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Lot 426
A LARGE FAMILLE VERTE 'EIGHT IMMORTALS' VASE, YUHUCHUNPING, 18TH - 19TH CENTURYChina. Of pear shape, rising from a short foot to a trumpet neck, with a rib around the lower neck. Painted in bright enamels and iron red with a procession of the eight immortals along with their attributes and mythical creatures. The neck further decorated with butterflies and a bat, and a diaper-patterned band with blossoms below the rim. The base with a double circle in underglaze blue.Provenance: British trade. Condition: Good condition with old wear, flaking to enamels, a minuscule hole at the center of the base, with associated minor hairlines. Some firing flaws including pitting, glaze bosses and scattered dark spots. The interior with a loose cement block, residual from prior usage as a lamp.Weight: 5,681 g Dimensions: Height 46 cmThe vase depicts He Xiangu riding a deer and holding a lotus flower, followed by Zhongli Quan holding his fan and riding a Buddhist lion, Li Tieguai on a tiger carrying his gourd issuing a red cloud that supports Lue Dongbin, Lan Caihe on an elephant gently holding his flower basket, the reverse with Han Xiangzi playing his flute, Zhang Guolao riding backwards on a donkey, and Cao Guojiu on a yellow horse playing castanets.Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 15 October 2021, lot 250Price: EUR 6,320 or approx. EUR 9,300 adjusted for inflation at the time of writingDescription: A rare and large famille verte 'luohan' vase, yuhuchunping, Qing dynastyExpert remark: Compare the related form, enamels, and motif. Note the near-identical size (45 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 15 May 2007, lot 381Price: GBP 36,000 or approx. EUR 67,500 converted and adjusted for inflation at the time of writingDescription: A rare famille verte vase, yuhuchunping, early 18th centuryExpert remark: Compare the related form, enamels, and motif. Note the smaller size (22.3 cm).十八至十九世紀硬彩八仙人物玉壺春瓶中國。敞口外撇，束頸，削肩，腹下斂，圈足略外撇。硬彩描繪八仙及其法器與神獸；頸部有蝴蝶和一隻蝙蝠。壺口邊沿下方錦地開光花卉紋。底足内青花雙圈款。 來源：英國古玩交易。 品相：狀況良好，磨損，釉面剝落，底座中央有一個小孔，並帶有細紋。一些燒製缺陷包括麻點、釉面凸起和分散的黑點。內部有一個水泥塊，是以前用作燈的殘留物。 重量：5,681 克 尺寸：高46 厘米 拍賣結果比較： 形制：相近 拍賣：維也納Galerie Zacke，2021年10月15日，lot 250 價格：EUR 6,320（相當於今日EUR 9,300） 描述：清代罕見大型硬彩羅漢玉壺春瓶 專家評論：比較相近的外形、琺瑯和主題。請注意幾乎相同的尺寸 (45 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2007年5月15日，lot 381 價格：GBP 36,000（相當於今日EUR 67,500） 描述：A rare famille verte vase，yuhuchunping，early 18th century 十八世紀早期粉彩玉壺春瓶 專家評論：比較相近的外形、琺瑯和主題。請注意尺寸較小 (22.3 厘米)。
Lot 385
A BLUE AND WHITE 'MAGPIES AND PRUNUS' BEAKER VASE, GU, TRANSITIONAL PERIODChina, 17th century. Of cylindrical form with flaring rim and foot, painted in gently accentuated shades of cobalt blue with flowering prunus, chrysanthemum, peonies, and other flowers issuing from rockwork, the two magpies perched on branches, and two other birds in flight below a full moon, all above a frieze of cloud scrolls around the waist and a band of pendent stiff leaves extending towards the foot. The base left unglazed to reveal the white ware, the rim with a pale brown glaze. Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. The base with two old labels, 'Ming dynasty 1368-1644' and 'F3588 KYC[...]8'. Condition: Very good condition with old wear as expected, the rim with few minuscule frits below the glaze, and manufacturing flaws including pitting, dark spots, pottery lines to the base, and minor warping.Weight: 812.5 g Dimensions: Height 26.1 cmThis simple and elegant cylindrical form belongs to a group of new shapes among the Transitional Wares. Its concave lines, derived from the earlier Ming prototype, are referred to by R.S. Kilburn as 'serving to emphasize the solid careful potting and good proportion of the pieces', see Transitional Wares and Their Forerunners, Hong Kong Museum of Art, 1981, page 30. Auction result comparison:Type: RelatedAuction: Christie's New York, 26 January 2015, lot 87Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A blue and white beaker vase, transitional periodExpert remark: Compare the closely related form, the floral decoration, and the cafe au lait rim. Note the larger size (44.5 cm).明清過渡時期青花《喜上眉梢》花觚中國，十七世紀。觚敞口微撇，筒式腹，腹訓凸起一周，近底微外撇，平底無釉。青花艷麗，外壁紋飾共有三層，上層主題圖案繪喜上眉梢圖，空中飛有兩隻喜鵲，另有梅花；中層簡潔花卉紋；下層繪蕉葉紋一周。 來源：瑞士日內瓦知名私人收藏，自 1960 年代開始收集，保存至今。該收藏的一個重要部分被永久借出，並在日內瓦的亞非博物館展出了幾十年。底部有兩個標籤 'Ming dynasty 1368-1644' 與 'F3588 KYC[...]8'。 品相：狀況極好，有磨損，製造缺陷，包括點蝕、黑點和輕微翹曲。 重量：812.5 克 尺寸：高 26.1 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年1月26日，lot 87 價格：USD 15,000（相當於今日EUR 17,500） 描述：明清過渡時期青花花觚 專家評論：比較非常相近的外形、花紋。請注意尺寸較大(44.5 厘米)。
Lot 150
A LARGE BRONZE 'CHILONG' FOUR-TUBE ARROW VASE, TOUHU, YUAN TO MING DYNASTYChina, 1279-1644. Heavily cast with a compressed globular body rising from a stepped foot and surmounted by a tall slender cylindrical neck, with four tubular rings surrounding the mouth. The body cast in relief with two beast masks suspending loose rings flanked by qilin and short flanges, the neck similarly cast with two chilong dragons. The foot and base of the neck decorated with archaistic motifs.Provenance: Swedish trade. Condition: Good condition with minor wear and casting irregularities, few minuscule nicks and dents here and there. The body and neck cast separately and joined together, with the neck being somewhat loosened. Excellent, naturally grown patina overall.Weight: 10 kg Dimensions: Height 58.5 cmVases such as the present lot were designed for the ancient Chinese game of touhu, or 'arrow-throwing', which would form part of the entertainment at banquets and is mentioned in early classical texts such as the Chunqiu Zuo Zhuan attributed to Zuoqiu Ming (c.556-451 BC). Contestants would aim feathered arrows at the various cylinders applied to the vase, with higher points awarded for the less accessible openings. The loser was made to drink wine, leading to increased inebriation and diminished throwing accuracy.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. For a similar example, see Chinesische Kunstgeschichte von Oskar Muensterberg, Esslingen, 1910, p. 136.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 May 2022, lot 43 Price: HKD 318,000 or approx. EUR 37,000 converted at the time of writing Description: A rare and large 'eight-tube' 'eight immortals' arrow vase, touhu, Ming dynastyExpert remark: Compare the related form, manner of casting, and size (55 cm). Note the vase also has four tubes to the neck around the mouth, although unlike the present lot there are also four additional tubes around the body. Auction result comparison: Type: Related Auction: Bonhams London, 6 November 2014, lot 388 Price: GBP 18,750 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A large and unusual bronze 'arrow' vase, touhu, Ming dynastyExpert remark: Compare the related form, manner of casting, chilong decoration, and size (55 cm). Note the vase also has four tubes to the neck around the mouth, although unlike the present lot two of them are slanted and there are also four additional tubes around the body.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 May 2022, lot 5 Price: HKD 255,000 or approx. EUR 30,000 converted at the time of writing Description: A very large and rare bronze 'bagua' arrow octagonal vase, touhu, Yuan/Ming dynastyExpert remark: Compare the related manner of casting, chilong decoration, four tubes around the mouth, and size (60.6 cm). Note the octagonal form and bagua decoration.元至明大型螭龍紋四貫耳投壺中國，1279-1644年。投壺唇口，口沿兩側附雙貫耳，形成三個並列的口部，其下頸部兩側一對貫耳。壺身修飾螭龍等，中部鼓腹，龍耳活環。各部紋飾錯落有致。 來源：瑞典古玩交易。 品相：狀況良好，有輕微磨損和鑄件不規則處，輕微刻痕和凹痕。壺身與頸部分體鑄合，頸稍鬆。包漿良好。 重量：10 公斤 尺寸：高58.5 厘米 文獻比較： 一件相近的十七世紀上半葉貫耳投壺，見《The Chinese Scholar's Studio: Artistic Life in the Late Ming Period》，紐約，1987年，編號63。一件相似的例子，見《Chinesische Kunstgeschichte von Oskar Muensterberg》，埃斯林根，1910年，頁136。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2022年5月29日，lot 43 價格：HKD 318,000（相當於今日EUR 37,000） 描述：明銅八仙八貫耳投壺 專家評論：比較相近的外形、鑄造風格和尺寸 (55 厘米)。請注意瓶口旁有四口，與現在的拍品不同。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2014年11月6日，lot 388 價格：GBP 18,750（相當於今日EUR 27,000） 描述：明銅饕餮紋投壺 專家評論：比較相近的外形、鑄造風格、螭龍裝飾和尺寸 (55 厘米)。請注意瓶口旁有四口，瓶身還有數個貫口。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2022年5月29日，lot 5 價格：HKD 255,000（相當於今日EUR 30,000） 描述：元/明銅八方八卦獸紋投壺 專家評論：比較相近的鑄造風格、螭龍裝飾、瓶口旁有四口和尺寸 (60.6 厘米)。請注意八角形的外形和八卦裝飾。
Lot 64
A PAIR OF LARGE PAINTED POTTERY SQUARE VASES AND COVERS, FANGHU, HAN DYNASTYChina, 202 BC to 220 AD. Each with a facetted pear-shaped body supported on a tall foot and rising to a gently waisted neck with everted rim surmounted by a faceted cover. Each vase is applied at the shoulders with two impressive taotie masks suspending loose rings. Exquisitely painted to each side of the body with two swirling designs in pale green and lavender, below pendent stiff leaves in red and white alternating with hooked designs in pale green at the neck, framed by horizontal bands, the covers similarly painted. (4)Provenance: Collection of Joseph Rondina. Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Good condition, commensurate with age. Old repairs and minor touchups as generally expected from Han dynasty excavations. Wear, flaking, losses and fading to pigment, small nicks, minor chips, light scratches, encrustations. One of the four loose rings broken and restored.Weight: 8,124 g and 8,352 gDimensions: Height 51.5 cm and 50.2 cmExpert's note: Expressive polychrome designs on ancient archaic wares from China, such as those on the present lot, are said to have inspired the Art Deco movement in Europe. A good example for this theory may be the advertising design work of noted architect Henry van der Welde (1863 Antwerp - 1957 Zurich).Bronze and lacquer ritual Fanghu vessels were expensive commodities that only the privileged class could afford, but in the Han dynasty, ceramic funerary wares that simulated these luxurious objects became a more affordable means of outfitting one's tomb, as a finished ceramic piece required far less fuel and specialized labor than its bronze or lacquer prototype. Fired at relatively low temperatures, earthenware vessels are not fully vitrified and are slightly porous, making them less than ideal as containers for daily use, but suitable as burial items. Only very few colored compounds can withstand kiln temperatures without alteration. In order to replicate the multiple bright colors and dynamic designs of painted lacquers, durable mineral pigments were applied to earthenware vessels after firing, hence the term 'cold-painted.'Literature comparison: Compare a related painted pottery fanghu and cover, painted with taotie masks, 55.1 cm high, dated to the Western Han dynasty, in the Harvard Art Museums (acquired from J.J. Lally & Co.), object number 1990.85. Compare a related pair of painted pottery fanghu and covers, dated to the Western Han dynasty, in the Musee Cernuschi, Paris, object number MC 9915. Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2015, lot 782 Price: USD 21,250 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A large painted grey pottery faceted pear-shaped jar and cover, Fanghu, China, Western Han dynasty Expert remark: Compare the related form and manner of painting. Note the size (56 cm).漢代一對大型彩繪陶方壺中國，公元前202 年至公元220年。壺口部與足底皆為方形，四角攢尖方蓋，壺身兩側各有一活環鋪耳。通體飾以黑、紅彩為主色調的圖案，頸繪蟬紋，腹部繪流雲紋，並以條帶紋相間。 來源：Joseph Rondina收藏。Joseph Rondina (1927-2022年)出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。 第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：品相良好，小修整，磨損、顏料褪色、小劃痕、小缺口、結殼。一個活環曾被修復過。 重量：分別爲8,124 克與8,352克 尺寸：高51.5 厘米 and 50.2 厘米
Lot 267
A PAIR OF CLOISONNE ENAMEL GARLIC-MOUTH VASES, QIANLONG TO JIAQING PERIODChina, 1736-1820. Each with a globular body supported on a straight foot and rising to a long neck with a gilt rib below the distinct bulbous mouth with gilt rim. Decorated with red, white, and blue lotus blooms on scrolling leafy stems against a turquoise ground, a lappet border above the foot, and a ruyi band framing the mouth, the base in gilt. (2)Provenance: Galerie Zacke, Vienna, Austria. Old Austrian private collection, acquired from the above before 1999. A copy of an excerpt from a Galerie Zacke catalog, dating from before 1999, accompanies this lot. Condition: Fine condition with minor wear, few small bruises with minor losses, one bottle with a dent to the mouth.Weight: 213.8 g and 216.1 g Dimensions: Height 13.7 cm and 13.7 cm Auction result comparison:Type: RelatedAuction: Sotheby's London, 12 July 2006, lot 440Price: GBP 7,800 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A small cloisonne enamel 'garlic mouth' vase, mark of Qianlong and probably of the periodExpert remark: Compare the related form and floral decoration. Note the smaller size (9.5 cm) and the Qianlong mark. Also note that this result is for a single vase only.乾隆至嘉慶一對銅胎掐絲琺琅纏枝蓮紋蒜頭瓶中國，1736-1820年。瓶口呈蒜頭狀，長頸，溜肩，碩腹，圈足。松石綠色地，通體掐絲琺瑯纏枝蓮紋，瓶口、頸部和圈足鎏金。圈足上飾如意紋。 來源：奧地利維也納Galerie Zacke藝廊；奧地利私人舊藏，1999年前購於上述藝廊。隨附一份1999年前Galerie Zacke藝廊目錄摘要複印本。 品相：狀況良好，有輕微磨損，輕微缺損，一瓶瓶口有凹痕。 重量：分別為213.8克與216.1 克 尺寸：分別為高13.7 厘米與13.7 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2006年7月12日，lot 440 價格：GBP 7,800（相當於今日EUR 16,500） 描述：乾隆款或為其年代銅胎掐絲琺瑯蒜頭瓶 專家評論：比較相近的外形和蒜頭形口。請注意尺寸較小 (9.5 厘米) 和乾隆款，以及此拍品只有一瓶。
Lot 364
A LARGE CIZHOU BLACK-GLAZED BOTTLE VASE, YUHUCHUN PING, YUAN DYNASTYChina, 1279-1368. The pear-shaped body supported on a short spreading foot and rising to a waisted neck with a broad everted rim, the exterior and interior covered in a thick lustrous black glaze attractively pooling above the foot, the base carved with a recessed circle.Provenance: From the estate of Anthony Powell, London, United Kingdom, and thence by descent. Anthony Powell (1935-2021) was a British costume designer who brought deep research to his work in both theater and film. His costume designs for John Gielgud's production of The School for Scandal (1963) earned him a Tony Award. Powell collaborated on movies with Steven Spielberg and Roman Polanski and won three Academy Awards for Best Costume Design, including 1978's Death on the Nile. He was an avid collector of fabrics and trimmings as well as Chinese, Indian, and Southeast Asian works of art. Condition: Very good condition with minor wear, traces of use, and some expected firing flaws, few small chips to foot, minor fritting to rim.Weight: 4,478 g Dimensions: Height 38 cmAuction result comparison: Type: Closely related Auction: Sotheby's New York, 11 September 2012, lot 124 Estimate: USD 8,000 or approx. EUR 9,800 converted and adjusted for inflation at the time of writing Description: A black-glazed vase (yuhuchunping), Yuan dynastyExpert remark: Compare the closely related form and black glaze. Note the smaller size (32.3 cm).元代磁州窯黑釉玉壺春瓶中國，1279-1368年。敞口外撇，束頸，削肩，腹下斂，圈足略外撇。通體覆蓋著一層厚厚的黑釉，自然匯集在足部上方，平底有一個凹陷的圓圈。 來源：英國倫敦Anthony Powell收藏。Anthony Powell (1935-2021年) 是一位英國服裝設計師，他對戲劇和電影作品進行了深入研究。他為 John Gielgud 製作的The School for Scandal(醜聞學校 ,1963) 設計的服裝為他贏得了托尼獎。Powell與史蒂文斯皮爾伯格和羅曼波蘭斯基合作拍攝電影，並獲得三項奧斯卡最佳服裝設計獎，包括 1978 年的《尼羅河之死》。他熱衷於收藏織物和飾物以及中國、印度和東南亞的藝術品。 品相：狀況極好，有輕微磨損、使用痕跡和一些燒製缺陷，足部輕微磕損，邊緣有輕微磨損。 重量：4,478 克 尺寸：高38 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2012年9月11日，lot 124 估價：USD 8,000（相當於今日EUR 9,800） 描述：元黑釉玉壺春瓶 專家評論：比較非常相近的外形和黑色釉面。請注意尺寸較小 (32.3 厘米)。
Lot 123
A MASSIVE COPPER-RED AND UNDERGLAZE-BLUE 'HUNDRED BOYS' JARDINIERE, DATED 1779 OR 1839Inscriptions: To the base, inscribed in black ink “Commissioned by […] Mu in the summer of the Year of Jihai”, this date corresponding to 1779 or 1839.China. Heavily potted, the exterior finely decorated with a festive scene depicting numerous boys in a fenced garden outside a small building amid trees, plantain leaves, rockwork, and swirling clouds, carrying lanterns and toy bats attached to sticks, others moving a large elephant-form cart on four wheels with a tall vase containing a gnarled branch on its back, with further boys playing percussive instruments, one boy blowing into a horn, with distant mountains in the background.Provenance: English trade. Condition: Excellent condition with old wear, traces of use and shallow surface scratches overall. Some firing irregularities such as distinct glaze recesses along the foot, which have darkened over time, and dark spots.Weight: 19.7 kg Dimensions: Diameter 59 cmThe present lot is filled with auspicious imagery. The 'hundred boys' motif symbolizes the Chinese perpetual wish for many sons, while the image of an elephant with a vase on its back (taiping youxiang, or 'when there is peace, there are signs') represents a good harvest and peacetime. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, page 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: Type: Related Auction: Sotheby's London, 9 November 2016, lot 247 Price: GBP 35,000 or approx. EUR 50,500 converted and adjusted for inflation at the time of writingDescription: A copper-red and underglaze-blue 'landscape' jardiniere, Qing dynasty, 18th century Expert remark: Compare the copper-red and underglaze-blue painting. Note the similar size (57 cm). Also note the different form and subject, and possibly slightly earlier date.1779年或1839年青花紅彩《百子圖》花盆中國。厚胎，外壁青花紅彩描繪節日場景，野外，許多男孩敲鑼打鼓，提著燈籠，騎著竹馬；另一群童子則推著一輛大象形的四輪車，大象背上放著一個高大的花瓶。小童們歡天喜地，興高采烈。 款識：花盆底墨水寫“王？沐置於己亥夏” 來源：英國古玩交易。 品相：整體品相極佳，有磨損、使用痕跡和表面淺劃痕，一些燒製不規則，例如明顯的釉料凹陷，已隨著時間的推移變暗，以及黑點。 重量：19.7 公斤 尺寸：直徑 59 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2016年11月9日，lot 247 價格：GBP 35,000（相當於今日EUR 50,500） 描述：清十八世紀青花釉裏紅山水紋缸 專家評論：比較鐵紅色和青花釉畫。請注意相似的尺寸(57 厘米)。請注意不同的外形和主題，以及可能年代較早。
Lot 198
'BUTTERFLIES, FLOWERS, SCEPTER, AND VASE', BY LU XIAOMAN (1903-1965), CHEN XIAOCUI (1907-1968), XIE YUEMEI (1906-1998), AND PAN JINGSHU (1892-1940)China, 1930s. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Exquisitely painted with an Imperial lime-green-ground famille rose vase with dragon handles, probably Jiaqing, holding a bouquet with peony, hibiscus, and red bamboo, as well as leaves, scrolling vines, and fruit, surrounded by fluttering butterflies, all above a tasseled cloisonne ruyi scepter with floral and dragon decoration as well as a gilt-bronze head.Inscriptions: Upper right, signed and inscribed 'Lu Xiaoman painted the butterfies' and with a poem by the Song-dynasty poet Lu You on butterflies; two seals of the artist, 'Xiaoman' and 'Lu Mei'. Center left, signed and inscribed 'Xiaocui painted the branches in Shanghai'; one seal of the artist, 'Xiaocui'. Lower left, signed and inscribed 'Xie Yuemei painted the ruyi [scepter]'; two seals of the artist, 'Xie Yuemei yin' and 'Juanruo'. Lower right, signed and inscribed 'Jingshu painted this vase in the style of the Yuan dynasty'; two seals of the artist, 'Pan' and 'Jingshu zhi yin'.Provenance: Dutch trade. By repute from an old private estate. Condition: Good condition with minor wear, creasing, and foxing.Dimensions: Image size 137 x 44 cm, Size incl. mounting 240 x 59 cmThe present painting is a collaboration between four female painters, all of whom were active in Shanghai during the 1930s. At least three of them - Pan Jingshu being the possible exception - were associated with the Chinese Women's Calligraphy and Painting Society (Zhongguo nuzi shuhua hui) which was founded and held its first exhibition in 1934. By 1937, the group had enrolled more than 150 artists. These four, like those of the Women's Society as a whole, are tied together by their art, their gender, and their city of residence, but not by other more obvious social factors. They came from different native places and did not necessarily move in the same social circles. They did not work in the same painting styles, share the same teachers, or specialize in the same subjects. As a group, they came together for two mutual goals: To promote women artists and the practice of traditional painting.Lu Xiaoman (1903-1965), born in Shanghai, was a celebrated painter, writer, singer, and actor, and studied under painters such as Liu Haisu, Chen Banding, and He Tianjian. As an artist, she specialized in flowers, birds, and light ink landscapes on long Chinese scrolls. She was also known to write poetry, prose, and fiction, but her writings were never published. Nevertheless, her appreciation for poetry inspired her to create a series of ink paintings in honor of the Tang poet Du Fu. Lu Xiaoman was also a singer and debuted on stage after receiving training in the renowned Peking Opera. In the 1950s and 1960s, she worked as a paid artist at the Shanghai Academy of Chinese Painting.Chen Xiaocui (1907-1968) was a Chinese painter and co-founder of the Women's Calligraphy and Painting Society. Daughter of a famous and popular writer, Chen Diexian, she was educated at a traditional academy in Hangzhou, but moved with her father and two brothers to Shanghai around 1920. Like her brothers, she became known at an early age for her published literary works, including poetry and at least fifty translations of foreign fiction. She studied painting with the conservative master Feng Chaoran (1894-1968), an artistic lineage that is reflected clearly in her work.Xie Yuemei (1906-1998), sobriquet Juanruo, was a Chinese painter who lived and worked in Shanghai. She was the sister of the leading traditional painter Xie Zhiliu (1910-1997), a noted member of the Shanghai School. Although she was largely self-taught, only receiving some guidance in her early years from Zhang Hongwei (1878-1970), she became very popular and influential in her time. Pan Jingshu (1892-1940) was a Chinese painter and the wife of the noted Suzhou painter Wu Hufan (1894-1968). Pan descended from a wealthy family of scholars and officials, and was educated at home in the classics and the arts of poetry, calligraphy, and painting. She married Wu in 1915, and together they named their residence Meijing Shuwu (Plum View Studio).The poem inscribed upper right on the painting was originally written by Lu You (1125-1210), a Chinese historian and poet of the Southern Song dynasty. It can be translated as follows:The blossoms in the garden are fragrant,The butterflies are dancing,One dwells by the window only because of you,Regardless of what color you have, if dark or bright yellow.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2008, lot 67 Estimate: USD 120,000 or approx. EUR 151,000 converted and adjusted for inflation at the time of writing Description: Chinese School, Lotus Blossoms in a Blue and White Dragon VaseExpert remark: Note that this painting shows several seals of the Empress Dowager Cixi, and that according to an inscription on the painting it was presented to her. The Empress was an avid art collector and painter, who herself also painted several related works depicting flowers in an antique vase, which quite possibly served as inspiration for the present lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 May 2005, lot 1216 Price: HKD 288,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: Empress Dowager Cixi (1835-1908), FlowersExpert remark: The Empress Dowager Cixi was an avid art collector and painter, who painted several works depicting flowers in an antique vase which quite possibly served as inspiration for the present lot, as the Empress and her paintings would have clearly appealed to the feminist and traditional sensibilities of the Chinese Women's Calligraphy and Painting Society's members.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 25 April 2004, lot 86Price: HKD 1,518,400 or approx. EUR 276,000 converted and adjusted for inflation at the time of writing Description: A still-life hanging scroll by Giuseppe Castiglione, Yongzheng period (dated 1725)Expert remark: This painting of flowers in an antique Jun-type vase clearly inspired later works by the Empress Dowager Cixi and others (see previous auction result comparisons), as well as the present lot.陸小曼、陳小翠、謝月眉與潘靜淑合作《花蝶如意瓶》中國，上世紀三十年代，紙本水墨設色，挂軸。
Lot 453
A FAMILLE ROSE 'PIPA' WALL VASE, LATE QING DYNASTY TO REPUBLIC PERIODChina, 1850-1949. Finely modeled as a pipa wrapped in a green pouch, enameled with a dense network of blue, green, and red scrolling vines issuing lotus, chrysanthemums, peonies, and other flowers, tied with a red sash decorated with gilt swastika and shou symbols. The pipa painted in a dark brown and neatly dotted in gilt to the top.Provenance: Dr. Ma Luk, Hong Kong, and thence by descent in the same family. A private collection, Arizona, USA, acquired from the above. Dr. Ma Luk (1883-1963) graduated from the Hong Kong College of Medicine and became one of the leaders of the local medical community in Hong Kong. After spending a few years working for the Chinese Public Dispensary, he had the rare distinction of being the first Chinese doctor to join a European group practice in 1908, Drs. Fitzwilliams and Allan. He later started his own clinic in Central District and gradually expanded it into a large group practice, the Ma Luk Sun Hospital. Dr. Ma was also a director of the newly formed Yeung Wo Nursing Home in 1922. He served the Hong Kong Chinese Medical Association as vice president from 1933-1934 and was also active as the Chairman of the Chinese Club. He was admitted to the Order of St. John for his long service for the St. John Association and Brigade. Dr. Ma Luk was an important art collector and patron. Condition: Minor old wear, a single restored break, and little glaze flaking.Weight: 798 g Dimensions: Height 28.6 cmLiterature comparison: The design of covering vessels with what appears to be textile packaging can usually be found on famille rose vases, for example, see a blue-and-white vase decorated with a famille rose design imitating drape brocade tied in a knot around the vase, in the Palace Museum, Beijing, illustrated in The Imperial Packing Art of the Qing Dynasty, Beijing, 2000, pl. 66. The effect of this decoration is the skillful blending of two materials, silk and porcelain.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 28 November 2019, lot 100Price: HKD 200,000 or approx. EUR 24,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose 'pipa' wall vase, Republican periodExpert remark: Compare the closely related form and decoration. Note the similar size (31.5 cm), fitted wood stand, and added wooden pegs.清末民初粉彩琵琶壁瓶中國，1850-1949年。精美的琵琶造型，包在綠色包袱中，繪有密集的纏枝蓮花、菊花、牡丹和其他花朵紋，包袱上係著紅色描金蝴蝶結，裝飾有卍字和壽字紋。琵琶成深褐色，頂部鎏金。 來源：香港Ma Luk 醫生私人收藏，在同一家族保存至今；美國亞利桑那州私人收藏，購於上述收藏。Ma Luk (1883-1963) 醫生畢業於香港醫學院，成為香港本地醫學會領袖之一。在中國公立醫局工作了幾年後，他成為 1908 年第一位加入歐洲集體執業的中國醫生。後來，他在中環開設了自己的診所，並逐漸擴展為大型團體診所，即馬六新醫院。馬醫生亦於1922年出任新成立的楊和護養院院長。1933-1934年任香港中華醫學會副會長，亦積極擔任華人會主席。由於長期為聖約翰協會和旅服務，他被授予聖約翰勳章。Ma Luk醫生是一位重要的藝術收藏家和讚助人。 品相：輕微的磨損，小修補，少量的釉面剝落。 重量：798 克 尺寸：高28.6 厘米 文獻比較： 在粉彩花瓶上通常可以看到用看似紡織品包裝的容器覆蓋容器的設計，例如，一件藍白色花瓶飾有粉彩設計，仿垂墜錦緞在花瓶周圍打結，收藏於北京故宮博物院，見《清代宮廷包裝藝術》，北京，2000年，圖66。這種裝飾的效果是將絲綢和瓷器這兩種材料巧妙融合。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2019年11月28日，lot 100 價格：HKD 200,000（相當於今日EUR 24,500） 描述：民國粉彩琵琶式轎瓶 專家評論：比較非常相近的外形和裝飾。請注意相似的尺寸(31.5釐米)、木底座和木釘。
Lot 365
A JUNYAO GLAZED BOTTLE VASE, YUAN TO MING DYNASTYChina, 1279-1644. The cylindrical body rising from a short spreading foot to a tubular neck with galleried rim, covered overall in a thick, crackled turquoise glaze with a purple splash along the neck and shoulder, thinning towards mushroom at the mouth, and continuing towards the interior of the bottle. The glaze stopping irregularly above the foot, the body covered with a brown wash.Provenance: From a Czech private collection. Condition: Very good condition with old wear, few small chips to the foot, and expected firing flaws including kiln grit, pottery lines, and pitting.Weight: 1,222 g Dimensions: Height 23.9 cm Auction result comparison:Type: RelatedAuction: Christie's New York, 27 September 2017, lot 40Price: USD 6,000 or approx. EUR 7,000 converted and adjusted for inflation at the time of writingDescription: A Junyao foliate-rimmed vase, Yuan-Ming dynasty (1279-1644)Expert remark: Compare the closely related crackled glaze and purple splash. Note the different form and smaller size (18.4 cm).元至明代鈞窯紫斑瓶中國，1279-1644年。瓶口外敞，直頸，圓柱形瓶身，圈足。通體覆蓋著一層厚厚的、開片藍釉，沿著頸部和肩部有紫色的斑塊。足部施釉不規則，施褐釉。 來源：捷克私人收藏。 品相：狀況極好，有磨損，足部輕微屑，燒製缺陷，包括窯砂、陶紋和點蝕。 重量：1,222 克 尺寸：高23.9 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年9月27日，lot 40 價格：USD 6,000（相當於今日EUR 7,000） 描述：元/明鈞窯花口瓶 專家評論：比較非常相近的釉面開片和紫斑。請注意不同的外形和尺寸(18.4 厘米)較小。
Lot 356
A TALL AMBER-GLAZED VASE, LIAO DYNASTYScientific Analysis Report: A thermoluminescence report issued by Daybreak Nuclear and Medical Systems, Inc., Guilford, Connecticut, USA, dated 12 September 1990, based on sample number 363A227, sets the firing date of one sample taken between 760 and 1020 years ago. A copy of the report accompanies this lot.China, 907-1125. The elongated ovoid body rising to a tall flared rim, decorated with incised lines around the shoulder as well as the base and mid-section of the waisted neck, covered with a lustrous amber glaze pooling in the recesses and falling to an irregular line above the unglazed base and foot.Provenance: The base with an old label, 'Liao Dynasty 907-1125 AD'. From the collection of Joseph Rondina (1927-2022), who was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Very good condition with minor wear and firing irregularities, including three spur marks to the rim, the base with minor chips, the interior of the foot drilled with a hole from sample-taking. The vase is slightly leaning.Weight: 1,126 g Dimensions: Height 36.4 cmLiterature comparison: The attenuated tall form is a classic Liao shape. This type is generally monochromatic with either an amber or a green glaze. Similar examples are known from Liao burial sites in Liaoning province and Inner Mongolia illustrated in Liaoci Xuanji, A Collection of Liao Tomb Relics of the Liao Dynasty, Beijing, 1961, pl. 345, and another is illustrated in Li Zhi Yan, The Art of Glazed Pottery of China, Hong Kong, 1989, no 239. Green-glazed examples of this form are found in two museum collections, The Asian Art Museum of San Francisco, object number B60P1103, illustrated in He Li, Chinese Ceramics, London, 1996, p. 146, no. 208 and in The Boston Museum of Fine Arts accession number 50.891, illustrated in The Charles B. Hoyt Collection in the Museum of Fine Arts, Boston, vol. II, Boston, 1972, no. 4.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 17 March 2015, lot 13 Estimate: USD 5,000 or approx. EUR 5,700 converted and adjusted for inflation at the time of writingDescription: An amber-glazed pottery vase, Liao dynasty Expert remark: Compare the closely related form, incised lines, and amber glaze. Note the related size (35 cm).遼代褐色釉弦紋瓶中國，907-1125年。瓶口外撇，細長頸，肩部、頸部和腹部飾有弦紋，覆蓋著褐色釉，底座和足部未上釉。 科學檢測報告：美國康涅狄格州Nuclear and Medical Systems，Inc 1990年9月12日出具的熱釋光測試報告，樣本號 363A227，確認此瓶為760-1020年前製作。隨附報告複印本。 來源：底部老標籤 'Liao Dynasty 907-1125 AD'。Joseph Rondina (1927-2022年) 私人收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀況極好，有輕微磨損、製造瑕疵，邊緣有三個刺痕，底部有輕微缺口，足內部有取樣孔。瓶微微傾斜。 重量：1,126 克 尺寸：高 36.4 厘米 文獻比較： 高長頸的外形是經典的遼代瓶。此種瓶形大多施褐色釉或綠釉。相似的例子出土於遼寧省和內蒙古的遼代墓葬群，見Liaoci Xuanji，《A Collection of Liao Tomb Relics of the Liao Dynasty》，北京，1961年，圖345，and another 見Li Zhi Yan，《The Art of Glazed Pottery of China》，香港，1989年，編號239。兩件相似外形的綠釉瓶，收一件收藏於舊金山亞洲藝術博物館，館藏編號B60P1103，見He Li，《Chinese Ceramics》，倫敦，1996年，頁146，編號208 ；另一件收藏於波士頓美術館，館藏編號50.891，見《The Charles B. Hoyt Collection in the Museum of Fine Arts》，波士頓，卷II，1972，編號4。
Lot 93
A RARE BLUE AND WHITE 'EIGHT IMMORTALS' BEAKER VASE, GU, KANGXI PERIODChina, 1662-1722. The vase is well painted in bright blue tones with ogival-shaped reserves, each enclosing one of the Eight Immortals, four on the neck, two on the convex mid-section, and two on the lower body, all reserved on a diaper ground between various decorative borders.Provenance: From an old French private estate. Condition: Very good condition with some old wear and shallow surface scratches overall, scattered firing irregularities such as pitting, glaze recesses, dark spots. The cobalt-blue with small areas of firing-related fading, as expected from this group. The vase slightly leaning.Weight: 2,740 g Dimensions: Height 43.7 cmThe Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Popular during the Tang and Shang dynasties, these Eight Immortals were said to live on a group of five islands in the Bohai Sea. Their stories were first recorded by the Ming dynasty poet Wu Yuantai. Their status as fabled folk icons makes them well-known in popular culture.Literature comparison: A similarly decorated blue and white baluster vase, dated to the Kangxi period, is illustrated in Blue and White Porcelain with Underglazed Red III: Complete Collection of Treasures of the Palace Museum, vol. 36, Hong Kong, 2000, page 33, no. 27.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2014, lot 2132 Price: USD 37,500 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A blue and white beaker vase, Kangxi period Expert remark: Compare the closely related form, subject, decoration with similar panels, geometric bands, and diapered ground. Note the identical size (43.7 cm). Also compare the cobalt-blue with small areas of firing-related fading, as expected from this group.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 18 September 2007, lot 273 Estimate: USD 30,000 or approx. EUR 41,000 converted and adjusted for inflation at the time of writingDescription: A rare blue and white yen-yen vase, Qing dynasty, Kangxi period Expert remark: Compare the closely related subject and decoration with similar panels, geometric bands, and diapered ground. Note the size (45.7 cm) and phoenix tail form.康熙時期罕見青花開光八仙人物花觚中國，1662-1722年。撇口，口沿下收，鼓腹，圈足。口內素白，外壁以錦地青花裝飾，頸部開光四位八仙中的人物，腹部兩位，腳部兩位。 來源：法國私人老收藏。 品相：狀況極好，整體有一些磨損和淺劃痕，分散的燒製不規則性，如點蝕、釉面凹陷、黑點。青花有小面積的燒製相關褪色。花瓶微微傾斜。 重量：2,740 克 尺寸：高 43.7 厘米 文獻比較： 一件相似的康熙青花觚，見《Blue and White Porcelain with Underglazed Red III: Complete Collection of Treasures of the Palace Museum》，卷36，香港，2000年，頁33，編號27。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年3月21日，lot 2132 價格：USD 37,500（相當於今日EUR 45,500） 描述：清康熙青花錦地開光八仙圖花觚 專家評論：比較非常相近的外形、主題、外壁相似的錦地青花裝飾。請注意幾乎相同的尺寸(43.7 厘米)。比較小區域的琺瑯有褪色。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2007年9月18日，lot 273 估價：USD 30,000 （相當於今日EUR 41,000） 描述：康熙青花鳳尾瓶 專家評論：比較非常相近的主題、外壁相似的錦地青花裝飾。請注意尺寸 (45.7 厘米) ，以及鳳尾的外形。
Lot 83
A PAIR OF LARGE LONGQUAN CELADON PHOENIX TAIL VASES, YENYEN, LATE MING DYNASTYChina, 15th-16th century. Heavily potted, the baluster body rising from a spreading foot to a cylindrical neck and flaring rim, the body finely carved and incised with large lotus blooms amongst foliage, with horizontal ribbing to the upper neck and vertical ribs to the lower body. The glaze stopping just above the foot rim, revealing the ware. (2)Provenance: Collection of Joseph Rondina. The base of one vase with an old paper label, inscribed “Celadon $9,000 pr.” Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Excellent condition with expected old wear, traces of use and shallow surface scratches. Firing flaws include minor kiln grit, dark spots, glaze recesses and irregular glaze pooling. The foot rims and bases of both vases partially burnt to orange in the firing.Weight: 6,114 g and 6,012 gDimensions: Height 49.5 cm (each)Literature comparison: A closely related example was included in the exhibition Chinese Celadons and Other Related Wares in Southeast Asia, National Museum, Singapore, 1979, cat. no. 207. A group of yen-yen vases in the Topkapi Saray Museum, Istanbul, is illustrated in Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, London, 1986, vol. I, fig. 206, p. 289. Another good example is illustrated in the National Palace Museum of Taipei, an Exhibition of Longquan Wares, cat. no. 78, pages 154-155 (fig. 1).Auction result comparison: Type: Closely related Auction: Christie's New York, 14 September 2017, lot 702 Price: USD 87,500 or approx. EUR 99,500 adjusted for inflation at the time of writingDescription: A Carved Longquan Celadon 'Phoenix-Tail' Vase, Late Yuan-Early Ming Dynasty, 14th Century Expert remark: Compare the closely related form and finely carved and incised floral decoration. Note the size (45.4 cm), that the lot comprises a single vase and that it has been dated to the 14th century.明末一對大型龍泉青釉鳳尾尊中國，十五至十六世紀。尊口喇叭形，束長頸，溜肩，深孤腹，腹以下漸收斂，近足處外撇，圈足露胎。通體施青釉，器身刻花裝飾，頸飾數道弦紋與纏枝紋，腹飾纏枝花卉紋，底飾仰蓮瓣。胎體厚重，釉層勻厚色澤青翠。 來源：尊底有舊紙標籤，可見 “Celadon $9,000 pr.” Joseph Rondina (1927-2022年) 私人收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀況極佳，有磨損、使用痕跡和表面淺劃痕。燒製缺陷包括輕微的窯砂、黑點、釉凹陷和不規則的積釉。兩個花瓶的圈足和底座在燒製過程中部分燒成橙色。 重量：分別爲6,114 克與 6,012克 尺寸：分別為高 49.5 厘米 文獻比較： 一件非常相近的例子，曾展覽於《 Chinese Celadons》。另一件則展覽於《Wares in Southeast Asia》，新加坡國家博物館，1979年，圖錄編號207。一組鳳尾尊，收藏於伊斯坦堡Topkapi Saray Museum，見Regina Krahl，《Chinese Ceramics in the Topkapi Saray Museum》，倫敦，1986年，卷I，圖206，頁289。另一件極佳的尊，見臺北故宮博物院《Exhibition of Longquan Wares》展覽，圖錄編號78，頁154-155。
Lot 132
A FLAMBE GLAZED VASE, FANGHU, XUANTONG MARK AND PERIODChina, 1908-1911. Of archaic bronze form, the pear-shaped body of square section and molded with a peach-shaped panel on the front and back face, rising to a broad neck with indented corners and flanked by tubular handles, covered with a rich crackle-suffused crushed-strawberry glaze streaked to a milky lavender tone at the edges and the rim, thinning to pale mushroom at the edges. The base incised with a six-character mark da Qing Xuantong nianzhi and of the period.Provenance: Sotheby's London, 9 November 2011, lot 100, estimate GBP 12,000 or approx. EUR 18,500 (converted and adjusted for inflation at the time of writing). A private collection in Maryland, USA, acquired from the above in an after-sale transaction, and thence by descent.Condition: Very good condition with minor wear and firing irregularities, the foot with small chips and minor glaze flakes.Weight: 3,348 gDimensions: Height 30 cmAuction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 30 May 2018, lot 520Price: HKD 275,000 or approx. EUR 36,500 converted and adjusted for inflation at the time of writing Description: A flambe-glazed vase, hu, incised mark and period of Xianfeng Expert remark: Compare the closely related form, similar size (30.4 cm) and rich red glaze streaked to a milky lavender tone at the edges. Note the Xianfeng reign mark.宣統款及年代窯變釉貫耳方壺中國，1908-1911年。溜肩鼓腹，長方形圈足，頸部堆塑對稱雙貫耳，腹部前後淺凸呈現桃形紋樣，通體施窯變釉，釉色以紅、紫、藍為主，色澤變化多端。瓶底足齊平，露胎。底刻“大清宣統年製”六字款。 來源：倫敦蘇富比，2011年11月 9日，lot 100，估價 GBP 12,000 或 EUR 18,500 (根據通貨膨脹率)；美國馬里蘭私人收藏。，購於上述拍賣，保存至今。 品相：品相極佳，有輕微磨損和燒製不規則，足部有小嗑損和輕微釉層剝落。 重量：3,348 克 尺寸：高 30 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2018年5月30日，lot 520 價格：HKD 275,000（相當於今日EUR 36,500） 描述：清咸豐窰變釉貫耳方壺 《大清咸豐年製》刻款 專家評論：比較非常相近的外形，相似的尺寸(30.4 厘米) 、通體飽滿的紅釉，以及壺緣薰衣草乳白色調斑。請注意咸豐款。
Lot 448
A DOUCAI BOTTLE VASE, LATE QING DYNASTY TO EARLY REPUBLIC PERIODChina, c. 1820-1920. The globular body rising to a tall, cylindrical neck, supported on a straight foot, painted in bright enamels of green, red, blue, and yellow, decorated with four lotus and scrolling vines roundels, framed to the shoulder and above the foot with bands of lappets, the shoulders with archaistic scrolls, the neck decorated with an ornamental band enclosing two rows of small flowers. Provenance: Swiss trade. Condition: Good condition with considerable wear to enamel and minor firing irregularities.Weight: 286.8 g Dimensions: Height 14.1 cmThe recessed base with an apocryphal underglaze-blue six-character mark da Qing Qianlong nianzhi. Auction result comparison:Type: RelatedAuction: Bonhams London, 27 February 2013, lot 95Price: GBP 2,500 or approx. EUR 3,900 converted and adjusted for inflation at the time of writingDescription: A doucai oviform vase, Qianlong six-character seal markExpert remark: Compare the related form, enamels, scrolling design, and Qianlong mark. Note the size (24.5 cm).清末民初鬥彩纏枝蓮紋瓶中國，約1820-1920年。直頸，圓鼓腹，淺圈足。明亮琺瑯，青花勾勒，肩部如意紋，瓶身纏枝開光蓮紋，肩部和瓶口飾仿古幾何紋和芭蕉紋。足部可見芭蕉紋。 來源：瑞士古玩交易。 品相：狀況良好，琺瑯磨損嚴重，燒製不規則。 重量：286.8 克 尺寸：高 14.1 厘米 圈足内青花偽“大清乾隆年製“六字款。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2013年2月27日，lot 95 價格：GBP 2,500（相當於今日EUR 3,900） 描述：乾隆六字款鬥彩瓶 專家評論：比較相近的外形、琺瑯、纏枝蓮紋設計和乾隆款。請注意尺寸(24.5 厘米)。
Lot 114
A SMALL ROBIN'S EGG GLAZED 'ARCHAISTIC' BASIN, 18TH CENTURYChina. The vessel of flattened circular form, the exterior finely molded with mask handles suspending mock rings, framed by recessed bands below an incurved rim and short foot, covered overall with an opaque turquoise glaze densely mottled in bright and dark blue save for the broad unglazed foot rim encircling the countersunk base.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. The base lacquered with an old inventory number, 'AMA-3081', and further with two old labels, '3081' and 'Art Ancien de Chine & Extrême-Orient Geneve. 4237/2. K. Lung 1736' Condition: Good condition with some wear and expected traces of use, the interior with light surface scratches, tiny glaze recesses. One side with a thin, barely visible hairline.Weight: 170.4 g Dimensions: Width 10 cm (at the widest points)As early as the Song dynasty, the Imperial court was fascinated with archaic objects and many wares were produced in imitation of ancient forms. The shape of the present censer, although flattened, is reminiscent of bronze containers known as lian, which were among the ritual implements aimed to present food and drink offerings to the ancestors during the Han dynasty. As such, the present censer may not only be emulating the bronze prototype, but also the ceramic form of the Northern Song dynasty, as exemplified by a Ruyao tripod incense burner from the Qing Court collection, illustrated in Porcelain of the Song Dynasty (I): The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, p. 2, no. 1.The 'Robin's egg' glaze represents a significant technical innovation of the Yongzheng period (1723-35) attributable to Tang Ying (1682-1756), the greatest porcelain superintendent in Chinese history. The Yongzheng Emperor, who initiated many revivals of earlier ceramic techniques, was particularly enamored with the variegated Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. In order to have the glazes recreated or imitated, Tang Ying sent his trusted assistant from the imperial kilns in Jingdezhen, Jiangxi province, on study trips to the Jun region in Henan province to learn from the local potters and even went as far as having ceramic raw materials mined in the Jun area transported over thousands of kilometers to Jingdezhen. Among the many types of glazes derived from those efforts are mottled purple ones such as the flambe variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed Lu Jun or Oven Jun, i.e., a Jun glaze fired in low-temperature ovens instead of high-temperature kilns (see Jingdezhen Institute of Ceramic Archaeology et al, The Cultures of Porcelain Superintendents and Jingdezhen, conference volume, Nanchang, 2011). The 'robin's egg' glaze is mentioned on a stele in Jingdezhen, inscribed by Tang Ying, as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the Imperial court. Its color is described as intermediate between the glazes of the Shiwan kilns of Foshan, Guangdong, and those used by the Yixing kilns in Jiangsu for their zisha tea pots, but having a better and more beautiful flow.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 November 2013, lot 234 Price: HKD 600,000 or approx. EUR 91,000 converted and adjusted for inflation at the time of writing Description: An archaistic robin's-egg glazed vase, cong, 18th centuryExpert remark: Compare the related glaze and archaistic design. Note the size (height 14.4 cm). Auction result comparison: Type: Related Auction: Sotheby's London, 3 November 2021, lot 9 Price: GBP 5,292 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A 'robin's egg'-glazed 'double-peach' washer, Qing dynasty, 18th/19th centuryExpert remark: Compare the related glaze. Note the similar size (length 9.6 cm).十八世紀爐鈞釉仿古小盆中國。扁平圓形器皿，外壁中央環紋，兩側饕餮輔首啣環，弧形邊沿，底足未上釉，内凹處有釉，通體施不透明綠松石色爐鈞釉。 來源：瑞士日内瓦私人收藏，建立於上世紀六十年代，保存至今。這個收藏重要的一部分長期在日内瓦亞非博物館展出。底部有收藏編號AMA-3081，以及另外兩個標籤 '3081'與 'Art Ancien de Chine & Extrême-Orient Geneve. 4237/2. K. Lung 1736' 。 品相：品相良好，有一些磨損和使用痕跡，內部有輕微的劃痕，微小的釉面凹陷。一側有細的、幾乎看不見的裂紋。 重量：170.4 克 尺寸：寬 10 厘米 (最寬處)
Lot 399
A FAMILLE VERTE BOTTLE VASE, YUHUCHUNPING, KANGXI PERIODChina, 1661-1722. Well potted, the pear-shaped body rising from a splayed foot to a waisted neck with everted rim, finely painted to the exterior with evenly spaced flowering prunus branches, framed to the shoulder and foot with bands of lotus blossoms and scrolling vines, the neck with a geometric border. The base with an iron-red monogram.Provenance: Robert H. Ellsworth, New York, USA. Michael B. Weisbrod, New York, USA, acquired from the above, ca. 1990. Two old inventory numbers '2' and '929' to the mouth and base. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years, the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong. Condition: Some old wear, glaze flakes, expected firing flaws including dark spots and pitting, the base drilled, the foot with some chips, a small glaze crack, and minuscule losses.Weight: 1,294 g Dimensions: Height 25 cmExpert's note: According to Michael B. Weisbrod, the vase was acquired from Robert H. Ellsworth, who confirmed it as a Kangxi period vessel. Robert Hatfield Ellsworth (1929-2014) was a noted Manhattan-based collector and dealer of Asian paintings, works of art and furniture from the Ming and Qing dynasties. He was a supporter of architectural restoration in Huangshan and an honorary Chinese citizen.Auction result comparison:Type: RelatedAuction: Christie's London, 7 November 2008, lot 360Price: GBP 3,000 or approx. EUR 5,400 converted and adjusted for inflation at the time of writingDescription: A famille verte bottle vase, KangxiExpert remark: Compare the closely related form and enamels. Note the smaller size (17.4 cm) and different subject.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.康熙硬彩玉壺春瓶中國，1661-1722年。玉壺春瓶撇口，束頸，頸以下漸向外闊，其腹部渾圓大氣，至近底處內斂，圈足微外撇。腹部團花紋，近足部纏枝花卉紋。圈足内鐵紅單字款。 來源：紐約Robert H. Ellsworth收藏；紐約Michael B. Weisbrod約於1990年購於上述收藏。口部和底部分別有收藏標籤 '2' 與 '929'。Michael B. Weisbrod購於上述收藏。Michael B. Weisbrod是一位著名的中國藝術學者，在五十多年的時間內發表了大量有關中國藝術的文章。1972 年，Michael 加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術畫廊。這對父子團隊於 1977 年在紐約麥迪遜大道開設了他們的藝廊，在接下來的四十五年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終在上海和香港也開設了分店。 品相：局部磨損，釉層剝落，預期的燒製缺陷，包括黑點和麻點，底座鑽孔，足部有一些缺口，小釉裂和微小的損失。 重量：1,294 克 尺寸：高 25 厘米 專家評論：據Michael B. Weisbrod所述，這個玉壺春瓶購於Robert H. Ellsworth處，Ellsworth確認為康熙時期。Robert Hatfield Ellsworth (1929-2014年) 曾是曼哈頓著名的明清繪畫、藝術品和傢俱收藏家和經銷商。他是黃山建築修復的支持者和榮譽中國公民。拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2008年11月7日，lot 360 價格：GBP 3,000（相當於今日EUR 5,400） 描述：康熙時期硬彩玉壺春瓶 專家評論：比較非常相近外型和琺瑯。請注意尺寸較小 (17.4 厘米) 和不同的主題。
Lot 15
A CLOISONNE ENAMEL 'LOTUS' BOTTLE VASE, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIODChina, 1736-1795. The globular body supported on a spreading foot, rising to a tall neck tapering towards the gilt rim, brightly decorated with stylized lotus blooms borne on meandering leafy tendrils below a ruyi-head band, the foot encircled with C-scrolls and circles, all reserved on a turquoise ground. The base incised with a five-character mark Qianlong nianzhi tong and of the period.Provenance: From a private collection in South Africa, gifted to the previous owner by a former diplomat in Yugoslavia on 26 June 1982. French trade, acquired from the above. Condition: Very good condition with old wear as expected and some manufacturing irregularities, including minimal pitting, as well as minor nicks to enamels.Weight: 278.8 g Dimensions: Height 12.7 cmBased on its size and shape, this vase was made to hold incense instruments. These types of small cloisonne vases, censers, and instruments (luping sanshi) which were made for the burning of incense had an additional character below the reign mark and were made for the Qianlong court. Some scholars have suggested that the fifth character under the Qianlong mark could have been a way to number the large group of objects in the correct order, see H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, pp. 74-79.Literature comparison: Compare a similar cloisonne enamel vase in the Pierre Uldry collection, published in Brinker and Lutz in Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, no. 285, p 283. Compare a related cloisonne enamel vase, Qianlong mark and period, in the Palace Museum, illustrated by Zheng Xinmiao, ed., Compendium of Collection in the Palace Museum: Enamels 2 - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, pl. 154. For a Kangxi-marked example of similar size and decoration from the Qing Court Collection, see Metal-bodied Enamel Ware. The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pl. 81.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 May 2013, lot 2057 Price: HKD 300,000 or approx. EUR 44,500 converted and adjusted for inflation at the time of writing Description: A small cloisonne enamel bottle vase, Qianlong incised four-character mark and of the periodExpert remark: Compare the closely related form, motif, and four-character mark with an additional character. Note the size (12.3 cm).乾隆五字款及年代銅胎掐絲琺瑯蓮紋長頸瓶中國，1736-1795年。鎏金口，長頸，斜肩，圓腹，圈足。藍地，銅胎掐絲琺瑯，口沿下緣飾一圈如意雲紋，頸及腹飾番蓮紋，圈足飾幾何紋。底有陰刻“乾隆年製”橫向單行楷款，其下有一個“同”字。 來源：南非私人收藏，1982年6月26日由前南斯拉夫外交官贈予前主人；法國古玩交易，購於上述收藏。 品相：狀況極好，有磨損和一些製造缺陷，包括最小的點蝕，以及琺瑯上有輕微劃痕。 重量：278.8 克 尺寸：高 12.7 釐米 根據這個長頸瓶的大小和形狀，可以推測它曾是用來裝香的。這些供燒香用的小景泰藍花瓶、香爐和器具（爐瓶三事）在年號下方加了一個字，是為乾隆宮廷製作的。 一些學者認為，乾隆標記下的第五個字元可能是一種以正確順序對一大組擺飾進行編號的方式，見 H. Brinker和A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，第 74-79頁。 文獻比較： 比較一件相似的銅胎掐絲琺瑯瓶，收藏於Pierre Uldry collection，出版於Brinker和Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，編號285，頁283。比較一件相近乾隆款及年代銅胎掐絲琺瑯瓶，收藏於故宮博物院，見Zheng Xinmiao等編，《故宮博物院藏品大系‧琺瑯器編‧清掐絲琺瑯》，北京，2011年，圖154。一件清廷收藏康熙款相似尺寸的例子，見《故宮博物院藏文物珍品全集‧金屬胎琺瑯器》，香港，2001年，圖81。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得， 2013年5月29日，lot 2057 價格：HKD 300,000（相當於今日EUR 44,500） 描述：清乾隆掐絲琺瑯纏枝蓮紋小瓶，《乾隆年製》楷書橫款 專家評論：比較非常相近的外形、主題、四字年代款和一字款。請注意尺寸(12.3 厘米)。
Lot 73
A RARE CIZHOU SGRAFFIATO TRUNCATED MEIPING, TULUPING, NORTHERN SONG OR JIN DYNASTYPublished: Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 166.China, 11th-12th century. The high-shouldered body surmounted by a short narrow neck and outwardly curved rim, finely decorated in a cut-slip technique through the outer dark-brown layer of the slip to the white layer underneath and covered overall in a clear pale-crackled glaze. The body encircled by foliate motifs and interlinked diapered 'cash' designs against a vertically striped ground, framed by key-fret bands, all below a band of overlapping lotus petals. The mouth left in white slip, the unglazed base revealing the smooth pale gray ware.Provenance: The Jiyuanshanfang Collection. Currently housed on New York's Upper East Side and originally founded upon an old family collection, a comprehensive catalog of the Jiyuanshanfang collection titled “Song Ceramics: The Eight Kiln Groups” was published in 2008 with a foreword written by Li Zhiyan, Research Fellow at the Beijing Palace Museum. Another contributor to this catalog was Martin Lorber, formerly Director of Sotheby's New York. Jiyuanshanfang's first exhibition was held in 2012 at the Morris Museum in New Jersey. In 2015, Jiyuanshanfang lent early Chinese ceramics to a large-scale exhibition at the Norton Museum of Art in Palm Beach, Florida, titled “High Tea: Glorious Manifestations - East and West”.Condition: Good condition commensurate with age and with expected old wear, shallow surface scratches, some firing irregularities, glaze flakes, minor chips to foot.Weight: 842.5 g Dimensions: Height 15.2 cm Some of the most attractive Cizhou wares are those made by various kilns in northern China with designs reserved in black against a white ground. The complicated technique used to create the striking decoration in contrasting colors seen on the present piece is known by the Italian term sgraffiato, literally 'scratched'. It first appeared around the late eleventh century, and was created through the application of contrasting layers of slip or glaze. On the present truncated bottle, a layer of dark brown, almost black slip was applied over white slip, which was later carefully incised to create decorative patterns by revealing the pristine white layer beneath, and then finally covered by a layer of clear glaze. This labor-intensive and time-consuming technique adds a sense of opulence and luxury to the stoneware.The vase is also notable for its well-proportioned form, with small mouth, broad shoulder and wide base, which is known as 'tuluping' or 'truncated meiping'. This form, which was produced at many northern kilns, is closely related to the taller meiping, a quintessential Song shape, but enjoyed a much shorter period of production. It was produced for only about a hundred years during the eleventh and twelfth centuries, leaving behind a relatively small number of extant examples.Auction result comparison: Type: Related Auction: Sotheby's New York, 17 March 2021, lot 123 Estimate: USD 200,000 or approx. EUR 212,000 converted and adjusted for inflation at the time of writingDescription: A superb black-glazed 'Cizhou' sgraffiato 'peony' 'tulu' vase, Northern Song / Jin dynasty Expert remark: Compare the related form and sgraffiato decoration. Note the significantly larger size (23 cm).Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2018, lot 508 Price: USD 200,000 or approx. EUR 229,000 converted and adjusted for inflation at the time of writingDescription: A rare cizhou sgraffiato deep bowl, Northern Song-Jin dynasty Expert remark: Compare the related sgraffiato decoration with similar 'cash' patterns. Note the different form.北宋或金代罕見磁州窯黑彩花卉吐嚕瓶中國，十一至十二世紀。短頸口外斜，豐肩寬腹，造型簡約；瓶上黑畫紋飾則是以黑彩於白色化妝土上手繪花卉紋；整體覆蓋了透明的淺色裂紋釉。底足露胎，可見淺灰色胎。 出版: 《宋瓷八大窯系一覽——吉緣山房藏品》，美國加州，2008年，頁166。 來源：吉緣山房收藏；美國知名私人收藏購於上述收藏。吉緣山房收藏坐落於紐約上東區，最初建立在一個古老的家庭收藏基礎之上。曾出版過《宋瓷八大窯系一覽——吉緣山房藏品》（美國加州，2008年）一書，北京故宮博物院李知宴做前言 。此畫冊的另一作者為Martin Lorber，紐約蘇富比前經理。吉緣山房收藏的第一個展覽是2012年年在新澤西Morris Museum；2015年年年吉緣山房曾給佛羅裡達Norton Museum of Art出借過一批中國早期瓷器參加“High Tea: Glorious Manifestations - East and West” 展覽。 品相：品相極好，有磨損、表面淺劃痕，一些燒製不規則、釉面剝落、足部輕微缺口。 重量：842.5 克 尺寸：高15.2 厘米
Lot 377
A PAIR OF 'POMEGRANATE' AND 'CAMELLIA' PORCELAIN PLAQUES IN PARCEL-GILT SILVER FRAMES, MING DYNASTYChina, the porcelain 15th - 16th century, the frames from the Qing dynasty. Each plaque of fan shape and finely painted, one with pomegranates borne on leafy vines, the second depicting blossoming camellia flowers, each within a silver frame surmounted by two qilin, with a gilt band decorated with birds and vines against a ring-punched ground, and inlaid with tourmaline and sapphire matrix cabochons. (4)Provenance: Formerly in a European private collection. Condition: Very good condition with minor wear, light surface scratches, small dents, some inlays missing.Weight: 3,643 g and 3,649 g Dimensions: Size 32.7 x 45.5 cm (each)Expert's note: The parcel-gilt silver frames date from circa 1780-1880 and boast a superb quality of craftsmanship as well as an inspired design, the neatly inlaid semi-precious stones adding further to their singularity, overall indicating the possibility of an imperial connection.The camellia is native to China where it has a rich national history, particularly in the southwest region. In Chinese belief, it represents the union between two lovers. The delicately layered petals represent the woman, and the calyx (the green leafy part of the stem that holds the petals together) represents the man who protects her. The pomegranate with its many seeds is viewed as a symbol of having multiple sons who are expected to continue the family line. The pairing of camellia and pomegranate thus represents a wish for a happy marriage with many offspring.Literature comparison:Compare a blue and white bianhu vase with camellia motif, dated to the Yongle period, in the Shanghai Museum, ID number CI00000173. Compare a blue and white bowl painted with pomegranates in the center, with a Xuande mark and of the period, in the Metropolitan Museum of Art, accession number 1991.253.39.明代一對石榴與茶花陶瓷掛屏中國，瓷屏十五至十六世紀，清代鎏銀屏框。瓷板成扇形，青花繪製，一面是纏枝石榴紋，另一面是纏枝茶花紋。鑲銀框，框上有麒麟掛扣，銀框鑲嵌碧璽和藍寶石。(4) 來源：歐洲私人收藏。 品相：狀況極好，有輕微磨損與表面劃痕、小凹痕、一些鑲嵌物缺失。 重量：分別爲3,643克與3,649克 尺寸：分別爲32.7 x 45.5 厘米 專家注釋：鎏銀框的年代約為 1780-1880 年，精湛的工藝和設計，整齊鑲嵌的寶石增加了獨特性，很可能為御用。 文獻比較： 比較一件永樂景德鎮窯青花山茶紋扁壺，藏於上海博物館，編號CI00000173。比較一件宣德款及年代石榴紋青花碗，收藏於大都會藝術博物館，館藏編號1991.253.39。
Lot 90
A POWDER-BLUE GROUND 'THREE CARP' BOTTLE VASE, KANGXI PERIODChina, 1662-1722. The globular body rising from a short foot to a tall cylindrical neck, finely painted with three large iron-red carps swimming among gilt-decorated algae, floral blooms, and small aquatic creatures, the confronting carps with black pupils and gilt highlights.Provenance: British trade. Condition: Very good condition with minor wear and firing irregularities, some rubbing to gilt, light surface scratches to base, the vase slightly leaning.Weight: 2,638 g Dimensions: Height 44 cmExpert's note: A 19th-century dating for the present vase can be safely excluded due to the fine use of and characteristic wear to the gilt, the skillful shadings of the iron-red, the brilliance of the powder-blue glaze, as well as the distinct pottery marks inside the neck and the fact that the vase is slightly leaning. These features do not appear in such coherent unity on later pieces, removing any doubt as to the Kangxi dating of this piece.Auction result comparison: Type: Related Auction: Christie's London, 5 November 2013, lot 417 Price: GBP 20,000 or approx. EUR 29,500 converted and adjusted for inflation at the time of writing Description: A pair of powder-blue ground iron-red and gilt decorated vases, Kangxi periodExpert remark: Compare the closely related subject, manner of painting, and decoration with similar iron-red and gilt on a powder-blue ground. Note the smaller size (36.1 cm), different form, and that the lot comprises a pair. Auction result comparison: Type: Related Auction: Christie's New York, 29 March 2006, lot 444 Price: USD 15,600 or approx. EUR 21,500 adjusted for inflation at the time of writing Description: An Iron-Red and Gilt-Decorated Powder-Blue-Ground Rouleau Vase, Kangxi Period (1662-1722)Expert remark: Compare the closely related subject with four carps painted in similar iron-red and gilt on a powder-blue ground. Also note the similar size (45.1 cm).康熙粉青紅彩三鯉長頸瓶中國，1662-1722年。細長頸，球腹，圈足。瓶身細繪三條礬紅釉大鯉魚，描金水藻、花卉和小型水生動物，對峙的鯉魚黑瞳描金突出。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和燒製不規則，描金有一些摩擦，底部有輕微的劃痕，花瓶略微傾斜。 重量：2,638 克 尺寸：高 44 厘米 專家注釋：由於鎏金的使用和特有的磨損以及礬紅色巧妙的陰影、粉藍色釉的光彩以及獨特的器型，可以排除這件花瓶為十九世紀的產品。這些特徵並沒有在後來的作品中如此連貫地統一出現，從而消除了關於這件作品為康熙時代的疑問。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年11月5日，lot 417 價格：GBP 20,000（相當於今日EUR 29,500） 描述：康熙一對藍地礬紅釉描金花瓶 專家評論：比較非常相近的主題、繪畫風格和相似的藍地礬紅釉和描金。 請注意尺寸較小(36.1 厘米)，不同的外形，以及此瓶為一對。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2006年3月29日，lot 444 價格：USD 15,600（相當於今日EUR 21,500） 描述：康熙藍地礬紅釉描金花瓶 專家評論：比較非常相近的主題，以礬紅釉畫有四條鯉魚。請注意相似的尺寸(45.1 厘米)。
Lot 1
A SMALL LAC BURGAUTE MALLET VASE, KANGXI PERIOD, JIANG QIANLI MARKChina, 1662-1722. The cylindrical body with the rounded shoulder surmounted by a tall slender neck, the lacquer intricately decorated with minuscule inlays of mother-of-pearl and gold depicting foliate panels enclosing floral and geometric diapered designs, between a lappet band at the shoulder and a floral band above the foot. The neck with floral diaper between dense foliate bands interspersed with flowerheads at the shoulder and below the mouth, the recessed base with a similar design enclosed by a geometric border and centered by the gold-foil-inlaid two-character seal mark 'Qianli' within a mother-of-pearl-inlaid roundel.Provenance: From a Hungarian private collection. Condition: Good condition with minor old wear, small losses, few minuscule nicks and age cracks.Weight: 33.9 gDimensions: Height 10 cmWith a velvet-padded silk storage box. (2)Jiang Qianli, alias Jiang Qiushui, was a master craftsman from Yangzhou in Jiangsu province. For early studies of Jiang's work see Li Zhongqing 'A Mother-of-Pearl Lacquer Tray by Jiang Qianli', Wenwu, 1959, no. 11, pp. 59-61, and Paul Moss, Emperor, Scholar, Artisan, Monk - The Creative Personality in Chinese Works of Art, London, 1984, page 258. Jiang's name is also mentioned in a number of historical records, including the 1810 edition of the Jiaqing Yangzhou fu zhi (Chronicles of Yangzhou Prefecture in the Jiaqing period) in which Zhang Shiyuan and Yao Youtian record: During the early years of the Kangxi reign there was Jiang Qiushui, whose skill produced mother-of-pearl inlaid lacquerware that was noted for its exquisiteness. These wares were widely sought after for use at banquets. A couplet says, 'Where there are drinking cups and serving trays, there one finds Jiang Qiushui'. Jiang Qianli is traditionally thought to have lived in the late Ming or Kangxi periods, and his mark subsequently appeared on numerous inlaid lacquer pieces. The style of his true work is very intricate, with simple shapes embellished with perfect control and attention to detail, down to the tone and placement of each piece of inlay. The present lot appears to be of a quality associated with the master himself.Auction result comparison: Type: Related Auction: Bonhams London, 6 November 2014, lot 432 Price: GBP 13,750 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A small 'lac burgaute' baluster vase, Kangxi, Qianli two-character mark Expert remark: Compare the closely related decoration with similar floral diaper inlaid with gold foil and mother-of-pearl, as well as the two-character Qianli mark. Note the baluster form and smaller size (6.6 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2022, lot 3025 Estimate: HKD 700,000 or approx. EUR 84,500 converted at the time of writing Description: A small mother-of-pearl inlaid black-lacquered vase, Qianlong two-character seal mark Expert remark: Compare the closely related decoration with floral diaper inlaid with gold foil and mother-of-pearl. Note the inlaid Qianlong seal mark, which may be a later addition, and the size (10.7 cm).康熙江千里款黑漆螺鈿小瓶中國，1662-1722年。細長頸，溜肩，黑漆地，精緻鑲嵌金箔與螺鈿，精美組合，展現了花卉紋和幾何紋。圈足内幾何邊框中心內嵌金箔“千里”二字篆書款。 來源：匈牙利私人收藏。 品相：狀況良好，有輕微的磨損、細微小劃痕和老化裂紋。 重量：33.9 克 尺寸：高10 厘米 配絲絨絲質收納盒。(2) 江千里，字秋水，明末清初揚州鑲嵌漆器工藝家。關於江千里早期作品，可見Li Zhongqing 'A Mother-of-Pearl Lacquer Tray by Jiang Qianli'，文物，1959年，編號11，頁59-61；以及 Paul Moss，Emperor，Scholar，Artisan，Monk - The Creative Personality in Chinese Works of Art，倫敦，1984年，頁258。在衆多文獻記錄中都曾提到過江千里的名字，比如1810年版的《嘉慶揚州府志》中曾提到過 》：“康熙初維揚有士查二瞻，工平遠山水畫及米家畫，人得寸紙尺縑為重。又有江秋水者以螺鈿器皿最精工巧細，席間無不用之，時有一聯雲：“杯盤處處江秋水，捲軸家家查二瞻。” 江千里被認為生活在明末清初，他的款記隨後出現在許多鑲嵌漆器上。他真正的作品風格非常複雜，簡單的形狀點綴著完美的工藝和對細節的關注，包括每件鑲嵌物的色調和位置。 目前的拍品完全具有此品質。
Lot 136
A FAMILLE ROSE 'NINE PEACHES' VASE, TIANQIUPING, LATE QING DYNASTY TO REPUBLIC PERIODChina, 19th to early 20th century. The vase is decorated with the spreading leafy branches of a peach tree bearing nine large fruit and numerous pink and white blossoms, the slender leaves decorated in two shades of green, the shoulder with three iron-red bats. The base with an apocryphal underglaze-blue six-character mark da Qing Qianlong nianzhi.Provenance: From an old Norwegian private collection, and thence by descent in the same family. Acquired in Qingdao, China, in 1954, by the second mate of the Oakland (Holmen & Vaboen shipping company from Kristiansand, Norway), while the ship was on a trip to deliver ore to China, and his wife, a telegraph operator. A scan of an old photograph, showing the present lot with the son of the couple, taken in the family home in 1957 or 1958, accompanies this lot.Condition: Good condition with only minor wear and few expected firing irregularities, shallow surface scratches, the lower body with a U-shaped hairline.Weight: 10.1 kg Dimensions: Height 47 cmAuction result comparison: Type: Closely related Auction: Sotheby's New York, 29 June 2022, lot 42 Price: USD 44,100 or approx. EUR 41,000 converted at the time of writing Description: A large famille-rose 'peach' vase (Tianqiuping), Late Qing dynasty / 20th centuryExpert remark: Note the closely related size (47.3 cm). Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 24 June 2015, lot 8397 Price: USD 22,500 or approx. EUR 25,500 converted and adjusted for inflation at the time of writing Description: A large famille rose Nine Peaches vase, tianqiuping, Qianlong mark, late Qing dynastyExpert remark: Note the closely related size (48.5 cm) Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 8 October 2020, lot 340 Price: HKD 250,000 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A large famille rose 'nine peaches' vase, tianqiuping, late Qing dynasty-Republic period, late 19th-early 20th centuryExpert remark: Note the related size (51.8 cm)清末民初粉彩福壽天球瓶中國，十九至二十世紀初。瓷胎天球瓶，直口，長頸部向下微斂，寬圓肩，碩圓腹，矮圈足。全器外壁以粉彩描繪桃枝連連、桃花錦簇，九桃飽滿，肩部有三隻紅色蝙蝠。設色雅麗，足底緣未上釉露白胎。圈足內“大清乾隆年製”青花篆書款。琺瑯彩瓷指的是使用琺瑯料，以混容中西繪法進行裝飾的瓷器，生產地位於清宮中造辦處，也稱為瓷胎畫琺瑯。洋彩瓷則是在江西景德鎮御窯廠生產，部分使用琺瑯料進行裝飾的瓷器。至於粉彩，是清末民初時對洋彩作品出現的一種新的稱呼。 來源：挪威私人收藏，在同一家族保存至今，1954年購於中國青島，由奧克蘭號的二副（來自挪威克里斯蒂安桑的 Holmen & Vaboen 航運公司）和他的妻子，一位電報員，當時這艘船正在向中國運送礦石。隨附有一張照片的掃描件，照片上有這個瓶子和這對夫婦與兒子，拍攝於 1957 年或 1958 年。 品相：狀況良好，只有輕微磨損、燒製瑕疵，較淺的表面劃痕，下半身有 U 形細裂線。 重量：10.1 公斤 尺寸：高 47 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2022年6月29日，lot 42 價格：USD 44,100（相當於今日EUR 41,000） 描述：清末 / 二十世紀粉彩九桃天球瓶 專家評論：請注意非常相近 尺寸(47.3 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2015年6月24日，lot 8397 價格：USD 22,500（相當於今日EUR 25,500） 描述：清末乾隆款粉彩九桃天球瓶 專家評論：請注意非常相近尺寸(48.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2020年10月8日，lot 340 價格：HKD 250,000（相當於今日EUR 30,000） 描述：晚清/民國粉彩九桃紋天球瓶 專家評論：請注意相近尺寸(51.8 厘米)。
Lot 492
A GROUP OF EIGHT 'BAJIXIANG' SQUARE ORNAMENTS, GILT-COPPER REPOUSSE, MID-QING DYNASTYChina, c. 1750-1850. Each finely embossed, chased, and incised with one of the Eight Buddhist Emblems (bajixiang): Pair of Fish, Victory Banner, Wheel of Dharma, Parasol, Lotus, Endless Knot, Treasure Vase, and Conch Shell. Each amid scrolling cloud designs within a beaded border. The eight ornaments are sewn onto an ancient silk band.Provenance: Collection de Monsieur E., a private collection of Tibetan bronzes in France. Condition: Very good condition with minor wear and little rubbing to gilt.Weight: 80.8 g (total) Dimensions: Length 29 cm (total), Size 3 x 3.1 cm (each)清代中期一組八吉祥紋銅鎏金錘鍱飾帶中國，約1750-1850。每一塊方形銅飾都精美浮雕佛教八吉祥紋飾：寶瓶、寶蓋、雙魚、蓮花、右旋螺、吉祥結、尊勝幢、法輪。邊緣修飾連珠紋。八件飾品被縫在一條絲綢帶上。 來源：Monsieur E.私人收藏，法國一個西藏銅器私人收藏，保存至今。 品相：狀況極好，有輕微磨損和鎏金磨損。 重量：總80.8克 尺寸：長29 釐米 (總)，分別為3 x 3.1 釐米
Lot 80
A CELADON GLAZED CERAMIC BOTTLE VASE, GORYEO DYNASTYKorea, 12th century. The faceted pear-shaped body supported on a short straight foot, surmounted by a waisted neck with everted rim, the neck decorated with a neatly incised band of lotus leaves above three lines, the body with multiple vertical ribs, the exterior covered in a crackled celadon glaze that pools to a bluish tone in the recesses and stops irregularly above the foot to reveal the buff orange wear.Provenance: Old French private estate. Condition: Extensive old wear and manufacturing flaws including firing cracks, brown spots and glaze recesses. The neck with an old restoration. Minor nicks here and there. The glaze with intentional crackling, as expected from this type of ware.Weight: 1,304 g Dimensions: Height 23.7 cmThe celadon wares, Korea's best-known ceramics, exemplify the refined sensibilities of Goryeo culture. Though numerous kilns produced celadon wares, the very best pieces—which were used by the royal court, the aristocracy, and wealthy Buddhist temples—came from kilns in Gangjin (in South Jeolla province) and in Bu'an (in North Jeolla province), areas in the southwestern part of the peninsula that are rich in fine stoneware clays. Vessels with molded, incised, or carved decoration, such as this exquisite bottle, typify twelfth-century wares, while ones with designs inlaid in black and white slips epitomize those of the thirteenth and fourteen centuries (the inlay technique known in Korean as sanggam gisul). Literature comparison: Compare also a related faceted bottle vase, also dated 12th century, with incised decoration in the Horim Museum, Seoul, treasure no. 1454.Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2012, lot 135 Estimate: GBP 10,000 or approx. EUR 16,000 converted and adjusted for inflation at the time of writing Description: A rare Korean inlaid green-glazed pear-shaped vase, Koryo dynasty, 12th/13th century Expert remark: Compare the related pear-shaped form. Note that this vase also shows repairs to the neck and mouth. This slip-decorated vase is of a slightly later date than the present lot.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 29 April 2022, lot 3708 Price: HKD 100,000 or approx. EUR 12,500 converted at the time of writing Description: A Korean celadon vase, Goryeo dynasty, 11th century Expert remark: Compare the incised decoration and glaze. Note that this vase is of a slightly earlier date than the present lot.高麗王朝青釉瓶韓國，十二世紀。瓜棱紋梨形瓶，短圈足，瓶口外翻，束頸，頸飾蓮瓣紋，瓶身冰裂紋。青釉在凹處匯集成藍色調，不規則地停在足部上方，足部露出橙色胎。 來源：法國私人收藏。 品相：大面積磨損，製造缺陷包括燒製裂紋、褐色斑點和釉面凹陷。頸部有小修。很多小劃痕，釉面開片。 重量：1,304 克 尺寸：高 23.7 厘米 青瓷是韓國最著名的陶瓷，體現了高麗文化的精緻優雅。儘管有許多窯生產青瓷器皿，但最好的青瓷器——供皇家宮廷、貴族和富裕的佛教寺廟使用——來自康津（全羅南道）和扶安（全羅北道）的窯爐 ，朝鮮半島西南部地區盛產精美的炻器粘土。帶有模製、雕刻或堆塑裝飾的器皿，例如這件精美的瓶子，是十二世紀器皿的典型代表，而那些鑲嵌的黑白粉料設計則是十三和十四世紀的縮影（這種鑲嵌技術在韓國被稱為桑乾風格)。 文獻比較: 比較一件相近的十二世紀雕刻瓶，收藏於首爾Horim博物館，館藏編號1454。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯2012年11月8日，lot 135 估價：GBP 10,000（相當於今日EUR 16,000） 描述：高麗十二/十三世紀 青釉花卉紋撇口瓶 專家評論：比較相近梨形外型。請注意此瓶在頸部和瓶口也有一些修補，並且年代較晚。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年4月29日，lot 3708 價格：HKD 100,000（相當於今日EUR 12,500） 描述：高麗王朝十一世紀 青釉貼雙環耳盤口瓶 專家評論：比較雕刻設計和釉面。請注意此瓶年代較早。
Lot 116
A GUAN-TYPE CONG-FORM ARCHAISTIC VASE, 18TH CENTURYChina. Of archaic jade form, the straight-sided square section body rising from a short foot to a narrow tapering circular neck, finely molded in shallow relief with two vertical bars down each side, and alternating shorter and longer horizontal bars down the four corners. Covered overall in a thick pale-gray glaze suffused with a network of golden and black crackles, masterfully controlled so that they emphasize the archaic form of the vessel.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa. Condition: Very good condition with minor wear and firing irregularities, intentional crackling, one tiny nick to the mouth. The foot slightly smoothened, probably inherent to manufacture. Weight: 255.8 g Dimensions: Height 11.8 cmExpert's note: One feature that sets the present Guan-type cong-form vase apart from later examples is the masterly control of the two-tone crackle, with the dark lines accentuating the form of the vase and the smaller, golden network highlighting the molded decoration. This level of precision on such an inspired yet simple design is not found on any Chinese porcelain later than the 18th century. Literature comparison: Compare the guan-type vase of this shape and decoration illustrated in Monochrome Porcelain (Beijing): The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, page 221, pl. 199.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 September 2014, lot 161 Price: USD 15,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A 'Guan'-type cong vase, Qing dynasty, 18th centuryExpert remark: Compare the closely related form and thick glaze with similar two-tone crackle. Note the near-identical size (13.6 cm).十八世紀仿官釉琮形瓶中國。玉琮形瓶，圓口、方腹、圈足，四面凸起橫直條紋。通體覆蓋著一層厚厚的淺灰色釉，上面佈滿了金絲鐵線紋，更加突出了古玉琮的風格。 來源：Felix Tikotin收藏，在同一家族保存至今。Felix Tikotin (1893-1986) 是一位建築師、藝術收藏家，也是中東第一家日本藝術博物館的創始人。他出生在德國格洛高的一個猶太家庭，他的祖先隨拿破崙從俄羅斯一個名叫提科欽的小鎮返回。他在德勒斯登長大，第一次世界大戰後前往日本旅行，並立即愛上了它的文化。1927 年 4 月，他在柏林開設了自己的第一家藝廊。二戰時，整個家庭在大屠殺中倖存下來。1950 年代，Tikotin 慢慢恢復了他作為日本藝術品經銷商的活動。 他非常成功，在歐洲和美國各地舉辦展覽。當他在 1956 年第一次訪問以色列時，他決定把他的大部分收藏都捐贈給以色列。1960 年，Tikotin 日本藝術博物館在海法開放。 品相：狀況極好，有輕微磨損和燒製不規則、刻意開片，口上有一個小缺口。腳部稍微光滑，可能是製造所固有的。 重量：255.8 克 尺寸：高 11.8 厘米 專家注釋：這件仿官釉琮形瓶有別於後世之作的一大特徵是對雙色裂紋的巧妙控制，深色線條突出瓶形，較小的金色網紋突出模壓紋飾。 在十八世紀以後的任何中國瓷器上，都找不到這種精確度。 文獻比較： 比較仿官釉琮形瓶和裝飾，見《故宮博物院藏文物珍品全集．顏色釉》，香港，1999年，頁221，圖199。
Lot 436
A DOUCAI 'CRACKED ICE AND PRUNUS' BALUSTER VASE, LATE QING DYNASTYChina, 19th century. The ovoid body tapering towards the foot, surmounted by a waisted neck with everted rim, finely painted in green, yellow, red, turquoise, and aubergine enamels with underglaze blue and gilt, depicting flowering prunus against a cracked ice ground. The recessed base with a double circle in underglaze blue.Provenance: From an old German private collection, acquired before 2007. Condition: Very good condition with minor wear, little rubbing to the gilt, and manufacturing flaws including fritting to lip and scattered dark spots.Weight: 3,302 g Dimensions: Height 45.4 cmThe 'prunus on crackled ice' motif is symbolic of the passing of winter and the coming of spring. This decorative design gained much popularity during the Kangxi period and continued to be used in the Qianlong reign and thereafter when it was applied to a variety of media, including cloisonne, ceramics, and enameled metal wares.清末鬥彩冰梅紋瓶中國，十九世紀。敞口外撇，豐肩，圈足。青花地，一道道縱橫交錯的線條，模仿冰面出現的裂縫；再在冰裂紋上粉彩畫梅樹梅花，青花勾勒。 來源：德國私人收藏，購於2007年前。 品相：狀況極好，有輕微磨損，鎏金輕微摩擦，以及製造缺陷，包括唇部磨損和分散的黑點。 重量：3,302 克 尺寸：高45.4 厘米 “冰梅”紋象徵著冬去春來，梅花是傲骨的象徵。“冰梅”紋在康熙年間盛行，並應用於景泰藍、陶瓷、琺瑯金屬器等多種材質上。
Lot 92
A BLUE AND WHITE 'ANTIQUE TREASURES' BOTTLE VASE, KANGXI PERIODInscriptions: To the neck, 'As an accompaniment on the table, clearing the air in the Qin studio', and with two seals, '[…] quan' and 'Juanqing'.China, 1662-1722. Exceptionally well painted in neatly graduated shades of deep cobalt blue with precious objects including censers, a quadrilobed vase holding a coral branch and a peacock feather, a ruyi scepter, and a qin, as well as shaped panels enclosing landscapes. The slightly waisted neck further with a ruyi-head border. The compressed globular body supported on a massive, spreading foot.Provenance: From an English private collection, and thence by descent within the family. Condition: Good condition commensurate with age with minor wear and expected firing irregularities, including few dark spots and minute glaze recesses, a stabilized hairline and tiny old fills, the foot with few minuscule chips, minor crackling to base.Weight: 3,200 g Dimensions: Height 42.7 cmThe base with an apocryphal underglaze-blue six-character mark da Ming Jiajing nianzhi.Auction result comparison: Type: Closely related Auction: Christie's New York, 24 March 2011, lot 1658 Price: USD 35,000 or approx. EUR 43,500 converted and adjusted for inflation at the time of writing Description: An unusual large blue and white bottle vase, Kangxi periodExpert remark: Compare the closely related form and decoration. Note the near-identical size (45.7 cm).康熙時期青花博古紋長頸瓶中國，1662-1722年。青花描繪如意型開光博古紋，如香爐、花瓶、如意和琴等書房用品。長頸中央一道如意紋。 長頸，鼓腹，圈足外撇。 款識：案頭堪作伴，琴堂氣欲清。鈴印：？泉，鎸清 來源：英國私人收藏。，在同一家族保存至今。 品相：品相良好，有輕微磨損，製造瑕疵，例如黑點和微小的釉面凹陷，小修補，足部有磕損，底部有輕微的裂紋。 重量：3,200 克 尺寸：高 42.7 厘米 圈足内青花六字款，仿“大明嘉靖年製“款。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24日，lot 1658 價格：USD 35,000（相當於今日EUR 43,500） 描述：康熙大型青白人物場景瓶 專家評論：比較非常相近的外形和裝飾。請注意幾乎相同的尺寸(45.7 厘米)。
Lot 342
A LAVENDER AND EMERALD-GREEN JADEITE 'BIRDS AND FLOWERS' VASE AND COVERChina, mid-19th to early 20th century. Finely carved in openwork from a single block of jadeite, of flattened baluster form and oval section, with one side showing leafy flowering stalks issuing from rockwork and two long-crested birds with neatly incised wings, all in high relief, the waisted neck flanked by scrolling handles suspending loose rings, the domed cover surmounted by a compressed globular finial. The translucent stone of a pale lavender tone with shadings of emerald-green, gray and green splashes, as well as icy and russet veins. Provenance: From a private collection in Cheshire, United Kingdom, formed in the mid-20th century. Condition: Good condition with old wear, minor losses (some smoothened), few small nicks, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 1,883 gDimensions: Height 26.2 cm (from base to finial)Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 21 June 2011, lot 8041 Price: USD 9,760 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A lavender and green jadeite vase and cover, 20th centuryExpert remark: Compare the closely related form, color, and relief carving. Note the similar size (24 cm).翡翠飄紫鏤空雕刻花鳥蓋壺中國，十九世紀中期至二十世紀初。由一整塊翡翠精雕而成，一面為蓋壺，肩部雙耳活環，素面無紋；背面鏤空雕刻花中一對小鳥，半透明翡翠呈細膩的蘋果綠色和淡紫色調，局部輕微灰色内沁和深綠色脈理以及冰冷和赤褐色的紋理。 來源：英國柴郡私人收藏，建立於上世紀中期。 品相：狀況良好，有磨損，缺損（一些已磨平）、小刻痕，石料有天然內沁和裂隙，其中一些隨著時間的推移已經發展成細小的裂紋。 重量：1,883 克 尺寸：高26.2 厘米 (蓋鈕到壺底) 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2011年6月21日，lot 8041 價格：USD 9,760（相當於今日EUR 12,500） 描述：二十世紀翡翠飄紫鏤空雕刻蓋壺 專家評論：比較非常相近的外形、顏色和鏤空雕刻。請注意相似的尺寸(24 厘米)。
Lot 151
A GOLD AND SILVER-INLAID BRONZE HU-FORM ARCHAISTIC VASE, 18TH CENTURYChina. Well cast, the square baluster body supported on a tall spreading foot and rising to a waisted neck with a circular mouth, the shoulder flanked by two dragon-form loop handles. Finely decorated to the body with a band of taotie masks above pendent stiff leaves with confronting dragon designs, to the foot with a band of confronting dragons, and to the neck with a band of dragons above pendent stiff leaves with confronting beasts, all divided by flanges and reserved against leiwen grounds.Provenance: Lempertz, Cologne, 2 June 1981, lot 989. An old German private collection, acquired from the above, and thence by descent in the same family. Condition: Excellent condition with minor old wear, traces of use, minuscule nicks and scratches, and some casting irregularities, the base plate reattached some time ago.Weight: 4,192 g Dimensions: Height 34.5 cmAuction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 120 Estimate: GBP 15,000 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A Large Gold and Silver-Inlaid Bronze Archaistic Vase Qing Dynasty, 17th/18th CenturyExpert remark: Compare the related style and manner of casting, form, and inlay work. Note the larger size (48 cm).十八世紀錯金銀仿古方銅壺中國。壺為銅鑄造，色澤柔和溫潤。壺呈平口，斜肩，四方圓腹，四方圈足。造型仿春秋青銅器，口部微闊，飾龍紋一周，頸部收束，肩兩側飾鋪首銜環，腹部向外鼓出，上腹以饕餮紋為主體圖案，瑞獸相貌猙獰，頗得古風。頸部與腹下緣飾蕉葉形鳳鳥紋，並以細密的雲雷紋滿飾整個紋飾帶。底部收束，飾鳳鳥紋，以雲雷紋地。全器在裝飾上採以錯金銀點綴，其鳳鳥眼睛及饕餮雙目等採用金片鑲嵌，另再鳳鳥與獸面身軀等地以銀絲鑲嵌。 來源：科隆Lempertz拍賣行，1981年6月2日，lot 989，來自德國私人舊藏，購於上世紀七十至八十年代，保存在同一家族至今。 品相：狀況極佳，有輕微的磨損、使用痕跡、微小的刻痕、劃痕以及一些鑄造不規則，底座在一段時間前重新連接。 重量：4,192 克 尺寸：高34.5 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2019年11月6日，lot 120 估價：GBP 15,000（相當於今日EUR 19,500） 描述：清十七/十八世紀銅錯金銀仿古夔鳳紋雙耳大瓶 專家評論：比較相近的鑄造風格、外形和鑲嵌。請注意尺寸較大(48 厘米)。
Lot 375
A BLUE AND WHITE 'BUDDHIST LION' DISH, JIAJING TO WANLI PERIODChina, 1522-1619. The shallow rounded sides supported on a short foot, boldly painted to the interior with a central medallion enclosing two confronting Buddhist lions chasing a brocade ball and a cash coin encircled by a band of leafy bamboo lined with double borders below the rim. The exterior painted with a band of ruyi clouds and scrolling bamboo vines.Inscriptions: To the base, 'Yong bao chang chun' (Eternal life and everlasting spring).Provenance: Canadian trade. Condition: Good condition with minor wear, and manufacturing flaws including tiny frits, slightly warped, kiln grit, pitting, dark spots, and a firing crack.Weight: 190.9 g Dimensions: Diameter 16.2 cmAuction result comparison: Type: Related Auction: Christie's London, 10 May 2011, lot 260 Price: GPB 12,500 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A Ming Blue and White Bottle Vase, Jiajing Period (1522-1566), the base with a four-character inscription reading 'yong bao chang chun' Expert remark: Compare the identical mark嘉靖至萬曆年代青花開光雙獅戲毬小碟中國，1522-1619年。淺弧腹，淺圈足，碟子内壁竹葉紋，中央開光描繪兩隻追逐錦球的太獅，空白之處有一枚錢幣。碟子外壁如意雲紋、纏枝紋帶。 款識：圈足内“永保長春”四字款 來源：加拿大古玩交易 品相：品相良好，有輕微磨損和製造缺陷，包括輕微翹曲、窯砂、點蝕、黑點和燒製裂紋。 重量：190.9 克 尺寸：直徑 16.2 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2011年5月10日，lot 260 價格：GPB 12,500（相當於今日EUR 18,000） 描述：嘉靖青花「永保長春」瓶 專家評論：比較相同的款識。
Lot 77
A LONGQUAN CELADON ARROW VASE, TOUHU, SOUTHERN SONG DYNASTYChina, 1127-1279. Delicately potted, the pear-shaped body supported on a short tapered foot and rising to a long slender neck flanked by a pair of tubular handles. Covered overall in a rich vitreous glaze of soft sea-green color, save for the unglazed foot rim revealing the ware burnt to orange in the firing.Provenance: The J. M. Hu, Zande Lou Collection. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with expected old wear and minor firing irregularities, including glaze recesses and other minuscule glaze faults. The neck is slightly leaning. The unglazed areas of the ware burnt to orange in the firing.Weight: 149.2 gDimensions: Height 12.3 cmThe form of this vase is based on arrow vases, or touhu, the primary accessory of a drinking game which involved throwing all of one's arrows into the mouth of the vessel. The loser was assessed a penalty drink for every errant throw. This game had been popular among elite men and women from the Spring and Autumn period (770-476 BC) onwards. In line with emerging trends of antiquarianism and archaism, the game was revived during the Song dynasty and touhu vases, made in various materials including bronze, cloisonne, and ceramic, remained popular throughout the Ming dynasty and later.Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Too small to actually be used in the drinking game, the present vase was probably intended to hold a single branch, a small flower, or an incense stick.Literature comparison: A pair of related Longquan arrow vases, of slightly larger size and with wider necks, was recovered from the tomb of the Yuan calligrapher Xian Yushu (1251-1302), see Zhang Yulan, Hangzhoushi faxian Yuandai Xian Yushu mu, Wenwu, 1990:9, page 24, figures 11-12. A similar vase was included in the exhibition, The Scholar as Collector: Chinese Art at Yale, Yale University Art Gallery and China Institute in America, New York, 2004, page 18, figure 8.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1081 Price: USD 27,720 or approx. EUR 26,000 converted at the time of writing Description: A Longquan celadon 'arrow' vase, Southern Song dynasty Expert remark: Compare the related pear-shaped form and soft sea-green glaze. Note the size (16 cm).Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1033 Price: USD 119,700 or approx. EUR 113,000 converted at the time of writing Description: A small Longquan celadon bowl, Southern Song dynasty Expert remark: Compare the almost identical vitreous sea-green glaze and the similarly designed foot rim, also burnt to orange in the firing. Note that this bowl was previously also in the J. M. Hu Collection.南宋龍泉青瓷投壺中國，1127-1279年。胎體緊密，細長頸，頸部有對稱貫耳，豐腹下垂，圈足。通體覆蓋著柔和的青釉，足緣露胎，在燒製中成橙色。
Lot 527
A THANGKA OF SHERAB CHAMMA, TIBET, 18TH CENTURYDistemper and gilt on cloth. Depicting Sherab Chamma at the center, seated in dhyanasana on a cushioned throne, her right hand holding an amrita vase at the chest, the left hand with a mirror, backed by a circular halo, surrounded by numerous seated and standing deities.Provenance: The Richard & Magdalena Ernst Collection of Himalayan Art. Sotheby's New York, 22 March 2018, lot 957, estimate of USD 10,000 or approx. EUR 10,500 (converted and adjusted for inflation at the time of writing). Richard Robert Ernst (1933-2021) was a Swiss physical chemist and Nobel Laureate. He was awarded the Nobel Prize in Chemistry in 1991 for his contributions towards the development of Fourier transform nuclear magnetic resonance (NMR) spectroscopy while at Varian Associates and ETH Zurich. He humbly referred to himself as a "tool-maker" rather than a scientist. Besides toiling with his work, Ernst also enjoyed music and art, specifically Tibetan paintings. Using scientific techniques, Ernst would research the pigments on the scrolls to learn about their geographic origin and age. Condition: Good condition with some wear, little creasing, minor losses, staining, and water damage to the right. Minimal touch-ups.Dimensions: Image size 74 x 49.5 cm, Size incl. mounting 90.7 x 65 cmSherab Chamma (Loving Mother of Wisdom) is the principal meditational form of Satrig Ersang, one of the Four Transcendent Lords and a female deity of the Bon religion. She is usually depicted either as a single subject in a composition or she has numerous surrounding attendant figures.Literature comparison:Compare a related thangka of Sherab Chamma, 19th century, Tibet, in the Rubin Museum of Art, object number C2005.4.7.十八世紀西藏希繞強瑪唐卡布面膠彩描金。希繞強瑪結跏趺坐端坐在寶座上，右手捧甘露瓶於胸前，左手執鏡，背有圓形光背，周圍環繞著無數本尊。 來源：紐約蘇富比The Richard & Magdalena Ernst Collection of Himalayan Art拍賣，2018年3月22日, lot 957，估價 USD 10,000 或相當於 EUR 10,500 (根據通貨膨脹率)。Richard Robert Ernst (1933-2021) 是瑞士物理化學家和諾貝爾獎獲得者。 1991 年，他因在 Varian Associates 和 ETH Zurich 對Fourier變換核磁共振 (NMR) 光譜學的發展做出的貢獻而獲得諾貝爾化學獎。 他謙虛地稱自己為“工具製造者”而不是科學家。 除了辛勤工作，Ernst還喜歡音樂和藝術，尤其是西藏繪畫。Ernst使用科學技術研究捲軸上的顏料，以瞭解它們的地理來源和年代。 品相：狀況良好，右側有一些磨損、少量摺痕、輕微缺損、汙漬和水漬，小修補。 尺寸：畫面74 x 49.5 釐米, 總 90.7 x 65 釐米 希繞強瑪（慈愛的智慧之母）是薩智艾桑的主要冥想形式，薩智艾桑是苯教的女神。 她通常繪畫主題或周圍伴隨諸神。 文獻比較： 比較一件相近的十九世紀西藏希繞強瑪唐卡，收藏於Rubin Museum of Art，館藏編號C2005.4.7
Lot 94
A BLUE AND WHITE 'SAGE AND ATTENDANT' BEAKER VASE, GU, KANGXI PERIODChina, 1662-1722. Of cylindrical form with a flaring mouth and foot, the bulging middle section vibrantly painted with detached floral sprigs, leaves, and a beetle, below a river landscape scene with a sage and his attendant walking toward a bridge below towering trees and swirling clouds, and above a similar landscape scene with the same sage and attendant continuing their journey as well as a fisherman in a boat and a scholar seated on a rocky outcrop.Provenance: From a private collection in Oxfordshire, United Kingdom, acquired in London during the 1990s. Condition: Good condition with some old wear and expected firing irregularities, a small chip to the rim, minor fritting to the rim and lower bowstring, drilled to base with associated glaze nibbles, the foot with a tiny chip. Small smoothened areas, possibly inherent to the manufacture. The vase slightly leaning. Overall presenting spectacularly well.Weight: 2,979 g Dimensions: Height 43 cmThe base with an apocryphal underglaze-blue six-character mark da Ming Chenghua nianzhi.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 11 June 2021, lot 3253 Price: HKD 250,000 or approx. EUR 30,500 converted and adjusted for inflation at the time of writing Description: A large blue and white 'figural' gu-form beaker vase, Kangxi periodExpert remark: Compare the closely related form, subject, decoration, and manner of painting. Note the related size (44.5 cm) and empty double circle to base. Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2013, lot 138 Price: USD 37,500 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A blue and white beaker vase (gu), Qing dynasty, Kangxi period Expert remark: Compare the closely related form, decoration, manner of painting, and apocryphal Chenghua reign mark. Note the related size (44.7 cm).康熙青花山水人物紋花觚中國，1662-1722年。撇口，口沿下收，鼓腹，圈足。腹部描繪花枝、葉子和小昆蟲。上下描繪聖人和他的侍從在山水景觀中，並可見一個漁夫在船上，一個學者坐在岩石露頭上。 來源：英國牛津郡私人收藏。，上世紀九十年代購於倫敦。 品相：狀況良好，有一些磨損，邊緣有一個小缺口，邊緣和弦紋下有輕微的磨損，底部的鑽孔有釉料磨損，足部有一個小缺口。花瓶微微傾斜。 重量：2,979 克 尺寸：高 43 厘米 圈足内有青花仿“大明成化年製”六字款。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2021年6月11日，lot 3253 價格：HKD 250,000（相當於今日EUR 30,500） 描述：清康熙青花山水高士圖花觚 專家評論：比較非常相近的外形、主題、裝飾和繪畫風格。請注意相近的尺寸(44.5 厘米) 和圈足沒有款式。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2013年3月19日，lot 138 價格：USD 37,500（相當於今日EUR 45,000） 描述：清康熙青花高土賞游圖觚 專家評論：比較非常相近的外形、裝飾和繪畫風格，以及成化款。請注意相近的尺寸(44.7 厘米)。
Lot 95
A BLUE AND WHITE YENYEN VASE, KANGXI PERIODChina, 1662-1722. Painted in deep purplish underglaze blue with figures in mountainous river landscapes, on both the body and the neck a scholar converses with an attendant on a river bank while a fisherman is in a sampan in the river nearby. Note the finely graduated shades of blue, adding a third dimension to the magnificent scene.Provenance: The Holzapfel Collection (label to base). A Swedish private collection, formed during the 1950s and 1960s, acquired from the above, and thence by descent in the family. Condition: The mouth rim with a small chip and associated old fill. A U-shaped crack extending from there, with a section of the mouth broken off and sensitively reattached. Some wear, expected firing irregularities, extensive fritting to rim, but no spraying or overpainting of any kind.Weight: 3,536 g Dimensions: Height 44 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 29 March 2006, lot 431 Price: USD 27,600 or approx. EUR 37,000 converted and adjusted for inflation at the time of writing Description: A blue and white yenyen vase, Kangxi periodExpert remark: Note the size (45.1 cm)康熙青花山水人物鳳尾尊中國，1662-1722年。尊撇口、長頸、溜肩、腹以下漸斂，近足處外撇、圈足。通體青花裝飾。器身採用通景式構圖繪山水人物圖，畫面中高山聳立，流水潺潺，幾位人物坐於石板之上或談笑風生，或舉桿垂釣，悠然自得，表現出士大夫避世隱逸的生活情趣。 來源：Holzapfel 收藏 (見底部標籤)；瑞典私人收藏，建立於上世紀五六十年代，購於上述收藏，在同一家族保存至今。 品相：口邊有一個小嗑損和相關的小修補。一條U型的裂紋從那裡延伸出來，口部一部分被折斷，經過黏貼。一些磨損，邊緣有大量熔塊，但沒有任何類型的噴塗或塗漆。 重量：3,536 克 尺寸：高 44 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2006年3月29日，lot 431 價格：USD 27,600（相當於今日EUR 37,000） 描述：康熙青花鳳尾尊 專家評論：請注意尺寸(45.1 厘米)
Lot 589
AN INSIDE-PAINTED GLASS SNUFF BOTTLE, BY BI RONGJIU (1874-1925), DATED 1893With a landscape to one side, the reverse with a still life of a spray of plum blossoms in a guan ware vase, with a scholar's rock and potted plants.Inscriptions: To one side, signed 'Rongjiu', and dated 'In Autumn of the Year of Guisi (corresponding to 1893)'. One painted seal.Provenance: Hugh M. Moss Ltd., London, United Kingdom, 1973. A private collector in the United Kingdom, acquired from the above, and thence by descent. The base with an old label, '1', and lacquered with an old inventory number, '8429'. A copy of the original invoice from Hugh M. Moss Ltd., dated 28 February 1973, noting the inventory number '8429' for the present lot, and confirming the attribution and dating above, accompanies this lot. The invoice also notes that 1893 was the artist's “first recorded year of this medium.” Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Condition: Very good condition with minor wear and manufacturing irregularities. The stopper with a small chip.Stopper: Amber Weight: 28.9 g Dimensions: Height incl. stopper 67 mm. Diameter neck 15 mm and mouth 7 mmBi Rongjiu (1874-1925) established the Shandong School of inside-painted snuff bottles after substantial training in Beijing. His early work is mostly inspired by Zhou Leyuan and Ma Shaoxuan. After 1897, his personal style became more distinct.Auction result comparison: Type: Closely related Auction: Bonhams New York, 16 September 2013, lot 8048 Price: USD 5,000 or approx. EUR 6,100 converted and adjusted for inflation at the time of writing Description: An inside painted glass snuff bottle, Bi RongjiuExpert remark: Compare the closely related depiction to both sides of the snuff bottle.畢榮九(1874-1925)款内畫鼻煙壺，1893年一面為山水風景，另一面為文房擺設，花瓶中有一枝梅花以及文石和盆栽。 款識：癸巳仲秋，榮九作 來源：英國倫敦Hugh M. Moss Ltd.藝廊，1973年；一個英國私人收藏，購於上述藝廊，保存至今。底座有標籤 '1'以及一個漆寫收藏編號 '8429'。隨附Hugh M. Moss Ltd. 1973年2月28日出具的原始發票複印本，上面也注明了編號 '8429'，並確認時間。在發票上也注明，1893年是藝術家第一個有記錄的時間。Hugh Moss (出生於 1943年) 是一位作者、經銷商、藝術家、終身收藏家、中國藝術愛好者，中國鼻煙壺研究界的權威。 品相：狀況極好，有輕微磨損和製造不規範，壺蓋有小開片。 壺蓋：琥珀 重量：28.9 克 尺寸：含壺蓋高67 毫米. 頸部直徑15 毫米 ，壺口直徑7 毫米 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2013年9月16日，lot 8048 價格：USD 5,000（相當於今日EUR 6,100） 描述：畢榮九款内畫鼻煙壺 專家評論：比較非常相近的兩面繪畫。
Lot 347
AN UNUSUAL GREEN GLAZED 'TAOTIE MASK' AMPHORA VASE, EASTERN HAN - SIX DYNASTIES PERIODChina, 25 to 581 AD. The compressed body supported on a spreading foot, with long neck and flaring rim, the shoulders molded with four taotie masks suspending mock rings, the neck decorated with ribs, covered in an olive-green glaze stopping irregularly above the foot and pooling over the rim into the interior. The foot and interior unglazed, revealing the buff-orange ware. Provenance: From the collection of R. Marian Hicks, OBE, who was a professor at the School of Pathology and Department of Oncology at Middlesex Hospital Medical School, London. She was an avid collector of Tang and Song dynasty ceramics and her noted collection also included Chinese bronzes, textiles, and rank badges. Condition: Good condition with expected wear, weathering, soil encrustations and general traces of age, overall exactly as expected for a piece of this age. A small crack to the base, glaze flakes, and manufacturing flaws, including glaze recesses and firing flaws.Weight: 1,515 g Dimensions: Height 26.2 cm東漢至六朝綠釉饕餮紋瓶中國，25至581年。瓶寬口外撇，長頸，豐肩，圈足外撇。肩部飾四啣環饕餮紋輔首，頸飾弦紋，通體施綠釉，外壁止於足上，内壁至於頸部。底部和內部未上釉，露出淺黃色胎。 來源：R. Marian Hicks私人收藏，她是倫敦米德爾塞克斯醫院醫學院病理學院和腫瘤學系的教授。她特別喜歡收藏唐宋陶瓷，收藏中還包括中國青銅器、紡織品和軍銜徽章。 品相：品相良好，有磨損、風化、土壤結殼和使用痕跡，底部小裂紋、釉面剝落和釉面凹陷和燒製缺陷。 重量：1,515 克 尺寸：高 26.2 厘米
Lot 91
A COPPER-RED AND UNDERGLAZE-BLUE 'LOTUS' SQUARE VASE, EARLY QING DYNASTYChina, 18th century. Finely painted with variously shaped panels enclosing flowers and rockwork, surrounded by lotus blossoms borne on leafy scrolling vines. Covered in a transparent glaze save for the unglazed broad foot rim, the recessed square in the center glazed as well.Provenance: British trade. Condition: Very good condition with minor old wear and expected firing irregularities typical of period and ware, minor fritting to shoulders, tiny frits to rim and edges. The vase slightly leaning.Weight: 3,927 g Dimensions: Height 44 cmAuction result comparison: Type: RelatedAuction: Sotheby's New York, 21 September 2022, lot 391 Price: USD 25,200 or approx. EUR 23,500 converted at the time of writing Description: A copper-red and underglaze-blue 'landscape' quadrangular vase, Qing dynasty, Kangxi periodExpert remark: Compare the closely related form and underglaze-blue and copper-red decoration. Note the related size (46.4 cm). Note also that unlike the present lot this vase has considerable condition issues, including a restored break at the mouth rim, a restored chip to one shoulder, a hairline crack, and overspray.清初青花紅彩開光方瓶中國，十八世紀。青花卷葉紋地，瓶身開光描繪花卉紋。圈足未上釉。 來源：英國古玩交易。 品相：狀況良好，有輕微磨損和燒製不規則，肩部有輕微的熔塊，邊緣有小的熔塊。花瓶微微傾斜。 重量：3,927 克 尺寸：高 44 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2022年9月21日，lot 391 價格：USD 25,200（相當於今日EUR 23,500） 描述：清康熙青花釉裏紅山水人物圖方瓶 專家評論：比較非常相近的外形和青花釉裏紅。請注意相近的尺寸(46.4 厘米)。請注意，與本拍品不同，此花瓶存在相當大的狀況問題，包括口緣破損修復、肩部破損修復、髮際線裂紋和過度噴漆。
Lot 131
A MING-STYLE BLUE AND WHITE BOTTLE VASE, GUANGXU MARK AND PERIODChina, 1875-1908. The globular body is finely painted in vibrant tones of cobalt blue with a composite floral scroll above a band of lotus petals and classic scroll at the foot, and below a trefoil cloud collar and another composite floral scroll around the shoulder. The tall neck is further decorated with key fret and upright plantain leaves, and breaking waves at the flaring mouth. The base with an underglaze-blue six-character mark da Qing Guangxu nianzhi and of the period.Provenance: The trade in Paris, France.Condition: Excellent condition with minor wear and firing irregularities, including few minute glaze gaps.Weight: 2,418 g Dimensions: Height 39 cmLiterature comparison: A similar Guangxu-period vase is illustrated in Blue and White Porcelain with Underglazed Red (III). The Complete Collection of Treasures of the Palace Museum, vol. 36, Hong Kong, 2000, p. 174, no. 159. See a related vase from the Daoguang period, illustrated by G. Avitabile, Vom Schatz der Drachen (From the Dragon's Treasure), London, 1987, p. 65, no. 87, where the author notes that “this type of bottle vase is mentioned in the imperial lists of the Tongzhi and Guangxu periods, and was used as a gift for the distinguished service to the emperor”.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2018, lot 787 Price: USD 52,500 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A Ming-style blue and white bottle vase, Guangxu six-character mark in underglaze blue and of the periodExpert remark: Compare the closely related form and decoration. Note the smaller size (35.5 cm). Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 November 2011, lot 2956 Price: HKD 437,500 or approx. EUR 71,000 converted and adjusted for inflation at the time of writing Description: A fine blue and white Ming-style bottle vase, Tongzhi six-character mark and of the periodExpert remark: Compare the closely related form, decoration, and near-identical size (39.4 cm). Note the Tongzhi reign mark.光緒款及年代明代風格青花纏枝蓮紋賞瓶中國，1875-1908年。瓶撇口，長頸，肩凸起弦紋，圓腹，圈足略高微向外撇。主體圖案青花繪纏枝蓮，輔以海水、如意雲頭、蕉葉、迴紋、變形蓮瓣和忍冬紋等邊飾。圈足內有青花楷書“大清光緒年製”六字款。 來源：法國巴黎古玩交易。 品相：品相極佳，有輕微磨損和燒製不規則，包括極少的釉縫。 重量：2,418 克 尺寸：高 39 厘米 文獻比較： 一件相似的光緒時期花瓶，見《故宮博物院藏文物珍品全集‧青花瓷》，卷36，香港，2000，頁174，編號159。見一件相近的道光時期花瓶，見G. Avitabile，《Vom Schatz der Drachen (From the Dragon's Treasure)》，倫敦，1987年，頁65，編號87；作者在文中寫道：“此瓶在同治、光緒年間的御製表中均有提及，是作為貢品獻給皇帝的” 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2018年3月23日，lot 787 價格：USD 52,500（相當於今日EUR 56,500） 描述：清光緒青花纏枝蓮紋賞瓶，六字楷書款 專家評論：比較非常相近的外形和裝飾。請注意尺寸較小(35.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2011年11月30日，lot 2956 價格：HKD 437,500（相當於今日EUR 71,000） 描述：青花纏枝蓮紋賞瓶，雙行六字楷書款 專家評論：比較非常相近的外形、裝飾，以及幾乎相同的尺寸(39.4 厘米)。請注意同治款。
Lot 419
A LOBED FLAMBE GLAZED VASE, QING DYNASTYChina, late 18th to first half of 19th century. The bulbous body with its distinctively lobed form tapering towards the foot and surmounted by a waisted neck, covered to the exterior in a deep crimson tone with mushroom streaks thinning to lavender and pale blue, and interspersed with dark brown specks. The interior covered in a dark brown glaze.Provenance: From a private estate in Boston, Massachusetts, USA. Condition: Good condition with natural wear and some firing irregularities. The base drilled with an associated old fill. The foot smoothened in some areas, probably inherent to manufacturing, due to the uneven glaze dripping along the rim which is expected from this type of ware.Weight: 2,624 g Dimensions: Height 25.5 cmAuction result comparison:Type: Closely related Auction: Christie's London, 9 November 2010, lot 448Price: GBP 4,475 or approx. EUR 6,900 converted and adjusted for inflation at the time of writingDescription: A Chinese Flambe Lobed Vase, 18th/19th CenturyExpert remark: Compare the closely related form. Note the larger size (36.8 cm).清代窯變釉瓶中國，十八世紀末至十九世紀前半葉。瓶花口外撇，豐肩，圓腹，腹下向腳部逐漸變細。瓶身通體施窯變銅紅釉，器身呈絳紅色，紫釉與天藍、月白兩色斑駁相間，內施褐色釉。 來源：美國馬賽諸塞州波斯頓私人收藏。 品相：品相良好，有自然磨損和一些燒製不規則。底座有填充物。足部局部光滑，可能是製造所固有的，因為這種類型的器皿釉料會沿著邊緣滴下而成不均勻狀。 重量：2,624 克 尺寸：高 25.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2010年11月9日，lot 448 價格：GBP 4,475（相當於今日EUR 6,900） 描述：十八/十九世紀窯變釉瓶 專家評論：比較非常相近外型。請注意尺寸較大(36.8 厘米)。
Lot 271
A CLOISONNE ENAMEL 'PRECIOUS OBJECTS' CIRCULAR WALL PLAQUE, JIAQING PERIODChina, 1796-1820. The circular plaque is finely enameled with a large blue and white baluster vase on a carved stand at the center, issuing blossoming peonies and prunus, flanked by an ornate cloisonne censer and a colorful brush holder with calligraphy implements including brushes and paper, backed by two books and a waterpot, the foreground scattered with fruits, all above a turquoise wan-diaper ground.Provenance: From an old Austrian private estate, where it was originally fitted into an old German sideboard dating from circa 1870-1880. The back with an old label '60 frco'. Condition: Very good condition with minor wear, few scratches, light nicks, little warping, small chips and losses to the edge, and pitting as expected. The back with scratches.Weight: 1,680 g Dimensions: Diameter 41.7 cmCloisonne enamel plaques were popular from the second half of the 16th century onwards and became particularly popular during the mid-Qing dynasty, bringing vibrant colors to the imperial palaces' interiors. These plaques were used on screens, large furniture such as imperial thrones, or as decorative framed hanging panels.Literature comparison: Compare a related cloisonne plaque, dated mid-Qing dynasty, illustrated in Compendium of Collections in the Palace Museum: Enamels, vol. 4, Beijing, 2011, pls. 133-148. Compare related cloisonne panels decorated with antiques, dated to the second half of the 18th century, illustrated in H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, nos. 307-310.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 7 June 2021, lot 743Price: GBP 35,250 or approx. EUR 49,000 converted and adjusted for inflation at the time of writingDescription: A large cloisonne enamel 'precious objects' circular plaque, Qianlong/JiaqingExpert remark: Compare the closely related form and motif. Note the significantly larger size (67.1 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 22 June 2017, lot 175Price: EUR 25,000 or approx. EUR 28,500 adjusted for inflation at the time of writingDescription: A gilded bronze and cloisonne enamel plaque, Qing dynasty, Jiaqing-Daoguang periodExpert remark: Compare the closely related motif and size (41.3 x 50.8 cm). Note the rectangular form.嘉慶掐絲琺瑯博古紋壁盤中國，1796-1820年。圓盤銅胎掐絲琺瑯，盤内藍地修飾博古紋，一個青花賞瓶中插著三朵盛開的牡丹；瓶兩側分別是一個仿古景泰藍香爐和一個木紋釉筆筒，筆筒裏放著毛筆，瓶后有書籍和筆洗；瓶子前面散落著水果。 來源：奧地利私人舊藏，它最初被安置於大約 1870-1880 年的舊德國餐具櫃中。背面帶有舊標籤“60 frco”。 品相：狀況極好，輕微磨損與劃痕、刻痕和小翹曲，邊緣有小缺口，點蝕。背面有劃痕。 重量：1,680 克 尺寸：直徑 41.7 厘米 銅胎掐絲琺瑯壁飾從十六世紀下半葉開始流行，並在清朝中葉盛行，為皇宮的內部增添了鮮豔的色彩。這些壁飾被用在屏風、大型家具（如皇家寶座）上。 文獻比較： 比較一件相近的明代中期銅胎掐絲琺瑯掛屏，見 《故宮博物院藏品大系‧琺瑯器編》，卷 4，北京，2011年，圖133-148。比較一件相近的十八世紀下半葉銅胎掐絲琺瑯古董紋掛屏，見 H. Brinker 和 A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，編號307-310。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2021年6月7日，lot 743 價格：GBP 35,250（相當於今日EUR 49,000） 描述：清乾隆/嘉慶銅胎掐絲琺瑯博古圖「百事如意」圓掛屏 專家評論：比較非常相近的外形和主題。請注意明顯尺寸較大 (67.1釐米)。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2017年6月22日，lot 175 價格：EUR 25,000（相當於今日EUR 28,500） 描述：清嘉慶/道光掐絲琺瑯清供圖長方屏 專家評論：比較非常相近的主題和尺寸(41.3 x 50.8釐米)。請注意此屏是長方形。
Lot 97
A SUPERB DOUCAI DOUBLE-GOURD VASE, LINGZHI MARK, LATE 17TH TO EARLY 18TH CENTURYChina, c. 1680-1730. Finely painted in underglaze blue and enamels in shades of green, red, yellow, and aubergine to the upper pear-shaped section with three boys at play and to the lower section with a continuous scene of officials meeting foreign envoys in a garden with palm trees and lingbi stones. The recessed base with a lingzhi fungus mark within a double circle, neatly painted in underglaze blue.Provenance: A noted private collection in Texas, USA. Christie's New York, 19 March 2021, lot 871 (dated 18th century), sold for USD 15,000 or approx. EUR 15,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. A copy of the original invoice from Christie's accompanies this lot.Condition: Magnificent condition with only minor wear to enamels, some shallow surface scratches here and there, and few firing irregularities. Extremely rare to find an authentic, early and large piece of Doucai ware in such a pristine state of preservation.Weight: 957 gDimensions: Height 26.5 cmExpert's note: During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus marks in double circles.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 March 2017, lot 1213Price: USD 118,750 or approx. EUR 131,000 converted and adjusted for inflation at the time of writing Description: A Large Doucai Vase, Kangxi-Yongzheng Period (1662-1735) Expert remark: Compare the subject, style of painting, enamels, and material. Note the larger size (39 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.十七世紀末至十八世紀初鬥彩人物場景葫蘆瓶中國，約1680-1730年。葫蘆形瓶，上部分可見三個在玩耍的兒童，下部為官員在園中會見外國使節的場景。青花勾勒，琺瑯彩繪製。圈足內雙圈靈芝款。 來源：美國德克薩斯知名私人收藏；紐約佳士得，2021年3月19日，lot 871 (描寫為十八世紀)，售價 USD 15,000或相當於 EUR 15,000 (根據通貨膨脹率)；私人藏家，購於上述拍賣。隨附佳士得原始發票複印本。 品相：狀況極佳，僅琺瑯有輕微磨損，表面有一些淺劃痕，輕微燒製不規則。難得有保存如此完整的早期大件鬥彩瓶。 重量：957 克 尺寸：高 26.5 釐米 專家注釋：清朝初期，直至 1680 年代，中國局勢動盪不安，宮廷器物的製作和年號在瓷器上的使用受到各種形式的限制。在此期間，出現了不同類型的其他款識，包括雙圈靈芝標記。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月17日，lot 1213 價格：USD 118,750（相當於今日EUR 131,000） 描述：清康熙/雍正鬥彩亭臺仕女圖瓶 專家評論：比較主題、繪畫風格、琺瑯和材料。請注意尺寸較大(39 厘米)。
Lot 170
A COPPER ALLOY FIGURE OF AMITAYUS, NEPAL, C. 14TH-15TH CENTURY OR EARLIERRemarkably solid cast with a total weight of almost 2 kilograms. The Lord of the Western Paradise seated in dhayanasana on a lotus base with neatly incised petals atop a footed and pierced pedestal, holding the amrita vase in his lap. Dressed in a sanghati with the folds elegantly arranged below the ankles and wearing a shawl drawn across the body. The face with heavy-lidded eyes below finely incised brows, adorned in beaded jewelry, the hair in a tall chignon behind a foliate tiara, and backed by a flaming mandorla.Provenance: From a French private collection. A noted Hungarian collector, acquired from the above. Condition: Good condition with significant old wear, scattered nicks and dents, light surface scratches, small cracks to the mandorla, and expected casting flaws. Remnants of blue pigment in the hair and tiny remnants of gilt on the left ear and crown. Fine, naturally grown, copper-red patina overall.Weight: 1,868 gDimensions: Height 18.2 cmExpert's note: The present sculpture appears to be an ancient copy of an even older Nepalese bronze, with several distinct features from works of the 9th and 10th century, including the incised lotus petals, the foliate crown, the beaded jewelry, the shawl and garment. See for example Bonhams Hong Kong, 7 October 2019, lot 805, and Sotheby's New York, 22 September 2020, lot 322. While it seems rather difficult to accurately date such a work, it was clearly made not much later than the 15th century, as evidenced by the heavy weight of the cast, the characteristic old wear including the many small nicks and dents, as well as the finely incised yet sparse detail work, which does not appear in this distinct setting on later works.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2013, lot 340 Price: USD 52,500 or approx. EUR 65,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Amitayus, Nepal, circa 13th centuryExpert remark: Compare the closely related expression, the jewelry with especially similar earrings and crown, and the distinct patina color of the copper alloy. Note that the figure itself is larger (18.7 cm) than the present lot if you discount the base and mandorla.Auction result comparison: Type: Related Auction: Christie's Paris, 15 December 2010, lot 321 Price: EUR 63,400 or approx. EUR 83,000 adjusted for inflation at the time of writing Description: A rare gilt-copper figure of Manjushri, Nepal, 14th/15th centuryExpert remark: Note the closely related size (18.5 cm)十四至十五世紀或更早尼泊爾銅合金阿彌陀佛坐像非常堅固的鑄像，總重近2公斤。阿彌陀佛結跏趺坐在蓮花座上，髮髻高聳，頭戴葉狀頭飾，眉毛細長，雙眼為垂，身披僧衣，衣紋褶皺優雅，飾有瓔珞。背後有火焰光背。 來源：法國私人收藏；知名匈牙利藏家購於法國。 品相：狀況良好，有明顯的磨損，局部有刻痕和凹痕，表面有輕微的劃痕，光背上有小裂紋和鑄造缺陷。頭髮中殘留的藍色色素以及左耳和皇冠上的微小鍍金殘留物。整體包漿細膩成銅紅色及銅綠色。 重量：1,868 克 尺寸：高18.2 厘米 專家注釋：此件造像看上去像是一件更古老的尼泊爾青銅造像的複製品，具有與九世紀和十世紀作品截然不同的幾個特徵，比如蓮花花瓣、葉狀皇冠、瓔珞配飾、披巾和衣服。例如，香港邦瀚斯拍賣行，2019年 10 月 7 日，拍品編號 805，以及紐約蘇富比拍賣行，2020年9 月 22 日，拍品編號 322。雖然要準確確定此類作品的年代相當困難，但顯然它的創作時間不晚於十五世紀，正如鑄件的重量、包括許多小刻痕和凹痕在內的典型磨損以及精美的細節工作所證明的那樣。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月19日，lot 340 價格：USD 52,500（相當於今日EUR 65,000） 描述：十三世紀尼泊爾阿彌陀佛銅像 專家評論：比較非常相近的表情、相似的耳環和頭冠，以及銅合金特殊的古銅色。請注意如果不算底座和光背，此銅像尺寸比我們的銅像較大 (18.7 厘米) 。
Lot 611
AN IMPERIAL MOLDED GOURD 'SHOU' SNUFF BOTTLE, QIANLONG SHANGWAN MARK AND OF THE PERIODChina, 1736-1795. Of square section and double-gourd form with a short cylindrical neck, the lower bulb with four main sides each enclosing shou medallions alternating with pairs of triangular panels, the upper bulb with four sides similarly molded with shou characters. The mouth rim neatly fitted with a tortoiseshell top platelet. The base with a molded Qianlong shangwan four-character mark which is only partly legible.Provenance: From the collection of Chip and Muffy Matthews, St. Louis, USA. Churchill “Chip” Matthews, Jr. (1940-2021) and Martha “Muffy” Matthews were American collectors of Chinese snuff bottles who traveled extensively. Chip was a US army veteran, who founded the noted medical company Wrymark Inc. in 1989. In 2013, their private garden was featured by St. Louis Homes and Lifestyles as the 'Garden of the Year'. Condition: Very good condition with extensive old wear as expected and some manufacturing irregularities, including the partially obscured Qianlong mark, and few tiny nicks.Stopper: Gilt metalWeight: 11.6 g Dimensions: Height incl. stopper 94 mm. Diameter neck 17 mm and mouth 5 mmGourd vessels such as the present example were formed by placing a wooden mold around the young gourd and allowing the natural growth within these confines to form the shape and decoration. None of the decoration or the mark is cut by a knife, all is a mirror of the carved decoration within the mold. The earliest known use of such a technique appears to date to the Warring States period (480-221 BC). A gourd mouthpiece for a musical instrument was found in a Chu tomb in Changsha, Hunan province. Though 16th-century texts attest to the gourd-molding technique, the earliest extant examples appear to date to the reign of Kangxi.The appreciation of gourd molding, which had flourished under the Kangxi Emperor, experienced a short revival during the Qianlong era where it was reserved for an exclusive group of gourd vessels commissioned by the Emperor himself for his personal enjoyment and collection.Expert's note: For further discussions on gourd vessels see W. Weng and Y. Boda, The Palace Museum: Peking, Treasures of the Forbidden City, p. 287, and H. Moss, Arts from the Scholar's Studio, nos. 91 and 92. Hugh M. Moss, ibidem, page 124, states, “The Kangxi and Qianlong periods mark the height of decorated gourds for the good reason that both Emperors were keen collectors. The Kangxi Emperor's enthusiasm is vouched for by his development of this humble art form in the palace, and is further endorsed by the demonstration of the Qianlong Emperor's interest, when he wrote a foreword to a poem entitled 'In Praise of a Gourd Vessel', as follows: “The manufacture of gourd vessels started in the Kangxi era when the Emperor ordered that gourds be grown into molds to produce bowls, jars, dishes, and boxes as required. The vessels are admirably natural and yet exquisite, something not possible by man alone.”Literature comparison: A larger Kangxi prototype and a Qianlong gourd vase of related form, are both illustrated in Wang Shixiang, The Charms of Chinese Gourd, Hong Kong, 1993, pls. 9 and 22 respectively.Auction result comparison: Type: Closely related Auction: Sotheby's London, 18 May 2018, lot 311 Price: GPB 7,500 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A molded gourd 'shou' snuff bottle, Qianlong mark and period Expert remark: Compare the closely related form and design. Note the near-identical size (8.8 cm excluding stopper) and that the mouth-rim of this bottle was fitted with later wood, probably to replace the original tortoiseshell platelet.乾隆款及年代葫蘆形壽字紋鼻煙壺中國，1736-1795年。方形切面，葫蘆形，圓柱短頸；上下四個側面都有壽字紋。口緣整齊，玳瑁蓋鈕。底部有“乾隆賞玩”四字款，非常模糊。 來源：美國聖路易士Chip 與Muffy Matthews收藏。Churchill "Chip" Matthews，Jr. (1940-2021年) 與 Martha "Muffy" Matthews 是來自美國的經驗豐富的中國鼻煙壺收藏家。Chip 是一名美國退伍軍人，他於 1989 年創立了著名的醫療公司 Wrymark Inc.。2013 年，他們的私人花園被聖路易士Homes和Lifestyles 雜志評為“年度花園”。 品相：狀況極好，大量磨損和一些製造瑕疵，包括部分模糊的乾隆款，以及一些微小的刻痕。 壺蓋：鎏金金屬 重量：11.6 克 尺寸：含蓋高94 毫米，頸部直徑17 毫米與頸部直徑5 毫米
Lot 7
AN IMPERIAL JADE-INLAID CINNABAR LACQUER WALL VASE INSCRIBED WITH A POEM BY HONGLI (1711-1799), QIANLONG PERIODThe poem inscribed on the jade plaque was composed by Hongli (1711-1799), better known as the Qianlong Emperor (reigned from 1736-1795). It is recorded in Qing Gaozong yuzhi shiwen quanji (Anthology of Imperial Qianlong Poems and Texts), volume 3, juan 58, page 19, figure 1, and can be translated as follows:Jade carved into flowers are fragrant like orchids,Between the garden steps, a few are elegantly planted.Who knows their essential beauty?Youdu, once asked this, answered with "Xie An".China, 1736-1795. Finely cast from gilt-bronze into baluster form flattened on one plane, mounted on the body with a shaped yellowish-celadon jade plaque inscribed in clerical script with a thirty-one-character Imperial poem, all surrounded by superbly carved blossoms of peony, chrysanthemum, and prunus borne on leafy branches against a diaper ground, framed by bands of prunus blossoms below the neck and above the foot, the neck flanked by two short tubular handles incised with scroll.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.J.111. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Superb condition with expected minor wear, few minuscule nicks, the back with light surface scratches, the wood base with a small chip. Fine, naturally grown patina overall.Weight: 512.2 g Dimensions: Height 18.6 cmMounted on a short wood base, probably zitan and dating from the same period. (2)Hongli was the fourth son of Yongzheng and born to Noble Consort Xi. He was adored by his grandfather, the Kangxi Emperor, and some historians argue to this day that Kangxi appointed Yongzheng as his successor only because Hongli was his favorite grandson. One of China's eternal visionaries, Kangxi is said to have spotted the singular leadership talent of the later Emperor Qianlong in Hongli when he was still a child. In 1796, the Qianlong Emperor abdicated in favor of his son, the Jiaqing Emperor, in a filial act so as not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase ranks among the most unusual and rarest examples produced during the Qianlong reign, as it combines gilt-bronze, cinnabar lacquer and carved jade.Expert's note: Carved cinnabar lacquer and gilt-bronze wall vases combined with jade inlays are very rare. The examples that come up for auction now and then almost invariably have condition issues such as strong wear to the gilding, losses and cracks to the lacquer, cracks or - worse - replacements to the jade inlays, and others. The pristine condition of the present wall vase makes it not just exceptionally rare, but literally unique. Literature comparison: Compare a pair of wall vases in the National Palace Museum, Taipei, included in the museum's exhibition The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, 2014, pl. II-48 (fig. 1), where the author notes that 'Lacquerware with jade inlay on a copper body is very rarely seen'.Also compare two boxes, one rectangular, the other chime-shaped, both inset with jade plaques, in the Palace Museum Beijing, illustrated in Carved Lacquer in the Collection of the Palace Museum, Beijing, 1964, cat. nos. 313 and 315. Compare a jade plaque inset in a cinnabar lacquer moon flask, similarly incised with a Qianlong seal mark and of the period, at Christie's Hong Kong, 27 April 1997, lot 21.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 25 April 2004, lot 19 Price: HKD 744,000 or approx. EUR 139,000 converted and adjusted for inflation at the time of writing Description: A very rare jade inlaid cinnabar lacquer wall vase, Qing dynasty, Qianlong periodExpert remark: Compare the closely related (and extremely rare) combination of carved lacquer and jade with an Imperial poem. Note the similar size (18 cm). Also note that the jade plaque on this example has several cracks, whereas on the present example it is in perfect condition.乾隆時期御製剔犀鑲玉刻御詩壁瓶中國，1736-1795年。鑲鎏金銅，剔犀掛瓶，頸部左右分別有一貫耳。瓶身錦地纏枝花卉紋，瓶身中央鑲嵌玉牌，上雕刻一首御詩。
Lot 434
A FAMILLE VERTE SQUARE BALUSTER 'IMMORTALS' VASE, QING DYNASTYChina, 19th century. Brightly enameled to each side in yellow, aubergine, green, and black. One side depicting two courtiers in a garden pointing at two celestial court ladies framed in clouds, another side with Duowen and another guardian standing below Tongzi, the third side depicting Magu, He Xiangu, a female attendant, and a crane, and the fourth side with two heavenly kings including Zengzhang who raises his sword. The neck decorated with a pavilion hidden behind clouds, mountains, and rockwork, and the shoulders with lotus blossoms to each corner.Provenance: From the private collection of Dr. Ma Luk, Hong Kong, thence by descent in the same family. From a private collection, Arizona, USA, acquired from the above. Dr. Ma Luk (1883-1963) graduated from the Hong Kong College of Medicine and became one of the leaders of the local medical community in Hong Kong. After spending a few years working for the Chinese Public Dispensary, he had the rare distinction of being the first Chinese doctor to join a European group practice in 1908, Drs. Fitzwilliams and Allan. He later started his own clinic in Central District and gradually expanded it into a large group practice, the Ma Luk Sun Hospital. Dr. Ma was also a director of the newly formed Yeung Wo Nursing Home in 1922. He served the Hong Kong Chinese Medical Association as vice president from 1933-1934 and was also active as the Chairman of the Chinese Club. He was admitted to the Order of St. John for his long service for the St. John Association and Brigade. Dr. Ma Luk was an important art collector and patron.Condition: Very good condition with only minor old wear and some firing irregularities including glaze flaking, minor fritting, little pitting. Even from the 19th century, this piece must be considered very rare in this splendid state of preservation.Weight: 4,454 g Dimensions: Height 49.4 cmThe base with an apocryphal, underglaze-blue, six-character mark da Qing Kangxi nianzhi.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 14 September 2005, lot 688Price: USD 10,200 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A pair of famille verte square vases, 19th CenturyExpert remark: Compare the related form, size (50.8 cm), color of the enamels, and Kangxi reign mark. Note the lot comprises two vases.清代五彩仙人圖方瓶中國，十九世紀。綠地五彩琺瑯描繪祥雲中的神仙，有瑤池仙女、麻姑，有護法天王、二郎神以及哪吒等。頸部飾亭臺樓閣，肩部纏枝蓮紋。 來源：香港Ma Luk 醫生私人收藏，在同一家族保存至今；美國亞利桑那州私人收藏，購於上述收藏。Ma Luk (1883-1963) 醫生畢業於香港醫學院，成為香港本地醫學會領袖之一。在中國公立醫局工作了幾年後，他成為 1908 年第一位加入歐洲集體執業的中國醫生。後來，他在中環開設了自己的診所，並逐漸擴展為大型團體診所，即馬六新醫院。馬醫生亦於1922年出任新成立的楊和護養院院長。1933-1934年任香港中華醫學會副會長，亦積極擔任華人會主席。由於長期為聖約翰協會和旅服務，他被授予聖約翰勳章。Ma Luk醫生是一位重要的藝術收藏家和讚助人。 品相：狀況極好，只有輕微的磨損和一些燒製不規則現象，包括釉面剝落、輕微熔塊、小點蝕。 重量：4,454 克 尺寸：高49.4 厘米 底足内青花“大清康熙年製”寄托款。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2005年9月14日，lot 688 價格：USD 10,200（相當於今日EUR 14,000） 描述：一對十九世紀五彩方瓶 專家評論：比較相近的外形、尺寸 (50.8 厘米)、琺瑯顏色和康熙款。請注意此為一對方瓶。
Lot 394
A PAIR OF BLUE AND WHITE 'LOTUS' MALLET VASES, KANGXI PERIODChina, 1662-1722. Rising from a splayed foot to a broad rounded shoulder and long slender neck, finely painted in cobalt blue with lotus blossoms borne on leafy scrolling vines framed by double line borders around the foot and rim. The recessed bases each with a double circle mark in underglaze blue. (2)Provenance: Austrian trade. Condition: Good condition with minor wear and firing irregularities including dark spots and pitting, one vase with a repaired crack to the upper rim.Weight: 551.2 g and 536.7 g Dimensions: Height 25.4 cm and 25.2 cmExpert's note: During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including empty double circles. The usage of some of these marks continued well into the later Kangxi era and then started again in the 19th century, mostly on Kangxi revival pieces.Auction result comparison:Type: RelatedAuction: Sotheby's Melbourne, 22 November 2006, lot 369 Price: AUD 24,000 or approx. EUR 23,000 converted and adjusted for inflation at the time of writing Description: A large blue and white squat baluster vase, Kangxi period Expert remark: Compare the closely related dense scrolling lotus design. Note the larger size (43 cm) and that this listing is for a single vase only.康熙一對青花纏枝蓮紋長頸瓶中國，1662-1722年。長頸，豐肩，足外撇；青花描繪纏枝蓮紋，圈足内青花雙圈款。 (2) 來源：奧地利古玩交易。 品相：品相良好，有輕微磨損和燒製不規則現象，包括黑點和點蝕，一個花瓶邊緣有小修。 重量：分別為551.2 克與536.7 克 尺寸：分別高 25.4 厘米與25.2 厘米 專家注釋: 清朝初期至 1680 年代，中國局勢動盪不安，宮廷器物的製作和年號在瓷器上的使用受到各種形式的限制。在此期間，開始使用不同類型的其他標記，包括空心雙圓圈。其中一些款識的使用一直持續到康熙後期，然後在十九世紀再次開始。 拍賣結果比較： 形制：相近 拍賣：墨爾本蘇富比，2006年11月22日，lot 369 價格：AUD 24,000（相當於今日EUR 23,000） 描述：康熙青花纏枝蓮紋長頸瓶 專家評論：比較非常相近的纏枝蓮紋裝飾。請注意尺寸較大 (43厘米) ，以及此瓶為單瓶。
Lot 458
A PAIR OF 'QIANJIANG CAI' ENAMELED 'PEACOCK AND CRANE' VASES, BY MA QINGYUN, DATED 1920China. Each of bottle form with bulbous body surmounted by a cylindrical neck with straight rim, painted in bright enamels with a peacock and a pair of cranes perched on craggy rocks, with peonies and a gnarled pine tree. One side with a poetic inscription and signature. The bases with iron-red maker's marks. (2)Inscriptions: To one side, signed 'by Ma Qingyun in Changjiang', dated 'in the Summer of the Year of Gengshen' (corresponding to 1920), inscribed 'The most beautiful woman compares to a peony, the Emperor glanced at her with pleasure, the beauty just, like a gentle wind in spring, removed of all resentment, in Chenxiang pavilion the Emperor and his concubine lean against the fence', and 'the poem titled Qingbingdiao by Li Qinglian'. To the base, 'Ma Qingyun xie hua Yawan'.Provenance: From a noted Hungarian private collection. Condition: Very good condition, minor wear, light scratches, and manufacturing flaws including firing cracks, dark spots, and minuscule fritting. One vase with a hairline along the base.Weight: 3,762 g and 3,892 g Dimensions: Height 34.6 cm and 34.5 cmThe inscription on the present vases is an excerpt from the poem Qingbingdiao, written by Li Qinglian, also known as Li Bai (701-762), one of China's most famous poets from the Tang dynasty. The poem comprises three sections and illustrates the supposed love story between Emperor Xuanzong and his consort Yang Guifei, one of the Four Beauties of ancient China. According to some historical accounts, the Emperor and Yang Guifei would enjoy a nighttime celebration of peony viewing whenever the peonies were in full bloom. During one celebration, the Emperor was displeased with the selection of music and called for Li Bai to write a song. Li Bai, who was supposedly drunk during this time, rapidly composed this poem that pleased the Emperor.Ma Qingyun was a painter, poet, and literary artist who was active from the late Guangxu period into the Republic period.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 13 March 2012, lot 3464Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A pair of polychrome enameled porcelain baluster vases, Republic periodExpert remark: Compare the related Qianjiang style, motif, poem, and seal mark. Note the different form and sizes (58 cm).馬慶雲款一對淺絳彩花鳥賞瓶，1920年中國，長頸瓶，溜肩鼓腹，圈足外撇。淺絳彩描繪孔雀和一對仙鶴站在松下假山上，牡丹盛開。另一面書寫李白詩。圈足鈴印“馬慶雲畫雅玩”。 款識：名花傾國兩相歡，常得君王帶笑看。解釋春風無限恨，沉香亭北倚闌干。庚申夏右？李青蓮 清平調 則于昌江客邸馬慶雲寫之意 。 來源：知名匈牙利私人收藏。 品相：狀況非常好，有輕微磨損、劃痕和製造缺陷如燒製裂紋、黑點和微小的熔塊。其中一個花瓶底部有冲線。 重量：分別為3,762克與3,892克 尺寸：高34.6 厘米與 34.5 厘米 馬慶雲是活躍於光緒末年至民國時期的畫家、詩人、文學家。拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年3月13日，lot 3464 價格：USD 15,000（相當於今日EUR 17,500） 描述：民國一對淺絳彩賞瓶 專家評論：比較相近淺絳彩、主題、詩和印。請注意不同的外形和尺寸(58 厘米)。
Lot 477
A RARE BRONZE ARROW VASE, TOUHU, SONG - YUAN DYNASTYChina, 13th-14th century. The bottle-shaped body rising from a flaring foot to a long neck tapering towards the galleried rim and flanked by two tubular handles, cast to the body with a band of single-horned dragons above a leiwen ground, the neck and handles with a wider and narrower band of leiwen, the body and neck divided by two ribs and stiff leaves, the foot with further stiff leaves.Provenance: From a private estate in Staffordshire, United Kingdom. Condition: Very good condition with minor wear, small nicks, light scratches, few dents, minor cracks, tiny losses, and casting flaws. Solid, naturally grown patina overall.Weight: 2,732 g Dimensions: Height 38.8 cmExpert's note: Large arrow vases from this early period are exceedingly rare, especially with a dragon design in such high relief. Further note the clever and elegant alignment of the two elongated narrow tubes with the neck of the vessel, which also serves as the main tube.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 October 2014, lot 3384Price: HKD 325,000 or approx. EUR 47,000 converted and adjusted for inflation at the time of writingDescription: A Bronze Archaistic Arrow-Handled Vase Song / Yuan DynastyExpert remark: Compare the related cast and design. Note the much smaller size (24.6 cm).宋至元銅投壺中國，十三至十四世紀。長直頸、兩側貫耳，圓鼓腹。鼓腹上雷紋地單角龍紋，頸部和手柄有寬窄不一的雷紋帶，頸部和腹部弦紋帶，頸部和足部修飾蕉葉紋。 來源：英國斯坦福郡私人舊藏。 品相：狀況極好，有輕微磨損、小刻痕、輕微劃痕、少量凹痕、輕微裂紋、微小損失和鑄造缺陷。整體包漿緊實。 重量：2,732 克 尺寸：高 38.8 厘米 專家注釋：這一時期的投壺非常罕見，尤其是龍形浮雕如此之高。請注意兩個細長的頸部與貫耳的對稱。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年10月7日，lot 3384 價格：HKD 325,000（相當於今日EUR 47,000） 描述：宋 / 元銅饕餮紋貫耳壺 專家評論：比較相近的鑄造和設計。請注意尺寸較小(24.6 厘米)。
Lot 476
A BRONZE ARCHAISTIC ARROW VASE, TOUHU, SONG TO YUAN DYNASTYChina, late 12th to 13th century. Of slender pear shape with long neck, rising from a flaring foot to a straight cylindrical rim flanked by a pair of tubular handles, the handles and neck decorated with a band of leiwen, the design repeated at the foot. With a naturally grown, fine brownish-black patina overall.Provenance: Collection of Arnold Vissiere, Paris, France, thence by descent in the same family. Arnold Vissiere (1858-1930) was a French sinologist born in Paris and one of the creators of the French School of the Far East system. He worked as an interpreter at the French legation in Beijing and became a professor at the Ecole des Langues Orientales Vivantes in 1911. Later, Vissiere was appointed Consul General in Shanghai and then Minister Plenipotentiary in China. He also worked at the National Library on the catalog of Chinese books. Vissiere collected Chinese art including Chinese maps, some of which are exhibited in the Musee Guimet.Condition: Very good condition with minor wear, few nicks, small dents, light scratches, small cracks with associated minor losses, and casting flaws.Weight: 691.1 g Dimensions: Height 26.8 cmLiterature comparison:Compare a related bronze arrow vase, 21.6 cm, also dated Song to Yuan dynasty, late 12th to 13th century, in the Metropolitan Museum of Art, accession number 2021.294.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 11 June 2021, lot 3192Price: HKD 75,000 or approx. EUR 9,100 converted and adjusted for inflation at the time of writingDescription: A bronze 'wave' two-handled tool arrow vase, Yuan dynastyExpert remark: Compare the related form and decoration. Note the much smaller size (17.9 cm).宋至元仿古銅投壺中國，十二世紀末至十三世紀。修長的梨形，長頸，圈足外撇，頸部雙貫耳。貫耳和頸部飾有雷紋紋飾帶，圈足處重複。整體細膩棕黑色包漿。 來源：法國巴黎 Arnold Vissiere，在同一家族保存至今。Arnold Vissiere (1858-1930) 是一位生於巴黎的法國漢學家，法國遠東學派體系的創始人之一。他曾在北京的法國大使館擔任翻譯，並於 1911 年成為 Ecole des Langues Vivantes 的教授。後來，Vissiere 被任命為駐上海總領事，隨後被任命為駐華全權公使。他還在國家圖書館從事中文圖書目錄工作。 Vissiere 收藏了包括中國地圖在內的很多中國藝術品，其中一些在吉美博物館展出。 品相：狀況極好，有輕微磨損、少量刻痕、小凹痕、輕微劃痕、小裂紋以及相關的輕微缺損和鑄造缺陷。 重量：691.1 克 尺寸：高26.8 厘米 文獻比較： 比較一件相近的宋至元十二至十三世紀投壺，21.6 厘米，收藏於大都會美術館，館藏編號 2021.294。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2021年6月11日，lot 3192 價格：HKD 75,000（相當於今日EUR 9,100） 描述：元銅海水紋投壺 專家評論：比較相近的外形和裝飾。請注意尺寸小很多(17.9 厘米)。
Lot 513
A RARE GILT COPPER ALLOY FIGURE OF A STANDING MAITREYA, NEPAL, 14TH CENTURYFinely cast standing on a circular lotus base with tiered beaded rims, his left hand raised in front of the chest and holding a lotus stem coming to full bloom at the shoulder topped by a kundika, his right pendent and similarly holding a lotus stem. Clad in a sheer dhoti incised with foliate designs and flaring at the sides, richly adorned with beaded and floral jewelry with inlays of turquoise, lapis lazuli, and coral.Provenance: Jacques How Asian Art, Brussels, Belgium. A noted German private collection, acquired from the above. The base with an old label from Jacques How Asian Art. Jacques How-Choong has been collecting and dealing in Chinese and Southeast Asian art for many years, specializing in particular in Himalayan art and ritual objects, rare early Buddhist art, focusing on Dali Kingdom sculpture, as well as archaic works of art. Several museums, institutions, dealers, and private collectors are among his clientele. He is a distinguished member of Asian Art in Brussels and also exhibits annually at Parcours des Mondes in Paris.Condition: Good condition with some wear, particularly to gilt, minuscule nicks, minor dents, light scratches. The inlays possibly replaced at different times over many centuries. The figure leaning. The base sealed. The back with a small inlaid bronze plaque of rectangular shape for ritual purpose.Weight: 244.3 gDimensions: Height 11.2 cmWith an old fitted wood stand, possibly zitan, cleverly serving to compensate the leaning posture of the figure. (2)His serene face with heavy-lidded almond-shaped eyes below raised arched brows centered by a rectangular urna, further with a broad nose and full lips forming a subtle smile, the hair piled in a tall chignon topped with a jewel behind the foliate tiara.The presence of the kundika vase crowning the resplendent lotus flower by his left shoulder identifies this idealized young prince as the future Buddha Maitreya. Although equally vital to popular Buddhist practice, standing Maitreya images are relatively rare by comparison to more common bronzes of Avalokiteshvara Padmapani. This most elegant form of a standing bodhisattva maintained its popularity in Nepal until at least the 16th century, being applied to various deities including Manjushri.Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2016, lot 201 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of a standing tara, Nepal, 14th century Expert remark: Compare the related pose, circular lotus base, and inlaid gemstones. Note the size (13.3 cm).十四世紀尼泊爾罕見彌勒佛鎏金銅像彌勒佛立於圓形蓮座上，邊緣有連珠紋，左手舉於胸前，手持一枝盛開於肩部的蓮花，上有一個淨瓶，右手垂下，同樣手持一朵蓮花。身穿飾有葉狀圖案並在兩側張開的法衣，鑲嵌有綠松石、青金石和珊瑚。面容平靜安詳，雙眼微垂，眉毛之間有白毫，闊鼻，嘴唇豐滿，頭髮盤成一個高高的髮髻，在葉狀頭飾後面鑲嵌著一顆寶石。來源：比利時布魯塞爾Jacques How Asian Art藝廊；知名德國私人收藏。購於上述藝廊。底部有 Jacques How Asian Art藝廊標籤。Jacques How-Choong多年來一直從事中國和東南亞藝術品的收藏和交易，尤其擅長喜馬拉雅藝術品和法器、稀有的早期佛教藝術品，專注於大理王國雕塑，以及古代藝術品。一些博物館、機構、經銷商和私人收藏。家都是他的客戶。他是布魯塞爾亞洲藝術協會的傑出成員，並且每年都會在巴黎的 Parcours des Mondes 舉辦展覽。 品相：狀況良好，有一些磨損，特別是鍍金方面，有微小的劃痕和輕微的凹痕。鑲嵌物可能在過去更換過。造像傾斜。 底座密封。背面鑲嵌一小塊長方形青銅牌，供祭祀之用。 重量：244.3 克 尺寸：高 11.2 厘米 相配木底座，或爲紫檀，巧妙地彌補了人物的傾斜姿勢。(2) 造像左肩上的蓮花淨瓶，表明他就是未來的彌勒佛。儘管對流行的佛教修行同樣重要，但與更常見的觀世音蓮花生青銅造像相比，站立的彌勒佛像相對較少。此類優雅立像造型至少在十六世紀之前在尼泊爾一直很受歡迎，被應用於包括文殊菩薩在內的各種菩薩。
Lot 363
A CIZHOU BLACK-GLAZED VASE, MEIPING, SONG DYNASTYChina, 960-1279. The elegant form supported on a short foot and surmounted by a short cylindrical neck with a flaring rim, covered to the exterior and interior with an even dark-brown, almost black glaze stopping irregularly above the foot, forming drops, and revealing the buff ware burnt orange in the firing.Provenance: From the private collection of a professor emeritus of archeology at the University of Minnesota, USA, who was also a consultant for several museums in the United States. An old inventory number, 'L.1757.2', lacquered to the foot, indicating a prior museum deaccession. Condition: Good condition with expected old wear, few small chips, a small repair to the rim, and manufacturing flaws including glaze recesses, pottery lines, and slight warping.Weight: 671.7 g Dimensions: Height 22.1 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 July 2021, lot 5087Price: HKD 151,200 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A Cizhou black-glazed meiping, Song dynastyExpert remark: Compare the related form and closely related glaze. Note the size (31 cm).宋代磁州窯黑釉梅瓶中國，960-1279年。梅瓶小口，短頸，豐肩，瘦底，圈足，外壁施黑釉，足部露胎成橘色。 來源：美國明尼蘇達大學一位考古學名譽教授的私人收藏，他也是美國多家博物館的顧問。足部一個收藏編號 “L.1757.2”，表明之前已從博物館出售過。 品相：品相良好，有磨損，小碎片、邊沿小修以及製造缺陷，包括釉面凹陷、陶紋和輕微翹曲。 重量：671.7 克 尺寸：高 22.1 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2021年7月2日，lot 5087 價格：HKD 151,200（相當於今日EUR 19,000） 描述：宋磁州窯黑釉梅瓶 專家評論：比較相近的外形和非常相近的釉面。請注意尺寸(31 厘米)。
Lot 362
A HENAN BOTTLE VASE, SONG OR JIN DYNASTYChina, 960-1234. The elegant pear-shaped body rising from a short tapering foot to a straight long neck with rolled rim, covered overall in a lustrous brown-black glaze except for the foot pad, the body freely painted with a few russet splashes.Provenance: Laurent Wannieck, Paris, France. The collection of Mr. L., Paris, acquired from the above, and thence by descent in the same family. A copy of the original invoice from Laurent Wannieck, Paris, on 6 February 1929, no. 33152, stating a purchase price of FRF 900, accompanies this lot. Condition: Very good condition with old wear, few small chips along the foot ring, and expected firing flaws including pitting and a thin firing crack to the foot.Weight: 1,228 g Dimensions: Height 27.3 cmLiterature comparison: Compare a related Henan russet splashed, iron-brown glazed vase, Jin dynasty, in the collection of the British Museum, museum number 1930,0719.11.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 25 November 2022, lot 420Price: HKD 88,200 or approx. EUR 11,000 converted at the time of writingDescription: A russet-splashed black-glazed bottle vase, Yuhuchunping, Northern Song to Jin dynastyExpert remark: Compare the related form and closely related black glaze and russet splashes. Note the related size (29.3 cm).宋或金河南長頸瓶中國，960-1234年。直口，細長頸，削肩，肩以下漸碩，腹下部豐滿。通體施黑釉，少量赤褐色斑紋。 來源：法國巴黎Laurent Wannieck收藏；巴黎Mr. L.購於上述收藏，保存在同一家族至今。隨附一份Laurent Wannieck 1929年2月6日出具的no. 33152發票複印件，顯示售價為FRF 900。 品相：狀況極好，有磨損，圈足上有輕微磕損，有燒製缺陷，包括點蝕和腳部的燒製裂紋。 重量：1,228 克 尺寸：高27.3 厘米 文獻比較： 比較一件相近的金代河南褐斑鐵棕釉瓶，收藏於大英博物館，館藏編號1930,0719.11。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年11月25日，lot 420 價格：HKD 88,200（相當於今日EUR 11,000） 描述：北宋至金黑釉褐斑玉壺春瓶 專家評論：比較相近的外形和非常相近的黑釉和褐斑。請注意相近尺寸(29.3 厘米)。
Lot 459
A FAMILLE ROSE 'IMMORTALS' BALUSTER VASE, JUREN TANG MARK, REPUBLIC PERIODChina, 1912-1949. The slender ovoid body rising to a waisted neck. Superbly painted in bright enamels with five immortals in a garden, each holding auspicious objects including a peach, finger citron, lingzhi, and gourd, one carrying a gnarled pine staff and another a bamboo stick, each wearing long flowing robes decorated with roundels and diapered designs, framed by a gnarled pine and wisteria tree to one side, and craggy rockwork to the other side, with a crane flying above.Inscriptions: To the base in iron red, 'Juren Tang zhi' (The Hall where Benevolence Resides).Provenance: French trade. Condition: Good condition with minimal wear, a thin hairline to the mouth rim, and a barely visible star-crack below the shoulder.Weight: 3,959 g Dimensions: Height 24.9 cm The Juren Tang (The Hall where Benevolence Resides) in Zhongnanhai was the building in which Yuan Shikai (1859-1916) lived and also where he had his office around 1915. Yuan Shikai was the first President of the Republic of China and Emperor of the short-lived Empire of China (1915-1916), taking the era name Hongxian. In 1916, Guo Baochang, an antique dealer with a good relation to the court, was appointed to oversee Hongxian's new imperial porcelain production. The intent from the outset was that the items produced were to be of excellent quality. The biscuit used was very thin, the enamels were sent from the Imperial Workshops and the mark used was a red seal reading Juren Tang zhi. The quality of items produced was reputed to be excellent. Unfortunately, during production, because of the very thin biscuit, many objects were damaged. The remaining few perfect pieces were given to the most favored officials and are exceedingly rare today.Yuan Shikai stood down as Emperor on 22 March 1916 and resumed his presidency, dying shortly afterward in June 1916. After his death, production was halted and the kilns were destroyed, but the enamels were stolen by workers who then proceeded to copy the Juren Tang production, marking their pieces Hongxian nianzhi (also Hongxian Yu Chih or Hongxian Yuan Nian), mostly with Kaishu script. The first copies produced were apparently of extremely high quality, as they were still using the imperial biscuit and enamels, but quality fell as the quantity increased and, presumably, the imperial resources were depleted. One opinion has it that all Hongxian marked pieces are made after the actual period, and that the only possibly genuine mark of the Hongxian period is the Juren Tang if any. Still, from extant pieces it is clear that the porcelain industry was much stimulated at this time and for decades to come, and that pieces of very high quality were made, some of which bear the Hongxian mark while others are marked Juren Tang.Auction result comparison:Type: RelatedAuction: Christie's London, 13 May 2014, lot 402Price: GBP 37,500 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: A famille rose 'immortals' vase, Republic period, four-character iron-red Juren Tang zhi markExpert remark: Compare the form, fine enamels, figural motif, and mark. Note the size (28.2 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 9 November 2012, lot 1137Price: GBP 7,500 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A slender famille rose baluster vase, Republic period (1912-1949), Juren Tang zhi iron-red seal markExpert remark: Compare the related form, fine enamels, figural motif, and mark. Note the size (34.5 cm). 民國居仁堂款粉彩《五仙圖》賞瓶中國，1912-1949年。瓶口略外撇，頸微束，豐肩，修長瓶身。粉彩描繪山中五仙圖，壽老持桃、祿星持佛手、靈芝、白鬍仙人手持掛著葫蘆的松杖；身著飄逸長袍，周圍可見松樹和紫藤，另一側是崎嶇的岩石，空中仙鶴飛舞。 款識：圈足内“居仁堂製” 來源：法國古玩交易。 品相：品相良好，極少磨損，口緣處有細冲線，肩部下方輕微星形裂紋。重量：3,959 克 尺寸：高24.9 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2014年5月13日，lot 402 價格：GBP 37,500（相當於今日EUR 61,000） 描述：民國居仁堂款粉彩仙人圖瓶 專家評論：比較的外形、精美的琺瑯、人物主題和款識。請注意尺寸(28.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2012年11月9日，lot 1137 價格：GBP 7,500 EUR 13,000（相當於今日） 描述：民國居仁堂款粉彩高士詩文圖瓶 專家評論：比較相近的外形、精美的琺瑯、人物主題和款識。請注意尺寸(34.5 厘米)。
Lot 480
A MASSIVE LOBED 'ELEPHANT' BRONZE VASE, CHINA, 17TH CENTURYElegantly cast with a slender waist, a band of ruyi-shaped clouds at the shoulder and above the foot, flanked by a pair of elephant-head handles, and an integral hexagonal stand supported on ruyi-shaped feet. The base cast with a seal mark.Inscriptions: To the base, 'Yongcunzhai'. Provenance: From a private collection in Westphalia, Germany, acquired before 2007, and thence by descent. Condition: Minor old wear, few small nicks, light scratches, one foot lost, and some casting flaws as expected.Weight: 2,998 g Dimensions: Height 33 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's New York, 21 March 2015, lot 764Price: USD 40,000 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A bronze lobed 'elephant' vase, 17th centuryExpert remark: Compare the closely related form and decoration. Note the much smaller size (17.3 cm).十七世紀瓜棱形象首耳銅瓶造型優雅，腰身纖細，肩部及足部飾如意雲紋，兩側各飾象首耳一對，六如意形足，底座内留款。 款識：永存齋 來源：德國威斯特法倫私人收藏，購於2007年前，保存至今。 品相：輕微磨損，一些小刻痕、輕微劃痕，一隻腳丟失，以及一些鑄造瑕疵。 重量：2,998 克 尺寸：高33 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年3月21日，lot 764 價格：USD 40,000（相當於今日EUR 45,500） 描述：十七世紀銅如意紋象首耳海棠形瓶 專家評論：比較非常相近的外形和裝飾。請注意尺寸小很多(17.3 厘米)。
Lot 432
A LARGE AND MOLDED FAMILLE ROSE 'HUNDRED ANTIQUES' BALUSTER VASE, QING DYNASTYChina, 19th century. The body molded and applied with various auspicious items and scholar's objects in high relief, including archaistic bronze vessels, butterflies, bats, and gourds, interspersed with floral sprays, the waisted neck flanked by two lingzhi handles, the neck and foot decorated with a diaper pattern and geometric bands, the interior of the mouth with three branches bearing peaches.Provenance: French trade. By repute acquired from a private estate in the region of Lille, France. Condition: Presenting remarkably well with some natural wear and expected firing irregularities, minor fritting and minuscule chips, small hairlines to the base, the rim with an old repair. The wood base with expected natural age cracks and small nicks.Weight: 7.1 kg (incl. base) Dimensions: Height 60.2 cm (excl. base), 66.5 cm (incl. base)With a fitted wood base. (2)Literature comparison:Compare a related yellow ground 'hundred antiques' vase, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, vol. 39, Hong Kong, 1999, p. 285, no. 254.Auction result comparison:Type: RelatedAuction: Christie's London, 9 September 2015, lot 518Price: GBP 13,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese famille rose 'hundred antiques' vases, 19th centuryExpert remark: Compare the related design and size (61 cm). Note that this lot comprises two vases but lacks the molded relief work completely.清代大型粉彩博古紋堆塑雙耳瓶中國，十九世紀。此瓶敞口，直頸，溜肩，直筒腹，脛部內收，圈足外撇。器身白地粉彩堆塑博古紋，疏朗排列，瓷瓶、擺件、盆景等，繪筆細緻，古雅氣質。此瓶胎質潔白細膩，形制端雅，繁複堆塑，風格別致。 來源：法國古玩交易，據說來自法國里爾地區私人收藏。 品相：品相極好，有一些自然磨損和預期的製作不規則、輕微磨損和微小的磕損、底部有細小的裂線，邊緣有修復。木底座有自然老化裂縫和小刻痕。 重量：7.1 公斤 （含底座) 尺寸：高 60.2 厘米 (不含底座)，66.5 厘米 (含底座) 木底座。 (2) 文獻比較： 比較一件相似的黃地凸雕博古圖龍耳大地瓶，見《故宮博物院藏文物珍品全集‧琺瑯彩粉彩》，卷39，香港，1999年，285頁，編號254。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年9月9日，lot 518 價格：GBP 13,750（相當於今日EUR 20,500） 描述：十九世紀一對粉彩博古紋瓶 專家評論：比較相近的設計和尺寸 (61 厘米)。請注意此拍品為一對，但並沒有浮雕堆塑。
Lot 433
A LARGE FAMILLE NOIR ROULEAU VASE, 19TH CENTURYChina. The cylindrical body rising to a tall neck with galleried rim, brightly and finely painted in famille noire enamels with gilt and iron-red, decorated at the shoulder with large ruyi lappets enclosing scrolling chrysanthemums on a yellow ground. The body with six panels depicting chrysanthemums, peonies, prunus, and other auspicious flowers with butterflies and birds flying above, a tall band of green ruyi heads separating Buddhist emblems above the foot. The neck with the 'hundred treasures' design depicting various precious vessels and scholar's items scattered above black ground, the galleried rim with geometric patterns to the exterior and sprays of pomegranate, Buddha's hand citron, and peaches to the interior.Provenance: From a noted Hungarian private collection. Condition: Very good condition with minor wear, fading to colors, few shallow chips to foot, and manufacturing flaws, including firing cracks, firing flaws, glaze recesses partially burnt to orange in the firing, dark spots, and flaking to the enamels.The body with a faint hairline.Weight: 7.3 kg Dimensions: Height 61 cmAuction result comparison:Type: RelatedAuction: Christie's London, 27 February 2013, lot 272Price: GBP 4,750 or approx. EUR 7,900 converted and adjusted for inflation at the time of writingDescription: A Chinese famille noire baluster vase and cover, 19th centuryExpert remark: Compare the closely related decoration and size (63 cm). Note the form.十九世紀大型墨地棒槌瓶中國。盤口，短直頸，圓折肩，圓筒狀長腹，圈足。外壁繁密有序，紋飾精美，墨色為地尤顯典雅高貴。盤口修飾粉色蓮瓣紋，頸部博古紋，肩部裝飾有大如意開光黃地纏枝菊紋。瓶身開光六幅菊花、牡丹、梅花等吉祥花卉，上面有蝴蝶和鳥兒飛翔，腰下修飾高高的綠色如意紋。 來源：知名匈牙利私人收藏。 品相：狀態良好，有輕微磨損、褪色、足部有少量淺缺口和製造缺陷，如燒製裂紋、燒製缺陷、橙色的釉面凹槽、黑點和琺瑯剝落。瓶身有一條衝線。 重量：7.3 公斤 尺寸：高61 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年2月27日，lot 272 價格：GBP 4,750（相當於今日EUR 7,900） 描述：十九世紀粉彩將軍罐和蓋 專家評論：比較非常相近的裝飾和尺寸(63 厘米)。請注意外形。
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