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Lot 487
A late 20th Century gold plated calendar pocket watch, the jewelled movement to a silvered circular dial signed 'Thompson, Wilkins' with baton markers and date aperture at 6 in a polished case with snap on bezel, width 43mm plus a curb link chain set with a 9ct gold fob with hard stone set swivel
Lot 133
A 9 carat gold floral motif brooch, length 4.2cm; a 9 carat gold cameo ring and brooch; a diamond three stone ring, stamped '18CT' and 'PLAT', finger size Q; a split pearl brooch, stamped '9CT', length 5.3cm; and five further ringsCondition report: 9 carat gold floral brooch - 3.0 grams. Cameo ring and brooch - 6.7 grams. Diamond three stone ring - 1.7 grams. Split pearl brooch - 2.7 grams.
Lot 137
A 9 carat gold diamond cluster ring, finger size L; a 9 carat gold opal and sapphire three stone ring, finger size O; a 9 carat gold sapphire and diamond cluster ring, finger size P; a 9 carat gold garnet ring, finger size M; and an amethyst ring, stamped '9CT', finger size M1/2Condition report: Gross weight 11.7 grams.
Lot 154
A 9 carat gold diamond and emerald three stone ring, finger size P; a ruby and diamond three stone ring, stamped 18', finger size M1/2; a diamond solitaire ring, unmarked, finger size M1/2; and a 9 carat gold yellowish-orange paste ring, finger size P1/2Condition report: Emerald and diamond ring - 2.6 grams. Ruby and diamond ring - 2.4 grams. Diamond ring - 2.1 grams. Paste ring - 1.5 grams.
Lot 218
An 18 carat gold opal and diamond five stone ring, finger sizeL1/2 (approximately, ring clip fitted); a 9 carat gold peridot and split pearl ring, finger size L1/2; a pair of citrine earrings; a pair of cameo earrings, stamped '9CT'; a chain section with attached cameo seal and T-bar, stamped '18'; and another T-bar, stamped '9CT'Condition report: Opal and diamond ring - 2.5 grams. Peridot ring - 1.5 grams. Seal and T-bar - 13.1 grams. T-bar stamped '9CT' - 3.3 grams. Citrine earrings - 3.9 grams. Cameo earrings - 3.0 grams.
Lot 327
Russian brass mounted icon, a small carved stone religious sculpture, a miniature straw work box, various pocket knives with mother of pearl scales, letter balance, folding ruler, Parker fountain pen, a rosewood tea caddy, and a copy of Aristophanes Nubes (Glasgow, 1813), (one tray)Condition report: The icon has some craquelure to the painted surfaces, and slight dents to the brass works, stone sculpture with wear and slight chips, straw workbox, with wear and surface scratches, Aristophanes Nubes, with heavy wear to the cover, smallest pocket knife with a chip to the mother of pearl, remaining collectables not assessed but general wear throughout
Lot 457
A RARE GILT-DECORATED CELADON JADE FIGURE OF BUDDHA AMITABHA, QING DYNASTYChina, 1644-1912. Boldly carved seated in dhyanasana with his hands lowered in dhyana mudra, the loose-fitting robes cascading in voluminous folds draped over his left shoulder, picked out in gilt, and decorated with blossoms and diapered designs. The serene face with heavy-lidded eyes below gently arched eyebrows, a prominent nose, and full lips forming a benevolent smile, flanked by large elongated earlobes. The translucent stone is of a celadon tone with cloudy white inclusions.Provenance: From an English private collection, acquired no later than the 1960s. Thence by descent.Condition: Good condition with minor old wear and few small nicks. The back of the head with a bruise and associated loss, not visible from the front. Rubbing to gilt.Weight: 1,131 g Dimensions: Height 16.8 cmBuddhism flourished during the Qing dynasty, and was encouraged by the devotion of the Kangxi, Yongzheng and Qianlong emperors and their successors. As a result of its popularity, the production of Buddhist statuary, ritual objects, vessels and other implements became widespread, and a variety of materials was employed in their manufacture.Literature comparison: For a related jade figure of Buddha with gilt decoration to his face, see Compendium of Collections in the Palace Museum, Jade, vol. 8, p. 271, no. 235. Compare a related jade figure of Buddha illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware II, 2008, p. 207, no. 171. Compare a celadon jade gilt-lacquered figure of Guanyin at Christie's London, 19 June 2001, lot 204, sold for GBP 14,100. Note that the Christie's Guanyin was sold 20 years ago and thus the result does not adequately reflect the current value of this lot.Auction result comparison: Compare a related jade figure of Buddha, dated 18th-19th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 23 March 2012, lot 1803, sold for USD 242,500. Compare a related celadon jade figure of Buddha, dated 18th century, at Sotheby's London, 7 November 2012, lot 231, sold for GBP 70,850. Compare a related white jade figure of Amitayus, dated to the Qianlong period, at Christie's New York in Fine Chinese Ceramics and Works of Art on 26 March 2010, lot 1112, sold for USD 134,500. Compare a related pale green jade figure of Amitayus, dated 17th-18th century, at Bonhams London in Fine Chinese Art on 13 May 2021, lot 27, sold for GBP 97,750. 清代罕見鎏金青玉阿彌陀佛像中國，1644-1912年。佛陀坐禪，雙手施禪定印；長袍寬鬆，披於左肩，右肩裸露，衣沿覆蓋右腳踝，胸前衣褶優雅垂墜，鎏金，並飾有花卉圖案。面部表情安詳，厚重的眼瞼在微微拱起的眉毛下，突出的鼻子，豐滿的嘴唇形成仁慈的微笑，兩側是長長的耳垂。半透明的玉料呈青色調，帶有混濁的白色絮狀物。來源：英國私人收藏，購於1960年代前，保存至今。品相：狀況良好，有輕微舊磨損和少量小劃痕。 頭部後部有擦傷和相關缺損，從正面看不到，摩擦至鎏金。重量：1,131 克尺寸：高16.8 釐米拍賣結果比較：比較一件相近玉雕佛像，十八至十九世紀，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2012年3月23日 lot 1803, 售價USD 242,500。比較一件相近的青玉雕佛像，十八世紀，見倫敦蘇富比2012年11月7日 lot 231, 售價GBP 70,850。比較一件相近的乾隆時期白玉阿彌陀佛像，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2010年3月26日 lot 1112, 售價USD 134,500。比較一件青綠色玉雕阿彌陀佛像，十七至十八世紀見倫敦邦翰思Fine Chinese Art 2021年5月13日 lot 27, 售價GBP 97,750。
Lot 463
A YELLOW AND RUSSET JADE ZODIAC FIGURE OF A MONKEY, LATE QING TO REPUBLICChina, 19th to first half of 20th century, or possibly earlier. Well carved as a seated monkey wearing a loose-fitting monastic robe and holding a rosary in both hands, its face neatly detailed with incised wrinkles to the forehead. The translucent stone of a pale yellow tone with a nuance of green and several russet veins and cloudy inclusions.Provenance: Collection particuliere française.Condition: Excellent condition with minor old wear and possibly microscopic nicks. The stone with natural fissures, some of which may have developed into small hairline cracks over time. The jade with a fine, unctuous feel overall which indicates extensive handling over a long period of time.Weight: 77.9 g Dimensions: Height 5.9 cmAstrology was an important part of life in traditional China. Marriages, the opening of a business, relocation, travel, and burial were just some of the activities dictated by the astrological signs of those involved. Despite the importance of astrology in Chinese culture, representations of the twelve zodiac animals are surprisingly rare, especially in jade. The monkey is the ninth zodiac sign and represents shen, the ninth of the earthly branches.Literature comparison: Compare a set of twelve jade zodiac figures, dated 18th-19th century, in the collection of the Metropolitan Museum of Art, accession number 02.18.730a–l. For another complete set of twelve from the 18th century, see Jadeware (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, pl. 111. Another set of twelve from the later Qing dynasty is illustrated in A Romance with Jade from the De An Tang Collection, Hong Kong, 2005, pl. 76. 清末民初黃玉雕猴中國，十九世紀至二十世紀上半葉，或更早。猴子身穿寬鬆的僧袍，雙手捧著念珠，面部前額的皺紋清晰可見。淺黃色調的半透明玉料，帶有細微的綠色和幾條赤褐色的脈絡和絮狀物。 來源：法國收藏。 品相：狀況極佳，有輕微的舊磨損和可能的細微刻痕。天然紋理玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。玉石整體細膩瑩潤。重量：77.9 克 尺寸：高5.9 厘米
Lot 599
A LARGE BLACK STONE STELE OF MAHAKALANorthern India, 13th-15th century. The three-headed deity with fierce expression, carved in a dancing pose atop a prostrate figure on a double-lotus pedestal, raised on a tiered base carved with small Buddhas and lotus, flanked by dancing women below and apsaras above, holding a mala in his main right hand, his secondary arms radiating around him holding weapons, richly adorned with beaded jewelry hanging over his torso, the arched backplate topped by a kirtimukha mask.Provenance: Collection of Jean-Marc Andral, acquired between 1991 and 1994 in the local trade in Miami, Florida, USA. Jean-Marc Andral is a Belgian manager based in Brussels and active in the healthcare industry for over 25 years.Condition: Excellent condition with some losses to exposed areas, structural cracks, nicks and scratches, extensive wear, signs of weathering, soil encrustations. Overall fully commensurate with the high age of the present lot. Solid natural patina. The surface with areas of fine, ancient polish.Dimensions: Height 70 cm
Lot 367
A HU WENMING PARCEL-GILT TRIPOD CENSER, MING DYNASTYChina, 17th century. The cast copper vessel is of cylindrical form, supported on three beast-headed feet, with an incurved flat rim. The exterior is neatly decorated with chased and incised cranes in various postures amid swirling clouds, all in gilt relief against a punched scroll ground, between narrow bands of diapered design. The base with a signature reading Yunjian Hu Wenming zhi ('Made by Hu Wenming of Yunjian').Provenance: Collection of Ake Virgin, thence by descent. A copy of a handwritten note by Ake Virgin, analyzing the signature on the present censer and comparing it to another by Hu Wenming, accompanies this lot. Ake Virgin (1891-1978) was a Swedish civil engineer who took a keen interest in Chinese art, especially early bronzes, building a fine collection between the 1940s and 1970s. He was an active member of the Friends of the Museum of Far Eastern Antiquities in Stockholm. Ake Virgin had numerous discussions with and took advice from notable Swedish academics such as Professor Bernhard Karlgren and Orvar Karlbeck.Condition: Very good condition with old wear and minor casting irregularities, small nicks, light dents and scratches. Remnants of old varnish.Weight: 554.7 gDimensions: Diameter 10.1 cm, Height 9.4 cmAuction result comparison: Compare a closely related but slightly larger (diameter 13.3 cm) censer by Hu Wenming at Sotheby's Hong Kong in Water, Pine And Stone Retreat Collection: Later Bronzes on 07 April 2014, lot 246, sold for HKD 375,000; and another of near-identical size (diameter 10.2 cm) and with the same mark, in the same auction, lot 236, sold for HKD 350,000. 明代胡文明款銅鎏金三足爐 中國，十七世紀。銅爐圓柱形，三獸首足。爐壁中部祥雲紋地，鎏金雕刻飛翔仙鶴與如意祥雲，姿態豐富。爐底篆書“雲間胡文明製”。 來源： Ake Virgin收藏, 保存至今。隨附一份Ake Virgin 手寫注釋副本，將此爐款識與另一件胡文明款進行比較。Ake Virgin (1891-1978) 是一位瑞典土木工程師，對中國藝術、尤其是對早期青銅器有著濃厚的興趣。他在1940 至 1970 年代間構建了自己的收藏。他是斯德哥爾摩東亞美術館舘友協會非常活躍的成員。 Ake Virgin 與著名的瑞典學者（如 Bernhard Karlgren 教授和 Orvar Karlbeck）進行了多次討論並聽取了他們的建議。 品相：品相極好，舊時磨損，以及輕微的鑄造不規則、小刻痕、輕微凹痕和劃痕。舊漆餘留。 重量：554.7 克 尺寸：直徑10.1 厘米, 高9.4 厘米 拍賣結果比較：比較一件相近但稍大 (直徑13.3 厘米) 的胡文明銅爐，見香港蘇富比Water, Pine And Stone Retreat Collection: Later Bronzes，2014年4月7日lot 246, 售價HKD 375,000；另一件相近尺寸 (直徑10.2 厘米) 同款香爐見同一拍場lot 236, 售價HKD 350,000。
Lot 450
A WHITE JADE 'SQUIRRELS AND GRAPES' PENDANT, 18TH CENTURYChina. Finely carved and pierced to depict two squirrels clambering on a cluster of grapes borne on a gnarled stem, the large leaves with superbly carved jagged edges and neatly incised veins. The translucent stone of a white tone with cloudy and faint russet inclusions. Superb manually applied polish.Provenance: From a private collection in New York City, New York, USA.Condition: Excellent condition with minor old wear. The stone with few natural fissures, some of which may have developed into microscopic hairline cracks over time.Weight: 38.6 gDimensions: Length 6.5 cmOld suspension cord with strings of sweetwater pearls and red glass beads in imitation of coral, dating to the late Qing dynasty or Republic period.Auction result comparison: Compare a related white jade carving depicting a squirrel clinging onto a cluster of grapes, dated 18th-19th century, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 17 September 2013, lot 100, sold for USD 37,500; and another dated to the Qing dynasty at Sotheby's Hong Kong in Chinese Art on 28 November 2019, lot 610, sold for HKD 87,500. 十八世紀“松鼠葡萄”白玉掛件 中國。兩隻松鼠爬上一串葡萄，松鼠生動活潑，葡萄晶瑩潤澤，莖葉雕刻精美。玉料潤白含内沁，精湛的手工拋光。 來源：美國紐約私人收藏。 品相：狀況極好，有輕微磨損。玉料有輕微天然紋理，隨著時間的推移，其中一些裂縫可能會發展成微小的裂縫。 重量：38.6 克 尺寸：長 6.5 厘米 老吊繩，串著淡水珍珠和仿珊瑚的紅色玻璃珠，可追溯到晚清或民國時期。 拍賣結果比較：比較一件相近的十八至十九世紀松鼠葡萄白玉擺件，見紐約蘇富比Fine Chinese Ceramics & Works of Art 2013年9月17日 lot 100, 售價USD 37,500; 另一件清代拍品見香港蘇富比Chinese Art 2019年11月 28日 lot 610, 售價HKD 87,500。
Lot 374
A LIMESTONE BUDDHIST TRIAD STELE OF GUANYIN, NORTHERN WEI TO TANG DYNASTYChina, 386-907. The stele of ogee arch form. Finely carved in high relief with Guanyin seated in dhyanasana, one hand holding part of her garment and the other resting on her left knee, the serene face with heavy-lidded eyes and full lips, the hair arranged in a high chignon, backed by a florally incised halo.Provenance: The Roger Moss Collection. A copy of an inspection certificate from J & H Surveying Co. Ltd. for a large shipment of Roger Moss' collections and personal effects from Hong Kong to England in 2003, listing the present lot as “338 northern wei stele decorated”, accompanies this lot. C. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Good overall condition fully commensurate with age. The top section of the halo (ca. 4.5 x 9 cm) lost and with an old replacement. Extensive wear, some losses and nicks, structural fissures and minor cracks. The stone with a smooth, unctuous surface and fine patina.Weight: 5.9 kgDimensions: Size 30 x 20 x 7.8 cmGuanyin is flanked by two attendants, each standing on a lotus base and holding a scroll in both hands, also backed by halos. The top with a seated Buddha Amitabha flanked by two chilong.Auction result comparison: Compare a related but much larger (68 cm high) Buddhist triad stele dated to the Tang dynasty at Sotheby's New York, in Images of Enlightenment, Devotional Works of Art and Paintings on 17 September 2014, lot 421, sold for USD 317,000. 北魏至唐朝石灰石雕三聖造像碑 中國，386-907年。此尊龕式造像碑，裝飾精美。中央雕觀音結跏趺坐，一隻手扶著衣袍，其左手置於左膝上。面容安詳，兩眼微微下垂，嘴唇豐滿，髮髻高聳，身後有光背。 來源：Roger Moss收藏。隨拍品附J & H Surveying Co. Ltd.的檢驗證書副本。J & H Surveying Co. Ltd.於2003年將Roger Moss的收藏品和個人物品從香港運往英國，並將本拍品列為 "338 northern wei stele decorated （338號北魏石碑裝飾）"。C. Roger Moss, OBE (1936-2020) 成長於約克郡，一生都在收藏藝術，以收藏唐代及更早時期的中國雕塑而聞名。協和式飛機推出時，他是英國航空公司的財務總監，然後成為香港地鐵的首席財務官。 在此期間，他還擔任過東方陶瓷學會會長。 品相：良好的整體狀況與年齡完全相稱。光背的頂部（約 4.5 x 9 厘米）缺損且帶有舊的修補。 廣泛的磨損、一些缺失和刻痕、結構裂縫和小磕片。石碑表面光滑油潤，帶有精細的包漿。 重量：5.9 公斤 尺寸：30 x 20 x 7.8 厘米 拍賣結果比較：一件相近的但更大型 (高68 厘米) 的唐代三聖石碑，見紐約蘇富比Images of Enlightenment, Devotional Works of Art and Paintings 2014年9月17日 lot 421, 售價USD 317,000。
Lot 445
AN IMPERIAL CELADON AND RUSSET JADE 'CHILONG' RHYTON, QIANLONG MARK AND PERIODChina, 1736-1795. Of baluster form with a handle in the form of a clambering chilong and a sloping lip. Carved with sparse C-shaped scrolls to the upper register, dense scrolls and two roundels with scroll designs to the middle register, and stiff leaves and key-fret to the lower register. The translucent stone of a pale celadon tone with russet veins and cloudy white inclusions. The concave base neatly incised with a four-character mark Qianlong nianzhi and of the period.Provenance: A private collector in the United Kingdom.Condition: Very good condition with minor old wear, microscopic nicks, the stone with natural fissures, some of which have developed into small hairline cracks over time.Weight: 225.9 gDimensions: Height 12.7 cmExpert's note: The Qianlong Emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The present lot belongs to an important group of such objects, all carved from 'impure' jade with prominent fissures and inclusions, erroneously believed by some to be anathema to the Emperor. On the contrary, jades carved from this specific material were one of his greatest passions. During the 44th year of the Qianlong reign (1779), the Suzhou Manufactory was ordered to create a jade vase from a piece of shanliao (nephrite) raw jade. Because of cracks in the jade, the intended size was not possible, and the manufactory sought further instruction from the Emperor. Qianlong responded that if by reducing the size of the finished vase the cracks could be avoided, that would be a good solution, but if even then the cracks could not be avoided, then it would be better to maintain the intended size, as such cracks were a natural characteristic of jade after all. In fact, the Qianlong Emperor believed that defects such as spots and cracks added to the archaic feeling of a work.This aesthetic use of material defects can also be seen in other archaistic jade objects created during the Qianlong reign (see Auction result comparison), indicating that the Emperor considered the craft and decorative program of a jade object more important than the quality of the raw material. Although Qianlong had always had a love of the past, he only promoted the production of archaistic jades in society at large during the middle and late periods of his reign, due to the appearance of certain new kinds of jade that he detested. In the 39th year of his reign (1774), Qianlong criticized the “wretched new forms of jade” in his writing, and later proceeded to lodge repeated criticisms against other new-fangled forms that he considered unacceptably vulgar for being overwrought, excessively ornate, or slavish towards raw materiality. He regarded the popularity of such forms as a “catastrophe for jade”. Whether these forms strike us today as indeed catastrophic or rather innovative, it is clear that the Emperor found them unbearable.Auction result comparison: Compare an Imperial archaistic jade snuff bottle, also with a four-character Qianlong mark and of the period, attributed to the Palace Workshops, at Sotheby's Hong Kong in Snuff Bottles from the Mary and George Bloch Collection: Part VI on 26 May 2013, lot 131, sold for HKD 475,000. Compare also an Imperial Khotan-green jade archaistic hu-form vase, with a Qianlong fanggu mark and of the period, at Sotheby's Hong Kong, 3 April 2018, lot 3638, sold for HKD 21,720,000. For an Imperial greenish-white jade archaistic hu-form vase, with a Qianlong fanggu mark and of the period, see Christie's Hong Kong, 28 May 2014, lot 3370, sold for HKD 2,920,000.乾隆款與年代御製青玉留皮螭龍角杯 中國，1736-1795年。角形杯，攀爬的螭龍，龍首上仰，修長矯健的身軀，成杯把。 玉杯上部有如意卷紋，中部刻卷葉紋，下部刻有雷紋和蟬紋。淡青色半透明玉料，帶有赤褐色紋理和白色絮狀内沁。圈足内刻“乾隆年製”四字款。 來源：英國私人收藏 品相：狀況非常好，有輕微的舊時磨損、微小的劃痕、帶有天然脈理的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：225.9 克 尺寸：高12.7 厘米 專家注釋：乾隆皇帝對玉器的熱愛，加上他對古董的熱愛，使他下令製作了大批玉器。本拍品屬於一組重要的御製玉器，全部由帶有明顯裂縫和夾雜物的“不純”玉石雕刻而成，有些人錯誤地認為這是皇帝的詛咒。相反，用這種特殊材料雕刻的玉石是他最大的愛好之一。乾隆四十四年（1779年），蘇州廠奉命用一塊山料（軟玉）生玉製作玉瓶。由於玉有裂縫，無法達到預期的尺寸，工坊尋求皇帝的進一步指導。乾隆回應說，如果縮小成品花瓶的尺寸來避免出現裂縫，那是一個很好的解決方案，但如果即使如此也無法避免裂縫，那麼最好保持預期的尺寸，因為這樣的裂縫畢竟是玉的自然特徵。事實上，乾隆皇帝認為，斑點和裂縫等缺陷會增加作品的古樸感。 這種對材質缺陷的審美運用，在乾隆時期的其他古玉器中也可見到（見拍賣結果比較），說明皇帝認為玉器的工藝和紋飾比原材料的質量更重要。 乾隆雖對古玉一向情有獨鍾，但由於他厭惡某些新玉的出現，到了中後期才在社會上廣泛推廣仿古玉的製作工藝。乾隆三十九年（1774年），乾隆在他的文章裏批評了“新玉”，後來又對其他新玉提出了反复的批評，他認為過分誇張、過分華麗、庸俗不堪，或對原材料的奴性。他認為這種形式的流行是“玉的災難”。無論這些形式在今天給我們留下了深刻的印像還是具有創新性，很明顯，皇帝都覺得它們難以忍受。 拍賣結果比較：一件乾隆款及年代御製仿古玉鼻烟壺，同樣有四字乾隆款，傳爲御用工坊，見香港蘇富比 Snuff Bottles from the Mary and George Bloch Collection: Part VI 2013年5月 26 日 lot 131, 售價HKD 475,000。一件乾隆“仿古”款與年代的御制碧玉仿古壺瓶﹐見香港蘇富比2018年4月3日 lot 3638, 售價HKD 21,720,000。一件御製青白玉仿古壺瓶，乾隆“仿古”款和年代，見香港佳士得2014年5月28日 lot 3370, 售價HKD 2,920,000。
Lot 435
A GREEN AND BROWN JADE FISH-FORM PENDANT, SHANG TO WESTERN ZHOU DYNASTYChina, 13th-10th century BC. Of flattened form, finely carved as a fish with a leafy sprig in the mouth, the dorsal fin openworked and further pierced for suspension, with a second suspension hole to the lower body. The large round eyes are deeply incised, the body with further triangle decorations. The translucent stone of an olive-green tone with extensive patches of russet-brown and black specks.Provenance: Virginia Frizzell, San Francisco, 18 April 1973. Mohawk Gallery, New Jersey, acquired from the above. A private collector in New York, USA, acquired via the above. Thence by descent. The reverse with three old labels, '52', '3368', and 'CB 147'. A copy of the original invoice from Virginia Frizzell, dated 18 April 1973, listing the present lot as '#52 Fish', and naming Mohawk Gallery as the customer, accompanies this lot. A copy of the private collector's personal handwritten notes, stating the collection number 52, the material nephrite, the date of purchase of 18 April 1973, the reference number of the GIA report no. 669550, and with two old kodak photographs of the present lot, accompanies this lot.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, few minuscule nicks. Natural inclusions, imperfections and minuscule fissures. With a smooth, unctuous feel overall and a fine, naturally grown patina.Scientific Analysis Report: A signed and stamped report from the Gemological Institute of America (GIA) for Mohawk Gallery, no. 669550, dated 2 May 1973, confirms that the present lot is nephrite jade and describes the piece as “semi-translucent variegated green and brown carved fish measuring approx. 61/4 x 2x1/4 inches”. A copy of this report accompanies this lot.Weight: 85.6 gDimensions: Length 15.8 cmAuction result comparison: Compare a related jade fish pendant, dated Shang dynasty or later, also of flattened form and with similar eyes, the jade however calcified, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 28 May 2019, lot 101, sold for HKD 275,625, a pair of related fish-form pendants dated to the Western Zhou dynasty, also of flattened form and with similar eyes, at Christie's Hong Kong in Chinese Archaic Jades from the Yangdetang Collection on 29 November 2017, lot 2739, sold for HKD 437,500, and another fish-form pendant dated to the Western Zhou dynasty, of a similar brownish-green jade, at Christie's New York in Important Chinese Ceramics and Works of Art on 13 September 2019, lot 816, sold for USD 25,000.商至西周魚形佩中國，公元前十三至十世紀。佩身扁平，魚形，翹嘴，嘴裡啣著一枝樹枝，邊緣薄削，背鰭鏤空穿孔用以懸掛，魚肚有第二個懸掛孔。魚眼大而圓，魚身表面有三角紋裝飾。青綠色調的半透明玉料，帶有大量的赤褐色和黑色斑點。 來源：舊金山Virginia Frizzell藝廊，1973年4月18日。新澤西Mohawk Gallery藝廊，購於上述藝廊；紐約私人收藏，購於上述藝廊，保存至今。背面有三個老標籤，分別注明 '52', '3368', 與 'CB 147'。隨附原始Virginia Frizzell發票 ，時間爲1973年4月18日，此拍品為 '#52 Fish'，而Mohawk Gallery 是顧客的發票複印件。隨附私人藏家手寫注釋複印件，注明收藏編號爲 52，材料為和田玉，購於1973年4月18日，GIA 報告編號爲 669550, 並此拍品的兩張柯達照片。 品相：狀況極佳，與年齡相稱。廣泛磨損、風化和侵蝕的跡象，少量微小的刻痕。天然内沁、瑕疵和微小裂縫。整體光滑潤澤。 科學檢測報告：美國GIA研究所為 Mohawk Gallery所做的檢測，編號 669550，1973年5月2日，確認此拍品為和田玉，並描述為 “semi-translucent variegated green and brown carved fish measuring approx. 61/4 x 2x1/4 inches”（半透明綠褐色魚形佩件，61/4 x 2x1/4 英寸）。隨附此報告複印件。 重量：85.6 克 尺寸：長 15.8 厘米 拍賣結果比較：比較一件相似的商代或更晚的魚形玉件，相似形狀和眼部刻畫，見香港邦翰思Fine Chinese Ceramics and Works of Art 2019年5月28日 lot 101, 售價HKD 275,625；一對西周扁平的魚形玉佩件，見香港佳士得Chinese Archaic Jades from the Yangdetang Collection 2017年11月29日 lot 2739, 售價HKD 437,500；另一件西周綠褐色魚腥玉佩件見紐約佳士得Important Chinese Ceramics and Works of Art 2019年9月13日 lot 816, 售價USD 25,000。
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