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
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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)。
A MAGNIFICENT POWDER-BLUE AND GILT-DECORATED ROULEAU VASE, KANGXI PERIODChina, 1662-1722. Of cylindrical form, the neck with a galleried rim, gilt-decorated with two larger rectangular panels depicting pheasants perched on a rock and surrounded by chrysanthemums, prunus, and peonies, further with four smaller panels of square and circular shape, each with auspicious flowers, all above a dense floral diaper pattern. The upper rim with a key-fret border, and a lappet band above the foot. The interior covered in white.Provenance: From a private collection on the East Coast, North America. A notable private collector in Kensington, London, United Kingdom, acquired from the above. Sotheby's London, Important Chinese Art, 3 November 2021, lot 170, bought in at a net reserve of GBP 30,000 or EUR 37,500 converted and adjusted for inflation at the time of writing. Condition: Excellent condition with minor old wear and some firing irregularities, light surface scratches, minuscule fritting to the rim. The gilt is particularly well preserved.Weight: 4,626 g Dimensions: Height 47.8 cmBlue monochromatic wares with gilt decoration first appeared in the Yuan dynasty. During the Kangxi period it was the custom to spray the cobalt oxide onto the porcelain which gave an attractive, mottled quality to the wares. More often than not, the powder blue was further ornamented with gilt-painted decoration, the cool metallic tones contrasting effectively with the rich mottled blue as witnessed on this vase.Literature comparison: Compare a closely related powder blue rouleau vase with gilt decorations, with a Kangxi mark and of the period, in the collection of the Metropolitan Museum of Art, accession number 79.2.153.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2015, lot 457Price: USD 125,000 or approx. EUR 153,500 converted and adjusted for inflation at the time of writingDescription: A gilt-decorated powder-blue-ground rouleau vase, China, Qing dynasty, Kangxi period (1662-1722)Expert remark: Compare the near identical form and decoration as well as the similar size (46.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.康熙霽藍釉描金棒槌瓶中國，1662-1722年。盤口，短直頸，圓折肩，圓筒狀長腹，圈足。通體施霽藍釉，描金錦地。腹部開光，描金繪製了牡丹、梅花與菊花等富貴花卉，雉鷄栖息在樹下。畫面富貴華麗，細節生動。 來源：北美東海岸私人收藏；英國倫敦肯辛頓知名私人收藏，購於上述收藏；2021年11月3日倫敦蘇富比Important Chinese Art, lot 170, 底價GBP 30,000 ，相當於現在的EUR 37,500。 品相：狀況極佳，有輕微磨損和一些燒製不規則、表面淺劃痕、邊緣有微小熔塊。描金保存得極好。 重量：4,626克 尺寸：高47.8厘米 霽藍釉描金紋瓷器最早出現於元代。康熙年間，有將氧化鈷噴在瓷器上的工藝，使瓷器具有誘人的斑駁質感。更多時候，霽藍釉被描金進一步裝飾，金色與這個花瓶上豐富的斑駁藍色形成鮮明對比。 文獻比較： 比較一件非常相近的康熙款及年代霽藍釉描金棒槌瓶，收藏於大都會藝術博物館，編號79.2.153。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年3月19日，lot 457 價格：USD 125,000（相當於今日EUR 146,500） 描述：清代康熙霽藍釉描金棒槌瓶 專家評論：比較幾乎相同的外型、描金和尺寸 (46.5厘米)。
A MONOCHROME YELLOW-GLAZED BOTTLE VASE, TIANQIUPING, QING DYNASTYChina, 1644-1912. The globular body surmounted by a tall, slightly waisted tubular neck, covered overall in a rich yellow glaze stopping unevenly above the bare foot rim, the base and interior with a white glaze.Provenance: From a private collection in Cambridgeshire, United Kingdom, acquired before 1990. An old photography of the vase in the collector's home, portrayed together with the family cat, in its original frame, accompanies this lot. Condition: Very good condition with minor old wear, shallow surface scratches and some expected manufacturing flaws such as dark spots, minimal pitting, glazes recesses and some irregularities to the foot rim.Weight: 2,666 g Dimensions: Height 34.8 cmAuction result comparison:Type: Closely relatedAuction: Christie's New York, 1 July 2021, lot 259Price: USD 7,500 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A Chinese yellow-glazed porcelain bottle vase, Qing dynasty, 19th centuryExpert remark: Compare the closely related form and rich yellow glaze. Note the smaller size (20.9 cm) and the apocryphal Chenghua mark.Auction result comparison:Type: Related Auction: Christie's New York, 1 July 2021, lot 243Price: USD 13,750 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A pair of Chinese yellow-glazed porcelain baluster vases Expert remark: Compare the closely related rich monochrome glaze. Note the larger size (48.2 cm), apocryphal Kangxi marks, and that the lot comprises a pair.清代單色黃釉天球瓶中國，1644-1912年。瓷胎天球瓶，直口，長頸部向下微斂，寬圓肩，碩圓腹，矮圈足。通體施黃釉，底足和瓶内施白釉。 來源：英國康橋郡，購於1990年前。隨附一張老照片，上可見藏家家中放在書架旁的天球瓶以及藏家的貓。 品相：狀況極好，有輕微的磨損、表面淺劃痕和一些預期的製造缺陷，例如黑點、釉面凹陷和圈足一些不規則之處。 重量：2,666克 尺寸：高34.8厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年7月1日，lot 259 價格：USD 7,500（相當於今日EUR 7,500） 描述：清代十九世紀黃釉瓶 專家評論：比較非常相近的外型和濃厚的黃色釉料。請注意尺寸較小 (20.9厘米) ，以及此瓶為成化款。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2021年7月1日，lot 243 價格：USD 13,750（相當於今日EUR 13,500） 描述：清代十九世紀一對黃釉瓶 專家評論：比較非常相近的濃厚單色釉。請注意尺寸較大 (48.2厘米)，為康熙款，以及此瓶為一對。
A BLUE AND WHITE DOUBLE GOURD VASE, KANGXI PERIODChina, 1662-1722. Of double gourd shape, with a flaring rim, painted in underglaze blue with peonies amid meandering vines and foliage, the neck decorated with a geometrical border. The recessed base with an underglaze-blue artemisia leaf mark within a double circle.Provenance: S. Marchant & Son, London, 11 February 1972. A private collection in Rhineland, Germany, acquired from the above and thence by descent within the same family. A copy of the original invoice from Marchant, dated 11 February 1972 and confirming the dating above, accompanies this lot. Condition: Excellent condition with minor wear and manufacturing flaws.Weight: 602.8 g Dimensions: Height 21.3 cmDuring 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 artemisia leaf marks and double circles.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 15 September 2016, lot 866Price: USD 6,250 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A blue and white double-gourd vase, Kangxi period (1662-1722)Expert remark: Note the similar size (19.4 cm)康熙青花牡丹紋葫蘆瓶中國，1662-1722年。葫蘆形，壺口外撇，青花牡丹紋，蔓蔓枝葉，頸部飾條紋。圈足內雙圈樹葉款。 來源：倫敦S. Marchant & Son藝廊，1972年2月11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1972年2月11日出具的原始發票副本。 品相：狀況良好，有輕微磨損和製造缺陷。 重量：602.8 克 尺寸：高21.3 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2016年9月15日，lot 866 價格：USD 6,250（相當於今日EUR 7,500） 描述：清康熙青花纏枝花卉紋葫蘆瓶 專家評論：請注意相似的尺寸 (19.4 厘米)。
A RARE GUAN-TYPE VASE, HU, QIANLONG MARK AND PERIODChina, 1736-1795. The ovoid body supported on a thick spreading foot and tapering to a waisted flared neck, set to either side with a lion-head-form loop handle over a molded mock ring handle at the shoulder, applied overall in a thick bluish-gray glaze suffused with a bold network of steel gray and pale gold crackles stopping at the unglazed foot ring dressed in a dark brown wash in imitation of Song dynasty guan ware. The recessed base with an underglaze-blue six-character mark da Qing Qianlong nianzhi and of the period.Provenance: Swiss trade. Condition: Fine condition overall with wear and firing irregularities, shallow surface scratches, the rim with a small chip and associated minor old repair. Please request further detail images as well as a video, shot under strong blue light, for accurate documentation of the condition of the present lot.Weight: 6,002 gDimensions: Height 37 cmThe crisply molded lion-form loop handles on the present piece are striking, varying from the usual shallow applied lion-mask handles with pendent rings or the rarer elephant-head loop handles. The bold feature is a charming 18th-century innovation on a vase that in both form and glaze references two well-known early accomplishments of Chinese art: the iconic hu form derived from the great bronzes of the Shang dynasty and the rich crackled glaze of the famed Guan wares of the Southern Song dynasty. The official or Guan ware was produced for the court in the capital, Hangzhou, in Zhejiang province. Laohudong in southern Hangzhou appears to have been the most important Guan kiln creating wares with an attractive crackled glaze, a version of which is seen on the present piece. The crackle was purposefully made utilizing refined technical skill to calibrate a cooling rate for the wares that would produce the different layers of fissures and allow them to be filled with two to three different colors. The present piece with its two tones references the jinsi tiexian (gold thread and iron wire).Such a pointed allusion to the past served to both pay homage to the past while simultaneously noting the technical achievements of the present. Archaism enjoyed a major revival during the height of the Qing dynasty under the Yongzheng and Qianlong emperors. The combination of a precious glaze and ancient form suggests a deep appreciation and respect for the past, together with the want for its preservation.Auction result comparison: Type: Near-identical Auction: Sotheby's New York, 17 March 2015, lot 287 Price: USD 87,500 or approx. EUR 107,500 converted and adjusted for inflation at the time of writing Description: A rare Guan-type vase, Hu, Qianlong seal mark and period Expert remark: Compare the identical form, two-tone crackled glaze, and extremely rare lion-form loop handles. Note the smaller size (30 cm).乾隆款及年代仿官釉雙耳壺中國，1736-1795年。仿漢壺尊形制，鼓腹，外撇圈足。頸部兩側有獅首耳，通體及足內均施仿官釉，釉面開片紋。胎體優美，造型素雅，猶可辨趙宋遺韻。圈足内六字篆書款“大清乾隆年製”。 來源：瑞士古玩交易。 品相：整體狀況良好，磨損和燒製不規則，表面淺劃痕，邊緣有小磕損和相應小修。請聯繫部門詢問更多細節圖片以及在強藍光下拍攝的視頻，以準確查看當前拍品的狀況。 重量：6,002 克 尺寸：高37 厘米 這件作品上造型清晰的獅首耳特別引人注目，與通常帶有活環的獅首或較罕見的象首耳不同。此器的造型、釉色都極似宋代的作品，是仿古之作。清雍正時期對宋代五大名窯的仿製取得了空前的成就，摹古水平極高。此時所仿製的宋代官窯釉面或有冰裂紋或無片紋，其紋呈白色或鐵色。胎色黑，頗能體現宋代官窯 “紫口鐵足”的特色，在清代文獻中被稱為“鐵骨大觀”。拍賣結果比較： 形制：幾乎相同 拍賣：紐約蘇富比，2015年3月17日，lot 287 價格：USD 87,500（相當於今日EUR 107,500） 描述：清乾隆官式瑞獸耳壺 《大清乾隆年製》款 專家評論：比較幾乎相同的外型、雙色調的釉面開片，以及罕見的獅首耳。請注意尺寸較小 (30 厘米)。
A LARGE AND MASSIVE BRONZE 'CHILONG' ARROW VASE, TOUHU, YUAN TO EARLY MING DYNASTYChina, 13th-15th century. Heavily cast, the compressed globular body rising from a splayed foot and surmounted by a tall cylindrical neck. The body decorated in relief with archaistic motifs on a key-fret diapered ground at the foot and the four tubular 'target' lugs, further molded with four beast-mask handles suspending loose rings, and four chilong sinuously wrapping around the shoulder and elongated neck.Provenance: From the collection of Dr. Walter Rieder (1890-1986), and thence by descent in the same family. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.Condition: Very good condition with extensive old wear, few casting irregularities, small losses, nicks and dents, a small hole to the shoulder, possibly inherent to the manufacture. The base plate shows some soldering, but is original to the vase. Dark, naturally grown patina, exactly as expected from this type of bronze.Weight: 6,448 g Dimensions: Height 47.8 cmThe form of this vase is inspired by archaic bronze vessels used for touhu (lit. 'pitch-pot'), a traditional East Asian game that requires players to throw arrows or sticks from a set distance into a large, sometimes ornate, vessel. The game had originated by the Warring States period, probably invented by archers or soldiers as a pastime during idle periods. It began as a game of skill or a drinking game at parties, but by the time it was described in a chapter of the Chinese Classic Book of Rites, it had acquired Confucian moral overtones. Initially popular among elites, it spread to other classes and remained popular in China until the end of the Qing Dynasty. Touhu was usually a contest between players, who had to throw arrows into the mouth or tubular lugs located at the top of the vase, which was placed at an equal distance between two mats on which the players knelt. Touhu vases continued to be produced in the Song dynasty and later, made in various materials including bronze, cloisonne, and ceramic.Literature comparison: See a related bronze arrow vase, dated as first half 17th century, illustrated in The Chinese Scholar's Studio: Artistic Life in the Late Ming Period, New York, 1987, no. 63. Auction result comparison:Type: Closely relatedAuction: Christie's London, 11 Nov 2011, lot 1411Price: GBP 11,250 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A large bronze 'eight immortals' arrow vase, Ming dynasty (1368-1644)Expert remark: Compare the closely related form, the four beast-mask handles at the body, and the archaistic design to the foot and upper neck. Note the size (57 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 7 October 2014, lot 3331Price: HKD 175,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A large bronze arrow-handled vase, Ming dynasty, 16th centuryExpert remark: Compare the closely related design with dragons at the neck and archaistic design to foot and neck.Auction result comparison:Type: Closely relatedAuction: Bonhams Hong Kong, 29 May 2022, lot 23Price: HKD 242,250 or approx. EUR 30,500 converted at the time of writingDescription: A Very Rare Bronze Arrow Vase, Touhu, Yuan DynastyExpert remark: Compare the closely related form, the sinuous chilong, and the archaistic design overall. Note the size (35.5 cm).元至明初大型螭龍紋輔首啣環投壺中國，十三至十五世紀。該件瓶為銅質。唇口，口沿兩側附雙貫耳，形成三個並列的口部，貫耳下端亦為唇口，雷紋地龍紋。細長頸，圓雕兩螭龍攀附。平肩，肩部攀附一對螭龍。鼓腹，四輔首啣環。高圈足。壺整器規矩，錯落有致。 來源：Dr. Walter Rieder (1890-1986)舊藏，在同一家族保存至今。 品相：品相極好，大面積磨損，輕微鑄造瑕疵，小缺損、小刻痕和凹痕，肩部有一個小孔，可能是製造時出現的。底板看上去有過焊接。深色的包漿，與這種青銅器皿的預期完全一樣。 重量：6,448 克 尺寸：高47.8 厘米 由於字數限制，完整中文敘述請至www.zacke.at查看。
A RARE AQUAMARINE BLUE GLASS BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1736-1795. The remarkably thick-walled, globular body is raised on a short tapered foot and surmounted by a tall cylindrical neck. The transparent glass is of an attractive aquamarine-blue tone. The recessed base with an incised four-character mark Qianlong nianzhi and of the period.Provenance: From the collection of Ina and Sandford Gadient. Old collector's label inscribed 'Ina & Sandford Gadient No. 23'. Ina and Sandford Gadient were collectors of Chinese glass and long-time supporters of the Lowe Art Museum at the University of Miami in Florida. In 1999, the Museum, an important art institution in the US, hosted an exhibition of over 120 pieces from the Gadient collection including the present lot, titled “Treasures of Chinese Glass Workshops”. The collection has also been exhibited at several other museums across the US (see exhibition section below).Published: Treasures of Chinese Glass Workshops. A Selection from the Ina and Sandford Gadient Collection, Lowe Art Museum, University of Miami, 1999, Number 24.Exhibited: The Norton Museum of Art, West Palm Beach, October 2011. The New Orleans Art Museum, May 2004. The Lowe Art Museum, December 1999. The Corning Museum of Glass, September 1996. The Lentz Center of Asian Culture, October 1994. The Honolulu Academy of Art, Hawaii, June 1992.Condition: Excellent condition with some old wear, minor surface scratches, microscopic nicks and expected manufacturing irregularities, including swirls and bubbles.Weight: 1,500 g Dimensions: Height 25 cmExpert's note: The overall thickness of the glass, becoming most visible at the massive foot and neck, along with the exceedingly rare color variant of transparent aquamarine blue, indicates that this vase was made rather early during the Qianlong period.Literature comparison: A related bottle vase of comparable size, also with a Qianlong mark and of the period, is illustrated by Simon Kwan in Early Chinese Glass, Art Museum, The Chinese University of Hong Kong, 2001, pp. 422-3, no. 218.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1215 Price: USD 16,380 or EUR 15,500 converted at the time of writing Description: A large blue glass bottle vase, Qianlong four-character incised mark and of the period (1736-1795) Expert remark: Compare the closely related thick-walled glass. Note the darker sapphire-blue color and larger size (33.7 cm).乾隆款與年代罕見寶石藍琉璃瓶中國，1736-1795年。不透明的寶石藍玻璃，直口，長頸，鼓腹，底足厚壁，造型秀巧。圈足内“乾隆年製“四字款。 來源： Ina 與Sandford Gadient收藏。收藏標籤上注明”Ina & Sandford Gadient No. 23”。Ina 與Sandford Gadient是中國琉璃器皿收藏家，長期資助佛羅里達州邁阿密大學洛威藝術博物館。1999年，美國重要的一個藝術機構博物館舉辦了一場展覽，展出了包括本拍品在內的Gadient收藏的120多件作品，名為“Treasures of Chinese Glass Workshops”。 該系列還曾在美國其他幾家博物館展出（見下面的展覽部分）。 出版：Treasures of Chinese Glass Workshops. A Selection from the Ina and Sandford Gadient Collection, Lowe Art Museum, University of Miami, 1999年，編號24. 展覽：The Norton Museum of Art, West Palm Beach, 2011年10月；The New Orleans Art Museum, 2004年5月；The Lowe Art Museum, 1999年12月；The Corning Museum of Glass, 1996年9月；The Lentz Center of Asian Culture, 1994年10月；The Honolulu Academy of Art, Hawaii, 1992年6月。 品相：品相極好，一些磨損、輕微的表面劃痕、微小的刻痕和預期的製造不規則性，包括漩渦和氣泡。 重量：1,500 克 尺寸：高25 厘米專家注釋：玻璃的整體厚度，在足部和頸部最為明顯，以及極為罕見的透明海藍寶石顏色變化，表明此瓶製作於乾隆早期。 文獻比較：一件尺寸相近的乾隆款及年代玻璃瓶，見Simon Kwan，《中國古代玻璃》，藝術博物館，香港中文大學， 2001年，頁422-3，編號218。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得, 25 March 2022, lot 1215 價格：USD 16,380（相當於今日EUR 15,500） 描述：乾隆款與年代(1736-1795) 大型寶石藍琉璃瓶 專家評論：比較相近的厚實寶石藍玻璃材質。請注意較深的藍寶石色，尺寸較大(33.7 厘米)。
A HENAN RUSSET-PAINTED BLACK-GLAZED VASE, YUHUCHUNPING, JIN DYNASTYChina, 1115-1234. The pear-shaped body rising from a short, massive foot to a waisted neck with a broad, everted rim. The body is decorated in bold yet elegant brush strokes of russet with stylized flower heads on a black glaze. The base left unglazed to reveal the grayish-buff body.Provenance: An old private estate in New York, USA. North American trade, by repute acquired from the above. The base with an old collector's label, describing the present lot as a Henan bottle, and dating it to the Song dynasty. A second old label next to it, inscribed 'Song bottle Agathe' and with an inventory number. Condition: Very good condition with minor wear and manufacturing flaws, including glaze recesses, the foot with two small chips.Weight: 1,312 g Dimensions: Height 28.4 cmThe floral decoration is achieved by painting with an iron-saturated glaze which fires reddish brown instead of black. Wares of this type were made in northern China at the Henan kilns producing Cizhou-type wares and also in southern China at kilns in Fujian.Literature comparison:Compare a closely related Henan black and russet glazed vase, dated to the Jin dynasty (1115-1234), in the collection of the British Museum, museum number 1947,0712.148. Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 10 September 2018, lot 150Price: USD 9,375 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A fine Henan black-glazed russet-painted bottle vase, Jin dynastyExpert remark: Compare the closely related form, glaze, and size (29.3 cm)金代河南黑釉鐵鏽花玉壺春瓶中國，1115-1234年。玉壺春瓶秀氣端莊，圓唇口外折，細長頸，溜肩，垂鼓腹，寬淺圈足。器身內外施黑釉，釉面具光澤。腹部醬褐色彩裝飾兩組折枝花葉紋，清晰不暈散。黑褐二色對比鮮明，黑釉釉面烏亮，褐彩烏光，風格獨具。觀器底，足際露胎。 來源：美國紐約私人舊藏；北美古玩交易市場，據説購於上述舊藏。底部有藏家標籤，描述此瓶為河南窯，為宋代。第二個標籤上寫著“Song bottle Agathe”以及一個收藏編號。 品相：狀況極好，有輕微磨損和製造缺陷，包括釉面凹陷，足部有兩個小磕損。 重量：1,312 克 尺寸：高28.4 厘米 文獻比較： 比較一件非常相近金代河南黑釉鐵鏽花瓶，收藏於大英博物館，館藏編號1947,0712.148。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2018年9月10日，lot 150 價格：USD 9,375（相當於今日EUR 11,000） 描述：金代黑釉鐵銹彩花卉紋瓶 專家評論：比較非常相近的外型、釉面和尺寸 (29.3 厘米)。
* VIOLET MCNEISH KAY RSW (SCOTTISH 1914 - 1971),STILL LIFE WITH CHINESE VASEoil on board, signed image size 44cm x 34cm, overall size 59cm x 49cmFramed.Note: Violet Kay was a painter in oil and watercolour; she was a teacher of art and crafts. Born in Glasgow the daughter of the artist James Kay, she studied at Glasgow School of Art from 1931–3 under William Somerville Shanks and W O Hutchison. Kay Exhibited at the RSW, RSA, Paisley Institute, and Glasgow Lady Artists’ Club. She joined in 1935 and won its Lauder Award in 1948. The Pilgrim Trust and Paisley Corporation bought her work. Lived at Garelochhead, Dunbartonshire, but died in Helensburgh.
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