Sue Arrowsmith Temptation II, 2021 Gold Ink and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sue Arrowsmith was born in Manchester,1968. She studied at Tameside College of Technology, Ashton-Under-Lyne (Foundation) from 1984-86 and BA Hons Textiles at Goldsmiths College of Art from 1987-1990. She lives and Works in London. Exhibitions/Awards Prizewinner John Moores Liverpool Exhibition 20 -1997, Prizewinner Natwest Art Prize, London - 1998, Artist in Residence, Josef and Anni Albers Foundation, Connecticut, USA - 2010 Solo exhibitions Entwistle Gallery, London (1994), Cold Spring, Entwistle Gallery, London (1997) Galerie Frahm, Copenhagen (1999), Galerie Fahnemann, Berlin (2001), Artist of the Day, Flowers Central, London (2004), Galerie allerArt, Bludenz (2009) Courtyard Gallery, The National Botanic Garden of Wales, Carmarthen (2011), Sue Arrowsmith - Studio Show, October, London (2013), Whisper from The Shadows, Purdy Hicks Gallery, London (2015), Waiting for the Moon, Galerie Andres Thalmann, Zurich (2016), We could dream this night away, Purdy Hicks Gallery, London (2018), Let the wind blow through your heart, Galerie Andres Thalmann, Zurich (2019), Natura Naturans, Luca Tommasi Arte Contemporanea, Milan (2020) Public Collections Fidelity Investments, Boston and London Arts Council Collection, Hayward Gallery, London Goldman Sachs Collection, London Kupferstichkabinett of the National Gallery of Berlin Royal Bank of Scotland Group Art Collection, London San Diego Museum of Contemporary Art, San Diego The Government Art Collection, London About the postcard artworks Light is instrumental to Sue Arrowsmith's paintings. They start with the reflection of light through a camera lens that traps a fleeting splatter of leaves. She excludes all daylight from her studio to allow the image to travel through the cone of light from her projector to the painting surface. Here, working in the dark, she translates the colour figures into graceful marks ; the summation or negation of light. Each mark is a separate, complete gesture, crystallising the forms of coloured light that kiss the panel.
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Vicky Oldfield Seed, 2020 Solar Print on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) I am an artist and printmaker who likes to find beauty in the everyday - some weeds on a road side, or a cluttered windowsill can set off a new collection. I treasure both the eccentric and the ordinary, inspired by collections of found objects and natural forms; I am fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form. Education: After leaving school, I attended Art College and then worked as a commercial designer in wallpaper and textiles in both London and Paris before becoming a full time artist in 2008. Exhibitions: My work has been exhibited in many major shows including the Royal Academy Summer exhibition and The Royal Society of British Artists, I have also exhibited in America and Japan. My work can currently be seen in many galleries across the UK: Bourneside Gallery, 1 North street, Dorking RH4 1DN Bircham Gallery, 14 Market Place, Holt NR25 6BW Cambridge Contemporary Art 6 Trinity St, Cambridge CB2 1SU For Arts Sake, 45 Bond Street, Ealing W5 5AS Red Dog Gallery, Oakhanger, Hampshire GU35 9JN Sarah Wiseman Gallery, Oxford OX2 7JL The Art Agency, Esher Gallery, 93 High Street, Esher, Surrey KT10 9QA The Courtyard Gallery, 32 Boroughgate, Appelby in Westmorland, Cumbria The Moreton Gallery, Queens Head House, High street, Moreton in Marsh GL56 0LH The New Ashgate Gallery, Wagon Yard, Farnham GU9 7PS The Purple Gallery, 229 Mary Vale Road, Bournville, Birmingham B30 2DL West End House Gallery, Water Lane, Ashford TN27 8QB Wychwood Art Gallery, contemporary online art gallery,Town Hall, Market Place, Deddington OX15 0SEA collection of small prints, drawings and collages.
Vicky Oldfield Peonies in a Tin, 2020 Offset Collagraph on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) I am an artist and printmaker who likes to find beauty in the everyday - some weeds on a road side, or a cluttered windowsill can set off a new collection. I treasure both the eccentric and the ordinary, inspired by collections of found objects and natural forms; I am fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form. Education: After leaving school, I attended Art College and then worked as a commercial designer in wallpaper and textiles in both London and Paris before becoming a full time artist in 2008. Exhibitions: My work has been exhibited in many major shows including the Royal Academy Summer exhibition and The Royal Society of British Artists, I have also exhibited in America and Japan. My work can currently be seen in many galleries across the UK: Bourneside Gallery, 1 North street, Dorking RH4 1DN Bircham Gallery, 14 Market Place, Holt NR25 6BW Cambridge Contemporary Art 6 Trinity St, Cambridge CB2 1SU For Arts Sake, 45 Bond Street, Ealing W5 5AS Red Dog Gallery, Oakhanger, Hampshire GU35 9JN Sarah Wiseman Gallery, Oxford OX2 7JL The Art Agency, Esher Gallery, 93 High Street, Esher, Surrey KT10 9QA The Courtyard Gallery, 32 Boroughgate, Appelby in Westmorland, Cumbria The Moreton Gallery, Queens Head House, High street, Moreton in Marsh GL56 0LH The New Ashgate Gallery, Wagon Yard, Farnham GU9 7PS The Purple Gallery, 229 Mary Vale Road, Bournville, Birmingham B30 2DL West End House Gallery, Water Lane, Ashford TN27 8QB Wychwood Art Gallery, contemporary online art gallery,Town Hall, Market Place, Deddington OX15 0SEA collection of small prints, drawings and collages.
Vicky Oldfield Bird, 2020 Collagraph, Chincolle and Watercolour on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) I am an artist and printmaker who likes to find beauty in the everyday - some weeds on a road side, or a cluttered windowsill can set off a new collection. I treasure both the eccentric and the ordinary, inspired by collections of found objects and natural forms; I am fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form. Education: After leaving school, I attended Art College and then worked as a commercial designer in wallpaper and textiles in both London and Paris before becoming a full time artist in 2008. Exhibitions: My work has been exhibited in many major shows including the Royal Academy Summer exhibition and The Royal Society of British Artists, I have also exhibited in America and Japan. My work can currently be seen in many galleries across the UK: Bourneside Gallery, 1 North street, Dorking RH4 1DN Bircham Gallery, 14 Market Place, Holt NR25 6BW Cambridge Contemporary Art 6 Trinity St, Cambridge CB2 1SU For Arts Sake, 45 Bond Street, Ealing W5 5AS Red Dog Gallery, Oakhanger, Hampshire GU35 9JN Sarah Wiseman Gallery, Oxford OX2 7JL The Art Agency, Esher Gallery, 93 High Street, Esher, Surrey KT10 9QA The Courtyard Gallery, 32 Boroughgate, Appelby in Westmorland, Cumbria The Moreton Gallery, Queens Head House, High street, Moreton in Marsh GL56 0LH The New Ashgate Gallery, Wagon Yard, Farnham GU9 7PS The Purple Gallery, 229 Mary Vale Road, Bournville, Birmingham B30 2DL West End House Gallery, Water Lane, Ashford TN27 8QB Wychwood Art Gallery, contemporary online art gallery,Town Hall, Market Place, Deddington OX15 0SEA collection of small prints, drawings and collages.
Vicky Oldfield Orchid, 2020 Mixed Media Print on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) I am an artist and printmaker who likes to find beauty in the everyday - some weeds on a road side, or a cluttered windowsill can set off a new collection. I treasure both the eccentric and the ordinary, inspired by collections of found objects and natural forms; I am fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form. Education: After leaving school, I attended Art College and then worked as a commercial designer in wallpaper and textiles in both London and Paris before becoming a full time artist in 2008. Exhibitions: My work has been exhibited in many major shows including the Royal Academy Summer exhibition and The Royal Society of British Artists, I have also exhibited in America and Japan. My work can currently be seen in many galleries across the UK: Bourneside Gallery, 1 North street, Dorking RH4 1DN Bircham Gallery, 14 Market Place, Holt NR25 6BW Cambridge Contemporary Art 6 Trinity St, Cambridge CB2 1SU For Arts Sake, 45 Bond Street, Ealing W5 5AS Red Dog Gallery, Oakhanger, Hampshire GU35 9JN Sarah Wiseman Gallery, Oxford OX2 7JL The Art Agency, Esher Gallery, 93 High Street, Esher, Surrey KT10 9QA The Courtyard Gallery, 32 Boroughgate, Appelby in Westmorland, Cumbria The Moreton Gallery, Queens Head House, High street, Moreton in Marsh GL56 0LH The New Ashgate Gallery, Wagon Yard, Farnham GU9 7PS The Purple Gallery, 229 Mary Vale Road, Bournville, Birmingham B30 2DL West End House Gallery, Water Lane, Ashford TN27 8QB Wychwood Art Gallery, contemporary online art gallery,Town Hall, Market Place, Deddington OX15 0SEA collection of small prints, drawings and collages.
Michaela Younge Elvis Is Leaving Soon I, 2021 Pencil Crayon on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Michaela Younge is a South African artist born in Cape Town in 1993. After high school, Michaela attended the Michaelis School of Fine Art, where her father lectured in the Sculpture department. She graduated in 2015 receiving a Bachelor of Fine Arts with distinction. While at Michaelis, she primarily worked in the mediums of sculpture and print, however, after graduating she began working with wool, constructing felt tableaux depicting scenes of the everyday, the violent and the bizarre. Her works are created by needle felting merino wool into textiles as well as found fabrics, such as old curtains and tapestries. The works are textural and are characterised by colourful, busy scenes that often play with perspective. Michaela is interested in the absurdity of everyday life, often finding humour in theatrical scenes of violence or through a comedy of errors. These scenes invite a closer look at human relationships and interactions - sometimes skewering the subjects in the process. Education: BFA with distinction, Michaelis School of Fine Art, University of Cape Town Exhibitions/Awards: PEEP SHOW, Online (29 October 2020) GATHER, SMAC (19 September 2020) MEDITATION IN COLOUR/ AN INTRODUCTION, C+N Canepaneri Milan (16 September 2020) PINK'S NOT DEAD, Apartment x TheFourth (16 September 2020) FAREWELL TO GOOD GOOD FRIENDS, SMITH Studio (30 July 2020) HARD, BUT SOFT, Glen Carlou Gallery (19 January 2020) RENDEZVOUS II, SMITH Studio (5 December 2019) RENDEZVOUS I, SMITH Studio (5 December 2018) CLOSE ENCOUNTERS, SMITH Studio (4 July 2018) IN TO VIEW, Ebony / Curated (1 March 2018) SALAD, SMITH Studio (14 December 2017) NANO 1.1 I, Barnard Gallery (26 July 2017) OUT OF NOWHERE, SMITH Studio (3 May 2017) FOLLY, SMITH Studio (25 January 2017) ANIMALS, IS Sculpture at Tokara (31 July 2016) JNR PRESENTS BAD HABITUS, Muller's Gallery (3 May 2016) SOLOS & ROOMS Artist Room, SMAC (17 October 2020 - 21 November 2020) Its Low Tide and I'm Scraping the Rocks, SMITH Studio,1-54 Room (3 - 6 October 2019) Nothing Bad, SMITH Studio (8 May 2019 - 8 June 2019) Gallery Representation: SMAC Gallery Cape Town
Michaela Younge Elvis Is Leaving Soon II, 2021 Pencil Crayon on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Michaela Younge is a South African artist born in Cape Town in 1993. After high school, Michaela attended the Michaelis School of Fine Art, where her father lectured in the Sculpture department. She graduated in 2015 receiving a Bachelor of Fine Arts with distinction. While at Michaelis, she primarily worked in the mediums of sculpture and print, however, after graduating she began working with wool, constructing felt tableaux depicting scenes of the everyday, the violent and the bizarre. Her works are created by needle felting merino wool into textiles as well as found fabrics, such as old curtains and tapestries. The works are textural and are characterised by colourful, busy scenes that often play with perspective. Michaela is interested in the absurdity of everyday life, often finding humour in theatrical scenes of violence or through a comedy of errors. These scenes invite a closer look at human relationships and interactions - sometimes skewering the subjects in the process. Education: BFA with distinction, Michaelis School of Fine Art, University of Cape Town Exhibitions/Awards: PEEP SHOW, Online (29 October 2020) GATHER, SMAC (19 September 2020) MEDITATION IN COLOUR/ AN INTRODUCTION, C+N Canepaneri Milan (16 September 2020) PINK'S NOT DEAD, Apartment x TheFourth (16 September 2020) FAREWELL TO GOOD GOOD FRIENDS, SMITH Studio (30 July 2020) HARD, BUT SOFT, Glen Carlou Gallery (19 January 2020) RENDEZVOUS II, SMITH Studio (5 December 2019) RENDEZVOUS I, SMITH Studio (5 December 2018) CLOSE ENCOUNTERS, SMITH Studio (4 July 2018) IN TO VIEW, Ebony / Curated (1 March 2018) SALAD, SMITH Studio (14 December 2017) NANO 1.1 I, Barnard Gallery (26 July 2017) OUT OF NOWHERE, SMITH Studio (3 May 2017) FOLLY, SMITH Studio (25 January 2017) ANIMALS, IS Sculpture at Tokara (31 July 2016) JNR PRESENTS BAD HABITUS, Muller's Gallery (3 May 2016) SOLOS & ROOMS Artist Room, SMAC (17 October 2020 - 21 November 2020) Its Low Tide and I'm Scraping the Rocks, SMITH Studio,1-54 Room (3 - 6 October 2019) Nothing Bad, SMITH Studio (8 May 2019 - 8 June 2019) Gallery Representation: SMAC Gallery Cape Town
A CELADON JADE ROPE-TWIST BANGLE, QINGChina, 19th century. This lot is composed of three strands twisted together and particularly rare, because the strands are movable despite all being carved from a single piece of jade, while in most other bangles of this design the strands are stuck together. The stone is of a pure celadon tone with minuscule cloudy white and dark inclusions.Provenance: British private collection. Condition: Excellent condition with minor wear and some microscopic nibbling to edges where the strands touch each other. The stone with few natural fissures, some of which may have developed into small cracks over time.Weight: 33.8 gDimensions: Diameter 8 cmAuction result comparison: Compare with a related pale celadon jade bangle at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 15 May 2015, lot 704, sold for GBP 4,000.清代紐繩紋青玉手鐲 中國，十九世紀。玉鐲三道紐繩紋，這是非常罕見的，因為儘管全部都是用一塊玉雕刻而成的，但這些線仍是活動的，而在此設計的大多數其他手鐲，這些線則是固定的。石頭具有純淨的青瓷色調，帶有微小的灰白色絮狀物。 來源：英國私人收藏 品相：狀況極佳，輕微磨損，紐繩邊緣有些細微的磨損。 石料内部天然裂縫，隨著時間的流逝，其中一些可能會發展成小裂縫。 重量：33.8 克 尺寸：直徑 8 厘米 拍賣結果比較：一件相似青玉手鐲，售于倫敦佳士得 Chinese Ceramics, Works of Art and Textiles 拍場2015年5月15 日，lot 704, 售價GBP 4,000.
A BLUE AND WHITE PORCELAIN FIGURE OF GUANDI, WANLI PERIODChina, 1573-1620. The God of War seated on a throne, flanked by two attendants, his hands resting on his knees, wearing a long flowing robe painted with floral decorations, with a circular aperture to the back.Provenance: French private collection. By repute, once acquired from Nagel auctions in Stuttgart, Germany.Condition: Old repair to the upper section of backrest. Firing crack to base, kiln grit to edges, firing flaws such as glaze pooling, pitting, spots, and recesses (inspected under strong blue light).Weight: 1,211 gDimensions: Height 24.5 cmAuction result comparison: Compare with a related figure at Christie’s London in Chinese Ceramics, Works of Art and Textiles Part I on 4 November 2014, lot 293, sold for GBP 16,250.萬曆時期青花關帝像中國，1573-1620年。戰神坐在寶座上，旁邊有兩個侍者，雙手放在膝蓋上，穿著一件長袍，袍上花卉紋裝飾，背面有一個圓形的小孔。 來源：法國私人收藏，據説購於德國斯圖加特Nagel拍賣行。 品相：靠背上部舊時維修。 底座有開片，邊緣有窯砂，燒製缺陷，例如釉滴，點蝕，斑點和凹陷（在強藍光下檢查）。 重量：1,211 克 尺寸：高24.5 厘米 拍賣結果比較：一件相近關帝像見倫敦佳士得Chinese Ceramics, Works of Art and Textiles Part I 拍場，2014年11月 4日，lot 293, 售價GBP 16,250.
A GE-TYPE CENSER WITH INCURVED RIM, QINGChina, 18th century. Of massive decagonal form, the sides rising from a short circular foot to an incurved circular rim, covered overall in an attractive greenish-gray glaze suffused with dark gray crackle joined by russet crackles, a disk-shaped section of the underside unglazed with iron-brown dressing.Provenance: Karl Zeilinger (1944-2014), a collector of Asian art and antique weapons from Nürnberg, Germany. Thence by descent in the same family.Condition: Excellent condition with minor old wear and expected firing flaws.Weight: 505.1 g Dimensions: Diameter 13 cmAuction result comparison: A Ge-type tripod censer with similar multi-tone crackle was sold by Sotheby’s Hong Kong in Chinese Art on 30-31 May 2019, lot 449, for HKD 75,000. A Ge-type bowl of larger size, with a similar multi-tone crackle to the glaze, was sold by Christie’s London in Chinese Ceramics, Works of Art and Textiles on 17 May 2013, lot 1367, for GBP 5,000.清代仿哥窯十方香爐 中國，十八世紀。十邊形香爐，圓形短足，邊角圓滑，整體覆蓋著誘人的灰綠色釉，深灰色開片紋，並帶有紅褐色的裂紋，下面是圓盤形的部分露胎，鐵銹色敷料。 來源：Karl Zeilinger (1944-2014), 德國紐倫堡亞洲藝術及古典武器收藏家，在同一家族保存至今 品相：狀況極佳，有輕微的舊磨損和預期的燒制缺陷。 重量：505.1 克 尺寸：直徑 13 厘米 拍賣結果比較：比較一個帶有相似開片紋的仿哥窯香爐，於香港蘇富比2019年5月30-31日Chinese Art拍場，拍號449，售價HKD 75000。比較另一個較大且帶有相近開片紋理的仿哥碗，於倫敦佳士得2013年5月17日Chinese Ceramics, Works of Art and Textiles拍場，拍號1367，售價GBP 5000。
A GUAN-TYPE CRACKLED ‘BAMBOO NECK’ BOTTLE VASE, LATE MING TO EARLY QINGChina, 17th-18th century. The compressed globular body is surmounted by a tall cylindrical neck with three horizontal ribs, spaced further apart than the ribs at the body, and tapering to the wide rounded mouth, covered overall in a pale sea-green glaze suffused with dark grey and russet crackles.Provenance: From the collection of the late Professor Peter Charles Greiner, a mathematician at the University of Toronto and notable collector of Chinese ceramics. Thence by descent in the family.Condition: Excellent condition with some wear and expected firing irregularities, small glaze recesses here and there.Weight: 1,034 gDimensions: Height 26 cmAuction result comparison: Compare with a related Ge type vase at Christie’s London in Chinese Ceramics, Works of Art and Textiles Part II on 13 May 2016, lot 619, sold for GBP 23,750. Compare also with a closely related Guan type vase at Christie’s London in The Art of China: London, Winter Edition on 5-13 December 2018, lot 40, sold for GBP 4,000.明末清初仿官窯青釉洗口弦紋瓶 中國，十七至十八世紀。瓶洗口，長頸，圓腹，高圈足。頸至腹部凸起7道弦紋。通體施青釉，釉層肥厚。器身佈滿大片紋，縱橫交錯。 來源：已故Peter Charles Greiner教授藏品，多倫多大學數學家，著名的中國陶瓷收藏家。 從此在同一家族世代相傳。 品相：狀況良好，有一定的磨損和預期的燒製缺陷，局部存在小的釉面凹陷。重量：1,034 克 尺寸：高 26 厘米 拍賣結果比較：比較一個類似的哥窯瓶，於2016年5月13日倫敦佳士得 Chinese Ceramics, Works of Art and Textiles Part II 拍場售出，拍號619，售價GBP 23,750。比較另一個非常相近的官窯瓶，在倫敦佳士得The Art of China: London, Winter Edition拍場售出，2018年12月5至13日，拍號40，售價GBP 4,000。
A POLYCHROME ENAMEL ‘HUNDRED BOYS’ VASE, REPUBLICChina, 1912-1949. The ovoid body rising from a short ring foot to a slightly concave neck, elaborately painted with children engaged in an elaborate musical performance in a garden setting, two boys carrying lanterns, one playing a trumpet horn, others playing percussion instruments, one on a hobby horse.Provenance: From a collector in San Francisco, California. Condition: Excellent condition with minor wear and firing irregularities.Weight: 1,415 gDimensions: Height 30.1 cmThe festive scene is neatly set between a floral and stiff leaf shoulder band below ruyi-head and leiwen bands to the neck and mouth, and an elegant lappet band above key-frets at the base. Apocryphal six-character Qianlong seal mark in iron-red to base.The present piece is decorated with the subject of the ‘Hundred Boys’, a very popular motif in porcelain decoration as it symbolizes the Chinese perpetual wish for many sons. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 63, the 'Hundred Boys' theme has its origins in the Western Zhou dynasty when King Wen of the Zhou adopted one son in addition to his ninety-nine sons to complete the number of one hundred.Auction result comparison: Compare with a closely related vase, though of considerably smaller size and with less elaborate decoration, at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 12 May 2017, lot 524, sold for GBP 11,875.民國粉彩百子嬰戯瓶中國，1912-1949年。卵形瓶體，短圈足，口外翻。粉彩描繪孩子們在花園裡玩耍情景，有表演音樂的，兩個男孩提著燈籠，一個男孩吹小號角，另一個男孩敲擊著樂器，一個騎著馬。 來源：舊金山藏家 品相：狀況極好，輕微磨損和燒製缺陷。 重量：1,415 克 尺寸：高30.1 厘米 拍賣結果比較：一件相近嬰戯瓶售于倫敦佳士得 Chinese Ceramics, Works of Art and Textiles拍場，2017年5月12日，lot 524, 售價GBP 11,875。
A GOLD-SPLASHED AMBER GLASS ‘DOUBLE ELEPHANT’ SNUFF BOTTLE, POSSIBLY IMPERIAL, QING DYNASTYChina, 1770-1850. Skillfully carved in the form of two caparisoned elephants wearing textiles finely incised with diaper patterns, their heads turned beneath a ruyi-lappet band at the neck, the transparent amber glass splashed with gold foil.Provenance: From the collection of Mary Ann Edmondson Bresee (1932-2017), Georgia, USA, avid collector and former member of the International Chinese Snuff Bottle Society. Her grandfather was Walter T. Candler, son of Asa G. Candler, the founder of the Coca-Cola Company. Her bottles were exhibited both at the Cummer Museum of Art and Gardens and the Norton Museum of Art.Condition: Very good condition with minor wear, microscopic nibbling to mouth.Stopper: Serpentine cabochon with nicely carved and stained spoonWeight: 41.3 gDimensions: Height including stopper 66 mm. Diameter neck 11 mm and mouth 6 mmThe flattened ovoid body rising from four elephant feet to a short waisted neck with a concave top.Caparisoned elephants were a popular Qing imperial motif. Snuff bottles carved with this motif are usually found in nephrite. Glass examples of the type are generally yellow. It is very rare to find this elephant motif in amber-colored glass.Literature comparison: For a similar pachyderm-form glass bottle see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, the Mary and George Bloch Collection, Volume 5, Part 2, Hong Kong, 2002, pp. 395-396, no. 856.Auction result comparison: Compare with a related glass snuff bottle carved as a caparisoned elephant at Christie’s New York in The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part IV on 15 March 2017, lot 336, sold for USD 9,375, and another at Christie’s New York in The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part II on 16 March 2016, lot 448, sold for USD 5,625.清代金斑琥珀色料太平有象鼻烟壺, 或爲御制中國，1770-1850年。巧雕太平有象圖，大象頭部轉過，頸部修飾如意紋，透明的琥珀色玻璃上濺有金箔。 來源：美國佐治亞州Mary Ann Edmondson Bresee（1932-2017）收藏。她曾是國際中國鼻煙壺協會的會員。 其祖父是Walter T. Candler，可口可樂公司創始人Asa G.Candler的兒子。 她的鼻烟壺在Cummer Museum of Art and Gardens博物館和Norton Museum of Art博物館均有展出。 圖片：Mary Ann Edmondson Bresee (1932-2017) 品相：品相極好，輕微磨損，唇部小磕損 壺蓋：蛇紋石壺蓋，雕刻精緻的小壺匙 重量：41.3 克 尺寸：總高66 毫米；頸部直徑11 毫米；嘴部直徑6 毫米 拍賣結果比較：一件料器太平有象鼻烟壺見紐約佳士得The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part IV 拍場2017年3月15日lot 336, 售價USD 9,375；另一件見紐約佳士得The Ruth and Carl Barron Collection of Fine Chinese snuff bottles: Part II拍場2016年3月16日 lot 448, 售價USD 5,625.
A PARCEL-GILT AND SILVER-INLAID ‘CARDINAL POINTS’ VASE, HU, MING DYNASTYChina, 1368-1644. The pear-shaped bronze body is divided into four equal sections, indicating the four cardinal points, all distinctively highlighted with fine gold and silver inlays. Rising from a splayed foot to a waisted neck and flared rim, flanked by a pair of loop handles shaped as birds of prey.Provenance: British private collection.Condition: Excellent condition with minor casting flaws, some wear to gilt and silver inlays, minuscule nicks and occasional light scratches, malachite-green encrustations to the interior. Old central piercing to base for mounting as a lamp.Weight: 3,383 gDimensions: Height 32.2 cmThe neck with a band of stiff leaves below a band of archaistic bird motifs on a leiwen ground, the shoulder with a band of taotie masks on a leiwen ground. Four-character inscription to base.Literature comparison: A larger vase in the Musee Cernuschi is illustrated in Michel Maucuer, Bronzes de la Chine imperiale des Song aux Qing, Paris, 2013, pl. 53, together with one decorated with a related motif, pl. 55.Auction result comparison: Compare with a related silver-inlaid and gilt-embellished hu of 75 cm from the 17th or 19th century at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 15 May 2015, lot 720, sold for GBP 10,000.明代錯金銀雙耳壺 中國，1368-1644年。梨形銅器主體分為四個相等的部分，表示四個基本點，所有這些點均以精美的金和銀鑲嵌物突出顯示。一對鳥形耳。 來源： 英國私人收藏 品相：狀況極佳，鑄造缺陷較小，錯金銀鑲嵌物有些磨損，刻痕極少，偶爾有輕微划痕，內部綠色結殼。 底座中央舊時穿孔作為燈使用。 重量： 3,383 克 尺寸： 高 32.2 厘米拍賣結果比較：比較一件17世紀或19世紀相似的75厘米鍍金銀壺， 於2015年5月15 日在倫敦佳士得舉行的Chinese Ceramics, Works of Art and Textiles拍場，拍號 720，成交價GBP 10,000。
A ‘PEACH’ BRUSH WASHER, QING DYNASTYChina, 18th century. Well hollowed as a large peach. Finely carved and reticulated in high relief around the sides and on the base with a gnarled, leafy branch bearing peaches. The soapstone with a fine, natural patina and of light gray color with striations of black and scattered russet spots.Provenance: Lionel de Rothschild (1882-1942). By descent to Edmund de Rothschild (1916-2009). By descent to the Trustees of Exbury House. Lionel de Rothschild was a British banker and Conservative politician best remembered as the creator of Exbury, often considered the finest garden in the United Kingdom. Lionel’s first son Edmund, known as Eddy, was an art collector. He established a charitable trust to manage Exbury Gardens. Condition: Excellent condition with minor wear, occasional light scratches, and minuscule nicks here and there.Weight: 163.8 gDimensions: Width 8.5 cmAuction result comparison: A related jade peach-form washer was sold by Christie’s New York in The Art of China on 7-21 July 2016, lot 9, for USD 2,250. A soapstone washer in the form of a lotus leaf was sold by Christie’s London in Chinese Ceramics, Works of Art and Textiles on 13 November 2015, lot 1216, for GBP 2,500.清代桃形筆洗中國，十八世紀。掏膛良好，雕成大桃子的樣子。 兩側和底座上精心雕刻桃枝。 石料包漿良好，呈淺灰色，帶有黑色條紋和零散的赤褐色斑點。 來源：Lionel de Rothschild (1882-1942)。後裔Edmund de Rothschild（1916-2009）。 之後傳承至到Exbury House的受託人。 Lionel de Rothschild是一位英國銀行家和保守派政治家，因Exbury的創建者而廣為人知，Exbury通常被認為是英國最好的花園。 Lionel的長子Edmund被稱為藝術品收藏家。 他建立了一個慈善信託基金來管理Exbury花園。 圖片：Edmund de Rothschild (1916-2009) 品相：狀況極佳，有輕微磨損，偶有輕微刮擦，局部有很小的刻痕。 重量：163.8 克 尺寸：寬8.5 厘米 拍賣結果比較：一件相似桃型筆洗，售于紐約佳士得The Art of China 拍場2016年7月7至21日, lot 9, 售價 USD 2,250；一件皂石荷葉型筆洗售于倫敦佳士得Chinese Ceramics, Works of Art and Textiles 拍場2015年11月13日，lot 1216, for GBP 2,500.
A GILT-BRONZE FIGURE OF GREEN TARA, MID-QINGSino-Tibetan, 18th century. Cast seated in lalitasana on a sealed double lotus base, the hands in ravimudra, wearing a long flowing robe finely incised with foliate designs, richly adorned in beaded jewelry with turquoise inlays.Provenance: Collection of Gyula Andrásfi (1908-1981), Hungarian ambassador to Mongolia from 1961 to 1968. Thence by descent within the same family to the present owner.Condition: Excellent condition with minor wear, occasional light scratches, small losses, minuscule nicks here and there, some wear to gilt, remnants of pigment.Weight: 825.7 gDimensions: Height 22.2 cmThe face showing a serene expression with downcast eyes, flanked by long ears with lotus-form earrings, the hair arranged in a high chignon behind the elaborate five-leaf crown.Auction result comparison: Compare with a closely related but smaller figure, sold by Christie’s London in Chinese Ceramics, Works of Art and Textiles on 8 November 2013, lot 1430, for GBP 9,375.清代中期銅鎏金綠度母坐蓮像 漢藏，十八世紀。綠度母結右舒遊戲姿坐於橢圓形蓮台之上，左手當胸結三寶印，右手撫膝持蓮花莖。其面容慈悲安詳，神情恬淡怡然。緊貼肢體的天衣帛帶，鑲嵌綠松石。 來源：Gyula Andrásfi (1908-1981)收藏，1961 – 1968年間匈牙利駐蒙古大使。自此保存在同一家族直至現今藏家。圖片： Gyula Andrásfi 1980年在布達佩斯 品相：狀況極佳，有輕微磨損，偶有輕微划痕，小缺損，局部有微小的刻痕，鎏金磨損，繪彩殘餘。 重量：825.7 克 尺寸：高22.2厘米 拍賣結果比較：一個相似但較小的雕像，於2013年11月8日在倫敦佳士得Chinese Ceramics, Works of Art and Textiles 拍場， lot 1430，售價GBP 9,375。
A PARCEL-GILT BRONZE FIGURE OF SHOULAO, 17TH CENTURYChina. The bearded God of Longevity is cast standing with his long flowing robe open at the chest, wearing a joyous expression. The parcel gilding has been cleverly used to highlight several areas of the depiction, such as the tripartite beard or the two plaits. Provenance: From a private collection in Philadelphia, USA. By repute within the same family since c. 1920. Condition: Excellent condition with old wear, microscopic nicks here and there as expected on a bronze of this age, one small hole to backside (probably original), few casting flaws, one small loss.Weight: 195 g Dimensions: Height 13.7 cm Shoulao is one of the three most popular deities in Chinese folklore. Note the fine incision work to the eyelids and other facial features. Auction result comparison: Compare with a closely related Shoulao bronze, probably from the same workshop, at Christies London in Chinese Ceramics, Works of Art and Textiles, 8 November 2013, lot 1431, sold for GBP 13,750.十七世紀局部鎏金銅壽老像 中國。壽老高額長鬚，表情愉悅。局部鎏金処巧妙地突出銅像，三重鬍鬚或兩個辮子。 來源：美國費城私人收藏，據説自1920年起保存於同一家族。 品相：品相極好，舊時磨損，局部輕微磕損，于同一時期銅像狀況相符，背面有一個小洞（可能是原始銅像上就存在），少量鑄造缺陷，一個小損失。 重量：195 克 尺寸：高13.7 厘米拍賣結果比較：一件相近壽老銅像，可能來自同一個鑄坊，售于倫敦佳士得Chinese Ceramics, Works of Art and Textiles拍場，2013年11月8日，lot 1431，售價GBP 13,750。
A PARCEL-GILT BRONZE FIGURE OF VAISRAVANA, MING DYNASTYChina, 1368-1644. The chief of the Four Guardian Kings and protector of the north standing on a ruyi-shaped base. Holding a stupa in his raised left hand, wearing elaborate armor with a tiger design and a celestial scarf billowing above his shoulder and trailing down his sides. The gilt face with a wrathful expression below the openwork crown and double topknot.Provenance: German private estate.Condition: Good condition with old wear and minor casting flaws, some losses (including the parasol in his right hand), remnants of old pigment. Fine natural patina overall.Weight: 2,556 gDimensions: Height 33 cmThe stupa represents the body of the Buddha, both his spiritual body and his person, as well as his Law.Auction result comparison: Compare with a closely related, but larger and gilt-lacquered bronze at Christie’s London, in Chinese Ceramics, Works of Art and Textiles, on 11 May 2016, lot 178, sold for GBP 13,750明代銅鎏金多聞天王中國，1368-1644年。四位天王之首並負責守護北俱盧洲的保護者站在如意形的底座上。 他舉起的左手持佛塔，身穿虎紋盔甲，一條綬帶在他的肩膀上方滾滾而下。王冠鏤空，鎏金面部帶有憤怒的表情。來源：德國私人遺產品相：狀況良好，有舊磨損和輕微的鑄造缺陷，有些缺損（包括右手的陽傘），還有舊顏料殘留。整體天然包漿。重量： 2,556 克 尺寸：高33 厘米 拍賣結果比較：一件相似但更大的鎏金漆銅像見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles拍場2016年5月11日 lot 178, 售價GBP 13,750
A MOTHER-OF-PEARL-INLAID BLACK LACQUER RECTANGULAR TRAY, JOSEON DYNASTYKorea, 16th-17th century. With a wide flaring rim, superbly decorated with stylized lotus flowers on scrolling vines, to the interior with stylized auspicious symbols topping each flower, the base lacquered cinnabar red.Provenance: Gerard Hawthorn LTD Oriental Art, London, UK, 24 April 2008. A noted private collection in Abcoude, Netherlands, acquired from the above. A copy of the invoice, erroneously describing the piece as Chinese and from the Ming dynasty, accompanies this lot.Condition: Excellent condition commensurate with age, old wear, crackling, a small loss to one corner with associated touchup, the interior with four and the exterior with two replaced inlays (inspected under strong blue light) out of more than 200 inlays in total.Weight: 639 gDimensions: Size 4.3 x 31.7 x 19.2 cmAlthough they superficially resemble and, indeed, are often incorrectly termed as orchids, or even peony blossoms, the flowers depicted on this tray actually are stylized lotus blossoms, as indicated by the appearance of the associated buds. The stylized blossoms, which are known as byeonryeon in Korean, likely first appeared in the silk textiles of China’s Song dynasty (960– 1279). Popularized in Chinese porcelains of the Yuan (1279–1368) and Ming (1368–1644) dynasties, the foreign lotus design, or fanlianwen, spread to Korea early in the Joseon dynasty (1392–1910) and was incorporated into the decorative schemes of Korean blue-and-white porcelain, buncheong ware, and inlaid lacquers.Though little is known of the earliest history of lacquer-making in Korea, archaeological evidence indicates that Korean craftsmen were making lacquered objects at least two thousand years ago, in the late Neolithic and early historic periods. By the Goryeo dynasty (918–1392) Koreans were producing elegant lacquer vessels and sutra-storage chests in black lacquer embellished with small floral designs inlaid in mother of pearl, the designs occasionally augmented with small, twisted, metal wires inset as borders and as the stems in floral arabesques. The tradition of inlaid lacquers continued into the succeeding Joseon dynasty (1392–1910), usually in black lacquer with bold floral designs inlaid in mother of pearl.Auction result comparison: Compare with a related foliate-shaped tray, of larger size and dated to the 17th-18th century at Christie’s New York in Japanese and Korean Art on 18 April 2018, lot 141, sold for USD 137,500. Compare also with a related but larger stationery box at Christie’s New York in Japanese and Korean Art on 22 September 2020, lot 252, sold for USD 81,250, and another at Sotheby’s Hong Kong in Asian Lacquer on 27 May 2014, lot 902, sold for HKD 750,000.朝鮮王朝黑漆髹螺鈿托盤韓國，十六至十七世紀。托盤敞口，邊緣外翻。纏枝卷葉花卉紋以及吉祥符號。底部朱紅漆。 來源：倫敦Gerard Hawthorn LTD 東方藝術藝廊, 2008年4月24日。荷蘭Abcoude 知名私人收藏，購於上述藝廊。隨附發票複印件（錯誤描述該拍品來自中國明代）。 品相：良好的狀態與年齡相符，舊磨損，開裂，一角有小修，一共200多個鑲嵌螺鈿只有內部有四処以及外部有兩処螺鈿經過替換（在強藍光下檢查）。 重量：639 克 尺寸：4.3 x 31.7 x 19.2 厘米 拍賣結果比較：一件葉狀托盤，更大尺寸，十七至十八世紀，見紐約佳士得Japanese and Korean Art 拍場2018年4月18日 lot 141, 售價USD 137,500. ；一件更大尺寸的文具盒見紐約佳士得Japanese and Korean Art 拍場2020年9月on 22日 lot 252, 售價USD 81,250, ；還有一件見香港蘇富比Asian Lacquer 拍場2014年5月27日 lot 902, 售價HKD 750,000.
A HUANGHUALI TWO-TIER PICNIC BOX, TIHE, QING DYNASTYChina, 18th-19th century. Of rectangular shape, comprising a cover above two stacked trays, held on a base tray with two side posts, joined at the top with a handle, the base tray and the handle with corner reinforcements, a small lock on the threading pin, the huanghuali of attractive color and grain with defined whorls and several 'eyes'.Provenance: Dutch private collection.Condition: Good condition with some wear, traces of use, minor nicks and scratches, the wood with gaps and natural age cracks.Weight: 1,263 g Dimensions: Size 18 x 31 x 17 cmAuction result comparison: Compare with a related two-tiered picnic box, with a humpback handle and metal fittings to the cover and trays, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 15 September 2011, lot 1276, sold for USD 20,000. Compare also with a related three-tiered picnic box, with only the corners of the base and handle reinforced as in the present lot, at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 17 May 2013, lot 1379, sold for GBP 8,750.清代黃花梨雙層提盒中國，十八至十九世紀。長方形，雙層帶蓋，該蓋子固定在帶有提梁上，通過鎖栓固定，提梁固定在底座、黃花梨具有引人入勝的顏色和紋理，具有黃花梨獨特的紋理和“鬼眼”。 來源：荷蘭私人收藏 品相：狀況良好，有一定的磨損，使用痕跡，輕微的划痕和刻痕，木料帶有縫隙和天然裂紋。 重量：1,263 克 尺寸：18 x 31 x 17 厘米 拍賣結果比較：一件相近金屬配件雙層提盒見紐約佳士得 Fine Chinese Ceramics and Works of Art 拍場2011年9月15日 lot 1276, 售價USD 20,000. ；一件三層提盒，加固底座和提梁，見倫敦佳士得Chinese Ceramics, Works of Art and Textiles 拍場2013年5月17日 lot 1379, 售價GBP 8,750.
AN EXCEPTIONAL OPENWORK AND RETICULATED IVORY ‘HUNDRED BOYS’ VASE AND COVER, LATE QING TO REPUBLICChina, late 19th to early 20th century. The ovoid body rising from a waisted foot to a concave neck with an everted rim, meticulously carved with innumerable boys engaging in leisurely pursuits, decorated with key-fret, bat, ruyi-head, leiwen, and floral bands.Provenance: From the private collection of a French diplomate. Condition: The neck with discoloration and extensive crackling to the ivory due to heat influence, areas of touchup limited to the neck, otherwise in superb condition with minor wear, minuscule nicks, and occasional light scratches. The lid slightly paler than the vase.Weight: 2,044 gDimensions: Height 32.6 cmThe domed oval cover with a finial in the form of two boys seated on a lotus leaf, one playing the flute and the other gleefully laughing.The present piece is decorated with the subject of the ‘Hundred Boys’, a very popular motif in porcelain decoration as it symbolizes the Chinese perpetual wish for many sons. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 63, the 'Hundred Boys' theme has its origins in the Western Zhou dynasty when King Wen of the Zhou adopted one son in addition to his ninety-nine sons to complete the number of one hundred.Auction result comparison: Compare with a closely related vase and cover, possibly from the same workshop, but slightly larger and depicting immortals as the main subject instead of the hundred boys, at Christie’s London, in Chinese Ceramics, Works of Art and Textiles, 11 November 2011, lot 1345, sold for GBP 32,450.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person. 清末民初象牙鏤空雕嬰戯圖瓶 中國，十九世紀末至二十世紀初。瓶身呈圓柱形，瓶身分層精心雕刻著嬰戯圖，有玩耍的，有玩琴的，有舞龍的，並裝飾著雷紋、蝙蝠與纏枝花卉紋。 來源：法國外交家私人收藏 品相：頸部因熱影響而變色，表面有大量裂紋，頸部有修補。基本狀況極佳，輕微磨損，微小的划痕。 蓋子比花瓶略微白。 重量：2,044 克 尺寸：高32.6厘米 拍賣結果比較：比較一個可能來自同一家工作室相似但稍大一些的圖瓶，主要描述仙人而非嬰戯，於2011年11月11日在倫敦佳士得Chinese Ceramics, Works of Art and Textiles拍場，lot 1345，成交價GBP 32,450。
A THANGKA OF FIVE ARHATS, 18TH-19TH CENTURYTibet. Distemper and gold on cloth. The central figure seated in dhyanasana, the hands obscured by the monastic robe, surrounded by arhats, divinities, and acolytes in a landscape with trees, flowers and rocks. With a silk brocade frame and mounted as a hanging scroll.Provenance: Collection of Hellen and Joe Darion, New York, USA. Helen Solomon Darion (1915-2018) studied violin and modern dance and performed as a young adult in New York City. She married Joe Darion (1911-2001), an American lyricist, with whom she shared a deep passion for art. Joe Darion is best known for writing the lyrics for the 1965 blockbuster musical, Man of La Mancha. The couple had an eclectic taste spanning the arts of East and Southeast Asia. Today, many of their collected works can be found in museum catalogs and scholarly dissertations.Published: Himalayan Art Resources, item no. 24529.Condition: Good condition with wear, soiling, minor creases, small losses with associated touchups.Dimensions: Size incl. mounting 132 x 71 cm, Image size 66 x 42.5 cmThe Sixteen Great Arhats are generally painted as part of a set, either as single figures or in groups of two to five figures. The full group would include the Buddha Shakyamuni, the sixteen Arhats, the attendant Dharmatala, the patron Hva-shang, and the Four Guardians of the Directions - Vaishravana, Virupaksha, Dritarashtra and Virudhaka.Literature comparison: Compare with a related thangka in the collection of the Rubin Museum of Art, object number F1998.10.3, also published on Himalayan Art Resources, item no. 640.Auction result comparison: Compare with a related thangka at Christie’s London in Chinese Ceramics, Works of Art and Textiles Part I on 4 November 2014, lot 281, sold for GBP 15,000.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.十八至十九世紀五羅漢唐卡西藏，布面金彩膠畫。中心人物结跏趺坐，双手被袈裟遮住，周围樹木、花朵和岩石环绕，還有其他羅漢及神人與侍从。 有锦缎裝幀，卷轴。 來源：美国纽约Hellen和Joe Darion收藏。 Helen Solomon Darion（1915-2018）研究小提琴和现代舞，年轻时就在纽约演出。 她与美国作词家Joe Darion（1911-2001）结婚，她对艺术充满了热情。 Joe Darion以1965年大型音乐剧《 Man of La Mancha》的歌词创作而闻名。 这对夫妻具熱愛东亚和东南亚艺术。 今天，在很多博物馆目录和学术论文中都可以找到他们的许多收藏品。 圖片：Joe Darion (左) 因爲《 Man of La Mancha》獲得金唱片獎 出版：Himalayan Art Resources, item no. 24529. 品相：状况良好，有磨损，污跡，细微折痕，与修补相关的小损耗。 尺寸：縂132 x 71 厘米, 畫面66 x 42.5 厘米 拍賣結果：一件相近唐卡見倫敦佳士得Chinese Ceramics, Works of Art and Textiles Part I 拍場2014年11月4日 lot 281, 售價GBP 15,000.
AN ALBUM OF 50 STONE RUBBINGS DEPICTING LUOHAN, QING DYNASTYChina, 19th century. The accordion album with fifty leaves, each depicting a seated luohan beneath a title inscription, with plain hardwood covers, one with an old Chinese export seal in the lower right corner.Provenance: German private collection. Old German inscription in pencil to the back of one leaf, confirming the dating and description of the present lot. Old Chinese price label to the back of one leaf and another old Chinese label to the back of another leaf.Condition: Extensive wear, wormholes mostly backed with paper strips, soiling, creasing, tears, browning to edges, some loose leaves, the wood covers with minuscule nibbling to edges, scratches, and natural age cracks.Dimensions: Cover size 30 x 16.5 cmAuction result comparison: Compare with a closely related set of ten albums of smaller size at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 13 May 2011, lot 1111, sold for GBP 10,625.清代石拓《羅漢應真圖》冊頁 中國，十九世紀。一共五十頁，顯示五十個羅漢應真圖。普通的硬木封面，右下角有一個中國老出口封條。 來源：德國私人收藏，冊頁背面用鉛筆注明冊頁時期以及相關描寫。背面亦可見舊時價格。 品相：廣泛磨損，蟲洞，污跡，起皺，撕裂，邊緣變成褐色，冊頁裝幀疏鬆。木封面邊緣損壞，划痕和自然的年齡裂縫。 尺寸：封面30 x 16.5 厘米 拍賣結果比較：一套十本冊頁但尺寸稍小的《羅漢應真圖》，見倫敦佳士得Chinese Ceramics, Works of Art and Textiles 拍場，2011年5月13日 lot 1111, 售價GBP 10,625.
A FESTIVE ROBE, CHAO FU, QING DYNASTYChina, mid-19th century. The summer weave silk embroidered with sinuously coiled dragons chasing flaming pearls amid lingzhi-shaped clouds and flying bats over crashing waves and lotus flowers, all picked out in bold shades of blue, red, yellow, green, and white silk and gold thread on a midnight blue ground.Provenance: British private collection. Condition: Superb condition with minor wear to buttons and edges as well as very few loose threads.Dimensions: Size 140 x 201 cmAuction result comparison: Compare with a closely related robe at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 13 May 2011, lot 1012, sold for GBP 20,000.清代朝服 中國，十九世紀中期。夏季朝服上繡有蜿蜒曲折的龍，在如意祥雲層中戲珠；海水紋上飛舞著蝙蝠。用色大膽，藍色、紅色、黃色、綠色和白色和金色絲線，午夜藍色為地。 來源：英國私人收藏 品相：狀況極佳，鈕扣和邊緣輕微磨損，少量絲綫鬆動。 尺寸：140 x 201 厘米 拍賣結果比較：一件相似朝服售于倫敦佳士得Chinese Ceramics, Works of Art and Textiles 拍場2011年5月13日，lot 1012, 售價GBP 20,000.
A KESI RED-GROUND DRAGON PANEL, QINGChina, 17th-18th century. Embroidered with a large front-facing four-clawed mang dragon with large eyes under bushy brows writhing around a magical pearl amid scrolling clouds, all picked out in bold shades of green, blue, salmon, black, yellow, and gold threads on a rich coral-red ground.Provenance: Property of an English collector, mainly buying in Portobello market, and various places in London, in the early 1950s and 1960s, and thence by descent in the same family.Condition: Old wear, loose threads, slightly faded, some losses.Dimensions: Size 57 x 64 cmAuction result comparison: Compare with a closely related kesi dragon panel at Christie’s New York in The Imperial Wardrobe: Fine Chinese Costume and Textiles from the Linda Wrigglesworth Collection on 19 March 2008, lot 137, sold for USD 8,125.清代紅地龍紋緙絲 中國，十七至十八世紀。正面繡有大型四爪蟒龍，在濃密的眉毛下，大眼睛注視著火珠，在捲動的祥雲間盤旋，大膽運用綠色、藍色、鮭魚色、黑色、黃色和金色等顔色， 珊瑚紅色的地。 來源：英國收藏家的財產，主要是在1950至1960年代初期購於Portobello市場和倫敦的各地區，自此在同一家族中世代相傳。 品相：舊磨損，絲綫鬆動，略微褪色，有些缺損。 尺寸：57 x 64 厘米 拍賣結果比較: 一件相似龍紋緙絲，售于紐約佳士得The Imperial Wardrobe: Fine Chinese Costume and Textiles from the Linda Wrigglesworth Collection 拍場2008年3月19日，lot 137, 售價USD 8,125.
AN IMPORTANT AND LARGE KESI ‘PEACH FESTIVAL’ PANEL, QING DYNASTYChina, 1644-1912. Richly embroidered in bright colors with a lively scene depicting the legendary festival, with Xiwangmu, the Queen Mother of the West, descending from the sky astride her phoenix, flanked by two attendants, a crane in flight above. A pantheon of Daoist immortals and deities, including Shoulao, the Eight Immortals, Lui Hai, and Hehe Erxian, all holding ruyi-scepters, eagerly await her arrival on a garden terrace with lingzhi, pine and peach trees issuing from craggy rockwork.Provenance: From an old British private collection, by repute formed in the first half of the 20th century. Condition: Pristine condition with very bright and fresh colors, few loose threads to edges, very little minor soiling, and minimal tiny losses. Laid down on paper.Dimensions: Size 175 x 89 cmExpert’s note: Large kesi panels depicting this subject or variations thereof commonly appear on the auction market, most with irrevocably faded colors and manifold other condition issues. The present panel is arguably the best-preserved example on the market in a very long time: The colors are virtually as fresh as new, the embroidery is extremely detailed, and the iridescent luster of the silk is almost hypnotic. Most likely it has been rolled up ever since it was mounted on paper, and therefore was never exposed to light before.The Peach Festival is a popular Daoist theme associated with the birthday celebration of Xiwangmu, who has the sole authority to grant Peaches of Eternal Life and bestow celebrants of the festival with great fortune. According to legend, the festival is held at the Jade Palace in the Kunlun Mountains in the Western paradise and only takes place every 3000 years. Here, groups of Immortals are pictured waiting in anticipation for Xiwangmu, who gracefully arrives on a phoenix. The auspicious message of this theme made the present panel suitable for presentation at important festivities.Kesi, which means ‘cut silk’, derives from the visual illusion of cut threads that is created by distinct, unblended areas of color, as the weft threads are woven into each color and then cut. The earliest surviving examples of kesi tapestries date to the Tang dynasty (618-907), although the technique was already used earlier in wool and became widely used only during the Song dynasty (1127-1379). The fragment of a kesi tapestry has been recovered in a tomb of a man and his wife in Dulan, Qinghai province, who died in 633 and 688 respectively, and another also excavated in Dulan, was included in the exhibition “China, Dawn of a Golden Age” at the Metropolitan Museum of Art, New York, 2005, cat. no. 245.During the Ming dynasty (1368-1644), kesi panels enjoyed a rise in popularity and thrived under the Qing emperors. Early in the Qing dynasty (1644-1911) official weaving workshops were established both in the Palace and in the cities of Jiangning, Suzhou and Hangzhou, in order to cater to the Court’s increasing demand for palace and temple furnishings, clothing and presentation silks for civil and military officials. Specialized centers of production soon developed around this area, such as the city of Wenzhou, Zhenjiang province, which became particularly famous for its luxurious kesi tapestries.Literature comparison: A closely related silk kesi panel with a similar bright red sky in the collection of the Palace Museum, Beijing, is illustrated in Zhongguo Meishu Quanji - Gongyi Meishu Bian, vol. 7, Beijing, 1987, pl. 180, where it is dated to the Qing Dynasty. A slightly larger kesi panel depicting the Peach Festival, from the Liaoning Provincial Museum, Shenyang, was included in the Hong Kong Oriental Ceramic Society exhibition Heaven’s Embroidered Cloths, One Thousand Years of Chinese Textiles, Hong Kong Museum of Art, Hong Kong, 1995, cat. no. 119. Compare also a kesi panel depicting Xiwangmu being greeted by female Immortals in the National Palace Museum, Taipei, included in the exhibition Masterpieces of Chinese Silk Tapestry and Embroidery in the National Palace Museum, Taipei, 1998, cat. no. 21.Auction result comparison: Compare with a closely related kesi panel, depicting the same subject on a similar red ground, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 22-23 March 2012, lot 1627, sold for USD 40,000, and another at Christie’s New York in Fine Chinese Ceramics and Works of Art on 14-15 September 2017, lot 943, sold for USD 56,250. Compare also with a larger kesi textile, dated to the late Ming to early Qing dynasty, at Sotheby’s Hong Kong in Important Chinese Art on 11 July 2020, lot 3637, sold for HKD 1,000,000.清代重要緙絲《蟠桃宴》壁挂中國，1644-1912年。絲綫鮮艷，生動地描繪了傳說中的蟠桃盛會。西王母騎在鳳凰上從天而降，兩側是侍從，頭上仙鶴飛舞。壽老、八仙、劉海以及和合二仙都在露臺上急切地等待著西王母的到來，四周可見靈芝、松樹和桃花樹。 來源：英國私人老收藏，據説購於二十世紀上半葉。 品相：原始狀態，色彩依然非常鮮豔，邊緣絲綫輕微鬆動，輕微污漬，缺損極小，裱在紙上。 尺寸：175 x 89 厘米 專家注釋: 描繪此主題的大型緙絲壁挂出現在拍賣市場上的，大多數帶有不可避免的褪色和其他各種問題。當前的壁挂可以說是很長一段時間以來市場上保存最完好的：顏色幾乎與新的一樣新鮮，刺繡非常細緻。 自從將其裝裱在紙上以來，很可能是將其捲起，因此以前從未暴露在日光下。緙絲，又稱刻絲，是中國傳統的一種絲織品，其特色是以緙織方式織造，緯線並不橫貫全幅，而僅在需要處與經線交織。尚存的最早的緙絲壁挂實例可追溯到唐朝（618-907），開始將此技法用於絲織品。南宋時期緙絲得到廣泛使用。緙絲壁挂曾在青海省都蘭墳墓中被發現。在紐約大都會博物館2005年的展覽“China, Dawn of a Golden Age” 也曾展出過另一塊出土緙絲，目錄圖 245。 在明朝（1368-1644），緙絲壁挂受歡迎程度不斷提高，並在清朝皇帝的統治下蓬勃發展。 清朝初期（1644-1911年），在皇宮以及江寧、蘇州和杭州等城市都建立了官方的織布作坊，以滿足宮廷和廟宇陳設、服裝和文職和軍事官員所用絲綢的日益增長的需求。很快就出現了特殊的生產中心，例如浙江溫州，以其豪華的緙絲掛毯而聞名。 文獻比較: 一件清代相近紅地緙絲見北京故宮博物院見《中國美術全集》，工藝美術編，第 7冊, 北京, 1987年, 圖 180. 一件《蟠桃會》大型緙絲見遼寧省博物館的展品，見香港美術館 Hong Kong Oriental Ceramic Society exhibition Heaven’s Embroidered Cloths, One Thousand Years of Chinese Textiles, 1995年，圖119。還有一件西王母緙絲見臺北故宮博物院Masterpieces of Chinese Silk Tapestry and Embroidery 展覽, 1998, 圖 21. 拍賣結果比較：一件相似紅地緙絲壁挂售于紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2012年3月 22-23日 lot 1627, 售價USD 40,000, 另一件售于紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2017年9月14-15日 lot 943, 售價USD 56,250。 還有一件明末清初緙絲見香港蘇富比Important Chinese Art拍場2020年7月11日 lot 3637, 售價HKD 1,000,000。
A RARE MILITARY OFFICIAL'S RANK BADGE OF A LION, BUZI, LATE MING DYNASTYChina, 17th century. Made for a second rank military official. Embroidered with a Buddhist lion seated atop a rocky outcrop over crashing waves with its expressive head turned to the side, the mouth open in a roar, revealing sharp fangs, amid lingzhi-shaped clouds and flames, all worked in vibrant shades of green, orange, blue, yellow. White couched silk floss and gold couched threads on an unusual twisted blue silk thread ground.Provenance: Cardinal Neri Maria Corsini (1685-1770). Collections of the Palazzo Corsini, Florence. Property of an English collector, acquired from the above, thence by descent in the same family. The Palazzo Corsini is a monumental late 17th century palace located on Via del Parione, with a facade towards the Arno River, in Florence, Italy. It is still owned by the Corsini family today, who have donated parts of their large art collections, initially gathered by cardinal Neri Maria Corsini (1685-1770), to the Galleria Nazionale d'Arte Antica di Palazzo Corsini in Rome.Condition: Fine condition with few loose threads, minor losses, fringing to edges. A fragment of another rank badge from the same group sewed on in the upper right corner. Superb colors!Dimensions: Size 37 x 37 cm Second rank military officers were assigned square lion badges which were applied to the chest and back of their official robes worn at the Ming dynasty court. This bold design with large lozenge-shaped clouds, prism-like rocks and rolling waves, reflects the aesthetic developments of the later Ming period. This badge was part of a group of over twenty similar badges once sewn into a large curtain or canopy reportedly from the collection of the Palazzo Corsini in Florence. This explains the fragment of another rank badge from the same group sewed on in the upper right corner. See C. Hall, “Chinese or Korean? The Palazzo Corsini Rank Badges”, Hali 104 (May-June 1999), pp. 66-8.Literature comparison: Lion badges from the same group have been published. One from the Jobrenco Limited Trustee Hall Collection Trust, C. Hall et al., Heaven’s Embroidered Cloths: One Thousand Years of Chinese Textiles, Hong Kong, Urban Council of Hong Kong, 1995, pp. 66-68, and one from a private European collection, J.E. Vollmer, Silks for Thrones and Altars: Chinese Costumes and Textiles from the Liao through the Qing dynasty, Paris, 2003, no. 12, pp. 36-37. See, also, the example illustrated by C. Hall et. al., Power Dressing: Textiles for Rulers and Priests from the Chris Hall Collection, Asian Civilizations Museum, Singapore, 2006, p. 240, no. 69.Auction result comparison: Compare with a closely related rank badge, also from the Palazzo Corsini, at Christie’s New York in The Imperial Wardrobe: Fine Chinese Costume and Textiles from the Linda Wrigglesworth Collection on 19 March 2008, lot 19, sold for USD 73,000.明末武官官服獅子補 中國，十七世紀。獅子補是二品武官官服所用。獅子表情極富表現力，頭轉向側面，嘴巴怒吼張開，露出尖銳的獠牙。四周祥雲圍繞，下方海浪。在如意祥雲中有各色火焰。 來源：紅衣主教Neri Maria Corsini（1685-1770）。佛羅倫薩科西尼宮的藏品。英國收藏家的財產，購於上述出處。自此在同一家族中世襲。Palazzo Corsini宮是一座巨大的17世紀晚期宮殿，位於意大利佛羅倫薩的Via Parione大街上，立面朝向阿爾諾河。 如今，它仍然歸科西尼家族所有，他們已將其大型藝術收藏的一部分捐贈給了羅馬的科西尼美術館，最初由紅衣主教Neri Maria Corsini（1685-1770））收集。圖片: Palazzo Corsini宮位於阿爾諾河的一側 圖片: 紅衣主教 Neri Maria Corsini (1685-1770) 品相：狀況良好，一些絲綫鬆動，缺損，邊緣有磨損。 右上角縫有同一組的另一個等級徽章的片段。 精湛的色彩！ 尺寸：37 x 37 厘米 拍賣結果比較：一件相近且同樣來自 Palazzo Corsini的官服獅子補，售于紐約佳士得The Imperial Wardrobe: Fine Chinese Costume and Textiles from the Linda Wrigglesworth Collection拍場，2008年3月19日， lot 19, 售價USD 73,000。
A LARGE KESI ‘DRAGON’ PANEL WITH KIRIMON, MING DYNASTYChina, 17th century. Made for the Japanese market. Finely woven with the mon of the Toyotomi clan, in the form of a stylized paulownia, above an imposing three-clawed dragon surrounded by ruyi-shaped clouds.Provenance: Austrian private collection. Condition: Excellent condition with minor wear, soiling, minuscule losses, minor old repairs, few loose threads.Dimensions: Size 153 x 85 cmBehind glass, in a European frame.The Kirimon, or Paulownia Seal, once was the private symbol of the Japanese Imperial Family, from as early as the sixteenth century. The Toyotomi clan, led by Toyotomi Hideyoshi, later adopted the Seal for use as the crest of his clan. After the Meiji Restoration, the seal was eventually adopted as the emblem of the Japanese government. The variation seen in the present lot, with 5-7-5 flowers (the syllabic pattern of a haiku poem), is today reserved for the prime minister of Japan.The present kesi panel likely was originally a border panel from a very large bedcover. Kesi produced an inherently weak fabric because the weaving technique left slits in the textile between color areas and did not stand up to wear. It was therefore rarely used for practical items like bedcovers, except for a group of early 17th century bedcovers surviving in museum collections, all with light blue backgrounds.Literature comparison: A complete coverlet, in a private collection, is illustrated in Vollmer 1982, p. 42, and another is in the Ruth Chandler Williamson Gallery, Scripps College, Claremont, California, unpublished. For two similar kesi panels made for the European market, see Myrna Myers, Silks for Thrones and Altars, Chinese Costumes and Textiles, p. 104, nos. 54a and 54b.Auction result comparison: Compare with a kesi fragment of much smaller size, with a very similar dragon and likely cut out from a large panel closely related to the present lot, at Christie’s London in Fine Chinese Ceramics & Works of Art on 7 November 2017, lot 344, sold for GBP 11,875.明代大型龍紋緙絲 中國，十七世紀。為日本市場生產，豐臣家族的家徽“桐紋”，在由如意形雲團環繞的氣勢磅礴的三爪龍。 來源：奧地利私人收藏 品相：狀況極佳，輕微磨損，污跡，損失極小，較舊的修補，絲綫鬆動。 尺寸：153 x 85 厘米 歐洲裝框，玻璃蓋后 拍賣結果比較：一件相似尺寸較小的龍紋緙絲，有著非常相似的龍，可能與當前拍品相似的大緙絲上剪下，售于倫敦佳士得Fine Chinese Ceramics & Works of Art 拍場，2017年11月7日，lot 344，售價GBP 11,875.
A VERY LARGE IMPERIAL YELLOW KESI ‘DRAGON’ PANEL, QING DYNASTYChina, 18th century. Woven with one front-facing and four side-facing five-clawed long dragons chasing flaming pearls and surrounded by ruyi-shaped clouds, all picked out in bold shades of red, blue, green, and white silk and gold thread on a yellow ground.Provenance: Vallin Galleries, Wilton, Connecticut, 9 July 1987. Oliver Luetscher III, Westfield, New Jersey, acquired from the above. Thence by descent. A copy of the original invoice, describing the present lot as a “Chinese Imperial Yellow Fabric with […] Dragons, 18th C. or earlier”, at a price of USD 1,200, accompanies this lot.Condition: The panel is a fragment, as clearly indicated by the front-facing dragon. Otherwise in good condition with minor wear, few loose threads, and small tears.Dimensions: 34.8 x 325 cmAuction result comparison: Compare with a related silk fragment, with a very similar dragon, but of much smaller size, at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 11 November 2011, lot 1421, sold for GBP 3,250.13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.清代大型御制黃色云龍紋緙絲中國，十八世紀。一正面和四隻側面的五爪飛龍，它們追逐著火珠，周圍環繞著五彩如意祥雲。來源：康涅狄格州Vallin Galleries藝廊，1987年7月 9日。新澤西州Oliver Luetscher III, 購於上述藝廊，保存至今。隨附一份原始發票複印件，上面描述此拍品為 “Chinese Imperial Yellow Fabric with […] Dragons, 18th C. or earlier”（中國御制…龍，十八世紀或更早）, 價格 USD 1,200, 。 品相：這是一塊殘片，前面的龍清楚地表明了這一點。 除此之外狀態良好，輕微磨損，局部鬆動，小撕裂。尺寸：34.8 x 325 厘米 拍賣結果比較：一件相近織物殘片，非常相似的龍紋，但尺寸更小，見倫敦佳士得Chinese Ceramics, Works of Art and Textiles，2011年11月11日 lot 1421, 售價GBP 3,250.
‘HERON IN A LOTUS POND’, EARLY QING DYNASTYChina, 17th-18th century. Ink and watercolors on silk. The heron standing on one leg in a pond surrounded by large lotus leaves, pods, flowers, and buds as well as water reeds. Finely painted with bright colors and great attention to detail, note for example one of the lotus leaves showing rot around the edges.Provenance: L. Michon, 156, boulevard Haussmann, Paris (old label to back). French private collection, acquired from the above and thence by descent in the same family.Condition: Small losses with old and very minor touchups and repairs, creases, minor water damage, some loss of color, one larger horizontal tear near the lower edge of the painting with an associated vertical tear along the right edge, both stabilized.Dimensions: Size incl. frame 107 x 66.5 cm, Image size 91 x 51.5 cmFramed behind glass with an old European frame.Auction result comparison: Compare with a 17th century painting of kingfisher amongst lotus, with very similar leaves, at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 12 May 2017, lot 212, sold for GBP 8,125.清初《荷塘白鷺》 中國，十七至十八世紀。絹本設色。白鷺一條腿站在池塘裏，周圍被大片荷葉、蓮蓬、荷花、以及水蘆葦包圍。色彩精美。表現生動，例如，其中一張荷葉在邊緣出現乾枯色。 來源：巴黎boulevard Haussmann 156 號L. Michon，背面可見老標簽。法國私人收藏，購於上述收藏，自此保存在同一家族。品相：局部舊時修補，摺痕，小水漬，一些顏色損失。畫面下部有一處較大水平方向撕裂，右邊伴隨著垂直方向較小撕裂，兩者皆固定。 尺寸：含框107 x 66.5 厘米, 畫面 91 x 51.5 厘米 歐洲老框 拍賣結果比較：一件17世纪荷中白鷺圖，葉形非常相似，售于倫敦佳士得Chinese Ceramics, Works of Art and Textiles 拍場2017年5月12 日, lot 212, 售價GBP 8,125.
A PALE CELADON, GRAY AND RUSSET JADE FIGURE OF DONGFANG SHUO, QING DYNASTYChina, 18th-19th century. The immortal carved standing with a double gourd on the ground before him, holding a peach on a leafy stem in one hand and a lingzhi sprig raised in the other, wearing a long flowing robe and hat, the face with a benevolent expression. The stone of a translucent pale celadon tone with opaque shadings of gray and russet. With a matching wood base. (2)Provenance: French private collection.Condition: Good condition with some wear, a small chip to the brim of the hat, microscopic nibbles here and there.Weight: 109.7 gDimensions: Height 7.8 cmDongfang Shuo (c. 160-93 BC) was a Han Dynasty scholar-official, fangshi (‘master of esoterica’), author, and court jester to Emperor Wu (reigned 141-87 BC). In Chinese mythology, Dongfang is considered a Daoist xian (immortal) and the spirit of Venus who incarnated as a series of ancient ministers including Laozi.The legend of Dongfang Shuo has him attempting to steal one of the famous 'peaches of longevity' from the orchard of Xi Wangmu, the Queen Mother of the West, whose palace was believed to be in the Kunlun Mountains. The peaches were believed to ripen only once in 3,000 years and to confer immortality on anyone who ate them.Literature comparison: Compare a celadon jade figure of Dongfang Shuo, attributed to the 18th-19th century, in the collection of the Victoria & Albert Museum, London, acc. no. 1633&A-1882. Another, attributed to the late Ming/early Qing period, is illustrated in Chinese Jades from Han to Ching, Asia Society, New York, 1980, pl. 101. See also a white jade figure attributed to the late Ming period illustrated in Jades from China, The Museum of East Asian Art, Bath, 1994, cat. no. 101. For a late Qing example, see one in the collection of the Asian Art Museum, San Francisco, included in Michael Knight, He Li, and Terese Tse Bartholomew, Later Chinese Jades: Ming Dynasty to Early Twentieth Century, San Francisco, 2007, pl. 324.Auction result comparison: Compare with a related celadon jade figure of Dongfang Shuo, but of considerably larger size, at Sotheby’s New York in Junkunc: Chinese Jade Carvings on 22 September 2020, lot 236, sold for USD 30,240. Compare also with a related but much larger and earlier chicken bone jade of the same immortal, dated to the 16th/17th century, at Christie’s New York in Fine Chinese Ceramics and Works of Art on 17 September 2008, lot 294, sold for USD 10,000. For a similar jade figure of a gentleman, dated to the 19th/20th century, see Christie’s London in Chinese Ceramics, Works of Art and Textiles on 16 May 2014, lot 1075, sold for GBP 7,500.清代青白玉帶皮東方朔中國，十八至十九世紀。東方朔身前有一個大葫蘆，他一隻手拿著桃子，另一隻手舉著一隻靈芝，頭戴長袍和帽子，表情慈祥。玉石為半透明的淡青色，帶有不透明的灰色和赤褐色紋理。 相配的木底座。 來源：法國私人收藏 品相：狀況良好，有些磨損，帽子邊緣有小磨損，局部有細微的磕損。 重量：109.7 克 尺寸：高7.8 厘米 拍賣結果比較：一件相近青玉東方朔但尺寸更大，見紐約蘇富比Junkunc: Chinese Jade Carvings 拍場2020年9月22日 lot 236, 售價USD 30,240. ；一件相近但尺寸更大更早的雞骨玉東方朔，十六至十七世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 拍場2008年9月17日lot 294, 售價USD 10,000. ；一件相似人像，十九至二十世紀，見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles 拍場2014年5月16日 lot 1075, 售價GBP 7,500.
A WHITE JADE ‘FUGUI’ PLAQUE, MID-QING TO REPUBLICChina, 1750-1949. Of rectangular form, finely carved to one side in relief with two sinuously coiled chilong with bifurcated tails chasing a flaming pearl, the other side inscribed with a two-character seal mark, all between a ruyi-scroll design. The translucent and almost transparent stone of an even white color.Inscription: To one side, ‘Fugui (Wealth and Fame)’.Provenance: From a private collection in Southwestern France.Condition: Excellent condition with minor wear.Weight: 57.3 gDimensions: Size 6.6 x 4.6 cmPierced at the top for suspension as a pendant, with black string and a glass bead in imitation of coral.Auction result comparison: Compare with a related plaque, dated to the 18th century, also with a seal mark to one side, at Christie’s London in Chinese Ceramics, Works of Art and Textiles on 18 May 2012, lot 1162, sold for GBP 16,250.清中至民國白玉富貴佩飾中國，1750-1949年。折角長方形，一面浮雕兩隻盤旋螭龍，分叉的尾巴，追逐著一顆火珠，另一面刻著“富貴”二字。幾乎透明的白色玉石。來源：法國南部私人收藏 品相：狀況極佳，小磨損。重量：57.3 克 尺寸：6.6 x 4.6 厘米 頂部中央穿孔，黑色絡子，挂著仿珊瑚玻璃珠。拍賣結果比較：一件相近玉佩，十八世紀, 見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles 拍場2012年5月18日 lot 1162, 售價GBP 16,250.
Marevna (Maria Vorobieff) (Russian, 1892-1984)Bouquets de fleurs et artichauts signed 'Marevna' (lower right)oil on canvas92 x 73cm (36 1/4 x 28 3/4in).Painted c. 1940Footnotes:LiteratureJewish Artists of the School of Paris 1905-1939, Somogy Éditions d'Art, Paris 2015, p. 233.Marevna was the daughter of Jewish actress Rosanovitch and Alexandre Vorobieff. When she was two years old, she was adopted by the Polish Catholic aristocrat Bronislav Stebelski. In 1907, she took classes at the Tiflis junior high school in Georgia. In 1910, she left for Moscow where she attended the School of Decorative Arts. From 1910, she traveled in Europe and met the writer Maxim Gorky, who encouraged her to paint. She arrived in Paris in 1912 and attended the Zuloaga Academy, the Colarossi Academy in 1913 and the Russian Academy where Chana Orloff, Jacques Lipchitz, and Ossip Zadkine were already studying.In 1919, she met Mexican painter Diego Rivera, with whom she had a daughter. Between 1923 and 1926, she designed woven textiles inspired by Georgian themes for Paul Poiret. Following several solo exhibitions, art dealer Léonce Rosenberg bought some of her paintings. During World War II, Marevna took refuge in Saint-Paul-de-Vence, Beaucaire, and Cagnes in the south of France. In 1949, she settled in London with her daughter and returned to Paris in 1960.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A collection of textiles to include a large cream piano shawl 1920s in fine wool with silk tassels and embroidered floral design (large stain and small hole). A grey velvet polka dot scarf (stain). A lilac tulle evening stole with dotted detail, edges have silk tassels. A silk scarf with green floral pattern and metallic silver thread. A 1930s bustier in shell pink and cream lace, satin straps at back. A Dorothy bag, 1920/30s embroidered to show a garden and fountain scene with hassle at the bottom, in greens and greys. Two small babies dresses, one with smocking, one in lace/tulle. A green/gold satin cummerbund style belt. (9)
A small quantity of books on collecting objet d'art, to include 'Toward and Art History of Medieval Rings: A Private Collection' Hindman, Fatone and Mantova, 'Eyeglass Retrospective' a Sciffer Guide, Nancy N. Schiffer, 'Faberge Fantasies' The Forbes Magazine Collection and several Sotheby's and Phillips catalogues relating to textiles and objects of virtue (quantity)
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