A LANGYAO VASE, QING DYNASTYChina, 1644-1912. Stoutly potted, the globular body rising from a short straight foot to slanted shoulders surmounted by a thin tubular neck with flared rim, applied overall with a deep crushed-strawberry glaze thinning to mushroom at the rim. The base covered in a finely crackled ge-type glaze.Provenance: From an Austrian private collection. Condition: Good condition with some wear and firing flaws, including pitting, and few small chips to the foot. The base smoothened in some areas, probably inherent to manufacturing, due to the uneven glaze dripping along the foot rim which is expected from this type of ware.Weight: 2,900 g Dimensions: Height 31.3 cmLangyao is a vitreous red glaze that was developed at the Jingdezhen imperial kilns under the supervision of Lang Tingji (1663-1715), governor of Jiangxi Province between 1705 and 1712. This copper glaze turns red after being fired in a reducing or oxygen-deprived atmosphere. It sometimes drips down the vessel during firing, creating drops around the foot. It is incredibly hard to achieve, with layers of clear and copper-rich glazes allowing for depths of color, as clearly evidenced by the present lot. The glaze must be of a certain thickness to turn red, so areas where it is thinning can be lighter in color or even white.清代郎窯瓶中國，1644-1912年。厚胎，長頸，斜肩，圓腹。通體施郎窯紅釉。圈足内白釉，哥窯式開片。 來源：奧地利私人收藏。 品相：狀況良好，有一些磨損和燒製缺陷，包括點蝕，以及腳上的小碎屑。足緣處分佈著不均勻的釉滴。 重量：2,900 克 尺寸：高31.3 厘米
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A NEPALESE BRONZE FIGURE OF AMITAYUS, MEDIEVAL PERIODC. 11th-14th century. Seated in dhyanasana atop a waisted double-lotus base with beaded upper edge, his hands holding the amrita vase, clad in a diaphanous sanghati with the folds gathered over the ankles and onto the base, adorned with beaded and floral jewelry and billowing scarves. The serene face with heavy-lidded eyes below gently arched brows centered by an urna, wearing a foliate tiara.Provenance: UK trade.Condition: Good condition, commensurate with age. Extensive wear, casting flaws, signs of weathering and erosion, dents, nicks, losses, scratches. The tiara is bent and the back of the head and chignon are lost. Fine, naturally grown patina with a good, unctuous feel overall. The base unsealed and fitted with a wood core some time ago.Weight: 403.2 gDimensions: Height 13 cmExpert's note: The current work displays strong characteristics of Nepalese ateliers, particularly the rich coppery tone of the bronze. Influences of Pala tradition from northeast India are also articulated, including the tubular limbs. The waisted lotus base, on the other hand, is reminiscent of the even earlier Swat Valley bronzes. The statue itself and the condition of the piece overall preclude any revival style, making a dating between the 11th and 14th centuries most likely.Auction result comparison:Type: Related Auction: Christie's New York, 20 March 2019, lot 623Price: USD 25,000 or approx. EUR 29,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Amitayus or Manjushri, Nepal, Thakuri period, 11th centuryExpert remark: Compare the related pose, material, and size (14 cm)中世紀尼泊爾無量壽佛銅像約十一至十四世紀。無量壽佛手持淨瓶平行曡放在雙膝上，結跏趺坐坐於雙層蓮座上，頭戴寶冠，髮髻高聳，項戴纓絡項鍊，裝飾華麗 。表情安詳，眼睛微垂，眉頭微彎，雙眉之間有白毫。 來源: 英國古玩市場。 品相: 狀況良好，與年齡相稱，有大面積磨損、鑄造瑕疵、風化、侵蝕跡象、凹痕、刻痕、缺損和劃痕。頭飾彎曲，後腦勺和髮髻丟失。自然包漿，整體感覺細膩。底座曾被開封並安裝了木芯。 重量: 403.2 克 尺寸: 高13 厘米拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年3月20日，lot 623 價格：USD 25,000（相當於今日EUR 29,000） 描述：十一世紀尼泊爾阿彌陀佛或文殊菩薩銅像 專家評論：比較相近的姿勢、材質和尺寸(14厘米)。
A FINE AND LARGE BLUE AND WHITE 'LOTUS' VASE, HU, QING DYNASTYChina, 1750-1850. The pear-shaped body rising from a short, slightly spreading foot to a waisted neck flanked by archaistic scroll handles. Painted around the exterior in rich cobalt-blue tones with a circumferential lotus band, all between ruyi-head, lotus-lappet, and classic scroll bands. The neck with a band of shou medallions on a wan ground. The base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection Particuliere Marseillaise.Condition: Superb condition with old wear, shallow surface scratches and firing flaws, such as dark spots, pitting, and firing cracks. One handle with firing cracks and associated glaze recesses to the lower joint. For a detailed video of the vase shot under strong blue light, please refer to the department.Weight: 11.6 kg (excl. base)Dimensions: Height 44 cm (excl. base) and 54 cm (incl. base)With a lotiform carved hardwood base, possibly from the period, but at least 100 years old. (2)Expert's note: Vases such as the present lot have their origins in the archaic ritual vessel called Hu, but in their size and slightly exaggerated form they predominantly served to proclaim the advanced skills and sophisticated techniques of mid-Qing Dynasty porcelain manufacture. The lotus scroll also has its distant origins dating back to the Yuan Dynasty, but by the Qianlong period it had become the very formal, evenly-spaced pattern with its self-conscious echo of a past long bygone. It is this very structure, however, that helps today's scholars to establish a precise dating for any vase from this group: The more dense the lotus pattern is, the later the piece. The present lot, however, is a bit of a riddle, as its lotus scrolls reside more or less exactly between the sparse, almost frugal 'Ming Style' patterns from the early Qianlong period and the dense, almost cluttered scrolls from the late Qing and Minguo periods. Same goes for the rich cobalt-blue tones: Not quite as brilliant and intensive as in the early Qianlong era, but also by far not as dull and feeble as in later times. For these reasons, it is this author's belief that the present lot is either from the second half of the Qianlong period, or from the first half of the 19th century.Literature comparison: Compare a closely related blue and white hu, with a Qianlong six-character seal mark and of the period, sold at Sotheby's Hong Kong, 24 September 1987, lot 74, offered again at Christie's Hong Kong, 26 April 2004, lot 1065. Further examples of this vase are illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, plate 62. Geng Baochang, Ming Qing Ciqi Jianding, Hong Kong, 1993, page 267, figure 455. Exhibition of Qing Porcelain from the Wah Kwong Collection, Chinese University of Hong Kong, 1973, no. 68. Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2013, lot 164Price: USD 485,000 or approx. EUR 614,500 converted and adjusted for inflation at the time of writingDescription: A fine blue and white 'lotus' vase, hu, Qianlong seal mark and periodExpert remark: Compare the near identical form, decoration, handles, and size (45.1 cm)Auction result comparison:Type: RelatedAuction: Shanghai Doyun Xuan Auction, 25-26 December 2012, lot 2299Price: RMB 4,140,000 or approx. EUR 737,000 converted and adjusted for inflation at the time of writingDescription: Qing dynasty, Qianlong period, Blue and white with lingzhi-lian design and double-eared deer-headed vaseExpert remark: Compare the near identical form, decoration, handles, and size (44 cm) 清代大型青花纏枝蓮紋雙螭耳鹿頭尊 中國, 1775-1875年。尊直口微敞，短頸，造型似鹿頭，頸部兩側飾螭龍形耳，圓鼓腹下垂，圈足，胎體厚重，線條飽滿，器形大氣威嚴。尊通體以青花描繪，髮色鮮豔淋漓，口沿及頸部分飾迴紋、團壽字及嵌套如意雲，足脛部則裝飾蓮瓣紋、卷草紋，紋飾繪製精細，腹部主體通繪三重纏枝蓮，花朵碩大飽滿，枝葉翻轉，圖案極富層次感。圈足内“大清乾隆年製”六字三行篆書款。 來源：馬賽特別收藏 品相：狀況極佳，舊磨損、表面淺划痕和燒製缺陷，如黑點、點蝕和燒製開片。一螭耳帶有燒製裂紋和釉面凹槽。 在強藍光下拍攝的詳細視頻，請垂詢團隊。重量：11.6 公斤 (不含底座) 尺寸：高 44 厘米(不含底座)，總 54 厘米 硬木底座, 可能是來自同一時期，至少100年。 (2)由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。
A SMALL JADEITE 'CHILONG' WASHER, LATE QING TO REPUBLICChina, 1860-1940. Of compressed globular form with a wide mouth, the sides carved in openwork and high relief with two sinuous chilong and lingzhi encircling the body with one sprig hanging over the rim. The translucent stone of an attractive pale grayish-white tone with faint lavender shadings and distinct areas of emerald green.Provenance: From an estate in Boston, USA. Condition: Excellent condition with minor old wear and microscopic nicks here and there.Weight: 126.1 g Dimensions: Length 5.9 cmAuction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 3 December 2015, lot 403Price: HKD 125,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A white jade 'chilong' bottle vase and a jadeite 'chilong' washer, Qing dynasty, 19th centuryExpert remark: Compare the related form and sinuous chilong, as well as the color of the jade. Note that the lot comprises two jades.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 14 September 2018, lot 1198Price: USD 6,250 or approx. EUR 7,000 converted and adjusted for inflation at the time of writingDescription: A pair of small pale green and white jadeite 'chilong' washersExpert remark: Compare the related form and sinuous chilong, as well as the color of the jade. Note that the lot comprises two jades.清末民初翡翠螭龍洗中國，1860-1940年。玉質細膩，表面油潤，透明度極佳，翠中飄紫。水洗外壁以浮雕、鏤雕等技法雕琢雙螭龍口銜靈芝；螭龍體態矯健，雙目圓睜，身軀扭轉攀爬於水洗腹壁之上。全器造型優雅端莊，洗內膛掏打磨圓潤勻稱。 來源：美國波斯頓私人收藏。 品相：狀況極佳，有輕微磨損和微小刻痕。 重量：126.1克 尺寸：長5.9厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2015年12月3日，lot 403 價格：HKD 125,000（相當於今日EUR 17,500） 描述：清代十九世紀白玉螭龍瓶和翡翠螭龍洗 專家評論：比較一下相近的形式和蜿蜒攀爬的螭龍，以及玉石的顏色。请注意此拍品包括兩件玉器。拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2018年9月14日，lot 1198 價格：USD 6,250（相當於今日EUR 7,000） 描述：一對青白玉螭龍洗 專家評論：比較相近的形式和蜿蜒攀爬的螭龍，以及玉石的顏色。请注意此拍品包括兩件玉器。
AN INSIDE-PAINTED 'LOTUS AND SCHOLAR'S ROCK' SNUFF BOTTLE, BY ZHOU LEYUANChina, 1890. Finely painted in pale watercolors and black ink to one side with lotus blossoms and leaves blowing in the wind below a short inscription and to the other with a scholar's rock, a vase with flowering prunus branches, a jardiniere, and a kettle.Inscriptions: To one side, 'Yinxiu shanfang Zhuren qingshang Gengyin shouxia Zhou Leyuan you' (Curiosity by the scholar of the Yinxiu Shanfang Studio). In the summer of Gengyin year [corresponding to 1890]. Zhou Leyuan). One large seal.Provenance: From an old English private collection, acquired in China during the early 20th century and thence by descent to the last owner.Condition: Excellent condition with only minor old wear and some manufacturing imperfections to the glass.Stopper: Mottled green and brown jade.Weight: 30.7 gDimensions: Height including stopper 60 mm. Diameter neck 15 mmThe flattened, rounded and rectangular body supported on an oval spreading foot and rising to a cylindrical neck.Zhou Leyuan is the founder of the popular Beijing school of painting. His career spanned the period 1881 to 1893. Every single artist of the first phase of the school owed a considerable debt to Zhou, and most began their careers by copying his style and signing his name. Some even devoted most of their careers to producing copies of his work. Hugh Moss has described Zhou Leyuan as “the single most important artist in the entire field of inside-painted snuff bottles”.Expert's note: There is always evidence of Zhou's compositional brilliance in his mature works, exemplified here, where the lotus blowing in the wind is perfectly balanced with both the inscription, in Zhou's fluent and elegant calligraphy, and the large seal. The placing of the lines of calligraphy forms a vertical counterpoint, together with the seal, to counteract the void left by the dispersed lotus. In Chinese painting, which, in its mature phase from the Song/Yuan period onwards, incorporates what became known as the 'Three Perfections' (poetry, calligraphy and painting) in a single artistic expression, the seals act both as lexical content and as calligraphy and, as such extend the function of the calligraphy itself, but apart from that they also allow an additional formal element, their bright vermilion acting as a counterpoint to the black of the calligraphy and the blank space of the surface to which they are added. In this case, to extend the vertical element of the calligraphy, it was necessary to use a larger seal on the lower left side. These rare larger seals are mostly confined to Zhou's middle period. Later, particularly after 1890 and until he ceased to paint in 1893, his compositions became more complex, often filling the available space to a greater extent, reducing the need for larger seals to balance sparser compositions. A similarly sophisticated compositional elegance is exhibited on the other side, where we find Zhou's favorite subject of auspicious and scholarly objects, neatly arranged, but without any calligraphy or inscription whatsoever.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 25 May 2011, lot 109 Price: HKD 84,000 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: An inside-painted glass 'auspicious objects' snuff bottle, Zhou Leyuan, dated 1888Expert remark: Compare the similarly painted scholar's rock and vase with prunus branches.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 November 2012, lot 11 Price: HKD 312,500 or approx. EUR 48,500 converted and adjusted for inflation at the time of writing Description: An inside-painted glass 'crane and landscape' snuff bottle, Zhou Leyuan, dated 1892Expert remark: Compare the similarly sophisticated interplay between the bamboo growths, the rock, the moon, the calligraphy and the large seal on the backside of this bottle with the front side of the present lot.周樂元内畫鼻烟壺中國，1890年。腹部兩面繪製，淺色水墨設色精心繪製，一面是荷塘，另一面繪以博古圖為主題，可見花瓶、盆景及香爐等物，其瓶中插梅，寓意清雅高潔。 款識：飲秀山房主人清賞，庚寅首夏周樂元作 來源：英國私人老收藏，二十世紀初購於中國，在同一家族保存至最後一任主人。 品相：狀況極佳，只有輕微的磨損和玻璃的一些製造缺陷。 壺蓋：玉 重量：30.7克 尺寸：含蓋總高60毫米，頸部直徑15毫米 鼻烟壺扁瓶式，平口，口微敞，溜肩，直壁，橢圓型圈足。由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。
A PAIR OF LONGQUAN CELADON VASES, MEIPING, MING DYNASTYChina, 1368-1644. Heavily potted, the high-shouldered bodies tapering to spreading feet, surmounted by short necks with everted rims, the sides freely carved with broad bands of peony scroll framed by bands of stiff petals. Covered overall in a glaze of sea-green tone except for the unglazed foot rims burnt orange in the firing. The circular wooden stands carved in openwork with floral designs and vines.Provenance: Sydney Moss Ltd, London, United Kingdom. A British private collection, by repute acquired from the above (invoice not available). Sydney Moss Ltd is a London based art gallery. The company was established in 1910 and focuses on Chinese and Japanese works of art, including paintings, calligraphy, and objects in “the scholar's taste”. It is one of the longest-lived family-owned Asian art dealerships in the West, and the oldest in London. Condition: Fair condition, commensurate with age, with extensive old wear. One vase with a small chip to the rim and minor hairline cracks at the foot. The other with minor losses and an associated old repair to the rim. Both slightly leaning and with distinct signs of use and age.Weight: 559.1 g and 566.7 g Dimensions: Height 16.2 cm and 16.6 cmWith a carved wood stand. (4)Literature comparison:Compare the very similar meiping of the same period illustrated by Zhao Zigang, Qinqci Qinbaicai Zhenpin (The Treasury of Green and Qingbai Wares), Guangzhou, 1997, col. pl. 149. An uncarved Longquan meiping dated to the Yuan dynasty of nearly identical shape, including the collared shoulder and beveled foot, is illustrated in An Anthology of Chinese Art, Min Chiu Society Silver Jubilee Exhibition, Hong Kong, 1985, no. 146. A meiping with similar carved decoration, formerly in the Hirota Collection and now in the Tokyo National Museum, is illustrated in Oriental Ceramics, The World's Great Collections, vol. 1, Tokyo, 1982, no. 107. Auction result comparison:Type: RelatedAuction: Christie's New York, 30 March 2005, lot 322Price: USD 18,000 or approx. EUR 26,500 converted and adjusted for inflation at the time of writingDescription: An unusual longquan celadon carved bottle, Meiping, Yuan/early Ming dynasty, 14th-15th centuryExpert remark: Compare the closely related form, floral design, and glaze. Note the similar size (18.4 cm) and that the lot comprises a single vase.明代一對龍泉青釉暗刻梅瓶中國，1368-1644年。梅瓶侈口，直頸、豐肩、斂腹，造形優美。器身主體以暗刻卷葉花卉紋，肩部和腹部下方修飾蕉葉紋。通體施青釉，釉汁濃厚肥潤。足緣未上釉，成橘色。圓形木架採用鏤空雕刻，飾有花卉圖案和藤蔓。來源：英國倫敦Sydney Moss Ltd藝廊；英國私人收藏，據説購於上述藝廊（發票遺失）。Sydney Moss Ltd是一家位於倫敦的藝廊。該藝廊成立於 1910 年，專注於中國和日本的藝術品，包括文人繪畫、書法和物品。它是西方歷史最悠久的亞洲藝術品家族式經銷商之一，也是倫敦最古老的藝術品經銷商之一。 品相：狀況良好，與年齡相稱，有大量磨損。一個花瓶邊緣有一個小缺口，腳上有輕微的冲線。 另一個有輕微的磕損和邊緣的小修。兩者都略微傾斜，並帶有明顯的使用和年齡跡象。 重量：分別為559.1 克與566.7克 尺寸：高分別為16.2 厘米與16.6 厘米 木雕底座。 文獻比較： 比較非常相似的同年代梅瓶，見Zhao Zigang，《The Treasury of Green and Qingbai Wares》，廣州，1997年，編號149。一件幾乎相同外型元代龍泉梅瓶，有豐肩和足部外撇的設計，見《中國文物集珍》，香港，1985年，編號146。一件相似的暗刻梅瓶，早年收藏於Hirota Collection，現藏於東京國立博物館，見Oriental Ceramics，《The World's Great Collections》，卷一，東京，1982年，編號107。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2005年3月30日，lot 322 價格：USD 18,000（相當於今日EUR 26,500） 描述：十四至十五世紀元至明初龍泉青釉暗刻梅瓶 專家評論：比較非常相近外型、卷葉花卉紋和釉面。請注意相似的尺寸(18.4 厘米) 和此拍品僅有一梅瓶。
A CLOISONNE 'LANDSCAPE' VASE, CONG, LATE QING TO REPUBLICChina, 1850-1950 or earlier. The square-sectioned body rising from a splayed foot and surmounted by a tapered neck, each facet brightly enameled with a landscape scene, variously depicting tiered pavilions nestled amongst jagged cliffs and trees below vaporous clouds, the foot and neck similarly decorated with stylized lotus scrolls against a turquoise ground, the borders covered in gilt. The base with a neatly incised four-character mark Qianlong nianzhi within an inlaid and gilt square reserve.Provenance: From the private collection of Michael B. Weisbrod, New York, USA. 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: Very good condition with some old wear, shallow surface scratches overall, firing flaws including extensive pitting, few minor nicks and microscopic hairline cracks here and there.Weight: 3 kg Dimensions: Height 32.2 cmLiterature comparison:Compare a closely related cloisonne enamel 'landscape' cong, but dated to the Qianlong period (1736-1795), at Christie's Hong Kong, 29 May 2013, lot 2075.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.清末民初山水紋掐絲琺瑯瓶中國，1850-1950 年或更早。沿襲了玉琮基本形制，上下口足為圓形，短頸，方柱形長身。瓶口足、邊緣棱角均鎏金，瓶身四面開光內以藍色琺瑯釉為地，以紅、白、藍、黑等色繪製軒榭庭宇、遠山近水等紋飾，頸、足處掐絲裝飾四朵纏枝蓮花紋，色彩繽紛艷麗，工藝精湛。圈足内“乾隆年製”款。 來源：美國紐約Michael B. Weisbrod私人收藏。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。 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藝廊。 這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 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，最終還在上海和香港開辦分店。 品相：狀況極好，有一些舊磨損，整體表面劃痕較淺，燒製缺陷包括大範圍的點蝕，很少有輕微的劃痕和細微的細線裂紋。 重量：3 公斤 尺寸：高32.2 厘米 文獻比較： 比較一件非常相近的清乾隆山水圖掐絲琺瑯琮式瓶，見香港佳士得，2013年5月29日，lot 2075。
A CIZHOU PAINTED MEIPING, MING DYNASTYChina, 1368-1644. Heavily potted, rising from a waisted foot to a high sloping shoulder and a short cylindrical neck. The body finely painted with flying cranes amid clouds and pines, above a band of stylized flowerheads and scrolling vines, the shoulder with large chrysanthemum blossoms and leaves, between line borders, all in black on a white slip under a clear glaze stopping unevenly above the foot to reveal the buff ware.Inscriptions: To the base, 'Jihao Liang Xizhou' (marked by Liang Xizhou)Provenance: From the collection of Teddy Hahn, Darmstadt, and thence by descent to the present owner. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.” Condition: Very good condition with extensive old wear and firing flaws, some glaze flaking, few chips to edges. Overall exactly as expected for a vessel with an age of half a millennium or even more.Weight: 2,996 g Dimensions: Height 23.8 cmAuction result comparison:Type: Closely relatedAuction: Bonhams London, 13 May 2013, lot 189Price: GBP 2,500 or approx. EUR 3,600 converted and adjusted for inflation at the time of writingDescription: A Cizhou-style vase, Yuan Dynasty or laterExpert remark: Compare the closely related form, manner of painting, and glaze. Note that the vase has condition issues including a chip to the mouth.Auction result comparison:Type: RelatedAuction: Bonhams London, 7 June 2021, lot 507Price: GBP 3,570 or approx. EUR 4,300 converted and adjusted for inflation at the time of writingDescription: A cizhou painted baluster vase, Ming DynastyExpert remark: Compare the related crane motif as well as the similar manner of painting. Note the different form and larger size (27.5 cm).明代磁州窯花卉仙鶴紋梅瓶中國, 1368-1644年。梅瓶小口、短頸、豐肩 、瘦底、圈足。瓶的肩部有大朵花卉如牡丹和菊花卷葉紋，其身中部繪雲松間飛鶴。通體白地黑紋。腳部露胎。 款識: 瓶底圈足内 “梁希周記號“。 來源：德國達姆斯達特Teddy Hahn私人收藏，保存至今。Theodor “Teddy” Hahn 曾是知名的根付和亞洲藝術收藏家。他參觀了很多博物館，研究世界早期文化，對造像產生了特別的興趣，他開始收藏，他說：“我不知何故知道它會對我的生活產生深遠的影響。 我是多麼正確。 以及我有多開心。” 品相：品相非常好，有大量的舊磨損和燒製缺陷，一些釉料剝落，邊緣有磕損。總體而言，對於500年甚至更老的梅瓶而言，完全符合預期。 重量：2,996 克 尺寸：高23.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰思, 2013年5月13日, lot 189 價格：GBP 2,500（相當於今日EUR 3,600） 描述：元代或稍晚磁州瓶 專家評論：比較非常相近的外型、繪畫風格和釉面。請注意此瓶瓶口有一個缺口。 拍賣結果比較： 形制：相近 拍賣：倫敦邦翰思, 2021年6月7日, lot 507 價格：GBP 3,570（相當於今日EUR 4,300） 描述：明磁州系開光鹿鶴同春紋罐 專家評論：比較相似的仙鶴圖案和繪畫風格。請注意此瓶外型不同和尺寸稍大 (27.5 厘米)。
A FAMILLE ROSE 'TWELVE MAGPIES AND PRUNUS' VASE, TIANQIUPING, REPUBLIC PERIODChina, 1912-1949. Heavily potted with a globular body surmounted by a tall cylindrical neck, the exterior brightly painted in polychrome enamels with ten magpies on the lower body and two at the neck, perched on flowering prunus branches and in flight, further with lingzhi and bamboo.Provenance: French trade. Condition: Very good condition with minor old wear and some manufacturing flaws, the foot with russet stains issuing from a metal base probably once fitted to the foot.Weight: 1,582 g Dimensions: Height 34.5 cmThe recessed base with an apocryphal underglaze-blue four-character mark Qianlong nianzhi.This impressive vase is rich with symbolism. Magpies are considered good fortune birds and a group of twelve is especially auspicious, representing twelve good wishes. The combination of magpies and prunus, the early spring blossoms, also signifies double good news. Finally, the magpie perched on the top prunus branch is a rebus for 'happiness up to the tips of one's eyebrows'.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 16 September 2017, lot 990Price: USD 37,500 or approx. EUR 43,000 converted and adjusted for inflation at the time of writingDescription: Two famille-rose 'magpie and prunus' vases 20th centuryExpert remark: Compare the closely related form and motif with magpies, prunus branches and lingzhi, as well as the Qianlong seal mark. Note that the lot comprises two vases.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 19 February 2014, lot 265Price: GBP 5,000 or approx. EUR 7,000 converted and adjusted for inflation at the time of writingDescription: A large famille rose vase, tianqiuping, Qianlong seal mark, 19th/20th centuryExpert remark: Compare the closely related form and motif with twelve magpies, prunus branches and lingzhi, as well as the Qianlong seal mark to the base. Note the size (51.5 cm).民國粉彩喜上眉梢天球瓶中國，1912-1949年。長頸，豐肩，球形腹，圈足。通體粉彩繪畫喜上眉梢紋飾。古人以喜鵲作為喜的象徵，而喜爱的梅花谐音“眉”字。畫喜鵲站在梅花枝梢，即組成了“喜上眉（梅）梢”的吉祥圖案。梅樹下繪有靈芝如意。 來源：法國古玩交易市場。 品相：狀況極好，有輕微的磨損和一些製造瑕疵，足部有金屬底座留下的褐色污漬。 重量：1,582 克 尺寸：高34.5 厘米 圈足内青花“乾隆年製”四字偽款。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2017年9月16日，lot 990 價格：USD 37,500（相當於今日EUR 43,000） 描述：二十世紀一對粉彩喜上眉梢瓶 專家評論：比較非常相近的外型和喜上眉梢主題，以及乾隆款。請注意此瓶為一對。拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2014年2月19日，lot 265 價格：GBP 5,000（相當於今日EUR 7,000） 描述：十九或二十世紀乾隆款大型粉彩天球瓶 專家評論：比較非常相近的外型、喜上眉梢主題，以及底部乾隆款。請注意尺寸較大(51.5 厘米)。
A LAVENDER AND APPLE GREEN JADEITE 'CHAIN' VASE AND COVER, EARLY 20TH CENTURYChina. The translucent stone is of a fine apple green and pale lavender tone with few brown inclusions and dark green veining. The neck bears two lion head handles suspending loose rings. The cover is carved in relief with prominent taotie masks, surmounted by a Buddhist lion, its tail forming a loop attachment for the chain which is connected to the body, all carved from a single piece of jade. The vessel is neatly incised with further taotie masks above a lappet border, and the neck is additionally decorated with a band of plantain leaves.Provenance: From a private collection in Texas, USA, built over the past 50 years by a passionate collector of Asian art. Thence by descent within the same family. Condition: Very good condition, minor old wear, few minuscule nicks here and there.Weight: 824.8 g Dimensions: Height 21 cmAuction result comparison: Type: Closely relatedAuction: Bonham's Hong Kong, 24 November 2012, lot 229Price: HKD 250,000 or approx. EUR 36,800 converted and adjusted for inflation at the time of writingDescription: A Mughal-Style Jadeite Vase and CoverExpert remark: Compare the closely related color of the jadeite and the similar size of the vessel (21.5 cm), as well as the chain that connects the cover with the bodyAuction result comparison:Type: RelatedAuction: Christie's Paris, 10 December 2021, lot 700Price: EUR 30,000 or approx. EUR 32,500 adjusted for inflation at the time of writingDescription: A jadeite archaistic vase and cover, early 20th centuryExpert remark: Compare the color of the jadeite and the size of the vessel (19 cm) as well as the related taotie mask carving and the chain that connects the cover with the body. Note the different form. 二十世紀初飄紫翡翠獅鈕活環蓋瓶中國。半透明翡翠呈細膩的蘋果綠色和淡紫色調，局部輕微褐色内沁和深綠色脈理。頸部獅耳活環。瓶蓋上浮雕饕餮紋，獅鈕，其尾巴連接著圓環鏈條，另一頭連載瓶子底部。瓶身浮雕饕餮紋，頸部飾有芭蕉葉紋。翡翠蓋瓶由一整塊翡翠雕刻而成。 來源：美國德克薩斯私人收藏，五十多年前由一位熱愛亞洲藝術的收藏家建立。自此保存在同一家族至今。 品相：品相極，輕微磨損，有很多微小刻痕。 重量：824.8 克 尺寸：高21 厘米拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2012年11月24日, lot 229 價格：HKD 250,000 （相當於今日EUR 36,800） 描述：翡翠痕都斯坦式玉瓶 專家評論：比較相似的翡翠色調，圓環鏈條也連接瓶蓋和瓶身，但尺寸較小 (21.5 厘米) 。 拍賣結果比較： 形制：相近 拍賣：巴黎佳士得, 2021年12月10日, lot 700 價格：EUR 30,000 （相當於今日EUR 32,500） 描述：20世紀仿古翡翠蓋瓶 專家評論：比較相似的翡翠色調和尺寸 (19 厘米) ，以及相近的饕餮紋，圓環鏈條也連接瓶蓋和瓶身。請注意形狀不同。
A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF AMITAYUS, QIANLONG PERIODChina, 1736-1795. The figure is shown seated in dhyanasana on a double-lotus base, the hands lowered in dhyana mudra, wearing loose-fitting robes decorated with foliate scroll at the hems, richly adorned with beaded, floral, and inlaid jewelry. The hair is pulled up into a tall double-topknot, falling elegantly in long segments down the sides of the shoulders, and surmounted by a jewel.Provenance: A private collector in New York, USA.Condition: Excellent condition with minor old wear, occasional light scratches, tiny nicks, few small dents. The base sealed. Some losses to inlays, some other inlays may be later replacements. Well-preserved ancient pigments. The amrita vase held in the figure's hands is lost.Weight: 4,077 gDimensions: Height 38.5 cmThe statue is made from solid and massively gilt copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, and strands of hair are executed in copper repousse.The serene face shows heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a calm smile, flanked by long pendulous earlobes.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and slightly effeminate treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison:Type: RelatedAuction: Christie's New York, 16 September 2016, lot 1231Price: USD 35,000 or approx. EUR 43,500 converted and adjusted for inflation at the time of writingDescription: A cast and repousse gilt-bronze figure of a Bodhisattva, Qianlong period (1736-1795)Expert remark: Compare the related pose, jewelry, and size (37.1 cm)13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.乾隆時期鎏金銅錘鍱觀音坐蓮像中國，1736-1795年。髮髻高聳，耳垂花璫，髮綹層疊垂落披肩。細眉長目微閉，鼻樑挺秀，雙眉間有白毫，雙唇微抿，神情柔和。上身坦露，飾項圈和長鏈，雙肩披帔帛，飾瓔珞，臂釧、手臅等，下身著貼體薄裙，腰纖細，繫有寶帶，結跏趺坐坐於蓮座上，姿態優美。蓮座上飾一道連珠紋，蓮瓣橢圓修長，富有層次。 來源：紐約私人收藏。 品相：狀況極佳，有輕微磨損，局部有輕微劃痕與微小的刻痕，少量小凹痕。 底座密封。損失一些鑲嵌物，一些鑲嵌可能曾後期更換過。顔料保存完好。觀音手中的淨瓶丟失。 重量：4,077 克 尺寸：高38.5 厘米 造像鎏金厚重，身體和底座沒有任何凹痕或彎曲區域清楚地證明了這一點。只有耳環與帔帛及一縷頭髮是用錘鍱而成。 此造像呈現出乾隆時期銅鎏金造像的許多特點，如鑄件與錘鍱工藝的結合，面部和身體的慵懶和略顯柔美的處理，以及寬瓣束腰雙層蓮座。康熙帝在位時期對佛教的推廣在他的孫子乾隆帝時期達到了鼎盛。北京、瑞荷、多隆諾等佛教中心為了滿足眾多寺廟的需求，製作了成千上萬的佛教造像。 拍賣結果比較：形制：相近拍賣：紐約佳士得，2016年9月16日，lot 1231價格：USD 35,000（相當於今日EUR 43,500）描述：清乾隆鎏金銅菩薩坐像專家評論：比較相近的姿勢、珠寶和尺寸(37.1厘米)。
A SPINACH GREEN JADE 'PINE, LINGZHI AND BAMBOO' VASE, 18TH CENTURYChina. Fashioned in the form of a hollowed-out tree trunk issuing gnarled pine branches depicted in openwork and further bearing large lingzhi blooms, the irregular surface of the vessel further decorated in relief with tall bamboo shoots growing near the base beside a crane standing on one leg. The smoothly polished, translucent stone of a lustrous variegated green color with pale veins and dark specks. Provenance: From an old South German private collection, assembled between 1970 and 2002Condition: Very good condition with old wear and minuscule nibbling to exposed areas. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 102.7 gDimensions: Height 7.2 cmVases of this type, modeled in the form of tree trunks were very popular during the Qing dynasty, as their design could express a variety of auspicious messages. This piece, which is carved with pine, lingzhi, and bamboo, all symbols of longevity, would have been suitable as a birthday gift.Literature comparison: A closely related spinach-green jade vase carved with pine, lingzhi, and a crane is in the Palace Museum, Beijing, illustrated in Compendium of Collections in the Palace Museum, Jade, volume 8, Qing Dynasty, Beijing, 2011, pl. 183.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 4 October 2016, lot 22Price: HKD 400,000 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A spinach-green jade 'lingzhi, peach and bamboo' vase, Qing dynasty, 18th centuryExpert remark: Note the slightly larger size (11.7 cm)十八世紀松竹碧玉瓶中國。玉瓶成樹幹狀，浮雕松樹、竹子、仙鶴與靈芝。玉石玉質自然，細膩晶瑩，溫潤而通透。 來源：德國南部私人收藏，建於1970 與2002之間。 品相：狀況極好，微小磨損。有天然內沁和裂縫的石頭，隨著時間的推移，其中一些可能已經發展成細小的細縫。 重量：102.7 克 尺寸：高7.2 厘米 這種以樹乾為造型的花瓶在清代非常流行，因為寓意吉祥，青松、靈芝和竹子都是長壽的象徵，非常適合作為壽禮。 文獻比較：一件相近的碧玉瓶，刻有松樹、靈芝和鶴，收藏於北京故宮博物院，見《故宮博物院藏品大系‧玉器編》，卷八，〈清代〉，北京， 2011年，頁183。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2016年10月4日，lot 22 價格：HKD 400,000（相當於今日EUR 54,000） 描述：十八世紀清代碧玉靈芝桃竹瓶 專家評論：請注意尺寸稍大 (11.7 厘米)。
A RARE FLAMBE GLAZED MALLET VASE, YAOLINGZUN, 18TH CENTURYChina. Surmounted by a tall cylindrical neck with straight rim, covered overall in a thick layer of crushed strawberry glaze suffused with bluish-lavender streaks fading to a mushroom color at the neck and rim, the glaze suffused with a fine network of intentional crackles. The interior with an uneven glaze dripping down the neck. The base left unglazed to reveal the buff ware.Provenance: British trade. Condition: Very good condition with minor old wear and some expected firing irregularities, few minor chips and associated glaze losses to the foot.Weight: 856.3 g Dimensions: Height 23.9 cmAuction result comparison:Type: RelatedAuction: Christie's New York, 29 March 2017, lot 48Price: USD 5,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writingDescription: A flambe-glazed bottle vase, 18th-19th centuryExpert remark: Compare the related glaze with its distinct bluish-lavender streaks. Note the different, more common form and slightly smaller size (19.1 cm), as well as the possibly later date of this lot.Auction result comparison:Type: RelatedAuction: Christie's London, 12 May 2017, lot 228Price: GBP 3,000 or approx. EUR 4,000 converted and adjusted for inflation at the time of writingDescription: A flambe-glazed mallet-form vase, 19th centuryExpert remark: Compare the related form, glaze, and size (22.3 cm). Note the later date of this lot.十八世紀窯變釉搖鈴尊中國。直口，長頸，溜肩，平底。通體施窯變釉，紅、藍二色相互流淌，艷麗的紫紅色釉中夾帶著條狀天藍色釉，紅釉紅如牛血，藍釉呈現自月白至紫藍等多層次色階，釉彩自然垂落，釉面開片有冰裂紋。底座未上釉，露出淺黃色胎。 來源：英國古玩交易市場。 品相：品相極好，有輕微磨損和一些燒製不規則，少量輕微的磕損和相關的釉料損失。 重量：856.3 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3月29日，lot 48 價格：USD 5,000（相當於今日EUR 5,600） 描述：十八至十九世紀窯變釉瓶 專家評論：比較相近的釉面，它有明顯的藍紫色條紋。注意不同的、更常見的形式和稍小的尺寸(19.1 厘米)，以及本拍品可能年代較晚。拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2017年5月12，lot 228 價格：GBP 3,000（相當於今日EUR 4,000） 描述：十九世紀窯變釉搖鈴尊 專家評論：比較相近的外型、釉色和尺寸 (22.3 厘米)。請注意此拍品年代較晚。
A SACRIFICIAL BLUE GLAZED BALUSTER VASE, 18TH – 19TH CENTURYChina. Of elegant form, rising from a tapered foot to a trumped neck, the exterior covered overall in an exceptionally rich deep-blue glaze, the everted rim and interior glazed white. The recessed base with a double circle in underglaze blue.Provenance: The Strong National Museum of Play, accession number 78.17.36 (lacquered to base). Margaret Woodbury Strong (1897-1969) grew up in a prosperous family of collectors. Her interests ranged so widely that by 1960 she had amassed more than 27,000 collectible items and works of art. The vast majority of her collections related in some way to play and as her accumulation grew, Margaret planned a museum to house her collection. It eventually opened to the public in 1982, and grew dramatically over the following decades, expanding its collections, facilities, and resources, now spanning over 285,000 square feet. Today, the Strong National Museum of Play (known as just The Strong Museum or simply The Strong) is the only collections-based museum in the world devoted solely to the study of play. Condition: Excellent condition with minor old wear and some manufacturing flaws, including minor pitting.Weight: 1,048 g Dimensions: Height 29.9 cmThe rich cobalt blue seen on the present vase is sometimes referred to as 'sacrificial blue'. This name derives from the use of vessels bearing this specific glaze during sacrifices at the Imperial Altar of Heaven in the Ming dynasty.十八至十九世紀霽藍釉瓶中國。瓶口外撇，束頸，溜肩，淺弧腹，圈足。外壁施霽藍釉，瓶内白釉。圈足内青花雙圈。 來源：紐約Strong 國立美術館，收藏編號 78.17.36 (見瓶底)。Margaret Woodbury Strong (1897-1969) 成長於一個富裕的收藏家家庭。她的興趣範圍非常廣泛，到 1960 年爲止，她已經積累了 27,000 多件收藏品和藝術品。她的絕大多數收藏都以特定方式與玩耍有關，隨著她的收藏不斷擴大，Margaret計劃建立一個博物館來展示她的收藏。美術館最終於 1982 年向公眾開放，並在接下來的幾十年裡，其收藏、設施和資源急速擴大，現在佔地超過 285,000 平方英尺。 今天，Strong 國立游戲美術館（簡稱為 The Strong 美術館館或簡稱為 The Strong）是世界上唯一一家專注於遊戲研究的以收藏為基礎的博物館。 品相：狀況良極好，有輕微磨損和一些製造缺陷，包括輕微的點蝕。 重量：1,048 克 尺寸：高29.9 厘米 霽藍釉也被稱爲 “祭藍釉”，因爲此藍釉器皿多用於皇家祭祀蒼天。
AN INSCRIBED 'ODE TO THE RED CLIFF' FAMILLE VERTE ROULEAU VASEChina. The recessed base with a six-character underglaze-blue mark da Qing Kangxi nianzhi within a double circle and possibly of the period (1662-1722).The cylindrical body rising to a tall, ribbed neck with a galleried rim, brightly and finely painted in famille verte enamels to one side with a rectangular panel enclosing a scene depicting the poet Su Shi and his companion seated at a table enjoying wine under the canopy of a sampan, an oarsman at the stern guiding the boat towards the famed overhanging red cliff, the reverse inscribed with verses from the Qian Chibi fu ('First Ode to the Red Cliff').Provenance: A notable private collector in Kensington, London, United Kingdom. Sotheby's London, Important Chinese Art, 3 November 2021, lot 171, bought in at an estimate of GBP 100,000-150,000 and described as A MAGNIFICENT AND VERY RARE INSCRIBED FAMILLE-VERTE 'ODE TO THE RED CLIFF' ROULEAU VASE, MARK AND PERIOD OF KANGXI Condition: Excellent condition with some wear, shallow surface scratches and firing flaws, including pitting, glaze recesses, and scattered dark spots. The neck is slightly leaning. Two small, smoothened chips to the foot rim, possibly originated at the time of firing.Weight: 3,670 g Dimensions: Height 46.2 cmThe vase illustrates the text from the famous rhapsody First Ode to the Red Cliff, composed by the celebrated Northern Song poet, Su Shi (1037-96), to commemorate his boating excursions with friends to the Red Cliff (Chibi) in Hubei province during his political exile. It describes the poet and friends riding on a river beneath the purported site of an important battle in AD 208, between the forces of Northern General Cao Cao and Liu Bei, scion of the Han dynasty (206 BC-AD 220), who dreamt of reuniting China under a reinvigorated Han. Having himself been ousted from political life, Cao's success at the time reminds him of the short-lived nature of great careers and the transience of life.Literature comparison: Compare two blue-and-white square vases of a related subject matter, both inscribed with the First and Second Odes to the Red Cliff of Su Shi and illustrating related scenes; one preserved in the Shanghai Museum, illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl.31; the other included in the exhibition Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars' Motifs and Narratives, China Institute Gallery, New York, 1995, cat. no. 26, with the translation of the two odes included in the exhibition catalog, pp. 159-160.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.硬彩《前赤壁賦》詩文棒槌瓶中國，棒槌瓶圈足内青花雙圈“大清康熙年製“款，或爲該年代。 棒槌瓶盤口，短直頸，圓折肩，圓筒狀長腹，圈足。瓶身通體施以五彩，從瓶口至器物底部畫工繁密，其中腹部開光描繪蘇軾乘船游赤壁，兩岸松林掩映，詩人與其友人蕩舟於赤壁山水之間。另一面則寫有楷書《前赤壁賦》詩句，字體工整。 來源：英國倫敦肯辛頓知名私人收藏；倫敦蘇富比2021年 11月 3日 Important Chinese Art ，lot 171, 估價 GBP 100,000-150,000 ，描述為 ” 清康熙 五彩前赤壁賦圖詩文棒槌瓶 《大清康熙年製》款“。 品相：品相極好，有一些磨損、表面輕微劃痕，燒製缺陷，包括點蝕、釉面凹陷和散落的黑點。頸部微微傾斜。圈足上有兩個小而平滑的磕損部位，可能是在燒製時產生的。 重量：3,670 克 尺寸：高46.2 厘米 文獻比較：比較兩件相近的《前赤壁賦》和《後赤壁賦》詩文青花方瓶，一件見上海博物館藏，《康熙瓷圖錄》，香港， 1998年，頁31。 另一件展於China Institute Gallery ，Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars'Motifs and Narratives，紐約，1995年，圖錄編號26；詩文翻譯見頁159-160。
A MINIATURE BRONZE ARROW VASE, TOUHU, YUAN TO MING DYNASTYChina, 1279-1644. The facetted vase supported on a hexagonal splayed foot, the tall neck cast with two sinuous chilong in high relief below a hexagonal diaper pattern covering the handles as well, the body similarly decorated with figures on horseback, one side with a figure inside a pavilion beside a second smaller building. Provenance: A notable private collector in Kensington, London, United Kingdom. Condition: Very good condition with old wear and some casting irregularities, minuscule nicks, occasional light scratches, minor dents, and minimal losses. Fine, naturally grown, dark patina.Weight: 964.1 g Dimensions: Height 18.8 cmThe form of this vase is inspired by archaic bronze vessels used for touhu (lit. 'pitch-pot'), a traditional East Asian game that requires players to throw arrows or sticks from a set distance into a large, sometimes ornate, vessel. The game originated by the Warring States period, probably invented by archers or soldiers as a pastime during idle periods. It began as a game of skill or a drinking game at parties, but by the time it was described in a chapter of the Chinese Classic Book of Rites, it had acquired Confucian moral overtones. Initially popular among elites, it spread to other classes and remained popular in China until the end of the Qing dynasty. Touhu was usually a contest between players, who had to throw arrows into the mouth or tubular handles of the vase, which was placed at an equal distance between two mats on which the players knelt. Touhu vases continued to be produced in the Song dynasty and later, made in various materials including bronze, cloisonne, and ceramic. Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 29 May 2022, lot 12Estimate: HKD 60,000 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A rare bronze arrow vase, touhu, Yuan DynastyExpert remark: Compare the related form, diapered decorations, and remarkably small size (22.2 cm)13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.元至明小型銅投壺中國，1279-1644年。六角投壺，長頸，壺口下方雷紋飾帶，之下攀爬著兩條浮雕曲折的螭龍；腹部飾人物騎馬場景，另可見房屋窗子，一人從窗子裏鑽出，手上握著一物。 來源：倫敦肯辛頓知名私人收藏。 品相：狀況極好，有磨損和一些鑄造缺陷、微小的刻痕、輕微劃痕和凹痕。自然包漿。 重量：964.1 克 尺寸：高18.8 厘米 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2022年5月29日，lot 12 估價：HKD 60,000（相當於今日EUR 7,500） 描述：元代銅仿古蕉葉水波紋雙貫耳投壺 專家評論：比較相近外型、帶狀裝飾和明顯較小的尺寸(22.2 厘米)。
AN EMERLAD-GREEN GLAZED 'HUNTING SCENE' POTTERY VASE, HAN DYNASTYChina, 206 BC to 220 AD. Of compressed globular form, rising from a tapering foot to a waisted neck, the shoulders encircled by a band depicting a hunting scene with mythical beasts, dragons, birds, and two taotie masks issuing mock ring handles, all in high relief. Covered in a thick layer of deep emerald-green glaze, pooling nicely at the upper rim to form a number of distinct glaze drops.Provenance: Prima Porta Antiquities, Galeria Sztuki Starozytnej, Warsaw, Poland, 15 April 2005. A Polish private collection, acquired from the above. A copy of a Certificate of Authenticity from Prima Porta Antiquities, dated 15 April 2005, written and signed by Dr. Matthias Renz, and confirming the dating above, accompanies this lot. Condition: Very good condition with minor wear and manufacturing flaws, such as firing cracks, glaze flaking and fine cracks, few light scratches, the base with two drilled holes from sample-taking. Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 28 February 2022, based on sample number C122c62, sets the firing date of two samples taken at between 1500 and 2400 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot. A copy of an associated report from Antiques Analytics, Institute for Scientific Authenticity Testing, dated 11 March 2022, written and signed by Dr. Robert Neunteufel, accompanies this lot.Weight: 3,624 g Dimensions: Height 30.3 cmIn the Han dynasty, daily utensils were usually made of stoneware and goods for burial were made of earthenware. The hunting scene that decorates this vase suggests that the deceased was a nobleman, as hunting was a pastime of the aristocracy.Literature comparison: Compare a closely related green glazed vase with a hunting scene, dated to the Han dynasty (206 BC-220 AD), in the collection of the Victoria and Albert Museum, accession number C.245-1909. Compare a closely related green glazed vase with a hunting scene, dated to the Western Han dynasty (206 BC-8 AD), in the collection of the Victoria and Albert Museum, accession number C.1479-1924.漢代綠釉狩獵紋雙輔首陶瓶中國，公元前206 年至公元 220 年。瓶口外撇，束頸，溜肩，鼓腹，高足，平底。肩部環繞著一條浮雕飾帶，描繪了狩獵場景，可見神話中的野獸、龍、鳥已經兩個獸首啣環輔首。通體覆蓋著一層厚厚的深綠色釉，匯集足部，形成許多釉滴。 來源：波蘭華沙Sztuki Starozytnej 藝廊Prima Porta Antiquities，2005年4月15日；波蘭私人收藏，購於上述藝廊。隨附一份Prima Porta Antiquities古玩出具的真品鑒定證明複印件，時間爲2005年4月15日，Matthias Renz博士書寫並簽名，確認年代。 品相：品相極好，有輕微磨損和製造缺陷，如燒裂、釉面剝落和細裂，有輕微劃痕，底座有兩個取樣孔。 科學檢測報告：牛津鑒定2022年2月28日出具的熱釋光檢測報告，取樣編號C122c62，兩個取樣，卻認爲1500 至 2400年前。隨附檢測報告複印件。隨附古玩科學檢測研究所Robert Neunteufel博士2022年3月11日出具的檢測報告。 重量：3,624 克 尺寸：高30.3 厘米 漢代，日用器物多為炻器，陪葬品多為陶器。裝飾此瓶的狩獵場景表明墓主是貴族，因為狩獵是貴族的消遣。 文獻比較： 比較一件非常相近的漢代綠釉狩獵紋陶瓶，收藏於維多利亞和亞伯特博物館，編號C.245-1909。比較一件非常相近的西漢綠釉狩獵紋陶瓶，收藏於維多利亞和亞伯特博物館，編號C.1479-1924。
A GILT-BRONZE AND CLOISONNE ENAMEL 'CRICKET' VASE, HU, JIAQING PERIODChina, 1796-1820. The globular body rising from a splayed foot to a waisted neck, flanked by two Buddhist lion mask handles suspending loose cloisonne rings, decorated with a wide band depicting lotus, peony, and chrysanthemums sprouting amid rockwork, and a cricket perched on leaves, all on a dusky-pink wan-diaper ground that is characteristic of the period.Provenance: Austrian trade. The base with an old inscription in black ink '…800…'. The inset similarly inscribed 'c 966'. Condition: Good condition with old wear, minor encrustations and verdigris, and manufacturing irregularities including expected pitting, minuscule nicks to enamels, few minor dents to the body, a hole drilled through the base and inset. The wood base with a loss to one foot and a fine, golden-brown patina overall.Weight: 2,182 g Dimensions: Height 29.5 cm (excl. base) and 39 cm (incl. base)With a finely carved wood base dated to the later Qing dynasty. The vase with a European gilt-metal inset for flowers. (3)The foot with a band of key-fret and blossoms above the lozenge border. The neck decorated with a triangular border, and floral bands framing two rows of stylized Shou characters. Auction result comparison:Type: RelatedAuction: Sotheby's New York, 19 March 2007, lot 559Price: USD 54,000 or approx. EUR 70,000 converted and adjusted for inflation at the time of writingDescription: An impressive pair of large cloisonne enamel bottle vases, (tianqiuping) Qing dynasty, Jiaqing periodExpert remark: Compare the similar wan-diaper ground and related floral motifs. Note the lot comprises two vases of different form and significantly larger size (56 cm).Auction result comparison:Type: RelatedAuction: Sotheby's Paris, 15 December 2011, lot 146Estimate: EUR 15,000-20,000 or approx. EUR 18,000-24,500 adjusted for inflation at the time of writingDescription: Gilt bronze and cloisonne enamel basin China, Qing Dynasty, Jiaqing Period (1796-1820)Expert remark: Compare the similar wan-diaper background. Note that this vessel is significantly large than the present vase.嘉慶鎏金銅胎掐絲琺瑯蟋蟀花卉紋雙耳壺中國, 1796-1820年。壼銅胎質，盤口，束頸溜肩，垂腹，下承外撇盤口，高圈足。口沿、圈足及雙耳鎏金，頸部兩側各飾一組獅首活環耳，鏨刻工藝極為精巧。壺身朱紅地掐絲表現菊花、牡丹等花卉，花朵造型古樸典雅，枝葉線條俐落，掐絲工藝繁而不亂，鮮豔而絢麗。一隻大蟋蟀停留在花上，自然生動。 來源：奧地利古玩交易市場。底部有黑墨書寫的 '…800…'字樣，壺内有相似的字樣 'c 966'。 品相：品相良好，磨損、輕微的結殼和包漿，以及製造不規則之處，包括預期的點蝕、琺瑯上的微小刻痕和壺身上的一些輕微凹痕、底座穿孔。木質底座缺一隻腳，整體呈金棕色光澤。 重量：2,182 克 尺寸：高29.5 厘米 (不含底座) 和 39 厘米 (含底座) 木底座應來自晚清。歐洲鎏金内膽可放置花卉。 頸部黃地芭蕉紋，景泰藍地兩道壽字紋。拍賣結果比較： 形制：相近 拍賣：紐約蘇富比, 2007年3月19日, lot 559 價格：USD 54,000 （相當於今日EUR 70,000） 描述：嘉慶一對大型銅胎掐絲琺瑯天球瓶 專家評論：比較類似的萬字地和相關的花紋圖案。請注意本拍品包括兩個不同形式的花瓶，而且尺寸明顯較大 (56 厘米)。 拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比， 2011年12月15日, lot 146 估價：EUR 15,000-20,000（相當於今日EUR 18,000-24,500） 描述：嘉慶(1796-1820) 銅胎掐絲琺瑯盆 專家評論：比較相似的萬字地。請注意此盆明顯大於現拍品。
A GILT-DECORATED FAMILLE ROSE DISHChina, first half of the 20th century. Finely painted with a lady and a boy sitting by a window opening to a garden with bamboo growing from a rock. The interior decorated with a blue curtain bundled by tassels, and a black and white landscape painting hanging in the background above a censer and a vase. The cavetto framed by a gilt border with dense tendrils. The base with a blue-enameled apocryphal four-character mark Qianlong nianzhi.Provenance: Thierry de Maigret, Paris, 17 December 2014. A notable private collector in Kensington, London, United Kingdom, acquired from the above. A copy of the original invoice from Thierry de Maigret, Paris, 17 December 2014, with the reference number 508886 and stating a purchase price of EUR 50,000 - approx. EUR 55,750 adjusted for inflation at the time of writing - accompanies this lot.Condition: Excellent condition with only minor old wear.Weight: 118.5 g Dimensions: Diameter 13.5 cmWith a fitted box (2).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.鎏金粉彩開光人物小碟中國，二十世紀上半葉。碟中開光精美描繪一位婦人坐在窗邊看書，一個男孩靠在她的身旁。細節描繪入微，屋内藍色流蘇窗簾，墻上掛著黑白山水畫，書桌上放著香爐和花瓶。窗外假山竹葉。碟子外壁青花，圈足内白釉，“乾隆年製“四字款。 來源：巴黎Thierry de Maigret, 2014年12月17日。倫敦肯辛頓知名私人收藏，購於上述藝廊。隨附出具於2014年12月17日原始發票的複印件，可見編號為 508886以及當時的價格：EUR 50,000 -，相當於現在的 EUR 55,750 。 品相：品相極好，輕微磨損。 重量：118.5 克 尺寸：直徑 13.5 厘米 配套盒子。
A GILT FAMILLE VERTE 'LEAPING CARP' CHARGER, KANGXI PERIODChina, 1662-1722. The shallow rounded sides rising from a short tapered foot to a broad flared rim, finely painted in gilt and bright enamels with a giant carp, its magnificent scales neatly rendered in gilt, rising from the swirling and crashing waves below with two smaller fish and flower heads, all below scrolling clouds, enclosed by a single line band.Provenance: Property from a distinguished American collection. Christie's New York, 27 January 2014, lot 352, sold for USD 22,500 (ca. USD 27,000 in today's currency after inflation). A private collector, acquired from the above.Condition: Good condition with minor wear and firing irregularities, some fritting and few shallow chips to mouth and foot rims, minor rubbing to enamels. The gilt is extremely well preserved.Weight: 1,674 gDimensions: Diameter 35.5 cmThe recessed base with a lozenge mark within a double circle. The rim with shaped reserves enclosing fish and floral sprays against a diapered floral ground.The carp symbolizes courage and perseverance because of the Dragon Gate fable wherein carp, defying the odds, swim up a waterfall and are transformed into benevolent and powerful dragons.During the early Qing dynasty, up until the early 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 and double circles. The mark found on the present lot, in the form of a lozenge, an important Taoist symbol, appears to be rare but is clearly part of the same group.Auction result comparison:Type: Distantly relatedAuction: Christie's Hong Kong, 31 May 2017, lot 3223Price: HKD 625,000 or approx. EUR 87,000 converted and adjusted for inflation at the time of writingDescription: A fine and rare iron-red and gilt-decorated 'carp' rouleau vase, Kangxi period (1662-1722)Expert remark: Compare the related carp motif, note the form and colors. 康熙硬彩描金開光鯉魚躍龍門盤中國，1662-1722年。折沿，淺斜腹，圈足。盤内開光描金描繪一條巨大的鯉魚躍龍門，魚鱗描金，水中波浪翻滾，蓮花漂浮其中。盤沿上錦地如意形開光内小魚游戲。 來源：美國知名收藏。紐約佳士得2014年1月27日 lot 352, 售價USD 22,500 (相當於現在的 USD 27,000 )；私人藏家購於上述收藏。 品相：狀況良好，有輕微磨損和燒製瑕疵，邊沿和足部邊緣有一些熔塊和少量磕損，琺瑯有輕微摩擦。描金保存極好。 重量：1,674 克 尺寸：直徑35.5 厘米 圈足内青花雙圈並菱形款。鯉魚象徵勇氣和毅力，因為傳説中鯉魚不畏險阻，勇躍龍門，比喻升官等飛黃騰達，或者逆流前進，奮發向上。 清初至1680年代初，中國局勢動盪，御器製作和瓷器年號的使用受到各種限制。 在此期間，出現了不同類型的款記，包括靈芝和雙圈標記。 本拍品上發現的菱形印記是道教的重要象徵，看似罕見，但顯然屬於同一情況。拍賣結果比較：形制：些微相近拍賣：香港佳士得，2017年5月31日，lot 3223價格：HKD 625,000（相當於今日EUR 87,000）描述：清康熙灑藍地礬紅描金魚藻龍紋棒槌瓶 專家評論：比較相近的鯉魚主題，請注意外型和顏色。
A 'MILLE FLEUR AND CHILONG' VASE, TIANQIUPING, LATE QING TO EARLY REPUBLIC PERIODChina, 1830-1930. Of bottle form, rising from a tapered foot to a cylindrical neck, densely painted in underglaze blue with peony, magnolia, prunus, and other floral blossoms, the shoulder finely applied with a fierce sinuous chilong decorated in copper red, the mouth agape showing sharp fangs and a pointed tongue. Provenance: North American trade. Condition: Very good condition with minor old wear, some firing flaws as expected, a small hairline to the rim, and one minuscule claw of the chilong lost.Weight: 1,510 g Dimensions: Height 33.3 cmThe recessed base with an apocryphal underglaze-blue six-character seal mark da Qing Qianlong nianzhi. Auction result comparison:Type: RelatedAuction: Christie's New York, 8 October 2015, lot 482Price: USD 4,375 or approx. EUR 5,400 converted and adjusted for inflation at the time of writingDescription: A Chinese porcelain mille fleur bottle vase, late 19th centuryExpert remark: Compare the related form, decoration, dragon molding around the neck, apocryphal Qianlong mark, and size (40 cm).Auction result comparison:Type: RelatedAuction: Bonhams Edinburgh, 10 July 2013, lot 337Price: GBP 4,750 or approx. EUR 7,100 converted and adjusted for inflation at the time of writingDescription: A famille rose 'mille fleurs' bottle vaseExpert remark: Compare the related form, decoration, dragon molding around the neck, apocryphal Qianlong mark, and size (33 cm).清末民初青花百花不落地盤螭龍天球瓶中國，1830-1930年。直頸，圓鼓腹，淺圈足。青花描繪百花不落地紋，肩部堆塑青花釉裏紅螭龍，龍頭上揚，張嘴，龍牙顆顆清晰，身型矯健有力，眼神如矩，栩栩如生。 來源：北美古玩交易市場。 品相：品相極好，有輕微磨損，一些燒製瑕疵，邊緣有一條細小的冲線，螭龍的一隻爪子丟失。 重量：1,510 克 尺寸：高33.3 厘米 圈足内偽款“大清乾隆年製”。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年10月8日，lot 482 價格：USD 4,375（相當於今日EUR 5,400） 描述：十九世紀晚期百花不落地盤龍瓶 專家評論：比較相近的外型、裝飾、盤龍、乾隆偽款，和尺寸 (40 厘米)。 拍賣結果比較： 形制：相近 拍賣：愛丁堡邦瀚斯，2013年7月10日，lot 337 價格：GBP 4,750（相當於今日EUR 7,100） 描述：粉彩百花不落地盤龍瓶 專家評論：比較相近的外型、裝飾、盤龍、乾隆偽款，和尺寸(33 厘米)。
A GUAN-TYPE GLOBULAR VASE, QING DYNASTYChina, 18th-19th century. Well potted with a rounded body sweeping up to a short waisted neck and everted rim, covered in a fine bluish-gray glaze suffused with a network of black and golden-russet crackle. The recessed base with a pale gray glaze and denser crackle.Provenance: French trade. Condition: Good condition with old wear and manufacturing flaws, such as a glaze recess to the interior, a minor blow to the side with associated glaze flakes and hairlines. The base drilled.Weight: 607,2 g Dimensions: Height 17.4 cmAuction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 26 May 2014, lot 735Price: HKD 56,250 or approx. EUR 8,500 converted and adjusted for inflation at the time of writingDescription: A Guan-Type Globular Vase Qing Dynasty, 18th / 19th CenturyExpert remark: Compare the closely related form and two-tone crackle glaze. Note the lipped rim and larger size (36.5 cm).清代仿官釉瓶中國，十八至十九世紀。瓶口外撇，束頸，溜肩，豐胸，收腹，圈足。通體施灰青釉，釉面光亮並有大開片。圈足内青白色釉小開片。 來源：法國古玩交易市場。 品相：狀況良好，有磨損和製造瑕疵，例如釉料凹陷，釉面有相關的開片和冲線。底部鑽孔。 重量：607,2 克 尺寸：高17.4 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年5月26日，lot 735 價格：HKD 56,250（相當於今日EUR 8,200） 描述：十八至十九世紀清代仿官釉瓶 專家評論：比較非常相近的外型和雙色釉面裂紋。請注意唇口和尺寸較大(36.5 厘米)。
A FAMILLE VERTE 'CHESS PLAYERS' BALUSTER VASE, QING DYNASTYChina, 19th century. The ovoid vase tapering towards the base, surmounted with a trumped neck, finely painted in emerald-green, lemon-yellow, aubergine, sapphire-blue, and iron-red, depicting a palace garden with nobilities and scholars at a game of chess, to their left a group of men seated in a pavilion around a table. The neck decorated with boys at play in a garden. The base with a double circle in underglaze blue.Provenance: British trade. Condition: Very good condition with minor old wear, and firing flaws including dark spots, pottery lines, glaze recesses, and kiln grit.Weight: 3,998 g Dimensions: Height 46.5 cmAuction result comparison:Type: RelatedAuction: Sotheby's New York, 24 June 2020, lot 1094Price: USD 8,750 or approx. EUR 10,000 converted and adjusted for inflation at the time of writingDescription: A famille-verte 'official scene' rouleau vase, Qing dynasty, 19th centuryExpert remark: Compare the related motif, enamels, and size (46 cm)清代五彩《園中人物》賞瓶中國，十九世紀。賞瓶造型規整雅緻，撇口，束頸，鼓腹，圈足。器身以五彩繪園中官員下棋、談天等場景圖紋，埸景熱鬧，歡笑之感躍然而出。頸部飾童戯圖。整器畫筆細膩清秀，圖案構圖疏密得體，繪畫精細。圈足内青花雙圈款。 來源：英國古玩交易。 品相：狀況極好，有輕微的磨損和燒製缺陷，包括黑點、陶紋、釉面凹陷和窯砂。 重量：3,998 克 尺寸：高46.5 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2020年6月24日，lot 1094 價格：USD 8,750（相當於今日EUR 10,000） 描述：清十九世紀五彩人物故事圖棒槌瓶 專家評論：比較相近的形制、琺瑯彩和尺寸 (46厘米)。
A GILT-DECORATED AND PEAR-SHAPED 'RUYI' VASE, YUHUCHUNPING, LATE MING DYNASTYChina, 16th – early 17th century. Well potted with a tall waisted neck and slightly flared rim, supported on a short straight foot. Finely painted in gilt and bright enamels with a wide ruyi-shaped collar filled with flowerheads and scrolling vines, the shoulder encircled by a band of stiff leaves, further with diapered and stiff leaf bands framed by line borders above the foot.Provenance: French trade. Condition: Good condition with old wear and some manufacturing flaws, including dark spots, small chips to the rim, light surface scratches.Weight: 631.6 g Dimensions: Height 22.3 cmAuction result comparison:Type: Remotely relatedAuction: Christie's New York, 24 September 2021, lot 726Price: USD 12,500 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A famille verte pear-shaped vase, Kangxi period (1662-1722)Expert remark: Compare the related ruyi collar and form of the vase. Note the larger size (39 cm) and the later date.明末描金如意玉壺春瓶中國，十六至十七世紀初。梨形玉壺春瓶呈撇口、束頸、溜肩、垂腹、圈足。精美的描金和明亮的琺瑯彩繪，頸部蕉葉紋，肩部寬大的如意紋開光，内繪卷葉紋。 來源：法國古玩交易市場。 品相：狀況良好，有磨損和一些製造瑕疵，包括黑點、邊緣小磕損，表面有輕微的劃痕。 重量：631.6 克 尺寸：高22.3 厘米 拍賣結果比較： 形制：稍微相近 拍賣：紐約佳士得，2021年9月24日，lot 726 價格：USD 12,500（相當於今日EUR 12,500） 描述：康熙時期硬彩梨形瓶 專家評論：比較相近的如意開紋開光，以及瓶身形狀。請注意尺寸較大 (39 厘米) ，以及年代較晚。
A RARE CLOISONNE 'FIVE POISONS' MINIATURE JARDINIERE, QIANLONG PERIOD (1736–1795)China. The hexagonal vessel supported on six short feet, the facetted sides tapering downward and each decorated with an animal against a lozenge-diapered ground enameled in blue, red, yellow, and turquoise. The animals represent the Five Poisons (wu du) – snake, spider, scorpion, centipede, and toad – with the addition of a lizard. The gilt-bronze rim is incised and ring-punched with floral reserves against a pierced trefoil-diapered ground, above pendent ruyi heads.Provenance: From an Austrian private collection. Condition: The base with traces of soldering, the drilled hole possibly of later date, otherwise with expected wear and manufacturing flaws, including pitting. Minor nicks, dents and losses. Overall presenting very well.Weight: 310.2 gDimensions: Width 11.7 cmThe Five Poisons (hu du) are believed to form an elixir that neutralizes evil. The five together are a talisman used to counteract evil on Duanwujie, the Dragon Boat Festival. In some variants of the Five Poisons, the toad is replaced by the Jin Chan, or money toad, as seen on the present lot. The winged centipede and additional lizard appear to be further variants of this ancient Chinese concept.Literature comparison: Compare a closely related cloisonne vase from the Qianlong period, 27.9 cm, in the collection of the Metropolitan Museum, Accession Number 29.110.92.乾隆時期罕見銅胎掐絲琺瑯五毒紋小盆中國。六邊形小盆，上寬下窄，盆沿下折飾如意紋，六隻如意形短足，每一面都由藍色、紅色、黃色和綠松石色組成的菱形圖案，中間可見五毒——蛇、蜘蛛、蝎子、蜈蚣、蟾蜍以及蜥蜴。 來源：奧地利私人收藏。 品相：底座帶有焊接痕跡，可能是後期做的鑽孔，磨損和製造缺陷，包括點蝕。輕微的劃痕、凹痕和缺損。 整體品相非常好。 重量：310.2 克 尺寸：寬11.7 厘米 文獻比較： 比較非常相近的乾隆時期銅胎掐絲琺瑯，尺寸27.9 厘米，見大都會藝術博物館，藏品編號29.110.92。
'LADIES IN THE PALACE GARDEN', IMPERIAL SCHOOL, QING DYNASTYChina, 18th-19th century. Ink and watercolors on silk, with a silk brocade frame and mounted as a hanging scroll. Depicting two court ladies in a garden setting, one dressed in a blue robe and holding a fan, the other wearing a white robe, the two ladies immersed in conversation, standing in front of a desk with tea utensils, books, and a red vase, framed by blossoming trees, craggy rockwork, and a fence.Inscriptions: Lower left, two seals, one reading 'Siwei shuwu'.Provenance: British trade. Condition: Good condition with minor wear, few stains, few small tears and creases, a minor split to the silk with associated small losses.Dimensions: Image size 75.3 x 35.9 cm, Size incl. mounting 192 x 46.5 cmAuction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 1 December 2020, lot 10Price: HKD 48,450 or approx. EUR 6,200 converted and adjusted for inflation at the time of writingDescription: Anonymous, Ladies and qin, Early Qing DynastyExpert remark: Note the size (36 x 27.5 cm)Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 27 May 2021, lot 59Estimate: HKD 50,000 or approx. EUR 6,300 converted and adjusted for inflation at the time of writingDescription: Anonymous, Ladies and Dog, 19th centuryExpert remark: Note the size (59.5 x 29.8 cm) 清代《園中仕女圖》中國，十八至十九世紀，絹本設色，掛軸。畫園林中的兩位仕女，一位身著藍衣，手持扇子，置於身後；一位身著白衣。兩人似乎正在交談中，身邊一張書桌，上面擺放著茶具、書籍和一個紅色的花瓶 ，周圍可見花朵盛開的花樹，假山和圍欄。設色妍麗。 款識：四維書屋 來源：英國古玩交易。 品相：狀況良好，輕微磨損與污漬，少量撕裂和摺痕，絲絹有輕微裂痕和缺損。 尺寸：畫面75.3 x 35.9 厘米，總192 x 46.5 厘米 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2020年12月1日，lot 10 價格：HKD 48,450（相當於今日EUR 6,200） 描述：清早期佚名仕女圖對開水墨絹本 專家評論：請注意尺寸(36 x 27.5 厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2021年5月27日，lot 59 Estimate: HKD 50,000（相當於今日EUR 6,300） 描述：佚名十九世紀仕女戲犬圖 專家評論：請注意尺寸(59.5 x 29.8 厘米)。
AN ETCHED AND ENAMELED GLASS 'WINTER LANDSCAPE' SNUFF BOTTLE, BY DAUM NANCY, EARLY 20TH CENTURYOpinion: The present lot, with its classic round form and short everted neck, is without a doubt a snuff bottle, as opposed to the more common perfume bottles which are always larger in size, typically varying between 12 and 18 cm. This means that the present lot was specifically designed as an export article for the Chinese market and thus must be considered extremely rare.France, circa 1910. Of flattened globular form, superbly painted in bright enamels to depict a winter landscape with bare trees and bushes against a reddish-orange ground suggestive of the evening sky. The swirled opaque glass with orange and yellow streaks, edged, cut, and finely polished. The base with an enameled mark Daum Nancy with the cross of Lorraine.Provenance: From the private collection of Tuyet Nguyet and Stephen Markbreiter. The base inscribed 'Daum & Nancy'. Tuyet Nguyet was the founder and chief editor of Arts of Asia. She married Stephen Markbreiter, an English architect, in 1959 and moved to Hong Kong to work as a journalist. Arts of Asia's first regular edition appeared in 1971. In the magazine, Nguyet sought to combine authoritative content from major experts with detailed coverage of the Asian art market. Tuyet Nguyet was an early member of The International Chinese Snuff Bottle Society, attending her first convention in 1973, and was later elected as an honorary member. Condition: Very good condition with minor old wear and possibly very light retouching to the mouth rim.Stopper: Pearl stopper with silver mountingWeight: 23.4 g Dimensions: Height 52 mm. Diameter neck 11 mm and mouth 6 mmDaum was created in 1892 by Auguste Daum (1853-1909) and Antonin Daum (1864-1930) in the French town Nancy. They developed the Art Nouveau style for which they received the 'Grand Prix' medal at the world exhibition in 1900. Daum glass works are known for their motifs of scenery and nature with mostly plants or flowers. Daum formed the Ecole de Nancy (Nancy School) together with other glass and furniture factories operating in the French city of Nancy. Acid etching was often combined with carving, enameling, and engraving on a single piece of glass to produce creative glass masterpieces. Auction result comparison:Type: RelatedAuction: Christie's New York, 23 July 2010, lot 217Price: USD 20,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A French etched and enameled glass 'winter landscape' vase, signed in enamel 'Daum Nancy' and with cross of Lorraine, circa 1910Expert remark: Compare the closely related decoration, the color, and the signature. Note the size of the vase (8 cm). 二十世紀初DAUM NANCY派蝕刻琺琅彩冬景鼻烟壺法國，約1910年。扁平圓形，明亮的琺瑯，描繪了一幅秀麗的冬日夕陽圖，夕陽下掉光了樹葉的樹和灌木叢以及雪地。帶有橙色和黃色條紋的漩渦狀不透明玻璃，經過磨邊、切割和精細拋光。帶有洛林十字架的琺瑯標記和 Daum Nancy款的底座。 專家注釋：本拍品具有經典的圓形、短頸和弦唇，毫無疑問是一個鼻烟壺，而不是香水瓶，後者的尺寸總是更大，通常在 12 到 18 厘米之間變化。這意味著本拍品是專門為中國市場設計的外銷商品，極為罕見。 來源：Tuyet Nguyet 和 Stephen Markbreiter 的私人收藏。底座上標注 'Daum & Nancy'。Tuyet Nguyet 是《Arts of Asia》的創始人和主編。1959 年，她與英國建築師Stephen Markbreiter結婚，並移居香港擔任記者。《Arts of Asia》第一期普通版於 1971 年問世。在該雜誌中，Nguyet 致力於將專家的權威內容與亞洲藝術市場的詳細報導相結合。Tuyet Nguyet 是國際中國鼻烟壺協會的早期會員，1973 年參加了協會的第一次大會，後來當選爲名譽會員。 品相：品相極好，有輕微的磨損，壺口有輕微修飾。 壺蓋：珍珠，鑲銀 重量：23.4 克 尺寸：高 52 毫米，頸部直徑11 毫米 及瓶口直徑6 毫米 Daum 於 1892 年由 Auguste Daum (1853-1909) 和 Antonin Daum (1864-1930) 在法國小鎮Nancy創建。他們創立了新藝術運動風格，並因此在 1900 年世界博覽會上獲得大獎。Daum 玻璃作品以其風景和自然的主題而聞名，主要是植物花卉。Daum 與在法國Nancy市運營的其他玻璃和家具工坊一起成立了 Ecole de Nancy（Nancy派）。酸蝕通常與在一塊玻璃上的雕刻和上釉相結合，以製作出富有創意的玻璃作品。
A FAMILLE ROSE PORCELAIN 'ELEPHANT' SNUFF BOTTLE, 1770-1790Published: Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, pp. 98-99, no. 310. An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, Tokyo, 1978, p. 37, no. 65. Holden, Rivers and Mountains Far From the World - The Rachelle R. Holden Collection, A Personal Commentary, New York, 1994, pp. 142-143, no. 58. Bob C. Stevens, Collection of Fine and Important Chinese Snuff Bottles, Part I, 1981, no 60. Exhibited: Tokyo, Mikimoto Hall, An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection, 22-31 October 1978, cat. no. 65. China, Jingdezhen kilns. Well-modeled in the form of a recumbent caparisoned grayish-pink elephant with an iron-red and gilt-decorated zun set atop its back on a saddle with a howdah decorated with the ying-yang symbol above crested waves, framed by a diapered gilt border. The gilt copper stopper decorated with five bats encircling a shou symbol with beaded border.Provenance: From the collection of Bob C. Stevens, California. Sotheby's Honolulu, Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part I, 7 November 1981, lot 60. Rachelle R. Holden Collection, New York, acquired from the above. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life. Condition: Fine condition with old wear, mostly to the gilt, and some manufacturing flaws. Minor old repair to mouth rim.Stopper: Gilt copper stopperWeight: 41.6 gDimensions: Height including stopper 47 mm. Diameter neck 15 mm and mouth 6 mm.A good many molded porcelain bottles from the mid-Qing period are of animal, vegetable, or figural forms, and many of these were not reign marked. Several of them would have been inventions of the late Qianlong, and this elephant is likely to be one of them, although an early Jiaqing date is equally plausible. Because of their auspicious symbolism, elephants were moderately common subjects in the Qing palaces. They are known from the eighteenth century in nephrite and from late in the Qianlong reign in imperial yellow glass; it seems highly unlikely that the emperor would not have thought of molding them in porcelain the moment the art form evolved to the point of producing free-standing animal forms.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 25 May 2014, lot 1171Price: HKD 93,750 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: A Famille Rose Porcelain 'Elephant and Vase' Snuff Bottle Qing Dynasty, Qianlong PeriodExpert remark: Compare the near identical form, and closely related design and enameling.1770-1790年粉彩“太平有象”鼻烟壺中國，景德鎮。器身塑造為臥象造型，象頭俯臥向後看去，周身裝飾得珠光寶氣，身上蓋著波上滾珠紋毯子，背上有鐵紅色描金尊。 壺蓋鎏金銅，飾五隻蝙蝠，圍成壽字。 出版： 1. Bob C. Stevens，《The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》）》，紐約，1976年，頁98-99，編號310。 2. An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection，東京，1978年，頁37，編號65。 3. Holden，《Rivers and Mountains Far From the World - The Rachelle R. Holden Collection，A Personal Commentary》，紐約，1994年，頁142-143，編號58。 4. Bob C. Stevens，《Collection of Fine and Important Chinese Snuff Bottles》，第一部分，1981年，編號 60。 展覽： 1. Tokyo，Mikimoto Hall，An Exhibition of Chinese Snuff Bottles From The Bob C. Stevens Collection，1978年10月22-31日，畫冊編號 65。 來源：Bob C. Stevens舊藏，加利福尼亞；火奴魯魯蘇富比，Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens，Part I，1981年11月，lot 60；紐約Rachelle R. Holden 舊藏，購於上述拍賣。Bob C. Stevens 曾是一位中國鼻烟壺知名收藏家，曾出版過一本書The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），1976年以及1978年。書裏曾記錄過這件拍品。他的藏品的一部分曾在東京Mikimoto Hall（御本廳）展出過。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。 她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相良好，鎏金部分磨損較多，有製造瑕疵，壺嘴邊有小修補。壺蓋：鎏金銅 重量：41.6 克 尺寸：高 （含蓋）47 毫米，頸部直徑15 毫米及壺口直徑6 毫米 由於字數限制，完整拍品中文翻譯請至www.zacke.at查看。
A PAIR OF CLOISONNE ENAMEL 'LOTUS POND' JARS, JIAQING PERIODChina, 1796-1820. Of lobed form, rising from an oval foot to a short straight neck, decorated in polychrome enamels depicting a lotus pond with butterflies and miniature cranes above a border of stylized crashing waves, the neck with a band of bats interspersed with lingzhi clouds, bordered by a band of ruyi, all above a deep coral red ground with a wan-symbol pattern. (2)Provenance: From an old Croatian private collection and thence by descent. One vase with a collector's number '62' to the base. Condition: Fine condition with some old wear, manufacturing imperfections, small nicks and losses to enamels. One jar with a ding to the shoulder, the other with an ancient repair to the interior.Weight: 1,154 g and 1,124 g Dimensions: Width 28 cm (each) Auction result comparison:Type: RelatedAuction: Bonhams London, 17 May 2020, lot 145Price: GBP 5,000 or approx. EUR 6,400 converted and adjusted for inflation at the time of writingDescription: A pair of cloisonne enamel and gilt-bronze baluster trumpet-necked vases, late Qianlong/JiaqingExpert remark: Compare the related wan-symbol ground and lotus pond decoration. Note the different form and larger size (44.5 cm).嘉慶一對掐絲琺瑯《荷塘鴨戲》罐中國，1796-1820年。橢圓形罐口，直頸，罐身呈四瓣，圈足。頸部蝙蝠如意紋帶；罐身紅地掐絲萬字紋，琺瑯荷塘鴨戲，荷花荷葉搖曳，蝴蝶飛舞，場景生動。 來源：克羅地亞私人收藏，保存至今，一個罐子底部有藏家編號“62”。 品相：狀況良好，有磨損、製造缺陷、小劃痕和琺瑯缺損。一個罐子的肩膀上有一個凹痕，另一個罐子的內部有修復。 重量：分別爲1,154 克與 1,124 克 尺寸：分別寬 28 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2020年5月 17日，lot 145 價格：GBP 5,000（相當於今日EUR 6,400） 描述：清乾隆晚期嘉慶一對掐絲琺瑯蓮紋瓶 專家評論：比較相近的萬字地荷葉裝飾。請注意外型不同，且尺寸較大(44.5 厘米)。
JEAN COCTEAU (1889-1963)Femme à la chandelle signé à la main Jean Cocteau; inscrit original (sous la base) vase en terracotta rose36 x 12.5 cm. (14 3/16 x 4 15/16 in.)Exécuté en 1962.Cette oeuvre est le modèle original réalisé par Cocteau pour l'édition de 10.hand signed Jean Cocteau; inscribed original (underneath)pink terracotta vaseConceived in 1962.This work is the original model made by Cocteau for the subsequent edition of 10.Footnotes:BibliographieA. Guédras, Jean Cocteau céramiques, Paris, 1989, n° 297This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
JEAN COCTEAU (1889-1963)Femme voilée inscrit original et gravé Edition originale Jean Cocteau/Atelier Madeline-Jolly (sous la base)vase en terracotta partiellement émaillé avec crayon27 x 14 cm. (10 5/8 x 5 1/2 in.)Exécuté en 1958. Cette œuvre est le modèle original réalisé par Cocteau pour l'édition de 5. inscribed original and incised Edition originale Jean Cocteau/Atelier Madeline-Jolly (underneath)partially glazed terracotta vase with crayon Conceived in 1958.This work is the original model made by Cocteau for the subsequent edition of 5.Footnotes:LiteratureA. Guédras, Jean Cocteau céramiques, Paris, 1989, n° 288This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
JEAN COCTEAU (1889-1963)Janus signé et daté à la main Jean Cocteau 63; inscrit exemplaire d'auteur (sous la base)Vase en terracotta rose31 x 11.7 cm. (12 3/16 x 4 5/8 in.)Exécuté en 1963.Cette œuvre est l'un des deux exemplaires d'artiste en dehors de l'édition de 5. hand signed and dated Jean Cocteau 63; inscribed exemplaire d'auteur (underneath)pink terracotta vase Conceived in 1963.This work is one of the two artist's proof aside from the edition of 5.Footnotes:BibliographieA. Guédras, Jean Cocteau céramiques, Paris, 1989, n° 295 This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Six silver napkin rings, to include Victorian pair with engraved scrolling decoration, hallmarked Thomas Hayes, Birmingham 1893, a 1930's oval example with engine turned decoration, hallmarked Henry Griffith & Sons Ltd, Birmingham 1933, and a circular engine turned example, stamped Sterling, together with a small Edwardian silver specimen vase, hallmarked James Deakin & Sons, Sheffield 1907, and an early 20th century silver dish inset with Rupee, stamped Sterling Silver, approximate weighable silver 5.17 ozt (160.9 grams)Condition Report:General wear commensurate with age and use, including surface scratches, nicks, and some indentations.Napkin rings with some compression.Specimen vase with knocks to rim.Hallmarks with varying degrees of wear.
A JIZHOU REVERSE-DECORATED 'LOTUS' MEIPING, SOUTHERN SONG TO YUAN DYNASTYChina, 1127-1368. Skillfully painted in swift brushwork with a continuous scroll of lotus, detailed with furled leaves, the present vase is particularly notable for its black-coffee brown glaze that provides a striking contrast with the lotus in white reserve.Published: Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 102. Mentioned in the foreword by Li Zhiyan, Research Fellow at the Beijing Palace Museum, as “an outstanding example demonstrating its bold form, coupled with delicate painting”.Provenance: The Jiyuanshanfang Collection. A noted American private collector, acquired from the above. The Jiyuanshanfang Collection is currently housed on New York's Upper East Side and was originally founded upon an old family collection. A comprehensive catalog of the 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: Very good condition with minor wear and firing flaws, few small chips to foot.Weight: 859.1 gDimensions: Height 23.6 cmWell potted, the rounded sides rising to a slightly waisted neck with a thick lipped rim. Boldly painted to the exterior with a vivid arrangement of lotus flowers and leaves reserved against an opaque glaze of dark brown, framed by line borders at the shoulder and above the foot, the glaze stopping unevenly above the foot, revealing the dark ware.Literature comparison: See a closely related Southern Song Jizhou meiping, also decorated with a white lotus pattern against a black background, excavated from Chaohu, Anhui, now preserved in the Anhui Provincial Museum, illustrated in Zhongguo wenwu jinghua daquan, taoci juan, Hong Kong, 1993, p. 290, no. 406. A similar lotus pattern can also be found on a printed textile from a tomb in Fujian whose occupant died in 1243, see Fuzhou Nansong Huangshengmu, Beijing, 1982, p. 125, fig. 91.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 December 2015, lot 229 Price: HKD 400,000 or approx. EUR 55,000 converted and adjusted for inflation at the time of writing Description: A rare 'Jizhou' 'lotus' vase, Southern Song dynasty Expert remark: Compare the near identical decoration and glaze. Note the different form and slightly smaller size (18.2 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 24 September 2021, lot 832 Price: USD 27,500 or approx. EUR 28,000 converted and adjusted for inflation at the time of writing Description: A rare painted Jizhou bottle, Southern Song dynasty Expert remark: Note the closely related form and subject matter. Note that the vase is not reverse-decorated and of slightly smaller size (18.4 cm).南宋至元代吉州窯黑地白花蓮紋梅瓶中國，1127-1368年。小口，唇外卷，短頸，溜肩，橢圓形腹，矮圈足。器體輕薄細緻。口、頸部施黑釉，肩以下為蓮花、荷葉及蓮蓬果組成的黑地白花圖案，全器圖案裝飾飽滿，色調柔和富麗。 出版: 《宋瓷八大窯系一覽——吉緣山房藏品》，美國加州，2008年，第 102頁。北京故宮博物院研究員李志延在前言中提到："這是一個展示其大膽的形式，加上精緻的繪畫的傑出例子"。 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年年吉緣山房曾給佛羅里達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：狀況極好，輕微磨損和燒製缺陷，足部輕微小磕損。 重量：859.1 克 尺寸：高23.6 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
A CELADON AND RUSSET JADE 'FINGER CITRON' VASE, 17TH - 18TH CENTURYChina. Naturalistically carved issuing from a gnarled leafy branch serving as the base of the vase, the body formed of rounded undulating 'fingers' evoking Buddha's hand, a small leafy peach sprig to one side. The stone is of a deep celadon tone with russet veining, russet and pale gray shadings, and cloudy inclusions. Subtle manual polish with an unctuous feel overall.Provenance: New York trade. Condition: The massive vessel is in good condition with old wear and few minuscule nicks here and there. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 1,070 g Dimensions: Height 16.9 cmAlthough finger citrons were a popular subject for jade lapidaries of the earlier Qing dynasty, the present example is of an exceptionally large size. The finger citron is also known as 'Buddha's hand' because of the long tendrils that look like fingers. Although inedible, the fruit has a strong citrus fragrance which is often used for scenting rooms, and for offering at the Buddhist altar. Its auspicious symbolism derives from the play on the Chinese word for finger citron, foshou, homophonous with the words for blessings, fu, and longevity, shou.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 1 June 2016, lot 3267Price: HKD 250,000 or approx. EUR 35,000 converted and adjusted for inflation at the time of writingDescription: A pale greenish-white jade finger citron-form vase, Qing dynasty, 18th centuryExpert remark: Compare the closely related round and curved tips of the fingers and the similar size of the vase (16.5 cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 15 September 2015, lot 195Price: USD 112,500 or approx. EUR 137,000 converted and adjusted for inflation at the time of writingDescription: A large celadon jade carving citron, Qing dynasty, 18th century Expert remark: Compare the related form of the fruit and gnarly stem forming the base. Note the significantly larger size (23.5 cm).十七至十八世紀青玉留皮佛手瓜玉瓶中國。自然隨形雕刻佛手瓜形玉瓶，一側是一枝桃葉小枝。玉石呈深青色，帶有赤褐色脈紋、赤褐色和淺灰色脈理以及絮狀物。整體瑩潤光滑。 來源：紐約古玩交易市場。 品相：玉瓶狀況良好，磨損很舊，到處都有一些微小的刻痕。玉石具有天然內沁和紋理，其中一些可能隨著時間的推移發展成細小的細裂縫。 重量：1,070 克 尺寸：高16.9 厘米 佛手是清代早期翡翠玉器雕刻常見的題材，但本例的尺寸異常龐大。因為其長得像手指，所以也被稱爲“佛手”。雖不可食用，但有濃郁的柑橘香味，常用於香室和供奉佛壇。其吉祥的象徵意義源於對漢字“佛手”的指法，與”福”和“壽”字諧音。拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2016年6月1日，lot 3267 價格：HKD 250,000（相當於今日EUR 34,000） 描述：十八世紀清代青白佛手瓜玉瓶 專家評論：比較相近的弧形和指尖，以及相似的尺寸(16.5 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2015年9月15日，lot 195 價格：USD 112,500（相當於今日EUR 132,500） 描述：十八世紀清代大型青玉佛手瓜 專家評論：比較相近的果實外型和底座糾結的莖。請注意尺寸較大 (23.5 厘米)。
A GE-TYPE VASE, HU, QIANLONG MARK AND PROBABLY OF THE PERIODChina, c. 1736-1795. The globular body supported on a tall spreading foot and rising to a waisted neck with galleried rim, the shoulder applied with two pierced handles in the form of bats suspending ruyi heads, and further decorated with two raised bowstrings each below the neck and above the foot. Covered overall with a creamy gray glaze suffused with a striking network of black and golden-brown crackle. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and probably of the period. Provenance: From a Norwegian private collection. Condition: Excellent condition with minor wear and firing irregularities. The piercings to the bat-form handles with traces of use including minute nibbling around the openings. The rings now lost. Weight: 4,424 g Dimensions: Height 28.7 g Expert's note: The high level of control exhibited by the glaze of the present vase, with its razor-sharp black and golden-brown crackle, along with the archaistic yet strictly precise form and the finely executed bowstrings, leaves little doubt that it was made in the 18th century. The bat-form handles are a particularly notable detail, as they once held separately crafted ring handles, probably made of gilt bronze, as evidenced by the piercings from one side to the other and the wear and nibbling around the openings. Auction result comparison: Type: Closely related Auction: Christie's London, 7 June 2004, lot 145 Price: GBP 21,510 or approx. EUR 43,000 converted and adjusted for inflation at the time of writing Description: A ge-type vase, hu, underglaze-blue Qianlong six-character seal mark and of the period Expert remark: Compare the closely related two-tone crackle glaze, bowstring decoration, and Qianlong seal mark, as well as the related form and size (26.1 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2011, lot 36 Price: HKD 7,220,000 or approx. EUR 1,241,000 converted and adjusted for inflation at the time of writing Description: A fine and rare ge-type vase, seal mark and period of Qianlong Expert remark: Compare the closely related two-tone crackle glaze and Qianlong seal mark as well as the related form. Note the smaller size (16.5 cm).乾隆款仿哥釉壺，或為乾隆時期中國，約1736-1795年。盤口，束頸，溜肩，鼓腹，底足外撇。肩部如意形蝙蝠輔首，肩部和底足有兩道凸起的弦紋。通體施灰白色釉，黑色和金棕色開片紋。圈足内青花六字款“大清乾隆年製”。 來源：挪威私人收藏。 品相：狀況良好，輕微磨損，燒製不規則。蝙蝠形輔首有使用痕跡，邊緣處有微小磕損，輔首中的環丟失。 重量：4,424 克 尺寸：高28.7 厘米 專家注釋：此瓶釉色高雅，黑色和金棕色的開片紋，古樸而嚴謹的造型，可能是十八世紀製作的。蝙蝠形輔首中的環已丟失，可能曾是鎏金銅環，可以從輔首上的孔的磨損可以看出。拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2004年6月7日，lot 145 價格：GBP 21,510（相當於今日EUR 43,000） 描述：乾隆款及年代仿哥釉壺 專家評論：比較非常相近的雙色釉面開片、弦紋和乾隆款識，以及相近的外型和尺寸 (26.1厘米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2011年4月7日，lot 36 價格：HKD 7,220,000（相當於今日EUR 1,241,000） 描述：乾隆款和年代仿哥釉壺 專家評論：比較非常相近的雙色釉面開片和乾隆款識，以及相近的外型。請注意尺寸較小(16.5厘米)。
A MAGNIFICENT FAMILLE ROSE SGRAFFIATO LIME-GREEN BOTTLE VASE, QIANLONG MARK AND PROBABLY LATE IN THE PERIODExpert's note: Coated in an even and elegant lime-green glaze, this bottle vase is special for its restrained and uncluttered design of vibrantly colored floral sprays. While its color scheme, pattern, and use of the subtle sgraffiato ground are well-rooted in the exuberant porcelain style developed in the 18th century, the sparsely scattered sprays are an innovation and evidence of an attempt at reducing decorative elements to achieve a balanced and refined design, clearly a hallmark of the Qianlong era. While this author agrees with Christie's previous assertion that the vase was probably made during the late Qianlong period, we want to go one step further and state that it is almost certainly of the period, as clearly indicated by the exceptional enameling and great attention to the many details of the blossoms, with meticulously executed calyxes, stamens, and pollen.China, c. 1780-1795. The globular body supported on a spreading foot and rising to a tall cylindrical neck. Finely decorated around the body with blossoming peony, chrysanthemum, and prunus blooms with leafy stalks, reserved on a lime-green sgraffiato ground. The base and interior enameled turquoise. The recessed base with an iron-red six-character seal mark da Qing Qianlong nianzhi and probably late in the period.Provenance: Property of a University Museum, accession number 1960.45 (lacquered to base). Christie's New York, 21 September 2000, lot 411 (the mark erroneously described as “underglaze blue”). Collection of David and Diane Buck, Milwaukee, Wisconsin, USA, acquired from the above. Two old labels to base, one from Christie's, inscribed '9476' (sale number) and '411' (lot number), the other inscribed 'Chinese. 18 c.' Prof. Emeritus David Douglas Buck (born 1936) is an American scholar of Chinese history who worked as a professor at the University of Wisconsin-Milwaukee from 1972 until his retirement. He received his PhD from Stanford University and has written several books on Chinese history, including “Urban Change in China: Politics and Development in Tsianan Shantung 1890-1949”.Condition: Superb condition with minor wear and firing irregularities. The vase slightly leaning.Weight: 1,888 gDimensions: Height 34.2 cmLiterature comparison: The flowers on this vase are similar to those on a turquoise-enameled vase with a gilt Qianlong seal mark from the collection of A.J.B. Kiddell included in the O.C.S. exhibition, The Arts of the Ch'ing Dynasty, London, 1964, no. 213.Auction result comparison: Type: Closely related Auction: Bonhams London, 8 November 2012, lot 80Price: GBP 37,250 or approx. EUR 55,000 converted and adjusted for inflation at the time of writing Description: A famille rose green-ground bottle vase, Qianlong seal mark Expert remark: Note the underglaze-blue Qianlong seal mark and the size (28.2 cm).Auction result comparison: Type: Related Auction: Christie's London, 10 May 2011, lot 292 Price: GBP 37,250 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A famille rose lime-green-ground bottle vase, Jiaqing/Daoguang period, early 19th century Expert remark: Compare the closely related floral decoration on a lime-green sgraffiato ground. Note the size (28.2 cm). 乾隆款黃地粉彩花卉紋長頸瓶，或爲乾隆朝後期中國，約1780-1795年。瓶直口，細長頸，圓鼓腹，矮圈足。通體施淡黃色釉，暗刻圖花紋，如牡丹、菊花與梅花等粉彩花卉紋。瓶內和圈足內施淡綠色釉。圈足内礬紅釉六字款“大清乾隆年製”。年代或為乾隆後期。專家注釋：長頸瓶高雅的淡黃色釉料，花卉紋色彩鮮豔清麗，構圖舒散，顯然是乾隆時代的標誌。 雖然筆者同意佳士得之前的說法，即此瓶可能是乾隆晚期的，但我們想更進一步，說它幾乎可以肯定是那個時期的，比如卓越的琺瑯和花卉紋的細節，精心繪製的花萼和花蕊。 來源：一個大學美術館舊藏，編號 1960.45 (見瓶底)；紐約佳士得2000年9月21日，lot 411 (款錯寫為“青花”)；美國威斯康星州密爾沃基David 與Diane Buck收藏，購於上述拍賣。底部兩個標籤，一個是佳士得拍賣編號“9476”與拍號“411”，另一個上寫著“Chinese. 18 c.”。Emeritus David Douglas Buck (出生於1936) 教授是一位美國中國歷史學者，1972 年至退休，一直在威斯康星大學密爾沃基分校擔任教授。他在斯坦福大學獲得博士學位，並撰寫了多本關於中國歷史的書籍，包括《Urban Change in China: Politics and Development in Tsianan Shantung 1890-1949”》（中國的城市變遷：1890-1949 年山東天安的政治與發展）。品相：狀況極佳，輕微磨損，燒製不規則。花瓶瓶身微微傾斜。 重量：1,888 克 尺寸：高34.2 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
A FLAMBE GLAZED VASE, TIANQIUPING, QING DYNASTYChina, 18th - 19th century. The globular body rising from a short, tapered foot to a tall cylindrical neck, covered overall with a rich glaze of crushed strawberry vividly streaked with lavender and blue, thinning to mushroom at the rim, irregularly pooling in thick drops above the unglazed foot, the interior and base covered in a transparent glaze.Provenance: From an old German private collection, acquired before 2007. Condition: Very good condition with minor old wear and few manufacturing flaws, including firing cracks to the base, the vase slightly leaning, minor glaze losses, some slightly smoothened. Weight: 4,022 g Dimensions: Height 36.4 cm Auction result comparison:Type: Closely relatedAuction: Bonhams London, 14 May 2012, lot 93Price: GBP 16,250 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A large, flambe-glazed bottle vase 19th centuryExpert remark: Compare the closely related glaze colors and streaking. Note the elongated neck and flared foot.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 25 May 2022, lot 515Price: HKD 126,000 or approx. EUR 15,000 converted at the time of writingDescription: A flambe-glazed bottle vase, Qing dynasty, 18th centuryExpert remark: Compare the closely related hues of color and streaks. Note the different form and the similar size (33.8 cm).清代窯變釉天球瓶中國，十八至十九世紀。瓶直頸，圓腹，圈足。通體滿施窯變釉，口沿呈米黃色，外壁釉質呈紅紫色及藍紫斑紋，在足部形成釉滴，鮮亮奪目，多色交融，虛幻變化，底足露胎。瓶内和圈足内透明釉。 來源：德國私人舊藏，購於2007年前，保存至今。 品相：品相極好，有輕微的磨損和少量製造缺陷，包括底部燒裂，天球瓶略微傾斜，釉料輕微缺損。 重量：4,022 克 尺寸：高36.4 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2012年5月14日，lot 93 價格：GBP 16,250（相當於今日EUR 24,000） 描述：十九世紀大型窯變釉瓶 專家評論：比較非常相近釉色和斑紋。請注意為細長頸和外撇圈足。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年5月25日，lot 515 價格：HKD 126,000（相當於今日EUR 15,000） 描述：清十八世紀 窰變釉賞瓶 專家評論：比較非常相近色調和斑紋。請注意外型不同，但相似的尺寸(33.8 厘米)。
A PALE CELADON JADE PETAL-LOBED ARCHAISTIC 'CHILONG' VASE, QIANLONG PERIODChina, 1736-1795. Superbly carved, the thinly walled flared neck and spreading foot as overlapping petals while three chilong in high relief encircle the convex mid-section, one with a lingzhi sprig in its mouth and another a young cub lacking the horn. Note the ruyi-shaped ears of the two larger beasts. The translucent stone finely polished to a subtle luster and of a pale celadon tone with faint russet and icy veins as well as cloudy inclusions.Provenance: Spink & Son Ltd., London, United Kingdom, 23 September 1966. Gordon W. Quance LLM, acquired from the above and thence by descent. A copy of the original invoice from Spink & Son Ltd., addressed to G. W. Quance, dated 23 September 1966, confirming the dating above, and with a stamped, handwritten, and signed note stating that payment was received on 22 September 1966, accompanies this lot. Gordon William Quance (1931-2017) was an English lawyer who lived in Birmingham and built a fine collection of Chinese art during the 1960s, often purchasing from Spink & Son and other renowned houses in London.Condition: Excellent condition with minor wear, few tiny nibbles to edges, the stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 304.6 g (the vase) and 103.9 g (the stand)Dimensions: Height 16 cm (excl. stand) and 18 cm (incl. stand)With a finely carved and fitted wood stand. The stand additionally filled with a weight of some kind. (2)Deceptively simple in its refined form and design, the present vase displays the technical prowess and artistic imagination of jade carvers during the Qianlong period. The shape and motifs draw inspiration from archaic bronze wine vessels, gu, made in the Shang and Western Zhou dynasties; the robust shape of the bronze prototype was transformed into a graceful barbed silhouette that resembles a magnolia blossom. Deftly carved with motifs of the hallmark of the Shang and Zhou styles, the result is a vase that appears modern yet steeped in classical symbolism, skillfully adapted to suit the refined taste of the Qianlong Emperor. This magnificent vase represents one of the most graceful and successful reinterpretations of the bronze gu shape and displays the strictly antiquarian nature that characterizes jade carvings of this period.An erudite scholar and passionate collector of antiques, the Qianlong Emperor's love for the past was grounded in his admiration for Chinese history and influenced by Confucian philosophy, which emphasized the study of history in the pursuit of virtue. The Qianlong Emperor actively influenced jade production, criticizing the 'vulgar' style popular in the 18th century as excessively ornate, and urging craftsmen to study antique vessels and adapt them to the jade medium. The Xiqing gujian (Catalogue of Xiqing antiquities), which was compiled by court artists between 1749 and 1755 and comprised line drawings of some 1500 objects in the imperial collection, was circulated among craftsmen who were encouraged to take inspiration from it.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 23 June 2008, lot 8119 Price: USD 27,000 or approx. EUR 35,500 converted and adjusted for inflation at the time of writing Description: A yellow jade gu-form vase, 18th/19th centuryExpert remark: Compare the closely related form and manner of carving with similar overlapping petals and clambering chilong. Note the yellow color of the jade and the similar size (18 cm). Note also that this lot was sold almost 15 years ago and would probably achieve a higher result today.Auction result comparison: Type: Related Auction: Christie's New York, 26 March 2010, lot 1106 Price: USD 35,000 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A pale greyish-green jade archaistic fluted gu-form vase, 18th/19th centuryExpert remark: Compare the related, though less pale color of the jade, as well as the related petal-lobed form. Note the taotie-ring handles and the size (19.7 cm).Auction result comparison: Type: Closely related Auction: Christie's London, 8 November 2011, lot 231 Price: GBP 30,000 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A celadon jade 'chilong' flaring vase, 18th/19th centuryExpert remark: Compare the closely related form with overlapping petals and clambering chilong, though not restricted to the mid-section, as well as the related if less pale celadon color with similar natural fissures. Note the larger size (24 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 October 2019, lot 121 Price: HKD 12,175,000 or approx. EUR 1,579,000 converted and adjusted for inflation at the time of writing Description: A superbly carved and rare white jade barbed vase, gu, Qing dynasty, Qianlong period Expert remark: Compare the related form with similar overlapping petals. Note the white color of the jade and the size (20.8 cm).乾隆螭龍青玉葵口方觚中國，1736-1795年。 來源：英國倫敦Spink & Son 藝廊，1966年9月23日；Gordon W. Quance LLM 購於上述藝廊，保存至今。隨附藝廊當日出具給Quance的發票的副本。Gordon William Quance (1931-2017年) 曾是一位英國律師，生活在伯明翰，在 1960 年代建立了中國藝術品收藏，經常從 Spink & Son 和倫敦其他著名的藝廊購買藏品。 品相：品相極佳，輕微磨損，邊緣輕微磕損，玉料有天然內沁和裂縫，隨著時間的推移，其中一些可能會發展成細小的裂縫。 重量：瓶304.6 克，底座103.9 克 尺寸：高16 厘米(不含底座) ，18 厘米(含底座) 雕刻精美的木底座。 由於字數限制，完整中文敘述請至www.zacke.at查看。
A RUBY-RED GLASS BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1736-1795. The thick-walled, globular body supported on a spreading foot and rising to a tall cylindrical neck. The transparent glass is of a rich ruby-red color. The recessed circular base with a wheel-cut four-character mark Qianlong nianzhi within a double square and of the period.Provenance: Property from a Colorado private collection. Bonhams San Francisco, 23 June 2015, lot 7136, sold for USD 5,000 or approx. EUR 5,700 (converted and adjusted for inflation at the time of writing). A noted private collector, acquired from the above.Condition: Excellent condition with some old wear, minor surface scratches, microscopic nicks and expected manufacturing irregularities, including swirls and bubbles.Weight: 749.5 gDimensions: Height 23.8 cmLiterature comparison: Compare a related translucent ruby-red bottle vase with a Qianlong mark in the Andrew K. F. Lee Collection, illustrated in Elegance and Radiance: Grandeur in Qing Glass, The Art Museum, The Chinese University of Hong Kong, 2000, pp. 104-5, no. 11.Auction result comparison: Type: Related Auction: Christie's New York, 25 September 2020, lot 1797 Price: USD 56,250 or approx. EUR 58,500 converted and adjusted for inflation at the time of writing Description: A translucent garnet-red glass bottle vase, Qianlong four-character wheel-cut mark within a double square and of the period (1736-1795)Expert remark: Compare form and color, as well as the near-identical wheel-cut four-character Qianlong mark within a double square. Note that the size is also near-identical (22 cm).乾隆款及年代寶石紅琉璃瓶中國，1736-1795年。厚壁，頸部長且直，圓腹，圈足稍外撇。料器透明，呈濃鬱的寶石紅色。圈足内雙圈“乾隆年製“四字款。 來源：科羅拉多私人收藏，舊金山邦翰思，2015年6月23日，售價 USD 5,000 ，約相當於現在的 EUR 5,700 ；知名私人收藏家，購於上述收藏。 品相：品相極好，一些磨損，輕微的表面劃痕和預期的製造不規則性，包括漩渦和氣泡。 重量：749.5 克 尺寸：高23.8 厘米 文獻比較： 比較相相近的乾隆款透明寶石紅色瓶，見李景勳藏清代玻璃，《虹影瑤輝》，藝術博物館，香港中文大學，2000年，頁104-5，編號11。拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2020年9月25日, lot 1797 價格：USD 56,250（相當於今日EUR 58,500） 描述：乾隆(1736-1795)雙圈款及年代透明寶石紅瓶 專家評論：比較外型、顏色，以及相近的圈足内雙圈“乾隆年製“四字款。請注意尺寸亦相近 (22 厘米)。
A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).
A CLOISONNE ENAMEL 'TAOTIE' ARCHAISTIC BEAKER VASE, GU, 17TH-18TH CENTURYChina. The vase is enameled on the mid-section with a pair of taotie masks divided by gilt flanges, framed by gilt bowstrings enclosing key-fret and diaper bands, between upright petals on the trumpet neck with further taotie as well as archaistic scroll, surrounded by lotus blossoms and scrolling vines, and further taotie masks and archaistic scroll on the spreading foot.Provenance: Sotheby's London, 16 May 2007, lot 389. The MacLean Collection of Asian Art Museum, acquired from the above, and deaccessioned in 2022. The MacLean Collection has been formed over the last fifty years by Barry MacLean, a businessman from Chicago, who began to collect in the early 1970s. Over time, he made many trips to Asia for business, and began to narrow his focus to ancient bronzes from China and their archaistic counterparts from later dynasties. The MacLean Collection of Asian Art is housed in a museum which was designed by Larry Booth and completed in 2003. Since 2004, the museum has published seven books, held thirteen exhibitions, lent objects to many other museums, and awarded a dozen fellowships to train future specialists and enthusiasts.Condition: Excellent condition with old wear and small manufacturing flaws, as well as minor nicks and losses and associated old fills (inspected under strong blue light). The base with small structural fissures. All exactly as expected from authentic 18th-century cloisonne wares of this size. For a detailed video of the vase taken under strong blue light, please refer to the department.Weight: 1,059 gDimensions: Height 25 cmExpert's note: The present cloisonne gu is exceptional for its refined design of taotie masks, which are highly expressive and comparable to some of the most valuable cloisonne wares of the 18th century ever to come up for auction. Compare a cloisonne zun, with a Qianlong mark and of the period, at Sotheby's Hong Kong, 2 April 2019, lot 3517, sold for HKD 4,495,000; a cloisonne hu, dated Yongzheng to Qianlong period, at Christie's Hong Kong, 30 November 2020, lot 2905, sold for HKD 8,650,000; and a cloisonne fang gu, dated Yongzheng to Qianlong period, sold in these rooms, 15 October 2021, lot 4, sold for EUR 48,000.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 6 April 2015, lot 176Price: HKD 250,000 or approx. EUR 35,000 converted and adjusted for inflation at the time of writingDescription: A cloisonne enamel vase, gu, Qing dynasty, 18th century Expert remark: Compare the near identical form and closely related decoration with taotie masks, archaistic and lotus scroll as well as gilt flanges and bowstrings. Note the size (34 cm). Auction result comparison: Type: Closely related Auction: Bonhams London, 7 June 2021, lot 671 Price: GBP 16,500 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel and gilt-bronze archaistic beaker vase, gu, Qianlong Expert remark: Compare the related form and decoration with taotie and archaistic scroll, as well as the similar size (24.7 cm). Note the absence of bowstrings and flanges.十七至十八世紀掐絲琺瑯饕餮紋觚中國。銅胎鍍金，圓觚，弧腹，口及底外撇。通體藍釉地，圖案層次分明，繁密工細。頸部飾仰覆蕉葉紋，蕉葉紋内飾獸面紋，腹部與底邊飾獸面紋，紋飾對稱分佈。口沿外裝飾勾蓮紋。口內鎏金無紋飾。造型渾厚凝重，裝飾富麗堂皇。 來源：2007年5月16日倫敦蘇富比，lot 389。The MacLean Collection of Asian Art Museum收藏，購於上述拍賣，2022年出售。The MacLean Collection由來自芝加哥的商人 Barry MacLean 在50 年前創立，他於 1970 年代初開始收藏。 他曾多次前往亞洲從商，並開始將注意力集中在來自中國的古代青銅器和後世的仿古青銅器上。The MacLean Collection由Larry Booth設計並於 2003 年完工。自 2004 年以來，該博物館已出版了七本書，舉辦了十三次展覽，將藏品借給許多其他博物館，並用十幾個獎學金來培訓未來的專家和愛好者。 品相：狀況極好，有磨損和小的製造缺陷，以及輕微的劃痕和缺損以及相應的填補（在強藍光下檢查）。底部有小結構裂隙。與這種尺寸的十八世紀景泰藍器皿完全一致。有關在強藍光下拍攝的花瓶的詳細視頻，歡迎聯係我們。 重量：1,059 克 尺寸：高25 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
A FAMILLE ROSE 'HUNDRED DEER' HU-FORM VASE, GUANGXU MARK AND PERIODOpinion: While hu-form vases with the 'hundred deer' motif that date from the 19th century frequently appear on the market, they almost always have apocryphal Qianlong reign marks. The present lot, however, with its fine enameling and large deer-head handles, belongs to the extremely rare group of Guangxu mark and period vases with this motif.China, 1875-1908. The vase of pear shape is finely decorated with a continuous scene of the 'hundred deer' motif depicting a gathering of deer amidst various trees including pine and peach, in a landscape of blue-green rocks and mountains, and a river fed by a waterfall on one side. The neck is flanked by a pair of handles in the form of deer heads with black antlers. The base with a neatly painted iron-red six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From an old European private collection, assembled before 1965. Thence by descent to the last owner.Condition: Very good condition with minor old wear, glaze flaking, shallow surface scratches and firing irregularities, a single hairline (approx. 14 cm long) above the foot, possibly original to the firing process.Weight: 10.3 kg Dimensions: Height 45.3 cmThe 'hundred deer' motif was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, as it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China.Literature comparison: A Qianlong-marked vase of closely related size (45 cm) in the Beijing Palace Museum is illustrated in The Complete Collection of Treasures of the Palace Museum - 39 - Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Other examples include a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67; one in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86; and another from the Grandidier Collection in the Musee Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1981, vol. 7, pl. 190.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2018, lot 834 Price: USD 47,500 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose 'hundred deer' hu-form vase, Guangxu six-character mark in iron-red and of the periodExpert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm) and that this example also bears the rare Guangxu mark. 光緒款及年代粉彩百鹿尊中國，1875-1908年。圓口，垂腹，圈足。通體施白釉，肩部飾鹿首耳。器身繪粉彩山水苑百鹿圖。畫面中山石、樹葉多以綠彩繪成，施彩濃厚;群鹿、枝幹以赭、黑等彩作畫，群鹿活現，枝幹蒼勁，筆繪生動細膩。底書“大清光緒年製”六字篆書款。專家注釋：十九世紀的粉彩百鹿尊雖然經常出現，但大多都是杜撰乾隆款。此拍品琺瑯精美，鹿首耳，極爲稀有。 來源：歐洲私人舊藏，購於1965年，保存到現任藏家。 品相：品相極好，有輕微磨損、釉料剝落、表面淺劃痕和燒製不規則，足部上方有一條冲線（約 14 厘米長），可能是燒製過程中產生的。 重量：10.3 公斤 尺寸：高45.3 厘米 以鹿為紋飾在中國藝術中有著悠久的歷史，鹿是長壽的仙獸，自然也受到歷代帝王的青睞，這在皇宮常見的百鹿尊上可見一斑。 文獻比較： 一件尺寸非常相近乾隆時期的花瓶(45 厘米)，收藏於北京故宮博物院，見《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》，香港，1999年，圖85。其他例子包括上海博物館的一對花瓶，見《胡惠春先生,王華雲女士捐贈瓷器精品選》，上海，1989年，頁67；另一件收藏於南京博物院，見香港中文大學的聯合展覽《淸瓷萃珍 : 淸代康雍乾官窯瓷器》，1995年，編號86；還有一件來自吉美國立亞洲藝術博物館的Grandidier收藏，見《Oriental Ceramics, The World's Great Collections》，東京，1981，卷7，頁190。由於字數限制，完整中文敘述請至www.zacke.at查看。
A LANGYAO GLAZED BOTTLE VASE, CHANGJING PING, 18TH CENTURYChina. The pear-shaped body rising from a thick spreading foot to a slender elongated neck, covered overall with a dense and rich glaze of crushed strawberry color, thinning to mushroom at the neck and on some areas of the body, all suffused with a fine network of crackles. The base is left unglazed, revealing the buff ware.Provenance: From a noted Irish private collection. Condition: Good condition with minor old wear and firing flaws. Minor chips with associated glaze loss to the foot, as expected from this type of ware. The glaze with a superb unctuous feel overall. Weight: 965.7 g Dimensions: Height 26 cmThe term langyao derives its name from Lang Tingji, director of the official kilns at Jingdezhen between 1705-1712, who is credited with the revival of monochrome glazes and particularly copper-red glazes. Expert note: Accurately controlled but still rather thick glaze dripping around the foot rim with associated glaze flaking as a result of continuous usage over centuries is characteristic for langyao vases from this group. Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 16 September 2008, lot 121Price: USD 15,000 or approx. EUR 19,000 adjusted for inflation at the time of writingDescription: A 'langyao' bottle vase (Changjingping), Qing dynasty, Kangxi periodExpert remark: Compare the related form and the rich glaze of crushed strawberry color thinning to mushroom. Note the larger size (46 cm).十八世紀郎窯紅長頸膽瓶中國。此瓶長頸，鼓腹，圈足，胎質堅密。通體釉層肥厚，釉色鮮紅濃艷，有細碎開片，呈玻璃光澤，近足處垂釉，但足際無釉露胎。 來源：愛爾蘭知名私人收藏。 品相：狀況良好，有輕微的磨損和燒製缺陷。 如此類器皿所預期的那樣，足部有釉料缺損和小碎屑。 重量：965.7 克 尺寸：高26 厘米 專家注釋: 由於幾個世紀以來的使用，足部周圍釉層受損，局部剝落，這是該系列郎窯紅瓶的特徵。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比,2008年9月16日, lot 121 價格：USD 15,000 （相當於今日EUR 19,000） 描述：清代康熙時期郎窯紅長頸膽瓶 專家評論：比較相近的外型、瓶身釉色鮮紅濃艷，顏色由濃至淡延伸至瓶口。請注意此瓶尺寸較大 (46 厘米)。
A LARGE PUCE-GROUND 'SLEEPING TEACHER & MISCHIEVOUS BOYS' VASE, LATE QING TO REPUBLIC PERIODChina, 1850-1949. The baluster sides rising from a thick tall foot to a waisted neck with flared rim. The exterior is finely painted in bright enamels against a puce ground with a charming and humorous scene of an elderly scholar who has fallen asleep at his desk and the chaos ensuing around him. One boy is standing behind the scholar on his chair, removing his hat, while another holds up a rod with a small spider attached to it in an effort to frighten the poor teacher once he awakes. The base and interior glazed turquoise.Inscriptions: To one side, 'The children bring happiness and joy. They laugh and sing and celebrate the new year.'Provenance: Lyon & Turnbull, Edinburgh, United Kingdom, 8 January 2005, lot 109 (invoice not available, old label to interior). A Scottish private collection, acquired from the above, and thence by descent.Condition: Excellent condition with minor wear and minimal firing irregularities only. Must be considered extremely rare in this splendid state of preservation.Weight: c. 7.2 kg Dimensions: Height 45 cmFurther boys are seen idling about or playing games, while one particularly studious child sits at a desk much like his master's, holding a brush and showing a pensive expression, and another is leafing through a book from a pile on a stand in front of him. The back with a poetic inscription. The recessed base with an apocryphal iron-red gilt-ground four-character mark Qianlong nianzhi.Expert's note: Most porcelain vases painted with the 'boys' motif use this subject to reference a certain festivity, such as the New Year or the Dragon Boat Festival. The present lot, however, lacks any such allusions and instead offers a humorous and very lifelike scene of children running amok in the absence of an attentive guardian, and is thus much rarer than comparable examples.清末民初胭脂紅地粉彩《稚子拈吉祥》瓶中國，1850-1949年。瓶口外撇，束頸，溜肩，豐胸圓腹，圈足。胎質堅實。胭脂紅彩地，粉彩描繪書院小孩童們趁夫子瞌睡之際一旁玩鬧戲耍，天真活潑。人物刻畫細膩傳神，一個男童站在夫子身後，正摘下他的帽子（圖 1）；而另一個男孩則舉起一根綁著一隻小蜘蛛（圖 2）的杆子，打算嚇唬父子。色彩雅麗。瓶内與圈足内施松石綠色釉。 款識：稚子拈吉祥，染翰作屏圖，和風徊笑語，齊歌樂嵗詩 來源：蘇格蘭私人收藏，購於英國愛丁堡Lyon & Turnbull拍賣行，2005年1月8日，lot 109 (發票遺失，瓶内標簽)，保存至今。 品相：狀況極好，輕微磨損，輕微燒製瑕疵。 重量：約7.2公斤 尺寸：高45 厘米 圈足内描金鐵紅“乾隆年製”四字款。 專家注釋：很多以“嬰戲圖”為主題的陶瓷器皿與某個節日相聯繫，例如新年或端午節。 然而，本拍品沒有任何此類典故，而是提供了一個幽默活潑的場景，即孩子們在學校裏嬉戲搗亂的場景，因此比同類例子少得多。
AN APPLE GREEN CRACKLE-GLAZED VASE, MEIPING, 18TH CENTURYChina. The slender body rising to a broad shoulder and a short neck with an everted mouth, covered overall in a thick glaze of apple-green hue suffused with a dense network of dark crackle. The recessed base and interior with a finely crackled grayish-cream glaze.Provenance: British trade. Condition: Good condition commensurate with age with old wear and firing irregularities including extensive pitting and some glaze warts, as well as minor glaze losses and few minuscule chips to the foot.Weight: 554.2 g Dimensions: Height 16.5 cmAuction result comparison:Type: RelatedAuction: Sotheby's London, 15 May 2013, lot 19Price: GBP 5,000 or approx. EUR 7,000 converted and adjusted for inflation at the time of writingDescription: A green crackled meiping, Qing dynasty, 18th century Expert remark: Compare the related form and glaze. Note the smaller size (11 cm) and the almost complete lack of firing flaws.十八世紀綠釉冰裂紋梅瓶中國。小口捲邊，短頸，豐肩，歛腹，淺圈足。通體蘋果色綠釉，開片。圈足和瓶内帶有奶灰色釉開片。 來源：英國古玩交易市場。 品相：品相良好，與年齡相稱，有磨損和燒製的不規則性，包括大面積的凹坑，以及輕微的釉料損失和足部磕損。 重量：554.2 克 尺寸：高16.5 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比， 2013年5月15日，lot 19 價格：GBP 5,000（相當於今日EUR 7,000） 描述：十八世紀清代綠釉冰裂紋梅瓶 專家評論：比較相近的外型和釉面。請注意尺寸較小(11 厘米)，和幾乎完全沒有燒製缺陷
A BROWN-GLAZED AND LOBED 'RUYI' VASE, 18TH CENTURYChina. The finely potted body rising from a straight foot to a slender elongated neck with flared rim, vertically lobed below a band of distinct ruyi heads in relief at the shoulder, the neck is carved with flutes that rise to the petal-tipped rim. The body is covered to the exterior and interior with a brown glaze darkening at the recesses.Provenance: From an English private collection, acquired in and around London during the 1960s and 1970s. The piece retained in the original collector's possession until his death in 1979, and thence by descent in the same family. A part of this collection was sold at Christie's auction in the late 1990s. Condition: Excellent condition with minor old wear, some manufacturing irregularities, and minuscule glaze losses to the foot rim.Weight: 162.0 g Dimensions: Height 12.6 cmAuction result comparison:Type: Near identicalAuction: Christie's New York, 19 September 2014, lot 796Price: USD 20,000 or approx. EUR 23,500 converted and adjusted for inflation at the time of writingDescription: A miniature brown-glazed lobed vase, 18th centuryExpert remark: Compare the near identical form and decoration as well as the similar size (10.2 cm).十八世紀鐵鏽釉如意紋瓜棱式小瓶中國。瓜棱形，瓶口外撇成葵口，長頸，溜肩，圓腹，頸部飾如意頭紋。通體施鐵鏽色釉。來源：英國私人收藏，上世紀六十至七十年代購於倫敦地區。這件拍品一直保留在藏家的財產中，直到他1979年去世，然後由同一家族繼承。其收藏的一部分於上世紀九十年代在佳士得拍賣。 品相：狀況極好，有輕微的磨損、一些製造瑕疵和足緣的微小釉料缺損。 重量：162.0克 尺寸：高12.6厘米 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2014年9月19日，lot 796 價格：USD 20,000（相當於今日EUR 23,000） 描述：十八世紀鐵鏽釉瓜棱式小瓶 專家評論：比較幾乎相同的外型和裝飾，以及相似的尺寸 (10.2厘米)。
A LARGE UNDERGLAZE-BLUE AND COPPER-RED-DECORATED 'ANTIQUE TREASURES' VASE, QIANLONG PERIODChina, 1736-1795. The ovoid body supported on a tall spreading foot and rising to a tall, gently waisted neck with everted lip, finely painted in shades of cobalt-blue and copper-red to the body and neck with antique treasures and scholar's objects including various books, scrolls, vases, censers, a qin, and a chess board.Inscriptions: To one of the painted vases, 'Fulu', and to one of the incense burners, 'Fu lu shou'.Provenance: Belgian trade. Condition: Good condition with some wear and firing irregularities, the shoulder and neck with a Y-shaped hairline (ca. 12.5 cm long), the rim with a shallow chip (ca. 4 cm long), the vase slightly leaning.Weight: 3,828 g Dimensions: Height 52 cmThe shoulder with shaped reserves enclosing alternating swirling clouds and diapered designs below a band of plum blossoms against a ground of crashing waves repeated below the rim and above the foot, the foot further with bands of scroll and dots. Note the distinct peach bloom glaze transmutations to the copper-red in some areas.Auction result comparison: Type: Related Auction: Christie's London, 11 May 2010, lot 243 Price: GBP 46,850 or approx. EUR 74,000 converted and adjusted for inflation at the time of writing Description: A rare large underglaze copper-red and blue-decorated vase, mid-18th centuryExpert remark: Compare the closely related copper-red and underglaze-blue decoration, with a particularly similar band to the shoulder with shaped reserves enclosing alternating swirling clouds and diapered designs. Note the size (46.3 cm).乾隆時期大型青花釉裏紅博古紋瓶中國，1736-1795年。瓶口外撇，稍束頸，窄肩，長弧腹，圈足外撇。青花釉裏紅精美繪製博古紋，可見書籍、捲軸、花瓶、香爐、琴和棋盤等文人書房用品。 款識：頸部一個花瓶上可見“福祿”二字，一個香爐上可見“福祿壽”三字。 來源：比利時古玩交易市場。 品相：品相良好，有一些磨損和燒製不規則，肩頸有Y形冲線（長約12.5厘米），邊緣有小缺口（長約4厘米），花瓶微傾斜。 重量：3,828 克 尺寸：高52 厘米 頸部有波浪梅花紋飾帶，肩部可見分割區域修飾不同紋飾，並對應足部紋飾帶。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2010年5月11日，lot 243 價格：GBP 46,850（相當於今日EUR 74,000） 描述：十八世紀中期青花釉裏紅瓶 專家評論：比較非常相近的青花釉裏紅，以及頸部和肩部特別相似的紋帶。請注意尺寸 (46.3 厘米)。
A LARGE FAMILLE ROSE 'MAGU, HE XIANGU AND LAN CAIHE' BRUSHPOT, BITONG, 18TH CENTURYOpinion: The present lot belongs to a coveted group of porcelain brush pots made during the 18th century, which has seen a surge of modern fakes entering the market, with buyers reacting accordingly; today only pieces in perfect condition, with well-documented old provenances, and exhibiting a superior quality of painting will find the interest of serious buyers. The present lot boasts all three of the aforementioned features.China. Sturdily potted, the cylindrical vessel is painted to the sides in bright enamels, gilt and iron-red above the glaze with the three immortals in a fenced garden amid gnarled trees, craggy rockwork, and precious objects, each wearing loose-fitting and finely patterned robes. Magu is seated on a spotted deer with a lingzhi sprig in its mouth, Lan Caihe holds a vase with flowers in both hands and He Xiangu is accompanied by a crane. Covered in a transparent glaze, the base with a small countersunk center within a broad unglazed ring.Provenance: Binsted Antiques, Teddington, Middlesex, United Kingdom, 25 November 1985. Collection of S.J. Castello, Esq., London, acquired from the above. A copy of the original invoice from Binsted Antiques, written and signed by the owner C.J. Wills, addressed to S.J. Castello, dated 25 November 1985, dating the brush pot to the “late 18th century”, accompanies this lot.Condition: The bitong is in magnificent condition with only minor old wear and expected small firing irregularities. The wood stand is warped and does not fit well, it also shows age cracks, chips, and losses.Weight: 1,803 g (excl. stand)Dimensions: Diameter 19.2 cmWith a finely carved and pierced wood stand dating from the Qing dynasty. (2)Auction result comparison: Type: Closely related Auction: Christie's New York, 21 September 2004, lot 341 Price: USD 47,800 or approx. EUR 73,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose brushpot, bitong, 18th centuryExpert remark: Compare the form, the elaborate scene which completely lacks decorative borders, the spirited yet remarkably elaborate manner of painting, the base with its similarly countersunk center and broad unglazed ring. Also note the similar size (17.5 cm).十八世紀大型粉彩麻姑筆筒中國。胎體厚重，圓柱形容器，外壁明亮粉彩琺瑯描繪園中三位神女，可見麻姑、何仙姑和藍采和，身著仙袍。麻姑坐在梅花鹿身上，鹿嘴裡叼著一根靈芝。四周的樹木與假山。藍采和手捧花瓶，一旁何仙姑與一隻鶴為伴。 底座覆蓋透明釉，底部圈足有一個小孔。 專家注釋：這是一個十八世紀的筆筒。贗品大量湧入市場的今天，這樣一個品相完美、來源有據可查、畫作上乘的筆筒，一定會引起認真的買家的興趣。 來源：英國米德爾塞克斯的泰丁敦Binsted古玩，1985年11月25日；倫敦S.J. Castello收藏，購於上述藝廊。隨附一份古玩店的發票副本，發票上由店主 C.J. Wills簽名，收件人爲S.J. Castello，時間爲1985年11月25日，將這件筆筒描述爲“十八世紀末”。 品相：筆筒品相華美，輕微磨損和預期的輕微燒製瑕疵。木架翹曲，出現老化裂縫、磕損。 重量：1,803 克（不含底座） 尺寸：直徑19.2 厘米 清代木底座。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2004年9月21日，lot 341 價格：USD 47,800（相當於今日EUR 73,500） 描述：十八世紀粉彩筆筒 專家評論：比較形式，精心設計的場景完全沒有裝飾邊框，精神飽滿而又非常精緻的繪畫方式，底部內凹圈足、覆蓋透明釉。請注意尺寸類似(17.5 厘米)。
A VERY LARGE AND EXTREMELY RARE CIZHOU PAINTED ARROW VASE, TOUHU, MING DYNASTYPublished: Michael B. Weisbrod, Inc., From Kilns of Kings and Commoners, 1990, New York, page 68, catalog number 27.Opinion: Except for a similar yet smaller example in the British Museum, the present lot seems to be the only surviving example of a group of Cizhou Touhu vases, probably made for Imperial use during the mid-15th to mid-16th century. The curator of the British Museum, Rebecca Harrison-Hall, comments on the rare vessel as follows: “Two earlier arrow vases of this shape, made of bronze, were excavated from a tomb (M.13) in Pinghu county, Sichuan province. Archaeologists believe that the tomb belonged to the father of the scholar Wang Xi (1405-52) or to one of Wang Xi's father's wives. A number of bronze and iron arrow vases have been collected by Professor Jessica Rawson for the British Museum for future publication. The style of figure painting relates closely to that of blue-and-white wares of the Jiajing period, which were made at Jingdezhen.”China, 15th-16th century. The compressed globular body supported on a low, thick foot and rising to a tall, slightly waisted neck, flanked at the top by two tubular arrow holes, the mouth and each of the arrow holes with thick lipped rims. The exterior densely decorated in brown and black painting above a cream-colored slip.Provenance: Warren E. Cox (1895-1977), New York, USA. A private collection in New York, USA, acquired from the above after 1977. A private collector in Toronto, Canada, acquired from the above. Michael B. Weisbrod, Inc., New York, acquired from the above in 1990. An important North American collection, acquired from the above. Warren Earle Cox (1895-1977) was an important New York antiques dealer and an authority on porcelain and pottery from around the world. His two-volume work “The Book of Pottery and Porcelain” became a standard reference in the field.Condition: Superb condition commensurate with size and age. Some old wear and firing flaws, including open bubbles, firing cracks, pitting, and dark spots, all as expected for Ming dynasty Cizhou wares. Minor glaze flaking along the rims and base with associated small touchups. Minuscule losses, nicks and shallow surface scratches.Weight: 6,386 gDimensions: Height 43.6 cmThe neck masterfully painted with shaped reserves enclosing sages dressed in loose-fitting robes seated amid trees, clouds, and lotus, all below scholar's rocks and plantain leaves as well as a band of ruyi-heads and above bands of key-fret and scroll. The body with a band of lotus petals at the shoulder, above a band of peony blossoms and scrolling vines, and a band of Buddhist lions striking different poses and divided by their ribboned brocade balls, with a scroll band above the foot. The arrow holes with floral diaper.Arrow vases were made for a drinking game called 'touhu', which had been popular among elite men and women from the Spring and Autumn period (770-476 BC). Players threw arrows into bronze or ceramic vases with narrow tubular necks at prescribed intervals, each player equidistant from the vase. The winner successfully projected all his arrows into the vase and the loser was forced to drink at each miss. 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.Literature comparison: Compare a closely related Cizhou painted touhu, 40 cm high, dated to the Ming dynasty, circa 1522-1566, in the collection of the British Museum, museum number 1937,0716.74.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2017, lot 1174 Price: USD 68,750 or approx. EUR 77,500 converted and adjusted for inflation at the time of writingDescription: A painted Cizhou jar, Yuan dynasty Expert remark: Compare the related manner of painting showing similar figures within shaped reserves. Note, however, that the present arrow vase is much rarer, of more elaborate form and decoration, and slightly larger than this jar (35 cm). 明代罕見磁州窯彩繪投壺中國，十五至十六世紀。長直頸、兩側貫耳，圓鼓腹，足底露胎，刮痕粗顯，胎質堅硬，色呈淺灰。唇口、内壁和外壁罩白釉，色澤乳白微黃。外壁彩繪人物、神獸以及纏枝花卉等紋樣。 出版：Michael B. Weisbrod，Inc.，From Kilns of Kings and Commoners，1990年，紐約，頁68，畫冊第27號。 由於字數限制，完整中文敘述請至www.zacke.at查看。
A BLUE AND WHITE BEAKER VASE, GU, TRANSITIONAL PERIODChina, 17th century. Of cylindrical form with flaring rim and foot, painted in underglaze blue with flowers issuing from a pierced rock, the reverse with two birds in flight, all above a band of ruyi shaped clouds encircling the sun, and with a stiff leaf border. The base left unglazed to reveal the buff ware, the rim with a pale brown glaze.Provenance: S. Marchant & Son, London, 3 January 1968. A private collection in Rhineland, Germany, acquired from the above and thence by descent within the same family. A copy of the original signed and stamped invoice from Marchant, dated 3 January 1968 and confirming the dating above, accompanies this lot.Condition: Very good condition with minor wear and manufacturing flaws, a minuscule glaze line to the rim.Weight: 438.4 g Dimensions: Height 20 cm This 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, 21 January 2009, lot 11Price: USD 16,250 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A large blue and white beaker vase, Transitional period, circa 1640Expert remark: Compare the closely related form, the floral decoration, and the cafe au lait rim. Note the much larger size (44.5 cm).明清過渡時期青花花鳥紋花觚中國，十七世紀。觚敞口微撇，口沿施醬釉，筒式腹，腹訓凸起一周，近底微外撇，平底無釉。白釉泛青，青花艷麗，外壁紋飾共有三層上層主題圖案繪花鳥圖，空中飛有兩隻翠鳥，另有洞石和花卉紋；中層簡潔花卉紋；下層繪蕉葉紋一周。 來源：倫敦S. Marchant & Son藝廊，1968年1月3日；德國萊茵州私人收藏，購於上述藝廊，保存在同一家族至今。隨附一份Marchant於1968年1月3日出具並蓋章的原始發票副本。 品相：狀況極好，有輕微磨損和製造缺陷，邊緣有極小的釉面裂紋。 重量：438.4 克 尺寸：高20 厘米 這種古樸典雅的花觚，屬於過渡時期器皿中的新造型。其凹線源自早期的明代原型，參見 R.S. Kilburn 1981年Transitional Wares and Their Forerunners ，香港美術館，頁30。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2009年1月21日，lot 11 價格：USD 16,250（相當於今日EUR 22,000） 描述：大約1640年明清過渡時期青花花觚 專家評論：比較非常相近的外型、花卉紋和瓶口醬釉。請注意此瓶尺寸較大 (44.5 厘米)。
A FAMILLE ROSE 'BUTTERFLY AND FLOWERS' SAUCER DISH, YONGZHENG MARK AND PERIODOpinion: It has become exceedingly difficult to find 18th century 'boneless' wares in a good state of preservation, regardless of form or size. But being able to offer such a large dish, with such a finely painted Yongzheng mark, and from the period, with such vibrant colors, and in such pristine condition overall, just feels like a once-in-a-lifetime event!China, 1723-1735. Delicately potted, the shallow rounded sides rising from a straight and high foot to a gently everted rim. The interior finely painted in 'boneless style' with bright enamels to depict a butterfly fluttering amid leafy and flowering stems of chrysanthemum and peony with two still-closed buds. The recessed base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi within a double circle and of the period.Provenance: A Scottish private collection. Condition: Magnificent condition commensurate with age. Only minor old wear and tiny firing irregularities. The foot rim with two minor nicks. A Yongzheng-era porcelain dish in such well-preserved condition must be considered extremely rare.Weight: 256.9 gDimensions: Diameter 19.8 cmThe combination of flowers and butterflies to decorate Chinese porcelain can be seen from as early as the Ming dynasty's Yongle reign, when it was used on blue and white wares, such as the pear-shaped vase in the Sir Percival David collection, British Museum, London, illustrated by R. Scott, Elegant Form and Harmonious Decoration: Four Dynasties of Jingdezhen Porcelain, London, 1992, p. 38, no. 25. The combination of butterflies and flower sprays painted in overglaze enamels on porcelain, however, became particularly popular at the Imperial Court during the Yongzheng reign, following the development of the famille rose palette of enamel colors, see a famille rose bowl, Yongzheng mark and period, decorated with roundels enclosing butterflies and flowers, 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, pp. 78-9, no.68.This bowl is an early example of the new confidence among painters during the reign of Yongzheng to increasingly handle areas of multiple color without using formal borders for separation. This technique is known as 'boneless style', because there virtually is no inner skeleton to the design. In the present lot for example, the pink and white colors of the large peony flower are not separated by any lines. This technique was not widely used, most likely because it was too difficult to implement on a mass production scale. It represented a great challenge to the artists, where unskilled painters would require outlines to complete their sections of decoration, and if not handled well, would give the impression that the piece was unfinished.The fluttering butterfly depicted on this dish emphasizes the fragile, shimmering beauty of the wings. Designs of butterflies suggest duplication of an auspicious wish, since the character for butterfly is a homophone for 'repeat'. It also is a homophone with 'die' meaning 'Over seventy or eighty years of age', and thus expresses a wish for longevity. Butterflies also symbolize happiness in marriage and everlasting romantic love. The latter interpretation is due to a number of traditional Chinese stories in which butterflies play a significant part. Feng Menglong (1574-1646), for example, narrates the popular story of the 'butterfly lovers' Liang Shanbo and Zhu Yingtai, who are transformed into butterflies after death. The philosopher Zhuangzi's famous dream of being a butterfly also made them symbols of the boundary between dream and reality.Literature comparison: Compare a related famille rose saucer dish with butterflies and peonies, also with a Yongzheng mark and of the period, 29.7 cm diameter, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021.Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3061 Price: HKD 920,000 or approx. EUR 135,000 converted and adjusted for inflation at the time of writingDescription: A famille-rose saucer dish, mark and period of Yongzheng Expert remark: Compare the closely related manner of painting with similar peony, chrysanthemum, and two-color leaves. Note the slightly smaller size (18.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2013, lot 218 Price: USD 81,250 or approx. EUR 101,500 converted and adjusted for inflation at the time of writingDescription: A pair of famille-rose dishes, Yongzheng mark and period Expert remark: Compare the closely related subject and manner of painting with similar peony, chrysanthemum, two-color leaves, and butterfly. Note the smaller size (15.1 cm) and that the lot is a pair of dishes. 雍正款及年代粉彩花蝶戀紋小碟中國，1723-1735年。胎薄體輕，盤心以沒骨畫法繪牡丹、萱草高低錯落，彩蝶翩翩，畫面生動，風格清新雅緻，敷彩鮮豔。圈足内雙圈青花六字款“大清雍正年製”。 由於字數限制，完整中文敘述請至www.zacke.at查看。
A RARE THANGKA WITH THE FOOTPRINTS OF A KARMAPA, TIBET, 14TH - 16TH CENTURYDistemper and gilt on cloth. Depicting the soles of two golden feet with multicolored chakras standing on a moon disc above a multicolored lotus base, a stylized column in between topped by a blue utpala flower supporting the Karmapa, at the bottom center a red vase flanked by naga figures, all surrounded by various buddhas, protectors, and teachers. Provenance: From a noted Swiss private collection. Condition: Good condition with ancient wear, a minuscule hole at one toe, some creasing and abrasions. The distemper and gilt with signs of natural aging as well as microscopic crackling and flaking. Possibly some minuscule old touchups. Losses and loose thread to the undecorated edges.Dimensions: Image size 46 x 38 cm, Size incl. frame 66.7 x 58.4 cmMatted and framed behind glass. (2)The Karmapa is the head of the Karma Kagyu, the largest sub-school of the Kagyu, itself one of the four major schools of Tibetan Buddhism. Karmapa was Tibet's first consciously incarnating lama. Düsum Khyenpa, 1st Karmapa Lama (1110-1193), was a disciple of the Tibetan master Gampopa. A talented child who studied Buddhism with his father from an early age and who sought out great teachers in his twenties and thirties, he is said to have attained enlightenment at the age of fifty while practicing dream yoga. He was henceforth regarded by the contemporary, highly respected masters Shakya Sri and Lama Shang as the Karmapa, a manifestation of Avalokiteshvara, whose coming was predicted in the Samadhiraja Sutra and the Lankavatara Sutra.The tradition of commissioning drawings of a teacher's feet appears to be an oral instruction coming down from Gampopa Sonam Rinchen, the teacher of the First Karmapa, Düsum Kyenpa, and also of Pagmodrupa Dorje Gyalpo, who wrote a famous early text describing this practice. Such paintings are extremely rare, with only a handful known in the East or the West. Auction result comparison:Type: RelatedAuction: Christie's New York, 22 March 2011, lot 323Price: USD 458,500 or approx. EUR 585,500 converted and adjusted for inflation at the time of writingDescription: An important thangka with the Footprints of the Third Karmapa, Rangjung Dorje, Tibet, circa 1339Expert remark: Compare the closely related motif and colors as well as the related size (51.1 x 37.5 cm). Note that this lot has been attributed to a specific Karmapa and is possibly of an earlier date than the present lot.十四至十六世紀西藏罕見噶瑪巴足印唐卡布面膠彩描金。一幅噶瑪巴上師的足印唐卡。噶瑪巴坐在一巨大的蓮花莖所支撐的蓮座上。腳印上也繪有法輪符號，法輪作為佛教中最為代表性的符號，預示著佛陀在鹿野苑初次的說法佈道，因此上師腳印上的法輪符號同樣具有增強上師與佛陀形象連結的作用。頂部是一朵支撐噶瑪巴的藍色烏帕拉花，底部中央是一個紅色的花瓶，兩側是納迦人物。四周圍繞諸佛、護法與上師。 來源：瑞士知名私人收藏。 品相：狀況良好，有磨損，一隻腳趾上有一個小洞，有些摺痕和擦傷。有自然老化跡象，輕微裂紋和色彩剝落。有一些微小的修飾。邊緣有缺損和鬆散。 尺寸：畫面 46 x 38 厘米，含框66.7 x 58.4 厘米 鏡面。 噶瑪巴是噶瑪噶舉派的領袖，噶舉派是藏傳佛教四大宗派之一。噶瑪巴是藏傳佛教噶舉派中的最高持教法王，也是最早開啟乘願轉世傳統的藏傳佛教領袖。藏傳佛教視他為金剛總持的化身。 上師足印唐卡的傳統似乎是從第一世噶瑪巴杜松欽巴的上師岡波巴索南仁欽那里傳下來的，他也是巴摩竹巴多傑嘉波的上師。此類畫作極為罕見，東西方知之甚少。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得， 2011年3月22日，lot 323 價格：USD 458,500（相當於今日EUR 585,500） 描述：1339年西藏重要噶瑪巴第三世上師讓炯多傑足印唐卡 專家評論：比較非常相近的主題、顏色，以及尺寸 (51.1 x 37.5 厘米)。請注意此唐卡特別描繪一位噶瑪巴的上師，年代可能較早。
A RARE AND LARGE CLOISONNE ENAMEL 'BAJIXIANG' VASE, GU, QIANLONG PERIODChina, 1736-1795. The vase is well cast of archaic gu form, superbly decorated around the rounded mid-section with lotus sprays and bats enclosed by linked fret scrolls. The trumpet neck and spreading foot are enameled with hanging plantain leaves enclosing lotus blossoms and scrollwork, dividing further lotus sprays borne on tendrils. The flared mouth rim is embellished around the exterior with the Bajixiang, the Eight Buddhist Emblems, and four Shou medallions amidst lotus blooms on the interior.Provenance: A highly important Austrian private collection, acquired during the first half of the 20th century, and thence by descent within the same family. Dorotheum, Vienna, 9 December 1992, lot 229. A Viennese private collection, acquired from the above. Old inventory label from Dorotheum to base.Condition: Superb condition with minor traces of use and manufacturing irregularities, including expected pitting, minuscule losses to enamels with associated old fills, few microscopic nicks, expected wear to gilt, light scratches to base. Please request a video, shot under strong blue light, to see the magnificent condition of this lot for yourself. Overall, such a large cloisonne vessel, dating from the 18th century, that comes in such a pristine state of preservation must be considered extremely rare. Weight: 2,931 g Dimensions: Height 44 cmExpert's note: It is rare to find a cloisonne enamel gu vase decorated with the bajixiang motif, and the current vessel is likely to have been part of a set placed in a Buddhist temple within an important palace, possibly the Forbidden City. The matching pair to the present vase, most probably coming from the same altar set, was sold at Christie's in 2016 (see auction result comparison), and it is our sincere hope that the winning bidder of the present lot will be able to reunite the pair.Literature comparison: A number of cloisonne vessels of other forms with this Buddhist decoration have been published, including the alms bowls and plates illustrated in Compendium of Collections in the Palace Museum - Enamels (2) - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, pls. 260-261, 287-289. Compare also a censer, similarly decorated with the bajixiang borne on lotus blooms and archaic scrolls as on the present vase, dated to the early 18th century and illustrated by C. Brown in Chinese Cloisonne - The Clague Collection, Phoenix Art Museum, 1980, pl. 43.Auction result comparison: Type: Matching pair Auction: Christie's Hong Kong, 1 June 2016, lot 3402 Price: HKD 1,840,000 or approx. EUR 247,000 converted and adjusted for inflation at the time of writing Description: A rare large cloisonne enamel 'bajixiang' vase, gu, Qianlong period Expert remark: Note that this vase and the present lot most likely once were part of the very same altar set.乾隆罕見掐絲琺瑯八吉祥花觚中國，1736-1795年。花觚喇叭口，細長頸，鼓腹，束腰，足外撇。松石綠色地上琺瑯彩繪，觚外壁口下與高圈足上，均繪纏枝蓮托八寶紋。頸部下方有蕉葉紋，腹部纏枝蓮紋，口沿與足牆處一周迴紋。觚内壁纏枝蝙蝠壽字紋。花觚造型優雅，結構紋飾富麗堂皇。 來源：奧地利重要私人收藏，二十世紀上半葉進入收藏，在同一家族保存至今。1992年12月9日維也納Dorotheum, lot 229；維也納私人收藏購於上述拍賣。底部可見Dorotheum 編號標籤。 品相：狀況極佳，有輕微的使用痕跡和製造瑕疵，包括預期的點蝕、與舊填充物相應的琺瑯缺損、輕微刻痕、鎏金磨損，底座上有輕微劃痕。請聯繫藝廊獲取藍光下拍攝的視頻。總體而言，如此原始的保存狀態的十八世紀景泰藍大型容器極為罕見。 重量：2,931 克 尺寸：高44 厘米 專家注釋：以八吉祥為裝飾的掐絲琺瑯觚瓶十分少見，而這件觚瓶很可能曾放置在重要宮殿（可能是紫禁城）內的一座佛堂中。 此瓶曾爲一對，另一個於 2016年 年在佳士得拍賣（見拍賣結果比較），我們真誠地希望本拍品有朝一日能重聚。文獻比較：一些具有佛教裝飾的景泰藍器皿已經出版，包括《故宮博物院藏品大系—琺瑯彩2—清掐絲琺瑯（1644-1911）》中的碗和盤，北京，2011年，圖260-261和287-289。與此相比，還有一件18世紀初香爐也有類似的裝飾，飾有蓮花和古卷，見C. Brown，《Chinese Cloisonne - The Clague Collection》，Phoenix Art Museum，1980年，圖43。由於字數限制，完整中文敘述請至www.zacke.at查看。
A CHAMPLEVE AND ENAMEL WALL VASE, GUANGDONG TRIBUTE TO THE IMPERIAL COURT, QIANLONGChina, 1736-1795. Of flattened form, the gilt bronze baluster body supported on a short spreading foot and rising to a flared neck, the mouth and foot rims are three-lobed. Inlaid at the center with a haitang-shaped and finely enameled plaque neatly painted with two court ladies seated in a lush garden with willows, rockwork, and flowers, one playing the flute. The plaque is encircled by raised kuilong executed in champleve enamel, the foot and base of the neck with similar kuilong and with an enameled taotie mask below the mouth.Provenance: From a North German private collection, assembled before 2007.Condition: The canton enamel plaque with small repairs to lost enamels, the vase further with some dents and nicks, light surface scratches, manufacturing flaws such as expected pitting, minor old wear to gilt. Overall presenting remarkably well, the condition consistent with age.Weight: 579.2 gDimensions: Height 21 cmThe back with a circular aperture within a rectangular recess for wall suspension.Palace archival records confirm that significant quantities of enamel and champleve wares were produced in the Guangdong province with a wide range of designs that included luxurious and eye-catching pieces such as the present wall vase. Yang Boda notes the high quality of champleve wares made in Guangzhou, the capital of the province, adding that they were 'second to none during the whole Qing dynasty' (see Tributes from Guangdong to the Qing Court, Chinese University of Hong Kong, 1987, page 54). During the 18th century, Guangzhou had become an important artistic center as craftsmen active there were in very close contact with European missionaries and traders bringing to China new and innovative techniques. Wares made in these foreign techniques were highly coveted by the Imperial household, especially during the Qianlong era, hence a number of such champleve wares were sent as tribute gifts from Guangdong to the Imperial court in Beijing. During the reign of the Qianlong Emperor, the manufacture of champleve, cloisonne and painted enamel products flourished to achieve its most sophisticated level in both range and quality.Expert's note: Champleve wall vases only seldomly appear on the market. The present lot - with its unique addition of a finely enameled plaque - seems to have no comparable examples found in private or public collections and hence must be considered exceedingly rare.Auction result comparison:Type: RelatedAuction: Bonhams London, 13 May 2010, lot 401Estimate: GBP 15,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A fine champleve enamel and gilt-bronze baluster wall vase, late QianlongExpert remark: Compare the related champleve enameling and similar kui dragons. Note that this vase is of almost the same size (18.3 cm) but lacks the canton enamel plaque.Auction result comparison:Type: Remotely relatedAuction: Christie's Hong Kong, 29 May 2013, lot 2068Price: HKD 3,150,000 or approx. EUR 475,500 converted and adjusted for inflation at the time of writingDescription: A very rare Imperial champleve and gilt-bronze archaistic vase, hu, QianlongExpert remark: Note that this is not a wall vase and of significantly larger size (39.3 cm) than the present lot乾隆内填琺瑯壁瓶，廣東進貢中國，1736-1795年。扁瓶形，撇口，束頸，豐肩，下收腹，底足外撇。頸部中央一道弦紋。瓶身開光鑲嵌精美琺瑯瓷牌，兩位仕女坐在園中柳樹下，四周鮮花環繞，假山亭子。開光周圍是用内填琺瑯描繪夔龍紋和饕餮紋。 來源：德國北部私人收藏，購於2007年之前。 品相：琺瑯面有小修復，花瓶有一些凹痕和刻痕，表面有輕微劃痕，製作瑕疵，例如麻點、鎏金的輕微磨損。整體狀況良好，與年齡相吻合。 重量：579.2 克 尺寸：高21 厘米 背面帶有矩形凹槽，圓形孔，用於牆壁懸掛。由於字數限制，完整中文敘述請至www.zacke.at查看。
A THANGKA OF A LAMA AND CHANGKYA RÖLPE DORJE (1717-1786), QIANLONG PERIODChina, 1736-1795. Gold and distemper on cloth. The elderly lama is seated with legs crossed on cushions resting on the platform of a throne with offerings placed before him, his right hand raised in karana mudra and holding a vajra, the left lowered in the same gesture and holding a ghanta. He is wearing loose-fitting monastic robes and a tall yellow pointed cap, characteristic of the Gelugpa sect. Above the lama is a smaller image of a high pontiff, probably Changkya Rölpe Dorje, holding a vase and lotus stems coming to full bloom at the shoulders and wearing a folded hat, which is also associated with portraits of the Panchen Lama. All within a rich verdant landscape with trees, mountains, and waterfalls amid thick swirling clouds.Provenance: Belgian trade.Condition: Extensive wear, soiling, staining, creasing, minor losses, small tears. The silk brocade mounting faded. Overall fair condition.Dimensions: Image size 39 x 27.5 cm, Size incl. frame 54 x 41 cmExpert's note: The small upper figure in the present thangka probably depicts Changkya Rölpe Dorje, the preceptor of the Qianlong Emperor, and is one of a small group of works that consistently portray the idiosyncratic physiognomy of this eminent figure, with a fine mustache, sparse goatee, and a particularly notable strabismus of the left eye.Changkya Rölpe Dorje (1717-1786) was born in Amdo and educated at the court of the Yongzheng Emperor where he formed a strong relationship with his fellow student Hongli, the future Qianlong Emperor. Promoted to state preceptor by the new emperor, he became one of the most important and influential figures at the Qianlong court, in both religious and diplomatic affairs. He was recognized as the incarnate Changkya Khutukhtu, the Mongolian lineage of Buddhist masters. He presided over complex Buddhist state rituals, revitalized ancient Buddhist traditions and promoted revised teaching systems and Buddhist iconographic programs. He compiled the renowned illustrated pantheon of Three Hundred and Sixty Icons, and was responsible for the translation of important Buddhist texts into Mongolian. Under the auspices of the emperor, Changkya Rölpe Dorje was responsible for the prodigious production of almost all Imperial Buddhist works of art seen in the eighteenth century, and is regarded as a visionary character that greatly contributed to the legacy of the Qianlong reign.Literature comparison: Compare a related portrait in the Staatliches Museum für Völkerkunde in Munich, published by Andreas Lommel, Kunst des Buddhismus, München, 1974, p. 161, pl. 87. Compare a related thangka of a Gelugpa lama, dated to the first half of the 19th century, in the Ashmolean Museum, University of Oxford, accession number EA1983.26.Auction result comparison: Type: Related Auction: Sotheby's Paris, 18 December 2012, lot 30 Price: EUR 228,750 or approx. EUR 275,500 adjusted for inflation at the time of writing Description: Tangka imperial de Changkya Hutuktu Rölpe Dorje (1717-1786) detrempe sur tissu Chine, dynastie Qing, epoque Qianlong (1736-1795) Expert remark: Compare the related depiction of Rolpai Dorje with similar fine mustache, sparse goatee, and faint strabismus of the left eye. Compare the related manner of painting with similar robes, pointed cap, lotus blossoms, and clouds. Note that this is an Imperial thangka of slightly larger size (48.4 x 33 cm). Auction result comparison: Type: Related Auction: Christie's London, 7 November 2014, lot 485 Price: GBP 22,500 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A thangka probably depicting the Changkya Hutuktu Rolpai Dorje (1717-1786), China, Qianlong period Expert remark: Compare the related manner of painting with similar robes, folded cap, lotus blossoms, and clouds. Note this thangka probably depicts a young Changkya Rölpe Dorje and is of slightly larger size (55.3 x 38.1 cm).乾隆喇嘛與章嘉·若必多吉唐卡中國，1736-1795年，布面膠彩描金。畫面中央一位年邁的喇嘛盤腿墊子上，面前有供品，他的右手舉起施羯剌拏手印並拿著金剛杵，左手拿著一個金剛鈴。 他穿著寬鬆的僧袍，頭戴黃色尖頂高帽，格魯派的特色。喇嘛上方是一個較小的高僧像，可能是章嘉·若必多吉，手持花瓶，肩部盛開的蓮花，頭戴折疊帽，這也與班禪喇嘛的肖像有關。四周山水景觀。 來源：比利時古玩交易。 品相：大面積磨損、污漬、皺褶、小缺損、小撕裂。絲錦鑲嵌褪色。總體狀況良好。 尺寸：畫面39 x 27.5 厘米，總54 x 41 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。
A GUAN-TYPE VASE, FANG HU, YONGZHENG MARK AND PERIODChina, 1723-1735. The high-shouldered body with curved sides supported on a splayed foot, rising to a waisted neck and lipped rim, flanked by a pair of expressive chilong masks with elegantly curved horns, bulging eyes, and fangs, suspending mock rings. Covered overall in a thick pale-gray glaze suffused with a dense yet subtle crackle and attractively pooling in the recesses. The deeply countersunk base with a finely painted underglaze-blue six-character seal mark da Qing Yongzheng nianzhi and of the period.Provenance: From an English private collection.Condition: Excellent condition with only minor old wear and firing irregularities, including pitting, dark spots, and few glaze recesses. Extremely rare in this pristine state of preservation. The glaze with a subtle, unctuous feel overall.Weight: 4,655 gDimensions: Height 33.2 cmLiterature comparison: For an example of the Han-dynasty model for this vase, see Christie's Paris, 9 June 2016, lot 232.Auction result comparison: Type: Near identical Auction: Christie's Paris, 7 June 2011, lot 194 Price: EUR 28,600 or approx. EUR 35,500 adjusted for inflation at the time of writingDescription: A Guan-type glazed vase, hu, China, Qing dynasty, Yongzheng six-character sealmark and of the period Expert remark: Note the evident damage and repair as well as significant misfirings. Due to these condition issues, which the present lot does not have, the result was appropriate at the time. Note the size (31.7 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 9 April 2006, lot 1614Price: HKD 1,440,000 or approx. EUR 275,000 converted and adjusted for inflation at the time of writingDescription: A rare massive guan-type vase, fanghu, seal mark and period of YongzhengExpert remark: Compare the near identical form. Note the ruyi scepter loop handles and slightly larger size (43.8 cm). 雍正款及年代仿官釉螭龍啣環輔首方壺 中國，1723-1735年。侈口，短頸，碩腹。頸部螭龍啣環輔首。通體施仿官釉，開片細密。足緣施醬色護胎汁。底足內青花六字款“大清雍正年製”。 來源：英國私人收藏 品相：品相極佳，只有輕微的舊時磨損和燒製不規則現象，包括點蝕、黑點和少量釉面凹陷。 在這種原始保存狀態下極為罕見。釉面整體勻潤。 重量：4,655 克 尺寸：高 33.2 厘米 文獻比較：一件漢代方壺，見巴黎佳士得，2016年6月9 日 lot 232。 拍賣結果比較： 形制：幾乎相同 拍賣：巴黎佳士得，2011年6月7日，lot 194 價格：EUR 28,600（相當於今日EUR 35,500） 描述：雍正款及年代仿官釉螭龍輔首方壺 專家評論：請注意此壺有明顯的損壞和修理痕跡，以及明顯的製作不規則。現拍品並沒有這些品相問題。請注意尺寸(31.7厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2006年4月9日，lot 1614 價格：HKD 1,440,000（相當於今日EUR 275,000） 描述：雍正款及年代大型仿官釉方壺 專家評論：比較幾乎相同外型。請注意如意形耳和尺寸較大(43.8厘米)。
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