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
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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
A GILT BRONZE FIGURE OF PRAJNAPARAMITA, TIBET, LATE 19TH TO MID-20TH CENTURYFinely cast, seated in dhyanasana on a double lotus base over a low stepped plinth supported by snow lions and male figures. The four-armed goddess raising her primary hands in dharmachakra mudra and lowering her secondary hands in dhyana mudra. Two lotus blossoms rise to her shoulders supporting a conch and an amrita vase. She is wearing a richly beaded dhoti, foliate tiara, and fine jewelry, all inlaid in glass and semi-precious stones with floral and geometric decorations.Provenance: French trade. Condition: Good condition with minor wear and casting flaws, a few minuscule losses, light scratches, small dents, minor fatigue cracks, remnants of pigment.Weight: 2,903 g Dimensions: Height 27 cm Her serene face with heavy-lidded eyes below gently arched brows, her bow-shaped lips forming a subtle smile, flanked by elongated earlobes. Her hair is tied in a high chignon topped by a vajra behind a inlaid with semi-precious stones and glass. The base is unsealed.Literature comparison:Compare an earlier bronze figure of Maitreya, 19.7 cm high, dated to the 17th century, which may have served as a prototype to this lot, illustrated by Ulrich von Schroeder's Buddhist Sculptures in Tibet, Vol. 2, 2001, pp. 1062, pl. 271A. 西藏十九世紀末至二十世紀中鎏金銅四臂般若佛母鑄造精美，四臂佛母坐於雙層蓮座上，底座上有一個台階底座，底座由雪獅和男性雕像支撐。四臂女神以舉起主手施法輪印，副手施禪定印。兩朵蓮花高至肩頭，托著海螺和甘露花瓶。她戴著華麗的瓔珞、葉狀王冠和精美珠寶，鑲嵌玻璃和半寶石上，並帶有花卉和幾何裝飾。她面容平靜，彎彎的眉毛，雙眼微閉，笑容安詳，長耳垂。頭髮紮成高髻，頂上鑲嵌著半寶石和玻璃，後面有一個金剛杵。 底座未密封。 來源：法國古玩交易。 品相：狀況良好，有輕微磨損和鑄造缺陷、一些微小缺損、輕微劃痕、小凹痕、輕微疲勞裂紋、顏料殘留。 重量：2,903 克 尺寸：高 27 厘米 文獻比較： 比較一件十七世紀彌勒佛銅像，高19.7 厘米，可能為此雕像的原型，見Ulrich von Schroeder，《Buddhist Sculptures in Tibet》，卷2，2001，頁1062，圖271A。
A RARE CIZHOU SGRAFFIATO TRUNCATED MEIPING, TULUPING, SONG DYNASTYChina, 960-1279. The high-shouldered body surmounted by a short narrow neck and outwardly curved rim, finely decorated in a cut-slip technique through the outer dark-brown layer of the slip to the white layer underneath and covered overall in a clear pale-crackled glaze. The body encircled with four large peony blooms borne on a meandering scroll with trefoil leaves below scrolling bands, all between overlapping petal-lappets. The mouth left in white slip, the unglazed base revealing the smooth pale gray ware.Provenance: New York trade. Acquired from a private collector, by repute.Condition: Very good condition with ancient wear, the foot with some smoothened chips, shallow surface scratches, some firing irregularities, glaze flakes, and one vertical hairline.Weight: 1,125 gDimensions: Height 15 cm. Diameter 15.5 cm Some of the most attractive Cizhou wares are those made by various kilns in northern China with designs reserved in black against a white ground. The complicated technique used to create the striking decoration in contrasting colors seen on the present piece is known by the Italian term sgraffiato, literally 'scratched'. It first appeared around the late eleventh century, and was created through the application of contrasting layers of slip or glaze. On the present truncated bottle, a layer of dark brown, almost black slip was applied over white slip, which was later carefully incised to create decorative patterns by revealing the pristine white layer beneath, and then finally covered by a layer of clear glaze. This labor-intensive and time-consuming technique adds a sense of opulence and luxury to the stoneware.The vase is also notable for its well-proportioned form, with a small mouth, broad shoulders and a wide base, which is known as 'tuluping' or 'truncated meiping'. This form, which was produced at many northern kilns, is closely related to the taller meiping, a quintessential Song shape, but enjoyed a much shorter period of production. It was produced for only about a hundred years during the eleventh and twelfth centuries, leaving behind a relatively small number of extant examples.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 17 March 2021, lot 123Estimate: USD 200,000 or approx. EUR 213,000 converted and adjusted for inflation at the time of writingDescription: A superb black-glazed 'Cizhou' sgraffiato 'peony' 'tulu' vase, Northern Song / Jin dynastyExpert remark: Compare the related form and sgraffiato decoration. Note the larger size (23 cm). 宋代磁州窯牡丹紋吐魯瓶中國, 960-1279年。器身短頸，口沿外彎，丰肩。白釉黑彩剔花裝飾工藝，牡丹花紋凸起，黑白兩色對比強烈。畫面構圖飽滿，剔刻流暢奔放有力， 又不失精細與靈巧。牡丹花之間用纏枝相連。底部無釉，露出光滑的淺灰色胎。 來源：紐約古玩交易；據説購於私人收藏。 品相：狀況極好，有磨損，足部有一些刻痕，表面淺劃痕，一些燒製不規則，釉面開片和一條垂直的冲線。 重量：1,125 克尺寸：高 15 厘米, 直徑 15.5 厘米 宋代磁州窯系是北方地區代表性民間瓷窯，這些瓷器保留了白地黑彩圖案。本件拍品中所採用的複雜技術以對比色打造對比鮮明的紋飾，意大利語稱之 sgraffiato 。它首次出現於十一世紀末，是通過應用對比鮮明的釉料層或釉料而製成的。本瓶是在器皿坯體上頂部施白、黑色兩層化妝土，劃出花紋圖案，並清晰去如外面的黑彩，這種耗時的技術為炻器增添了豐富和奢華的感覺。此瓶亦以器形勻稱，小口，寬肩，寬底而著稱，俗稱“吐嚕瓶"或“矮梅瓶"。此器多產於北方，與較高的梅瓶密切相關，是典型的宋器，但生產時間較短。它在十一至十二世紀僅生產了大約一百年，留下了相對較少的現存例子。拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2021年3月17日，lot 123 估價：USD 200,000（相當於今日EUR 213,000） 描述：宋 / 金磁州窰黑釉劃牡丹紋小口瓶 專家評論：比較相近的外形和裝飾。請注意尺寸較大 (23 釐米)。
A BLUE AND WHITE 'PEONY, PHOENIX AND LONGMA' VASE, MEIPING, CHINA, 14TH-15TH CENTURYFinely painted in ample detail and neatly graduated shades of cobalt blue with a continuous undulating stem bearing four large peony blooms, each with furled petals. The stem growing spiky leaves on scrolling vines, all elaborated in stark contrasts of manifold pale and soft blue tones with innumerable minuscule dots of blackish blue, all between narrow bands of classic scroll and double lines. This main frame is beneath a masterfully painted band of phoenix and longma outlined in deep blue, detailing the fine scales, feathers, wings and tails of these mythical creatures, all enclosed by densely flowering lotus blossoms, and beneath a band of scroll design which encircles the short upright neck with its flared mouth rim. The base with a wide border of rectangular lappets. The broad shoulders elegantly tapering to a slightly splayed foot.Provenance: Belgian trade. Acquired from the estate of a noble family in Belgium, where it has been for quite some time, by repute. Condition: Old wear and weathering. Expected firing flaws, such as glaze gaps and recesses, glaze crackling, minute firing cracks, extensive pitting, minor kiln grit, and a circumferential luting line below the shoulder. One glaze recess is revealing some of the original blue color below the thick and somewhat opaque layer of transparent glaze above. The lower section with a single crack, which has become black over time. The base and the lip have been excised so that the vase could fit into a mounting. This was probably done in the 18th-19th century, shortly after the vase made its way to Europe. The mounting was then removed again, probably during the 20th century, and the base and lip were restored accordingly. This restoration was carried out a long time ago, for that the fills at the lip have turned yellow, now standing out against the original color of the ware.Weight: 4,224 g Dimensions: Height 43.2 cm This elegant meiping is a classic example of early Chinese blue and white porcelain. The form is well-proportioned and the vessel sturdily yet elegantly potted. It is decorated in rich and well-graduated cobalt blue which had to be imported at great expense during this period. The banded design makes good use of the extensive canvas provided by the vase's form. The three major decorative bands are in pleasing contrast to one another. They include four of the most successful motifs of the 14th century: longma and phoenix, the bold peony scrolls, and the lappet panels.The longma is an auspicious creature that, according to legend, is said to represent gratitude. During the Xuande reign it was introduced as a principal decoration and has been a popular subject ever since. While depictions of longma on porcelain from this period are quite common, earlier versions of it are quite rare to find.Literature comparison:Compare the form of the present lot and the longma and phoenix designs with several examples from the 14th century in Toji Taikei, Vol. 41, Gen no Sometsuke, by Yabe Yoshiaki, Publisher Heibonsha, Tokyo, Japan, 1974.For the form:Nr. 37, blue and white vase, Meiping, height 34.6 cmFor the phoenix: Nr. 38, blue and white ''peony and scroll'' vase, Meiping, height 43.7 cmNr. 66, blue and white ''seahorse and phoenix'' vase, same item as Nr. 59, height 25.4 cmFor the longma: Nr. 8, blue and white ''seahorse'' plate, diameter 47 cm, Topkapı Palace MuseumNr. 59, blue and white ''seahorse and phoenix'' vase, same item as Nr. 66, height 25.4 cm 十四至十五世紀青花牡丹神獸梅瓶敞口，折沿，細長頸，扁鼓眶，圈足。青花精美四朵牡丹卷葉紋。青花色彩柔和，間雜黑藍色斑點。肩部滿飾卷草紋與神獸如鳳凰與龍馬，精美描繪了這些神話生物的鱗片、羽毛、翅膀和尾巴。下方是開光芭蕉紋内描繪卷草紋。 來源：比利時古玩交易，購於比利時貴族家庭，據説曾在家族裏很長時間。 品相：磨損和風化，有燒製缺陷，例如釉面凹陷和裂紋，大面積的凹坑、較小的窯砂，以及肩部下方的凹痕。一個釉槽在透明釉層下露出了一些原始的藍色。下部有一條裂紋，隨著時間的推移已經變黑。底座和邊緣已被切除，以便花瓶可以安裝到支架中。 這可能是在上十八世紀至十九世紀完成的，即花瓶傳入歐洲後不久。隨後，可能是在二十世紀，支架再次被拆除，底座和唇緣也相應修復。這次修復是很久以前的事情了，因為唇部的填充物已經變黃，現在在器物的原始顏色的襯托下顯得很突出。 重量：4,224 克 尺寸：高 43.2 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 SANCAI FIGURES OF PERSIAN AMBASSADORS, LATE MING DYNASTYChina, 16th - 17th century. Well modeled in mirror image, each standing on a shaped base holding a tributary vase in both hands, wearing elaborate robes secured with a belt and carved with floral and foliate designs, high boots, and tall caps. Their faces with curling mustaches and bushy eyebrows, their mouths agape. (2)Provenance: From an Italian private collection. Each with an old label to the base inscribed in Italian, 'Sancai (three color) pottery. Ming period (1368-1644). Candle holder - Turk with vase (180).' Condition: Expected old wear and firing flaws, small losses, few cracks, some glaze flaking, as well as minor old repairs and touchups. Please request a video of the present lot taken under strong blue light for more details. Weight: 2,923 g and 2,898 g Dimensions: Height 44.3 cm and 43.9 cm Throughout Chinese history, tributary states and tribes were required to periodically send their ambassadors to the Imperial court and pay tribute with valuable gifts. Drawings and paintings with short descriptions were used to record the tribute of these ambassadors and to document cultural aspects of these ethnic groups. Descriptions were written alongside these portrayals, which became later highly valued as historical sources regarding the international relations between China and the rest of the world. The Portraits of Periodical Offering of Liang was painted by the soon to be Emperor Yuan of Liang, Xiao Yi (ruled 552-555 AD) of the Liang dynasty while he was a governor of the Jingzhou province as a young man between 526-539 AD, a post he held again between 547-552 AD. During his time as governor, he had the opportunity to meet many foreigners. One of his paintings depicts a Persian ambassador and likely served as the inspiration for these two figures.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 15 October 2021, lot 194 Price: EUR 15,168 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A rare sancai roof tile depicting a Persian ambassador, late Ming dynasty Expert remark: Compare the similar headdress and curly hair typical of depictions of Persians. Note the size (49 cm). 明末一對三彩波斯人俑中國, 十六至十七世紀。人俑造型精美，站在一個底座上，雙手拿著一個朝貢花瓶，穿著胡人外袍，用腰帶固定，上面刻有花卉和葉狀圖案，穿著高筒靴和高帽。臉上留著捲曲的鬍鬚和濃密的眉毛，嘴巴大張。 (2) 來源：義大利私人收。底座有標籤，可見義大利語“三彩，明代，蠟燭台"字樣。 品相：有磨損和燒製缺陷、小損失、少量裂紋、一些釉料剝落，輕微的舊修和補漆。請向我們索取在強藍光下拍攝的影片，以了解更多詳情。重量：分別爲2,923克與 2,898克 尺寸：分別高 44.3 厘米與43.9厘米 縱觀中國歷史，朝貢國和部落都被要求定期向朝廷派遣使者，並向朝廷進貢。帶有簡短描述的圖畫和繪畫被用來記錄這些使節的貢品，並記錄這些民族的文化。 這些描述後來成為有關中國與世界其他國家之間國際關係的歷史資料，受到高度重視。拍賣結果比較： 形制：非常相近 拍賣：Galerie Zacke，維也納，2021年10月15日，lot 194 價格：EUR 15,168（相當於今日EUR 17,000） 描述：明末罕見三彩波斯人俑 專家評論：比較相似的髮飾和標準的波斯人捲髮。請注意尺寸 (49 釐米)。
A LARGE AND RARE 'QILIN, MYTHICAL HOUND AND BUDDHIST LION' JAR, MING DYNASTY, JIAJING PERIOD, 1521-1567Expert's note: The combination of iron-red and green glazes was utilized primarily during the Jiajing period (1521-1567). According to Daisy Lion-Goldschmidt in Ming Porcelain, New York, 1978, page 164, in her discussion of the 'Red-and-Green' Group, this palette would come to dominate polychrome porcelains, eventually leading to the appearance of famille verte during the second half of the seventeenth century.China. The ovoid body is supported on a flat base and rises to a short and slightly flared neck with a lipped rim. Boldly painted in green, red, and aubergine enamels with three lobed panels enclosing a mythical hound, a Buddhist lion and a Qilin, each with a long snout and standing foursquare amid foliage and rockwork depicted in profile and facing the viewer, surrounded by floral sprays, all beneath a band of phoenixes and peony blossoms below the rim decorated with lingzhi sprays. Covered overall with a finely crackled transparent glaze of a pale-ivory tone, the interior with a dark brown glaze.Provenance: The J. M. Hu, Zande Lou Collection. An old, padded silk box fitted to the vase accompanies the lot. 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: Remarkably well preserved, commensurate with age. Expected old wear and firing irregularities, including some burst bubbles, firing cracks, tiny bumps, pitting, dark spots, and glaze recesses. Occasional light scratches. Minor chips to base, mostly smoothened over time. Small hairlines. Displaying exceptionally, due to its size and excellent condition.Weight: 13.5 kg Dimensions: Height 40 cm Literature comparison:Compare a related red and green enameled porcelain 'min yao' dish donated by R. Soame Jenyns, 30.3 cm in diameter, dated to the Ming dynasty, likely Jiajing, in the British Museum, registration number 1951,1010.1. Compare a related polychrome enameled jar decorated with horses, with a Jiajing mark and of the period, 18 cm high, in the Metropolitan Museum of Art, accession number 1991.253.58.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2023, lot 1036 Price: USD 32,760 or approx. EUR 30,000 converted at the time of writing Description: A very rare green and red-enameled 'fish' jar, Ming dynasty, 16th century Expert remark: Compare the related form and decoration. Note the different motif and smaller size (24.8 cm high). 嘉靖開光麒麟太獅罐中國。罐小口，豐肩，鼓腹，平足。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 WUCAI 'LADY WITH BOYS' VASE, MEIPING, 17TH CENTURYChina. The baluster body supported on a short foot and rising to a waisted neck with everted lipped rim, finely painted to the exterior in shades of iron-red, green, yellow, aubergine, and underglaze cobalt-blue to depict an elegantly robed lady holding up a flower in one hand surrounded by playful boys standing in dynamic poses, one holding up an elaborate headdress all within a fenced garden amid rockwork and grasses, the back with a tall palm tree partly obscured by a pierced lingbi stone, the background with tall mountains emerging from swirling clouds, all below leafy fruit sprays and rockwork to the neck and framed by line borders.Provenance: London trade. Condition: Superb condition with only minor old wear, expected manufacturing flaws, and a small chip to the foot.Weight: 694.9 g Dimensions: Height 18.2 cm Covered overall in a transparent glaze save for the unglazed base revealing the ivory-white ware with distinct spiral pottery lines.Auction result comparison: Type: Closely related Auction: Christie's London, 7 November 2012, lot 550 Price: GBP 3,750 or approx. EUR 6,700 converted and adjusted for inflation at the time of writing Description: A Chinese wucai vase, meiping, 17th century Expert remark: Compare the closely related form, albeit slightly more pronounced than on the present lot, and wucai decoration depicting a similar garden scene with mountain peaks emerging from swirling clouds in the background. Note the size (22.5 cm). 十七世紀五彩嬰戲圖梅瓶梅瓶小口，短頸，豐肩，瘦底，圈足。外壁以礬紅、綠、黃、紫、青花等色彩繪園中婦人一隻手拿著一朵花，與孩童們戲耍的情景，其中一個舉著精緻的頭飾。周圍是假山花草，後面有一棵高大的芭蕉樹。 來源：倫敦古玩交易。 品相：狀況極佳，只有輕微磨損、足部的小缺口。 重量：694.9 克 尺寸：高 18.2 厘米 拍賣比較： 形制：非常相近 拍賣：倫敦佳士得，2012年11月7，lot 550 價格：GBP 3,750（相當今日EUR 6,700） 描述：十七世紀五彩梅瓶 專家註釋：比較非常相近的外形、五彩裝飾，以及相似的花園景致。請注意 尺寸 (22.5 厘米)。
A LARGE BLUE AND WHITE 'PHEASANT' BEAKER VASE, SHUNZHI TO KANGXI PERIODChina, mid-17th to early 18th century. Heavily potted, of waisted form, the exterior finely painted in shades of cobalt blue with a long-tailed pheasant perched on a rocky outpost standing tall amid thick shrubbery, peonies, prunus, and pine needles, all below a further pheasant flying above, framed by hatched bands above the foot and below the mouth.Provenance: From a private collection in Cotswold, United Kingdom, acquired in the 1920s or earlier, and thence by descent in the same family to the last owner. A copy of an inventory of the family collection, compiled in 1948 by local auctioneer and appraiser Alfred Bower, listing the present lot as no. 312, accompanies this lot. A copy of a private photo taken c. 1982 and showing a part of the collection on display in the family home, including the present vase, accompanies this lot.Condition: Magnificent condition with minor old wear and manufacturing irregularities, occasional light scratches, the rim with minute fritting, the foot with a shallow chip. No hidden damages, all visible on the images provided.Weight: 3,338 gDimensions: Height 43.5 cm Auction comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 27 November 2020, lot 432Price: HKD 119,700 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A blue and white beaker vase, Qing dynasty, Shunzhi periodExpert remark: Compare the closely related waisted form and cobalt blue decoration, as well as the related bird motif. Note the size (45.7 cm).Auction comparison: Type: RelatedAuction: Christie's Amsterdam, 5 October 2011, lot 477Price: EUR 32,200 or approx. EUR 43,500 adjusted for inflation at the time of writingDescription: A pair of Chinese blue and white large beaker vases, Kangxi (1662-1722)Expert remark: Compare the closely related waisted form and cobalt blue decoration. Note the different motif, the size (44.9 and 55.3 cm), and that this lot comprises a pair. 順治至康熙朝大型青花花鳥筒花觚中國，十七世紀中期至十八世紀初。撇口、圓腹、腹下漸外撇。白釉地，青花描繪。上下邊緣分別飾簡介線條紋，外壁在構圖上，底有奇石，上立一隻冠鳥，兩旁花團景簇，鳥周圍花團錦簇，中間可見牡丹、假山、樹等，空中飛舞著第二只鳥。 來源：來自英國科茨沃爾德的私人收藏，購於 1920 年代或更早，並由同一家族傳承至最後一位擁有者。隨附一份家庭收藏清單的副本。清單由當地拍賣師兼估價師 Alfred Bower 於 1948 年編制，將本拍品列為第 312 號。隨附一份拍攝於1982年的可見家庭住宅中展出的部分藏品也包括這件花瓶的私人照片的副本。 品相：狀況極佳，有輕微磨損和製造不規則，局部有輕微劃痕，邊緣有微小的磨損，足部有淺缺口。沒有隱藏的損壞，所有損壞都在照片上可見。 重量：3,338 克 尺寸：高 43.5 厘米 拍賣比較： 形制：非常相近 拍賣：香港蘇富比，2020年11月27日，lot 432 價錢：HKD 119,700（相當今日EUR 19,000） 描述：清順治青花花鳥圖筒花觚 專家註釋：比較非常相近的腰部外形和青花紋，以及相近的鳥紋。請注意尺寸 (45.7 厘米)。 拍賣比較： 形制：相近 拍賣：阿姆斯特丹佳士得，2011年10月5日，lot 477 價錢：EUR 32,200（相當今日EUR 43,500） 描述：康熙一對青花花觚 專家註釋：比較非常相近的腰部外形和青花紋。請注意不同的主題 、尺寸 (44.9 and 55.3 厘米)，以及此為一對。
A CARVED CELADON-GLAZED YENYEN VASE, CHINA, 18TH CENTURYThe baluster body rising from a short foot to a cylindrical neck and flaring rim, the body finely carved and incised with large peony blooms and stylized dragons amongst foliage, further with a band of ruyi heads below the bowstring, repeated below the rim, and a band of overlapping flower petals above the foot. The exterior covered with a translucent celadon glaze, which pools nicely in the recesses and thins along the edges, the base and interior with a transparent glaze. The base with a neatly painted underglaze-blue ambrosia leaf mark.Provenance: From the old private estate of a British officer stationed in China, and thence by descent. Condition: Excellent condition with only minor old wear and expected minimal firing irregularities, such as scattered brown spots, glaze recesses and a small chip to the foot.Weight: 3,998 g Dimensions: Height 45.5 cm Auction result comparison: Type: Closely related Auction: Christie's Paris, 21 September 2011, lot 308 Price: EUR 18,750 or approx. EUR 23,000 adjusted for inflation at the time of writing Description: A celadon-glazed yenyen vase, Qing dynasty, 18th century Expert remark: Compare the closely related form, celadon glaze, and carved decoration. Note the size (49.5 cm). 十八世紀青釉暗刻牡丹紋鳳尾尊尊口喇叭形，束長頸，溜肩，深孤腹，腹以下漸收斂，近足處外撇，圈足露胎。通體施青釉，器身刻花裝飾，頸飾數道弦紋與纏枝紋與龍紋，肩飾如意紋，腹飾纏枝牡丹紋與龍紋，底飾芭蕉葉紋。胎體厚重，釉層勻厚，色澤青翠。 來源：英國軍官舊藏，他曾駐守中國，保存至今。 品相：品相極佳，有輕微磨損，燒製缺陷，如棕色斑點、釉面凹陷和足部小缺口。 重量：3,998 克 尺寸：高 45.5 釐米 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2011年9月21日，lot 308 價格：EUR 18,750（相當於今日EUR 23,000） 描述：十八世紀清代青釉暗刻鳳尾尊 專家評論：比較非常相近的外形、青釉和雕刻裝飾。請注意尺寸 (49.5 釐米)。
An early 20th century clear cut glass ovoid scent atomiser, silver mounted with pump action, marked sterling, 15cm; a Victorian silver mounted Royal Worcester blush type posy vase, 14cm, date code for 1896; a silver mounted posy vase; a pair of Edwardian cylindrical engraved clear glass vases, silver collars, Birmingham 1909 (5)
A Wedgwood Kutani Crane pattern pair of ginger jars and covers, pair of bottle vases, pair of urn vases, trinket pot and cover, etc; similar Wedgwood Kutani Crane miniatures, boudoir candle sticks, vase, cup and saucer; a Royal Worcester blush ivory miniature mug, c.1902; a Dresden teacup and saucer; a Shelley teacup, saucer and tea plate, printed with pink roses; a Coalport miniature Ming Rose pattern cup, saucer and plate; Wedgwood tree decorations, boxed; three Swarovski glass miniatures; a set of four Royal Doulton Brambly Hedge thimbles; other thimbles in a display case; qty
A pair of 20th century Naples rectangular boxes and covers, moulded in low relief with frolicking figures, 16.5cm wide, a/f; a Royal Copenhagen vase, decorated with flowers, 27cm high; a pair of Italian pottery figures, as a Chinese man and companion; a Delft hexagonal caddy, with silver cover; a Vienna pedestal vase and cover; etc, qty
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