A. Burnett, Royal Scots and Machine Gun Corps, who repeatedly showed great presence of mind when holding back waves of enemy storm troopers Distinguished Conduct Medal, G.V.R., with Second Award Bar (18327 Cpl. A. Burnett. M.M. 25/M.G.C.); Military Medal, G.V.R. (18327 L.Cpl. A. Burnett. 27/Coy. M.G.C.); 1914-15 Star (11928 Pte. A. Burnett. R. Scots.); British War and Victory Medals (11928 Sjt. A. Burnett R. Scots.); Russia, Empire, Medal of St George for Bravery, 3rd Class, silver, the reverse officially numbered ‘167785’, the silver medals toned, nearly extremely fine (6) £4,000-£5,000 --- D.C.M. London Gazette 3 September 1918: 'For conspicuous gallantry and devotion to duty when in charge of two Vickers guns, reconnoitring for positions for them under direct hostile fire, and doing the same later in the day for corps machine guns. Again, for tactical skill and initiative when, a flank having been thrown open, he disposed a gun so as to protect that flank, holding on until nearly surrounded and two of his team killed. At all times his conduct in action has merited the highest praise.' D.C.M. Second Award Bar London Gazette 3 September 1918: ‘For conspicuous gallantry and devotion to duty. This N.C.O. was in charge of a machine gun, his flanks being protected by infantry, when about 500 of the enemy attacked. On the infantry withdrawing to a fresh position he covered the movement and remained firing his gun from the top of a disused dug-out, inflicting severe casualties, and helping to break up the attack. He was all the time under machine-gun fire. M.M. London Gazette 16 November 1916. Russian Medal of St. George, 3rd Class, London Gazette 15 February 1917. Alexander Burnett was born in Leith, Midlothian, in 1881, the son of Annie McGlade Burnett and brother of 1140, Private John Burnett, “B” Company, 7th Battalion, Royal Scots, who died in the Quintinshill rail disaster on 22 May 1915. Attesting for the Royal Scots on 11 August 1914, he was posted to France on 11 May 1915 with the Regimental machine-gun section and soon found himself transferred with other sections of 27 Brigade to the fledgling 27th Company, Machine Gun Corps. Wounded in action in the rank of Private, he returned to the Western Front, was advanced Lance Corporal, and decorated with the Military Medal - presumably for services during the Battle of the Somme. He was also amongst a relatively small band of men to receive recognition from Imperial Russia, less than a month before the start of the Russian Revolution. Transferred to the 25th Battalion, Machine Gun Corps, Burnett was raised Corporal 20 December 1917, Acting Sergeant 1 April 1918, and Sergeant on 22 April 1918. As a skilled tactician and experienced soldier, he survived repeated German attacks during the German Spring Offensive and enjoyed the rare distinction of having both his D.C.M. and Second Award Bar gazetted on the same date. His gallant actions on the Vaulx-Morchies Line were later noted in the publication 25th Division in France & Flanders, by M. Kincaid Smith: 'Cpl. Burnett, M.M., Sergt. Whiting, and L-Cpl. Bretherton did splendid work with their guns, and all received well-earned decorations.' Wounded for a second time on 29 May 1918, which effectively ended his campaign, he was discharged from the Army on 7 March 1919 and awarded Silver War Badge No. 487219. An indication of the intensity of the fighting faced by Burnett and his fellow machine-gunners at around that time can be found in the casualty report for 9 April 1918 to 4 May 1918: in this brief period the 25th Battalion, Machine Gun Corps, suffered 3 Officers killed, 17 wounded and 10 missing in action. They also recorded 34 Other Ranks killed, 207 wounded and 167 missing. Sold with a large file of research, including written correspondence from the 1970s between the vendor and extended family of Sergeant Burnett, who noted that he was 'a very quiet chap by nature, and never spoke much of the war when he came home.’
Indian Mutiny 1857-59, no clasp (J, Bennett, A,B, In. Nl. Bde. H.M.P.V. Calcutta) good very fine, rare to vessel £700-£900 --- Provenance: Captain K. J. Douglas-Morris Collection, Dix Noonan Webb, October 1996. John Bennett served with No. 4 Brigade, which reached Dacca in August 1857 and was comprised of men from the Indian Navy ships Punjaub and Clive. They witnessed hard fighting and the defeat of rebellious sepoys on 22 November 1857, where Midshipman Arthur Mayo of the Indian Navy charged down two six-pounders which were keeping up a heavy fire; Mayo was subsequently awarded the Victoria Cross. Note: Her Majesty’s Pendant Vessel Calcutta was a small cutter used by the Naval Brigades for administrative purposes, with men such as Bennett borne on the books of this vessel. Of the 14 Indian Naval Brigades that were eventually formed, only 3, 4 and 7 Brigades qualified for the Indian Mutiny Medal.
Three: Aircraftman 2nd Class S. G. S. Brown, Royal Air Force British War and Victory Medals (158167. Boy. S. G. B. Brown. R.A.F.); India General Service 1908-35, 1 clasp, Afghanistan N.W.F. 1919 (158167 A.C. 11 S. G. [sic] Brown, R.A.F.) mounted on card for display, nearly extremely fine and rare to rank of ‘Boy’ (3) £160-£200 --- Stanley George Shrewsbury Brown was born in Chelsea, London in January 1901. He joined the Royal Flying Corps as a Boy in December 1917, and transferred as a Boy in to the Royal Air Force in April 1918. Brown served with 99 Squadron in India from April 1919, and was discharged in April 1921.
A fine and rare 1936 ‘Palestine’ military division B.E.M. group of ten awarded to Wing Commander, late Warrant Officer, H. Taylor, Royal Navy attached R.N.A.S. and Royal Air Force - 1 of only 2 B.E.M’s awarded to the R.A.F. for operations in Palestine prior to the Second World War British Empire Medal, (Military) G.VI.R., 1st issue (313928 Flt. Sgt. Harry Taylor R.A.F.); 1914-15 Star (J25779 Boy 1. H. Taylor. R.N.); British War and Victory Medals (J.235779 H. Taylor Act. A.M. 1. R.N.); India General Service 1908-35, 1 clasp, Waziristan 1921-24 (313928 Cpl. (A/Sgt.) H. Taylor. R.A.F.); General Service 1918-62, 1 clasp, Palestine (313928. F/Sgt. H. Taylor. R.A.F.); Defence and War Medals 1939-45; Royal Air Force L.S. & G.C., G.V.R., fixed suspension (313928 Sgt. H. Taylor, R.A.F.); Jubilee 1935, mounted on card for display in this order, earlier awards polished good fine, remainder generally very fine (10) £700-£900 --- B.E.M. London Gazette 11 May 1937: ‘For valuable services rendered in the field in connection with the operations in Palestine during the period April - October, 1936.’ Approximately 15 B.E.M.s in total awarded for operations in Palestine prior to the Second World War, of which only 2 were awarded to the Royal Air Force. Taylor served on the Combined Staff at HQ. Harry Taylor was born in Preston, Lancashire, in April 1898. He joined the Royal Navy as a Boy in July 1913, and was attached for service during the Great War with the Royal Naval Air Service - being rated Air Mechanic I (W/T) on his 18th birthday. Taylor advanced to Acting Air Mechanic I (W/T) and saw much service on R.N.A.S. airship stations on the North East Coast, being the W/T operator on airships carrying out reconnaissance and anti-submarine patrols over the North Sea. He saw subsequent service at Howden and Pulham, in addition to spells with the Beardmore Construction Co. Inchinnan, Scotland and Barlow, Yorkshire. The latter being the home of Armstrong Whitworth, another airship construction company at the time. On 1 April 1918, on the merger of the R.N.A.S. and the R.F.C. to form the R.A.F., Taylor was transferred to the new Service under the terms for R.N. ratings attached to the R.N.A.S. He was allocated the service number ‘313929’ from the block of numbers allotted for such transferees. Taylor advanced to Warrant Officer in June 1937 (awarded L.S. & G.C. in February 1932), and was granted a commission as Flying Officer on probation (Signals Officer) the following year. He was posted to the School of Naval Co-operation at Ford. Taylor advanced to Flight Lieutenant in March 1941, and to Squadron Leader in July 1943, spending the majority of his war service with the Directorate of Signals, Air Ministry. He advanced to Wing Commander in July 1948 and retired on his 55th birthday, 8 April 1953, completing a spell of continuous service lasting some 42 years. Wing Commander Taylor resided at 14 Arlington Avenue, Cottingham, and died at the Royal Infirmary Hull in March 1978. Sold with copied service papers.
A rare and well-documented ‘Balloonatics’ campaign group of seven awarded to Flight Sergeant and Observer J. Baxter, Royal Naval Air Service, Royal Flying Corps and Royal Air Force - decorated for his service whilst attached to the Belgian forces during 1917, and a Police Constable with the City of London Police prior to and after the Great War 1914-15 Star (F.4573, J. Baxter, A.M. 1. R.N.A.S.); British War and Victory Medals (30212. F. Sgt. J. Baxter. R.A.F.); Coronation 1911, City of London Police (P.C. J. Baxter.); Jubilee 1935 (P.C. J. Baxter.); Belgium, Order of Leopold II, Chevalier’s breast badge, silver and enamel, with rosette on riband, obverse centre missing Lion; Croix de Guerre, A.I.R., bronze, with bronze palm emblem on riband, mounted for wear, but additionally mounted on card for display, generally very fine unless otherwise stated (7) £800-£1,200 --- Order of Leopold, Chevalier London Gazette 25 July 1918. The recommendation, dated 8 December 1917, states: ‘A non-commissioned flying officer who has rendered the greatest services during the ascents made on behalf of the British artillery placed as the disposal of the Belgian Army.’ Croix de Guerre London Gazette 25 July 1918. The combination of Belgian awards to the R.F.C. is very rare, only five such being awarded, with a further three later awarded to the R.A.F. James Baxter was born in Hornsey, London in May 1888. He joined the City of London Police at Cloak Lane in May 1910, and was Commended and awarded ten Shillings for courageous conduct in stopping a runaway horse on 18 July 1913. Baxter enlisted in the Royal Naval Air Service in May 1915, and served with No. 8 Balloon Company in the French theatre of war from 1 September 1915. It was not long before the R.N.A.S. Balloons were transferred to the control of the Royal Flying Corps, and Navy personnel were at liberty to transfer Services if they so desired. Baxter joined the R.F.C. as Sergeant in June 1916, and the Royal Air Force in April 1918. He advanced to Flight Sergeant in April 1917, and at some stage advanced his status from being ground staff on the handling of the balloons to becoming an Observer, being entitled to wear the distinguishing observer’s brevet. Baxter was granted his Aeronaut’s Certificate by the Royal Aero Club of the UK on 2 October 1916, and as such served as a “Balloonatic” with the 16th Balloon Company, R.F.C. He was demobilised on 24 March 1919, and rejoined the City of London Police the following month. Baxter retired to Pension in May 1936, and was appointed to the First City of London Police Reserve in August 1936. He resigned in October of the same year in order to take a permanent position with the London Telephone Service of the General Post Office. After the war he resided at 1 College Hill, London, EC4, and died in November 1961. Sold with the following original and related documentation: Bestowal Document for both Belgian awards, with Ministry of Foreign Affairs enclosure letter (both with typed translations); Ministry of Foreign Affairs enclosure for the two Belgian awards; Royal Air Force Demobilization Account document; typed letter from recipient to Officer Commanding, Port Depot, Royal Air Force, Havre, regarding his application for the 1914-15 Star, dated 6 March 1919; St. John Ambulance Association First Aid Certificate, named and dated February 1911; letter from recipient as member of the First City of London Police Reserve to the Commissioner of Police for the City of London agreeing to serve for an indefinite period from June 1936; with other ephemera and copied research.
Crimea 1854-56, 4 clasps, Alma, Balaklava, Inkermann, Sebastopol (Thos. Cox. 46th. Regt.) officially impressed naming, about extremely fine and a rare 4-clasp award to the 46th Foot £800-£1,000 --- Only a detachment of the Regiment, 6 Officers and 225 men, made up of Sir George Cathcart’s Honour Guard and two companies of the Advance Party, were present at the Battle of Alma, 20 September 1854, and the subsequent actions at Balaklava and Inkermann. Thomas Cox was born at Carrick-on-Suir, County Tipperary, and attested for the 46th Regiment of Foot at Kilkenny on 4 March 1854, aged 21. He served with the Regiment in the Crimea, before going sick to Scutari in December 1854, and died at Scutari on 10 March 1855. Sold with copied medal roll extracts and muster lists.
A rare ‘Palestine 1945-48 operations’ B.E.M. pair awarded to Aircraftman 1st Class A. Vickers, Royal Air Force, a Motor Transport Driver who detected, and single-handedly repelled, a gang of armed Arab thieves at No. 120 Maintenance Unit, Levant - wounding two of the thieves, and capturing one in the process, all of which was done under small arms fire British Empire Medal, (Military) G.VI.R., 1st issue (659202 A.C. 1 Cl. Albert Vickers. R.A.F.) suspension claw loose; General Service 1918-62, 1 clasp, Palestine 1945-48 (659202 A.C. 1. A. Vickers. R.A.F.) mounted on card for display, otherwise generally very fine (2) (2) £360-£440 --- B.E.M. London Gazette 29 October 1948: ‘For gallantry and good service in Palestine prior to evacuation on 30th June 1948.’ The original recommendation states: ‘No. 120 Maintenance Unit, Levant - A.C.1. Vickers, an M.T. driver, set his colleagues a fine example by his devotion to duty and his determination to complete his work regardless of difficulties or dangers. On one occasion, Arabs had broken in and were stealing equipment. He called out the Striker Force but, realising the need for prompt action, he immediately launched an attack on the thieves unaided. Although under fire himself, he wounded one Arab and pressed on with his attack. Unexpectedly confronted by another Arab, A.C.1 Vickers felled him with the butt of his rifle and cooly arrested the wounded Arab, although this involved crawling forward under fire and in the face of thieves with a high reputation for skill at this form of fighting. This airman’s courageous action was typical of the high sense of duty and courage he displayed through the evacuation of his unit. His brave action undoubtedly saved the loss of valuable equipment.’ The Secretary of State for Air, in making recommendations to the Committee for the George Cross, the George Medal and the British Empire Medal, graded Vickers as No. 1 of the three airmen being put forward for recognition. A total of only six B.E.M.’s were awarded to the Royal Air Force for the whole of the Palestine operations between 1945 and 1948.
A Boer War D.C.M. group of six awarded to Regimental Sergeant Major P. J. Lydon, East Lancashire Regiment, late King’s Royal Rifle Corps Distinguished Conduct Medal, E.VII.R. (3617 Serjt:-Maj: J. P. Lydon. 1st. E. Lanc. Regt.); India General Service 1895-1902, 1 clasp, Relief of Chitral 1895 (3617 Lc. Corpl P. Lydon 1st Bn. E. Lanc Regt); Queen’s South Africa 1899-1902, 3 clasps, Cape Colony, Orange Free State, Johannesburg (3617 Sgt. Drmr: P. J. Lydon. E. Lanc: Regt.); King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (Sjt. Major. P. Lydon. E. Lanc. Regt.); Army L.S. & G.C., V.R., 3rd issue, small letter reverse (3617 C. Sgt. P. Lydon, E. Lanc. Regt.); Army Meritorious Service Medal, G.V.R., 3rd issue, coinage head (R.S. Mjr. P. J. Lydon. E. Lan. R.) note variations in initials, contact marks, generally nearly very fine; the MSM better (6) £1,400-£1,800 --- 1 of 8 D.C.M.s awarded to the 1st Battalion, East Lancashire Regiment, during the Boer War. D.C.M. London Gazette 31 October 1902. Patrick Joseph Lydon was born in Athlone, County Roscommon, Ireland, in 1867. Following in the footsteps of his father and grandfather, he enlisted into the 60th Rifles at 14 years and 3 months on 7 June 1881, and spent the following 9 years on home service, in which time he earned his 3rd and 2nd Class Certificates of Education. Posted to India on 25 November 1890, Lydon transferred to the 1st Battalion, East Lancashire Regiment, on 30 September 1893; advanced Bandsman 1 October 1893; Lance Corporal 11 October 1893; and Sergeant 27 January 1896. Present at the Isazai Expedition of 1892 and the siege and relief of the Sikh and Kashmiri-held fort at Chitral in 1895, Lydon was subsequently transferred to Burma on 29 February 1896. He married Lilian Horlick at Meikhtila and returned home aboard the S.S. Dunera on 18 December 1897. Posted initially to Portsmouth, followed by Hilsea and Jersey on 12 September 1899, Lydon witnessed active service with the 1st Battalion in South Africa from 13 January 1900 to 9 September 1902. As part of the 15th Brigade under Major General A. G. Wavell - and later, part of VIIth Division under Lieutenant General Tucker - the 1st Battalion, East Lancashire Regiment, soon gained plaudits from high command. The Battalion was said to have done well at Karee Siding on 29 March 1900, losing 5 men killed and 14 wounded. Similarly, at the crossing of the Zand River on 10 May 1900, they were noted for doing their portion of the task well. In 1901, the Battalion furnished the infantry of columns which operated in the Southern Transvaal and in the Orange River Colony under Brigadier General G. Hamilton, Colonel Grey, Colonel Garratt, and others, and necessarily did a lot of very hard marching and engaged in a good number of skirmishes. For his service during this time, Lydon was Mentioned in both Lord Robert’s Despatch of 4 September 1901, and Kitchener’s Despatch of 23 June 1902, and was later decorated with the D.C.M. Advanced Sergeant Major on 22 January 1902, Lydon was discharged at his own request on 2 July 1909. His departure was much lamented by his Regiment: ‘On joining us he was found to be a musician of no mean order, due no doubt to some of his service K.R.R.s being spent in the band of that distinguished Corps, combined with a natural inclination for music. This accomplishment caused him to join the drums... In bidding good-bye to Sergt. Major and Mrs Lydon and Family, we hope that “Versicus” will continue to support our columns with his welcome contributions from time to time.’ Lydon took employment with the Civil Service as a Messenger in the Office of the Board of Trade, and then returned during the Great War to serve at home as R.S.M. with the 6th Battalion, East Lancashire Regiment. This almost certainly involved the training of new recruits, local lads borne of the industrial centres of Preston, Blackburn and Burnley. Transferred to depot at Bury, he was brought to the attention of the Secretary of State for War for valuable services in connection with the war, before discharge in consequence of sickness on 17 September 1917. Awarded a silver war badge, he was also the recipient of a rare G.V.R. ‘coinage head’ M.S.M., one of only five issued in total to the Regiment. Sold with a comprehensive file of copied research, including a photographic image of the recipient, compiled whilst part the Usher Collection and subsequently retailed in October 1983.
A rare West African Frontier Force D.C.M. pair awarded to Gunner Damana, No. 2 Battery, Northern Nigeria Regiment West African Frontier Force Distinguished Conduct Medal, E.VII.R. (352 Gnr: Damana, N. Nigeria Regt.); Ashanti 1900, 1 clasp, Kumassi (352 Gnr: Damana. A.N.N. Regt.) suspension detached on first and post needs re-affixing, both sometime plated, contact marks and edge bruising, therefore good fine (2) £800-£1,000 --- W.A.F.F. D.C.M. awarded for the Kano-Sokoto Campaign 1903, for distinguished conduct at the storming of Kano, 3 April 1903. Only 58 Edward VII West African Frontier Force D.C.Ms awarded. He is also entitled to the A.G.S. medal with clasps for N. Nigeria and N. Nigeria 1902. Sold with full details, including a copy of the despatches relating to the Kano-Sokoto expedition.
A rare ‘1958’ Malaya operations D.F.C. group of four awarded to Valetta pilot Flight Lieutenant K. J. Robinson, 52 Squadron, Royal Air Force Volunteer Reserve Distinguished Flying Cross, E.II.R., reverse officially dated ‘1958’; Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, Malaya, G.VI.R. (Flt. Lt. K. J. Robinson. R.A.F.) mounted as originally worn, but additionally mounted on card for display, minor edge bruising, very fine (4) £2,800-£3,400 --- D.F.C. London Gazette 27 June 1958: ‘In recognition of gallant and distinguished service in Malaya.’ Kenneth John Robinson was a native of Paignton, Devon. He enlisted in the ranks of the Royal Air Force Volunteer Reserve in May 1941, and subsequently advanced to Flight Sergeant. Robinson was commissioned as Pilot Officer (on probation) in the General Duties Branch (Pilot) in September 1943. He advanced to Flying Officer in March 1944, and to Flight Lieutenant in September 1945. Robinson qualified as a flying instructor at the Central Flying School, and it would appear that he was employed as such during the Second World War. Robinson served two tours of Malaya, the first between 1951 and 1952 being at AHQ Malaya and with 52 Squadron (Dakotas and Valettas). Whilst no recommendation for Robinson’s award has yet been released by MOD(Air), it is known that he was serving on his second tour of Malaya, with 52 Squadron (Valettas) from R.A.F. Changi. Extracts from the squadron’s Operational Record Book (Air 2 2785/2786) and the Log Book of Flight Sergeant E. E. Roshier, D.F.M. (Robinson’s navigator - held in a private collection, photocopies of relevant extracts included in lot) confirm that Robinson was employed ‘up-country’ on many supply dropping missions. He was also the captain of a Valetta dropping S.A.S. parachutists on operations in July 1956. Many aircraft and crews were lost on these supply dropping flights and statistics show that the casualty rate for R.A.F. personnel was three times that of the infantry and S.A.S. troops that they were assisting. Robinson continued to serve after Malaya, and was serving at R.A.F. Lyneham when he died of post-operative Peritonitus at R.A.F. Hospital, Wroughton in March 1961. Flight Lieutenant Robinson is buried in Lyneham Cemetery. Sold with copied research.
A fine 'Defence of Ladysmith' Queen's South Africa Medal awarded to Private A. Spray, King's Royal Rifle Corps, who was blown up by a 6-inch shell from a Boer artillery piece commanding high ground to the south of the town, and was later wounded in the knee Queen’s South Africa 1899-1902, 3 clasps, Defence of Ladysmith, Orange Free State, South Africa 1902 (8601 Pte. A. Spray, K.R.R.C.) small pawnbroker’s mark to obverse, extremely fine £200-£240 --- Arthur Spray was born in Beeston, Nottinghamshire, in 1873, the son of lace mender Eliza Spray. He attested for the King's Royal Rifle Corps at Birmingham on 20 June 1894 and was posted from depot to the 4th Battalion at Winchester on 22 October 1894. For reasons unknown, Spray absconded just before Christmas Day in 1895, and spent almost a month on the run from the military authorities. Placed in confinement on 21 January 1896, he was tried by the District Court Martial and found guilty of desertion and loss of equipment resulting in 30 days' imprisonment with hard labour. Remarkably, less than a year later, Spray returned to the cells when given a further 14 days' hard labour on 10 December 1896, but the unexpired portion of his punishment was remitted upon Spray's agreement to transfer to the 2nd Battalion, and he headed to South Africa forthwith. According to the recipient's Army Service Record, Spray served three terms in South Africa, from 15 December 1896 to 5 April 1899, 18 September 1899 to 26 July 1900, and 11 December 1901 to 9 October 1902. These were separated by five months in India and a brief spell back in England. Most importantly, Spray was present throughout the Siege of Ladysmith in Northern Natal, from 2 November 1899 to 27 February 1900, and returned home to give a rare firsthand account which was published in The Nottinghamshire Guardian on 28 July 1900: 'A Nottingham Soldier's Experience At the invitation of Mr. Godfrey L. Evans, a meeting was held on Tuesday on the lawn of his residence, Hamilton-road, the chief object of the gathering being to hear an address by Private A. Spray, of the 2nd King's Royal Rifles, on "The Siege of Ladysmith..." He said that many of the soldiers looked like scarecrows, having gone seven days without a wash and with no change of underclothing. "Gentleman Joe," the name of a gun, sent his first shot on the morning of November 27th, just after breakfast, and another shell struck the ground a few feet in front of where the speaker was standing, sank six feet, and then exploded, blowing up the rough sun-shelter, and scattering the men right and left, but hurting no-one. The speaker described the various battles in which he had taken part, and the circumstances under which he was wounded in the knee. After the 6th of January, when the Boers were supposed to have lost only a few men, he saw them carting their dead and wounded all day long, under the white flag. The lecturer then described, in vivid fashion, the scene when the relief column came to Ladysmith, and said that the invalids were splendidly treated on board the hospital ship, Lismore Castle, on their way home...' Spray was particularly fortunate that the 96-pound shell from the French-manufactured creusot gun "Gentleman Joe" had failed to find its mark, for other similar weapons including "Long Tom" and "Puffing Billy" had delivered a particularly intense barrage from 8 to 9 a.m. that morning. Ladysmith: The Diary of a Siege points to a most unpleasant incident not far away, and taking place just minutes earlier: 'This morning a Kaffir was working for the Army Service Corps (being at that moment engaged in kneading a pancake), when a small shell hit him full in the mouth, passed clean through his head, and burst on the ground beyond.' Referring to the events of 6 January 1900, Spray's life was saved once again when large numbers of Boers, encouraged by President Kruger, launched a major attack on Ladysmith designed to overwhelm the garrison and take the town. At Wagon Hill, a confused and fierce fight took place in the dark between the Boers and the men of the King's Royal Rifles, Gordon Highlanders and Imperial Light Horse, supported by a hotchkiss gun. The enemy retreated but the siege prevailed, and by mid-January 1900, the remaining cavalry horses had to be shot for food.
The British War Medal awarded to Sir Norman Strathie, K.C.I.E., Indian Civil Service, who served during the Great War as a Corporal in the Southern Provinces Mounted Rifles, Indian Defence Force British War Medal 1914-20 (593 Cpl. D. N. Strathie, S. Prov. M. Rif. I.D.F.) good very fine, rare to unit £200-£240 --- K.C.I.E. London Gazette 1 January 1944: David Norman Strathie, Esq., C.I.E., Indian Civil Service, Adviser to His Excellency the Governor of Madras. C.I.E. London Gazette 2 January 1939: David Norman Strathie, Esq., Indian Civil Service, Member, Board of Revenue, Madras. Sir (David) Norman Strathie was born in Glasgow on 31 October 1886 and was educated at Glasgow Academy and Balliol College, Oxford. He entered the Indian Civil Service in 1911 and served initially as Under Secretary in the Revenue, Judicial, and Public Departments, Madras. He served during the Great War with the Southern Provinces Mounted Rifles, Indian Defence Force, from November 1917 to February 1918 (entitled to British War Medal only). Thereafter he was Commissioner of Income Tax, Registrar of Co-operative Societies, Inspector of Local Boards, and Adviser to the Government of Madras. He served as Commissioned of Income Tax for Palestine, and became Chief Civil Representative with the Southern Army in India. During the Second World War he returned to the U.K. and served in the Home Guard in London. Appointed a Knight Commander of the Order of the Indian Empire in 1944, for his services as tax expert and adviser to the Governor of Madras, he retired from the Indian Civil Service in 1946, and subsequently served as Financial Secretary of Jamaica from 1946 to 1949. He died on 3 August 1959. Strathie was evidently an accomplished Baritone, as he entertained the listeners of Madras Radio on one occasion with a medley of songs (appearing on the programme just after a Violin Recital given by Yehudi Menuhin). Sold with copied research.
Loading...-
209761 item(s)/page