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Lot 37
A group of 19th century drinking glasses comprising: a rummer with cup-shaped bowl, with thumb-cut band on a cylindrical stem and circular foot: a similar rummer (chip to rim) with thumb-cut band on a waisted faceted stem; a rummer with flared bucket bowl and panel-cut band, on a knopped stem; a large flute, the rim with an etched and foliate-cut band, on a faceted tapering stem; and a pair of wine glasses, each with cup bowl and thumb-cut band on a waisted faceted stem. (6). First 17cm
Lot 2500
LONDON großer Weinkühler, 925 Silber, 1911. HOLLAND ALDWINCKLE&SLATER, große Schale auf eingezogenem Rundstand, mit Weinrebendekor, ein Paar Volutenhenkel mit Rocaillen- und Traubendekor, Innenvergoldung, H. ca. 32cm, D. ca. 34,5. Gedellt, Vergoldung berieben, Alters- und Gebrauchsspuren. LONDON large wine cooler, 925 silver, 1911. HOLLAND ALDWINCKLE&SLATER, large bowl on an indented circular stand, with vine decoration, a pair of volute handles with rocaille and grape decoration, gilt interior, h. approx. 32cm, d. approx. 34.5. Dented, gilding rubbed, signs of age and use. Gewicht 4763g Legierung 925/000
Lot 253
Two Edwardian mahogany occasional tables, comprising a circular form coffee table with ball and claw feet, 62 by 51cm high, and a wine table with turned support and tripod base, 40 by 56.5cm high, together with a twin brass handled Victorian tray, with marquetry inlaid shell to its top, 56 by 35.5 by 5cm high. (3)
Lot 43
A group of seven glass decanters, comprising a simple, heavy rectangular whisky decanter, 12 by 7.5 by 25cm high, a pair of wine decanters with etched foliate decoration, possibly French, 28cm high, two similarly cut decanters, 27cm high, and a small fluted glass decagonal quarter size decanter, 16cm high, all with stoppers. (7)
Lot 53
A collection of clear glass drinking glasses, mostly Victorian and later, including trumpet shaped and flute shaped bowls, wine and ale glasses, three with air twist stems, the largest with flower and swag engraved rim, and cut pontil, 9 by 17.5cm high, others with engraved and cut decoration to the bowls, some with cut pontils, smallest 10cm high. (19)
Lot 122
Paul Storr, a George III silver gilt wine cooler and cover, Rundell Bridge and Rundell, London 1809, twin handled Campana urn form, cast and embossed with a central group of horses in low relief, between beaded guilloche and egg and dart borders, the handles fluted and modelled as bearded masks, the beaded and petal moulded socle above a splayed foot with berry and ribbon laurel wreath to the border, the reverse with cast roundel and inscription for Newcastle Upon Tyne Stewards 1817, the shallow ogee lid with central rosette chased with honeysuckle and lapped ring, the finial in the form of a wrythen fluted flower seed with everted petals, 38cm high, 119.6ozt
Lot 578
A Delft probably French Nevers blue and white manganese cistern or wine cooler, of oval bombe form, painted on one side with Oriental figures, one holding a parasol in a Chinoiserie scene, the other side with three horseman and a horse in a riverside landscape, within a border of scrolls and foliage, applied rope twist handles and lions paw feet, circa late 18th or early 19th century, 49cm long
Lot 324
A GUAN-TYPE GLAZED WATERPOT, TAIBAI ZUN, LATER QING TO REPUBLICChina, c. 1850-1949. Of classic form with rounded sides rising to a short and slightly flaring neck, covered overall in a pale gray ‘orange skin’ glaze with delicate crackles, the foot rim unglazed revealing the dark body. The recessed base with an apocryphal blue enameled six-character seal mark da Qing Qianlong nianzhi.Provenance: Millon, Drouot, Paris, 23 March 2007. French private collection, acquired from the above. A copy of the original invoice accompanies this lot.Condition: Excellent condition with minor wear and firing irregularities, the color of the russet crackles faded in some areas.Weight: 429.3 gDimensions: Height 9 cm, Base diameter 11.6 cmWaterpots of this form are known as Taibai zun, after the Tang dynasty poet Li Bai (also named Li Taibai, 701-762) who is often depicted leaning against a large wine vat of this shape. They are also known as jichao zun because their shape resembles that of a basketwork chicken coop that is woven with a small opening at the top through which the chicks are fed. Beehive waterpots of this shape are well-known with peachbloom glazes, but those covered in other monochrome glazes were produced in smaller numbers.清末民初仿官窯太白尊中國, 約1850-1949年。太白尊小口微撇，圓唇，短頸，半球狀腹。灰白色橘皮釉開片，圈足未上釉露出深色胎。底足青花六字“大清乾隆年制”款。來源：巴黎Millon, Drouot, 2007年3月 23日。法國私人收藏，購於上述拍賣行，隨附原始發票副本。 品相：狀況極佳，有輕微磨損和燒製不規則現象，赤褐色裂紋在某些區域褪色。 重量： 429.3 克 尺寸：高 9 厘米, 底足 直徑11.6 厘米
Lot 436
A GILT BRONZE WINE VESSEL, BIANHU, HAN DYNASTYChina, 206 BC to AD 220. The flattened oval body raised on a spreading rectangular foot and incised on each broad side with four deer-like mythical beasts around a central cross-shaped ruyi symbol, the narrow sides incised with geometric designs interrupted by a pair of taotie mask and loose ring handles, the waisted neck incised with a band of stiff leaves.Provenance: Austrian private collection. Galerie Zacke, 3 June 2004. Dr. Mons Fischer, acquired from the above. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria. A copy of the original receipt from Galerie Zacke and an expertise written and signed by Mag. Ludwig Widauer, ruling out recent manufacture of this piece, accompany this lot.Condition: Good condition, commensurate with age, extensive wear, soiling, malachite-green encrustations, scratches, minuscule nicks here and there.Weight: 487.2 gDimensions: Height 13.2 cm, Width 14.2 cmThe bianhu was an innovation of the Eastern Zhou, introduced around 400 BC, with production continuing into the Han dynasty.Literature comparison: A related but larger gilt bianhu is illustrated by C. Deydier, The Art of the Warring States and Han Periods, London, 1991, pp. 86-7, no. 25, while a smaller version, no. 19, has a similar incised decoration. Another bianhu of similar shape, without cover, and with a plain body that may be gilt, is illustrated in Chugoku Sengoku jidai no bijutsu (The Art of the Warring States Period), Osaka Municipal Museum of Fine Art, 1991, p. 55, no. 49.Auction result comparison: Compare with a related but larger gilt bronze bianhu at Christie’s New York in Fine Chinese Ceramics, Jades and Works of Art on 19 September 2007, lot 214, sold for USD 37,000.漢代鎏金扁壺中國, 公元前206 至公元 220年。扁圓形，直筒頸，口外撇。肩部有對稱的銜環，底為長方形足。扁壺每面各有鹿般神獸圖案，中心如意交錯紋。頸部仿古葉狀蟬紋。 來源：奧地利私人收藏。維也納 Zacke藝廊, 2004年6月3日。 Mons Fischer博士購於上述藝廊。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。隨附Zacke 藝廊發票副本以及Ludwig Wildauer 先生寫的相關説明。 圖片：Dr. Mons Fischer 和他的妻子 品相：狀況良好，與年齡相稱，廣泛磨損，污跡，銅綠結殼，划痕，到處都是微小的缺口。 重量： 487.2 克 尺寸：高13.2 厘米, 寬 14.2 厘米 拍賣結果比較：一件相近但更大且鎏金扁壺見紐約佳士得Fine Chinese Ceramics, Jades and Works of Art 拍場2007年9月19日 lot 214, 售價USD 37,000.
Lot 543
A LACQUERED BAMBOO RETICULATED BRUSH POT, BITONG, MID-QINGChina, 18th century. Masterfully carved around the exterior in varying levels of relief depicting a scene from the Lanting Xu, 'Orchid Pavilion Preface', enclosing a multitude of scholars engaged in leisurely pursuits along a stream within a mountainous landscape with pavilions amid craggy rockwork and dense clusters of pine trees.Provenance: French private collection. Condition: Good condition with old wear, natural age cracks, chips, losses, old fillings. The fine patina grown to a warm honey-golden color.Weight: 849.5 gDimensions: Height 18 cmThe present lot took its inspiration from the very well-known preface Lanting Xu (Preface to the Orchid Pavilion) composed by the most celebrated Chinese calligrapher, Wang Xizhi (c. 303-361), regarded as 'the Sage of Calligraphy'. The scene illustrated on the brush pot took place in the ninth year of the Yonghe reign, of the Eastern Jin dynasty, when forty-two scholars were invited to the Orchid Pavilion (Lanting), near Shanyin, Zhejiang province, for the Spring Purification Festival. Scholars were required to take part in a poetry competition and a drinking contest with wine cups flowing down a winding creek. Those who failed to come up with a poem would have to drink in forfeit.Lanting Xu was one of the most celebrated works of literature and had a profound influence on later generations. Literati thereafter copied this canonical preface onto stone and ink-rubbings, table screens, ink cakes, and many other scholarly objects, see for example a 'Lanting Gathering' ink-rubbing compilation dated to the late Ming dynasty (1592), illustrated by G. Tsang and H. Moss, Art from the Scholar's Studio, Hong Kong, 2011, pp.66-69, pl.28. This highly favored subject matter was also used as a decoration on Imperial works of art made of various materials including jade, porcelain, lacquer and bamboo. The impact continued into the Qing dynasty where the Qianlong emperor, who was known for his admiration for Wang Xizhi's talent, also commissioned to build a Floating Cup Pavilion, Liubei Ting, in the Pavilion of the Purification Ceremony, Xishang Ting in the Forbidden City. See N. Berliner, The Emperor's Private Paradise: Treasures from the Forbidden City, New Haven and London, 2010, pp. 96-97.The present brush pot exemplifies the lively craftsmanship during the early to mid-Qing dynasty, demonstrating a high level of vibrant and crisp carving skills with a naturalistic rendering of pine trees, rockwork and flowing water.Auction result comparison: Compare with a related bamboo brush pot depicting the same subject, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 2 June 2016, lot 25, sold for HKD 237,500.清代中期竹雕筆筒 中國，十八世紀。雕刻生動形象，浮雕上描繪蘭亭集會場景，許多學者沿著崎山路散步，清談，山中可見岩石和松樹包圍的亭子，山間小溪。 來源：法國私人收藏 品相：狀況良好，有舊磨損，自然老化裂紋，磕損，舊填料。 溫暖的蜜金色包漿。 重量：849.5 克 尺寸：高18 厘米 拍賣結果比較：比較一個主題相似的竹製筆筒，於2016年6月2日在香港邦瀚斯Fine Chinese Ceramics and Works of Art拍場，拍號25，成交價HKD 237,500。
Lot 666
‘ZHONG KUI’, BY AN ANONYMOUS ARTIST, DATED 1924Ink and watercolors on paper. Depicting Zhong Kui blissfully asleep, resting on a large jar spilling its likely intoxicating contents on the ground, a ritual wine vessel (jue) beside him as well.Inscriptions: Inscribed “As the demons are fleeing from him, the Imperial scholar is happy and cheerful.” Dated “Autumn of Jiazi”, corresponding to 1924. Two seals. Signature of an unknown artist.Provenance: French private collection. Condition: Good condition with minor wear, areas of browning to the background, foxing, soiling, laid down on cardboard and matted.Dimensions: Image size 41 x 50.5 cmAuction result comparison: Compare with a painting by Fan Zeng at Sotheby’s Hong Kong, with the same subject, in Fine Chinese Paintings on 2 October 2018, lot 1378, sold for HKD 325,000.《鍾馗醉後造像》，甲子年，或爲 1924 紙本設色。鍾馗醉酒圖，筆法生動，畫意十分精彩。身側還放著一個爵。題字：魍魎遠遁逃/進士樂陶陶/甲子年金秋時節以潑墨/供為鍾馗醉後造像/嶺南廣藝作並拜。應爲1924。兩枚鈴印。 來源：法國私人收藏 品相：狀況良好，略有磨損，紙的顔色變深，起皺，污跡，裝裱在硬紙板，無光澤。 尺寸：畫面41 x 50.5 厘米 拍賣結果比較：一幅主題相同但來自范曾的作品，售于香港蘇富比 Fine Chinese Paintings 拍場2018年10月2 日, lot 1378, 售價：HKD 325,000.
Lot 685
A LIFE-SIZED TERRACOTTA HEAD OF VAJRAPANI IN THE FORM OF HERACLESAncient region of Gandhara, 4th-5th century. Powerfully modeled with a stern expression, framed by dense facial hair arranged into long voluminous curls, wavy hair, a billowing moustache and full beard. The furrowed brow, indication of age, and piercing gaze reflect an ancient yet astonishingly present taste for naturalism.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Serie de vingt deux têtes en terre-cuite. GANDHARA” (series of twenty-two terracotta heads. GANDHARA). A copy of the inventory list and cover page are accompanying this lot.Condition: Excellent, almost unique condition, fully consistent with the age of the sculpture, some firing flaws and material loss to exposed areas, hardly noticeable due to a light-colored varnish coating which was applied a long time ago.Scientific Analysis Report: A Thermoluminescence sample analysis has been conducted by Oxford Authentication, TL test no. N116n15, dated 18 October 2016, and is consistent with the suggested period of manufacture, a copy of the thermoluminescence analysis report accompanies this lot (the original is lost).Weight: 8.3 kg (total)Dimensions: Height 29.5 cm (the head) and 42.5 cm (incl. base)This large terracotta head is an extremely rare legacy of the ancient kingdom of Gandhara, encapsulating the rich cultural interplay and hybrid art styles derived from Hellenistic and Indian influences. It depicts the bodhisattva Vajrapani, the protector of Buddhism, represented with the iconography of the Greek god Hercules, who was widely venerated as a hero and savior in western Asia during the early centuries of the present era. As a great champion, yet one who nevertheless understood the human condition, Hercules was easily assimilated into Mahayana Buddhism. Like other Gandharan bodhisattvas, he is depicted as an earthly prince with his aristocratic bearing and posture. However, his heavily moustached face belongs to the Indian world, while the naturalistic face is reminiscent of Greco-Roman sculpture.The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st to the 5th century. In the first century AD, Gandhara was the birthplace of some of the earliest Buddhist images.The use of hard-fired ceramic instead of stone such as schist was popular during the later Gandharan period from the 4th to the 6th centuries. Fired clay was expensive in the area, because the wood needed for the firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta statues from this period and of this size have ever been recorded.Mounted on an associated base. (2)Literature Comparison: Compare with a terracotta head of Dionysos (The God of Wine and Divine Intoxication), 4th–5th century, strongly resembling the present lot, in the collection of the Metropolitan Museum of Art, New York (accession no. 1979.507.2).Auction result comparison: Compare with a closely related terracotta statue of Vajrapani in the form of Hercules at Sotheby’s Hong Kong in Curiosity V, 02 April 2019, lot 3105, bought in at an estimate of HKD 1,500,000-1,800,000. Also compare with a closely related head of Vajrapani in the form of Heracles, sold in these rooms on 25 April 2020, lot 427, for EUR 45,500.陶土執金剛神頭像呈赫拉克勒斯形象健陀羅，四至五世紀。表情嚴肅，濃密的鬍鬚，長捲髮。 眉頭緊皺，年齡的顯示和尖利的目光反映出古老而又令人驚訝的自然主義品味。來源：Arthur Huc (1854-1932)收藏。Marcel Huc繼承，自此保存在同一家族至今。Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。 同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。 此拍品也在當時列出的收藏清單中“ Serie de vingt deuxtêtesen terre-cuite。 GANDHARA”（二十二個陶土頭像系列，健陀羅）。隨附清單和封面副本。圖片：Arthur Huc (1854-1932)品相：狀況極佳，非常獨特，與雕塑的年齡相符，存在一些燒製瑕疵，裸露區域材料缺失，多年前的淺色清漆塗層已經幾乎看不出。科學檢測報告：隨附一份牛津熱釋光檢測鑒定報告（原件遺失）。監測報告 no. N116n15，2016年10月18日，與目前斷代一致。重量：縂8.3 公斤尺寸：頭高29.5 厘米，總 42.5厘米底座。拍賣結果比較：一件相近頭像見香港蘇富比Curiosity V拍場2019年4月2日lot 3105, 估價HKD 1,500,000-1,800,000. ；另一件十分相似的頭像在此拍賣行2020年4月25日lot 427, 售價 EUR 45,500.
Lot 695
A LIFE-SIZED HEAVY GRAY SCHIST HEAD OF HERACLES, GANDHARA, 4TH-5TH CENTURYPowerfully modeled with a stern expression, framed by dense facial hair arranged into long voluminous curls, with a billowing moustache and beard, and wavy hair surmounted by the coat of the Nemean lion as indicated by the finely incised eyes and nostrils at the top of the head.Provenance: Indian private collection, by repute acquired in India around 1960, and thence by descent in the same family. Belgian private collection, acquired from the above. A private invoice written by the previous owner, dated 29 February 2020, and confirming the provenance information stated above, accompanies this lot.Condition: Good condition, commensurate with age, extensive wear, losses, nicks, scratches, soiling from excavation.Weight: 30.3 kg (total)Dimensions: Height 33 cm (excl. base)Mounted on an associated metal base. (2)The Nemean lion was a vicious monster in Greek mythology that lived at Nemea. It was eventually killed by Heracles. It could not be killed with mortals’ weapons because its golden fur was impervious to attack and its claws were sharper than mortals’ swords and could cut through any armor. Heracles wore the Nemean lion's coat after killing it, as it was impervious to the elements and all but the most powerful weapons.Literature comparison: Compare with a Gandharan terracotta head of Dionysus (The God of Wine and Divine Intoxication) from the same period in the collection of the Metropolitan Museum of Art, New York (accession no. 1979.507.2).四至五世紀健陀羅灰片岩赫拉克勒斯頭像 造型嚴謹，鬚髮濃密，高鼻深目，波浪狀的頭髮，如眼睛與鼻孔以及頭頂顯示，似乎被涅墨亞獅子的外衣所覆蓋。 來源：印度私人收藏，據説大約在1960年購於印度，之後保存在同一家族至今。比利時私人收藏，購於上述收藏。隨附一份于2020年2月29日出具的前藏家的私人發票，確認上述出處信息。 品相：狀況良好，與年代相符，廣泛磨損，損失，缺口，划痕，出土時的污染。 重量：縂30.3 公斤 尺寸：高33 厘米 (不含底座) 金屬底座。 文獻比較：一件健陀羅酒神狄俄倪索斯頭部陶像，來自同一年代，見紐約大都會博物館 (編號 1979.507.2)。
Lot 78
A PAIR OF SPINACH-GREEN JADE CUPS, QING DYNASTYChina, 18th century. Each with deep sides rising from a thick ring foot. The translucent stone of an attractive and intense green tone with scattered black speckles. Fine manual surface polish with an unctuous, silky matt finish. (2)Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (a letter of provenance, signed by Dr. István Zelnik, will be handed to the winning bidder). The István Zelnik Southeast Asian Gold Museum, acquired from the above. An institutional art collection in Belgium, acquired from the above. Bao Dai was the 13th and final Emperor of the Nguyen dynasty, the last Imperial dynasty of Vietnam. From 1926 to 1945, he was Emperor of Annam. After his abdication in 1945, he remained an important advisor to the new government under Ho Chi Minh but left for France in 1946, until he was persuaded by the French to return as head of state in 1949. He moved back to France in 1954 after the peace deal between the French and the Viet Minh, appointing Ngo Dinh Diem as his prime minister. After being removed from power by Diem in a referendum in 1955, he spent the remainder of his life in exile in France.Condition: Excellent condition with minor wear, the stone with natural flaws and microscopic fissures, some of which may have developed into small hairline cracks over time.Weight: 262.1 g (total)Dimensions: Height 7 cm (each), Diameter 8.2 cm (each)Auction result comparison: Compare with a related pair of wine cups, with incised four-character Qianlong marks and of the period, at Christie’s London in Fine Chinese Ceramics and Works of Art on 8 November 2011, lot 78, sold for GBP 15,000.清代一對碧玉杯中國，十八世紀。玉杯圈足，半透明，碧色濃鬱，散佈著黑色斑點。 表面光滑溫潤。來源：原越南阮朝最後一位皇帝阮福永瑞收藏 (根據來源信件，由 Dr. István Zelnik簽名，將會交給獲得此藏品的藏家) 。The István Zelnik Southeast Asian Gold Museum, 購於上述收藏。一個比利時藝術收藏機構購於上述美術館。阮福永瑞，即保大帝，是越南最後的皇朝阮朝第十三位也是最後一位皇帝。從1926年到1945年，他是安南皇帝。 自1945年退位後，他一直是胡志明領導下的新政府的重要顧問，但於1946年前往法國，直到法國說服他在1949年返回越南成爲臨時國家元首。1954年，他移居法國。1955年，在首相吳廷琰私下操縱的公民投票中，越南的君主制被廢除，保大帝隨後流亡法國直至逝世。圖片：保大帝 (1913-1997) 品相：狀況極佳，磨損很小，石頭具有自然缺陷和微觀裂縫，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：縂262.1 克 尺寸：各高7 厘米, 直徑分別8.2 厘米 拍賣結果比較：一對相近的酒杯，乾隆四字款見倫敦佳士得Fine Chinese Ceramics and Works of Art 拍場2011年11月8日lot 78, 售價GBP 15,000。
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166044 item(s)/page