A RARE AND IMPORTANT BRONZE RITUAL WINE VESSEL, EASTERN ZHOU DYNASTY, SHANXI OR HEBEI, CHINA, 7TH-5TH CENTURY BCPublished: Friedrich Georg Zeileis, Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze), 1999, pages 252-253, no. 86. Superbly cast, the globular body rising to a short waisted neck with an everted rim, densely decorated with rectangular panels full of archaic scrolls divided by rope-twist bands, all neatly incised in fine relief. The bronze with a rich, solid, naturally grown patina with malachite and cuprite encrustation.Provenance: A noted private collection in New York, assembled since the 1920s. E & J Frankel Ltd., New York, early 1990s. Friedrich Georg Zeileis, acquired from the above, according to his publication. 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. Dr. Friedrich Georg Zeileis (b. 1939) is a retired physician who built an important collection of ancient Chinese jades and bronzes. He was also a pianist and composer, and published several books, as well as catalogs of his substantial art collections, including fine Chinese jades and bronzes. Condition: Very good condition, commensurate with age, displaying spectacularly. Extensive old wear, minor dents, small nicks, light scratches, minute losses, signs of weathering and erosion, soil encrustations. Absolutely original with no fills or repairs whatsoever! A Zhou-dynasty bronze in such a well-preserved state must be considered exceedingly rare.Weight: 2,628 g Dimensions: Height 23.5 cmSeveral names have been given to vessels of this shape. A variety of designations, including lei, ling, fou, and pou, appear in inscriptions cast on the everted rims of some of these bronzes, even vessels closely comparable in shape. This type first appeared in the late Shang/early Western Zhou period, and the first versions typically had a long neck and sharply angled shoulders. By the end of the eighth century, the necks on these vessels had become proportionately shorter, and the shoulders more rounded. With its sharply angled shoulders and short neck, the present vessel would appear to represent a transitional period in the vessel's development.Expert's note: According to the Zeileis publication, the present lot was judged by Dr. W. Thomas Chase, retired Head Conservator of the Department of Conservation and Scientific Research at the Arthur M. Sackler Gallery and the Freer Gallery of Art, as a “doubtless genuine bronze”, while it was with E & J Frankel. According to the same publication, the present lot was examined in 1998 by Dr. Anna Bennett, an archeological scientist and conservator, who found it to be irreproachably authentic as well as unusual in this form, and extremely rare.Literature comparison: Compare a related bronze fu with similar decoration, also without handles, illustrated by Jenny So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, 1995, page 217, no. 34. The author notes that vessels with 'twist-rope' panels can be found from the provinces Shanxi to Hebei. Compare a related bronze pou, 20.5 cm high, dated to the Eastern Zhou dynasty, 7th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.277, illustrated by Jenny So, ibid., p. 210-213, no. 32. A lei without handles and with related dragon scroll cast on the shoulder, but undecorated on the lower body, from Henan Xinyang Guangshan Baoxiangsi G1, is illustrated by Jenny So, ibid., p. 134, fig. 13.2, where it is dated to the second quarter of the 6th century BC.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2013, lot 1113 Price: USD 663,750 or approx. EUR 771,000 converted and adjusted for inflation at the time of writing Description: A fine and rare bronze ritual wine vessel, lei, Spring and Autumn period, early 7th century BCExpert remark: Compare the closely related form and related decoration. Note the slightly larger size (29.5 cm).Auction result comparison: Type: Related Auction: Christie's Amsterdam, 6 November 2007, lot 334 Price: EUR 86,650 or approx. EUR 125,000 adjusted for inflation at the time of writing Description: An archaic bronze ceremonial wine vessel, fou, Eastern Zhou dynastyExpert remark: Compare the related form and decoration. Note the animal handles and slightly larger size (29.7 cm).西元前七至五世紀重要青銅酒器，山西或河北敞口外翻，束頸，豐肩，斂足，圈足。器身地飾鳥紋與繩紋帶。豐富、堅固、自然的銅銹，帶有孔雀石色和赤銅色結殼。造型美觀，紋飾謹嚴，鑄造精良。出版：Friedrich Georg Zeileis，《Von Shang bis Qing - Dreieinhalb Jahrtausende Chinesischer Bronze (From Shang to Qing - Three and a Half Millenia of Chinese Bronze)》，1999年，第252-253頁，圖 86。 來源：知名紐約私人收藏，建立於上世紀二十年代；紐約E & J Frankel Ltd.藝廊，上世紀九十年代初；Friedrich Georg Zeileis購於上述藝廊，並收編於他的出版物。 品相：品相極好，大量磨損、輕微凹痕、小刻痕、輕微劃痕、微小缺損、風化和侵蝕跡象、土壤結殼。無任何填充或維修！如此保存完好的周代青銅器，實屬難得一見。 重量：2,628 克 尺寸：高 23.5 釐米
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A FAMILLE VERTE 'PHOENIX' PORCELAIN WINE COOLER, KANGXI PERIODChina, 1662-1722. The globular body supported on a short spreading foot and rising to a broad cylindrical neck set with two shell-molded handles below the bulbous mouth and lipped rim. Finely decorated in gilt and bright enamels to the exterior with birds and flowers above a band of shaped panels enclosing floral sprays against a floral diapered ground, the foot with a scroll band, the neck with phoenixes and peonies, the mouth with a floral band, the handles with scrolling vines. The interior sparsely decorated with a floral band below the rim and a floral spray to the base.Provenance: From an old French private estate. Condition: Very good condition with some wear to gilt and enamels, expected firing flaws including glaze recesses and dark spots, and minor chips to the foot.Weight: 668.7 g Dimensions: Height 13.8 cmLiterature comparison: Compare a related famille verte wine cooler, of different form, but with closely related decoration, 21 cm high, also dated to the Kangxi period, illustrated by David S. Howard, A tale of Three Cities, Canton, Shanghai and Hong Kong - Three Centuries of Sino-British Trade in the Decorative Arts, Sotheby's London, 1997, no. 106.康熙時期硬彩鳳穿牡丹冰酒器中國，1662-1722年。敞口，口沿下微鼓，兩側有貝殼狀手柄，頸部微束，鼓腹，短圈足。外壁描金，精美琺瑯描繪鳳穿牡丹紋，頸部有鳳凰和牡丹，腹部白地纏枝花卉紋。器內纏枝花卉紋。 來源：法國私人收藏。 品相：狀況極好，鎏金和琺瑯有一些磨損，燒製缺陷，包括釉面凹陷和黑點，足部有輕微缺口。 重量：668.7 克 尺寸：高 13.8 厘米 文獻比較： 比較一件不同外形的康熙粉彩冰酒器，但裝飾非常相近，21 厘米高，見David S. Howard，《A tale of Three Cities，Canton，Shanghai and Hong Kong - Three Centuries of Sino-British Trade in the Decorative Arts》，倫敦蘇富比，1997年，編號106。
A BLUE AND WHITE POURING BOWL, YI, YUAN DYNASTYChina, 1279-1368. Well potted with rounded sides resting on a slightly concave base, one side set with an outward flaring spout above a small loop handle, the interior painted with a central medallion enclosing a lotus blossom surrounded by leaves, encircled by a diapered band below the rim, the exterior with a broad band of flowerheads borne on sinuous leafy vines, the spout with a cloud, the base left partly unglazed to reveal the ware burnt to orange in the firing. Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa. Condition: Very good condition with some old wear, traces of use and shallow surface scratches, and firing irregularities including kiln grit and some glaze pooling and recess at the rim, the latter smoothened in the manufacturing process.Weight: 223.4 g Dimensions: Length 15.5 cmBowls of this form are known as yi and appear to have been used as pouring vessels together with yuhuchun vases. Chiumei Ho in 'Social Life Under the Mongols as Seen in Ceramics', Transactions of the Oriental Ceramic Society, vol. 59, 1994-95, p. 44, notes that in archaeological contexts they are often found together with such vases and wine cups. This pairing is also depicted in a wall painting from the tomb of Zhang Andabuhua and his wife, which has been dated to 1269 AD and is illustrated in the catalog of the exhibition The World of Khubilai Khan. Chinese Art in the Yuan Dynasty, The Metropolitan Museum of Art, New York, 2010, p. 83, fig. 115.These bowls were also used by Mongols in Iran, as exemplified by the bowl painted in the Enthronement Scene, part of the album Jami al-tavarikh (Compendium of Chronicles), which was commissioned between the reigns of Ghazan (r. 1295-1304) and his brother, OEljeitue (r. 1304-1316), included in the exhibition The Legacy of Genghis Khan, Courtly Art and Culture in Western Asia, (1256-1353), The Metropolitan Museum of Art, New York, 2002, cat. no. 19, fig. 84. The shape was probably copied from metal prototypes and a very similar silver pouring bowl was found together with a silver yuhuchun ping in a hoard at Hefei, Anhui province, which contained items inscribed with a name written in Phagspa characters as well as a date equivalent to 1333, both now in the Anhui Museum Provincial Museum, published in the exhibition catalog 'The World of Kublilai Khan, Chinese Art in the Yuan Dynasty', The Metropolitan Museum of Art, New York, 2010, p. 83, fig. 115.Literature comparison: Several pouring bowls of this form and decorated with various floral designs are illustrated in Zhongguo taoci quanji, vol. 11, Shanghai, 2000, pls. 213-217. One depicting a hare, in the British Museum, is published in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2000, pl. 1:22.Auction result comparison: Type: Closely related Auction: Sotheby's London, 6 November 2019, lot 137 Price: GBP 50,000 or approx. EUR 66,500 converted and adjusted for inflation at the time of writing Description: A blue and white pouring bowl, yi, Yuan dynastyExpert remark: Compare the closely related form and decoration. Note the slightly larger size (18.3 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 May 2021, lot 332 Price: HKD 126,000 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A blue and white 'lingzhi' pouring vessel, yi, Yuan dynastyExpert remark: Compare the closely related form, decoration, and size (15.4 cm).元代青花纏枝蓮紋匜中國，1279-1368年。圓腹，口微歛，平底。沿有流，形呈長方，與腹相連，流下著一小系；流上有一朵雲；器心飾纏枝蓮紋，上；外壁有一圈纏枝花卉紋；白地釉色泛青。口沿無釉。底部部分未上釉，露出在燒製中燒成橙色的器皿。來源：Felix Tikotin收藏，在同一家族保存至今。 品相：品相極好，有一些磨損、使用痕跡和表面淺劃痕，以及燒製不規則，包括窯砂和邊緣的一些釉池和凹槽。 重量：223.4 克 尺寸：長15.5 厘米
A MUGHAL-STYLE WHITE JADE 'CHRYSANTHEMUM' MARRIAGE BOWL, 18TH CENTURYChina. Superbly carved as a chrysanthemum flowerhead, the elegantly-rounded sides with finely-curved petals radiating from the central pistil, the foot similarly carved as petals, flanked by bat-form handles suspending loose rings, the translucent stone of a pure white tone with russet veins. Provenance: From a noted private collection of jades and snuff bottles. Condition: Very good condition with minor wear, microscopic nicks, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 203.9 g (excl. stand) Dimensions: Length 17.8 cm (across)With a finely carved and fitted zitan stand dating from the same period. (2)The present lot demonstrates the craftsmanship achieved in the jade ateliers during the height of the Qing dynasty. 'Hindustani' jades, as they were called by the Qianlong Emperor, were highly prized and therefore influenced Chinese jade carvings. Bowls decorated with auspicious symbols expressing wishes relating to marital bliss and blessing were traditional gifts bestowed at Imperial celebrations.Chrysanthemums were emblematic of longevity and fertility, because of their health-giving properties and the multitude of their petals. The word for chrysanthemum is a homophone with that for 'eternity' but also with the number nine which also evoked infinity, being the product of three times three, the most basic unit comprising Heaven, Man and Earth.From at least the Han dynasty, people drank chrysanthemum wine on the ninth day of the ninth lunar month to prolong their life. As symbols of good luck and happiness, bats have few rivals in Chinese culture, and their admiration for bats is ancient. The Chinese word for bat is 'fu,' pronounced the same as the word for good fortune.Out of over 800 compositions which the Emperor wrote on jade, more than 50 were devoted to Mughal jade, which he described as 'thin as paper'. One such example is a poem written in 1770 in praise of a Hindustan white jade bowl and may be translated as:Hindustan jade is selected from the river,Smoothed by stream water to give its exceptional finish.Fine workmanship makes a myriad of petals to form a steady foot,Double flowers are exquisitely paired.Fine jade comes from Xi Cheng* as of old,Fair and delicate it now surpasses the jade maiden.Forbidden to be used regardless of the tea,A stern prohibition edict issued long hence.*Name of an ancient location near XinjiangThis poem was also followed by a note written by the Emperor, in which he mentions that the Hindustan bowl is carved with “twelve long leaves rising to the mouth rim, flanked by a pair of handles each in the form of a flower supported on leaves. The material is glossy and smooth, worked to be thin as paper. This fine jade is so exquisitely carved that it is unable to be reproduced by craftsmen of the Middle Kingdom”.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 November 2012, lot 2357 Price: HKD 437,500 or approx. EUR 67,500 converted and adjusted for inflation at the time of writing Description: A Mughal pale celadon jade chrysanthemum dish, 18th centuryExpert remark: Note the similar size (18.9 cm).十八世紀蒙兀兒風格菊花雙耳活環白玉洗中國。玉洗精雕細琢，側邊圓潤，器壁琢成多層次菊瓣形狀，中央為花蕊，全器光素無紋。兩側蝙蝠形耳懸活環，玉料純白半透明，帶赤褐色紋理。 來源：知名玉器和鼻烟壺私人收藏。 品相：狀況極好，有輕微磨損、刻痕，帶有天然內含物和裂紋，其中一些隨著時間的推移已經發展成細小的裂紋。 重量：203.9 克 (不含底座) 尺寸：長17.8 厘米 (兩耳之間) 紫檀雕刻底座，來自同一時期。 (2) 本拍品展示了清朝鼎盛時期精湛的玉器雕刻工藝。乾隆皇帝稱其為痕都斯坦玉器，非常珍貴，很大程度上影響了中國玉雕技術。此類裝飾有吉祥紋飾的玉洗，表達與婚姻幸福的願望，是皇家慶祝活動中贈送的傳統禮物。從漢代開始，古人就喜歡在農曆九月初九喝菊花酒以延年益壽。而蝙蝠的“蝠”與“福”發音相同，是吉祥幸福的象徵。 痕都斯坦玉器通體玲瓏薄透，拿在手上又輕又巧，有輕若浮雲之感。正如乾隆皇帝稱讚的那樣：“在手疑無物，定睛知有形。”“薄於紙更輕於銖”、“撫外影瞻內”。這種追求玉器薄胎、透明的工藝是痕都斯坦玉器的一大特色。
A GOLD AND SILVER-INLAID BRONZE ARCHAISTIC STEAMER, SONG TO MING DYNASTYChina, 960-1644. Heavily cast, the upper cauldron with two upright loop handles to the rim, decorated with interlocking scroll and confronting stylized phoenixes. The sides with three animal masks flanked by confronting phoenixes divided by short flanges, above pendent stiff leaves, all reserved on leiwen grounds. The shoulders of the three legs cast with stylized large-eyed animal masks, decorated with scroll and lozenge designs. The bronze with a rich, solid, naturally grown, dark patina with scattered malachite encrustations.Provenance: From the personal collection of Dr. David McCay, and thence by descent in the same family. Dr. David McCay was an English physician and later surgeon general with the Indian Medical Service in Bengal, India. He was sent to China during the Boxer Rebellion and served as an army doctor at the Siege of Peking. While in India, he wrote a book titled Investigations on Bengal Jail Dietaries. Upon his retirement, he returned to England with his collection of Chinese bronzes, cloisonne, and porcelain. After his death, his wife gifted his favorite piece, a highly important Wanli garlic mouth vase, among other items, to the Victoria and Albert Museum, accession number CIRC.23-1950, where it remains to this day.Condition: Very good condition with expected old wear, traces of age and usage, some casting irregularities, small nicks and losses, light scratches, the undersides of the feet with tiny old fills. The gold inlays are fresh and in very good condition overall. The silver inlays have darkened over time and show expected tarnish. However, we chose not to clean the silver inlays, so to preserve the piece's impressive natural appearance.Weight: 5,200 g Dimensions: Height 31.5 cmReferring to the importance of reverence to the past in Chinese art, Ulrich Hausmann writes:“Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable, so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. Generations of painters and calligraphers [...] spent a lifetime studying these inscriptions. What could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.” (Quote from Ulrich Hausmann, Later Chinese Bronzes: In Search of Later Bronzes in Documentary Chinese Works of Art: In Scholars' Taste, Ed. Paul Moss, Sydney L. Moss, London, 1983, page 233, requoted again by Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, The Oriental Ceramic Society of Hong Kong and the Fung Ping Shan Museum, University of Hong Kong, 1986, cat. no. 161.)Expert's note: The present steamer is quite likely to date from the Song dynasty, because the earliest archaistic bronzes generally tend to be the closest in form and design to their archaic prototypes. This is clearly the case here, as shown by the two literature comparisons below, which prove that the present lot is very much in the spirit of its Shang and Western Zhou paragons. The example from the National Palace Museum, Taipei, even has gold and silver inlays just like our vessel, which is unusual for such an early piece. Another important aspect is the superb, naturally grown patina on the present lot with its distinct malachite encrustations. This is beyond doubt not a patina from the late Ming or early Qing dynasty: It not only does closely resemble that of ancient bronzes, but with its unique appearance, reminiscent of savage elementary forces rather than the genteel creations of later periods, essentially makes this bronze an archaic vessel of its own merit.Literature comparison: Compare a closely related prototype for this steamer, also with gold and silver inlays, dated to the Shang dynasty, in the National Palace Museum, Taipei, image number K1A002369N000000000PAB. A related prototype, lacking gold and silver inlays, dated to the Western Zhou dynasty, 11th-10th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.352a-b, is illustrated by Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Vol. IIB, Massachusetts, 1990, pp. 342-344, no. 33.Auction result comparison: Type: Related Auction: Bonhams London, 11 November 2010, lot 139 Price: GBP 31,200 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A large archaistic bronze tripod steamer, yan, probably Song dynastyExpert remark: Compare the closely related form with similar legs cast with animal masks. This steamer is however vastly inferior to the present lot as it lacks the gold and silver inlays and the design is overall less lively. Note the larger size (44.5 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 1 December 2022, lot 694 Price: USD 37,800 or approx. EUR 35,000 converted at the time of writing Description: An archaistic copper-inlaid bronze tripod censer (Ding), Ming dynastyExpert remark: Compare the related form with similar legs cast with animal masks. This censer is however vastly inferior to the present lot, not only because the inlays are merely copper, but also because it completely lacks the cauldron found on the present lot. Also note the significantly smaller size (16.7 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 14 May 2014, lot 252 Price: GBP 80,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the related size (30.2 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 October 2014, lot 3350 Price: HKD 2,680,000 or approx. EUR 380,000 converted and adjusted for inflation at the time of writing Description: A large gold and silver-inlaid bronze incense burner, gui, late Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the similar size (28.5 cm).宋至明代銅錯金銀三足銅甗中國，960-1644年。 來源：Dr. David McCay收藏，在同一家族保存至今。品相：狀況極好，有磨損和使用痕跡、一些鑄造不規則、小刻痕和缺損、輕微劃痕、腳底面有微小的填充物。錯金部分整體狀況非常好。錯銀部分變暗並顯示出光澤。
A FAMILLE ROSE PLAQUE OF ZHONG KUI, BY WANG QI (1884-1937), DATED 1931China. The plaque of rectangular form, painted in bright enamels and iron red to depict Zhong Kui looking in the mirror at his ugly countenance, a pottery vessel and bamboo laying on the ground, with a bat flying above.Inscriptions: Upper left, signed 'Xichang Wang Qi, painted in Zhushan', inscribed 'I am ugly in my life and have no shame in my heart, why should I be scared to look wild in the mirror', dated 'In the autumn of the Year of Xinwei' (corresponding to 1931), and inscribed 'painted in the style of Wang Shen'. Two seals, 'Xichang Wang Qi', and 'Taomi'.Provenance: From a private collection in New York, USA, acquired on 30 July 1997 by the previous owners 'Margaret and Donald' on the way to boarding the 'Yangtze Paradise' for a cruise from Wuhan to Chongqing. The inscription on the back confirms the provenance information and describes the plaque as depicting a 'Chinaman who failed his states exam because of his ugliness, so he kills himself after looking in the mirror and becomes one of the guards to fight off evil spirits'. Condition: Very good condition with minor wear. The frame with expected age cracks, few small nicks, and light scratches.Dimensions: Image size 36 x 25.5 cm, Size incl. mounting 50 x 37.4 cmIn a wooden frame with metal mount, most likely original to the artwork. (2)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.According to folklore, Zhong Kui took part in the state-wide imperial examinations held in the capital city. Though Zhong Kui attained great academic success and top honors in the state exams, his rightful title of 'Zhuangyuan' (top-scorer) was stripped from him by the emperor because of his disfigured and ugly appearance. In anger and fury, Zhong Kui committed suicide by hurling himself against the palace gates until his head was broken, whereupon Du Ping, his friend, had him laid to rest. During the divine judgment after his death from suicide, Yanluo Wang (the Chinese Underworld Judge) saw much potential in Zhong Kui, intelligent and smart enough to score top honors in the imperial examinations but condemned to the capital of hell because of the strong grievance. Yama thus gave him the title of the king of ghosts and tasked him to hunt, capture, take charge of and maintain discipline and order among all ghosts. Auction result comparison:Type: RelatedAuction: Bonhams London, 8 November 2012, lot 345Price: GBP 8,750 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: An enameled rectangular plaque, cyclically dated Xinwei year (AD 1931), signed and sealed Wang QiExpert remark: Compare the similar form, material and figural motif. Note the similar size (38.4 x 25.2 cm).Auction result comparison:Type: RelatedAuction: Bonhams Sydney, 27 May 2012, lot 45Price: AUD 15,600 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A framed enameled rectangular plaque of a monk enjoying a bucket of wine, attributed to Wang Qi (1884 - 1937), Republic periodExpert remark: Compare the similar form, material and figural motif. Note the similar size (38.3 x 25 cm).Auction result comparison:Type: RelatedAuction: Bonhams Sydney, 27 May 2012, lot 44Price: AUD 14,400 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A framed enameled rectangular plaque of Bodhidharma crossing the Yangtze River, attributed to Wang Qi (1884 - 1937), Republic periodExpert remark: Compare the similar form, material and figural motif. Note the similar size (37 x 24 cm).王琦粉彩《鍾馗》瓷板畫中國，長方瓷板，畫面裏鍾馗照鏡，臉部明暗關係清晰，筆法細膩，衣衫以玻璃白為底色，再罩以淡藍色。線條簡略流暢，準確凝練，以乾筆皺藍袍層次變化微妙，一隻紅色蝙蝠在空中飛舞。 款識：平生貌醜心無愧，何懼猙獰對鏡看，龍集辛未初秋上浣，仿黃慎之筆意。西昌匋迷散人王琦寫於珠山客次；鈴印：西昌王琦，匋迷。來源：美國紐約私人收藏，購於1997年7月30日；之前的所有者 Margaret 與 Donald搭乘武漢至重慶遊輪“長江天堂”號途中。背面的款識證實了出處資訊，並將瓷板描述為“一個中國人因醜陋而未能通過考試，因此他在照鏡子後自殺，並成為一名與惡魔搏鬥的衛士”。 品相：狀況極好，有輕微磨損。框架有預期的老化裂紋、少量小劃痕和輕微劃痕。 尺寸：畫面36 x 25.5 釐米，總 50 x 37.4 釐米 木框，很可能是原件。(2)
Victorian ebonised vanity case, the hinged rectangular cover with oval mother-of-pearl cartouche, initalled 'EL' in cursive script, within pewter stringing, enclosing a wine plush-lined interior fitted with mirror and folder (enclosing correspondence including 1880s chemist's prescriptions), behind ruched panel, over compartmentalised plated glass dressing table requisites, 30.5cm x 23cm x 17cm high
Paul Garnier, inspected by Vulliamy - Second quarter 19th Century French brass repeater carriage clock, circa 1835, the silvered engine-turned dial with 3-inch Roman chapter ring framing a lobed segmented centre, the repeating twin bell-striking two-train movement with replaced lever platform escapement, signed and numbered on the backplate Paul Garnier, Paris, 270, further engraved beneath 'New Platform Escapement and Pendulum Spring work complete and new motion made by B. L. Vulliamy LONDON AD. 1853', the 'Series One' type case with removable bevelled glazed front and top panels, 17cm high (handle up), together with the original wine hide travelling caseFor similar examples, see: Sothebys London, 28th May 2009, lot 58 Christies London, 20th February 2008, lot 67Comparative literature: Allix, Charles & Bonnert, Peter, 'Carriage Clocks, Their History and Development', 1974, pp.56-58, pls.II / 19-22 Roberts, Derek, 'Carriage and Other Travelling Clocks', 1993, pp.42-60Wotruba, Tom and Adams, Doug, 'Paul Garnier, a Clever and Creative Carriage Clock Maker', NAWCC Bulletin, December 2007, pp.669-676.
Late Victorian silver vanity case, in the form of a black Morocco Gladstone bag, enclosing a wine silk-lined interior with removable racks, including five silver-lidded glass dressing table jars, London 1889-90, sponsor's mark of Moritz Wolfsky, plus extensive and mostly unused accessories including waxing set, wine Morocco-cased inkwell and match case (both gilt stamped), sewing and card cases, enclosed mirror and notebook, mother-of-pearl handled manicure set, plus three ivory-backed brushes, glove stretchers and letter opener (see permit footnote), steel shoe horn and boot pull, the case 37cm x 27cm x 25cm high (ex. handle), sold with (damaged) outer dust coverSold with AHPA ivory permit 5QGHGGDU
An extensive Baccarat green tinted cut glass wine service, Nonancourt pattern, circa 1950s, each with a gilt engraved monogram DC, hobnail and pinecone decoration, including red wine, champagne and sherry glasses, finger bowls and stands, decanters, crescent side plates etc. approx 20 of each glass with 30+ bowls and stands
Gordon Russell for Stevens and Williams, a Lygon style wine glass, circa 1920, the optic conical bowl on wrythen twist stem and conical foot, acid mark Brierley, 13.5cm high Note: Gordon Russell designed a series of drinking glasses based on traditional 18th and 19th century designs, for the Stourbridge glass factory Stevens and Williams (known as Royal Brierley), retailed through his Broadway showrooms under the Lygon range (named after the Lygon Arms hotel)
Harry Powell for James Powell and Sons, Whitefriars, a set of six Arts and Crafts green glass wine glasses, circa 1880, the optic spiral ribbed ogee bowls on plain stems and conical, radial fluted feet, 13cm high (6) Note: examples from this service are illustrated in Jackson, L. 1997, Whitefriars Glass, p.103, pl.26
* Glass. A collection of 18th-century and later drinking glasses including an 18th-century wine glass with etched funnel bowl on conical foot, 12 cm high, a pair of Georgian ale glasses with barley and hops engraving, 13.5 cm high, a George III period facet cut toast glass, 11cm high, a facet cut wine glass with bladed knob stem and conical foot, 11.5cm high, absinth glass, 9.5cm high, plus 25 other pieces of glassware various sizes, largest 18cm high smallest 7cm high QTY: (31)
* Oinochoe. A Greek wine jug from the Apulian region of Southern Italy, circa 400-300 B.C., the terracotta jug with long scroll handle and decorated with a lady of fashion and overpainted with white enamel decoration on a spread foot, several chips to the foot and general wear commensurate with age, 28.5 cm high, with certificate of authenticityQTY: (1)NOTE:Provenance: Vanessa Purcell & Co Antiquities, London, 1994.
* Trading Tokens. A mixed collection of trading tokens including 46 spade guinea tokens, J. Sainsbury West Croydon Station, Fattorini & Sons, French Louis XIV tokens and German coins, presented on a red tray, plus a soft ring folder containing 64 mixed coins and tokens including George III 1797 Cartwheel Twopence, very fine, Cartwheel Penny, fine, George II copper coins, various copper trading tokens including Somerset, Hawkins Bird, Wine Street No 2 Bristol One Halfpenny 1793, Essex, Colchester Sucess to the Bay Trade, 1794, Weybridge Mills 1812, Tavistock Devon Mines 1811 (2) and others, mostly West Country QTY: (110)
* Children's clothes. A Regency boy's linen skeleton suit, late 18th/early 19th century, hand-stitched cream linen skeleton suit, comprising a long-sleeved shirt with stand-up collar of fine white linen, front with 2 tucks either side of opening, latter with 3 (of 4) metal button closures stamped '1' within a wreath and lettered 'United States of America' around edge, back of shirt with 6 tucks, lower edge of shirt with 8 further buttons, matching, for attaching the trousers, latter with front pockets, and cuffed at ankles, with button closure (buttons replaced), several very small holes (largest 5 x 5 mm), waist with a few rust marks (from buttons), chest 74 cm (28 ins), sleeves 25 cm (9.75 ins), waist 30 cm (11.75 ins), length of trousers 56.5 cm (22.25 ins), overall length 84 cm (33 ins), together with:A Victorian boy's velvet dress, hand and machine-stitched all-in-one ensemble comprising conjoined waistcoat, jacket, and skirt: maroon grosgrain taffeta waistcoat with collar, and front closure with a metal hook and stitched loop and 7 mother of pearl buttons (1 or more replaced?); waistcoat sewn into a wine-coloured velvet jacket edged with maroon taffeta and lined with cotton twill, with flap pockets, long sleeves, embellished with scalloped cuffs and mother of pearl buttons, and 11 long laps at rear, closure below collar with button missing; matching velvet skirt with wide taffeta trim, attached to waistcoat with stitching at waist, front closure with 4 buttons as before, 7 metal hooks and corresponding loops on inside, overall some small light marks, and 1 or 2 tiny holes, chest 66 cm (26 ins), sleeves 39.5 cm (15.5 ins), waist 64 cm (25 ins), overall length 68 cm (26.75 ins), plus 3 19th century christening gowns, generally in good conditionQTY: (5)NOTE:Provenance: Second item from a collection which came from the family of Thomas Crewe Dod (1754-1827) of Edge Hall, Malpas, Cheshire.First item: a rare survival of a boy's outfit made during a period of great transformation in the history of children's clothing. Prior to the 1780s boys had been attired in tailcoats and breeches in imitation of those worn by men. The last two decades of the 18th century saw the introduction of the infinitely more practical and comfortable skeleton suit, typically composed of a jacket or shirt and long trousers which buttoned together as here. This suit of cool linen is finer and less structured than the formal suits generally seen in family portraits, and was likely made for hot summer days, with the comfort of the child in mind, though perhaps not intended for boisterous play. Children's, and particularly boys', clothing is incredibly scarce, and the survival of a cream lightweight skeleton suit in such good condition is highly unusual.
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