AN IMPORTANT AND RARE PALE CELADON AND RUSSET JADE MOUNTAIN, 18TH CENTURYChina. Finely carved to one side with a scholar and his boy attendant walking along the mountain toward a neatly incised waterfall, and to the other with an attendant playing the qin near a pavilion above a group of scholars near a stream, one kneeling and holding a bucket, his attendant standing behind him carrying a large stick, the other two standing in front of a small cascade, all set in a monumental mountainous landscape with several beautifully carved pine trees. The translucent stone is of a pale celadon tone with distinct russet veining and patches, as well as scattered cloudy inclusions.Provenance: From a Swiss private collection. Condition: Superb condition with minor old wear, possibly microscopic nicks, the stone with natural inclusions and fissures. The matching wood base with old age cracks, minor nicks and losses, and fine naturally grown patina overall.Weight: 877.3 g (incl. base), 804.2 g (excl. base) Dimensions: Height 18.9 cm (incl. base), 16.4 cm (excl. base)With a matching wood base of the same period, finely carved with craggy rockwork, pine, bamboo, and chrysanthemum. (2)Expert note: The present jade mountain is carved all around to show a continuous scene, with the waterfall on one side of the mountain and the cascade on the other stemming from the same source. Such jade mountains with no preferred side are extremely rare. Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 1 June 2011, lot 3904Price: HKD 680,000 or approx. EUR 118,500 converted and adjusted for inflation at the time of writingDescription: A pale celadon jade mountain carving, Qing dynasty, 18th/19th centuryExpert remark: Compare the closely related form, the color of the jade, as well as the similar size (16.7 cm)Auction result comparison:Type: Closely relatedAuction: Christie's London, 8 November 2016, lot 159Price: GBP 40,000 or approx. EUR 55,000 converted and adjusted for inflation at the time of writingDescription: A pale celadon jade 'scholars' mountain, Qianlong period (1736-1795)Expert remark: Compare the closely related size and form of the figures, rock work and pine tree, as well as the closely related color of the jade. Note the smaller size (12 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 13 October 2021, lot 3693Price: HKD 378,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writingDescription: A pale green jade 'scholar' mountain Qing dynasty, 18th centuryExpert remark: Compare the closely related form, with carvings to both sides, the neatly executed rockwork, color of the jade, as well as the size (16.8 cm).十八世紀青玉山子中國。山子取整塊青玉雕琢，細膩溫潤，晶瑩通透，融合高浮雕、鏤雕、圓雕及陰刻技法，營造出山勢高聳巍峨，令人驚嘆之仙境美景。畫面中山峰猶如拔地而起，山岩間松樹老松遒勁，枝幹蜿蜒，松針如輪，挺然獨秀。山腰間搭建亭台，台上一文人撫琴。山腳有三位文人及童子，或成雙清談，或木桶取水，身後一童子。方溪澗流水潺潺。另一面山形奇特峭峻，怪石嶙峋，蒼松繁茂，一位文人沿著山徑緩步而行，後面跟著一個携琴童子。青玉帶著紅色紋理及絮狀内沁。 來源：瑞士私人收藏。 品相：狀況極佳，有輕微磨損，微小的刻痕，玉石有天然的內沁和紋理。配套的木質底座帶有老舊的裂縫、輕微的劃痕和缺損，整體包漿自然。 重量：877.3 克 (含底座)，804.2 克 (不含底座) 尺寸：高18.9 厘米 (含底座), 16.4 厘米 (不含底座) 同期木底座，雕刻假山、竹子和菊花。 專家注釋：玉山子圓雕，一氣呵成，山體一側有飛瀑，另一側瀑布同源。這種沒有偏重一邊的玉山子，極為罕見。拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2011年6月1日，lot 3904 價格：HKD 680,000（相當於今日EUR 112,500） 描述：十八或十九世紀清代青玉山子 專家評論：比較相近的形式，玉石的顏色，以及相似的大小 (16.7 厘米)。由於字數限制，完整中文敘述請至www.zacke.at查看。
We found 208980 price guide item(s) matching your search
There are 208980 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
208980 item(s)/page
A RARE WUCAI 'ZHANG TIANSHI AND THE FIVE POISONS' DISH, WANLI MARK AND PERIODChina, 1573-1620. Exquisitely potted, the shallow rounded sides supported on a tapered foot and rising to an everted rim. Superbly painted in bright enamels and cobalt-blue to the interior with Zhang Tianshi riding a tiger with flame-like mane and bushy tail, raising his sword as he chases a snake hiding behind a craggy rock, all below a gnarled pine tree and above further rockwork and blossoming flowers, enclosed by a double line border and encircled by butterflies, floral motifs, and lingzhi. The exterior similarly decorated with reeds, floral motifs, and a lizard. The recessed base with an underglaze-blue six-character mark da Ming Wanli nianzhi within a double circle and of the period.Provenance: New York trade, by repute acquired from an old Japanese private collection.Condition: Superb condition with minor old wear and distinct firing irregularities, as expected from authentic Wanli wares, including scattered pits and few dark spots. Only minimal rubbing to enamels, occasional light surface scratches.Weight: 191.5 gDimensions: Diameter 16 cmWith a Japanese wood storage box and protective cloth wrapping. (3)The theme in this dish is associated with the Dragon Boat Festival (duanwujie), which falls on the fifth day of the fifth lunar month. Many of the motifs associated with duanwujie relate to the desire to combat evil forces and poisonous creatures. On this dish, we see the legendary Daoist priest Zhang Tianshi, who cuts through evil with his sword.The snake, lizard, centipede, toad, and scorpion constitute the 'Five Poisons' in Chinese traditions. Here, Zhang is depicted chasing two of them, a snake and a lizard, the latter of which is painted to the exterior of this dish. The pomegranate flowers, which are in bloom at the time of the Dragon Boat Festival, are associated with fertility and were worn as amulets by women. Their brilliant red color is also the color of joy.Zhang Tianshi, courtesy name Fuhan, also known as Zhang Daoling and Zhang Ling, among other names, was a Chinese religious leader who lived during the Eastern Han dynasty and founded the Way of the Celestial Masters sect, the first organized form of religious Daoism. In 142 CE, Zhang announced that Laozi had appeared to him, and commanded him to rid the world of decadence and establish a new state consisting only of the 'chosen people'. Zhang became the first Celestial Master and began to spread his newly founded movement throughout the province of Sichuan. The movement was initially called the Way of the Five Pecks of Rice, because each person wishing to join was required to donate five pecks of rice. The movement spread rapidly, particularly under his son Zhang Heng and grandson Zhang Lu. Their rebellion against the Han dynasty is known as the Five Pecks of Rice Rebellion. After the success of the rebellion in 194, they founded the theocratic state of Zhang Han in the Hanzhong Valley of Sichuan, enjoying full independence.Expert's note: Wucai dishes with related designs and Wanli marks were sometimes copied during the Kangxi period. The present lot, however, is without a doubt a genuine Wanli piece, as indicated by the creamy, pale ivory-colored ware, the distinct kiln marks, the fine warping and the inimitable color palette.Literature comparison: A smaller Wanli wucai dish with similar theme but differently rendered with Zhang Tianshi surrounded by all the 'Five Poisons' is in the Palace Museum, Beijing, illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, no. 47. The present dish also relates to a somewhat larger Wanli wucai dish in the collection of the Percival David Foundation and now in the Victoria & Albert Museum, accession number C.1037-1917, illustrated by Rosemary E. Scott and Rose Kerr in Ceramic Evolution in the Middle Ming Period, V&A and Percival David Foundation, London, 1994, p. 22, no. 25, and another in the collection of the Tianminlou Foundation, illustrated by Louise Allison Cort and Jan Stuart, Joined Colors, Smithsonian Institution, Washington, 1993, p. 130, no. 57. The latter two dishes have the theme of the Five Poisonous Creatures on the back and another aspect of the Duanwujie festival - dragon boat races - on the interior.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 November 2016, lot 3400 Price: HKD 525,000 or approx. EUR 74,000 converted and adjusted for inflation at the time of writing Description: A fine and very rare wucai 'Zhang Tianshi' dish, Wanli six-character mark in underglaze blue within a double circle and of the period Expert remark: Compare the closely related depiction of Zhang Tianshi with raised sword, the exterior also with a lizard, and further decoration of butterflies, pomegranate flowers and lingzhi. Note that there is no tiger and no snake. Also note that the dish is of smaller size (14 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 6 April 2016, lot 47 Price: HKD 1,125,000 or approximately EUR 158,500 converted and adjusted for inflation at the time of writing Description: A small wucai 'shoulao' dish, mark and period of Wanli Expert remark: Compare the closely related form and wucai decoration, though depicting a different subject. Note the smaller size (12.3 cm).萬曆款與年代五彩開光《張天師斬五毒圖》盤中國，1573-1620年。盤沿外撇，弧腹，圈足。圈足内有“大明萬曆年製”六字二行青花楷體雙圈款。來源：紐約古玩交易市場，據説購於一個日本私人舊藏。 品相：品相極佳，有輕微的磨損和明顯的燒製不規則現象。琺琅磨損輕微，局部有輕微的劃痕。 重量：191.5 克 尺寸：直徑16 厘米 日本木製盒子。 由於字數限制，完整中文敘述請至www.zacke.at查看。
A RARE THANGKA WITH THE FOOTPRINTS OF A KARMAPA, TIBET, 14TH - 16TH CENTURYDistemper and gilt on cloth. Depicting the soles of two golden feet with multicolored chakras standing on a moon disc above a multicolored lotus base, a stylized column in between topped by a blue utpala flower supporting the Karmapa, at the bottom center a red vase flanked by naga figures, all surrounded by various buddhas, protectors, and teachers. Provenance: From a noted Swiss private collection. Condition: Good condition with ancient wear, a minuscule hole at one toe, some creasing and abrasions. The distemper and gilt with signs of natural aging as well as microscopic crackling and flaking. Possibly some minuscule old touchups. Losses and loose thread to the undecorated edges.Dimensions: Image size 46 x 38 cm, Size incl. frame 66.7 x 58.4 cmMatted and framed behind glass. (2)The Karmapa is the head of the Karma Kagyu, the largest sub-school of the Kagyu, itself one of the four major schools of Tibetan Buddhism. Karmapa was Tibet's first consciously incarnating lama. Düsum Khyenpa, 1st Karmapa Lama (1110-1193), was a disciple of the Tibetan master Gampopa. A talented child who studied Buddhism with his father from an early age and who sought out great teachers in his twenties and thirties, he is said to have attained enlightenment at the age of fifty while practicing dream yoga. He was henceforth regarded by the contemporary, highly respected masters Shakya Sri and Lama Shang as the Karmapa, a manifestation of Avalokiteshvara, whose coming was predicted in the Samadhiraja Sutra and the Lankavatara Sutra.The tradition of commissioning drawings of a teacher's feet appears to be an oral instruction coming down from Gampopa Sonam Rinchen, the teacher of the First Karmapa, Düsum Kyenpa, and also of Pagmodrupa Dorje Gyalpo, who wrote a famous early text describing this practice. Such paintings are extremely rare, with only a handful known in the East or the West. Auction result comparison:Type: RelatedAuction: Christie's New York, 22 March 2011, lot 323Price: USD 458,500 or approx. EUR 585,500 converted and adjusted for inflation at the time of writingDescription: An important thangka with the Footprints of the Third Karmapa, Rangjung Dorje, Tibet, circa 1339Expert remark: Compare the closely related motif and colors as well as the related size (51.1 x 37.5 cm). Note that this lot has been attributed to a specific Karmapa and is possibly of an earlier date than the present lot.十四至十六世紀西藏罕見噶瑪巴足印唐卡布面膠彩描金。一幅噶瑪巴上師的足印唐卡。噶瑪巴坐在一巨大的蓮花莖所支撐的蓮座上。腳印上也繪有法輪符號，法輪作為佛教中最為代表性的符號，預示著佛陀在鹿野苑初次的說法佈道，因此上師腳印上的法輪符號同樣具有增強上師與佛陀形象連結的作用。頂部是一朵支撐噶瑪巴的藍色烏帕拉花，底部中央是一個紅色的花瓶，兩側是納迦人物。四周圍繞諸佛、護法與上師。 來源：瑞士知名私人收藏。 品相：狀況良好，有磨損，一隻腳趾上有一個小洞，有些摺痕和擦傷。有自然老化跡象，輕微裂紋和色彩剝落。有一些微小的修飾。邊緣有缺損和鬆散。 尺寸：畫面 46 x 38 厘米，含框66.7 x 58.4 厘米 鏡面。 噶瑪巴是噶瑪噶舉派的領袖，噶舉派是藏傳佛教四大宗派之一。噶瑪巴是藏傳佛教噶舉派中的最高持教法王，也是最早開啟乘願轉世傳統的藏傳佛教領袖。藏傳佛教視他為金剛總持的化身。 上師足印唐卡的傳統似乎是從第一世噶瑪巴杜松欽巴的上師岡波巴索南仁欽那里傳下來的，他也是巴摩竹巴多傑嘉波的上師。此類畫作極為罕見，東西方知之甚少。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得， 2011年3月22日，lot 323 價格：USD 458,500（相當於今日EUR 585,500） 描述：1339年西藏重要噶瑪巴第三世上師讓炯多傑足印唐卡 專家評論：比較非常相近的主題、顏色，以及尺寸 (51.1 x 37.5 厘米)。請注意此唐卡特別描繪一位噶瑪巴的上師，年代可能較早。
A RARE AND LARGE CLOISONNE ENAMEL 'BAJIXIANG' VASE, GU, QIANLONG PERIODChina, 1736-1795. The vase is well cast of archaic gu form, superbly decorated around the rounded mid-section with lotus sprays and bats enclosed by linked fret scrolls. The trumpet neck and spreading foot are enameled with hanging plantain leaves enclosing lotus blossoms and scrollwork, dividing further lotus sprays borne on tendrils. The flared mouth rim is embellished around the exterior with the Bajixiang, the Eight Buddhist Emblems, and four Shou medallions amidst lotus blooms on the interior.Provenance: A highly important Austrian private collection, acquired during the first half of the 20th century, and thence by descent within the same family. Dorotheum, Vienna, 9 December 1992, lot 229. A Viennese private collection, acquired from the above. Old inventory label from Dorotheum to base.Condition: Superb condition with minor traces of use and manufacturing irregularities, including expected pitting, minuscule losses to enamels with associated old fills, few microscopic nicks, expected wear to gilt, light scratches to base. Please request a video, shot under strong blue light, to see the magnificent condition of this lot for yourself. Overall, such a large cloisonne vessel, dating from the 18th century, that comes in such a pristine state of preservation must be considered extremely rare. Weight: 2,931 g Dimensions: Height 44 cmExpert's note: It is rare to find a cloisonne enamel gu vase decorated with the bajixiang motif, and the current vessel is likely to have been part of a set placed in a Buddhist temple within an important palace, possibly the Forbidden City. The matching pair to the present vase, most probably coming from the same altar set, was sold at Christie's in 2016 (see auction result comparison), and it is our sincere hope that the winning bidder of the present lot will be able to reunite the pair.Literature comparison: A number of cloisonne vessels of other forms with this Buddhist decoration have been published, including the alms bowls and plates illustrated in Compendium of Collections in the Palace Museum - Enamels (2) - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, pls. 260-261, 287-289. Compare also a censer, similarly decorated with the bajixiang borne on lotus blooms and archaic scrolls as on the present vase, dated to the early 18th century and illustrated by C. Brown in Chinese Cloisonne - The Clague Collection, Phoenix Art Museum, 1980, pl. 43.Auction result comparison: Type: Matching pair Auction: Christie's Hong Kong, 1 June 2016, lot 3402 Price: HKD 1,840,000 or approx. EUR 247,000 converted and adjusted for inflation at the time of writing Description: A rare large cloisonne enamel 'bajixiang' vase, gu, Qianlong period Expert remark: Note that this vase and the present lot most likely once were part of the very same altar set.乾隆罕見掐絲琺瑯八吉祥花觚中國，1736-1795年。花觚喇叭口，細長頸，鼓腹，束腰，足外撇。松石綠色地上琺瑯彩繪，觚外壁口下與高圈足上，均繪纏枝蓮托八寶紋。頸部下方有蕉葉紋，腹部纏枝蓮紋，口沿與足牆處一周迴紋。觚内壁纏枝蝙蝠壽字紋。花觚造型優雅，結構紋飾富麗堂皇。 來源：奧地利重要私人收藏，二十世紀上半葉進入收藏，在同一家族保存至今。1992年12月9日維也納Dorotheum, lot 229；維也納私人收藏購於上述拍賣。底部可見Dorotheum 編號標籤。 品相：狀況極佳，有輕微的使用痕跡和製造瑕疵，包括預期的點蝕、與舊填充物相應的琺瑯缺損、輕微刻痕、鎏金磨損，底座上有輕微劃痕。請聯繫藝廊獲取藍光下拍攝的視頻。總體而言，如此原始的保存狀態的十八世紀景泰藍大型容器極為罕見。 重量：2,931 克 尺寸：高44 厘米 專家注釋：以八吉祥為裝飾的掐絲琺瑯觚瓶十分少見，而這件觚瓶很可能曾放置在重要宮殿（可能是紫禁城）內的一座佛堂中。 此瓶曾爲一對，另一個於 2016年 年在佳士得拍賣（見拍賣結果比較），我們真誠地希望本拍品有朝一日能重聚。文獻比較：一些具有佛教裝飾的景泰藍器皿已經出版，包括《故宮博物院藏品大系—琺瑯彩2—清掐絲琺瑯（1644-1911）》中的碗和盤，北京，2011年，圖260-261和287-289。與此相比，還有一件18世紀初香爐也有類似的裝飾，飾有蓮花和古卷，見C. Brown，《Chinese Cloisonne - The Clague Collection》，Phoenix Art Museum，1980年，圖43。由於字數限制，完整中文敘述請至www.zacke.at查看。
A CHAMPLEVE AND ENAMEL WALL VASE, GUANGDONG TRIBUTE TO THE IMPERIAL COURT, QIANLONGChina, 1736-1795. Of flattened form, the gilt bronze baluster body supported on a short spreading foot and rising to a flared neck, the mouth and foot rims are three-lobed. Inlaid at the center with a haitang-shaped and finely enameled plaque neatly painted with two court ladies seated in a lush garden with willows, rockwork, and flowers, one playing the flute. The plaque is encircled by raised kuilong executed in champleve enamel, the foot and base of the neck with similar kuilong and with an enameled taotie mask below the mouth.Provenance: From a North German private collection, assembled before 2007.Condition: The canton enamel plaque with small repairs to lost enamels, the vase further with some dents and nicks, light surface scratches, manufacturing flaws such as expected pitting, minor old wear to gilt. Overall presenting remarkably well, the condition consistent with age.Weight: 579.2 gDimensions: Height 21 cmThe back with a circular aperture within a rectangular recess for wall suspension.Palace archival records confirm that significant quantities of enamel and champleve wares were produced in the Guangdong province with a wide range of designs that included luxurious and eye-catching pieces such as the present wall vase. Yang Boda notes the high quality of champleve wares made in Guangzhou, the capital of the province, adding that they were 'second to none during the whole Qing dynasty' (see Tributes from Guangdong to the Qing Court, Chinese University of Hong Kong, 1987, page 54). During the 18th century, Guangzhou had become an important artistic center as craftsmen active there were in very close contact with European missionaries and traders bringing to China new and innovative techniques. Wares made in these foreign techniques were highly coveted by the Imperial household, especially during the Qianlong era, hence a number of such champleve wares were sent as tribute gifts from Guangdong to the Imperial court in Beijing. During the reign of the Qianlong Emperor, the manufacture of champleve, cloisonne and painted enamel products flourished to achieve its most sophisticated level in both range and quality.Expert's note: Champleve wall vases only seldomly appear on the market. The present lot - with its unique addition of a finely enameled plaque - seems to have no comparable examples found in private or public collections and hence must be considered exceedingly rare.Auction result comparison:Type: RelatedAuction: Bonhams London, 13 May 2010, lot 401Estimate: GBP 15,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A fine champleve enamel and gilt-bronze baluster wall vase, late QianlongExpert remark: Compare the related champleve enameling and similar kui dragons. Note that this vase is of almost the same size (18.3 cm) but lacks the canton enamel plaque.Auction result comparison:Type: Remotely relatedAuction: Christie's Hong Kong, 29 May 2013, lot 2068Price: HKD 3,150,000 or approx. EUR 475,500 converted and adjusted for inflation at the time of writingDescription: A very rare Imperial champleve and gilt-bronze archaistic vase, hu, QianlongExpert remark: Note that this is not a wall vase and of significantly larger size (39.3 cm) than the present lot乾隆内填琺瑯壁瓶，廣東進貢中國，1736-1795年。扁瓶形，撇口，束頸，豐肩，下收腹，底足外撇。頸部中央一道弦紋。瓶身開光鑲嵌精美琺瑯瓷牌，兩位仕女坐在園中柳樹下，四周鮮花環繞，假山亭子。開光周圍是用内填琺瑯描繪夔龍紋和饕餮紋。 來源：德國北部私人收藏，購於2007年之前。 品相：琺瑯面有小修復，花瓶有一些凹痕和刻痕，表面有輕微劃痕，製作瑕疵，例如麻點、鎏金的輕微磨損。整體狀況良好，與年齡相吻合。 重量：579.2 克 尺寸：高21 厘米 背面帶有矩形凹槽，圓形孔，用於牆壁懸掛。由於字數限制，完整中文敘述請至www.zacke.at查看。
A GUAN-TYPE VASE, FANG HU, YONGZHENG MARK AND PERIODChina, 1723-1735. The high-shouldered body with curved sides supported on a splayed foot, rising to a waisted neck and lipped rim, flanked by a pair of expressive chilong masks with elegantly curved horns, bulging eyes, and fangs, suspending mock rings. Covered overall in a thick pale-gray glaze suffused with a dense yet subtle crackle and attractively pooling in the recesses. The deeply countersunk base with a finely painted underglaze-blue six-character seal mark da Qing Yongzheng nianzhi and of the period.Provenance: From an English private collection.Condition: Excellent condition with only minor old wear and firing irregularities, including pitting, dark spots, and few glaze recesses. Extremely rare in this pristine state of preservation. The glaze with a subtle, unctuous feel overall.Weight: 4,655 gDimensions: Height 33.2 cmLiterature comparison: For an example of the Han-dynasty model for this vase, see Christie's Paris, 9 June 2016, lot 232.Auction result comparison: Type: Near identical Auction: Christie's Paris, 7 June 2011, lot 194 Price: EUR 28,600 or approx. EUR 35,500 adjusted for inflation at the time of writingDescription: A Guan-type glazed vase, hu, China, Qing dynasty, Yongzheng six-character sealmark and of the period Expert remark: Note the evident damage and repair as well as significant misfirings. Due to these condition issues, which the present lot does not have, the result was appropriate at the time. Note the size (31.7 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 9 April 2006, lot 1614Price: HKD 1,440,000 or approx. EUR 275,000 converted and adjusted for inflation at the time of writingDescription: A rare massive guan-type vase, fanghu, seal mark and period of YongzhengExpert remark: Compare the near identical form. Note the ruyi scepter loop handles and slightly larger size (43.8 cm). 雍正款及年代仿官釉螭龍啣環輔首方壺 中國，1723-1735年。侈口，短頸，碩腹。頸部螭龍啣環輔首。通體施仿官釉，開片細密。足緣施醬色護胎汁。底足內青花六字款“大清雍正年製”。 來源：英國私人收藏 品相：品相極佳，只有輕微的舊時磨損和燒製不規則現象，包括點蝕、黑點和少量釉面凹陷。 在這種原始保存狀態下極為罕見。釉面整體勻潤。 重量：4,655 克 尺寸：高 33.2 厘米 文獻比較：一件漢代方壺，見巴黎佳士得，2016年6月9 日 lot 232。 拍賣結果比較： 形制：幾乎相同 拍賣：巴黎佳士得，2011年6月7日，lot 194 價格：EUR 28,600（相當於今日EUR 35,500） 描述：雍正款及年代仿官釉螭龍輔首方壺 專家評論：請注意此壺有明顯的損壞和修理痕跡，以及明顯的製作不規則。現拍品並沒有這些品相問題。請注意尺寸(31.7厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2006年4月9日，lot 1614 價格：HKD 1,440,000（相當於今日EUR 275,000） 描述：雍正款及年代大型仿官釉方壺 專家評論：比較幾乎相同外型。請注意如意形耳和尺寸較大(43.8厘米)。
AN IMPORTANT AND RARE UDAYANA-STYLE FIGURE OF MAITREYA, LATE YUAN DYNASTY - HONGWU PERIODOpinion: The present statue is stylistically very similar to an important gilt-bronze figure of Maitreya, which can be pinpointed by radiocarbon dating of organic material in its core to a quite narrow timeframe from the late Yuan dynasty to the Hongwu period. The distinct U-shaped folds, elongated undulating sleeves, and flared hems, as well as the characteristic hairstyle, all indicate that the two figures were made at more or less exactly the same time, around the years 1350-1380. The image is superbly carved standing with his right hand raised in abhaya mudra, the deity portrayed with a serene and meditative countenance below an urna, framed by a pair of long pendulous earlobes and hair neatly swept over the ushnisha, clad in a long robe with elongated sleeve openings and accentuated overall with pronounced folds and undulations, the garment loosely clinging to the gently rounded outlines of his stomach and legs and ending in a flaring hem above the bare feet. Provenance: A Belgian private collection. Condition: Good condition, commensurate with age and presenting remarkably well, especially when considering the high age of this statue. Extensive wear and expected natural age cracks. Minor flaking and crackling to lacquer. Light surface scratches, minuscule nicks, some losses. Possibly few minor old touchups here and there.Weight: 787.9 g Dimensions: Height 31.2 cmMaitreya, Buddha of the Future Age, governs two perfected worlds: Tusita Heaven, which he currently inhabits, and Ketumati, an ideal realm conducive to the pursuit of enlightenment where he will serve as the teaching Buddha. The Maitreya's hands are held in abhaya and varada mudras, embodying a message of the coming salvation of all sentient beings.As the Yuan dynasty crumbled amidst famine, floods and general unrest, the anti-Mongol slogan of Han Shantong, Grand Patriarch of the White Lotus sect, was a call to arms and rebellion. Central to Han's belief structure was the idea that Buddha Maitreya had finally manifested in the world as the successor to Buddha Shakyamuni. Shortly after Han's demise in 1351, Zhu Yuanzhang, also a member of the White Lotus sect, emerged as the leader of the ethnic Han Chinese rebelling against the Mongol-led Yuan dynasty. In 1368, he eventually proclaimed himself as the Hongwu Emperor of the newly established Ming dynasty. It was during this period that images of Buddha Maitreya, such as the present lot, were depicted almost exclusively in the distinct Udayana style which gained increased popularity.The formulaic rendering of the U-shaped folds of the robe is one of the most interesting iconographic features of the present figure. This is known as Udayana, an ancient name for the early Gandharan region now in the present-day Swat Valley, Pakistan, from which similarly robed images of Maitreya first originated. This distinctive style of dress had transmitted along the Silk Road all the way to China and appeared there as early as the fourth century, as exemplified by the gilt-bronze seated Buddha Shakyamuni illustrated by H. Munsterberg, in Chinese Buddhist Bronzes, New York, 1988, page 37, fig. 1, which bears an inscription dated to 338 AD.Literature comparison:Compare a closely related wood figure, dated to the Ming dynasty, in the collection of the Metropolitan Museum of Art, accession number 41.115.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 2 October 2017, lot 3135 Price: HKD 24,100,000 or approx. EUR 3,263,000 converted and adjusted for inflation at the time of writing Description: A magnificent and monumental gilt-bronze standing figure of Maitreya, Yuan dynasty - Hongwu periodExpert remark: Compare the closely related U-shaped folds, elongated undulating sleeves, and flared hems as well as the distinct hairstyle. Note that this lot came with a Carbon-14 test of the core which was consistent with the dating above. Note the much larger size (116.8 cm) and the fact that this statue is made from bronze, not wood.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2010, lot 1959 Price: HKD 3,020,000 or approx. EUR 526,500 converted and adjusted for inflation at the time of writing Description: A very rare early Ming gilt-bronze standing figure of Maitreya, Yongle incised six-character mark and of the period Expert remark: Compare the closely related U-shaped folds and elongated undulating sleeves. Note that this lot is made from gilt-bronze, not wood, and that it bears a Yongle mark and dates from the period. Also note the smaller size (16.5 cm). Eventually note that the image lacks the distinct Udayana hairstyle, probably because it was made a few decades later than the present lot.元末至洪武朝重要烏仗那式彌勒佛木雕像 造像身軀豐滿，姿態高貴，右手施無畏印，佛面微笑頭髮整齊地披在烏尼沙上，佛像通肩式之外袍，自肩膀垂直而下，佛像身形高挑，裙褶疊曲有序，氣韻生動，神彩宛如書法揮毫。由於字數限制，完整中文敘述請至www.zacke.at查看。
'THE TEA SHOP', QING DYNASTYChina, probably Canton, 19th century. Ink and watercolor on silk. Depicting a tea warehouse, one room with workers sorting the tea on long tables, while the tea is packed into large boxes in the background. In the front there is a salesroom with various signs, the crowded room with salesmen selling tea to customers, all within a coastal area (most likely Canton), with mountains in the background and two sailing boats.Inscriptions: The signs show the name of the tea shop, 'Yushen chahao', and the different kinds of tea which are for sale.Provenance: Belgian trade. Condition: Very good condition with minor wear, little foxing.Dimensions: Image size 63.5 x 52.3 cm, Size incl. mounting 70.8 x 59.5 cm In the early seventeenth century, the Dutch India Company introduced Chinese tea to Europe, creating a global market that remains today. Farmers all over China grew tea as one of various crops on their small land holdings. These crops were then transported across mountains to wholesale centers where dealers from China and Europe gathered to select the teas they wanted. The tea was further transported to ports. On its arrival, a second selection process took place, with agents acting for the various companies, delivering their goods to European and American countries.Primarily produced for export in the late 18th and early 19th centuries in the thriving port of Guangzhou, gouache images of tea, silk, and porcelain production were popularly produced by studios of artists. While illustrating Chinese commerce and agricultural modes of production, these aesthetics of the opaque gouache painted images would mimic the appearance of oil on canvas, with the entire surface covered with color, and abandoning the Chinese tradition of leaving the sky or water unpainted. The present silk painting, however, is painted in a decidedly Chinese style and focuses on the tea shop itself, instead of the production of tea, and is thus a rare example.Auction result comparison:Type: RelatedAuction: Christie's London, 7 November 2019, lot 37Price: GBP 90,000 or approx. EUR 113,000 converted and adjusted for inflation at the time of writingDescription: Chinese School, circa 1820, Tea production - a set of twelve paintingsExpert remark: Note the lot consists of twelve paintings清代外銷畫《製茶商鋪》中國，十九世紀，可能來自廣東，絹本設色。水墨繪製了一個製茶商鋪，可見工人們在分揀茶葉與包裝茶葉。與後院緊鄰著的是一個茶鋪，牆上畫滿了各種茶葉名字，生意興隆。鋪子臨水，可見傳統山水畫意。 來源：比利時私人收藏。 品相：狀況極好的條件，輕微磨損、褐變。 尺寸：畫面63.5 x 52.3 厘米，總70.8 x 59.5 厘米 十七世紀初，荷蘭印度公司將中國茶葉引入歐洲，創造了一個延續至今的中國茶葉市場。中國各地的茶農種茶，來自中國和歐洲的經銷商聚集茶鄉挑選茶葉，選出來的茶葉會在港口進行第二次選擇，然後代理商將茶葉送到歐美國家。外銷畫產生並興盛於十八、十九世紀，集中在廣州十三行一帶。為迎合西方社會熱衷中國趣味和風尚，廣州畫師採用西方的繪畫顏料和技法，繪製帶有中國風情的圖畫，銷售給來華的洋人。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2019年11月7日，lot 37 價格：GBP 90,000（相當於今日EUR 113,000） 描述：1820年一組十二幅《製茶商鋪》 專家評論：請注意此組畫有十二幅。
A LONGQUAN CELADON BARBED-RIM DISH, SONG TO YUAN DYNASTYChina, 960-1368. The concave shallow sides supported on a short tapered foot and rising to a wide everted barbed rim, covered in a finely crackled soft sea-green glaze, thinning toward the edges and darkening in the recesses, skillfully utilized to heighten the barbed rim with a neatly carved line, the unglazed foot rim burnt to orange.Provenance: From a German private collection. Condition: Excellent condition with minor old wear, traces of use and firing irregularities such as scattered brown spots, pitting and glaze recesses. The glaze with intentional crackling.Weight: 277.5 g Dimensions: Diameter 17.3 cm Literature comparison: A Longquan celadon dish of similar shape is in the Percival David Foundation and shown by M. Medley in the Illustrated Catalogue of Celadon Wares, 1977, pl. V, 47. Another Longquan dish of similar shape and glaze, with the rim divided into petal lobes, is illustrated by R. Krahl in Chinese Ceramics from the Meiyintang Collection, Volume Three (II), London, 2006, p. 581, no. 1570. Auction result comparison: Type: Closely related Auction: Christie's New York, 19 September 2014, lot 844 Price: USD 56,250 or approx. EUR 66,000 converted and adjusted for inflation at the time of writingDescription: A rare Longquan celadon guan-type dish with foliate rimExpert remark: The pre-auction estimate for this lot was USD 10-15.000. Compare the closely related form with its barbed rim and similar size (16 cm). Note the guan-type glaze.宋至元龍泉青釉菱口盤中國，960-1368年。胎體厚重，菱花口，折沿直壁，通體滿施青釉，光素無紋，釉面浮光瀲灩，釉色碧綠似玉，圈足內留有澀圈墊燒火石紅痕。器型沉穩大氣，線條流暢。 來源：德國私人收藏。 品相：品相極佳，有輕微磨損、使用痕跡和燒製不規則現象，例如散落的褐色斑點、麻點和釉面凹陷。釉料局部開片。 重量：277.5 克 尺寸：直徑17.3 厘米 文獻比較： 一件相近形制的龍泉盤，收藏於Percival David Foundation，刊登於M. Medley，《Catalogue of Celadon Wares》，1977年，第五版，頁47。另一件形制和釉色相近的龍泉盤，花瓣狀盤沿，見康蕊君，《玫茵堂中國陶瓷》，卷三(II)，倫敦，2006年，頁581，編號1570。拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年9月19日，lot 844 價格：USD 56,250（相當於今日EUR 66,000） 描述：罕見南宋仿官窯龍泉菱口盤 專家評論：預展時此盤估價約10-15.000 USD。比較非常相近的外型，以及花瓣盤沿和相似的尺寸 (16 厘米)。請注意仿官窯的釉面。
AN UNUSUAL SANDSTONE HEAD OF THE LUOHAN ASITA, SONG TO MING DYNASTYChina, 12th-15th century. The pale ochre sandstone vividly rendered with a bare head, the face revealing an expression of quiet power and compassion, framed by a pair of long bushy eyebrows extending to a wrinkled forehead and straight nose, with taut rounded cheeks above a gentle smile encircled by further wrinkles, flanked by long pendulous earlobes. Provenance: From a Swiss private collection. Condition: Good condition commensurate with age and overall exactly as expected from a stone sculpture with an age of half a millennia or more. Extensive wear with signs of natural weathering and erosion, some nicks, age cracks and losses. Solid naturally grown patina.Weight: 8.4 g (incl. stand) Dimensions: Height 36 cm (incl. stand), 20.4 cm (excl. stand) With a modern metal stand.Asita means incomparably proper in Sanskrit, or of correct proportions in spirit and physique. According to legend, Asita was born with two long white eyebrows. The story was that in his previous life he was a monk who, though having tried very hard, could not attain enlightenment even at a ripe old age and had only two long white eyebrows left. After his death he was reincarnated as a human being. Animated portraits of luohans are rare, most examples being straightforward and somewhat idealized renditions. The trend of more naturalistic sculpture was initiated by Song dynasty artists, who also often depicted human figures with animated, expressive faces. This trend continued into the subsequent Yuan and Ming dynasties.Literature comparison: Two sandstone sculptures of arhats, one with a tiger, the other with a dragon, were discovered in 1980 at the Boshan Temple site in Fu County, Shaanxi Province, see H. Rogers, China 5000 Years, Innovation and Transformation in the Arts, New York, 1998, no. 177.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 7 November 2019, lot 55Price: GBP 8,812 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A rare sandstone head of a luohan, 14th/15th centuryAuction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 4 April 2016, lot 2835Price: HKD 750,000 or approx. EUR 106,000 converted and adjusted for inflation at the time of writingDescription: A rare limestone head of a luohan, Song dynasty宋至明砂岩長眉羅漢頭像中國，十二至十五世紀。赭色砂岩，長眉羅漢禿頂廣額，前額突起似桃形，下有皺紋連連，一對長長的濃密眉毛，容貌清臞、慈眉善目。 來源：瑞士私人收藏。 品相：品相良好，整體完全符合石雕的年代預期。大面積磨損，帶有自然風化和侵蝕的跡象、一些刻痕、老化裂縫和缺損。自然包漿。 重量：8.4 克 (含底座) 尺寸：高36 厘米 (含底座), 20.4 厘米 (不含底座) 現代金屬底座。 Asita在梵文中的意思是無與倫比的意思，或在精神和身體上的和諧。相傳，阿西塔出生時有兩條長長的白眉。故事說他前世是個僧人，雖然很努力，但到了晚年也不能成道，只剩下兩根長長的白眉毛。他死後轉世為人。羅漢的造像很少見，大多數例子都是直截了當且有些理想化的演繹。宋代藝術家開創了更自然的雕塑風格，他們也經常用生動、富有表現力的面孔來描繪人物形象。這種風格一直延續到後來的元明朝 文獻比較： 1980年，在陝西省富縣博山寺遺址發現了兩件砂岩羅漢雕塑，一件是老虎，另一件是龍，見H.Rogers，《China 5000 Years, Innovation and Transformation in the Arts》，紐約，1998年，頁177。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2019年11月7日，lot 55 價格：GBP 8,812（相當於今日EUR 11,000） 描述：十四/十五世紀石雕羅漢頭像 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2016年4月4日，lot 2835 價格：HKD 750,000（相當於今日EUR 101,200） 描述：宋代石灰岩羅漢頭像
A RARE GUAN-TYPE VASE, HU, QIANLONG MARK AND PERIODChina, 1736-1795. The ovoid body supported on a thick spreading foot and tapering to a waisted flared neck, set to either side with a lion-head-form loop handle over a molded mock ring handle at the shoulder, applied overall in a thick bluish-gray glaze suffused with a bold network of steel gray and pale gold crackles stopping at the unglazed foot ring dressed in a dark brown wash in imitation of Song dynasty guan ware. The recessed base with an underglaze-blue six-character mark da Qing Qianlong nianzhi and of the period.Provenance: Swiss trade. Condition: Fine condition overall with wear and firing irregularities, shallow surface scratches, the rim with a small chip and associated minor old repair. Please request further detail images as well as a video, shot under strong blue light, for accurate documentation of the condition of the present lot.Weight: 6,002 gDimensions: Height 37 cmThe crisply molded lion-form loop handles on the present piece are striking, varying from the usual shallow applied lion-mask handles with pendent rings or the rarer elephant-head loop handles. The bold feature is a charming 18th-century innovation on a vase that in both form and glaze references two well-known early accomplishments of Chinese art: the iconic hu form derived from the great bronzes of the Shang dynasty and the rich crackled glaze of the famed Guan wares of the Southern Song dynasty. The official or Guan ware was produced for the court in the capital, Hangzhou, in Zhejiang province. Laohudong in southern Hangzhou appears to have been the most important Guan kiln creating wares with an attractive crackled glaze, a version of which is seen on the present piece. The crackle was purposefully made utilizing refined technical skill to calibrate a cooling rate for the wares that would produce the different layers of fissures and allow them to be filled with two to three different colors. The present piece with its two tones references the jinsi tiexian (gold thread and iron wire).Such a pointed allusion to the past served to both pay homage to the past while simultaneously noting the technical achievements of the present. Archaism enjoyed a major revival during the height of the Qing dynasty under the Yongzheng and Qianlong emperors. The combination of a precious glaze and ancient form suggests a deep appreciation and respect for the past, together with the want for its preservation.Auction result comparison: Type: Near-identical Auction: Sotheby's New York, 17 March 2015, lot 287 Price: USD 87,500 or approx. EUR 107,500 converted and adjusted for inflation at the time of writing Description: A rare Guan-type vase, Hu, Qianlong seal mark and period Expert remark: Compare the identical form, two-tone crackled glaze, and extremely rare lion-form loop handles. Note the smaller size (30 cm).乾隆款及年代仿官釉雙耳壺中國，1736-1795年。仿漢壺尊形制，鼓腹，外撇圈足。頸部兩側有獅首耳，通體及足內均施仿官釉，釉面開片紋。胎體優美，造型素雅，猶可辨趙宋遺韻。圈足内六字篆書款“大清乾隆年製”。 來源：瑞士古玩交易。 品相：整體狀況良好，磨損和燒製不規則，表面淺劃痕，邊緣有小磕損和相應小修。請聯繫部門詢問更多細節圖片以及在強藍光下拍攝的視頻，以準確查看當前拍品的狀況。 重量：6,002 克 尺寸：高37 厘米 這件作品上造型清晰的獅首耳特別引人注目，與通常帶有活環的獅首或較罕見的象首耳不同。此器的造型、釉色都極似宋代的作品，是仿古之作。清雍正時期對宋代五大名窯的仿製取得了空前的成就，摹古水平極高。此時所仿製的宋代官窯釉面或有冰裂紋或無片紋，其紋呈白色或鐵色。胎色黑，頗能體現宋代官窯 “紫口鐵足”的特色，在清代文獻中被稱為“鐵骨大觀”。拍賣結果比較： 形制：幾乎相同 拍賣：紐約蘇富比，2015年3月17日，lot 287 價格：USD 87,500（相當於今日EUR 107,500） 描述：清乾隆官式瑞獸耳壺 《大清乾隆年製》款 專家評論：比較幾乎相同的外型、雙色調的釉面開片，以及罕見的獅首耳。請注意尺寸較小 (30 厘米)。
A RARE TIANBAI ANHUA-DECORATED 'DRAGON' BOWL, KANGXI PERIODChina, 1662-1722. Delicately potted, the deep conical sides supported on a short straight foot and rising to a gently everted rim. Finely carved in anhua with two scaly sinuous dragons in pursuit of flaming pearls amid clouds and flames, encircling a central anhua-carved four-character apocryphal mark Yongle nianzhi. Provenance: Cecilia Lindqvist (1932-2021), and thence by descent within the family. Cecilia Lindqvist (Chinese name: Lin Xili) was a Swedish sinologist, university professor and author of several books on China, including Kingdom of Characters in 1989 and Qin, about the seven-stringed zither, in 2006. She first visited China in 1960 with a letter of recommendation by the King of Sweden and went on to study the country extensively. Lindqvist is one of the very few authors to receive the August Prize, a notable Swedish literary award, twice.Condition: Excellent condition with minor wear and minimal firing irregularities.Weight: 78.8 gDimensions: Diameter 13.3 cmLiterature comparison: Dishes of this decoration and quality in the Kangxi Period are rare and based upon early 15th-century prototypes. A Yongle prototype of the current bowl is in National Palace Museum, Taipei, accession no. Gu ci 017642, and was exhibited in The International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935‑36, cat. no. 213.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 9 October 2020, lot 3641Price: HKD 302,400 or approx. EUR 38,500 converted and adjusted for inflation at the time of writing Description: A fine and rare tianbai anhua-decorated 'dragon' bowl, Qing dynasty, Kangxi periodExpert remark: Compare the closely related anhua-carved dragon and the apocryphal Yongle mark, which on this piece is carved to the underside, and not the interior as on the present lot. Note the different form and similar size (12.5 cm).康熙甜白釉暗花龍紋碗中國，1662-1722年。敞口斜壁，形如斗笠，形制周正簡約。胎體盈薄，質地細膩，壁可透光，通體罩施純淨白釉。外壁光素，碗暗刻雲龍紋，強光下才能看見，一對神龍穿梭于如意祥雲之間，追逐火珠。釉色溫柔恬靜肖似永樂甜白。碗内偽款“永樂年製”。 來源：Cecilia Lindqvist (1932-2021年)，保存在同一家族。Cecilia Lindqvist (中文名: 林西莉) 曾是一位瑞典漢學家、大學教授和關於中國的多本書籍的作者，其中包括1989年的《漢字王國》與2006年《林西莉古琴的故事》。1960年，她帶著瑞典國王的推薦信首次訪華，之後一直持續研究中國及其文化。林西莉是為數不多的兩次獲得奧古斯特獎的作家。 品相：狀況極佳，輕微磨損，少量燒製不規則。 重量：78.8 克 尺寸：直徑 13.3 厘米 文獻比較： 康熙時期這種以十五世紀初原型為基礎的裝飾和品質的盤子很罕見。此碗的永樂原型收藏於臺北故宮博物院，藏品號Gu ci 017642；並曾於1935‑36年在倫敦皇家藝術學院《The International Exhibition of Chinese Art》展出，圖錄編號213。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2020年10月9日，lot 3641 價格：HKD 302,400（相當於今日EUR 38,500） 描述：清康熙甜白釉暗刻雲龍戲珠紋盌 《永樂年製》仿款 專家評論：比較非常相近的永樂款暗花龍紋，但此碗款識刻於圈足，而非碗內。請注意不同的外型和相似的尺寸(12.5厘米)。
A RARE RECTANGULAR HUANGHUALI KANG TABLE, 18TH CENTURYChina. The well-figured single board floating panel top of typical miter, mortise and tenon construction, supported on the underside with two transverse stretchers, over a narrow waist and raised-edge apron neatly carved in shallow relief with ruyi heads to each side and joining the square-section legs ending in inverted L-shaped feet, each pair of legs conjoined on the shorter sides with a gently curved rectangular stretcher.Provenance: From the collection of Dr. Ruth and Friedrich Boss, acquired in China between 1911 and 1938, and thence by descent in the same family. Dr. Ruth Boss (1888-1958) was the personal medical doctor of the Xuantong Empress (1906-1946), Consort of Puyi, the Last Emperor of China.Condition: Excellent condition with fine age cracks, superb naturally grown patina, minor splits and gaps as expected, old wear and traces of use, some shallow surface scratches.Dimensions: Length 106 cm, Height 34 cm, Depth 38 cmExpert's note: The present table is notable for the inverted L-shaped feet, a feature that is rare in kang tables.Literature comparison: Compare a related kang table, also raised on inverted L-shaped feet, but with a pierced apron and stretchers carved as archaistic scrolls, illustrated in R. H. Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties, Hong Kong, 1979, p. 151, pl. 46 and 46a.Auction result comparison: Type: Closely related Auction: Christie's New York, 25 March 2022, lot 1008 Price: USD 18,900 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A rare rectangular huanghuali kang table, 18th century Expert remark: Note the closely related form with similar inverted L-shaped feet. Note the size (157.8 cm)十八世紀黃花梨炕桌 中國。桌面單板，傳統的榫眼和榫結構，束腰下牙條，沿邊起陽線，牙條中央淺浮雕如意紋，如意紋下向兩側迂迴成卷葉狀。牙條四角直接往下成方腿，方腿向内迂迴形成彎曲的L形足。 來源： Dr. Ruth 與 Friedrich Boss私人收藏，1911年至1938年間購於中國，自此保留在同一家族至今。Dr. Ruth Boss (1888-1958) 曾是末代皇帝溥儀之后婉容 (1906-1946) 的私人醫生。 品相：狀況良好，具有良好的自然年齡裂縫，極好的自然形成的包漿，預期中的細小 裂痕和縫隙，磨損和使用痕跡，表面些微淺劃痕。 尺寸：長106 厘米，高34 厘米，寬 38 厘米 專家注釋：這樣L形足的炕桌是很罕見的。 文獻比較： 比較一件相近的炕桌，也有相同的向内迂迴形成彎曲的L形足，但有一個穿孔的牙條和雕刻卷軸紋的底座，見R. H. Ellsworth，《Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties》，香港，1979年，頁151，編號46和46a。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2022年3月25日，lot 1008 價格：USD 18,900（相當於今日EUR 18,500） 描述：清十八世紀黃花梨長方形炕桌 專家評論：請注意非常相近的外型和向内迂迴形成彎曲的L形足。請注意尺寸(157.8 厘米)。
A LARGE AND MASSIVE BRONZE 'CHILONG' ARROW VASE, TOUHU, YUAN TO EARLY MING DYNASTYChina, 13th-15th century. Heavily cast, the compressed globular body rising from a splayed foot and surmounted by a tall cylindrical neck. The body decorated in relief with archaistic motifs on a key-fret diapered ground at the foot and the four tubular 'target' lugs, further molded with four beast-mask handles suspending loose rings, and four chilong sinuously wrapping around the shoulder and elongated neck.Provenance: From the collection of Dr. Walter Rieder (1890-1986), and thence by descent in the same family. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.Condition: Very good condition with extensive old wear, few casting irregularities, small losses, nicks and dents, a small hole to the shoulder, possibly inherent to the manufacture. The base plate shows some soldering, but is original to the vase. Dark, naturally grown patina, exactly as expected from this type of bronze.Weight: 6,448 g Dimensions: Height 47.8 cmThe form of this vase is inspired by archaic bronze vessels used for touhu (lit. 'pitch-pot'), a traditional East Asian game that requires players to throw arrows or sticks from a set distance into a large, sometimes ornate, vessel. The game had originated by the Warring States period, probably invented by archers or soldiers as a pastime during idle periods. It began as a game of skill or a drinking game at parties, but by the time it was described in a chapter of the Chinese Classic Book of Rites, it had acquired Confucian moral overtones. Initially popular among elites, it spread to other classes and remained popular in China until the end of the Qing Dynasty. Touhu was usually a contest between players, who had to throw arrows into the mouth or tubular lugs located at the top of the vase, which was placed at an equal distance between two mats on which the players knelt. Touhu vases continued to be produced in the Song dynasty and later, made in various materials including bronze, cloisonne, and ceramic.Literature comparison: See a related bronze arrow vase, dated as first half 17th century, illustrated in The Chinese Scholar's Studio: Artistic Life in the Late Ming Period, New York, 1987, no. 63. Auction result comparison:Type: Closely relatedAuction: Christie's London, 11 Nov 2011, lot 1411Price: GBP 11,250 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A large bronze 'eight immortals' arrow vase, Ming dynasty (1368-1644)Expert remark: Compare the closely related form, the four beast-mask handles at the body, and the archaistic design to the foot and upper neck. Note the size (57 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 7 October 2014, lot 3331Price: HKD 175,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A large bronze arrow-handled vase, Ming dynasty, 16th centuryExpert remark: Compare the closely related design with dragons at the neck and archaistic design to foot and neck.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 29 May 2022, lot 23Price: HKD 242,250 or approx. EUR 30,500 converted at the time of writingDescription: A Very Rare Bronze Arrow Vase, Touhu, Yuan DynastyExpert remark: Compare the closely related form, the sinuous chilong, and the archaistic design overall. Note the size (35.5 cm).元至明初大型螭龍紋輔首啣環投壺中國，十三至十五世紀。該件瓶為銅質。唇口，口沿兩側附雙貫耳，形成三個並列的口部，貫耳下端亦為唇口，雷紋地龍紋。細長頸，圓雕兩螭龍攀附。平肩，肩部攀附一對螭龍。鼓腹，四輔首啣環。高圈足。壺整器規矩，錯落有致。 來源：Dr. Walter Rieder (1890-1986)舊藏，在同一家族保存至今。 品相：品相極好，大面積磨損，輕微鑄造瑕疵，小缺損、小刻痕和凹痕，肩部有一個小孔，可能是製造時出現的。底板看上去有過焊接。深色的包漿，與這種青銅器皿的預期完全一樣。 重量：6,448 克 尺寸：高47.8 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
A RARE AQUAMARINE BLUE GLASS BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1736-1795. The remarkably thick-walled, globular body is raised on a short tapered foot and surmounted by a tall cylindrical neck. The transparent glass is of an attractive aquamarine-blue tone. The recessed base with an incised four-character mark Qianlong nianzhi and of the period.Provenance: From the collection of Ina and Sandford Gadient. Old collector's label inscribed 'Ina & Sandford Gadient No. 23'. Ina and Sandford Gadient were collectors of Chinese glass and long-time supporters of the Lowe Art Museum at the University of Miami in Florida. In 1999, the Museum, an important art institution in the US, hosted an exhibition of over 120 pieces from the Gadient collection including the present lot, titled “Treasures of Chinese Glass Workshops”. The collection has also been exhibited at several other museums across the US (see exhibition section below).Published: Treasures of Chinese Glass Workshops. A Selection from the Ina and Sandford Gadient Collection, Lowe Art Museum, University of Miami, 1999, Number 24.Exhibited: The Norton Museum of Art, West Palm Beach, October 2011. The New Orleans Art Museum, May 2004. The Lowe Art Museum, December 1999. The Corning Museum of Glass, September 1996. The Lentz Center of Asian Culture, October 1994. The Honolulu Academy of Art, Hawaii, June 1992.Condition: Excellent condition with some old wear, minor surface scratches, microscopic nicks and expected manufacturing irregularities, including swirls and bubbles.Weight: 1,500 g Dimensions: Height 25 cmExpert's note: The overall thickness of the glass, becoming most visible at the massive foot and neck, along with the exceedingly rare color variant of transparent aquamarine blue, indicates that this vase was made rather early during the Qianlong period.Literature comparison: A related bottle vase of comparable size, also with a Qianlong mark and of the period, is illustrated by Simon Kwan in Early Chinese Glass, Art Museum, The Chinese University of Hong Kong, 2001, pp. 422-3, no. 218.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1215 Price: USD 16,380 or EUR 15,500 converted at the time of writing Description: A large blue glass bottle vase, Qianlong four-character incised mark and of the period (1736-1795) Expert remark: Compare the closely related thick-walled glass. Note the darker sapphire-blue color and larger size (33.7 cm).乾隆款與年代罕見寶石藍琉璃瓶中國，1736-1795年。不透明的寶石藍玻璃，直口，長頸，鼓腹，底足厚壁，造型秀巧。圈足内“乾隆年製“四字款。 來源： Ina 與Sandford Gadient收藏。收藏標籤上注明”Ina & Sandford Gadient No. 23”。Ina 與Sandford Gadient是中國琉璃器皿收藏家，長期資助佛羅里達州邁阿密大學洛威藝術博物館。1999年，美國重要的一個藝術機構博物館舉辦了一場展覽，展出了包括本拍品在內的Gadient收藏的120多件作品，名為“Treasures of Chinese Glass Workshops”。 該系列還曾在美國其他幾家博物館展出（見下面的展覽部分）。 出版：Treasures of Chinese Glass Workshops. A Selection from the Ina and Sandford Gadient Collection, Lowe Art Museum, University of Miami, 1999年，編號24. 展覽：The Norton Museum of Art, West Palm Beach, 2011年10月；The New Orleans Art Museum, 2004年5月；The Lowe Art Museum, 1999年12月；The Corning Museum of Glass, 1996年9月；The Lentz Center of Asian Culture, 1994年10月；The Honolulu Academy of Art, Hawaii, 1992年6月。 品相：品相極好，一些磨損、輕微的表面劃痕、微小的刻痕和預期的製造不規則性，包括漩渦和氣泡。 重量：1,500 克 尺寸：高25 厘米專家注釋：玻璃的整體厚度，在足部和頸部最為明顯，以及極為罕見的透明海藍寶石顏色變化，表明此瓶製作於乾隆早期。 文獻比較：一件尺寸相近的乾隆款及年代玻璃瓶，見Simon Kwan，《中國古代玻璃》，藝術博物館，香港中文大學， 2001年，頁422-3，編號218。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得, 25 March 2022, lot 1215 價格：USD 16,380（相當於今日EUR 15,500） 描述：乾隆款與年代(1736-1795) 大型寶石藍琉璃瓶 專家評論：比較相近的厚實寶石藍玻璃材質。請注意較深的藍寶石色，尺寸較大(33.7 厘米)。
A MONUMENTAL STONE HEAD OF BUDDHA, MON-DVARAVATI PERIODChao Phraya and Mae Klang river basins of central Thailand, 8th - 9th century. Superbly carved with a serene expression marked by heavy lidded downcast eyes below ridged and elegantly arched brows, further with a wide nose and prominent full lips, flanked by long pendulous earlobes, the hair arranged in snail shell curls over a high ushnisha. The stone appears to be a black granite with white quartz inclusions.Provenance: From an old and prominent Flemish private collection, acquired before 2000 and thence by descent in the same family.Condition: Good condition, commensurate with age. Extensive wear, losses, weathering and erosion, minor nicks and cracks.Weight: 24.4 kg (incl. stand) Dimensions: Height 38 cm (excl. stand)The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, the Dvaravati polity was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly AD 550-650. Due to the large numbers of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha are heavily influenced by contemporary Indian sculptural styles, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and which are therefore characteristic of the Mon Dvaravati style. Compared to earlier and later Thai kingdoms, Dvaravati was relatively geographically and economically isolated, which contributed to the distinct qualities of its sculpture, such as the aforementioned eyebrows, the broad, almost squared face, and the full, prominent lips. Additionally, the local stone was tough and difficult to work with, leading artists to prefer thick, strong features over softness and subtlety. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.Auction result comparison: Type: Closely related Auction: Christie's New York, 12 September 2012, lot 620 Price: USD 31,250 or approx. EUR 39,500 converted and adjusted for inflation at the time of writing Description: A black stone head of Buddha, Thailand, Mon Dvaravati period, 8th/9th century Expert remark: Note the smaller size (26.7 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2022, lot 463 Price: USD 44,100 or approx. EUR 43,000 converted at the time of writingDescription: A rare stone head of Buddha, Thailand, Mon Dvaravati style, 8th-9th centuryExpert remark: Note the smaller size (23.5 cm).
A PAIR OF LARGE 'FAUX-BOIS' JARDINIERES, IMITATING HUANGHUALI, QIANLONG MARKS AND PROBABLY OF THE PERIOD (circa 1736-1795)Opinion: This pair of jardinières, made in imitation of Huanghuali wood, was purchased by the current owner at Sotheby's New York in March 2015 for a final price of USD 181,250 against a pre-sale estimate of USD 25,000-35,000. One reason for the intensive competition at this auction may have been that while Sotheby's dated the jardinières to the 19th century, bidders seem to have had a slightly divergent perception of the actual age of this lot. And indeed, there are two very recent scientific findings that speak clearly for a time of origin in the Qianlong period instead of the 19th century:Firstly, Trompe l'Oeil porcelains were primarily produced in the Qianlong reign period, and not in the 19th century. For a detailed scientific consideration of this fact, including respective data analysis, see the webinar by Chih-En Chen, Lecturer of Chinese and East Asian art history at the University of Toronto, held in December 2021 for members of the Oriental Ceramic Society, titled “Feminine Space and Playthings: Recontextualization of Trompe l'Oeil Porcelain in High Qing China”. The corresponding section of the video starts at minute 16:00.Secondly, the strictly realistic and nature-oriented manner of imitating the Huanghuali wood with enamels on porcelain, particularly visible in the characteristic 'ghost eyes' found on the present jardinières, is untypical of the 19th century. As Chih-En Chen explains in detail, starting in minute 19:00 of the video, 'realistic' imitations of wood in Faux Bois porcelains were predominantly made during the 18th century, while 'unrealistic' or abstracted designs of wood emerged only in the 19th century. As we know, during the 18th century artists often imitated one material using another, but were always looking for rather subtle and inconspicuous ways to do so. Likewise, the ostentatious creations from the 19th century constitute a stark contrast to the humble, nature-oriented mindset of the 18th century.These aforementioned two facts lead this author to the conclusion that the present jardinières are in fact older than previously stated by Sotheby's, and without much - if any - doubt were made during the 18th century.Link for the video:https://www.orientalceramicsociety.org.uk/feminine-space-and-playthings-recontextualization-of-trompe-loeil-porcelain-in-high-qing-china-ca-1683-1839-ce (available to OCS members only)Finally, please note that Mr. Chih-En Chen has invested a sheer unfathomable amount of time into the research of Trompe l'Oeil decor in High Qing China - and especially Faux Bois - an effort for which we do not only have the deepest respect but also will remain eternally grateful to Mr. Chih-En Chen. For this reason, we highly recommend watching the video of Chih-En Chen's seminar, it is worth the while. At the time of the Sotheby's sale in 2015, however, none of the substantial scientific findings shown in the video by Mr. Chih-En Chen were available to the public, a fact that explains why Sotheby's experts had to be more cautious in dating the present jardinières. Superbly potted, the tapering sides of each of the two jardinières are finely and boldly enameled to resemble wooden planks, including many details and aspects of the grain such as the characteristic knotholes, with the two raised bands encircling the body neatly painted to mimic the look of rope.The recessed circle in the center of the base is set between two drainage holes and glazed white, each with a very large underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Also note the finely modeled and ruyi-shaped feet of each jardinière.The neatly executed painting of the wood imitation, including distinct peaks and ghost eyes, is inspired by the pronounced grain of huanghuali wood, which was highly prized as a material for furniture in the late Ming and early Qing dynasties, including brush pots or tubs similar to the present jardinières.Provenance: Sotheby's New York, 21 March 2015, lot 684, sold for USD 181,250 or approx. EUR 221,500 converted and adjusted for inflation at the time of writing. A copy of the invoice from Sotheby's New York, dated 21 March 2015, is accompanies this lot. A notable private collector in Kensington, London, United Kingdom, acquired from the above.Condition: Very good condition, especially when considering the size and age of these jardinières, with minor old wear and some firing irregularities, shallow surface scratches, the feet with small chips and minor losses to enamels, one jardinière with small chips to one section of the base. Dimensions: Diameter 45.7 cm(2)Literature comparison: Compare a closely related unmarked faux-bois jardinière dated to the Yongzheng or Qianlong periods, in the collection of the Palace Museum, Beijing, accession number Gu154796, and published in Evelyn S. Rawski and Jessica Rawson, China: The Three Emperors 1662-1795, 2006, no. 235. Two similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, are illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 317, pl. 146, and Gugong Qing ci tulu - Kangxi yao, Yongzheng yao - Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97, respectively.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 4 October 2011, lot 17Price: HKD 8,000,000 or approx. EUR 1,365,000 converted and adjusted for inflation at the time of writing Description: A rare faux-bois jardiniere, seal mark and period of Yongzheng Expert remark: Compare the closely related form and decoration, though the wood is treated more naturalistically than on the present lot and the interior shows yellow enamel in imitation of an oilcloth lining. Note the Yongzheng mark found on this lot instead of the Qianlong mark on the present jardinières.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.一對乾隆款大型仿木紋釉花盆由於字數限制，完整中文敘述請至www.zacke.at查看。
* DAVID SASSOON (BRITISH 1888 - 1978),DRUMMORE VIADUCT, BY GATEHOUSEwatercolour on paper, titled label verso image size 26cm x 36cm, overall size 46cm x 56cm Mounted, framed and under glass. Handwritten labels verso.Note: a rare auction appearance for a work by the Kirkcudbright resident. Sassoon came to Kirkcudbright about 1920. He lived firstly in a studio in Castle Street, then at 3 High Street. His wife found it less easy to adjust to living in the tiny artist colony and encouraged her husband to buy the house next door and convert the two properties into one home. David Sassoon was a man of means and his financial independence allowed him to work as he chose and not pay undue deference to whether his pictures sold or not. However, his work was well collected and he was both popular and respected by the other Kirkcudbright artists. Mrs Sassoon eventually persuaded her husband to move back to the south of England but he returned from time to time and used a hut at Carrick Shore as a holiday home and studio.
* HANNAH FRANK (SCOTTISH 1908 - 2008), GARDEN (1932)lithograph on paper, signed in pencil, titled and dated 1932image size 31.5cm x 27.5cm, overall 44cm x 33cmUnframed. This lot includes a copy of the 2004 edition of the book Hannah Frank, A Glasgow Artist, Drawings and Sculpture.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
* HANNAH FRANK (SCOTTISH 1908 - 2008),JOBlithograph on paper, signed in pencilimage size 34cm x 27cm, overall size 52cm x 39cm Mounted, framed and under glass.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),CATHEDRAL WINDOW WITH FLOWERSoil on canvas, signedimage size 75cm x 75cm, overall size 101cm x 101cmFramed and under glass.Provenance: Private collection Lochgilphead (Argyll).Comment: Rare subject matter for Jolomo and a magnificent large example.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.Condition of both picture and frame are good overall.
* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),FROM THE ENDRICKoil on board, signed and dated '89, titled label versoimage size 59cm x 55cm, overall size 71cm x 67cm Framed.Handwritten label verso.(The Endrick Water or River Endrick is a river which flows into the eastern end of Loch Lomond)Comment: Rare subject matter for Bill Birnie but a superb example of his talent. Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.
* AVRIL PATON (SCOTTISH b. 1941),THE ASTROLOGER (LAMURA VON BOELLING) watercolour on paper, signed, titled and dated 1994 label versoimage size 46cm x 34cm, overall size 77cm x 68cm Mounted, framed and under glass. Label verso: The Gatehouse Gallery, Glasgow.Comment: The painting was kindly authenticated for us by Arvil herself. Paton was able to provide additional context for the picture, saying that although the label verso dates the picture as 1994, it was painted in 1993, and purchased from the gallery in 1994. The portrait is of Lamura Von Boelling, a Canadian astrologer who came to Glasgow in the 1980s and taught astrology to many in the city. Note: a rare early work by Avril Paton, the artist who painted "Windows in the West", one of Scotland's best known and most popular contemporary paintings which was acquired for the nation by The Scottish National Gallery of Modern Art and is currently on display at Kelvingrove Gallery, Glasgow. There has been much written about Paton's work from the 1980/90s explaining the meticulous detail and the many months it took to complete a single picture. Paton eventually moved on to a more spontaneous abstract style of work and consequently her earlier paintings are a distinct isolated body of work and the examples from this time are few and rarely, if ever, appear at auction. However, in The Scottish Contemporary Art Auction on 16th August 2020 lot 591 Topping Out Day by Avril Paton was sold for a new auction record price of £8000 (hammer). Paton's early work from this period has been studied as part of the curriculum for many of the nation's youth and there are several talks and discussions on YouTube.
A rare and early 18th century, quarter repeating German gilt table clock engraved M Rieppolt in Regenspierg (Regensberg Germany) with 50mm silvered chapter ring and gilded centre engraved Rieppo. Hexagonal shaped case standing on turned feet glazed sides and bell to the bottom. The case opens up to reveal a chain driven verge movement striking with two hammers on a bell. Lovely engraving to the top of the movement and signed M Rieppolt in Regenspierg (Regensberg Germany) Untested. Rieppolt (Riebold) is recorded as working in Regensberg Germany in 1727. Reference G.H Baillie Watchmakers and Clockmakers of the World page 269 W:9cm x D:9.5cm x H:8cm https://youtu.be/zTmZJePwoVQ https://youtu.be/xXFqd-t8ZBA
Cricket Interest - Rare Australian Board of Control for International Cricket Australian Team on Tour 1961 Signed Autographs. Richie Benaud Captain, plus 16 players, including Neil Harvey Vice Captain, Brian Booth, Peter Burge, Alan Davidson, Ron Gaunt, Wally Grout, Barry Jarman, Lindsay Kline, Bill Lawry, Ken Mackay, Colin McDonald, Graham McKenzie, Frank Misson, Norman O'Neill, Ian Quick, and Bob Simpson.
Sharna Rolls Royce Corniche Child's Pedal Car, red with cream interior, registration plate RRM 1. Documents in boot, key and key fob. A rare vintage 1970's Sharna (who took over Tri-ang/Triang) made Rolls Royce Corniche child's electric powered 'pedal' car. One of only three colours made. All were numbered - this one being RRM 1. Red plastic body, with a plastic depiction of the famous 'Spirit Of Ecstasy' car mascot to the front. Opening boot lid, and the dash showing typical decals with faux wood panelling and gauges. Fitted with electric lights.
Larimar and Sapphire Ring, an oval cut cabochon of over 6cts of larimar, the rare and beautiful mottled sky blue stone found only in the Dominican Republic, to the centre, the decorative shoulders set with two, round cut blue sapphires to each side, in the platinum vermeil and silver mount; size O
Cheryl Baker Collection - three strands of hair from Elvis Presley, purchased from Rare Elvis Collectibles and with letter of authenticity from Thomas B Morgan Jr. copy of Elvis Presley Special Deputy documents, two Tupelo Visitor Bureau fans, two Graceland ticket stubs, two postcards, (qty)
SONNY ROLLINS. Four rare 12" longplays. 'Perspectives: And a set with the Modern Jazz Quartet,' 32-035 (PRLP 7029A), Master Release, some damage to spine of sleeve, light scratched to otherwise vg disc, purchased by the vendor in 1958; 'The Sound Of Sonny Rollins,' RLP 12-241, Riverside Records, Deep Grove Redress, some finger soiling, loss of text to rear of sleeve, near fine disc, 1957; 'The Cutting Edge,' M-9059, Master Release, US, near fine disc, 1974; 'Falling in Love With Jazz,' M-9179, fine condition, 1989. (4)
SIGNED QUEEN 12". 'News of the World. 'exceptionally rare full band autographed original vinyl LP, signed by Freddie Mercury, Brian May, John Deacon and Roger Taylor respectively, signed with a gold paint marker, gatefold cover with original slipcase, 6E 112, fine, 1977.The vendor is a lifelong collector of vinyl and memorabilia.
ELVIS PRESLEY - Forty-seven 12" records together with. Three compilation vinyl box sets and four picture discs. 'Hound Dog' picture disc, AR30021, a VG disc with no cover, 'Tribute to Elvis' picture discs, ANIV 10, both discs are VG with no cover, 'True Love' picture disc, AR 30062, disc is VG with no cover, 'Worldwide 50 Gold Award Hits Volumes one and two' vinyl box sets, 'Elvis Presley's Greatest Hits' vinyl box set, Elvis Presley 'Special Edition' Three Album box set, 'Blue Hawaii' (4), 'Elvis In Hollywood,' Elvis 'How Great Thou Art,' Elvis 'Rare,' 'Elvis' Christmas Album 'Elvis Sings Christmas Songs,' 'Golden Records' volumes one (3), two(2), three (3) and four, Elvis Presley in 'King Creole' (2), Elvis 'Paradise, Hawaiian Style,' Fun in Acappulco, Elvis In The Movies, Elvis 'Frankie and Johnny' original soundtrack, 'It Happened at the World's Fair' original soundtrack, Elvis Presley 'Sings Leiber and Stoller,' 'Harem Holiday' original soundtrack, 'G.I Blues' original soundtrack (2), Elvis 'The Sun Collection' (2), Elvis 'It's Now or Never' (2), 'Pictures of Elvis,' 'Double Trouble' original soundtrack, 'The King...Elvis,' Elvis 'Return To Sender,' Elvis Presley 'Rock 'n' Roll' 50th Anniversary, Elvis 'Kissin' Cousins' original soundtrack (2), 'ELVIS PRESLEY' French import, Elvis Presley 'Elvis,' 'Romantic Elvis' 20 Love Songs, Elvis '40 Greatest As Seen On TV,' 'The All Time Greatest Hits,' 'A La Memoire d'Elvis' French import, Elvis Presley 'This History of Rock' Volume one.
GB: Small red, 26 page, SG 'Lilliput' album of mint & used QV/KEVII in issue date order (see afternote). Defin, officials, 3 Heligoland (one with SG guarantee verso) & Br PO Levant to 12 Piastres (SG33). Much QV LE incl 2 x 1d blacks, 2d blue (SG4) with later imperf/perf values incl 1864-79 Plate 71-224 complete (less rare plates). Embossed & later surface printed to 10/- defin and 1/- official with fullsome range of perf, plate no., paper and watermark varieties. Cat £10K+Afternote: This album runs by actual QV issue date order with later perf LE coming after embossed and first surface printed issues as was the case. SG GB catalogues differ for ease of reference, grouping QV issues by category first (LE, embossed, surface printed) with issue date secondary.
Bill Graham Presents in San Francisco 'The Jimi Hendrix Experience'. An original 1968 concert flyer. Printed in colour and promoting two concerts at the Philmore West and Winterland, weekly programme to the verso, vg, a rare survivor, 1968. 18cm x 23.5cmThe edges and corners are slightly rubbed, however there are no signs of damage, tears or any creases to the flyer itself
THE ROLLING STONES. A rare 'Gimme Shelter' British quad cinema poster. Originally from Truro Cinema, in a vg+ condition, the bright luminous orange square has leached to adjacent square where folded, creasing to top margin, a couple of imperceivable tiny holes, 4cm tear to fold, folded. 76cm x 102cm
The Beatles, 12" and 7" vinyl. Deutscher Schallplattenclub, E 043, a rare original German only 1964 mail order LP distributed by Deutscher Schallplattenclub in conjunction with Odeon, cover is only slightly worn with rubbed edges, G to VG disc, 1964, 'Magical Mystery Tour' 7" E.P, MMT 1, complete with book, cover is worn with some signs of soiling and rubbed edges, G discs, 1967, 'We Can Work it Out/Day Tripper' 7" single, R5389, G disc, 1965.
A 1985 VICENTE CAMACHO Spanish Classical Concert guitar. A rare and wonderful guitar made in Madrid, made of a spruce top and Brazilian rosewood back and sides. Includes a hard case.Provenance: Vicente Camacho was born in Madrid in 1928, making his early living in cabinet making – always an auspicious profession for one ultimately destined to be a guitar maker. He apprenticed with Modesto Borreguero (one of the workers in the Manuel Ramirez shop, along with Santos Hernandez and Domingo Esteso) from 1952 to 1960, when he set up his shop at calle Amparo, 3 in 1960. The scale length measures at approximately 652mm. There are no signs of any cracks or splits, the nut is not fixed in place but other than this the guitar is in very good structural condition. In terms of cosmetic issues, there is a light dent behind the bridge, a few dents on the sides, and some scuffed marks to the body binding, photographs have been uploaded to highlight these. The guitar is lacking strings, but appears to be in generally good condition and has been well kept with no signs of neck or body warping.
Loading...-
208980 item(s)/page