A TEADUST-GLAZED VASE, YONGZHENGChina, 1721-1735. The compressed globular body supported on a short tapered foot and rising to a slender waisted neck with flared mouth, the body encircled by two bowstrings. The magnificent tea dust glaze is applied evenly to the body and the inside of the vase, thinning distinctively to a dark red tone at the rim of the mouth and along the edges of the base.Provenance: The J. M. Hu, Zande Lou Collection. The padded silk box with an old note inscribed in Chinese, in parts referring to the present lot, described as 'Yongzheng Teadust-glazed Vase with peony [shape] and lines', confirming the dating above. Two old labels to the exterior of the box, 'M-132' and '128'. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with minor old wear and expected firing irregularities, including a small polished glaze flaw near the foot.Weight: 589.1 g Dimensions: Height 16.5 cm With a fitted padded silk storage box. (2)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 8 October 2020, lot 357 Price: HKD 250,000 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A fine large teadust-glazed latern vase, Qing dynasty, 18th-19th century Expert remark: Compare the related teadust glaze. Note the different form and larger size (46.5 cm). Also note that this lot is unmarked, exactly as the present lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 5 December 2019, lot 117 Price: USD 32,500 or approx. EUR 35,000 converted and adjusted for inflation at the time of writing Description: A Teadust-Glazed Double-Gourd Vase, 19th CenturyExpert remark: Compare the related teadust glaze. Note the different form and larger size (26 cm). Also note that this lot is unmarked, exactly as the present lot. 雍正茶葉末釉瓶中國, 1721-1735年。瓶口外撇、直頸長頎、溜肩、扁鼓腹，底承圈足。器形飽滿端正，重心下移，愈顯豐腴大方。整器通體施茶葉末釉，釉質潤澤，釉色勻凈而深沉。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
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A MOLDED, LOBED AND GILT CELADON-GLAZED JARDINIERE, QIANLONG MARK AND PERIODChina, 1736-1795. Exquisitely potted with lobed sides supported on five ruyi-head feet and rising to a flattened everted rim, the exterior decorated with five panels enclosing stylized lotus blossoms borne on leafy scrolling vines, the rim with a band of scroll. Covered overall in a superb glaze of pale sea-green color, attractively pooling and darkening in the recesses and thinning to a paler tone in the raised areas. The panels, feet, and rim with gilt decoration. The interior is pierced with two small drainage holes. The base incised with a six-character mark da Qing Qianlong nianzhi and of the period.Provenance: English trade.Condition: Good condition with expected minor wear overall, some firing irregularities, extensive rubbing to gilt, light scratches, and a microscopic glaze line to the interior.Weight: 1,374 g Dimensions: Diameter 22.6 cm Expert's note: This author suspects that many more 18th-century celadon-glazed wares once had gilt decoration similar to the present lot, but that after some of the gilt had inevitably worn off and that in most cases the entire decoration was removed. Another example of such a practice would be the Parthenon marbles, which were 'cleaned' by 19th and 20th century conservators who removed the flaking gilt decorations.Auction result comparison: Type: Closely related Auction: Christie's London, 12 May 2015, lot 425 Price: GBP 10,000 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A pair of molded lobed celadon-glazed jardinieres, Qianlong incised six-character seal marks and of the period Expert remark: Compare the closely related form, decoration, glaze, and reign marks. Note this lot comprises a pair and the gilding of both is completely worn away; according to the condition report from Christie's, one of the jardinieres “has been broken into many pieces with associated losses and has been re-stuck with heavy old restoration to large sections of the rim and elsewhere."Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2001, lot 257 Price: USD 49,350 or approx. EUR 78,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-decorated celadon-glazed vase, incised Qianlong seal mark and of the period Expert remark: Compare the related lotus gilt decoration. Note the different form. Note the size (22.8 cm). 乾隆款及年代青釉描金葵口花缸中國，1736-1795 年。 葵口折沿，深弧腹，五如意足。外壁模印五塊開光，纏枝蓮紋。通體施淡綠色青釉，在凹處變暗，在凸起處變薄至較淺的色調。蓮紋、足、口沿均有鎏金裝飾。內部有兩個小排水孔。底座刻有“大清乾隆年製"六字款。 來源：英國古玩交易。 品相：狀況良好，整體有輕微磨損，製造不規則、鎏金有大量摩擦，輕微劃痕，內部有微小的釉線。 重量：1,374 克 尺寸：直徑 22.6 厘 拍賣比較： 形制：非常相近 拍賣：倫敦佳士得，2015年5月12日，lot 425 價格：GBP 10,000（相當今日EUR 17,000） 描述：乾隆款及年代一對青釉描金葵口花缸 專家註釋：比較非常相近的外形，裝飾，釉面和年代款。請注意此拍品為一對，兩件的鎏金均已完全磨損； 根據佳士得的狀況報告，其中一個花缸“已碎成許多碎片，並進行了重新修復。" 拍賣比較： 形制：相近 拍賣：紐約佳士得，2001年3月20日，lot 257 價格：USD 49,350（相當今日EUR 78,000） 描述：乾隆款及年代鎏金裝飾青釉花瓶 專家註釋：比較相近的蓮花鎏金裝飾。請注意不同的外形和尺寸 (22.8 厘米)。
A BLUE AND WHITE MING-STYLE FLOWER-HOLDER, QIANLONG MARK AND PERIODExpert's note: In an article discussing an exhibition by S. Marchant & Son by D. S. Freedman, "Qing Mark and Period Monochrome and Two-coloured Wares", Arts of Asia, May-June 1992, p. 147, related examples of similar form are referred to as “lotus pod bulb pots," an understandable but quite unique description. The author further explains that blue and white designs may fall under the category of monochromes as they feature a one-color design on a white ground. These differing taxonomies from the 1992 article to today are quite notable, leaving ample room for undiscovered pieces that may still be hidden in private and public collections.China, 1736-1795. Superbly potted, the compressed pear-shaped body supported on a short foot and rising to a waisted neck surmounted by a slightly domed top in the form of a lotus pod pierced with three circular apertures. The exterior is exquisitely decorated in shades of cobalt blue with lotus blossoms and auspicious blooms borne on leafy scrolling vines, above a lappet band encircling the foot and below a band of floral sprays below the top, which is similarly decorated with lotus scroll, all framed by neatly applied double-line borders.The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Provenance: From a private family collection in Cheltenham, United Kingdom. Condition: Superb condition with only minor wear and minimal firing irregularities, the interior with some traces of use.Weight: 252.9 g Dimensions: Diameter 8.4 cm, Height 6.5 cm Vessels of this form, variously described as 'flower holders' or 'incense holders', have been recorded from both the Yongzheng and Qianlong periods. The shape was likely inspired by a type of jarlet, made in bronze and pottery, which was popular during the Tang dynasty (see a sancai-glazed pottery jar from the Erwin Harris collection at Christie's New York, 16 March 2017, lot 877). The Qing potters took this design to new heights with variations in glazes from simple, crackled monochromes to brilliant turquoise examples with slip-molded decoration. While the size of the Qing form tended to remain small, usually under 9 cm, this should not allow them to be overshadowed by larger porcelain works of the period. The compact size would have allowed for easier handling and transport, making them suitable for personal devotion, private altars, and carrying during travel, creating a sense of intimacy and personal connection when using incense to cultivate a relationship with the divine realm. There are few other porcelain works that one could take on a pilgrimage so easily.Literature comparison:For two related examples of similar form, see Robert Jacobsen, Ye Peilan, and Julian Thompson, Imperial Perfection: The Palace Porcelain of Three Chinese Emperors, Kangxi - Yongzheng - Qianlong, Hong Kong, 2004, pp. 240, nos. 74 & 95. Celadon-glazed examples of similar form are illustrated in Monochrome Porcelain, The Complete Collection of Treasures of the Palace Museum, vol. 37, Hong Kong, 1999, no. 187, and Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, vol. 2, no. 869.Auction result comparison: Type: Near identical Auction: Sotheby's Paris, 16 June 2022, lot 204 Price: EUR 30,240 or approx. EUR 31,500 adjusted for inflation at the time of writing Description: A small blue and white 'floral' vase, Seal mark and period of Qianlong Expert remark: Compare the near identical form, decoration, and size (8.3 cm). Note that the present lot boasts an even more accomplished decoration as well as a stronger mark. Also note that this lot has a faint 1.5 cm hairline in the glaze between two of the holes on top of the vase, whereas the present lot is in perfect condition.Auction result comparison:Type: Closely relatedAuction: Christie's, Hong Kong, 30 May 2022, lot 2715Price: HKD 2,016,000 or approx. EUR 239,000 converted and adjusted for inflation at the time of writingDescription: A carved celadon-glazed flower-holder, Qianlong six-character seal mark and of the periodExpert remark: Both this example and the current lot have an extremely compressed form, and while the overall decoration is noticeably different, the molded decoration of the celadon example closely follows the underglaze blue decoration of the current lot. Note the size (7.8 cm). 乾隆款及年代仿明代風格青花花插中國, 1736-1795年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A PAIR OF GILT AND IRON-RED DECORATED 'BAJIXIANG' BOWLS, JIAQING MARK AND PERIODChina, 1796-1820. Each delicately potted with deep rounded sides rising evenly from a short and solid foot to a gently everted gilt rim, all exactly as expected from Imperial wares of the early 1800s. Decorated to the exterior in nicely graduated shades of iron-red with highlights neatly picked out in gilt to depict the Eight Buddhist Emblems (bajixiang) surrounded by lotus blossoms borne on scrolling vines. The recessed base each with an iron-red six-character mark da Qing Jiaqing nianzhi and of the period. (2)Provenance: English trade.Condition: Excellent condition with minor wear and manufacturing irregularities. Only little rubbing to gilt and enamel. Extremely rare in this pristine condition.Weight: 178.9 g and 163.9 gDimensions: Diameter 13.2 cm The Eight Buddhist Emblems (bajixiang) are a set of traditional symbols that represent the offerings made by the gods to Buddha upon his enlightenment. The symbols include the parasol, the golden fish, the conch shell, the endless knot, the lotus flower, the victory banner, the Dharma wheel, and the treasure vase. Each symbol has its own significance and is used in various contexts, such as in religious rituals, on prayer flags, and in artwork. Together, these symbols are believed to bring good fortune, prosperity, and happiness to those who use or encounter them.Auction result comparison: Type: RelatedAuction: Christie's Hong Kong, 30 May 2012, lot 4254Price: HKD 437,500 or approx. EUR 67,000 converted and adjusted for inflation at the time of writingDescription: A rare iron-red decorated stem bowl, Jiaqing iron-red six-character seal mark and of the periodExpert remark: Compare the related motif and iron-red decoration, especially the lotus blossoms with similarly graduated shadings, as well as the Jiaqing reign mark. Note the different form, lack of gilt, and larger size (18.5 cm). 嘉慶款及年代一對礬紅釉描金八吉祥碗中國，1796-1820年。對碗侈口，深弧腹，圈足。通體施白釉，壁白胎作為背景地，施礬紅色釉畫卷草紋，並以金彩繪圖，描金繪法輪、法螺、法幢、寶瓶、蓮花、雙魚、盤結、寶蓋等八吉祥圖案為裝飾。圈足内中央礬紅色釉書“大清道光年製"三行六字篆書款。全器釉色秀麗，描金精絕。(2) 來源：英國古玩交易。 品相：狀況良好，有輕微磨損和製造缺陷。描金和琺瑯有少量磨損。 重量：分別178.9 克與163.9克 尺寸：直徑 13.2 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2012年5月30日，lot 4254 價格：HKD 437,500（相當於今日EUR 67,000） 描述：清嘉慶礬紅彩福壽三多紋高足盌 專家評論：比較相近的主題和鐵紅釉裝飾，尤其是蓮花，有著類似的漸變陰影，以及嘉慶款。請注意不同的外形，沒有描金，以及尺寸較大 (18.5 釐米)。
AN IMPERIAL GILT-DECORATED 'TROMPE-L'OEIL' PORCELAIN VAJRA, CHINA, 18TH CENTURYThe four-pronged porcelain vajra is masterfully glazed in imitation of worn gilt-bronze and splashes of green to simulate malachite encrustations. The prongs extend out of dragon mouths and are flanked by lotus petals. The central band shows a robin's egg glaze with perfect porcelain copies of lapis lazuli and coral cabochon inlays. Provenance: From a Swedish private collection. Condition: Expected old wear, three prongs with small old repairs, some firing irregularities and minor glaze flakes, tiny nicks and losses.Weight: 130.5 g Dimensions: Length 16.4 cm The vajra, a symbol of indestructibility and power, is one of the primary ritual symbols in Tibetan Buddhism. Derived from Sanskrit and translating to both thunderbolt and diamond, the vajra consists of two sets of prongs from which lotus petals emanate, flanking a central sphere. Often used in combination with a bell, which represents feminine wisdom, the vajra symbolizes the masculine attribute of skillful means or compassion.Vajras are considered to be imbued with magic. The famous Manhattan-based Chinese art dealer Robert H. Ellsworth once owned a related bronze vajra and shared an interesting story: It was given to Mr. Ellsworth by a dear friend who, having learned that Mr. Ellsworth was ill, sent the vajra from his personal shrine to Mr. Ellsworth with instructions to sleep with it under his pillow. Two weeks later, Mr. Ellsworth called his friend to report he had made a full recovery. From that point on, the vajra remained on Mr. Ellsworth's bedroom headboard, resting at the feet of a seated yogi.Trompe l'oeil porcelain is a highly unique genre of Imperial porcelain objects made during the Qing dynasty. It refers to porcelain made in decorated imitation of other objects. These objects varied from archer's rings to imitation wood basins, from lacquer boxes to auspicious symbols like this imitation-bronze vajra. During a rare private viewing of Qing trompe l'oeil porcelain at the National Palace Museum, Chih-En Chen delved into the museum archeology behind ten pieces-these include the comparisons given here and more-with the hopes of finding where these objects were found in situ and whether this was inside or outside the Forbidden City. He discovered that many of the pieces were in fact in the Forbidden city and that they were assembled in only five places: the Jingrengong, the Yangxindian, the Yongshougong, the Shouangong, and the Ningshougong. Chen managed to discover a link between all these locations, namely that they were all associated with buildings intended for the women of the court living at the Forbidden City. The only exception to this is Nigshougong, the Qianlong emperor's retirement palace. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 October 2013, lot 3031 Price: HKD 9,640,000 or approx. EUR 1,420,000 converted and adjusted for inflation at the time of writing Description: A rare trompe-l'oeil celadon reticulated vase, seal mark and period of Qianlong Expert remark: This trompe-l'oeil porcelain is made in imitation of nuts and dried fruits on a plate with a porcelain vase. Note the similar expert craftsmanship of the imitation nuts and fruits which are masterfully glazed.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 April 2007, lot 516 Price: HKD 5,360,000 or approx. EUR 950,000 converted and adjusted for inflation at the time of writing Description: An unusual pair of 'famille-rose' trompe-l'oeil wall vases, marks and period of Qianlong Expert remark: These two vases are made in the imitation brocade fabric and wood in form of a pipa instrument tucked inside a brocade bag tied at the neck. Note the similar glazing to imitation wood along the pipa's neck. 十八世紀御製仿真描金陶瓷金剛杵四股陶瓷金剛杵，巧妙模仿鎏金銅表面和綠松石鑲嵌物。四股從龍口伸出，兩側鑲有蓮瓣。中央飾帶上飾有爐鈞釉釉，並配有仿青金石和珊瑚的鑲嵌物。 來源：瑞典私人收藏 品相：磨損，小修，一些燒製不規則和輕微刻痕和缺損。 重量：130.5 克 尺寸：長16.4 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，8 4月 2007年，lot 516 價格：HKD 5,360,000 EUR 950,000 （相當於今日） 描述：乾隆款及年代一對罕見粉彩仿真瓷壁瓶 專家評論：這兩個花瓶是仿錦織物和木材材質，形狀像琵琶，放在錦袋裡。請注意琵琶琴頸上與仿木材質。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A CELADON-GLAZED 'BAMBOO' DOUBLE VASE, THE GILT-BRONZE MOUNTS BY L'ESCALIER DE CRISTALThe ceramics from China, 18th century, the mounts from France, 19th century.Naturalistically modeled in the form of two adjacent bamboo stalks, each with small sprigs of leaves rising from the base and side, a small bird with neatly incised plumage perched on the smaller bamboo vase, looking down on the intricate rockwork minutely detailed with a porous structure. The base fitted with a gilt-bronze mount decorated with bands of grasses and petals.Inscriptions: To the base of the ormolu mount, engraved in cursive script 'Escalier de Cristal Paris'.Provenance: From a private collection in London, United Kingdom. Condition: Very good condition with old wear and expected manufacturing irregularities, including some minute flaking to the ware around the top rim of the larger vase, and light scratches and wear to the base.Weight: 372 g Dimensions: Height 12.9 cm Established in 1802 by Madame Marie Desarnaud (1775-1842), the luxury store of the Maison A L'Escalier de Cristal supplied clocks, lamps, and other art objects to ruling families in Europe. The firm exhibited to great acclaim at the 1819 Exposition des produits de l'industrie and was appointed fournisseur brevete du Roi that same year. The business was located in the Palais Royal, a center of excellence for the high-quality jewelers, silversmiths and manufacturers of Objets de Vertu, for which Paris was renowned. Works from L'Escalier de Cristal were commissioned by French aristocrats, finding their way to many royal family collections including the collection of Tsarina Alexander, wife of Nicolas II, who visited Paris in 1896. The company commissioned manufacturers to supply individual components which were then assembled to the firm's own designs, much in the tradition of the 18th century marchands-merciers from whom they inherited their specialist profession. Famous among the pieces produced by L'Escalier de Cristal is the table de toilette, commissioned by the Duchess of Berry, which is housed in the Louvre Museum today. The atelier continued its success throughout the 19th and early 20th century by collaborating with designers and makers such as Galle and Christofle, until it dissolved in 1923. Today, objects from L'Escalier de Cristal are housed in important public and private collections around the world.Auction result comparison: Type: Closely related Auction: Christie's New York, 28 September 2021, lot 17 Price: USD 22,500 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A celadon-glazed bamboo-form vase, 18th century Expert remark: Compare the closely related form and subject. Note the size (15.2 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 10 September 2019, lot 45 Price: USD 16,250 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: An aubergine-glazed 'bamboo' double vase, Qing dynasty, 18th century Expert remark: Compare the closely related form and subject. Note the different glaze and the size (14 cm).Auction result comparison: Type: Related Auction: Sotheby's Paris, 13 October 2022, lot 722Price: EUR 20,790 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze mounted Chinese turquoise porcelain pot-pourri, the porcelain Kangxi period (1662-1722), the mounts, attributed to L'Escalier de Cristal, Paris, second half 19th century Expert remark: Compare the gilt-bronze mounts by L'Escalier de Cristal on a turquoise-glazed pot-pourri depicting Liu Hai on a toad. Note the size (25 cm). 十八世紀青釉雙竹瓶，L'ESCALIER DE CRISTAL鎏金銅鑲嵌十八世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
MAITREYA IN THE TUSHITA HEAVEN, AN EXTREMELY RARE GILT-BRONZE FIGURE, XUANDE INCISED SIX-CHARACTER MARK AND OF THE PERIOD, CHINA, 1425-1435Expert's note: Maitreya is visualized here in his manifestation as a princely bodhisattva, teaching in the Tushita heaven, thus with his hands held in dharmachakra mudra, the teaching pose (turning the wheel of the second law), after which Maitreya will leave the Tushita heaven and come upon earth to 'establish the lost truths in all their purity.' Maitreya's face is imbued with compassion, the essential quality of the bodhisattva, with a downward gaze and gentle smile. Maitreya is the only Boddhisattva who is popular among all sects of Buddhism, such as the Mahayana, the Hinayana, and the Vajrayana, and he is often shown with his long hair hanging over his shoulders, such as in the present portrayal.Superbly cast, the bodhisattva seated in vajraparyankasana on a double-lotus base with beaded edges, his hands held in dharmachakra mudra, wearing a dhoti with exquisitely carved folds gathered at the waist and fastened by a beaded girdle and a scarf around the bare shoulders flowing over the arms, revealing the chest adorned with beaded pendent jewelry. The upper surface of the base is engraved with a six-character mark da Ming Xuande nian shi and of the period.Provenance: Spink & Son, London, United Kingdom, c. 1966. Adrian Maynard, London, United Kingdom, acquired from the above and thence by descent within the family. A noted Hungarian collector, acquired from the above after 2015. Adrian Maynard joined Spink & Sons in 1947, where he was appointed Director from 1962 and eventually Deputy Chairman until his retirement in 1984. He was a man of enormous drive and undoubtedly the most flamboyant character to take charge of the Asian art department, which he took to the height of its success. Maynard believed firmly that "a dealer, whose fortune and good name depends on knowing what to buy, has a much greater responsibility to be right about the objects that come into his hands than, say, an academic, who never handles large sums of money." Condition: Good condition with expected old wear. Minimal casting flaws, few minuscule nicks, and remnants of old pigment and varnish. The base retains the original sealing.Weight: 1,520 g Dimensions: Height 18.2 cm Maitreya is richly adorned with further fine bodhisattva jewelry including a foliate crown framing the forehead and tied with billowing sashes at the ears, circular studded earrings, and beaded bracelets, armbands, anklets, and foot adornments. The serene face with a benevolent expression, the eyes with heavy sinuous lids below gently arched brows centered by a raised circular urna. The smiling mouth with full bow-shaped lips, the neatly incised hair drawn up in a knotted jatamakuta topped by a cintamani jewel and falling elegantly in tresses to the shoulders. The base is sealed with a plate, neatly incised with a visvavajra emblem.During the Yuan Dynasty in the 13th and 14th centuries, the authority of Mongol rulers had become closely associated with Tibetan Buddhist or Lamaist rituals. At the beginning of the 15th century, the Buddhist fervor of the Ming court encouraged a cultural exchange between Tibet and China through Imperial patronage. Bronze sculptures in the Tibeto-Chinese style were first produced during the reign of Emperor Yongle (1403-1424) and are highly distinguished for their unsurpassed craftsmanship, overall refinement, and gracefulness. Emperor Yongle (1403-1425), a devout Buddhist himself, bestowed generous patronage to Buddhist monasteries and artistic ateliers, fostering the production of artworks depicting Tibetan Buddhist deities and imagery in a highly refined style, executed with the highest level of technical mastery. Gilt bronzes were commissioned from the Imperial workshops in Beijing for personal religious practices and as gifts for the many Tibetan emissaries invited to the court.Fewer examples bear the reign mark of Xuande (1425-1435) and the present lot is closely related to its Yongle predecessors, both stylistically and technically. The present figure was made at the Imperial ateliers in Beijing, probably during the early phase of the Xuande period, by the same craftsmen who continued their work from the Yongle period.Literature comparison: Very few other figures of Maitreya from this group of reign-marked, early-15th-century gilt-bronzes have been published. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II, pl. 343F. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in The Chang Foundation, Buddhist Images in Gilt Metal, Taipei, 1993, cat. 22. Compare a related Yongle-marked gilt-bronze figure of Maitreya illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong 1981, 147E (later restored without a vase and now in the Aschmann collection). For a related Xuande-marked gilt-bronze figure of Vajrasattva, see The Complete Collection of Treasures of the Palace Museum, Buddhist Statues of Tibet, p. 230, no. 219.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 9 July 2020, lot 2702 Price: HKD 4,325,000 or approx. EUR 516,000 converted and adjusted for inflation at the time of writing Description: A very rare and finely cast gilt-bronze figure of Maitreya, incised Yongle six-character presentation mark and of the period Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark and the related size (20 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 7 October 2010, lot 2144 Price: HKD 6,020,000 or approx. EUR 989,000 converted and adjusted for inflation at the time of writing Description: A fine and rare gilt-bronze seated Maitreya, mark and period of Yongle Expert remark: Compare the closely related subject, modeling, pose, expression, hair, robes, jewelry, and base, as well as the closely related manner of casting and gilding. Note the Yongle reign mark. 明代宣德六字款罕見銅鎏金兜率天彌勒坐像彌勒佛結跏趺坐於雙層蓮花座上，雙手結法輪印，底座上表面刻有“大明宣德年施"六字款。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A REMARKABLY FINE THANGKA DEPICTING SIX ARHATS, TIBET, 18TH CENTURYThe upper section with Kanaka Bharadvaja seated on a throne with a kundika, alms bowl, and lotus leaves beside him, his hands held in dhyana mudra, flanked below by Pindola Bharadvaja seated on a cushion holding a manuscript and alms bowl as well as Cudapanthaka seated with his hands folded in front, all above the central Rahula holding a foliate crown. The lower section depicts Panthaka seated on an elaborate throne with his right hand in vitarkamudra while the left holds a manuscript, beside Nagasena placed on a bench resting against a cushion holding a khakkhara in his right hand and a vase in his left.Provenance: From a private collection in southern Corsica, France, acquired 1992 or earlier, and thence by descent in the family. The back of the frame with a signed label from the Corsican framer, dated 10 September 1992.Condition: Good condition with old wear, some soiling and abrasions, light creasing, minor losses. Not inspected outside the frame.Dimensions: Image size 63.4 x 46 cm, Size incl. frame 72 x 51 cm Each arhat with an identifying inscription, the border with further inscriptions. All are clad in monk's garments, surrounded by worshipers or attendants, and placed in a verdant mountain landscape with deer, a tiger, and long-tailed birds perched on a fruiting tree, with exquisite rockwork and trickling streams that roll elegantly down the hillside. The lower section with a Nagini emerging from the water holding a sacred jewel. Ushnishavijaya is seated on a lotus cushion, backed by a mandorla and halo, in the upper right corner amid swirling clouds.Distemper and gold on cloth. Framed behind glass. (2)The present painting belongs to a noted group of thangkas, always depicting several of the Sixteen Arhats. The grouping of sixteen Arhats was brought to Tibet from India and they are well represented in Tibetan art. They are also known as the sixteen sthaviras (elders) and are the subject of a liturgical practice associated with the festival of the Buddha's birth, composed by the Kashmiri teacher Shakyahribhadra (1127-1225).Literature comparison:Compare a six-part set of related arhat thangkas dated to the 19th century, from the Alice S. Kandell Collection and now in the National Museum of Asian Art, Smithsonian Institution, accession numbers S2013.28.1-6.Auction result comparison: Type: Related Auction: Christie's London, 7 November 2014, lot 490 Price: GBP 30,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A thangka depicting four arhats, Tibet, ca. 17th century Expert remark: Compare the related subject and manner of painting. Note the size (59.1 x 41.9 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 21 March 2012, lot 354 Price: USD 15,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writing Description: A pair of arhat thangkas distemper on cloth laid on boar, Tibet Expert remark: Compare the related subject and manner of painting. Note this lot comprises a pair. Note the size (56.5 x 36.2 cm). 西藏十八世紀六羅漢唐卡半部分是迦諾迦跋厘尊者坐在寶座上，身旁有軍持壺、施捨缽和蓮葉，雙手結禪定印；賓度羅跋囉尊者坐在坐墊上，手裡拿著經書和施捨缽，而注荼半吒迦尊者雙手合十，坐於中央羅睺羅之上，手持葉冠。下半部分描繪了半託迦尊者坐在精緻的寶座上，右手結了維塔卡手印，而左手則拿著一份經文，旁邊的那迦犀那尊者坐在長凳上，右手拿著錫杖，左手拿著花瓶。來源：法國科西嘉島南部的私人收藏，1992 年或更早購得，家族傳承。框架背面帶有科西嘉框架製造商的簽名標籤，日期為 1992 年 9 月 10 日。 品相：狀況良好，有磨損，一些污垢和擦傷，有輕微摺痕。未在框架外進行檢查。 尺寸：畫面63.4 x 46 厘米，總72 x 51 厘米 文獻比較: 比較一件相近的十九世紀羅漢唐卡，來自Alice S. Kandell收藏，現藏於史密森學會國立藝術博物館，館藏編號S2013.28.1-6。 拍賣比較： 形制：相近 拍賣：倫敦佳士得，2014年11月7日，lot 490 價格：GBP 30,000（相當今日EUR 52,000） 描述：約十七世紀四羅漢唐卡 專家註釋：比較相近的主題和繪畫風格。請注意尺寸 (59.1 x 41.9 厘米)。 拍賣比較： 形制：相近 拍賣：紐約蘇富比，2012年3月21日，lot 354 價格：USD 15,000（相當今日EUR 18,500） 描述：西藏一對布製羅漢唐卡 專家註釋：比較相近的主題和繪畫風格. 請注意此為一對，以及尺寸 (56.5 x 36.2 厘米)。
AN IMPERIAL PAIR OF QUADRILOBED CLOISONNE ENAMEL 'LOTUS' VASES, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIODChina, 1736-1795. Each baluster body is distinctively four-lobed and rises from a splayed foot to a waisted neck surmounted by a trumpet mouth with an everted lip in gilt-copper. Decorated around the exterior with bands of lotus blooms borne on meandering leafy scrolls between bats, ruyi and stylized lappet bands, all reserved on a deep turquoise ground. The recessed gilt copper base neatly incised with a five-character mark Qianlong nianzhi ze and of the period. (2)Provenance: From the collection of J. J. Lally, New York, USA. To each box, a collector's label, 'Lally & Co. New York' with handwritten inventory number '4289.' James J. Lally was a renowned antique dealer and connoisseur, recognized as one of the greatest scholar-dealers of Chinese art, who has been a leader in the field for more than 40 years. After graduating from Harvard College and Columbia University, Lally joined Sotheby's where he held many positions within the Chinese art department. In 1970 he served as the director of Chinese works of art at Sotheby's in New York and Hong Kong, and by 1983 was named president of Sotheby's in North America. In 1986, he founded his namesake gallery, J. J. Lally & Co., at 41 East 57th Street in New York - just a few blocks away from the MoMA, to provide advisory services for keen collectors. Lally fondly recalls the moment, not long after he opened his gallery, when a young man walked through the door with a Shang Dynasty gong-a bronze vessel shaped like a gravy boat-decorated with a dragon and tiger and in beautiful condition. It was, Lally described, “one of the most important objects I ever had in my hands." The young man said he had inherited it from his father and was not really interested in Chinese art himself. He wanted to buy a sailboat and wondered if the gong was valuable enough to pay for that. “I was very happy to tell him that it was valuable enough to buy two sailboats," Lally noted. The gallery helped to establish New York as a major center of commerce for Chinese art and allowed Lally to concentrate on his own specific interests, particularly early ceramics, ritual bronze vessels, archaic jade carvings and sculpture. Lally brought a learned approach to his work, publishing detailed, scholarly catalog that have remained important reference guides within the field. This meticulous approach continued when he produced his own exhibitions and catalog. Giuseppe Eskenazi, dubbed the “Godfather of Chinese Antiques," and one of the world's most esteemed Chinese art dealers, also spoke highly of Lally for his achievements in the industry, alongside William Chak from Hong Kong, and the Marchant family from London. In the spring of 2023, Christie's and Bonhams conducted single owner sales of Lally's collection which broke several auction records.Condition: Excellent condition with expected manufacturing irregularities and wear to gilt, minute hairlines, dents and nicks to enamels. Minor losses to enamels with associated old fills. Overall displaying exceptionally well.Weight: 1494.1 g and 1499.2 gDimensions: Height 36.3 cm (each) Each with a padded silk box and cover. (4)Literature comparison: Compare a closely related pair of cloisonne enamel vases, 34 cm high, with the same five-character Qianlong marks as the present lot, at Dorotheum, Vienna, 27 September 1994, lot 1041. Compare a closely related pair of cloisonne enamel 'lotus' vases, 36 cm high, also with five-character Qianlong marks, the fifth character being 'ze', illustrated by Brinker and Lutz, Chinese Cloisonne: The Pierre Uldry Collection, Asia Society, New York, 1989, no. 282, p. 74, where the authors note: “During the Qianlong period (1736-1795) an additional character, the significance of which is obscure, is occasionally found below the usual mark." The authors go on to suggest the 'ze' character may be an indication of the use or category of the object on which it is inscribed.Auction result comparison: Type: Related Auction: Christie's London, 11 May 2010, lot 110 Price: GBP 37,250 or approx. EUR 73,500 converted and adjusted for inflation at the time of writing Description: A large and rare cloisonne enamel vase, gu, Qianlong incised four-character mark within a double square and of the period Expert remark: Compare the related cloisonne decoration, lotus motif, and incised reign mark. Note the size (57 cm), different form, absence of an additional character to the reign mark, and that the lot comprises only a single vase.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 28 May 2014, lot 3005 Price: HKD 400,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A fine Imperial small cloisonne enamel 'lotus' dish, Qianlong incised six-character mark within double rectangles and of the period Expert remark: Compare the related cloisonne decoration, lotus motif, and incised reign mark (albeit six characters). Note the size 13 cm), different form, absence of an additional character to the reign mark, and that the lot comprises a single bowl. 乾隆五字款及年代一對銅胎掐絲琺瑯海棠式瓶中國, 1736-1795年。銅胎，長頸，撇口，圈足外撇。全器作海棠四瓣花形。全器滿飾纏枝蓮紋，瓶口飾如意，頸部可見蝙蝠，足部可見芭蕉葉紋。底足內鎏金並刻有“乾隆年製 則"。 (2) 來源：紐約 J. J. Lally私人收藏，每個盒子上都有一個藏家標籤，寫著 '4289'。 品相：狀況極佳，製造不規則性和鍍金磨損、微小的冲線、琺瑯上有凹痕和刻痕。只有非常小的缺損，和相應的舊修補。 重量：分別為1494.1 克與 1499.2克 尺寸：各高 36.3 厘米 蓋盒内襯絲緞。 (4) 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
AN IMPERIAL YELLOW-GROUND SILK 'FIVE DRAGON' CARPET, JINGREN RONG BEI YONG MARK (FOR USE IN THE PALACE OF GREAT BENEVOLENCE), QING DYNASTYChina, 19th century. Silk and metal thread, probably a silver-copper alloy. Finely woven in shades of blue, Imperial yellow, orange, and red with a central lobed roundel enclosing a front-facing five-clawed dragon, writhing around a flaming pearl. Encircled by four sinuous dragons amid leafy lotus scroll, surrounded by a narrow key-fret border within a band of the Eight Buddhist Emblems (bajixiang), alternating with blossoming peony. The top edge with the five-character mark.Inscriptions: To the top edge, 'Jingren Gong bei yong' (for the use in the Palace of Great Benevolence).Provenance: From a European private collection.Condition: Superb condition with only minor wear. The pile is high, the threads with a good shine and only few minor pulls. Some losses to fringes.Dimensions: Size ca. 250 x 158 cm The five-character inscription woven at the top of the carpet reads Jingren Gong beiyong and can be translated as 'For the use of the Hall of Great Benevolence'. Jingren Gong was one of the Six Eastern Halls located on the north-eastern side of the Forbidden City in Beijing. During the Qing dynasty, the Six Eastern Halls served as the living quarters of the Imperial wives and concubines. Jingren Gong is known to have housed the Shunzhi Emperor's wife, and it was where the Kangxi Emperor was born. The Hall was reconstructed in 1655 and during the reigns of the Qianlong Emperor and the Daoguang Emperor it served as the living quarter of the Empress Dowagers.While the dragon itself is the symbol of the Emperor, the number five is most auspicious and represents the Five Blessings (wufu) of old age, wealth, health, virtue and peaceful death. The design of Five Dragons also alludes to the Five Dragons of Yanshan (Yanshan wulong), named after the five sons of Dou Yujun, who lived in Yanshan during the Five dynasties period (907-960), each of whom achieved exceptional success with their father epitomizing the ideal parent.The Eight Buddhist Emblems (bajixiang) are a set of traditional symbols that represent the offerings made by the gods to Buddha upon his enlightenment. The symbols include the parasol, the golden fish, the conch shell, the endless knot, the lotus flower, the victory banner, the Dharma wheel, and the treasure vase. Each symbol has its own significance and is used in various contexts, such as in religious rituals, on prayer flags, and in artwork. Together, these symbols are believed to bring good fortune, prosperity, and happiness to those who use or encounter them.Auction result comparison: Type: Closely relatedAuction: Bonhams London, 16 May 2013, lot 409Estimate: GBP 25,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: A rectangular 'dragon' carpet, late Qing dynasty, Jingren Gong bei yong inscriptionExpert remark: Compare the closely related manner of weaving and decoration with similar arrangement of five dragons, the identical inscription, and the near-identical size (153 x 245 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Paris, 18 June 2020, lot 28Price: EUR 40,000 or approx. EUR 45,000 adjusted for inflation at the time of writingDescription: An Imperial silk 'Five Dragon' carpet, Taihe dian bei yong Mark, Qing dynasty, 19th centuryExpert remark: Compare the closely related manner of weaving and decoration with similar arrangement of five dragons as well as the related inscription albeit referring to a different hall. Note the slightly larger size (277 x 186 cm). 清代御製黃地五龍絲毯中國，十九世紀。採用藍色、帝王黃、橙色和紅色精心編織而成，中央有開光，正面環繞著一條戲珠五爪龍，四周纏枝蓮紋，四角盤踞四龍，回紋邊框，八吉祥圖案與盛開的牡丹交替出現。 款識：景仁宮備用 來源：歐洲私人收藏。 品相：狀況極佳，僅有輕微磨損。絲毯厚重，紗線光澤良好，只有輕微磨損。一些邊緣損失。 尺寸：250 x 158 厘米 =拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2013年5月16日，lot 409 估價：GBP 25,000（相當於今日EUR 44,000） 描述：清晚期「景仁宮備用」繡五龍紋地毯 專家評論：比較非常相近的編織風格和五龍紋，以及相同的款識，幾乎相同的尺寸 (153 x 245 釐米)。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2020年6月18日，lot 28 價格：EUR 40,000（相當於今日EUR 45,000） 描述：清十九世紀御製黃地絲絨五龍紋地毯 《太和殿備用》款 專家評論：比較非常相近的編織風格和五龍紋，以及相同的款識，但款識不同。請注意尺寸較大 (277 x 186 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A BLACK STONE STELE OF PADMAPANI, PALA PERIOD, NORTHEASTERN INDIA, 10TH-12TH CENTURYSeated in lalitasana on a double lotus throne with a pendent leg resting on a separate padma, his primary right hand lowered in varada mudra and his primary left resting on the base holding a lotus coming to full bloom at his shoulder. His secondary hands holding a mala (rosary) and an amrita vase. He is wearing a sheer dhoti tied at the waist and his body is richly adorned with beaded jewelry and upavita (sacred thread). His serene face with almond-shaped eyes below gently arched eyebrows centered by a drop-shaped urna, above his full lips forming a calm smile, flanked by long pendulous earlobes.Provenance: Collection of Giovanni Paltenghi, Italy, by the early 1990s. Leonardo Vigorelli, Bergamo, Italy, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is run by his two sons.Condition: Excellent condition, commensurate with age. Ancient wear from within the culture, signs of weathering and erosion, minor losses, small nicks, light scratches, and minute encrustations. The stone with a fine, naturally grown, smooth patina overall.Weight: 50.8 kg Dimensions: Height 56 cm His tall jatamukata is secured by a studded diadem centered with a diminutive image of the Buddha Amitabha, backed by a flaming mandorla and flanked by two flying apsaras carrying lotus garlands. The base is carved with a worshiper kneeling at an altar.Avalokiteshvara (The Allseeing Lord), known variously as Lokeshvara (Lord of the World), Lokanatha (Savior of the World), and Padmapani (The Lotus-bearer), is the pre-eminent bodhisattva of Mahayana Buddhism, which developed in India during the early centuries of the Common Era, and has remained an inspiration to its followers to this day. As a result, he has a wide variety of iconographic forms in both India and all other countries of Asia where his cult spread, as is clear from the surviving archaeological and literary evidence. He was especially venerated in the region of present-day Bihar, West Bengal, and Bangladesh in the Indian subcontinent between the 8th and 12th centuries.The present sculpture is carved from the familiar black stone that occurs in the region of both Bihar and old Bengal (now West Bengal in India and Bangladesh). The material is identified in literature generically as schist but is also known as phylite. The hardness of the stone allows it to be carved confidently into rich surfaces with both exuberant designs and fine details, as becomes abundantly evident in the present work.Literature comparison:Compare a related stele with a seated Avalokiteshvara, 50.2 cm high, dated 11th-12th century, in the Brooklyn Museum, accession number 1994.199.4.Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 233 Price: USD 111,750 or approx. EUR 123,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Padmapani, Northeastern India, Pala period, 10th century Expert remark: Compare the related modeling and iconography. Note the much smaller size (28 cm).Compare the related modeling and iconography. Note the much smaller size (28 cm).Compare the related modeling and iconography. Note the much smaller size (28 cm).ompare the closely related modeling with the primary hands in the same poses, his secondary right also holding a mala, also seated in lalitasana with a pendent foot resting on a lotus, and further with similar expression, beaded jewelry, and jatamukata fronted by an image of Amitabha. Note the arched back carved with the Buddhist creed. Note the slightly smaller size (46.3 cm).Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2015, lot 58 Price: USD 68,750 or approx. EUR 81,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of Avalokiteshvara Shadakshari, Bihar, Pala period, 11th/12th century Expert remark: Compare the related stone and manner of carving. Note the smaller size (30.5 cm).Auction result comparison: Type: Related Auction: Christie's Paris, 6 July 2022, lot 235 Price: EUR 47,880 or approx. EUR 50,500 adjusted for inflation at the time of writing Description: A black stone stele of Avalokiteshvara Northern India, Pala period, 11th century Expert remark: Compare the related stone and manner of carving. Note the size (51 cm).
A CLOISONNE ENAMEL 'TAOTIE' VASE, FANGHU, LATE MING DYNASTYChina, 16th-17th century. The gilt-bronze vessel of square section, the pear-shaped body supported on a spreading foot and rising to a waisted neck. The rounded shoulder set with a pair of cloisonne taotie ring-handles. Brightly and lavishly enameled around the exterior with wide turquoise-ground bands enclosing taotie masks, mythical birds, plantain leaves, as well as flowerheads and clouds, all divided by blue-ground floral bands, the foot similarly decorated with lotus blossoms borne on leafy scrolling vines.Provenance: From a Swedish private collection.Condition: Fine condition, commensurate with age, with expected old wear and manufacturing flaws, such as pitting and crackling to enamels. Small dents and losses with associated old fills, minor nicks, light scratches. Slightly leaning. Displaying remarkably well.Weight: 1,964 g Dimensions: Height 29.2 cm Auction result comparison: Type: Closely related Auction: Bonhams London, 7 June 2021, lot 595 Price: GBP 31,500 or approx. EUR 47,000 converted and adjusted for inflation at the time of writing Description: A rare cloisonne enamel and gilt-bronze vase, fanghu, 17th century Expert remark: Compare the closely related form and taotie mask motif. Note the larger size (39 cm). 明末掐絲琺瑯饕餮紋方壺中國，十六至十七世紀。方瓶侈口束頸，鼓腹高足，瓶身四面施天藍色琺瑯釉，頸部芭蕉葉紋，神鳥紋，中間為掐絲饕餮紋樣，其下卷葉紋，大氣非凡。銅舖首銜環耳，鑄工精細。其下高足外撇，纏枝蓮紋。本器造型端莊，色澤純厚，五彩斑斕。 來源：瑞典私人收藏。 品相：狀況良好，有磨損和製造缺陷，例如琺瑯的點蝕和裂紋，小凹痕、缺損和相應的舊修補、小刻痕、輕微劃痕，微微傾斜。 重量：1,964 克 尺寸：高29.2 厘米拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰斯，2021年6月7日，lot 595 價格：GBP 31,500（相當於今日EUR 47,000） 描述：十七世紀銅胎掐絲琺瑯饕餮紋鋪首耳方壺 專家評論：比較非常相近的外形和饕餮主題。請注意尺寸較大 (39 厘米)。
A CLOISONNE ENAMEL WALL VASE, CHINA, 18th CENTURYOf flattened form, the body supported on a short spreading foot atop a gilt-copper stepped stand raised on three ruyi-form feet and rising to a tall flared neck with a ribbed rim decorated with pendent ruyi heads, flanked by a pair of gilt-copper openwork chilong handles. Brightly enameled on a turquoise ground with a central lotus bloom borne on a leafy scroll surrounded by colorful tendrils, all between overlapping petal and stiff leaf lappet bands at the shoulder and lower body, respectively. The neck with plantain leaves, separated by ruyi heads, above a T-scroll band, below lotus scroll. The copper back with two pierced apertures.Provenance: From the private collection of Sara Fredericks, probably acquired in New York during the 1960s, and thence by descent. Sara Fredericks (1903-1986) was a designer and a retailer who specialized in women's luxury fashion for more than 50 years. After her marriage to Frederick Cohen, who was in the shoe business, she began selling dresses out of her home to women who admired her clothes. ''She lived the life her customers lived,'' said Pauline Trigere, who was among the designers who considered Miss Fredericks a friend as well as a client. Others in that category were Geoffrey Beene, James Galanos, Bill Blass, Oscar de la Renta, Bob Mackie, and Hubert de Givenchy. ''She had impeccable taste,'' Miss Trigere said, “her customers trusted her."Condition: Good condition with old wear and manufacturing irregularities including pitting. Tiny nicks and small dents. The foot and base loose, the screw still in place but the nut missing. Minor flaking and small losses to enamels, one with an old fill. For more details, please request a video of the wall vase shot under strong blue light directly from the department.Weight: 413 gDimensions: Height 26 cm Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2006, lot 1276 Price: HKD 204,000 or approx. EUR 38,000 adjusted for inflation at the time of writing Description: A cloisonne enamel wall vase, Qing dynasty, 17th centuryExpert remark: Compare the closely related technique and form.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 May 2006, lot 1278 Price: HKD 228,000 or approx. EUR 42,000 adjusted for inflation at the time of writing Description: A rare cloisonne enamel wall vase, Qing dynasty (18th/19th century)Expert remark: Compare the closely related technique and form. 十八世紀掐絲琺瑯纏枝蓮紋壁瓶壁瓶半器型，敞口，束頸豐肩，斂腹，足部外撇。頸部鑲鎏金銅雙耳，鏤空螭龍紋；瓶身松石綠色地，纏枝蓮紋；頸部芭蕉葉紋；瓶足鎏金銅底，三如意形足。瓶背面銅面有兩個穿孔。 來源：Sara Fredericks私人收藏，可能於上世紀六十年代購於紐約，保存至今。 品相：狀況良好，有磨損和製造缺陷，包括點蝕，微小的刻痕和小凹痕。支腳和底座鬆動，螺釘仍在原位，但螺母遺失。琺瑯有輕微剝落和少量缺損，存在舊修。 如需瞭解更多細節，請直接向我司索取在強藍光下拍攝的視頻。 重量：413 克 尺寸：高 26 釐米 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得， 2006年5月30日，lot 1278 價格：HKD 204,000（相當於今日EUR 38,000） 描述：十七世紀清代銅胎掐絲琺瑯壁瓶 專家評論：比較非常相近的技巧和外形。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2006年5月30日，lot 1278 價格：HKD 228,000（相當於今日EUR 42,000） 描述：十八至十九世紀銅胎掐絲琺瑯壁瓶 專家評論：比較非常相近的技巧和外形。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A GILT CLOISONNE ENAMEL 'BAJIXIANG' VASE, CHINA, EARLY 19th CENTURYThe exterior brightly enameled on a deep turquoise ground with four registers separated by stylized bands, the body decorated with a band of four lotus blossoms interspersed by stylized shou characters, the shoulder with the Eight Buddhist Emblems (bajixiang). The globular body supported on a spreading foot rising to a waisted neck and garlic mouth. The base, foot, neck and two waist bands all finely gilt.Provenance: Collection of Maria and Johannes Nickl, thence by descent in the same family. An old collector's label to the base, '5.6'. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Good condition with minor wear and firing irregularities, including glaze recesses, minimal pitting, dents and losses to enamel, and few dark spots. Small nicks around the rim and scratches to the base.Weight: 941 gDimensions: Height 19.3 cm The Eight Buddhist Emblems (bajixiang) are a set of traditional symbols that represent the offerings made by the gods to Buddha upon his enlightenment. The symbols include the parasol, the golden fish, the conch shell, the endless knot, the lotus flower, the victory banner, the Dharma wheel, and the treasure vase. Each symbol has its own significance and is used in various contexts, such as in religious rituals, on prayer flags, and in artwork. Together, these symbols are believed to bring good fortune, prosperity, and happiness to those who use or encounter them. 十九世紀初鎏金銅胎掐絲琺瑯八吉祥紋瓶深綠松石色地，釉色明亮。蒜頭形狀瓶口，頸部鎏金銅凸紋，器身飾有四朵纏枝蓮紋，頸部壽字紋，肩部飾有八吉祥圖案。圈足。口部、頸部、肩部和足部鎏金。 來源：Mara與Johannes Nickl收藏，在同一家族保存至今，收藏標籤上可見“5.6."。Maria (1926-2022年) 與 Johannes Nickl (d. 2020年) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。 這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的榮譽榜上。 品相：狀況良好，有輕微磨損和燒製不規則，包括釉面凹陷和琺瑯缺損，輕微黑點，邊緣周圍有小刻痕，底部有劃痕。 重量：941 克 尺寸：高 19.3 釐米 佛教八吉祥包括寶瓶、寶蓋、雙魚、蓮花、寳螺、盤長、法幢、法輪，是佛教中象徵吉祥的、圓滿、幸福八件法物。
A PAIR OF REPOUSSE SILVER VASES, YANGQINGHE MARK, LATE QING TO REPUBLIC PERIODChina, c. 1850-1935. Each with a baluster body raised on three floral feet above a waisted base and surmounted by a gently flaring neck with a foliate rim. Neatly engraved with prunus and peony blossoms borne on leafy stems, the body with five beaded panels enclosing inscriptions, four of which contain auspicious characters while one is a passage from Journey to the West. (2)Inscriptions: Maker's mark to the base of each, 'Yang Qinghe'. Each vase is inscribed with a passage from Journey to the West: 'Even the wind through the pines and the moon in the water are not as pure as Master Xuanzang. The heavenly morning dew and pearls are not as crystal clear as Master Xuanzang. He is wise, carefree, and has a clear mind. But he does not show this.'Provenance: London trade. Condition: Good condition with some old wear and manufacturing irregularities, light tarnishing, small scratches, minor nicks and minimal warping.Weight: 102.9 g and 104.6 g Dimensions: Height 15.5 cm and 16.1 cm The earliest records of the silver atelier known as Yangqinghe date to 1775 in Shanghai. By the end of the Qing dynasty, it had the reputation as being the best silver workshop on the Shanghai bund. Not only did they make decorative items, but also accessories and jewelry, popular among the Shanghai elite. After 1850, the atelier divided into three separate branches, Jiuji, Faji, and Fuji, and passed to the ownership of Shao Youlian's family.Shao was a statesman who had served as the Qing court's charge d'affaires at St. Petersburg, had been a past governor of Taiwan and acting governor of Hunan. After his death in 1901, his family did not immediately divide up his estate, but his second son Shao Heng, gradually assumed ownership of the Jiuji branch of Yangqinghe. Shao Heng was known as a spendthrift and tended to neglect the business. Jiuji eventually ceased operation in 1935.Journey to the West (Xiyouji), is an epic 16th-century novel fictionalizing the actual journey of the historical figure of Xuanzang (602-664) who made a pilgrimage to India to collect Buddhist sutras. During the eventful trip accompanied by Sun Wukong, the honest but hapless monk encounters a tempestuous and powerful monkey king recently released from a supernatural prison, Zhu Bajie, as well as a greedy pig-like demon and Sha Wujing, a quiet and sensible river spirit. The troupe suffer a series of increasingly dangerous trials but eventually prevail, finally bringing the true word of Buddha back to the Tang imperial court. Auction result comparison: Type: Related Auction: Sotheby's New York, 15 September 2018, lot 1479 Estimate: USD 5,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writing Description: A silver 'dragon' ewer, late Qing dynasty Expert remark: Compare the related Yangqinghe mark. Note the different form, dragon motifs, and the size (26.5 cm). 清末民初一對卷蓮口錘鍱銀瓶中國，約1850-1935年。卷蓮口，長頸，豐肩，五瓣瓶身，三如意足。頸部雕刻卷葉紋。器身五瓣分別開光，塊串珠板，內刻。 (2) 款識： 松風水月，未足比其清華；仙露明珠，詎能方其朗潤。故以智通無累，神測未形。 楊慶和 來源：倫敦古玩交易。 品相：狀況良好，有一些磨損和製造不規則、輕微變色、小劃痕、輕微刻痕和輕微翹曲。 重量：分別102.9克與104.6克 尺寸：分別高 15.5 厘米與16.1 厘米 拍賣結果比較: 形制：相近 拍賣：紐約蘇富比，2018年9月15日，lot 1479 估價：USD 5,000（相當於今日EUR 5,600） 描繪：清末銀開光龍紋龍柄執壺《上》《楊慶和》款 專家評論：比較相近的楊慶和款。請注意不同的外型，龍紋主題和尺寸(26.5 厘米)。
A LARGE 3.5 KG SILVER TRAY, FOR A COMPLETE TEA OR COFFEE SERVICE, CHINA, CIRCA 1900Of octagonal and rectangular form, the border and field finely engraved with bamboo stalks and leaves against a finely stippled ground, all around a similarly shaped vacant cartouche, flanked by two angled loop handles. The base impressed with three marks.Inscriptions: To the back, 'Silver', 'Nanking Store', and 'Shen Chang'.Provenance: From a private collection on 1111 Park Avenue, Manhattan, New York, USA. Condition: Very good condition with minor wear and manufacturing irregularities. Light scratches and minuscule nicks.Weight: 3,449 gDimensions: Length 67.5 cm, Width 37.5 cm During the 19th century, the consumption of tea in Europe became a fashionable and prestigious habit. Although tea was initially introduced in the 17th century, it wasn't until the 19th century that tea became a common beverage among various social classes in Europe. This rise in popularity led to the development of tea-drinking rituals, the use of specialized tea-ware, and the establishment of social customs associated with tea.Chinese export porcelains and silver articles played a significant role in these tea-drinking ceremonies and became highly valued items among the European elite. They were regarded as status symbols, representing the owner's wealth and refinement. Exquisite trays, such as the current lot, served both functional and decorative purposes, showcasing the artistic and cultural connections between China and Europe during the 19th century. They exemplified the intricate craftsmanship of Chinese artisans and the appreciation for Eastern aesthetics in Europe at the time.Literature comparison:Compare a silver celery vase with the mark of Shen Chang at Christie’s New York, 22 August 2019, lot 17. We are grateful to Dr. Adrian von Ferscht for identifying this mark.Auction result comparison: Type: Related Auction: Christie's London, 11 May 2010, lot 34 Price: GBP 3,500 or approx. EUR 6,900 converted and adjusted for inflation at the time of writing Description: A Chinese export silver two-handled tray, mark of Hung Chong and Co., Canton and Shanghai, circa 1900 Expert remark: Compare the related engraved decoration and angled handles. Note the similar length (70.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 22 August 2019, lot 4 Price: USD 4,750 or approx. EUR 5,200 converted and adjusted for inflation at the time of writing Description: A Chinese export silver two-handled tray, mark of Ci, Hong Kong, retailed by Kwan Hing, Hong Kong, late 19th/early 20th century Expert remark: Compare the related engraved decoration. Note the much smaller size (49.2 cm). 約1900年大銀盤，重近3,5公斤呈八角長方形，折沿；盤内雕刻著竹子，折沿上有竹葉紋；托盤兩側有兩個環形手柄。 底座上刻有三個標記。 款識：Silver；Nanking Store；順昌 來源：美國紐約曼哈頓公園大道 1111 號私人收藏。 品相：狀況非常好，有輕微磨損和製造缺陷。輕微劃痕和微小的刻痕。 重量：3,449 克 尺寸：長 67.5 厘米, 寬 37.5 厘米拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2010年5月11日，lot 34 價格：GBP 3,500（相當於今日EUR 6,900） 描述：約1900年鴻昌款廣東和上海銀製雙耳盤 專家評論：比較相近的刻字裝飾和斜角手柄。請注意相似的長度(70.2厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年8月22日，lot 4 價格：USD 4,750（相當於今日EUR 5,200） 描述：十九世紀末至二十世紀初香港銀製雙耳盤 專家評論：比較相近的刻字裝飾。請注意尺寸較小(49.2厘米)。
A RUBY-RED OVERLAY 'LOTUS POND' GLASS BOWL, MID-QING DYNASTYChina, 1750-1850. The deep rounded sides of the opaque milky white glass body supported on a thick tapered foot rising to a elegantly everted foliate rim, carved as a lotus leaf with neatly incised veins on the overlay. Finely carved through the translucent ruby-red layer to depict ducks swimming in a lotus pond, the blooming flowers and buds detailed intricately.Provenance: London trade.Condition: Excellent condition with minor wear and manufacturing irregularities, few shallow surface scratches.Weight: 316.9 gDimensions: Diameter 15.5 cm Auction result comparison: Type: RelatedAuction: Sotheby's New York, 23 March 2004, lot 505Estimate: USD 15,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A red overlay glass vase, Qing dynasty, 18th centuryExpert remark: Compare the closely related ruby-red overlay color, with a faint pinkish hue, and the subject, as well as the technique and style of carving. Note the different form and the size (18.7 cm). 清代中期寶石紅套料《荷塘鴨戲》玻璃碗中國，1750-1850 年。敞口，圈足，花口。涅白地，套寶石紅料雕刻荷塘鴨戲景觀，荷花盛開，荷葉交錯搖曳。來源：倫敦古玩交易。 品相：狀況良好，有輕微磨損和製造不規則，輕微淺表面劃痕。 重量：316.9 克 尺寸：直徑15.5 厘米拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2004年3月23日，lot 505 估價：USD 15,000（相當於今日EUR 22,000） 描述：十八世紀清代白地套紅料瓶 專家評論：比較非常相近寶石紅顏色，有淡淡的粉紅色、主題，以及雕刻技巧和風格。請注意不同的外形和尺寸(18.7厘米)。
AN EXCEPTIONAL OPENWORK AND RETICULATED IVORY 'HUNDRED BOYS' VASE AND COVER, LATE QING TO REPUBLICChina, late 19th to early 20th century. The ovoid body rising from a waisted foot to a concave neck with an everted rim, meticulously carved with innumerable boys engaging in leisurely pursuits, decorated with key-fret, bat, ruyi-head, leiwen, and floral bands. Provenance: From the private collection of a French diplomat. Condition: The neck with discoloration and extensive crackling to the ivory due to heat influence, areas of touchup limited to the neck, otherwise in superb condition with minor wear, minuscule nicks, and occasional light scratches. The lid slightly paler than the vase.CITES: European Union Certificate number AT 23-B-0294, dated 27.7.2023. Weight: 2,044 g Dimensions: Height 32.6 cm The domed oval cover with a finial in the form of two boys seated on a lotus leaf, one playing the flute and the other gleefully laughing. The present piece is decorated with the subject of the 'Hundred Boys', a very popular motif in porcelain decoration as it symbolizes the Chinese perpetual wish for many sons. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 63, the 'Hundred Boys' theme has its origins in the Western Zhou dynasty when King Wen of the Zhou adopted one son in addition to his ninety-nine sons to complete the number of one hundred.Auction result comparison: Type: Closely relatedAuction: Christie's London, 11 November 2011, lot 1345Price: GBP 32,450 or approx. EUR 60,000 converted and adjusted for inflation at the time of writingDescription: A large carved ivory vase and cover, 19th centuryExpert remark: Compare the closely related vase and cover, possibly from the same workshop, but slightly larger (41 cm), and depicting the immortals as the main subject instead of the hundred boys.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person. 清末民初象牙鏤空雕嬰戲圖瓶 中國，十九世紀末至二十世紀初。瓶身呈圓柱形，瓶身分層精心雕刻著嬰戲圖，有玩耍的，有玩琴的，有舞龍的，並裝飾著雷紋、蝙蝠與纏枝花卉紋。 來源：法國外交家私人收藏。 品相：頸部因熱影響而變色，表面有大量裂紋，頸部有修補。基本狀況極佳，輕微磨損，小刻痕，局部輕微劃痕。 蓋子比花瓶略微白。CITES:歐盟證書編號AT 23-B-0294，於2023年7月27日發行。 重量：2,044 克 尺寸：高32.6厘米 拍賣結果比較：形制：非常相近拍賣：倫敦佳士得，2011年11月11日，lot 1345價格：GBP 32,450（相當今日EUR 60,000）描述：十九世紀象牙蓋瓶專家評論：比較非常相近的瓶和蓋，或許來自相同作坊，尺寸稍大(41厘米)，並以仙人為主要題材，而不是百童。
A BAMBOO VENEER 'BAJIXIANG' RUYI SCEPTER, ZHUHUANG, CHINA, 18TH CENTURYThe scepter finely carved in high relief with the Eight Buddhist Emblems (bajixiang), the ruyi head showing the pair of fish, vase, and parasol amidst blossoming lotus flowers within a scroll-design border, the rectangular central section with the conch shell, endless knot, and the victory banner, and the terminal with the wheel of dharma. The handle is neatly incised with auspicious fruit in form of branches with finger citrons and pomegranates.Provenance: French trade. By repute acquired from a deceased estate in Bourgogne.Condition: Very good condition with expected old wear, traces of usage, natural age cracks and few tiny nibbles to edges. Some discoloration and staining as often found on these early bamboo veneer scepters. Sublime, naturally grown patina overall, with a decent luster and an unctuous feel, beautiful golden amber color.Weight: 147.4 gDimensions: Length 42 cm This scepter is impressive for its fine workmanship as revealed by the precise carving on the head and shaft. While ruyi scepters were made in large numbers during the reign of the Qianlong Emperor, as attested in the Guo Chao Gong Shi, which records that the Qianlong Emperor's mother received one hundred and eight ruyi scepters for her sixtieth birthday, those made of bamboo veneer are relatively rare. Known as Zhuhuang or veneer bamboo, this technique involves the separation of the veneer, which is of pale amber-yellow coloration and taken from the inner wall of the bamboo stem. The veneer is then applied over a wood core and is carved in shallow relief. As the color of the bamboo skin is lighter than wood, the design is left in reserve against the darker background, resulting in an elegant and attractive finish.Literature comparison:A similar scepter, in the Palace Museum, Beijing, was included in the exhibition China. The Three Emperors 1662-1795, Victoria & Albert Museum, London, 2005, cat. no. 368; another was included in the Min Chiu Society exhibition Auspicious Emblems. Chinese Cultural Treasures, Hong Kong Museum of Art, Hong Kong, 2005, cat. no. 173; a third is published in Series of Exceptional Carvings. Selected Ming & Qing Bamboo Carvings, National Museum of History, Taipei, 2005, p. 153; and a further scepter, from the Water, Pine, and Stone Retreat collection, was included in the Oriental Ceramic Society of Hong Kong exhibition Arts from the Scholar's Studio, Fung Ping Shan Museum, Hong Kong, 1986, cat. no. 121.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 24 March 2011, lot 1440Price: USD 21,250 or approx. EUR 27,000 converted and adjusted for inflation at the time of writingDescription: A rare bamboo veneer ruyi scepter, 18th centuryExpert remark: Note the smaller size (35 cm).Auction result comparison:Type: RelatedAuction: Christie's Paris, 10 December 2014, lot 139Price: EUR 12,500 or approx. EUR 15,000 adjusted for inflation at the time of writingDescription: A rare bamboo-veneer ruyi scepter, Qing dynasty, 18th centuryExpert remark: Note the similar size (40 cm). 十八世紀八寳紋竹簧如意以竹為胎，利用竹簧紋理的深淺包鑲淺刻出八寶、佛手、石榴等吉祥經典裝飾紋樣。造型優美典雅，包鑲雕刻精密，紋飾佈局勻稱。 來源：法國古玩交易，據説購於勃艮第一遺產。 品相：狀況極好，有磨損、使用痕跡、自然老化裂紋，邊緣有一些微小磕損，有一些變色和汙漬。整體自然包漿，光澤細膩，有著美麗的金琥珀色。 重量：147.4 克 尺寸：長 42 釐米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
AN ARCHAISTIC JADEITE 'MYTHICAL BIRD' GROUP OF TWO VESSELS AND COVERS, LATE QING DYNASTY TO REPUBLIC PERIODChina, 1800-1949. Well carved in the form of an mythical bird standing next to a gui vessel, both on a flat naturalistic base. The bird's head forming the cover of the vessel, the feathers detailed with lappet-shaped incisions, coiled dragons and scrolls to the wings, ruyi-shaped ears, the back and chest with notched flanges. The face with scroll and ruyi designs, and the pierced beak slightly agape. The gui vessel with matching cover and small chilong handles incised with key fret, the rim encircled by a band of stylized dragons. The translucent stone of a pale apple-green tone with icy inclusions.Provenance: London trade. A noted French private collection, acquired from the above. Condition: Very good condition with minor old wear, small nicks and nibbles. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks. It is rare to find a complete ensemble of four pieces, such as in the present example, with nothing ever having been lost.Weight: 514.6 g (excl. stand), 591.3 g (incl. stand) Dimensions: 14.5 cm (excl. stand), 17 cm (incl. stand) With a fitted wood stand, finely carved in openwork with lingzhi and rockwork, showing a fine naturally grown patina overall. The stand and the jade most likely matching. (4)Expert's note: It is rare to find carvings of this zun form, which originated in Shang dynasty wine vessels, being replicated in jadeite. The shape itself appears to be faithfully copied in the raised flanges and the geometric carved design on the sides of the body. For two examples of this unusual model which appears to be a fusion between an owl and an eagle, both cast in bronze, see R. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, volume 1, Washington D.C., 1987, page 406, no. 72.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 November 2020, lot 3077 Price: HKD 500,000 or approx. EUR 61,500 converted and adjusted for inflation at the time of writing Description: A jadeite archaistic bird-form vase and cover Expert remark: Compare the related form and detachable head. Note the incised Qianlong seal mark to the feet. Note the larger size (28 cm) and the lack of a gui vessel and cover as well as a wooden base. 清末民初神鳥翡翠蓋器中國，1800 年至 1949 年。精雕細刻一隻神鳥站在一個簋旁。鳥頭為器蓋，臉上有如意紋與卷葉紋，喙微微張開。翅膀及羽毛細節精美，雙翼盤旋，雙耳如意形，背部和胸部線條剛硬。簋器配有配套的蓋子和小螭龍手柄，邊緣環繞著一條龍紋帶。淺綠色調的半透明翡翠，帶有絮狀物。 來源：倫敦古玩交易；知名法國私人收藏。 品相：狀況非常好，有輕微磨損、小刻痕和磕損。玉石上有天然内沁和裂隙，其中一些可能發展成細小裂紋。很少能找到一個完整的四件作品組合，而且沒有任何缺損。 重量：514.6 克 (不含底座), 591.3 克 (含底座) 尺寸：14.5 厘米(不含底座), 17 厘米(含底座) 木質底座，以靈芝和山石精雕細琢，整體呈現出細膩包漿。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2020年11月30日，lot 3077 價格：HKD 500,000（相當於今日EUR 61,500） 描述：翠玉仿古鳥形尊 專家評論：比較相近的外形和可拆卸的頭部。請注意足部有乾隆款。請注意尺寸較大 (28厘米) ，缺少蓋子和木製底座。
A JADEITE BALUSTER VASE AND COVER, LATE QING DYNASTY TO REPUBLIC PERIODChina, 1860-1940. Of flattened form, the waisted neck flanked by a pair of lion-head handles suspending loose rings, the cover surmounted by a roaring lion and carved with a frieze of blossoming peony flowers. The exterior carved to one side in low relief with a bird perched on a leafy blossoming peony branch amid craggy rockwork, the other side similarly carved with a bird in flight. The partly translucent stone of a pale apple-green color with faint lavender hues and russet patches and veins.Provenance: Swiss trade.Condition: Very good condition with minor wear, few minuscule nicks here and there. Natural inclusions.Weight: 1001 g Dimensions: Height 24.5 cm Auction result comparison: Type: RelatedAuction: Sotheby's New York, 17 September 2016, lot 1099Price: USD 30,000 or approx. EUR 35,000 converted and adjusted for inflation at the time of writingDescription: A jadeite vase and cover, late Qing dynastyExpert remark: Compare the closely related form and similar low-relief carving.Auction result comparison: Type: Closely relatedAuction: Sotheby's London, 12 May 2021, lot 129Price: GBP 22,680 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: A pair of jadeite vases and covers, Qing dynasty, 19th centuryExpert remark: Compare the closely related form. Note the size (17.5 cm). 清末民初翡翠花鳥紋蓋瓶中國，1860-1940年。由一整塊翡翠精雕而成，器身呈扁平狀，壺蓋上有獅鈕，肩部雙耳活環，素面無紋；瓶身兩面分別浮雕喜上眉梢圖與鳳穿牡丹圖。翡翠呈細膩的蘋果綠色和淡紫色調，局部輕微灰色內沁和黃褐色脈理。來源：瑞士古玩交易。 品相：狀況極好，有輕微磨損，局部有一些微小的劃痕。天然內沁。 重量：1001 克 尺寸：高 24.5 釐米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2016年9月17日，lot 1099 價格：USD 30,000（相當於今日EUR 35,000） 描述：清末翠玉雕百鳥朝鳳圖獅耳活環套鏈蓋瓶 專家評論：比較非常相近的外形和相似的淺浮雕。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2021年5月12日，lot 129 價格：GBP 22,680（相當於今日EUR 32,500） 描述：清十九世紀翠玉饕餮紋象耳活環蓋瓶一對 專家評論：比較非常相近的外形。請注意尺寸(17.5 厘米)。
A CELADON JADE 'BOY AND CHILONG' VASE AND COVER, LATE QING TO REPUBLIC PERIODChina, 1850-1950. The baluster body is supported on a short foot and rising to a waisted neck with a galleried rim incised with a hatched band repeated on the cover, which is surmounted by an oval knop finial. The neck with a pair of scroll form handles. The exterior deftly carved in openwork with a boy holding a long furcated lotus stem with a blossom and furled leaf, a chilong prancing behind the body. The other side of the vase similarly carved with lingzhi sprigs. All supported on a craggy rockwork base neatly incised to the underside to delineate natural 'fissures'.The translucent, smoothly polished stone is of a quite pure celadon tone with minute dark specs, icy and pale russet veins, and cloudy inclusions.Provenance: French trade.Condition: Good condition with minor old wear and minuscule nibbles here and there. The stone with several natural imperfections, some of which have smoothened over time, as well as natural inclusions and fissures, some of which may have developed into small hairline cracks.Weight: 482.8 gDimensions: Height 12.5 cm, Width 11.4 cm With a fitted wood stand, finely carved with scroll designs, dating from the same period. (2)Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 26 May 2021, lot 557Price: HKD 88,200 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: A celadon and russet jade 'longevity' vase and cover, Qing dynastyExpert remark: Compare the closely related form of the vase with similar scrolling handles and cover; modeling with similarly carved boy and rockwork; and manner of carving with similar openwork. Note the more extensive russet shading to the stone, particularly to the reverse. Note the size (13.7 cm). 清末民初青玉童子螭龍蓋瓶中國，1850-1950年。雙耳蓋瓶，圓蓋鈕。青玉蓋瓶一側高浮雕瓶旁一個童子戯蓮，胖乎乎的童子，生動可愛；另一側雕一螭龍附於瓶壁，遒勁有力，動感十足。材質純淨，半透明，表面光滑，微小的深色斑點。淺黃褐色的紋理以及絮狀物。 來源：法國古玩交易。 品相：狀況良好，有輕微磨損，多處微小的磕損，白玉天然紋，有一些隨著時間的推移而變得光滑，以及天然內沁和裂縫，其中一些可能發展成細小的裂紋。 重量：482.8 克 尺寸：高12.5 厘米, 寬 11.4 厘米 同期鏤空雕刻木架，如意足。(2) 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2021年5月26日，lot 557 價格：HKD 88,200（相當於今日EUR 11,000） 描述：清青白玉浮雕福壽如意蓋瓶 專家評論：比較非常相近的瓶外形，相似的耳和蓋、童子和山石鏤空雕刻。請注意玉石上有更廣泛的黃褐色陰影，尤其是背面。請注意尺寸 (13.7厘米)。
AN AVENTURINE-SPLASHED AMBER GLASS SNUFF BOTTLE, ATTRIBUTED TO THE PALACE WORKSHOPSChina, Beijing, 1750-1800. Of slightly flattened form, the globular body supported on a flat oval foot rising to a short gently flared neck, the surface displaying the richness of the transparent brown-toned glass with dispersed copper-colored splashes.Provenance: From the collection of Cynthia G. Locke. Cynthia Graser Locke (1923-2019) was an American collector of snuff bottles who lived in Duxbury, Massachusetts. She was an active member of the International Chinese Snuff Bottle Society which allowed her to travel the world, attending many of the Society's conventions.Condition: Very good condition with minor old wear and expected manufacturing irregularities, little nibbling to the mouth and neck, possibly very slightly smoothened around the rim.Stopper: Tiger's eyeWeight: 56.8Dimensions: Height including stopper 62 mm. Diameter neck 18 mm and mouth 8 mm. Expert's note: Aventurine, or golden-star glass, is one of the colors listed in the imperial archives relating to items ordered by the Zaobanchu. In 1773, the Archives list an order for the Paint and Wood workshop to make a stand for a glass vase of 'blue golden-star color,' indicating that this was already an established court favorite at this time.Auction result comparison: Type: Related Auction: Bonhams New York, 21 March 2023, lot 335 Price: USD 7,012 or approx. EUR 6,500 converted at the time of writing Description: An emerald-green glass snuff bottle with aventurine splashes, Imperial, attributed to the Palace Workshops, Beijing, 1750-1800 砂金石斑紋琥珀色料器鼻煙壺，或爲清宮造辦處製作中國，北京，1750-1800年。壺體呈微扁平狀，短頸，橢圓形平足，表面顯示出透明料器顔色的豐富性，並散佈著銅色斑點。 來源：Cynthia G. Locke私人收藏。Cynthia Graser Locke (1923-2019年) 是一位住在美國馬薩諸塞州達克斯伯裡的鼻煙壺收藏家。她是國際中國鼻煙壺協會的活躍成員，她曾環遊世界，參加協會的許多會議。 品相：狀況極好，有輕微磨損和製造不規則性，壺口和頸部有輕微磕損，邊緣周圍磕損已經稍微平滑。 壺蓋：虎眼石 重量：56.8 克 尺寸：含壺蓋高62 毫米. 頸部直徑18 毫米 and 壺口直徑 8 毫米. 專家注釋：砂金石或金星玻璃是清宮檔案中列出的造辦處製作的物品顏色之一。檔案館列出了 1773 年繪畫和木質器具造辦處的一份訂單，要求為“藍色金星顏色"的玻璃花瓶製作一個支架，這表明在當時清宮中極受歡迎。 拍賣結果比較： 形制：相近 拍賣：紐約邦瀚斯，2023年3月21日，lot 335 價格：USD 7,012（相當於今日EUR 6,500） 描述：1750-1800 寶石綠料胎灑金鼻煙壺一件
AN IMPERIAL YELLOW GROUND 'DRAGON' SILK GAUZE PANEL, CHINA, 18TH - 19TH CENTURYThe gauze woven in a simple leno weave (sha), dyed in Imperial yellow, and finely embroidered with a magnificent five-clawed dragon chasing the flaming pearl, surrounded by colorful ruyi-shaped clouds, and auspicious symbols rising above crashing waves and pinnacles of stylized peaks emerging from the water, all within a geometric border of silk damask showing two alternating Buddhist emblems: the sacred vase and the pair of fish. The back with a royal blue silk damask cover for protection, dating from the late 19th century.Provenance: From a German private collection, acquired before 2007.Condition: Very good condition with only minor wear, the royal blue silk back cover a later addition. Minor losses, possibly trimmed, some loose thread. The colors still vibrant and strong, overall presenting remarkably well!Dimensions: Size 204 x 162 cm The Eight Buddhist Emblems (bajixiang) are a set of traditional symbols that represent the offerings made by the gods to Buddha upon his enlightenment. The symbols include the parasol, the golden fish, the conch shell, the endless knot, the lotus flower, the victory banner, the Dharma wheel, and the treasure vase. Each symbol has its own significance and is used in various contexts, such as in religious rituals, on prayer flags, and in artwork. Together, these symbols are believed to bring good fortune, prosperity, and happiness to those who use or encounter them.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 13 December 2010, lot 5025Price: USD 67,100 or approx. EUR 84,000 converted and adjusted for inflation at the time of writingDescription: A yellow ground kesi-woven silk horizontal panel, 18th/19th centuryExpert remark: Compare the related yellow ground. Note the smaller size (71 x 167.5 cm) and the fact that there is no dragon. 十八至十九世紀黃地龍紋絲製掛幅薄紗採用簡單的紗羅編織而成，染成帝王黃，上面繡著精美的五爪龍追逐火珠的圖案，四周環繞著五彩如意祥雲，下方江崖麗水紋。錦緞邊框上有佛教八寶紋中的寶瓶和雙魚紋。背面帶有寶藍色絲綢錦緞封面以提供保護，其歷史可追溯至十九世紀末。 來源：德國私人收藏，2007年前購入。 品相：狀況非常好，只有輕微磨損，寶藍色絲綢蓋是後來添加的。輕微缺損，一些鬆動的螺紋，顔色依舊鮮亮。 尺寸：204 x 162 厘米 拍賣結果比較： 形制：相近 拍賣：舊金山邦翰斯，2010年12月13日，lot 5025 價格：USD 67,100（相當於今日EUR 84,000） 描述：十八至十九世紀黃地緙絲橫掛屏 專家評論：比較相近的黃地。請注意尺寸較小(71 x 167.5 厘米)，但沒有龍紋。
A THANGKA OF CHATURBHUJA AVALOKITESHVARA, TIBET, 18TH - 19TH CENTURYDistemper and gold on cloth, mounted as a hanging scroll. Seated in dhyanasana on a lotus throne atop a stepped square base with snow lions and scroll designs, the principal hands holding a vase before the chest and the upper hands holding a mala and a lotus blossom. Clad in a colorful dhoti and billowing sashes, richly adorned with fine jewelry. The serene face with heavy-lidded eyes below gently arched brows, flanked by elongated earlobes. The hair tied neatly in a double topknot secured by a foliate tiara with lotus emblems below each leaf.Inscriptions: The back inscribed in Tibetan with the teachings of Sange (Shakyamuni) and Chenresi (Avalokiteshvara).'Om Ah Hum. Om Mani Padme Hum. Sange Hoepak Meh gi Shingkham Nubchok Dewa Chen du Kepar Shok. Chenresi gi Shingkham Sa Potata la Thang Sange Mengi Lawe shingkham Sharchok Lhana Dukpe Shing du Gewar Shok.'Provenance: German trade.Condition: Good condition with minor wear, soiling, creasing, minor losses, and stains.Dimensions: Image size 65 x 46 cm, Size incl. mounting 137 x 75.5 cm The bodhisattva surrounded by Buddhas seated in dhyanasana atop lotus cushions, their hands held in various mudras. The top register centered by an image of Tsongkhapa holding lotus stems coming to full bloom at his shoulders supporting a sword and book, all set within a verdant landscape with pierced rockwork and thick swirling clouds. The figures have identifying inscriptions in gold letters.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 18 September 2013, lot 277Price: USD 11,875 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A painting of Chaturbhuja Avalokiteshvara, Tibet, 18th centuryExpert remark: Compare the closely related subject, manner of painting, and size (64.1 x 43.2 cm).Auction result comparison: Type: Closely relatedAuction: Christie's New York, 14 September 2010, lot 154Price: USD 6,250 or approx. EUR 8,000 converted and adjusted for inflation at the time of writingDescription: A thangka of Chaturbhuja Avalokiteshvara, Central Tibet, Menri style, 19th centuryExpert remark: Compare the closely related subject, manner of painting, and size (65.5 x 44.5 cm). 西藏十八至十九世紀四臂觀音唐卡布面膠彩描金，掛軸。本唐卡中的主尊為四臂觀音，雙跏趺坐於蓮花月輪上，身色潔白如月。黑髮結頂髻，頭戴花蔓寶冠，佩戴大環耳飾、項飾、胸飾、手鐲、腳釧等珠寶八飾，面相豐滿，柳葉細眉微微彎曲，雙目微閉，自然下視，小口緊閉，表情呈慈悲像。一頭四臂，其中兩手持摩尼寶珠於胸前結合掌印，另外兩手之右手持水晶念珠。左手拈白蓮花。周圍祥花環繞，背後福山壽海，祥雲環繞，佛光照耀。在觀音四周可見釋迦牟尼佛、藥師佛與宗喀巴。 款識：背面藏文南無本師釋迦牟尼佛聖號與觀音心咒 來源：德國古玩交易。 品相：狀況良好，有輕微磨損、摺痕、缺損和污漬。尺寸：畫面尺寸65 x 46 厘米, 總137 x 75.5 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年9月18日，lot 277 價格：USD 11,875（相當於今日EUR 14,000） 描述：十八世紀西藏觀音唐卡 專家評論：比較非常相近的主題、繪畫風格和尺寸 (64.1 x 43.2厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2010年9月14日，lot 154 價格：USD 6,250（相當於今日EUR 8,000） 描述：十九世紀西藏中部觀音唐卡 專家評論：比較非常相近主題，繪畫風格和尺寸 (65.5 x 44.5厘米)。
A SMALL LONGQUAN CELADON PHOENIX TAIL VASE, YENYEN, SOUTHERN SONG TO YUAN DYNASTYChina, 12th-13th century. Delicately carved around the upper body with blossoming chrysanthemum borne on leafy scrolling vines above a band of petals rising from the foot and below a series of concentric rings encircling the trumpet-shaped neck. Covered overall and on the base with a thick bubble-suffused glaze of pale sea-green tone, the foot rim left unglazed exposing the buff ware burnt orange in the firing.Provenance: From the collection of Vice-Admiral Edgar Humann, and thence by descent in the same family. Edgar Eugene Humann (1838-1914) was a French naval officer who rose through the ranks to Admiral. In 1892 he was placed in command of the Far East naval division. From 1894 to 1895, he served as Chief of Staff of the French Navy, and in 1898, he was made Inspector General and Grand Officer of the Legion of Honor. He retired from active duty in May 1903.Condition: Very good condition with minor old wear and firing irregularities including a firing crack to the foot and few burst bubbles. Occasional light scratches to glaze. The vase slightly leaning.Weight: 971.3 gDimensions: Height 22.3 cm Auction result comparison: Type: Closely relatedAuction: Christie's New York, 26 March 2010, lot 1339Price: USD 17,500 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: A rare small longquan celadon trumpet-necked baluster vase, Southern Song/Yuan dynasty; 12th-13th centuryExpert remark: Compare the closely related trumpet-necked baluster form, sea-green glaze, carved decoration, and floral motifs. Note the slightly larger size (25.2 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 15 September 2018, lot 1384 Price: USD 11,250 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A small 'Longquan' celadon-glazed 'peony' vase, Yuan dynasty Expert remark: Compare the closely related form, carved decoration, and floral motifs. Note the more olive-tinged celadon glaze. Also note the slightly smaller size (18.5 cm). 南宋至元代龍泉窯青釉鳳尾尊中國，十二至十三世紀。頸部修飾弦紋，腹部暗刻盛開的菊花紋，足部芭蕉葉紋。通體施一層厚厚的淺青色釉，釉色瑩潤，足沿未施釉，露出淺黃色胎，燒成橙色。來源：海軍中將Edgar Humann收藏，在同一家族傳承。Edgar Eugene Humann（1838-1914 年）是一位法國海軍軍官，後來晉升為海軍上將。1892年，他被任命為遠東海軍師司令。1894年至1895年，他擔任法國海軍參謀長，1898年被任命為監察長和榮譽軍團大軍官，1903 年 5 月退役。 品相：狀況極好，有輕微磨損和燒製不規則現象，包括足部的燒製裂紋和少量破裂氣泡。局部輕微的釉面劃痕。花瓶微微傾斜。 重量：971.3 克 尺寸：高 22.3 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2010年3月26日，lot 1339 價格：USD 17,500（相當於今日EUR 22,500） 描述：南宋至元代龍泉青釉鳳尾瓶 專家評論：比較非常相近鳳尾的外形，海綠釉面，雕刻裝飾，以及花卉主題。請注意尺寸較大 (25.2厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2018年9月15日，lot 1384 價格：USD 11,250（相當於今日EUR 12,500） 描述：元龍泉窰青釉纏枝牡丹紋瓶 專家評論：比較非常相近的外形，雕刻裝飾，以及花卉主題。請注意橄欖色青瓷釉面和尺寸較小(18.5厘米)。
A SMALL JUNYAO FOLIATE VASE AND SAGGAR FRAGMENT, SONG TO YUAN DYNASTYChina, 12th-14th century. The globular body surmounted by a narrow neck with a delicately pronounced foliate rim, covered overall with a finely crackled and vitreous sky-blue Jun glaze, thinning slightly along the edge of the rim. During the firing process, significant quantities of the glaze applied to the vase have flooded the saggar, inherently tying the two together for eternity.Provenance: From a 91-year-old private collector in Lake Forest, Illinois, USA, who has been collecting Song wares for over 50 years. Condition: The saggar has suffered considerable losses over time. The vase cannot be removed, thus its base cannot be inspected. Otherwise in very good condition with expected old wear and minimal firing irregularities. The glaze with inherent crackling overall.Weight: 299.5 g Dimensions: Height 9.5 cm Celebrated for its pale blue glaze, Jun ware was produced at many kilns in northern China, but particularly at ones in central Henan Province. The kilns are believed to have been active from the tenth to the fourteenth or fifteenth century. Thick, opalescent, and translucent, Jun glazes are a variant of celadon glaze; their robin's-egg blue color results from the addition of ash to the glaze slurry before firing. Jun ware lacks decoration because its thick, semi-opaque glaze would obscure any such embellishment. During the twelfth and thirteenth centuries, however, Jun potters sometimes shaped their vessels with molds, the pleasing definition of the shape constituting a form of abstract decoration, as witnessed by this vase's foliate rim.Auction result comparison: Type: Related Auction: Christie's New York, 18 September 2015, lot 2320 Price: USD 112,500 or approx. EUR 135,000 converted and adjusted for inflation at the time of writing Description: A rare Junyao foliate-rimmed vase, Song-Jin dynasty, 12th-13th century Expert remark: Compare the related glaze (albeit with a purple splash) and foliate rim. Note the different form and the size (19 cm).Auction result comparison: Type: Related Auction: Christie's New York, 16 March 2015, lot 3252 Price: USD 149,000 or approx. EUR 179,000 converted and adjusted for inflation at the time of writing Description: A large saggar containing a Junyao petal-loved bowl, Yuan dynasty Expert remark: Compare the related saggar which has been affixed to the bowl during firing. Note the different form and the size (26.5 cm). 宋至元鈞窯卷蓮口小瓶和匣子殘片中國，十二至十四世紀。卷蓮口，縮頸，圓瓶身，釉質細密，釉質呈玻璃質，天藍色鈞釉，沿周緣邊緣漸薄。在燒製過程中，大量釉料下流，粘在匣缽上，將兩者永久地結合在一起。 來源：來自美國伊利諾伊州森林湖一位九十一歲的私人收藏家，他收藏宋器已有五十多年的歷史。 品相：匣子因為年代關係而缺損。匣子和花瓶無法分開，因此無法檢查其底座。其他方面狀況良好，具有磨損和輕微燒製不規則。釉面整體帶有裂紋。 重量：299.5 克 尺寸：高 9.5 厘米拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年9月18日，lot 2320 價格：USD 112,500（相當於今日EUR 135,000） 描述：宋／金鈞窯天藍釉紫斑花口瓶 專家評論：比較相近的釉面(但有紫斑) 和花口。請注意不同的外形和尺寸(19厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月16日，lot 3252 價格：USD 149,000（相當於今日EUR 179,000） 描述：元鈞窯天藍釉紫斑菊瓣盌連匣缽 專家評論：比較相近燒製時固定在碗上的匣缽。請注意不同的外形和尺寸(26.5厘米)。
A SMALL LONGQUAN CELADON-GLAZED PHOENIX-TAIL VASE, YENYEN, YUAN DYNASTYChina, 1279-1368. The ceramic vessel is elegantly potted, the baluster body surmounted by a tall waisted neck with trumpet mouth, the neck with two raised bowstrings, the shoulder with a single bowstring. Covered overall with a thick olive-green glaze pooling around the body, bubble suffused, darkened pooling around recesses, the foot left unglazed revealing the dark gray body partially burnt to orange in the firing.Provenance: From a private collection in New Jersey, USA.Condition: Very good condition with minor wear and firing irregularities, including glaze recesses and pitting. Few microscopic chips to foot rim, likely inherent to the manufacture.Weight: 381 g Dimensions: Height 17.5 cm The present lot is rare due to its small size and exquisite form. Although the Longquan celadon glaze was perfected during the Southern Song period (1127-1279), it was during the Yuan dynasty that production increased, with some 300 kilns active in the Longquan area from the Dayao, Jincun and Xikou kiln complexes in the west to those on the Ou and Songxi rivers. These rivers facilitated the transportation and distribution of the ceramics to other parts of China as well as to the ports of Quanzhou and Wenzhou, for shipment abroad. During this period, new shapes and styles of decoration were introduced, as well as vessels of different sizes.Auction result comparison: Type: Related Auction: Sotheby's New York, 15 September 2018, lot 1384 Price: USD 11,250 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: A small 'Longquan' celadon-glazed 'peony' vase, Yuan dynasty Expert remark: Compare the related form, glaze, and size (18.5 cm). Note the floral decoration. 元代龍泉青釉鳳尾尊中國，1279-1368年。尊口喇叭形，束長頸，溜肩，深孤腹，腹以下漸收斂，近足處外撇，圈足露胎。通體施青釉。胎體厚重，釉層勻厚色澤青翠。 來源：美國新澤西私人收藏。 品相：狀況極好，有輕微磨損和燒製不規則，包括釉面凹陷和點蝕。足部輕微小開片，可能是製造過程中產生的。 重量：381 克 尺寸：高17.5 厘米 本拍品體積小，造型精美，實屬難得。雖然龍泉青釉技術在南宋時期（1127-1279）逐漸完善，在元代產量有所增加，從西部的大窯、金村和溪口窯群到龍泉地區，大約有 300 座窯爐活躍在甌江和松溪河畔。這些河流促進了陶瓷的運輸和配送到中國其他地區以及泉州和溫州港口，以運往國外。在此期間，引入了新的裝飾和風格，以及不同大小的器皿。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2018年9月15日，lot 1384 價格：USD 11,250（相當於今日EUR 12,500） 描述：元龍泉窰青釉纏枝牡丹紋瓶 專家評論：比較相近的外形、釉面和尺寸(18.5厘米)。請注意花紋裝飾。
A LONGQUAN CELADON 'IMITATION GUAN' OCTAGONAL BOTTLE VASE, MING DYNASTYChina, 15th to mid-16th century. The compressed globular body supported on a short spreading foot with two circular apertures and rising to a long slender neck with a flared mouth. The shoulder encircled by three bowstrings, the neck with two further bowstrings, covered with a thick, finely crackled, vitreous sea-green glaze darkening in the recesses and thinning at the edges, save for the foot which is partially burnt to orange in the firing.Provenance: French trade.Condition: Very good condition with expected old wear, traces of use and firing irregularities including dark spots, glaze recesses, and large firing cracks. Minor glaze lines. Intentional crackling to glaze overall. Slightly leaning.Weight: 878.7 gDimensions: Height 24 cm Starting around 1200, the Longquan kilns began to imitate the Guan wares produced at Jiaotanxia. The imitations were produced in two types. For the first type, to which the present example belongs, the usual pale gray Longquan clay was employed and the focus was on imitating the thick body, to some extent also the glaze color, and especially the distinct craquelure of Guan wares. Imitation-Guan wares of this category have the burnt-orange coloration at the unglazed foot that is characteristic of Longquan kilns in general. For the second type, the Longquan potters mixed zijintu (purple-gold clay) into the body and induced a widely-spaced craquelure, so that both the glaze and the dark body would conform to the aesthetic qualities of the Guan original.Literature comparison:For an earlier and highly important vase of related shape, the group possibly serving as a prototype for the present lot, see a 'guan' octagonal vase, dated to the Southern Song dynasty, at Sotheby's Hong Kong, 6 April 2015, lot 1. 明代龍泉青釉仿官窯弦紋八角瓶中國，十五至十六世紀中葉。折沿，長頸，鼓腹，八角，圈足稍外撇。足上有兩個圓孔。頸部修飾兩道弦紋，肩部有三道弦紋。通體施一層厚厚的、有細開片的玻璃感青色釉，釉層凹陷處顏色變深，邊緣變薄，底足露胎成橘色。 來源：法國古玩交易。 品相：狀況很好，有磨損、使用痕跡和燒製不規則，包括黑點、釉面凹陷和大的燒製裂紋，較小的冲線。釉面開片。微微傾斜。 重量：878.7 克 尺寸：高 24 厘米文獻比較： 一件相近外形的南宋官窰青釉八方弦紋盤口瓶，見香港蘇富比，2015年4月6日，lot 1。
A LARGE BLUE AND WHITE 'LOTUS' JAR, TRANSITIONAL PERIODChina, 17th century. Of baluster form, boldly painted in shades of cobalt-blue to the body with lotus blossoms borne on leafy scrolling vines, below a band of T-scroll at the shoulder and overlapping petals to the neck. With an old fitted hardwood stand and cover dating from the Qing dynasty. (3)Provenance: From a private collection in the United Kingdom. The mouth with an old label, 'A Chinese transitional blue and white vase, £2,600, c. 1650.' Condition: Good condition with some old wear and firing irregularities including small glaze recesses and dark spots. The interior with several firing cracks, one with an associated chip and ancient fill, probably inherent to the manufacture. Light scratches, the foot with few shallow chips. The stand and cover with expected wear, age cracks, and a fine dark patina.Weight: 4,466 g (excl. stand and cover) and 5,139 g (incl. stand and cover) Dimensions: Height 33.4 cm (excl. stand and cover) and 47.7 cm (incl. stand and cover) The stand is supported on five short cabriole legs and carved in openwork with floral scroll below a band of lappets and a band of key-fret.The cover is decorated with archaistic scrolls on the broad rim, the domed top with similarly openworked floral panels divided by pendent ruyi-heads below the bud-form finial encircled by neatly carved chrysanthemum petals. Auction result comparison: Type: Related Auction: Christie's London, 12 July 2005, lot 100 Price: GBP 7,200 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A large transitional blue and white baluster jar, circa 1660 Expert remark: Compare the related form and decoration, albeit with a different motif. Note the size (38.1 cm). 過渡時期大型青花蓮紋罐中國，十七世紀。 罐上青花滿繪纏枝蓮花紋，肩部有山形紋，頸部重疊花瓣紋。配有清朝舊硬木支架和蓋子。(3) 來源：英國私人收藏，壺口有舊標籤 'A Chinese transitional blue and white vase, £2,600, c. 1650.' 品相：狀況良好，有一些磨損和燒製不規則，包括小釉面凹陷和黑點。內部有幾條燒製裂紋，其中一條帶有缺口和填充物，輕微劃痕，足部有少量淺缺口。支架和蓋子有磨損、老化裂紋和精美的深色包漿。 重量：4,466 克 (不含底座和蓋)，5,139克 (含底座與蓋) 尺寸：高 33.4 厘米(不含底座和蓋) ，47.7 厘米(含底座和蓋) 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2005年7月12日，lot 100 價格：GBP 7,200（相當於今日EUR 17,000） 描述：約1660年過渡時期青花瓷罐 專家評論：比較相近的外形和裝飾，雖然不同的主題。請注意尺寸(38.1厘米)。
A MASSIVE PAIR OF TURQUOISE AND CREAM-GLAZED 'BUDDHIST LION' STANDS, MING DYNASTYExpert's note: The zhadou-form vases on the lions' backs at one time probably each supported a large temple lamp, the stands placed on either side of a main altar. Evidence for candles made from whale fat in China dates back to the Qin Dynasty (221-206 BC).China, 15th - early 17th century. Each fearsome lion stands foursquare with its head proudly raised and tail flicked upward in an alert expression marked by large bulging eyes and flared nostrils. The rich scrolling mane finely incised and muscular body festooned with an ornate caparison, supporting on its back a zhadou-form vase. The lions covered with a lustrous turquoise glaze with some details picked out in cream. Both lions show fangs, and one bares its teeth.Provenance: From a private collection in Bordeaux, France.Condition: Good condition with expected old wear, weathering and firing irregularities, minor losses with associated old repairs and touchups, one lion with the tail reattached. Minor chips and light scratches.Weight: 12.3 kg and 12.7 kg (excl. stand); 13.1 kg and 13.5 kg (incl. stand)Dimensions: Height 39.5 cm (excl. stand) and 39.9 cm (excl. stand); 43.3 cm (incl. stand) and 43.5 cm (incl. stand) Each with a fitted wood stand. (4)Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2019, lot 1083 Price: USD 35,000 or approx. EUR 38,000 converted and adjusted for inflation at the time of writing Description: A massive tileworks figure of a seated Buddhist lion, Ming-early Qing dynasty, 15th-17th century Expert remark: Compare the related turquoise and cream glazes, albeit with additional green and ivory glazes. Compare also the closely related modeling with similar features. Note the size (81.3 cm) and that the lot comprises a single lion. 明代一對松石綠色釉佛獅燭臺中國，十五至十七世紀初。佛獅四足著地，昂首挺胸，尾巴向上翹起，大眼圓睜，鼻孔張開，齜牙咧嘴，表情警惕。濃密捲曲的鬃毛，雕刻精美，身軀矯健，背上背著一個燭臺。獅子通體施濃鬱的松石綠色釉，局部細節用米黃色釉突出。 來源：法國波爾多地區私人收藏。 品相：狀況良好，有磨損、風化和燒製不規則、輕微缺損有小修補，一隻獅子的尾巴重新連接，輕微缺口和劃痕。 重量：分別為12.3 公斤 與12.7 公斤 (不含底座); 分別13.1 公斤與 13.5 公斤 (含底座) 尺寸：分別高39.5 厘米 (不含底座) 與39.9 厘米 (不含底座); 分別高43.3 厘米 (含底座) 與 43.5 厘米 (含底座) 各配置木底座 (4)拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2019年9月13日，lot 1083 價格：USD 35,000（相當於今日EUR 38,000） 描述：明/清初三彩獅子坐像 專家評論：比較相近的綠松石和奶油色釉面，雖然沒有綠和奶油色釉面。 比較非常相近的模型、尺寸(81.3 厘米) ，以及此為一隻獅子。
A BISCUIT-ENAMELED SANCAI FIGURE OF GUANYIN, KANGXI PERIODChina, 1662-1722. The Goddess of Mercy seated in royal ease on a flat shaped base, holding a fly-whisk in one hand and a vase in the other, wearing voluminous robes cascading in voluminous folds, and adorned with a long beaded necklace. The serene face with heavy-lidded almond-shaped eyes and full lips, the hair arranged in a high chignon covered by a cowl. Covered overall with splashed green, ochre, aubergine, and transparent glazes, save for the base. The back with a circular aperture.Provenance: From a private estate in Czechia. The Czech trade, acquired from the above.Condition: Very good condition with only minor wear and some firing irregularities, few tiny chips to edges.Weight: 464.9 gDimensions: Height 19.5 cm Auction result comparison:Type: Closely related Auction: Sotheby's Hong Kong, 25 November 2022, lot 380 Estimate: HKD 20,000 or approx. EUR 2,500 converted and adjusted for inflation at the time of writing Description: A biscuit-enameled sancai figure of Guanyin, Qing dynasty, Kangxi periodExpert remark: Note the near-identical size (19.3 cm). 康熙素三彩觀音像中國，1662-1722年。觀音頭戴發巾，著坦胸式寬袖大衣，肩搭帔帛，佩戴瓔珞，一手持淨瓶，一手執拂塵，長眉細眼，面龐圓潤，神色沉靜肅穆。整尊塑像設色沉靜，造型沉穩。除底座外，通體施綠釉、赭色、紫紅色及透明釉。 背面有圓形孔。 來源：捷克私人舊藏；捷克古玩交易，購於上述舊藏。 品相：狀況極好，只有輕微磨損和一些燒製缺陷，邊緣有細小磕損。 重量：464.9 克 尺寸：高 19.5 釐米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2022年11月25日，lot 380 估價：HKD 20,000（相當於今日EUR 2,500） 描述：清康熙素三彩觀音菩薩坐像 專家評論：請注意幾乎相近的尺寸 (19.3 釐米)。
A CARVED AND CELADON-GLAZED CONG-FORM VASE, KANGXI PERIODChina, 1662-1722. Of square section, well modeled with rectangular sides supported on a short spreading foot and rising to a tall waisted neck. The exterior finely decorated with a band of scrolling vines below the neck and formalized foliate designs above the foot. Covered overall in a rich, vitreous celadon glaze darkening in the recesses and thinning at the edges, save for the foot, which is partly burnt to orange in the firing.Provenance: North England trade. Condition: Expected old wear, traces of use and shallow surface scratches. Some firing irregularities. The base drilled with associated nibbling. Overall displaying very well.Weight: 1,965.8 g Dimensions: Height 28.4 cm Expert's note: The present cong vase can be firmly dated to the Kangxi period due to its distinctive tall neck, a rare feature in vases of this type which does not appear in later examples, where the neck is invariably shorter. Compare a related turquoise-glazed cong-form vase, with a similarly tall waisted neck, also dated to the Kangxi period, at Christie's New York, 29 March 2017, lot 110. 康熙青釉琮形瓶中國，1662-1722年。瓶圓口，短頸，方體，圈足。肩部有一條卷葉紋，底足上方有暗刻卷葉花卉紋。通體施青釉，凹陷處顏色變深，邊緣變薄，足部在燒製過程中部分燒成橙色。 來源：英國北部古玩交易。 品相：磨損、使用痕跡和表面淺劃痕。製造不規則，底座有鑽孔。 重量：1,965.8 克 尺寸：高 28.4 厘米
A BLUE AND WHITE OCTAGONAL DOUBLE-GOURD VASE, KANGXI PERIODChina, 1662-1722. Finely painted in shades of cobalt blue, the lower facets with panels enclosing alternating landscapes and antique treasures, the upper facets similarly painted with floral sprays and antiques, each below a band of ruyi heads, all above floral sprays. The interior of the flared rim painted with a geometric band, the exterior with a scroll design along the rim above a pendent leaf band.Provenance: New York trade, formerly in the E & J Frankel Collection, no. 3126 (according to label). E & J Frankel was a major New York gallery specializing in Asian Art since 1967. Run by Edith (1939-2012) and Joel Frankel (1937-2018), it was one of the oldest galleries in the United States focusing exclusively on Asian art. Leaders in their field, the Frankels traveled the world in search of Asian art treasures and educated the general public about their shared passion. Their gallery on Madison Avenue in New York City became a local institution, best known for its regular schedule of innovative thematic exhibitions, and frequently visited by the biggest names in the field, such as Eskenazi, Ellsworth, Junkunc, and the Alsdorfs.Condition: Very good condition with minor wear and firing irregularities, some fritting to edges, the vase slightly leaning.Weight: 1,167 gDimensions: Height 27.5 cm Auction result comparison: Type: RelatedAuction: Sotheby's New York, 18 January 2008, lot 88Estimate: USD 5,000 or approx. EUR 6,700 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese export blue and white octagonal double-gourd vases, 18th centuryExpert remark: Note the smaller size (23.8 cm) and that these vases have “small chips and restoration." 康熙青花八角葫蘆瓶 中國，1662-1722年。此瓶為葫蘆瓶，因形似葫蘆而得名。自唐以來，因其諧音"福祿"，為民間所喜愛，遂成為傳統器形。整器紋飾滿密，層次分明，青花發色濃淡相宜。瓶身分上下兩部分，分別交替飾花卉紋與博古紋以及佛教寶物。頸部和肩部飾芭蕉紋，足部開光飾花卉紋。 來源：紐約古玩交易，來自 E & J Frankel 收藏，編號 3126 (見標籤)。E & J Frankel是紐約自 1967 年以來專門從事亞洲藝術的主要藝廊。由Edith（1939-2012）和Joel Frankel（1937-2018年）經營，是美國歷史最悠久的亞洲藝廊之一。Frankel夫婦周遊世界尋找亞洲藝術瑰寶，並向公眾展示他們共同的熱情。他們位於紐約市麥迪遜大道的藝廊是當地重要藝術場所，定期舉辦創新主題展覽，參觀者衆多，如Eskenazi，Ellsworth，Junkunc，以及Alsdorfs家族。 品相：狀況極好，有輕微磨損和燒製不規則，邊緣有一些磨損，花瓶稍微傾斜。 重量：1,167 克 尺寸：高 27.5 釐米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2008年1月18日，lot 88 估價：USD 5,000（相當於今日EUR 6,700） 描述：十八世紀一對中國出口青花八角雙葫蘆瓶 專家評論：請注意尺寸較小(23.8 厘米) ，以及此對花瓶有“小缺口和修復"。
A YIXING RED STONEWARE VASE, BY CHEN ZIWEN, FIRST HALF OF 18TH CENTURYChina. The baluster body supported on a short spreading foot and rising to a cylindrical neck. The lobed body finely decorated in relief with sprays of bamboo, peony, magnolia, chrysanthemum, pine, and prunus above a bowstring, between bands of sawtooth with neatly incised archaistic designs above the foot and to the shoulder, the neck with bands of S-scroll and ruyi heads.Inscriptions: To the recessed base, six-character mark 'Jingxi Gushi Chen Ziwen zhi' (made by Chen Ziwen in the ancient style of Yixing).Provenance: French trade.Condition: The rim with one chip. The foot rim with minor chips, the shoulder with two fine hairlines, one with an associated shallow loss as well as a few minor touchups.Weight: 522.6 gDimensions: Height 17.5 cm Literature comparison:Compare three closely related vases as part of a garniture, also marked Jingxi Gushi Chen Ziwen zhi, in the collection of the Groninger Museum, Groningen, accession number MB211, illustrated by Michel Beurdeley and Guy Raindre, Qing Porcelain Famille Verte, Famille Rose, New York, 1987, p. 257, fig. 355.Auction result comparison: Type: RelatedAuction: Sotheby's Hong Kong, 1 December 2016, lot 703Price: HKD 118,750 or approx. EUR 15,500 converted and adjusted for inflation at the time of writingDescription: A Yixing 'floral' vase, Qing dynasty, Kangxi periodExpert remark: Compare the related baluster form (albeit of octagonal section) and floral motifs. 十八世紀上半葉宜興紫砂瓶，陳子文款中國。圓柱形頸部，丰肩，腹下内斂，圈足。肩部與足部飾蟬紋，瓶身淺浮雕竹、牡丹、玉蘭、菊花、松樹、梅花等紋飾。 款識：荊西古式陳子文製 來源：法國古玩交易。 品相：邊緣有一個缺口。腳緣有輕微缺口，肩部有兩條細冲線，其中一條有淺層缺損，以及一些輕微的小修。 重量：522.6 克 尺寸：高 17.5 厘米文獻比較： 比較三件非常相近的荊溪古式陳子文製瓶，收藏於格羅寧根博物館，格羅寧根，館藏編號MB211，見Michel Beurdeley和Guy Raindre，《Qing Porcelain Famille Verte，Famille Rose》，紐約，1987年，頁257，圖355. 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2016年12月1日，lot 703 價格：HKD 118,750（相當於今日EUR 15,500） 描述：清康熙宜興紫砂花卉紋八方瓶 專家評論：比較相近的外形 (但此瓶為八角形) 和花卉主題。
A GILT FAMILLE ROSE 'COURT LADIES AND BOYS' VASE, YONGZHENG PERIODChina, 1723-1735. The globular body supported on a short straight foot and rising to a tall slender neck with a bulbous 'garlic-head' section below the wide flared mouth with 'cafe-au-lait' rim. Finely enameled in shades of iron-red, pink, green, blue, and yellow with gilt highlights to depict court ladies engaging young boys in playful games surrounded by antique treasures and precious objects including a ruyi scepter, coral, scrolls, jars and vases, and a finger citron. The neck decorated with shaped panels enclosing bird and flower motifs.Provenance: English trade.Condition: Very good condition with minor wear and manufacturing irregularities including dark spots. Small nicks, tiny scratches, some rubbing and losses to gilt, minor wear to enamel.Weight: 1,068 gDimensions: Height 24.3 cm One lady is seated on a gnarled wood bench flanked by a boy and an attendant, while another supports a smiling boy standing tall on her left hand as he holds onto a flowering branch, a small white dog beside them. Especially this dog is most exquisitely painted.Auction result comparison: Type: Related Auction: Sotheby's New York, 21 March 2018, lot 708 Price: USD 32,500 or approx. EUR 37,000 converted and adjusted for inflation at the time of writing Description: A famille-rose 'ladies' vase, Qing dynasty, Yongzheng period Expert remark: Compare the closely related decoration and motif. Note the different form and the much larger size (38.7 cm). 雍正時期粉彩人物場景瓶中國，1723-1735 年。口外撇，頸部小蒜頭狀，長頸，溜肩，鼓腹，圈足。粉彩鐵紅、粉紅、綠、藍、黃等色，描繪了貴婦與小童遊戲場景，場面活潑。周圍擺著如意、珊瑚、捲軸、花瓶和佛手。頸部礬紅彩開光飾有花鳥紋。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和製造缺陷，包括黑點、小刻痕、細劃痕、一些鎏金磨損、琺瑯輕微磨損。 重量：1,068 克 尺寸：高 24.3 厘米 一位女士坐在一張木凳上，旁邊是一個男童和一名侍女；而另一位女士則扶著一個開心的男童站在她的左手上，男孩抓著一根開花的樹枝，旁邊有一隻小白狗。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2018年3月21日，lot 708 價格：USD 32,500（相當於今日EUR 37,000） 描述：清雍正粉彩仕女圖瓶 專家評論：比較非常相近的裝飾和主題。請注意不同的的外形和尺寸較大 (38.7 厘米)。
A GILT FAMILLE ROSE VASE DEPICTING THE EIGHT IMMORTALS, BAXIAN, QIANLONG PERIODChina, 1736-1795. Of square baluster form, supported on a flat foot with a recessed base, the rounded shoulder tapering to a narrow mouth. Finely decorated in iron-red, gilt, and bright enamels with four shaped panels, each enclosing two of the Eight Immortals (baxian), separated by rope designs, with shaped cartouches enclosing alternating lingzhi and floral sprays above and below each panel, all surrounded by finely gilt foliate scroll.Provenance: From a private collection in the United States. Condition: Very good condition with minor old wear, expected firing irregularities, and minor rubbing to gilt and enamels.Weight: 260.9 g Dimensions: Height 18 cm Two immortals standing atop wispy clouds appear on each panel of this vase. Hang Xian plays his iconic flute as the eccentric Zhang Guolao stands below with his fish drum. Turning the vase clockwise, the next scene depicts Lan Caihe holding a basket of flowers next to Li Tieguai, holding his double-gourd calabash bottle and iron crutch. Next, He Xiangu, the only female of the Eight Immortals, holds a lotus flower next to Lu Dongbin, identifiable by his scholar's cap and the scroll in his hand. Following this panel is a scene depicting Zhongli Quan, baring his chest in his typical fashion, speaking with Cao Guojiu.The Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Most of them are said to have been born in the Tang or Song Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. Stories of these immortals were first recorded by the Ming dynasty poet Wu Yuantai. Their status as folk icons makes them well-known in popular culture.Auction result comparison: Type: Related Auction: Christie's New York, 26 January 2015, lot 96 Price: USD 18,750 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose and gilt vases and covers, circa 1780 Expert remark: Compare the related famille rose and gilt decoration. Note the size (36 cm), different form, and that this lot comprises a pair.Auction result comparison: Type: Related Auction: Christie's New York, 23 January 2007, lot 181 Price: USD 4,200 or approx. EUR 5,800 converted and adjusted for inflation at the time of writing Description: A pair of famille rose and gilt vases, circa 1785 Expert remark: Compare the related famille rose and gilt decoration. Note the size (28.6 cm), different form, lamp mounting, and that this lot comprises a pair. 乾隆鎏金粉彩八仙瓶中國，1736-1795年。方口，溜肩，腹下斂，四方底足内凹。精美的鐵紅、鎏金和明亮的琺瑯裝飾，四面開光内分別描繪八仙中的兩位。肩部四面小開光内花卉卷葉紋 來源：美國私人收藏。 品相：狀況非常好，鍍金和琺瑯有輕微摩擦。 重量：260.9 克 尺寸：高18 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年1月26日，lot 96 價格：USD 18,750（相當於今日EUR 22,500） 描述：約1780年一對粉彩鎏金瓶及蓋 專家評論：比較相近的粉彩和鎏金裝飾。請注意尺寸(36 厘米)，不同的的外形，以及此為一對。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2007年1月23日，lot 181 價格：USD 4,200（相當於今日EUR 5,800） 描述：約1785年一對粉彩鎏金瓶 專家評論：比較相近的粉彩和鎏金裝飾。請注意尺寸(28.6 厘米)，不同的的外形，燈安裝座，以及此為一對。
A BLUE AND WHITE PORCELAIN BOTTLE VASE, CHINA, 18TH CENTURYThe elegant body supported on a short straight foot and rising to a slender cylindrical neck with a small bulbous section followed by a flared mouth. The exterior covered in a transparent glaze below the cafe-au-lait rim and painted in gently accentuated shades of cobalt blue with tranquil landscapes depicting a pagoda on an island surrounded by lush trees, high mountains, and thick shrubbery as pilgrims make their way to the temple on foot. Further ahead, a lone boat skims the peaceful river. The bulbous section decorated with a geometric band below floral sprays.Provenance: Swedish trade.Condition: Very good condition with old wear as expected, the rim with few microscopic frits, and manufacturing flaws including pitting and dark spots.Weight: 701.1 gDimensions: Height 23 cm 十八世紀青花山水長頸瓶侈口，頸部修長，口沿下凸起一周，飾有幾何線條紋，溜肩鼓腹，圈足。 腹部青花描繪山水景觀，遠處一個小島上可見一座寶塔，周圍樹木茂盛；近景河上漁舟，岸上高山樹林，行人柱杖行走於林中。 來源：瑞典古玩交易。 品相：狀況非常好，有磨損，邊緣有微小的釉點、麻點和黑點。 重量：701.1 克 尺寸：高23 厘米
A LARGE BLUE AND WHITE 'PLAYING DISCIPLES' BOTTLE VASE, CHINA, 18th - 19th CENTURYThe globular body supported on a short slanting foot and rising to a tall cylindrical neck. Finely decorated around the body with pupils running around as teachers dressed in long voluminous robes look on, all among rocks, plantain, and a view of the mountain tops. The neck further decorated with sacred symbols centered between geometric bands and ornate lappet borders with foliate designs.Provenance: From the estate of a notable Hong Kong family, who brought a substantial collection of ceramics, porcelains, and other Chinese works of art with them when they immigrated to Canada in the 1950s. Thence by descent within the family to the last owner.Condition: Natural wear and expected firing irregularities, such as pitting, brown spots, glaze irregularities, and kiln grit. Old damage and repair to top of neck. The foot rim has been smoothened significantly in order to make the vase stand straight.Weight: 3141 gDimensions: Height 44.5 cm Auction result comparison: Type: Closely relatedAuction: Bonhams London, 15 May 2014, lot 64Price: GBP 20,000 or approx. EUR 34,500 converted and adjusted for inflation at the time of writingDescription: A blue and white pear-shaped bottle vase, 18th centuryExpert remark: Note the size (39 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 25 May 2022, lot 552Price: HKD 63,000 or approx. EUR 7,500 converted and adjusted for inflation at the time of writingDescription: A blue and white 'riverscape' bottle vase, Qing dynasty, 18th - 19th centuryExpert remark: Note the size (45.7 cm). 十八世紀至十九世紀青花童戲瓶長頸，鼓腹，圈足。青花精美描繪，學童們跑來跑去，老師們穿著寬大的長袍，在岩石、植物和山景前觀看。頸部裝飾有葉狀捲花紋，肩以幾何帶紋和瓶身區分。 來源：香港一個著名家族的遺產，該家族在二十世紀五十年代移居加拿大時，隨身攜帶了大量陶器、瓷器和其他中國藝術品。從那時起，藏品在同一家族一直傳承到如今的最後一位主人。 品相：自然磨損，有凹坑、褐斑、釉面不規則性和窯砂。頸部頂部有損傷和小修。腳緣經過明顯平滑處理，以使花瓶能夠直立。 重量：3141 克 尺寸：高44.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰斯，2014年5月15日，lot 64 價格：GBP 20,000（相當於今日EUR 34,500） 描述：十八世紀青花蝙蝠葫蘆紋瓶 專家評論：請注意尺寸(39 厘米)。 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 552 價格：HKD 63,000（相當於今日EUR 7,500） 描述：清十八至十九世紀青花山水人物圖賞瓶 《大清康熙年製》仿款 專家評論：請注意尺寸(45.7 厘米)。
A GE-TYPE VASE, FANGHU, FIRST HALF OF THE 18TH CENTURYChina, 1700-1750. Of rectangular section, the pear-shaped body rising from a short slightly spreading foot to a gently waisted neck, the sides flanked by a pair of lug handles, covered overall with a grayish-blue glaze suffused with a matrix of dark gray, gold, and transparent crackle. The thick and vitreous nature of the glaze is typical for the first half of the 18th century. The broad rectangular foot is unglazed, thus revealing the dark brown ware.Provenance: French trade.Condition: Excellent condition with minor old wear and firing irregularities including pitting and distinct glaze recesses near the rim to the interior and exterior.Weight: 820.8 gDimensions: Height 20 cm The crackles on this vase are known as jinsi tiexian (gold thread and iron wire) and were deliberately induced during the cooling process and later highlighted by staining. The glaze and black dressing are conscious imitations of Song-dynasty Ge ware.Literature: See Catalogue of the International Exhibition of Chinese Art, 1935-6, no. 876, in the collection of Sir Percival David. For related Yongzheng examples, see Catalog of the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, no. 63; Lam, Ethereal Elegance: Porcelain Vases of the Imperial Qing, The Huaihaitang Collection, no. 39, pp. 160-1; and Tie, The Complete Collection of Porcelain of Jiangxi Province: Porcelain of the Qing Dynasty (I), p. 113. Note also the Catalogue of a Special Exhibition of Ch'ing Dynasty Monochrome Porcelains in the National Palace Museum, no. 80, for a Guan-glazed example; and Xu, Treasures in the Royalty: The Official Kiln Porcelain of the Qing Dynasty, p. 205, for a rust-glazed version.Auction result comparison: Type: Closely relatedAuction: Christie's Paris, 13 December 2017, lot 69Price: EUR 25,000 or approx. EUR 29,000 adjusted for inflation at the time of writingDescription: A Ge-type vase, Fanghu, Qing dynasty, first quarter of the 18th centuryExpert remark: Compare the related form and closely related glaze, with similar two-tone crackle, and size (19 cm). Note the everted rim and the slightly more spreading foot. 十八世紀上半葉仿哥窯貫耳壺中國，1700-1750年。器規整而不厚重，圓口，直頸，肩上飾貫耳，腹部下垂圓腹，高圈足微外撇。通體施繪仿哥釉，釉面細膩，開片，鐵足。 來源：法國古玩交易。 品相：狀況良好，有輕微磨損和燒製不規則，包括邊緣附近的凹坑和明顯的内外釉面凹陷。 重量：820.8 克 尺寸：高 20 厘米文獻：見圖錄《International Exhibition of Chinese Art》，1935-6年，編號876，收藏於Sir Percival David。一件相近的雍正方壺，見《清康雍乾名瓷》，故宮博物院，編號63。Lam，《Ethereal Elegance: Porcelain Vases of the Imperial Qing，The Huaihaitang Collection》，編號39，頁160-1。Tie，《The Complete Collection of Porcelain of Jiangxi Province: Porcelain of the Qing Dynasty (I)》，頁113。請注意一件官窯方壺，《清康雍乾名瓷》，編號80。一件銹釉方壺，Xu，《Treasures in the Royalty: The Official Kiln Porcelain of the Qing Dynasty》，頁205。 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2017年12月13日，lot 69 價格：EUR 25,000（相當於今日EUR 29,000） 描述：清十八世紀初仿哥釉貫耳壺 專家評論：比較相近的外形和非常相近釉面，有兩種不同顏色的裂紋，以及尺寸(19厘米)。請注意緣口外翻和足部外撇。
A CELADON-GLAZED FAMILLE ROSE 'HUNDRED ANTIQUES' PORCELAIN BOWL, QING DYNASTYChina, 18th - early 19th century. The large bowl stands on a short, slightly tapered foot and rises to an everted rim decorated with pink and aubergine scroll designs. The outside shows a pale-celadon ground and peony and prunus blossoms alongside alternating panels depicting auspicious objects surrounding a gu vase with a peony and a phoenix standing atop a scholar's rock with various floral sprays all around. The interior has a white ground, and the base is painted with manifold blossoms flanked by a circular decoration beneath the rim with bats carrying a peach next to double cash coins, stylized Shou signs, and ruyi medallions.Provenance: Property from an American private collection, acquired prior to 1973 and thence by descent in the family. Condition: Very good condition with some old wear, shallow surface scratches, minimal firing irregularities, small amounts of pitting, flaking, and few glaze recesses.Weight: 1,696 g Dimensions: Diameter 28.1 cm The present bowl is a good example of the innovative combination of adding one additional monochrome glaze to a white ground, a technique used effectively 18th century wares. The celadon glaze highlights the densely arranged floral motif: where it pools in the recesses along the edges, the deeper color contrasts with a lighter tone on the extremities, from a single glaze thereby creating two subtle shades of green.The subject of decoration on the famille rose panels in the present bowl may be compared to the highly prized imperial wares in the falangcai palette. It appeared that the falangcai birds-and- flowers theme was popular from the Yongzheng period onwards, such as the bowl with a related design of a golden-tailed peacock standing on a rock in the National Palace Museum, Taipei, illustrated in Imperial Enamel Ware of the Qing Dynasty, 1979, no. 30. The highly detailed rendition of the birds and flowers are related to a painting entitled 'Glorious Spring', by the influential Court artist, Giuseppe Castiglione (1688-1768), in the National Palace collection, Taipei, illustrated in Collected Works of Giuseppe Castiglione, 1982, p. 73, fig. 41. The bat alongside two cash coins creates a visual pun: The word for bat sounds similar to the word 'happiness,' while the word for coin is a homophonous link to the word 'before' or 'in front of.' These three parallels are meant to be interpreted as the blessing 'happiness before your eyes.' The bat, peach, and Shou sign all represent a blessing of longevity. Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2018, lot 1391 Price: USD 43,750 or approx. EUR 48,000 converted and adjusted for inflation at the time of writing Description: A pair of celadon-ground Famille Rose 'European subject' vases, 18th centuryExpert remark: Compare the Famille Rose enamels combined with a partially applied celadon glaze.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 清朝青釉地粉彩博古紋碗中國，十八至十九世紀初。侈口，深弧腹，圈足。外壁，裝飾著粉紅色和紫紅色的捲軸圖案。 外壁淺松石綠色地上粉彩卷葉花卉紋，海棠口開光内白地粉彩描繪博古紋與花鳥紋底色。 碗内口沿一周雷紋，其下華麗的礬紅釉粉彩描繪蝙蝠銜桃、如意、壽桃、蓮花與錢幣紋。碗中團花紋。 來源：美國私人收藏，1973 年之前通過家族傳承獲得。 品相：狀況非常好，有一些磨損、淺表面劃痕、製造不規則、少量麻點、剝落和少量釉面凹陷。 重量：1,696 克 尺寸：直徑 28.1 厘米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2018年9月14日，lot 1391 價格：USD 43,750（相當於今日EUR 48,000） 描述：清十八世紀豆青地描金開光粉彩西洋人物圖瓶一對 專家評論：比較粉彩琺瑯和部分青釉
A FAMILLE ROSE 'NINE PEACHES' BOTTLE VASE, QING DYNASTYChina, 19th century. The slightly compressed globular body supported on a straight foot and rising to a tall, slender, gently flaring neck. The exterior finely painted with bright enamels in shades of green, pink, brown, and white to depict entwined gnarled branches bearing clusters of peaches amid blossoms and curly leaves, the reverse with two iron-red flying bats.Provenance: English trade.Condition: Very good condition with minor wear and firing irregularities. Light scratches, few tiny nicks to the foot.Weight: 1,880 gDimensions: Height 32.5 cm Auction result comparison: Type: Closely relatedAuction: Christie's London, 16 November 1999, lot 250Price: GBP 8,280 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: A famille-rose 'nine peach' bottle vase, Qianlong seal mark, 19th centuryExpert remark: Compare the closely related form, decoration, motif, and size (33 cm). Note the apocryphal Qianlong reign mark.Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 8 November 2021, lot 38Price: USD 20,312 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A large famille-rose peach vase, Tianquiping, Late Qing/Republic periodExpert remark: Compare the closely related decoration and motif with similar peaches, blossoms, and two-tone leaves. This vase is also unmarked. Note the slightly different form and the larger size (55.3 cm). 清代粉彩九桃瓶中國，十九世紀。瓶直口微撇、直頸、腹部豐滿渾圓、圈足。通體繪桃樹一株，樹幹茁壯，枝上結蟠桃九個，桃樹旁襯一簇月季。渲染手法繪畫桃實，桃實飾彩濃厚，成功地表現出成熟桃實的嬌豔色彩，構圖疏密有致。樹枝之間飛舞著兩隻礬紅釉蝙蝠。 來源：英國古玩交易。 品相：狀況極好，有輕微磨損和燒製不規則，足部有輕微劃痕、刻痕。 重量：1,880 克 尺寸：高32.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，1999年11月16日，lot 250 價格：GBP 8,280（相當於今日EUR 22,000） 描述：十九世紀乾隆款粉彩九桃天球瓶 專家評論：比較非常相近的外形、裝飾、主題和尺寸 (33厘米)。請注意乾隆仿款。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2021年11月8日，lot 38 價格：USD 20,312（相當於今日EUR 20,500） 描述：清晚期/民國粉彩蝙蝠壽桃紋天球瓶 專家評論：比較非常相近的裝飾，以及主題，例如桃、花卉和兩種顏色的葉子。此瓶沒有款識。請注意不同的外形和尺寸較大 (55.3厘米)。
A PAIR OF LARGE RUBY-GROUND FAMILLE ROSE BUDDHIST EMBLEM ALTAR ORNAMENTS, QING DYNASTYChina, 19th century. Each finely modeled and enameled in brilliant tones in the form of an open worked ruby-red medallion enclosing one of the Eight Buddhist Emblems (bajixiang), one the Parasol (san), representing spiritual authority, reverence, and purity, and the other the Vase (ping), symbolizing eternal harmony, the receptacle for lustral water, the nectar of immortality. The turquoise-glazed bases each with an iron red six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection of Milton Drexel Rutherford (1894-1976), acquired in China between c. 1930 and 1940, and thence by descent within the same family. The storage boxes padded with Russian and Chinese newspaper clippings from the period. Each altar stand inscribed in black ink to the base, 'China'. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city's subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers. Condition: Superb condition with expected old wear, minor rubbing and flaking to enamels, occasional light scratches. Small glaze touchups inherent to manufacture, and other firing irregularities. The boxes worn, soiled and with minor damages.Weight: 1,934 g and 2,020 Dimensions: Height 38.5 cm and 38.3 cm Each emblem sits atop a lotus pod with recessed seeds nestled in a lotus blossom raised on a stem of chevrons flanked by openwork curling leaves, the whole raised on a domed base neatly enameled on a ruby-red ground with lappets framed by bands of ruyi-heads and key-fret, lappets, and covered in turquoise enamel on the interior.Each with an old fitted wood stand, finely carved with lotus lappets between two key-fret bands, dating to the late 19th century.Each with an old compartmented storage box, dating ca. 1930-1949. (6)The present lot belongs to a group of important altar ornaments placed in temples and chapels in front of Buddhist deities. The complicated openwork panels required a manual dexterity in handling the clay and testify of the technical virtuosity of the Jingdezhen potters at the kilns in Jiangxi province. Richly painted in the famille-rose enamel palette, they reflect the eclectic and ornate style of the period. As a serious student and active practitioner of Tibetan Buddhism, the Qianlong Emperor (r. 1736-1795) commissioned thousands of ritual implements and sacrificial utensils to furnish the renovated and newly built monasteries and temples as well as the numerous chapels and shrines in the palaces in the Forbidden City, Yuanmingyuan summer palace and the Chengde summer residence. Religious objects formed also part of the presents offered to family and court members. He is known, for example, to have lavished these on his beloved mother, the Empress Dowager Xiaosheng (1691-1771), who was a pious Buddhist. They equally played an essential role in the interchange of gifts to honor religious and diplomatic relations with the Dalai and Panchen Lamas who came to Chengde to pay homage to the Emperor.A complete set of the bajixiang, similar in design to the present lot, can be seen on an altar in front of a statue of Manjushri, the Bodhisattva of Wisdom, in the Fanzonglou (Hall of Buddhism), a private chapel in the Forbidden City, see Qing gong Zang chuan fojiao wenwu/Culltural relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 99-1, where related sets of altar ornaments in gilt copper and silver gilt are also illustrated, pls. 138 and 139. A complete set of altar emblems is depicted in an official Court portrait, illustrated in Court Paintings of the Qing Dynasty of the Collection in the Palace Museum, Beijing, 1992, pl. 14, where the emblems are arranged on a low table in front of Emperor Kangxi holding a string of beads.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2007, lot 414 Price: USD 43,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose Buddhist emblem altar ornaments, Qianlong seal marks in iron-red and of the period. Expert remark: Compare the closely related form and decoration, with one of the emblems also being the parasol, as well as the Qianlong reign marks. Note the closely related size (38.1 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 April 2002, lot 535 Price: HKD 3,594,100 or approx. EUR 612,000 converted and adjusted for inflation at the time of writing Description: A magnificent set of eight famille rose Buddhist emblems, iron-red Qianlong four-character seal marks and of the period. Expert remark: Compare the closely related form, decoration, and Qianlong reign marks, albeit with four characters. Note the smaller size (24 cm) and that this lot comprises a complete set of eight Buddhist emblems. 清代一對大型寶石紅地粉彩佛教八寶供器中國，十九世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A LARGE FAMILLE ROSE 'WU SHUANG PU' OCTAGONAL VASE, CHINA, 19TH CENTURYOf square section with cropped corners, the baluster body supported on a short waisted foot and rising to a slender neck with a flared mouth. The exterior finely painted in bright enamels with heroes and heroines from the Wu Shuang Pu with accompanying inscriptions. Sun Quan, Di Renjie, Fu Sheng, and Wu Zetian are named on their flanking cropped corners, alternating high and low, and an epithet for each written above their emblems, along with excerpts from their stories in the Wu Shuang Pu above and below each figure.Provenance: English trade. Condition: Very good condition with only minor wear and firing irregularities. The rim with a shallow chip.Weight: 3,161 g Dimensions: Height 38.9 cm Wu Shuang Pu ('Table of Peerless Heroes') by Jin Guliang is a book of woodcut prints, first printed in 1694, early on in the Qing dynasty. This book contains the biographies and imagined portraits of 40 notable heroes and heroines from the Han Dynasty to the Song Dynasty, all accompanied by a brief introduction and guided by a related poem in Yuefu style. The illustrations from the book were widely distributed and re-used, often as motifs on Chinese porcelain.Di Renjie (630-700), formally Duke Wenhui of Liang, was a Chinese politician of the Tang and Wu Zhou dynasties, twice serving as chancellor during the reign of Wu Zetian. He was one of the most celebrated officials of Wu Zetian's reign and was thus included in Wu Shuang Pu. He is depicted on this lot wearing polychrome robes with floral medallions.Fu Sheng (268-178 BC) was a Chinese philosopher and writer. He was a Confucian scholar of the Qin and Western Han dynasties of ancient China, famous for saving the Confucian classic Shangshu ('Book of Documents') from the book burning of the first Qin emperor. Fu Sheng is recognized as one of the most important Confucians of the Han Dynasty. He is often venerated in Confucian temples along with other sages, and has been a subject of many poems, essays, and paintings. He is depicted on this lot seated on a rock ledge and above him are his emblematic books.Wu Zetian (624-705) was the first and only female emperor in Chinese history. She subsequently founded and ruled the Wu Zhou dynasty of China from 690 to 705. She was the only female sovereign in the history of China widely regarded as legitimate. Under her 40-year reign, China grew larger, becoming one of the great powers of the world, its culture and economy revitalized, and corruption in the court reduced. She was removed from power in a coup and died a few months later. She is depicted on this lot wearing her imperial robes, and above her is Mount Song where her rule was legitimized during the Feng Shan.Sun Ce (175-200) was a Chinese military general, politician, and warlord who lived during the late Eastern Han dynasty of China. He was the eldest child of Sun Jian, who had found the Heirloom Seal of the Realm when his forces occupied the evacuated Han imperial capital of Luoyang, in the course of the campaign against Dong Zhuo, and later suffered a violent death during the Battle of Xiangyang when Sun Ce was only 16. Upon his father's death, Sun Ce inherited the seal and gave it to Yuan Shu so that he might lend him troops to take revenge for his uncle, who had been fighting Warlord Lu Kang. The young Sun Quan is depicted on this lot wearing heavy armor with a sheathed sword, holding a large axe, with the Heirloom Seal of the Realm painted above.Expert's note: The Heirloom Seal of the Realm, also known in English as the Imperial Seal of China, was a Chinese jade seal allegedly carved out of the Heshibi, a sacred piece of jade. The Seal can safely be described as the most important and valuable lost artifact in the world. The Seal was created in 221 BC, shortly after Qin Shi Huang unified China and established the Qin dynasty, China's first imperial dynasty. It then served as the imperial Chinese seal throughout the next millennium of Chinese history, and its possession was seen as a physical symbol of the Mandate of Heaven. The Heirloom Seal was subsequently lost around the end of the Tang dynasty or during the earlier Five Dynasties and Ten Kingdoms period. Several seals have since been claimed as the lost Heirloom Seal, but none have held up under scrutiny.Auction result comparison: Type: Closely related Auction: Bonhams Edinburgh, 24 November 2011, lot 432 Price: GBP 3,125 or approx. EUR 6,000 converted and adjusted for inflation at the time of writing Description: A famille rose figural vase, 19th century Expert remark: Compare the closely related form, decoration, and subject. Note the smaller size (35.5 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 14 September 2019, lot 1511 Price: USD 6,250 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A famille-rose 'Wu Shuang Pu' quadrangular vase, late Qing dynasty Expert remark: Compare the closely related subject. Note the similar size (38 cm). 十九世紀粉彩無雙譜六角瓶口外撇，溜肩，瓶身六角，底足内凹。粉彩描繪《無雙譜》中的英雄、政治家、官員和皇帝，並附有注解，如孫權、狄仁傑、伏生、武則天等，還摘錄了《無雙譜》中對人物的介紹。 來源：英國古玩交易。 品相：狀況非常好，僅有輕微磨損和燒製不規則，邊緣有淺缺口。 重量：3,161 克 尺寸：高 38.9 厘米 拍賣結果比較： 形制：非常相近 拍賣：愛丁堡邦翰斯，2011年11月24日，lot 432 價格：GBP 3,125（相當於今日EUR 6,000） 描述：十九世紀粉彩人物瓶 專家評論：比較非常相近的外形，裝飾和主題。請注意尺寸較小 (35.5 厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A PAIR OF LARGE QIANJIANG CAI VASES, BY FANG JIAZHEN, CHINA, DATED 1895Each of square section and baluster form with a waisted neck and flared mouth, the shoulder with a pair of lion mask handles suspending mock-rings.Finely painted to one side with two beauties, one seated on a burlwood chair and the other standing behind her under a gnarled flowering prunus tree in a fenced garden with a lingbi stone and bamboo, a vase with a bonsai tree before them, and to the opposite side with a maiden playing a gu zheng next to an archaic dui while another sits in contemplation beneath a large plantain tree next to a hollow rock. (2)Inscriptions: To one side of the neck, 'The Dui was produced [so that] the descendants should treasure it and pass it on,' and 'They are the true siblings which come together to look at the flowers. In the Summer of the Year of Yiwei [corresponding to 1895], in Zhushan, in the style of Xinluo Shanren. Fang Jiazhen.' To the opposite side, '[To be] used as a “Dazhu Qin" vase,' and 'When you played Feng Qiu Huang as a declaration of love, I had already fallen for you, and I will entrust my entire life to you. But when you achieved success and wished to take a woman from Maoling as a concubine, how could I accept that? Therefore, I composed a Bai Tou Yin in response.'To each lion mask, 'Wang' (King).Provenance: French trade. One vase with an old label, 'PUK 45'. Condition: Minor wear and firing irregularities. A minor chip to a mock-ring handle with a hairline and associated old repair, and traces of use. One vase with a minor chip to a corner of the mouth with associated repair. The other vase with two chips to the mouth and associated old repairs. Both vases covered with clear lacquer to the mouth and neck, however, no further repairs or restorations are visible even under extremely strong light. Some rubbing and losses to enamels. Overall displaying very well.Weight: 7,351 g and 7,203 g Dimensions: Height 56.1 cm and 56 cm The inscription is an excerpt from the story of Zhuo Wenjun recorded in Baimei Xinyong Tuchuan ('Poems and Paintings of One Hundred Beauties'). She lived during the Western Han dynasty and was the wife of Sima Xiangru, a prominent writer and musician. As the poem tells, Zhuo Wenjun's husband decided to take a concubine after finding favor in the eyes of emperor Wu, which lead Zhuo Wenjun to write Bai Tou Yin ('White Head Song'). Sima Xiangru was shamed by her poem and promptly abandoned his desire to take a concubine. However, he never forgave Zhuo Wenjun and later attempted to divorce her, to which Zhuo Wenjun replies in a second poem, 'I only hope that in the next life you will come as a woman and I will come as a man!'Baimei Xinyong Tuzhuan is a book of woodblock prints illustrating stories written by Yan Xiyuan, an author who lived during the Qing Dynasty. It is composed of four volumes and contains drawings by the great painter Wang Hui. This book collects more than a hundred stories of women in Chinese history and folklore and includes hundreds of short biographies of famous women from the past, accompanied by imagined depictions of them.Auction result comparison: Type: Closely related Auction: Christie's London, 16 May 2014, lot 1269 Price: GBP 7,500 or approx. EUR 13,000 converted and adjusted for inflation at the time of writing Description: A famille rose square-section baluster vase, late 19th century Expert remark: Compare the closely related form, decoration, lion mask-and-ring handles. Note the apocryphal Qianlong mark, the size (59.2 cm), and that the lot comprises only a single vase. 1895年方家珍一對淺絳彩人物方瓶器呈四方形，撇口、束頸、折肩、直腹微斂，肩部有一對獅面輔首雙環。一面精美仕女圖，兩位仕女身在園中桃樹下，周圍假山竹子。仕女面前放著一個花瓶，瓶中插著桃枝。另一個瓶子上可見一位少女在樹邊演奏古琴，而另一個仕女則坐在假山旁的一棵大芭蕉樹下聆聽。(2) 款識： 達作寳敦子孫萬年永寳之用，仿達作寳敦子孫萬年永寳之用十二字文果是人間真姊妹，同心雅意賞花來，時在乙未仲夏寫於珠山客次仿新羅山人筆法，方家珍作大祝禽鼎作用，右仿大祝禽鼎作用六字銘文求凰雅操結知音，已委芳心托素琴，祇事茂陵彈絕調，忍教人聽白頭吟 來源：法國古玩交易，一個瓶子有舊標籤 'PUK 45'. 品相：輕微磨損和燒製不規則。輔首懸環上有一個小缺口，有冲線和小修，以及使用痕跡。一個花瓶口有一個小缺口，有小修。另一個花瓶的口部有兩個缺口，並且有小修。兩個花瓶的口部和頸部均塗有清漆，在極強的光線下也看不到進一步的修復或修復。一些摩損和琺瑯缺損。 重量：分別7,351克與7,203克 尺寸：分別高 56.1 厘米與56 厘米 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A BLUE AND WHITE DOUBLE-GOURD 'WATER TOWN' VASE, CHINA, 19TH CENTURYPainted in sophisticatedly graduated shades of cobalt blue, the pear-shaped upper bulb with two figures crossing a bridge, opposite further figures resting in a courtyard below drooping willow branches, all set in a mountainous landscape below a floral band, the lower apple-shaped bulb similarly decorated with an oxherd driving an ox over a bridge, two women crossing, and a small child playing with the water amongst the reeds.Provenance: From the collection of David C. Lindeman, and thence by descent in the same family. David C. Lindeman (1944-2022) was an American economist, serving as a senior pension specialist at the World Bank in the US between 1995 and 2001. He was an avid collector with a special fondness for Chinese pottery and works of art.Condition: The rim of the neck with a small old repair. Otherwise in good condition with minor old wear and expected firing irregularities.Weight: 1083.8 gDimensions: Height 28.9 cm The recessed base with an apocryphal underglaze-blue four-character mark Kangxi nianzhi.Water towns (shuixiang) are settlements built along rivers, lakes, and canals. Such towns exist in many regions in China, although those in Jiangsu and Zhejiang provinces are often the most renowned. They are of great cultural and historical significance, with some even dating back to the Warring States period, such as Xitang (lit. 'oblique pond'). The water towns of Suzhou and Hangzhou near Shanghai are known as the 'Venice of the East', because the towns are composed of an interconnecting network of canals navigated by boat. 十九世紀青花水鄉人物葫蘆瓶葫蘆瓶青花渲染描繪水鄉人物景觀。瓶子上部可見有兩個人物過橋，還有一些人在柳樹下的庭院裡休息；瓶子下半部可見牧童趕著牛過橋，還有一個小童在水中的蘆葦之間戲水。 來源：David C. Lindeman私人收藏，在同一家族保存至今。David C. Lindeman (1944-2022年) 是一位美國經濟學家，1995年至2001年擔任美國世界銀行高級養老金專家。他是一位收藏家，對中國陶器和藝術品情有獨鍾。品相：頸部邊緣有小修，其他方面狀況良好，有輕微磨損和燒製不規則現象。 重量：1083.8 克 尺寸：高 28.9 厘米 圈足內寄託款“康熙年製“四字款。
A LARGE 'MING STYLE' BLUE AND WHITE VASE, HU, QING DYNASTYChina, 19th century. Sturdily potted with a baluster body rising from a splayed foot to a waisted neck, flanked by a pair of molded animal-mask handles suspending mock rings in high relief. The exterior vividly painted in neatly graduated shades of cobalt-blue, accurately imitating the 'heaping and piling' method. With two bands of lotus and composite floral scroll above a wide band of cresting waves, below overlapping plantain leaves around the neck, a narrow band of waves below the mouth, and a lappet border encircling the foot.Provenance: Dutch trade. Acquired from a private consignor. Condition: Some old wear and firing irregularities, one of the handles with a small loss, a single hairline extending from the base to the center of the body. Presenting exceptionally well.Weight: 12.2 kg (excl. stand) and 13.3 kg (incl. stand) Dimensions: Height 53.3 cm (excl. stand) and 58.4 cm (incl. stand) The base with an apocryphal underglaze-blue six-character seal mark da Qing Qianlong nianzhi.With an old openwork wood stand. (2)Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 25 June 2019, lot 85 Price: USD 16,325 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing Description: A large blue and white hu-form vase, Qianlong mark, 19th century Expert remark: Compare the closely related bands of floral and wave decorations. Note the size (62.2 cm).Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 17 December 2018, lot 233 Price: USD 16,250 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A large blue and white hu-form vase, Qianlong mark, Republic period Expert remark: Compare the identical animal-mask handles and the closely related motifs. Note the size (51 cm). 清代明式青花輔首纏枝花卉紋壺中國，十九世紀。敞口，頸微束，豐肩，弧腹，圈足外撇。兩肩各有一個獸面輔首啣環。壺身分層用青花分別飾波浪紋、芭蕉紋、纏枝蓮紋、纏枝花卉、波浪紋和芭蕉葉紋。 來源：荷蘭古玩交易，購於私人藏家。 品相：一些磨損和燒製不規則，一個輔首上有小缺損，有一條冲線從底部延伸到壺身中心。 重量：12.2 公斤 (不含底座)，13.3 公斤 (含底座) 尺寸：高 53.3 厘米 (不含底座)，58.4 厘米 (含底座) 圈足内青花六字紀念款“大清乾隆年製"。 鏤空木底座。(2) 拍賣結果比較：形制：非常相近 拍賣：舊金山邦翰斯，2019年6月25日，lot 85 價格：USD 16,325（相當於今日EUR 17,500） 描述：十九世紀乾隆款青花瓷壺 專家評論：比較非常相近的邊帶和纏枝花卉紋。請注意尺寸 (62.2 厘米)。 拍賣結果比較：形制：非常相近 拍賣：舊金山邦翰斯，2018年12月17日，lot 233 價格：USD 16,250（相當於今日EUR 18,000） 描述：民國乾隆款青花瓷壺 專家評論：比較幾乎相同的輔首和非常相近的主題。請注意尺寸 (51 厘米)。
A CELADON-GROUND AND UNDERGLAZE-BLUE JAR AND COVER, CHINA, 19TH - EARLY 20TH CENTURYOf globular form, the slightly domed cover surmounted by a bud-form finial, the exterior finely painted in shades of cobalt blue and white depicting a lion and cub chasing a brocade ball, the cover similarly decorated with three bats, all covered with a fine bubble-suffused glaze of an even celadon tone. The interior and foot covered with a transparent glaze.Provenance: Austrian trade, by repute from an old Viennese private estate.Condition: Very good condition with minor wear and firing irregularities, including scattered burst glaze bubbles. The rims with a shallow chip and minor fritting.Weight: 2,532 gDimensions: Height 22.5 cm Auction result comparison: Type: Related Auction: Christie's London, 22 January 2013, lot 342 Price: GBP 15,000 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A pair of Chinese celadon-ground and underglaze blue vases, 19th/20th century Expert remark: Compare the related underglaze-blue decoration on a celadon ground. Note the different form, subject, larger size (45 cm), and that the lot comprises a pair.Auction result comparison: Type: Related Auction: Bonhams San Francisco, 9 October 2013, lot 3296 Price: USD 8,750 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing Description: A celadon glazed vase with underglaze blue decoration, late Qing/Republic period Expert remark: Compare the related underglaze-blue decoration on a celadon ground. Note the different form, subject, and larger size (42 cm). 十九至二十世紀初青釉地青花蓋罐罐口頸如果蒂下凹於圓腹之中。底內凹、無頸、圓腹。蓋子與罐口溫和，花蕾鈕。罐外壁青釉地，青花描繪了一太獅和幼崽追逐錦球。獅子毛髮濃密，動感十足；周遭飄帶環繞，火焰祥雲，寓意吉祥。蓋子上飾有三隻蝙蝠。釉面充滿氣泡，呈均勻的青色。內及足施透明釉。來源：奧地利古玩貿易，據説來自維也納私人老莊園。 品相：狀況非常好，有輕微磨損和燒製不規則，包括破裂釉泡。邊沿有淺缺口和輕微磨損。 重量：2,532 克 尺寸：高 22.5 厘米 拍賣結果比較: 形制：相近 拍賣：倫敦佳士得，2013年1月22日，lot 342 價格：GBP 15,000（相當於今日EUR 27,000） 描繪：一對十九至二十世紀青釉地青花瓶 專家評論：比較相近的青釉地青花紋。請注意不同的外型，主題，尺寸較大 (45 厘米)，以及此為一對。 拍賣結果比較: 形制：相近 拍賣：舊金山邦翰斯，2013年10月9日，lot 3296 價格：USD 8,750（相當於今日EUR 10,500） 描繪：清末民初青釉地青花瓶 專家評論：比較相近的青釉地青花紋。請注意不同的外型，主題和尺寸較大 (42 厘米)。
A RED-GLAZED AND GILT DECORATED 'BIRDS WORSHIPPING THE PHOENIX' VASE, LATE QING DYNASTYChina, mid-19th to early 20th century. Heavily potted, the baluster sides rising from a short foot to a tall waisted neck with a flared mouth. Finely painted in rich gilt to the exterior with two phoenixes by a gnarled wutong tree amid rockwork and large peony blossoms below two birds in flight, further with two mandarin ducks swimming in a pond and two cranes perched in the tree, all above bands of stiff ruyi-form leaves above the foot and ruyi-heads below the neck.Covered overall in a finely crackled and streaked glaze of crushed-strawberry tone with nuances of flambe and thinning toward the rim. The base and interior with a similarly crackled grayish-white glaze.Provenance: French trade.Condition: Very good condition with minor wear and firing irregularities. Minor smoothened chips and tiny hairlines to the foot.Weight: 3,745 gDimensions: Height 40.1 cm Phoenixes surrounded by various birds, including cranes and mandarin ducks, are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace. 清末紅釉地描金鳳凰牡丹紋瓶中國，十九世紀中葉至二十世紀初。喇叭狀口，長頸，鼓腹，下斂，底足外撇。紅釉地描金，一棵茂盛的梧桐樹下站著兩隻鳳凰，旁邊牡丹盛開。空中兩隻飛翔的鳥，還有兩隻在池塘里游水的鴛鴦和兩只鶴棲息在樹上。足部飾芭蕉葉紋。紅釉成濃郁的玫紅色，邊緣逐漸變薄。底部及內部施灰白色釉。來源：法國古玩交易。 品相：狀況非常好，有輕微磨損和燒製不規則。足部有輕微缺口和細小的冲線。重量：3,745 克 尺寸：高 40.1 厘米
A FLAMBE GLAZED 'OLIVE-STONE' VASE, GANLANPING, LATE QING DYNASTY TO REPUBLIC PERIODChina, c. 1850-1950. The vase is well potted with an elegant rounded body tapering towards the slightly spreading foot and towards the waisted neck that rises to a flared rim, covered overall in a thick, finely crackled, streaked glaze of a crushed strawberry tone with distinct bluish lavender splashes thinning to mushroom at the rim.Provenance: French trade. Condition: Good condition with minor wear and firing irregularities, including glaze recesses, open bubbles, and pitting. Chips to the foot, minor glaze flaking, the foot smoothened in some areas, probably inherent to manufacturing, due to the uneven glaze dripping along the rim which is expected from this type of ware. Weight: 1,676 gDimensions: Height 31.8 cm Literature comparison: Vases of this unusual shape are rather rare. The form itself, known as ganlanping or 'olive-stone', was much admired in all three of the great Imperial reigns of the Qing dynasty - Kangxi, Yongzheng, and Qianlong. During the Kangxi period the shape was more attenuated, as exemplified by a pale-blue-glazed vase illustrated by John Ayers, The Baur Collection, vol. 3, Geneva, 1972, no. A 328, which has a tall slender neck rising to a slightly everted mouth rim. The somewhat more robust shape seen in the Yongzheng and Qianlong periods has a shorter neck and more widely flared mouth, as well as a slight flare at the foot. Such Yongzheng-marked vases include a blue and white example in the Palace Collection, Beijing, illustrated in Qingdai Yuyao ciqi, vol. 1, Beijing 2005, pp. 80-1, no. 29, and another with a copper-red glaze illustrated ibid., pp. 38-39, no. 9, which is almost the same height as our example. 清末民初窯變釉橄欖瓶中國，約1850-1950年。撇口，細頸，長鼓腹下斂，圈足，形似橄欖。通體施窯變紅釉，釉層均勻，釉面呈現紅藍紫色，鮮豔奪目。邊緣有明顯的藍色薰衣草色斑點。 來源：法國古玩交易。 品相：狀況良好，有輕微磨損和燒製不規則，包括釉面凹陷、開放氣泡和麻點。足部有缺口，釉面輕微剝落，足部在某些區域變得光滑，這可能是製造過程中固有的。 重量：1,676 克 尺寸：高31.8 厘米文獻比較： 這種形狀不尋常的花瓶相當罕見。這種形式本身被稱為“橄欖石"，在清朝康熙、雍正和乾隆時期三朝都備受推崇。康熙時期淡藍色釉橄欖瓶，見John Ayers，《The Baur Collection》，卷3，日內瓦，1972 年，編號328，有一個高而細長的頸部，上升至略微外翻的瓶緣。雍正、乾隆時期的器形較為粗壯，頸部較短，口部較寬，足部稍稍外撇。雍正款青花橄欖瓶，北京故宮收藏，插圖見《清代御窯瓷器》，卷1，北京2005年，頁80-1，編號29。另一件銅紅釉橄欖瓶，插圖，同上書，頁38-39，編號 9，幾乎與我們的拍品相同。
A FAMILLE ROSE 'HUNDRED DEER' (BAI LU) HU-FORM VASE, LATE QING TO EARLY REPUBLIC PERIODChina, 1850-1930. The pear-shaped body supported on a spreading foot, the shoulder set with a pair of dragon handles decorated in iron-red and gilt, the body finely enameled with a herd of deer amid pine and peach trees, all in a verdant landscape dotted with lingzhi mushrooms. The recessed base with an apocryphal iron-red six-character mark da Qing Qianlong nianzhi. Provenance: London trade.Condition: Excellent condition with minor wear and firing irregularities.Weight: 11.7 kgDimensions: Height 46 cm The 'hundred deer' motif (not literally; 100 is a conventional number indicating abundance) was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, because 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. The deer is also associated with Daoism and the Star God of Longevity, Shoulao, while the inclusion of peaches and lingzhi in the decoration is further symbolic of longevity. As such, the subject matter on the present vase alludes to a multitude of auspicious connotations.Deer were considered supernatural creatures in premodern China, and they appear frequently in scenes of immortals and magical lands. The imposing composition on the present lot also carries a second layer of meaning thanks to wordplay: the term for one hundred deer (bai lu) is a homonym for bailu: the economic, cultural, and social benefits that could accrue during an official career. The theme can thus be read as a wish to attain a position in government.Lingzhi is the sacred fungus of immortality that grows on the trunks or roots of trees including the pine. The lingzhi does not decay like other fungi but instead becomes woody and thus can survive for a long time. For this reason, it has become associated with longevity. Deer are reputed to be the only animals able to find lingzhi. Deer are sometimes shown holding the lingzhi in their mouth.Literature comparison:For a related vase from the Qing Court collection preserved in the Palace Museum, Beijing, see The Complete Collection of Treasures of the Palace Museum, Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Compare a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67. Compare a related vase in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86. Compare a related vase in 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 relatedAuction: Christie's New York, 23 September 2022, lot 1063Price: USD 27,720 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A famille rose 'hundred deer' vase, late Qing dynastyExpert remark: Compare the closely related form, famille rose decoration, archaistic dragon handles, hundred deer motif, apocryphal Qianlong mark, and size (47 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 27 November 2019, lot 123Price: HKD 212,500 or approx. EUR 26,000 converted and adjusted for inflation at the time of writingDescription: A famille rose 'hundred deer' vase, 20th centuryExpert remark: Compare the closely related form, famille rose decoration, archaistic dragon handles, hundred deer motif, apocryphal Qianlong mark, and size (45 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 September 2016, lot 944Price: USD 40,000 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose 'hundred deer' vase, Republic periodExpert remark: Compare the closely related form, famille rose decoration, archaistic dragon handles, hundred deer motif, and apocryphal Qianlong mark. 清末民初粉彩百鹿尊中國，1850-1930年。圓口，垂腹，圈足。通體施白釉，肩部飾螭龍耳。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“大清乾隆年製"六字篆書款。 來源：倫敦古玩交易。 品相：狀況良好，有輕微磨損和燒製不規則。 重量：11.7 公斤 尺寸：高46 厘米 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
AN IMPERIAL 'REALGAR' GLASS SNUFF BOTTLE, ATTRIBUTED TO THE PALACE WORKSHOPS, QIANLONG MARK AND PERIODChina, Beijing, 1736-1795. Swirled together of brilliant fiery orange and yellow-ochre opaque glass to resemble the realgar mineral, the tall cylindrical body with a tapered foot with flat base and rounded shoulder surmounted by a tall neck with a wide mouth. The base wheel-cut with a four-character mark Qianlong nianzhi and of the period. Provenance: From a noted private collection in Bavaria, Germany. Condition: Excellent condition with only minor old wear and expected manufacturing irregularities.Stopper: Jadeite Weight: 94.5 g Dimensions: Height including stopper 91 mm. Diameter neck 16 mm and mouth 9 mm. The naturalistic pattern achieved on realgar glass makes vessels of this type attractive and unique. Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, op. cit., p. 126, note that the “swirling patterns visible at the surface of this vessel are full of possibilities for the imaginative mind. It may read as a landscape, drifting incense smoke or a variety of strange living creatures, but it also represents the endlessly changing patterns of energy from which all phenomena emanate in the Chinese view, particularly expressed by Daoism. To the Daoist scholar it would be a work of art of subtle complexity and endless fascination, to be enjoyed like incense smoke as a meditative aid."Realgar (xiong huang), found in the southern provinces of China, was believed to contain the essence of gold and, possibly for this reason, became a source of fascination despite its poisonous qualities. It is believed that it was mixed in drugs used by Daoists in their quest for the elixir of immortality. It is the Daoist alchemy that made realgar popular to the extent that despite the material's highly toxic nature and its soft crumbly texture, which does not lend itself to the artisans' tools without great difficulties, realgar was used for the carving of Daoist figures. For example, a realgar sculpture of the Immortal He Xian Gu, in the British Museum, London, is illustrated in R. Soame Jenyns, Chinese Art, The Minor Arts, II, London, 1965, pl. 200.The attractiveness of realgar inspired copies to be made in glass such as the present snuff bottle. Richard John Lynn in 'Technical aspects and Connoisseurship of Snuff Bottles: Late Traditional Chinese Sources', JICSBS, Summer, 1995, p. 8, mentions Zhou Jixu, a late Qing connoisseur, who believed that realgar glass was among the earliest types of glass made at the Qing Imperial Glassworks. For this reason, the dating of the present snuff bottle can probably be narrowed to c. 1740-1750.Literature comparison:For further discussion on 'realgar' glass, see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles. The Mary and George Bloch Collection, Vol. 5, Glass, where its likely Imperial origins are discussed.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 5 March 2021, lot 15 Price: EUR 9,480 or approx. EUR 11,000 adjusted for inflation at the time of writing Description: An Imperial 'realgar' glass mallet vase, Qianlong mark and period Expert remark: Compare the closely related color and wheel-cut reign mark. Note the different form and the size (15.6 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 October 2009, lot 1819 Price: HKD 1,460,000 or approx. EUR 244,000 converted and adjusted for inflation at the time of writing Description: A realgar glass dish, Palace Workshops, mark and period of Qianlong Expert remark: Compare the closely related color and wheel-cut reign mark. Note the different form and the size (17.2 cm). 乾隆款及年代御製仿雄黃料器鼻烟壺中國，北京，1736-1795年。直頸，溜肩，圓柱體壺身。色澤明亮，艷麗的橙色和黃色不透明料間雜旋轉而成，猶如雄黃。底座刻“乾隆年製"四字款。 來源：德國巴伐利亞知名收藏。 品相：狀況良好，只有輕微的磨損和製造缺陷。 壺蓋：翡翠 重量：94.5 克 尺寸：含蓋高91 毫米，頸部直徑16毫米，口部直徑9 毫米。 文獻比較： 關於御製雄黃玻璃的討論，見Moss，Graham，Tsang，《A Treasury of Chinese Snuff Bottles. The Mary and George Bloch Collection》，卷五，〈玻璃〉。 拍賣結果比較： 形制：相近 拍賣：Galerie Zacke，維也納，2021年3月5日，lot 15 價格：EUR 9,480（相當於今日EUR 11,000） 描述：乾隆款與年代御製雄黃色料馬蹄式瓶 專家評論：比較非常相近的顏色和雙方框四字乾隆款。請注意不同的外形和尺寸 (15.6 釐米)。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2009年10月7日，lot 1819 價格：HKD 1,460,000（相當於今日EUR 244,000） 描述：乾隆款和年代御製雄黃盤 專家評論：比較非常相近的顏色和雙圈乾隆款。請注意不同的外形和 尺寸 (17.2 釐米)。
A LARGE FAMILLE-ROSE 'SHOULAO AND THE EIGHT IMMORTALS' VASE, SHENDETANG ZHI MARKChina, 1830-1930. Of baluster form, the body is finely painted with a continuous scene depicting the Eight Immortals in a garden with craggy rockwork and a gnarled towering pine. He Xiangu holds her lotus flower next to Lu Dongbin, holding his fly whisk with his sword sheathed on his back, and the elderly Zhang Gua, holding his tube-shaped bamboo drum. Zhongli Quan holds his fan next to young Han Xiangsi, who plays his flute. An attendant holds a basket of flowers behind Cao Guojiu and his castanets who watches Li Tieguai as whisps of red smoke rise from the double gourd strung to his back.Inscriptions: The base with an iron-red four-character mark, 'Shendetang zhi' (Hall of Prudent Virtue).Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.2.50. An old label to the interior of the vase reads, 'KW N2.50.' Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Good condition with old wear and minor firing irregularities, some rubbing and flaking to the enamels, and minute chips to the foot. Overall displaying exceptionally well.Weight: 3,717 g Dimensions: Height 46.1 cm Shendetang ('Hall of Prudent Virtue') is a hall mark associated with a range of fine porcelains made for the Hall of Prudent Virtue, a summer residence of the Emperor Daoguang. The Daoguang Emperor was known as a prudent, kind, and frugal ruler, investing heavily in the dilapidated Old Summer Palace (yuanmingyuan). The financial review of the Yuanmingyuan in 1824 showed significant surplus left over, which enabled Daoguang to construct the Shendetang ('Hall of Prudent Virtue') within the Old Summer Palace. This became his new living quarters in 1830. Daoguang porcelain inscribed with the Shendetang mark can be dated between 1831 and 1850 and is often characterized by their novel designs.Auction result comparison: Type: RelatedAuction: Sotheby's London, 18 January 2023, lot 88Price: GBP 75,600 or approx. EUR 88,500 converted at the time of writingDescription: A small famille-rose 'immortals' bowl Qing dynasty, 19th centuryExpert remark: Compare the related decor, manner of enameling, and the Shendetang mark. Note the different form and the smaller size (14.5 cm).Auction result comparison: Type: RelatedAuction: Bonhams Edinburgh, 15 November 2012, lot 337Price: GBP 17,500 or approx. EUR 31,500 converted and adjusted for inflation at the time of writingDescription: A mirrored pair of famille rose vases, bearing four character hall mark, Republic periodExpert remark: Compare the related decoration and Shendetang mark. Note the smaller size (23 cm), and that the lot comprises a pair. 大型粉彩《壽老與八仙》賞瓶，慎德堂款中國，1830 -1930 年。 侈口，直頸，通景描繪山間八仙群會場景，何仙姑手捧荷花，呂洞賓背劍執飛拂，張果老手持魚鼓，漢鍾離拿著扇子，旁邊是吹笛子的韓湘子，身後曹國舅拿著響板，藍采荷提著花籃，還有鐵拐李背著葫蘆。 款識：礬紅釉四字款“慎德堂" 來源：吳權博士收藏；吳蓮伯美術館，館藏編號 Q.2.50。瓶底有一個標籤 'KW N2.50.'。品相：狀況良好，有磨損和輕微的燒製不規則，琺瑯有一些摩擦和剝落，足部有微小的缺口。 重量：3,717 克 尺寸：高 46.1 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A FAMILLE ROSE 'MAGPIES AND PRUNUS' VASE, TIANQIUPING, REPUBLIC PERIODChina, 1912-1949. Delicately potted with a globular body surmounted by a tall flaring neck, the exterior brightly painted in polychrome enamels with four magpies, three perched on flowering prunus branches and one in flight, above blossoming peony and other flowers.Provenance: New York trade.Condition: Very good condition with only minor wear and minimal firing irregularities, the rim with a microscopic nick.Weight: 436.7 gDimensions: Height 19.7 cm The recessed base with an apocryphal underglaze-blue six-character mark da Qing Yongzheng nianzhi.This beautiful vase is rich with symbolism: Magpies are considered birds of good fortune, and the combination of magpies and prunus, the early spring blossoms, signifies double good news. Finally, a magpie perched high on a prunus branch is a rebus for 'happiness up to the tips of one's eyebrows'.Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 104 Price: 9,375 or approx. EUR 11,500 converted and adjusted for inflation at the time of writing Description: A famille-rose 'doves' vase, Republican period Expert remark: Compare the closely related famille rose decoration and apocryphal blue-enameled Yongzheng reign mark.Auction result comparison: Type: Related Auction: Sotheby's New York, 17 September 2013, lot 103 Price: USD 13,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A pair of famille-rose 'four purities' vases, Republican period Expert remark: Compare the closely related famille rose decoration and apocryphal blue-enameled Yongzheng reign mark. Note that this lot comprises a pair. 民國粉彩“喜上眉梢"天球瓶中國，1912-1949年。口略外撇，長頸部向下微斂，寬圓肩，碩圓腹，矮圈足。外壁粉彩繪製一樹梅花盛開，三隻喜鵲正在枝頭歡叫，一隻正從空中飛過。樹下牡丹盛開，花草叢生。 來源：紐約古玩交易。 品相：狀況極好，輕微磨損和燒製缺陷，邊緣有微小的刻痕。 重量：436.7 克 尺寸：高 19.7 釐米 底足內青花六字寄託寬“大清雍正年製"。“喜鵲"是吉祥之鳥，喜鵲與梅花，早春開花，寓意雙喜臨門。喜鵲停在枝頭，也有“喜上眉梢"之意。拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2013年9月17日，lot 104 價格：9,375（相當於今日EUR 11,500） 描述：民國粉彩鴿子圖瓶 專家評論：比較非常相近的粉彩和雍正款。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2013年9月17日，lot 103 價格：USD 13,750（相當於今日EUR 16,500） 描述：民國粉彩四清圖花瓶一對 專家評論：比較非常相近的粉彩和雍正款。請注意此瓶為一對。
A FAMILLE ROSE 'SCHOLAR' VASE, INSCRIBED WANG QI (1884-1937), DATED 1929China. The baluster body with rounded and pronounced shoulders, neatly molded with Buddhist lion headed handles with movable bulging eyes and suspending mock-ring handles from their mouths. The waisted neck with a flared mouth. Finely painted in bright enamels to one side with a scholar seated on a mat, his shoes laid out beside him, wearing a voluminous robe, his face with a meditative expression, heavy-lidded eyes, and bow-shaped lips, and to the other with gnarled fruiting tree, one with a crow perched on a twig, each side with inscriptions.Inscriptions: To one side, dated '[…] during the Sommer of the Year of Jisi [corresponding to 1929]'. To the other side, inscribed 'Xichang Midaoren Wang Qi'.Provenance: A private collection in the United Kingdom. Bonhams London, 5 November 2012, lot 157, estimate GBP 5,000 or approx. EUR 9,200 (converted and adjusted for inflation at the time of writing). A collector, acquired from the above. Condition: Very good condition with minor old wear and firing irregularities as well as occasional light scratches.Weight: 3,474 g Dimensions: Height 41.5 cm Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based on famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years Wang more and more developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work. Auction result comparison: Type: Related Auction: Christie's London, 11 June 2006, lot 212 Price: GBP 7,800 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A fine famille rose rouleau vase, Wang Qi, Dated Wuchen Year, corresponding to 1928 Expert remark: Compare the related decoration and inscription. Note the different form and the size (33 cm).Auction result comparison: Type: Related Auction: Bonhams San Francisco, 10 December 2015, lot 8186 Price: USD 12,500 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A small polychrome enameled vase, Wang Qi, dated by inscription to 1927 Expert remark: Compare the related decoration and inscription. Note the different form and the size (17 cm). 粉彩《文人》賞瓶，王琦款中國。 侈口，豐肩，弧腹，獅面輔首啣環，大眼可活動。琺瑯彩描繪一位文人坐在墊子上，鞋子放在旁邊，穿著寬大的長袍，作沉思狀，雙眼微閉。樹上似有紅色果子，秋日落葉，樹枝上棲息著一隻烏鴉。 款識：時在己巳仲夏為如九仁兄先 清玩，西昌勾迷道人王琦寫；空林落葉昏鴉棲，王琦 來源：英國私人收藏；倫敦Bonhams，2012 年 11 月 5 日，拍品 157，估價 5,000 英鎊或約 9,200 歐元（在撰寫本文時根據通貨膨脹進行換算和調整）；私人藏家，從上述拍賣獲得。 品相：狀況非常好，有輕微磨損和燒製不規則，以及局部輕微劃痕。 重量：3,474 克 尺寸：高 41.5 厘米拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2006年6月11日，lot 212 價格：GBP 7,800（相當於今日EUR 18,000） 描述：1928年王琦粉彩瓶 專家評論：比較相近的裝飾和款識。請注意不同的外形和尺寸(33厘米)。 拍賣結果比較： 形制：相近 拍賣：舊金山邦翰斯，2015年12月10日，lot 8186 價格：USD 12,500（相當於今日EUR 15,000） 描述：1927年王琦粉彩鍾馗捉鬼圖瓶《王琦》、《匋匋齋》款 專家評論：比較相近的裝飾和款識。請注意不同的外形和尺寸(17厘米)。
A PAINTED POTTERY 'ARCHER AND TIGER' VASE, HU, HAN DYNASTYChina, 202 BC-220 AD. The ovoid body supported on a short foot and rising to a waisted neck with a flared mouth. The exterior freely painted with confident brushstrokes and brilliant pigments in sky blue, red, amber, white, and black with an archer on horseback hunting a fierce tiger amid wave-like clouds, between borders of C-scroll motifs, all below a band of stiff leaves.Provenance: French trade. By repute acquired from a private collector in Paris.Condition: Good condition, commensurate with age. Old repairs and some touchups as generally expected from Han dynasty excavations. Wear, flaking, losses and fading to pigment. Minor chips, light scratches, extensive soil encrustations.Weight: 5,109 gDimensions: 37.8 cm Expert's note: Expressive polychrome designs on ancient archaic wares from China, such as those on the present lot, are said to have inspired the Art Deco movement in Europe. A good example for this theory may be the design work of noted architect Henry van der Welde (1863 Antwerp - 1957 Zurich).Literature comparison:Compare a closely related covered hu, dated to the 2nd-1st century BC, in The Metropolitan Museum of Art, accession number 1992.165.20a, b.Auction comparison: Type: RelatedAuction: Christie's New York, 15 September 2017, lot 1101Price: USD 22,500 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A rare large painted pottery vase and cover, fanghu, Han dynastyExpert remark: Compare the related colors and manner of painting. Note the different motifs and the size (60.5 cm).Auction comparison: Type: RelatedAuction: Sotheby's New York, 16 September 2008, lot 201Price: USD 21,250 or approx. EUR 27,000 converted and adjusted for inflation at the time of writingDescription: A pair of large painted pottery vases and cover (hu), Han dynastyExpert remark: Compare the related colors and manner of painting. Note the different motifs, the size (60.5 cm), and that the lot comprises a pair. 漢代彩繪狩獵圖陶壺中國，公元前 202 年至公元 220 年。壺口外撇，縮頸，豐胸鼓腹，平足。外壁以天藍色、紅色、琥珀色、白色和黑色描繪馬背上的弓箭手獵虎場景。另飾芭蕉紋、如意紋和雲紋。 來源：法國古玩交易，據説購於巴黎私人收藏。 品相：狀態良好，修復，有磨損、剝落、缺損和顏料褪色，輕微的碎裂、劃痕、大面積的土壤結殼。 重量：5,109 克 尺寸：37.8 厘米 文獻比較: 比較一件非常相近的西元前二至一世紀陶壺，收藏於大都會藝術博物館，館藏編號 1992.165.20a，b。 拍賣比較： 形制：相近 拍賣：紐約佳士得，2017年9月15日，lot 1101 價錢：USD 22,500（相當今日EUR 25,500） 描述：漢代彩繪方陶壺 專家註釋：比較相近的顏色和繪畫風格。請注意不同的主題和尺寸 (60.5 厘米)。拍賣比較： 形制：相近 拍賣：紐約蘇富比，2008年9月16日，lot 201 價錢：USD 21,250（相當今日EUR 27,000） 描述：漢代一對彩繪陶壺蓋 專家註釋：比較相近的顏色和繪畫風格。請注意不同的主題和尺寸 (60.5 厘米)，以及此為一對。
A PARCEL-GILT BRONZE TOOL VASE BY HU WENMING, MING DYNASTYChina, 17th century. Of cylindrical form with a waisted neck and base, supported on a flat circular foot, cast and chased around the body and neck with auspicious Buddhist symbols against a ring-punched ground, the foot and galleried rim with leiwen bands. The base with the four-character maker's mark neatly incised.Inscriptions: To the base, 'Hu Wenming zhi'.Provenance: French trade. By repute acquired from an old private estate in Cannes, France.Condition: Very good condition with old wear as expected, the gilt quite well-preserved, some minor casting irregularities, few small dents, minuscule nicks, occasional light scratches. Weight: 267 g Dimensions: Height 10.3 cm Hu Wenming is one of the most renowned metalworkers in Chinese history and one of the few whose name and style are discussed in Chinese art-historical writing. Most of the works attributed to Hu Wenming are scholarly objects, such as incense burners and brush pots, characterized by densely worked backgrounds covered with detailed naturalistic and other motifs cast in high relief.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 7 April 2014, lot 202 Price: HKD 175,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A parcel-gilt bronze 'butterflies and flowers' incense-tool vase by Hu Wenming, Ming dynasty, 17th centuryExpert remark: Compare the closely related form, parcel-gilding, and relief decoration.Auction result comparison: Type: Closely relatedAuction: Sotheby's Paris, 15 December 2016, lot 171Price: EUR 32,500 or approx. EUR 38,500 adjusted for inflation at the time of writingDescription: Two small partially gilt bronze vases Ming Dynasty, 17th centuryExpert remark: Compare the closely related form, parcel-gilding, and relief decoration. Note that this lot comprises two tool vases, one of which is also decorated with auspicious symbols. 明代胡文明款包金銅瓶中國，十七世紀。盤口，短直頸，圓折肩，圓筒狀長腹，圈足，底部平切式二層台。頸部和瓶身刻有吉祥的佛教符號，足部飾有雷文帶。圈足上刻有工整的四字款。 款識：胡文明製 來源：法國古玩交易，據説購於坎城私人舊藏。 品相：狀況極好，有磨損，包金保存得很好，有一些輕微的鑄造不規則，一些小凹痕，微小的刻痕和劃痕。 重量：267 克 尺寸：高 10.3 釐米 胡文明是中國歷史上最著名的鑄銅工藝名匠，最擅長鑄造銅爐，並能按古式製造彝、鼎、尊、卣之類的銅器極精，時稱“胡爐"或“胡銅"。胡文明的大部分作品都是文人用具，如香爐和筆筒，其特點是佈景嚴密，體現自然主義。拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2014年4月7日，lot 202 價格：HKD 175,000（相當於今日EUR 25,500） 描述：明十七世紀局部鎏金銅「蝶戀花」小瓶《胡文明製》款 專家評論：比較非常相近的外形、局部鎏金和浮雕。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2016年12月15日，lot 171 價格：EUR 32,500（相當於今日EUR 38,500） 描述：明十七世紀局部鎏金銅花卉圖小瓶及局部鎏金銅博古圖小瓶 一件 :《胡文明製》款 專家評論：比較非常相近的外形、局部鎏金和浮雕。請注意此為兩個瓶，其中一件還飾有吉祥符號。
AN ARCHAISTIC BRONZE 'DUCK' PAPERWEIGHT, EARLY QING DYNASTYChina, 17th-18th century. The recumbent bird is boldly cast with its wings tucked to its side and its curved ruyi-form tail feather pointing upwards. The almond-shaped eyes with subtly incised lower lashes beneath stylized swirling head feathers. The intricately patterned wings rest above curling feathers taking the form of archaistic C-scrolls and ruyi heads. The body with minute stippling beneath the duck's wings and extending to the back.Provenance: Dutch trade. Condition: Good condition with significant old wear and expected casting irregularities, light scratches, small nicks, minor dents, few tiny holes probably inherent to manufacturing. The head and tail with remnants of ancient gilt.Weight: 600.9 g Dimensions: Length 12.9 cm This bronze duck is rare as most bronze ducks are cast as incense burners or water droppers, while jade and crystal ducks are carved either in the round or as boxes and covers. The archaistic inspiration is clearly demonstrated in the C-scroll decorations around the wings and relates not only to Song and Ming revival of archaic bronzes but more directly to the Qianlong emperor's instruction to craftsmen to take inspiration from antiquity. See Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp. 49-50.The duck is often seen as the symbol of the first scholar, Zhuangyuan. In Chinese, the character for duck, ya, also bears the radical for the word armor, jia, and jia is the word to classify successful candidates in the final civil service exam. Ducks are also symbolic for filial piety and faithfulness, since they are believed to take a life-time partner.Literature comparison:Compare a prototype archaic bronze 'duck' incense burner and cover with similarly styled head and wings, dated mid-Western Han dynasty, at Bonhams Hong Kong, 29 May 2023, lot 321. Compare a related rock crystal duck-form vessel with similar archaistic C-scrolls, dated to the Qianlong period, at Sotheby's Hong Kong, 7 April 2010, lot 1986. Compare a related jade duck-shaped washer with similar archaistic elements, dated 18th century, at Bonhams Hong Kong, 29 May 2018, lot 23. Compare a related Yixing duck-form vase with similarly stylized wings, dated 20th century, at Sotheby's London, 13 May 2015, lot 224. 清朝初期鴛鴦銅鎮中國，十七至十八世紀。鴛鴦雙翅收於側，尾羽呈弧形如意狀向上翹起，大眼。鎮紙表面浮雕凹凸感強烈，造型栩栩如生。 來源：丹麥古玩交易。 品相：狀況良好，有明顯磨損和鑄造不規則、輕微劃痕、小刻痕、輕微凹痕、少數小孔。頭部和尾部有鍍金的痕跡。 重量：600.9 克 尺寸：長 12.9 厘米文獻比較： 比較一件的西漢中期青銅鴨形熏爐，見香港邦翰斯，2023年5月29日，lot 321。比較一件相近的乾隆款及年代水晶鴨形，見香港蘇富比，2010年4月7日，lot 1986。比較一件相近的十八世紀 白玉雕鴨形洗，見香港邦翰斯，2018年5月29日，lot 23。比較一件相近的二十世紀初宜興窰寶鴨尊《陳鳴遠》款，見倫敦蘇富比，2015年5月13日，lot 224。
A LOBED BRONZE 'CHILONG' VASE, CHINA, 17TH CENTURYOf elegant baluster form, the eight-lobed vase heavily cast with a spreading foot, rounded shoulder, waisted neck, and galleried rim, flanked by two openworked and neatly incised handles modeled as chilong clambering up the vase in dynamic poses, their long furcated tails trailing behind. The bronze with a fine, smooth, chocolate-brown patina.Provenance: Formerly in the collection of Monsieur B., managing director of Le Bon Marche, Paris, in the early 20th century, and thence by descent in the same family. Founded in 1838 by the Boucicaut family, Le Bon Marche is a department store run by a partnership of top managers that continued the "family" culture of the business even after the death of the original founders.Condition: Good condition with expected old wear and some casting irregularities, small nicks, and light scratches.Weight: 3,540 g Dimensions: Height 29.8 cm Literature comparison:Compare a closely related vase with chilong handles, dated to the late Ming dynasty, in the Milwaukee Public Museum.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 December 2015, lot 330 Price: HKD 50,000 or approx. EUR 6,800 converted and adjusted for inflation at the time of writing Description: A bronze lobed vase, Ming dynasty, 17th century Expert remark: Compare the closely related (albeit twelve-lobed) form, chilong handles, and chocolate-brown patina.Auction result comparison: Type: Related Auction: Bonhams San Francisco, 19 December 2016, lot 8221 Price: USD 11,250 or approx. EUR 13,000 converted and adjusted for inflation at the time of writing Description: A tall bronze baluster vase with opposing dragon handles, 17th/18th century Expert remark: Compare the closely related form (albeit with more lobes than the present lot) and chilong handles. Note the larger size (52.7 cm). 十七世紀花口螭龍銅瓶八瓣花口瓶造型優雅，平足，溜肩，收腰，瓶身修長；肩部兩側分別攀爬著一條螭龍，長長的分叉尾巴，動感十足。銅色細膩，天然褐色包漿。 來源：二十世紀初巴黎Le Bon 3月e 董事總經理 B. 先生的收藏，源自同一家族。 Le Bon 3月e 由 Boucicaut 家族 1838 年創立，是一家由高層管理人員合夥經營的百貨公司，即使在原始創始人去世後，該公司仍延續了企業的“家族"文化。 品相：狀況良好，有磨損和一些鑄造不規則、小刻痕和輕微劃痕。 重量：3,540 克 尺寸：高29.8 厘米 文獻比較： 比較一件非常相近的明末螭龍雙耳瓶，收藏於Milwaukee公立博物館。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2015年12月3日，lot 330 價格：HKD 50,000（相當於今日EUR 6,800） 描述：明十七世紀銅瓜棱形龍耳瓶 專家評論：比較非常相近 (儘管十二瓣)的外形，螭龍雙耳、巧克力色包漿。 拍賣結果比較： 形制：相近 拍賣：舊金山邦翰斯，2016年12月19日，lot 8221 價格：USD 11,250（相當於今日EUR 13,000） 描述：十七至十八世紀青銅龍柄花瓶 專家評論：比較非常相近的外形 (儘管比現在更多瓣) 、螭龍雙耳。請注意尺寸較大 (52.7 厘米)。
A GILT COPPER-ALLOY FIGURE OF KUNZANG AKOR, BON TRADITION, TIBET, 14TH-15TH CENTURYKunzang Akor is seated in padmasana, hands held in dhyanamudra on his lap, wearing elaborate jeweled necklaces. His serene face with heavy-lidded eyes below gently arched brows centered by an urna, framed by his hair falling elegantly in curled strands over the shoulders and piled up into a topknot behind the elaborate foliate crown. The mantra 'AH' is cast on his chest. The sealed base is incised with a double-lined wan symbol.Provenance: From an old Austrian collection. The base with a collector's label, '515. 24T.' Condition: Fine condition, commensurate with age. Some wear, mostly to gilt, and expected casting irregularities. Small nicks, dents and losses, minor warping, and light surface scratches. The base is sealed. Fine, naturally grown patina with some cuprite and malachite encrustations.Weight: 826.6 g Dimensions: Height 17.3 cm The deity Kunzang Akor is the meditational form of Shenlha Okar. As in the present example, he is generally recognized by the Tibetan letter 'AH' placed on the chest at the level of the heart. The two hands are placed in the lap and hold the stems of two flower blossoms supporting a stylized yungdrung symbol on the right and a vase on the left. There are numerous traditions of ritual cycles and meditation practices for Kunzang Akor. It is also common to have a sculpture of Kunzang Akor created as a death memorial. While in Tibetan Buddhism it is more common to have a painting created in memoriam, a sculpture is more common in the Bon Religion. The Tibetan lettering on the chest, not found on Buddhist sculpture, confirms that this deity is from the Bon tradition. For a closely related example, see S. Karmay and J. Watt, Bon: The Magic Word, 2007, page 50, fig. 38. Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 12 December 2013, lot 240Price: EUR 18,750 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: Statuette Bun de Kunzang Akor en bronze dore Tibet, XVE siecleAuction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2009, lot 1356Price: USD 13,750 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A Gilt Bronze Figure of Kunzang Akor, Tibet, 14th/15th Century 西藏十四至十五世紀合金銅貢桑阿闊像，苯教傳統貢桑阿闊成蓮花坐姿，手結禪定印，佩戴精緻的寶石項鍊。他面容平靜，雙眼微閉，眉毛微彎，雙眉之間有白毫，頭髮捲曲，垂在肩上，部分在精緻的葉冠后成一個高髻。他的胸口鑄有三字明咒中的“啊"。密封的底座上刻有萬字符。 來源：奧地利私人舊藏，底座收藏標籤 '515. 24T.' 品相：品相完好，有些磨損，主要是鎏金部分，小缺口、凹痕和缺損、輕微翹曲和輕微表面劃痕。底座密封。精美的天然包漿，帶有一些紅綠色結殼。 重量：826.6 克 尺寸：高17.3 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2013年12月12日，lot 240 價格：EUR 18,750（相當於今日EUR 24,000） 描述：西藏十五世紀鍍金銅貢桑阿闊像 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得， 2009年3月20日，lot 1356 價格：USD 13,750（相當於今日EUR 18,000） 描述：十四至十五世紀鎏金銅貢桑阿闊像
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