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A PALE CELADON JADE PETAL-LOBED ARCHAISTIC 'CHILONG' VASE, QIANLONG PERIODChina, 1736-1795. Superbly carved, the thinly walled flared neck and spreading foot as overlapping petals while three chilong in high relief encircle the convex mid-section, one with a lingzhi sprig in its mouth and another a young cub lacking the horn. Note the ruyi-shaped ears of the two larger beasts. The translucent stone finely polished to a subtle luster and of a pale celadon tone with faint russet and icy veins as well as cloudy inclusions.Provenance: Spink & Son Ltd., London, United Kingdom, 23 September 1966. Gordon W. Quance LLM, acquired from the above and thence by descent. A copy of the original invoice from Spink & Son Ltd., addressed to G. W. Quance, dated 23 September 1966, confirming the dating above, and with a stamped, handwritten, and signed note stating that payment was received on 22 September 1966, accompanies this lot. Gordon William Quance (1931-2017) was an English lawyer who lived in Birmingham and built a fine collection of Chinese art during the 1960s, often purchasing from Spink & Son and other renowned houses in London.Condition: Excellent condition with minor wear, few tiny nibbles to edges, the stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time.Weight: 304.6 g (the vase) and 103.9 g (the stand)Dimensions: Height 16 cm (excl. stand) and 18 cm (incl. stand)With a finely carved and fitted wood stand. The stand additionally filled with a weight of some kind. (2)Deceptively simple in its refined form and design, the present vase displays the technical prowess and artistic imagination of jade carvers during the Qianlong period. The shape and motifs draw inspiration from archaic bronze wine vessels, gu, made in the Shang and Western Zhou dynasties; the robust shape of the bronze prototype was transformed into a graceful barbed silhouette that resembles a magnolia blossom. Deftly carved with motifs of the hallmark of the Shang and Zhou styles, the result is a vase that appears modern yet steeped in classical symbolism, skillfully adapted to suit the refined taste of the Qianlong Emperor. This magnificent vase represents one of the most graceful and successful reinterpretations of the bronze gu shape and displays the strictly antiquarian nature that characterizes jade carvings of this period.An erudite scholar and passionate collector of antiques, the Qianlong Emperor's love for the past was grounded in his admiration for Chinese history and influenced by Confucian philosophy, which emphasized the study of history in the pursuit of virtue. The Qianlong Emperor actively influenced jade production, criticizing the 'vulgar' style popular in the 18th century as excessively ornate, and urging craftsmen to study antique vessels and adapt them to the jade medium. The Xiqing gujian (Catalogue of Xiqing antiquities), which was compiled by court artists between 1749 and 1755 and comprised line drawings of some 1500 objects in the imperial collection, was circulated among craftsmen who were encouraged to take inspiration from it.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 23 June 2008, lot 8119 Price: USD 27,000 or approx. EUR 35,500 converted and adjusted for inflation at the time of writing Description: A yellow jade gu-form vase, 18th/19th centuryExpert remark: Compare the closely related form and manner of carving with similar overlapping petals and clambering chilong. Note the yellow color of the jade and the similar size (18 cm). Note also that this lot was sold almost 15 years ago and would probably achieve a higher result today.Auction result comparison: Type: Related Auction: Christie's New York, 26 March 2010, lot 1106 Price: USD 35,000 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A pale greyish-green jade archaistic fluted gu-form vase, 18th/19th centuryExpert remark: Compare the related, though less pale color of the jade, as well as the related petal-lobed form. Note the taotie-ring handles and the size (19.7 cm).Auction result comparison: Type: Closely related Auction: Christie's London, 8 November 2011, lot 231 Price: GBP 30,000 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A celadon jade 'chilong' flaring vase, 18th/19th centuryExpert remark: Compare the closely related form with overlapping petals and clambering chilong, though not restricted to the mid-section, as well as the related if less pale celadon color with similar natural fissures. Note the larger size (24 cm).Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 October 2019, lot 121 Price: HKD 12,175,000 or approx. EUR 1,579,000 converted and adjusted for inflation at the time of writing Description: A superbly carved and rare white jade barbed vase, gu, Qing dynasty, Qianlong period Expert remark: Compare the related form with similar overlapping petals. Note the white color of the jade and the size (20.8 cm).乾隆螭龍青玉葵口方觚中國，1736-1795年。 來源：英國倫敦Spink & Son 藝廊，1966年9月23日；Gordon W. Quance LLM 購於上述藝廊，保存至今。隨附藝廊當日出具給Quance的發票的副本。Gordon William Quance (1931-2017年) 曾是一位英國律師，生活在伯明翰，在 1960 年代建立了中國藝術品收藏，經常從 Spink & Son 和倫敦其他著名的藝廊購買藏品。 品相：品相極佳，輕微磨損，邊緣輕微磕損，玉料有天然內沁和裂縫，隨著時間的推移，其中一些可能會發展成細小的裂縫。 重量：瓶304.6 克，底座103.9 克 尺寸：高16 厘米(不含底座) ，18 厘米(含底座) 雕刻精美的木底座。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A CELADON AND RUSSET JADE 'QILIN AND CRANES' GROUP, 18TH CENTURYChina. Carved as a recumbent qilin, the legs tucked underneath, its head turned backwards facing the trifurcated tail, the face finely incised with bulging eyes, horns and whiskers, a wisp of vapor emerging from the open mouth, and a small crane nestled to each side. The translucent stone of a celadon tone with russet patch and veining.Provenance: Property from the collection of Drs. Edmund and Julie Lewis. Drs. Edmund Jean and Julia Breyer Lewis are renowned experts in nephrology who met professionally and later married in 1997, and have since continued to collect Japanese art together, actively seeking the best they could find from the finest dealers in the field. Known for their keen scholarship and high aesthetic standards, for the past three decades Ed and Julie have focused on collecting lacquer art, painting, and Buddhist sculpture from Japan. As they traveled widely their desire to collect Buddhist art grew, and they have expanded their collection to include important Pan-religious sculpture from Greater Asia. Condition: Very good condition with minor wear and few minuscule nicks here and there, the zitan base with few tiny losses.Weight: 563.8 g Dimensions: Length 12.5 cm (excl. base), 14.5 cm (incl. base)With a matching openwork zitan base from the same period, carved overall in the form of gnarled branches and rockwork with lingzhi. (2)Expert's note: The lapidary who created the present piece has cleverly utilized the jade pebble to fashion a highly auspicious piece. While jade carvings of cranes or qilin alone are found frequently, group depictions of this subject, such as the present lot, are highly unusual and extremely rare. The superbly carved matching zitan base adds even further to the already impressive appearance of the jade. Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 10 May 2017, lot 286Price: GBP 25,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writingDescription: A white jade 'phoenix and qilin' carving, Qing dynasty, 18th centuryExpert remark: Note the near-identical size (12 cm)十八世紀青玉留皮麒麟仙鶴擺件中國。圓雕臥麒麟，雙腿收於身下，威風凜凜的龍頭、一柱擎天的鹿角、有力強勁的馬蹄、搖擺自如的牛尾，兩邊依偎著一隻小鶴。青色半透明玉料，帶有赤褐色斑紋。 來源：Drs. Edmund 與Julie Lewis收藏。Drs. Edmund Jean 與 Julia Breyer Lewis是著名的腎臟學專家，他們在專業上相識，後來於 1997 年結婚，此後一起收藏日本藝術品，積極從該領域最優秀的經銷商那裡尋找最好的藝術品。Ed 和 Julie 以其敏銳的學識和高度審美標準而聞名。在過去的三十年裡，Ed 和 Julie 一直專注於從日本收集漆器、繪畫和佛教藝術造像。隨著他們旅行見聞的擴展，他們收集佛教藝術的願望越來越強烈，因此收藏範圍擴大到包括來自大亞洲的重要泛神論造像。 品相：品相極好，輕微磨損，很多微小的刻痕，紫檀底座輕微缺損。 重量：563.8 克 尺寸：長 12.5 厘米 (不含底座), 14.5 厘米 (含底座) 搭配同期的鏤空紫檀底座，圓雕石畔靈芝形式。 專家注釋：製作此擺件的玉匠巧妙地利用玉料雕刻出一件意義祥瑞作品。鶴或麒麟的玉雕雖多見，但像本拍品這樣的組合卻極極為罕見。精雕細琢的紫檀底座更增添了玉石已經令人印象深刻的外觀。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2017年5月10日，lot 286 價格：GBP 25,000（相當於今日EUR 32,325） 描述：十八世紀清代白玉鳳凰麒麟擺件 專家評論：請注意幾乎相同的尺寸 (12 厘米)。

A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).

A RARE MUGHAL WHITE JADE CARVED 'GOOSE HEAD' FLASKNorthern India, 18th century. Of mango-form terminating in a goose head with garnet-inlaid eyes, its neck arching toward the vessel. The ribbed body within neatly carved foliate borders, the matching ruby-inlaid lotus bud-form stopper is screwed into the neck. The goose neck and shoulder of the flask with bands of inlaid garnets. The translucent stone is of a fine white tone with areas of pale russet and cloudy inclusions.Provenance: Collection Française particulière. Condition: Very good condition with minor wear, minuscule nibbling to the mouth and screw. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 200.9 g Dimensions: Height 12.3 cmLiterature comparison: Compare a related jade wine cup, once owned by Shah Jahan, dated 1657, terminating in a ram's head in a similar manner to the goose head on the present lot, in the collection of the Victoria & Albert Museum, accession number IS.12-1962. Compare a related Chinese imperial Mughal-style white jade cup, similarly terminating in a goose head, at Christie's London, 11 November 2003, lot 68.

A WHITE JADE 'KUILONG' SNUFF BOTTLE, PROBABLY IMPERIAL, 1750-1820Opinion: The present bottle is of exceptional quality. The jade of pure white color, the bottle superbly hollowed to the interior, and the stone smoothly polished with an inimitable unctuous feel overall. Bottom line: Only the lapidaries from the Imperial workshops in Suzhou had the skills indispensable to carving a jade at the quality level shown by the present bottle. China. Well hollowed, of rounded rectangular form, carved on either side with two kui dragons confronted on a flaming pearl, the configuration of their undulating bodies suggestive of a shou character, the narrow sides with further kui dragons. The translucent stone of even white tone with few icy inclusions and a faint russet vein.Provenance: Collection particulière dans le departement Eure-et-Loir, France. Condition: Superb condition with only minor old wear and possibly microscopic nicks. The stone with natural fissures and inclusions.Stopper: Pink tourmaline cabochon with glass finial in imitation of emerald green jade, remarkably well carved spoon. The combination is most likely original to this bottle and also made by the Imperial workshops.Weight: 115.3 gDimensions: Height including stopper 87 mm. Diameter neck 23 mm and mouth 8 mm.Auction result comparison:Type: Near identicalAuction: Christie's New York, 15 September 2011, lot 1177Price: USD 43,750 or approx. EUR 53,500 converted and adjusted for inflation at the time of writingDescription: A carved white jade snuff bottle, probably imperial, 1750-1820Expert remark: Compare the near identical form and design, as well as the color of the jade. Note the significantly smaller size of 62 mm (excluding the stopper) and the slightly lower quality of the jade color.1750-1820年白玉夔龍鼻烟壺，或爲御製中國。掏膛良好，四方圓肩，兩面皆浮雕夔龍戲珠紋，形如壽字。兩側也有夔龍紋。半透明的玉料呈均勻的白色，輕微冰狀紋理和褐色脈絡。專家注釋：此拍品質量上乘，純白的玉料，精美壺身，表面光滑，整體瑩潤優雅。只有蘇州御作坊的匠人才具備雕刻玉石不可缺少的技能，達到本瓶所顯示的質量水平。 來源：法國 Eure-et-Loir省私人收藏。 品相：品相極好，只有輕微的磨損和細微刻痕，石料具有天然裂縫和內沁。 壺蓋：粉紅色碧璽，仿翡翠綠玻璃頂，雕刻精美的勺子。這種組合也意味著這個鼻烟壺很可能是御製。 重量：115.3 克 尺寸：高 （含蓋）87 毫米，頸部直徑23 毫米及壺口直徑8 毫米 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2011年9月15日，lot 1177 價格：USD 43,750（相當於今日EUR 53,500） 描述：1750-1820年白玉鼻烟壺，或爲御製 專家評論：比較幾乎相同的外型和設計，以及玉石顏色。請注意幾乎相同的小尺寸62 毫米 (不含壺蓋)，以及品質稍微低的玉石顏色。

A COPPER-RED-GLAZED BEEHIVE WATERPOT, TAIBO ZUN, 18TH CENTURYChina. The domed body is covered with a rich glaze transmuting from a dark liver-red tone below the rim to crushed-raspberry above the foot. The interior and base glazed white. The recessed base with an underglaze-blue double-circle.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Perfect condition with only minor wear and firing irregularities.Weight: 442.4 g Dimensions: Diameter 12.7 cmThe taibo zun is of a classic dome shape typical of the Kangxi reign, originally inspired by the wine pot of the legendary Tang dynasty poet, Li Bai (AD 701-762). The poet, notorious for his drinking, is often depicted leaning against a wine jar of this form. The shape is sometimes also referred to as a jizhao zun, as it resembles a chicken coop. In its exquisite copper-red glaze, exhibiting the highest level of control in its transmutation from a dark liver-red to an attractive crushed-raspberry tone, the scholar's vessel has transcended its modest form, strictly limited to function, transformed into a jewel-like object, to be admired and prized.Auction result comparison: Type: Related Auction: Christie's London, 15 May 2015, lot 558 Price: GBP 10,625 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A celadon-glazed beehive water pot, 18th century Expert remark: Compare the closely related form, monochrome glaze, and non-reign mark, three features common to both this and the present lot. Note the smaller size (5.7 cm)Auction result comparison: Type: Remotely related Auction: Bonhams Hong Kong, 3 December 2015, lot 4 Price: HKD 1,600,000 or approx. EUR 230,500 converted and adjusted for inflation at the time of writing Description: A small rare copper-red-glazed waterpot, taibo zun, Yongzheng six-character mark and of the period Expert remark: Compare the similar form and related copper-red glaze. Note the smaller size (5.2 cm) and particularly the Yongzheng mark.十八世紀銅紅釉太白尊中國。半球狀腹，通體施銅紅釉，從太白尊邊緣紅褐色至足部鮮亮紅色。尊內和圈足内白色釉，足内青花雙圈。 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。 Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：狀況極好，輕微的磨損和燒製瑕疵。 重量：442.4 克 尺寸：直徑12.7 厘米 太白尊為康熙時期的經典造型，因摹仿詩人、酒仙李太白的酒壇而得名，又因形似圈雞用的罩，還有"雞罩尊"之稱。高溫銅釉，溫度極難掌握，釉色如紅寶石般優美，非常名貴。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年5月15日，lot 558 價格：GBP 10,625（相當於今日EUR 15,500） 描述：十八世紀青釉太白尊 專家評論：比較非常相近的外型、單色釉，以及沒有底部款識，此三個特點和現拍品相同。請注意尺寸較小 (5.7 厘米)。 拍賣結果比較： 形制：稍微相近 拍賣：香港邦瀚斯，2015年12月3日，lot 4 價格：HKD 1,600,000（相當於今日EUR 230,500） 描述：清雍正霽紅釉水丞，青花「大清雍正年製」楷書款 專家評論：比較相似的外型和相近的釉色。請注意尺寸較小 (5.2 厘米) ，且有雍正款識。

A LARGE AND MASSIVE SPINACH-GREEN KHOTAN JADE FIGURE OF GUANYIN, PROBABLY TAKEN FROM THE OLD SUMMER PALACE IN BEIJING IN 1861China, ca. mid-18th to mid-19th century. Finely carved standing, cradling a lingzhi sprig and ruyi scepter in her delicate hands, wearing a long flowing robe cascading in voluminous folds, her serene face with heavy-lidded eyes, the neatly incised hair tied up into a high chignon secured by a ruyi-head hairpin. The stone of a deep spinach-green tone with creamy, russet, and cloudy inclusions.Provenance: Eugenie de Montijo (1826-1920), Empress of the French from her marriage to Emperor Napoleon III, and thence by descent in the family. Christie's London, 12 October 1950, lot 121. The Graham Collection, London, acquired from the above and thence by descent in the 1970s to a private English collector. A copy of the lot entry in the Christie's London auction catalog from 12 October 1950, stating the present lot was “Formerly the Property of the Empress Eugenie” and with handwritten notes by a previous owner, accompanies this lot.It is probable that the present statue was originally located at the Old Summer Palace, Yuanmingyuan, in Beijing and subsequently part of the loot of several hundred pieces sent to Empress Eugenie directly by General Charles Cousin-Montauban (1796-1878).In the morning of 21 September 1860 General Cousin-Montauban was the commanding officer of the Anglo-French troops, fighting the battle at the bridge of Palikao against the Qing Imperial forces, a decisive event of the Second Opium War. Their victory allowed the Western forces to take the Chinese capital Beijing and eventually defeat the Qing Empire. On 6 October 1860, French and British troops captured the Old Summer Palace, looting the Imperial collections over the next few days, again under the command of General Cousin-Montauban.In 1861, General Charles Cousin-Montauban sent numerous crates of the enormous French loot of the Summer Palace to Empress Eugenie in France as a personal gift to the Imperial French household, with the first shipment arriving in February 1861. The inventory of this shipment numbers some 800 objects, with over 300 coming directly from the sack of the Summer Palace. As a reward, the general eventually received the title of Comte de Palikao by Emperor Napoleon III in 1862.In 1863, the Empress established a museum of Chinese art called the Musee Chinois (Chinese Museum) at the Palace of Fontainebleau. She carefully curated the collections and displays of this museum, at the time almost exclusively consisting of the objects taken from the Old Summer Palace in 1860. In later years, Eugenie combined the Chinese collection with gifts originating from the French embassies in Siam, Cambodia, Japan, Korea, and Tibet to collectively form the core of the Asian art collection in Fontainebleau, which she later complemented with objects confiscated by the state during the French Revolution and kept since then at the National Library, some diplomatic and non-diplomatic gifts, and acquisitions she made on the French art market using the Imperial household's personal budget. The museum has been preserved in a layout largely similar to that of the 1860s and is one of the world's oldest museums specifically dedicated to Asian art. It is unknown which and how many of the pieces from the museum went with Empress Eugenie to England after her husband was overthrown in 1870, but there are speculations that the amount was quite substantial.Empress Eugenie of France was born María Eugenia Ignacia Agustina de Palafox y Kirkpatrick, 19th Countess of Teba, 16th Marchioness of Ardales, in Granada, Spain. She was Empress of the French from her marriage to Emperor Napoleon III on 30 January 1853 until the Emperor was overthrown on 4 September 1870. Napoleon and Eugenie had one child together, Napoleon, Prince Imperial (1856-79). After the fall of the Empire, the three lived in exile in England. Eugenie outlived both her husband and son and spent the remainder of her life working to commemorate the Second French Empire. After World War I, Eugenie lived long enough to see the collapse of other European monarchies, such as those of Russia, Germany and Austria-Hungary. She left her house in Farnborough with all her collections to the heir of her son, Prince Victor Bonaparte.Published: The Times, London, 13 October 1950, a column in the paper relating to various jades in the Christie's sale including this figure of Guanyin from Princess Eugenie which sold at 250 Guineas (at the time, the cost of house in London averaged at ca. 1.500 Guineas). A copy of a newspaper clipping with this column accompanies this lot.Condition: Very good condition with some old wear, natural inclusions and imperfections of the stone, few minuscule nicks here and there, light scratches. The wood base with minor losses, natural age cracks and a fine naturally grown patina.Weight: c. 24 kg (without the base) Dimensions: Height 75 cmWith a matching wood base dating from the same period, finely carved with lotus petals. (2)Literature comparison: Compare the movement of the robes, expression, high chignon with hairpin, and wood stand on a closely related jade figure of Guanyin, dated 19th century, 72.4 cm high, in the collection of the Metropolitan Museum of Art, accession number 39.65.24a, b.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1515 Price: USD 290,500 or approx. EUR 378,000 converted and adjusted for inflation at the time of writing Description: A large mottled jadeite figure of Guanyin Expert remark: Note the much smaller size (39.4 cm) 大型和田碧玉觀音立像，可能來自1861年圓明園之劫中國，約十八世紀中期至十九世紀中期。 來源：Eugenie de Montijo歐珍妮·德·蒙提荷(1826-1920)，是法蘭西第二帝國皇帝拿破崙三世的妻子和法國最後一位皇后，保存在同一家族；倫敦佳士得，1950年10月12日，lot 121；倫敦 Graham Collection，購於拍賣，一直保存至上世紀七十年代被一英國私人收藏家收藏。隨附倫敦佳士得拍賣目錄文字副本，上描述 “Formerly the Property of the Empress Eugenie” （歐珍妮皇后財產）與上任藏家手寫注釋。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A CELADON JADE 'TURTLEDOVE' FINIAL, JIU, HAN DYNASTYChina, 206 BC to 220 AD. Finely carved, the bird facing forward, well detailed with round eyes, distinct elegantly curved brows, an inward-curved beak holding a small ball, and a feather issuing from the head, the wings tucked against its sides, the plumage finely defined with incised lines and carved grooves, the underside with a circular recess for attachment to a staff. Opinion: The present lot is an exceptional example of an early jade carving representing the pinnacle of Han dynasty jade craftsmanship. This superbly carved bird is remarkable in two aspects: the dynamic design combined with the attention to naturalistic details.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art.Condition: Very good condition with some old wear and weathering, few minuscule nicks, microscopic encrustations and surface alterations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 90.3 g Dimensions: Length 9 cmIn Chinese legend, Liu Bang (c. 256-195 BC), Emperor Gaozu of the Han dynasty, was once assisted by a divine turtledove to escape from his arch-rival Xiang Yu (232-202 BC), and became a symbol of benevolent rule and heavenly protection. Staffs or swords with mythical bird finials made from jade were also recorded in Han dynasty literature as special gifts given to the elders of the aristocracy to manifest benevolent rule and heavenly protection.Literature comparison: See a white jade sword pommel in the form of a mythical eagle, Western Han dynasty, excavated from a tomb at Longgangsi, Shaanxi Province, illustrated by Gu Fang, The Complete Collection of Jades Unearthed in China, vol. 14, Shaanxi, Beijing, 2005, page 149. Note the closely related head with similar round eyes below distinct curved brows and inward-curved beak, as well as the underside with a circular recess for attachment to a staff. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 5 April 2016, lot 29 Price: HKD 1,720,000 or approx. EUR 244,500 converted and adjusted for inflation at the time of writing Description: A pale green jade turtledove, Western Han dynastyExpert remark: Compare the feather issuing from the head. Note the size (6 cm) and the similarities in the material.漢代青玉雕臥鳩中國，公元前206 年至公元 220 年。青玉質地溫潤，雕斑鳩作蹲伏狀，頭部突出，鳥翎自鳥首向背部延伸，身上琢出勾轉的平行線紋以示其翅膀，身下有收縮的足部，鳥尾刻出下垂的尾羽，工藝精巧。此類臥鳩流行於漢代中期至東漢，用途為鳩杖的杖首。 來源：義大利羅馬Filippo Salviati教授私人收藏，Filippo Salviati教授是羅馬大學東亞研究所考古系及藝術史系教授。他對中國古代文物以及玉器進行了廣泛研究並出版了很多專著。 品相：狀況極好，有一些磨損和風化，少量微小的刻痕、輕微結殼。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：90.3 克 尺寸：長9 厘米 傳説漢高祖劉邦 (公元前約 256-195 年)，還沒有統一天下時，有一次和項羽 (公元前232-202 年) 作戰，受一隻斑鳩庇佑得以逃脫。劉邦很感激斑鳩，即位為皇帝之後，就做鳩杖，賜給老人。 文獻比較： 見一件西漢鷹形玉劍首，出土於陝西省龍岡寺遺址，見古方編，《中國出土玉器全集》，卷14，陝西，北京， 2005年，頁149。請注意非常相近頭部有類似的圓眼，下面有明顯的彎曲的眉毛和向內彎曲的喙，底部一個圓形的凹槽，用以安裝劍筒並固定劍莖。 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2016年4月5日，lot 29 價格：HKD 1,720,000（相當於今日EUR 244,500） 描述：西漢青玉雕臥鳩 專家評論：比較頭部特色。請注意尺寸(6 厘米) ，以及相似的材質。

A PALE CELADON JADE INKSTONE WITH MATCHING ZITAN STAND AND COVER, QING DYNASTYChina, 18th-19th century. The well-polished stone is of a rounded rectangular shape, surrounded by a thick border, the surface slightly depressing towards the center, and the top with a deeply recessed oval well. The Zitan wood stand and cover are finely carved in the form of a melon with trailing vines, leaves, and an additional smaller fruit. The translucent stone is of a milky-white tone with shades of pale celadon, icy inclusions and few russet veins. (3)Provenance: British trade. Condition: Very good condition with minor old wear. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time, as well as minuscule nicks here and there. The stand and lid with fine natural age-cracks, minor nicks here and there. Good, naturally grown patina overall.Weight: 116.0 g (the jade) and 146.6 g (incl. stand and cover) Dimensions: Length 8.6 cm Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 9 October 2007, lot 1594Price: HKD 487,500 or approx. EUR 76,500 converted and adjusted for inflation at the time of writingDescription: A white jade inkstone with 'sun and cloud' motifs Qing Dynasty, 18th / 19th centuryExpert remark: Compare the related form and size of the inkwell, the color of the jade, and the Zitan box and cover.清代青玉硯中國，十八至十九世紀。青玉圓角長方形，四周有厚實的邊框，表面向中心稍凹陷，頂部有一個深凹的橢圓形墨海。紫檀底座和蓋子，成瓜形；蓋子上精美雕刻瓜與藤蔓。半透明的玉料呈白色調，帶有淡淡的青色，有内沁和少量赤褐色的紋理。 來源：英國古玩交易。 品相：狀況極好，有輕微的磨損。帶有天然內沁和裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫，很多微小的刻痕。 木底座和蓋有自然老化裂縫，輕微的刻痕。整體良好，自然生長的包漿。 重量：玉116.0克，總146.6克 (含底座與蓋) 尺寸：長 8.6 厘米 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2007年10月9日，lot 1594 價格：HKD 487,500（相當於今日EUR 76,500） 描述：十八至十九世紀清代白玉雲日硯 專家評論：比較相近的外型、墨海尺寸、玉石顏色，以及紫檀底座和蓋子。

A RARE AND MASSIVE MOTTLED JADE CONG, LIANGZHU CULTUREChina, late Neolithic period, c. 3300-2200 BC. The thick-walled cong is of short square section with rounded sides and a cylindrical interior, each corner carved with a stylized human and animal mask design. The eyes and noses as well as the raised bands above the human mask and recesses in between are finely incised with line and scroll designs. The faces are divided with a gently recessed vertical band to the center of each side.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Good condition, commensurate with age. Some wear, weathering, and minor alterations, as well as small nicks and nibbling to edges, the stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time.Weight: 1,349 g Dimensions: Diameter 10 cmThe partly translucent stone is of an olive-green and russet-brown tone with russet veins and inclusions as well as patches of cream tone and areas of opaque ivory-white calcification.The present cong displays the distinctive characteristic of Liangzhu culture cong vessels, with a square outer section around a circular inner part and decorated with stylized masks neatly arranged on each of the four corners. The exceptional craftsmanship is particularly notable in the very delicate and precise quality of the carving and incised decoration, enhanced by the lustrous patina formed on the surface over time.Literature comparison: Compare a similar jade cong, Liangzhu culture, also carved with two registers of stylized human and animal masks excavated in 1984 from Fuquanshan in Qingpu County, Shanghai, now in the Shanghai Administrative Committee of Culture Heritage, illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 17, pl. 19. See another related example of a jade cong, included in the Min Chiu Society Thirtieth Anniversary Exhibition: Selected Treasures of Chinese Art, Hong Kong, 1990, no. 195. For several other examples of two-tiered cong, see F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, nos. 51, 53, and 54.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2015, lot 470 Price: USD 60,000 or approx. EUR 75,500 converted and adjusted for inflation at the time of writing Description: A mottled olive-green, russet-brown and ivory-colored opaque jade cong, China, Neolithic period, Liangzhu culture, 3rd millennium BC Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (6.5 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 5 April 2016, lot 1 Price: HKD 375,000 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: A mottled green jade vessel, cong, Neolithic period, Liangzhu culture Expert remark: Compare the closely related two-tiered form, animal masks, and olive-green and russet-brown color of the jade with similar opaque ivory-white calcification. Note the thinner walls and smaller size (7.5 cm).良渚文化玉琮中國 ，新石器時代末期，公元前約3300-2200年。器呈外方內圓的筒形，兩端琢成圓口，上下穿透，四角各有不同人面紋。 來源：Irene與 Wolfgang Zacke (1942-2022)。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：品相良好，一些磨損、風化、細微變化、刻痕，邊緣有一些小磕損，玉料帶有天然的內沁和裂縫，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：1,349 克 尺寸：直徑10 厘米這件玉琮展現了良渚文化的鮮明特色，外方內圓，均以四角為中軸線，雕琢神人獸面紋，雕琢精細。玉質精良，玉色深綠，局部得見黃白沁斑，不透明的象牙白色鈣化區域。表面包漿細膩。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CARVED CELADON AND RUSSET JADE SNUFF BOTTLE, MASTER OF THE ROCKS SCHOOL, 1740-1850Published:Bob C. Stevens, The Collector's Book of Snuff Bottles, New York, 1976, pp. 118-119, no. 407.Sotheby's Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part III, New York, 1982, no. 156.China. Of rounded rectangular form, finely carved through the russet-brown skin on one side with a scene of pine, lingzhi, rocks and a brick wall, the reverse with a pavilion encircled by swirling clouds which rise from the waves extending around the base. Superb manual polish with an unctuous feel overall.Provenance: From the collection of Bob C. Stevens, California. Sotheby's New York, 25 June 1982, lot 156. Rachelle R. Holden, New York, acquired from the above. A collector's label from Rachelle Holden with inventory number '78' to the base. Bob C. Stevens was an enthusiastic collector of Chinese snuff bottles who published an important book on the subject, The Collector's Book of Snuff Bottles, in 1976. In 1978, a part of his collection was exhibited in Tokyo at Mikimoto Hall. Rachelle R. Holden (1934-2020) was a famous collector of Chinese snuff bottles. She purchased her first bottle in 1974, finding the subject fascinating as it combined all the classic forms of Chinese art, and would continue to passionately collect them for the rest of her life.Condition: Very good condition with minor old wear, a minuscule chip to the rim.Stopper: Jadeite stopperWeight: 70.6 g Dimensions: Height including stopper 66 mm. Diameter neck 16 mm and mouth 5 mm.The Master of the Rocks School seems to have specialized in carvings from two-colored hardstones, such as agate, crystal, chalcedony and jade. The school's main output was bottles carved with landscape designs, but many other subjects are recorded, which may have been partly produced for the Imperial Court. The quality of carving and the use of material in the present bottle are typical of this school.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 23 March 2012, lot 1563Price: USD 30,000 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A well-carved greenish-yellow and brown jade snuff bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 21 March 2002, lot 258Price: USD 22,325 or approx. EUR 34,500 converted and adjusted for inflation at the time of writingDescription: A rare and fine carved yellowish-green and russet jade bottle, Master of the Rocks School, 1740-1850Expert remark: Compare the closely related carving style, carving and incising of the russet skin while leaving the celadon areas plain.1740-1850年青玉留皮雕鼻烟壺中國。扁平長方削肩，一面棕褐色留皮精雕細刻松樹、靈芝和假山，另一面有一個亭台樓閣，周圍祥雲環繞。精湛的工藝，整體瑩潤。 出版：Bob C. Stevens，The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），紐約，1976年，頁118-119，編號407。 蘇富比Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens，Part III，紐約，1982年，編號156。 來源：Bob C. Stevens舊藏，加利福尼亞；紐約蘇富比1982年6月25日 lot 156；紐約Rachelle R. Holden 舊藏，購於上述拍賣。底部可見Rachelle Holden 收藏標籤“78“。Bob C. Stevens 曾是一位中國鼻烟壺知名收藏家，曾出版過一本書The Collector's Book of Snuff Bottles（《鼻烟壺收藏手冊》），1976年以及1978年。書裏曾記錄過這件拍品。他的藏品的一部分曾在東京Mikimoto Hall（御本廳）展出過。Rachelle R. Holden（1934-2020年）是著名的中國鼻烟壺收藏家。 她於 1974 年購買了她的第一個鼻烟壺，從而發現了鼻烟壺其迷人之處，因為它結合了中國藝術的所有經典形式。之後，她持續不斷地收集鼻烟壺。 品相：品相極好，有輕微磨損，邊緣有微小的磕損。 壺蓋：翡翠 重量：70.6 克 尺寸：高 （含蓋）66 毫米，頸部直徑16 毫米及壺口直徑5 毫米拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2012年3月23日，lot 1563 價格：USD 30,000（相當於今日EUR 36,500） 描述：1740-1850年青玉留皮雕鼻烟壺 專家評論：比較非常相近的雕刻風格，棕褐色留皮精雕細刻，並將青玉部分留白。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND SIGNED GILT-SPLASHED ARCHAISTIC WINE VESSEL, JUE, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. Superbly cast, with a characteristic pair of short posts on the mouth rim dividing the elongated pouring mouth and an exaggerated lip, decorated around the exterior of the cylindrical receptacle with taotie-masks against leiwen-ground and divided by vertical flanges, one side with a loop-handle emerging from an animal-head, all raised on three long tapered legs, decorated overall with characteristic gilt splashes. The base carved with a six-character seal script mark.Inscriptions: To base, 'Boshen zuo Baoyi' (Boshen made this precious yi).Provenance: The Property of a Gentleman. Christie's Hong Kong, 30 April 2001, lot 771. The Collection of Hedda and Lutz Franz, Hong Kong, acquired from the above. The silk box with an old label from the Christie's sale. Hedda and Lutz Franz, who met in Hong Kong in 1979, have spent over forty years assembling a spectacular collection of Chinese art, at first focusing on snuff bottles and eventually branching out into scholar's objects and paintings, as well as Japanese inro and Kilim carpets. The couple has worked closely together with their friend and advisor, Hugh Moss, and have published five books on their collection, entitled Franz Art, with one book, Franz Art Jade, winning a Silver award at the 2011 Gold Ink Awards in Chicago.Condition: Excellent condition with minor old wear and casting irregularities, few minuscule nicks, occasional light scratches. Fine natural patina overall.Weight: 948.7 g Dimensions: Height 21.5 cmWith a fine velvet-padded silk storage box. (2)The base is inscribed in archaic script with Boshen zuo Baoyi, 'Boshen made this precious yi'. Yi may be translated as a cup or libation vessel. It is interesting to note that not only the form and decoration were copied in reverence to archaism, but the inscription had been taken directly from characters inscribed on late Shang/early Zhou dynasty vessels. The name Boshen appears to be unrecorded.Bronze vessels of this type were valued by the literati class in China for their reverence to archaism, and those bearing an epigraphic inscription were considered even more precious. Gerard Tsang and Hugh Moss in Arts from the Scholar's Studio, Hong Kong, 1986, page 184, quote Ulrich Hausmann saying, “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. ...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.”Literature comparison: Compare a near identical gold-splashed censer, bearing the same five-character archaic inscription, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 161. A further gold-splashed jue is illustrated in Egan Mews, 'Gold-splashed Bronzes in the collection of Mr. Randolph Berens', Connoisseur, November, 1915, p. 144, and a pair, bearing the same inscription as the present example, was included in the exhibition The Minor Arts of China, Spink & Son, London, 1987, cat. no. 77.Auction result comparison: Type: Near identical Auction: Sotheby's Hong Kong, 4 April 2012, lot 139 Price: HKD 524,000 or approx. EUR 85,500 converted and adjusted for inflation at the time of writing Description: A gilt-splashed bronze censer, jue, signed Boshen, Qing dynasty, 18th centuryExpert remark: Note that this jue bears the same mark as the present lot and is of similar size (21 cm). This jue is also the one illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 161Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 27 November 2013, lot 3591 Price: HKD 600,000 or approx. EUR 94,000 converted and adjusted for inflation at the time of writing Description: A rare gilt-splashed archaistic wine vessel, jue, late Ming dynasty, 17th centuryExpert remark: Note that this jue bears the same mark as the present lot and is of similar size (22 cm).明末清初罕見灑金饕餮紋銅爵中國，十七至十八世紀。灑金地，爵杯仿先秦禮器爵所製，作圜底杯式，流部扁寬，角略長而尖，流角相對，處於同一高度；口沿設一對扁柱狀帽頭，腹中部弦紋圍成的帶狀開光內，以雲雷紋為地，飾饕餮紋，器物雄渾莊重。底承三棱狀足，踞地沉穩。整器包漿均潤厚潤。 由於字數限制，完整中文敘述請至www.zacke.at查看。

A BIRD-SHAPED CELADON JADE PENDANT, WESTERN ZHOU DYNASTYChina, c. 1100-771 BC. The pendant is finely carved as a stylized mythical bird of flattened arched form and decorated with fine incision work, pierced below the beak with an aperture for suspension. The translucent stone is of a fine celadon tone with cloudy inclusions, pale brown patches, and few small areas of alteration.Provenance: From a distinguished English private collection.Condition: Good condition with minor old wear, a small loss to the tip of the beak, some traces of use and shallow surface scratches overall, microscopic nicks here and there. Fine, naturally grown patina. The jade with natural inclusions and fissures.Weight: 11.2 gDimensions: Length 7.1 cmWith a fine lacquered wood storage and presentation box. (2)Literature comparison: Compare a related jade bird-shaped pendant in the collection of the British Museum, museum number 1947,0712.465.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 28 November 2018, lot 2739 Price: HKD 275,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A celadon jade bird-shaped pendant, Western Zhou dynasty (c. 1100-771 BC)Expert remark: Compare the closely related subject, form, and decoration. Note that the condition report for this lot states that “there is a break to the bird's head which has been reattached with associated areas of infill”. This appears to be very similar to the small loss at the tip of the beak of the present lot (see condition report).西周青玉鳥形珮中國，公元前約1100-771 年。珮呈扁片狀，以陰刻線技法雕琢側面梟鳥造型，鉤喙，圓眼，羽翅張開呈弧形上翹。鳥尾弧形下垂，尾端呈魚尾形。青玉質，取良玉雕就，局部淺褐色沁。 來源：傑出英國私人收藏。 品相：狀況良好，有輕微的磨損，鳥喙尖有少量磕損，有一些使用痕跡和整體表面淺劃痕，多處微小的劃痕。細膩的包漿，有天然內沁和裂縫的玉料。 重量：11.2 克 尺寸：長 7.1 厘米 木質漆盒。 文獻比較： 比較一件相近的晚商至西周玉鳥形珮，收藏於大英博物館，編號1947,0712.465. 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2018年11月28日，lot 2739 價格：HKD 275,000（相當於今日EUR 40,500） 描述：西周青玉鳥珮 專家評論：比較非常相近的主題、外型和裝飾。請注意此玉珮的前緣曾經斷過又重新接回，有相應的修補。此情況和現拍品鳥喙尖有少量磕損的狀況相似(見品相)。

A LARGE CELADON JADE 'DRAGON' PENDANT, EASTERN ZHOU DYNASTYChina, 5th-3rd century BC. The flat stone carved as a sinuous dragon, the long body forming a slender S-curve and detailed on both sides with neatly arranged scrollwork, the head with a slit mouth, upwards-curled snout, and a pointed laid-back ear, the furcated tail curling inwards above the body, the lower body issuing a pair of legs further carved with parallel grooves. The translucent stone of a celadon tone with creamy-white patches and black specks.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art.Condition: Excellent condition, commensurate with age. Some wear, encrustations, minor signs of erosion, few minuscule nicks, remnants of pigment. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine, naturally grown patina overall.Weight: 117.0 gDimensions: Length 23 cmWith a padded silk storage box. (2)Literature comparison: Compare a related jade dragon of similar form but lacking the appendix at the bottom, from the A. W. Bahr Collection, illustrated by Alfred Salmony, Carved Jade of Ancient China, 1938, pl. XLI, no. 5. Compare two jade dragon plaques from the collection of Dr. T. K. Cheng, Cambridge, illustrated by S. H. Hansford, Chinese Carved Jades, London, 1968, pl. 46.Auction result comparison: Type: Related Auction: Sotheby's New York, 10 September 2019, lot 39 Price: USD 18,750 or approx. EUR 21,500 converted and adjusted for inflation at the time of writing Description: A black and beige jade 'dragon' pendant, Eastern Zhou dynasty Expert remark: Compare the closely related sinuous form, slit mouth, and scrollwork. Note the smaller size (11.2 cm).Auction result comparison: Type: Related Auction: Christie's New York, 18 March 2009, lot 302 Price: USD 30,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: An altered greyish-green jade dragon pendant, late Eastern Zhou dynasty, 5th-4th century BCExpert remark: Compare the closely related head with similar slit mouth and pointed laid-back ear and legs with similar parallel grooves. Note the smaller size (10.2 cm).東周大型青玉龍形佩中國，公元前五至三世紀。龍回首，長鼻與弓起的龍身連接，尖尾上揚翻捲，龍體呈S形，生翼顯爪。雙面單陰線刻卷雲紋。腿上還刻有平行的凹槽。青色的半透明玉石，帶有乳白色和黑色的斑紋。 來源：義大利羅馬Filippo Salviati教授私人收藏，Filippo Salviati教授是羅馬大學東亞研究所考古系及藝術史系教授。他對中國古代文物以及玉器進行了廣泛研究並出版了很多專著。 品相：狀況極佳，與年齡相稱。一些磨損、結殼、輕微的侵蝕跡象、微小刻痕、色素殘留。有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。整體上包漿細膩。 重量：117.0 克 尺寸：長23 厘米 相配的有襯絲盒子。 文獻比較： 比較一件相近的玉雕龍形佩，但底部沒有附加物，見A. W. Bahr收藏，Alfred Salmony，《Carved Jade of Ancient China》，1938年，編號 XLI，圖5。比較兩件玉雕龍形佩， 劍橋Dr. T. K. Cheng收藏，見S. H. Hansford，《Chinese Carved Jades》，倫敦，1968年，編號46。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月10日，lot 39 價格：USD 18,750（相當於今日EUR 21,500） 描述：東周玉雕龍紋珮 專家評論：比較非常相近蜿蜒外型、長鼻和卷雲紋。請注意尺寸較小(11.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2009年3月18日，lot 302 價格：USD 30,000（相當於今日EUR 40,500） 描述：公元前五至四世紀東周晚期 龍形玉佩 專家評論：比較非常相近頭型、長鼻、收耳，以及腿上的平行的凹槽。請注意尺寸較小(10.2 厘米)。

A TIGER-FORM JADE PENDANT, LATE SHANG DYNASTYChina, 13th-11th century BC. The crouching tiger carved in profile, the body well detailed and decorated with double-line grooves, the mouth pierced for suspension. The translucent stone of a celadon tone with extensive russet shading, some black patches, and small areas of alteration.Provenance: A Western private collection. Roger Keverne Ltd., London, United Kingdom, December 2007. A distinguished English private collection, acquired from the above. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020. Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition, London, 2007, page 101, no. 84.Condition: Very good condition overall with some old wear, traces of use and shallow surface scratches, an area of calcification to the tip of the tail with an associated minuscule loss. Fine, naturally grown patina. The jade with natural inclusions and fissures.Weight: 11.3 g Dimensions: Length 6.5 cmAn important stylistic feature of the present pendant is the use of the so-called double-line grooves. On first inspection, it appears that these rise in low relief. But in fact this is an optical illusion, or trompe-l'œil effect, as those slender “relief lines” are actually flush with the object's surface and seem to rise in relief only because of the intaglio lines, or grooves, that flank them. Such trompe-l'œil lines are a rare feature, and found on the very finest Shang jades only.The tiger, called hu or laohu in Chinese, is among the most recognizable of the world's charismatic megafauna. Originating in China and northern Central Asia, the tiger was known to the earliest Chinese, who likely feared, admired, and respected it for its strength, ferocity, and regal bearing. Though its precise symbolism in Shang times (c. 1600-1046 BC) remains unknown, the tiger doubtless played a totemic, tutelary, or talismanic role. By the Western Han period (206 BC-AD 9)—a thousand years after this pendant was made—the tiger was regarded as the “king of the hundred beasts”, or baishou zhi wang, due to its power and ferocity and especially to the markings on its forehead which typically resemble the character wang, or “king”. In addition, not only did the tiger figure among the twelve animals of the Chinese zodiac, but it gained a place among the auspicious animals that symbolize the four cardinal directions—the white tiger, or baihu, of the west, the azure dragon of the east, the vermillion bird of the south, and the black tortoise of the north.Literature comparison: Compare a related jade tiger plaque, also dated to the Shang dynasty, in the collection of the Asian Art Museum in San Francisco, object number B60J538. Compare a related jade tiger plaque, also dated to the Shang dynasty, circa 1200-1050 BC, in the collection of the British Museum, museum number 1935,0115.19.Auction result comparison: Type: Closely related Auction: Bonhams, 30 May 2017, lot 20 Price: HKD 562,500 or approx. EUR 84,000 converted and adjusted for inflation at the time of writing Description: A jade tiger and a jade bird, the tiger Shang dynasty, the bird Western Zhou dynastyExpert remark: Compare the closely related pose and manner of carving, also employing double-line grooves, the mouth similarly pierced for suspension, the eyes and mouth near-identical. Note the smaller size (3.9 cm) and that the lot also comprises a small jade bird (2.5 cm) from a later period.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 15 December 2016, lot 9 Price: EUR 20,000 or approx. EUR 23,500 adjusted for inflation at the time of writingDescription: Pendentif en jade Dynastie Shang, ca. 1200-1100 avant J.-C.Expert remark: Compare the closely related pose and manner of carving, with similar double-line grooves. Note the slightly larger size (8.2 cm).商末虎形青玉珮中國，公元前十三至十一世紀。珮呈扁片狀，以陰刻雙線技法雕琢半蹲老虎的側身形，虎口處，琢一小穿。局部淺褐色沁。 來源：西方私人收藏 ；英國倫敦Roger Keverne Ltd.藝廊，2007年12月；一個傑出的英國私人收藏，購於上述藝廊。Roger Keverne曾任倫敦亞洲藝術主席和BADA總裁。他在 Spink & Son 開始了 50 年的職業生涯，年僅 28 歲就升任亞洲部負責人。他於 1992 年離開 Spink，與他的妻子兼商業夥伴 Miranda Clarke 一起在倫敦梅菲爾開設了自己的畫廊 ，最終於 2020年 6 月關門。 出版：Roger Keverne，《Fine and Rare Chinese Works of Art and Ceramics Summer Exhibition》，2007年，倫敦，頁101，編號84. 品相：整體狀況極好，有一些磨損、使用痕跡和表面淺劃痕、尾部尖端有鈣化區域以及相應的微小缺損。細膩的包漿，有天然內沁和裂縫的玉料。 重量：11.3 克 尺寸：長 6.5 厘米由於字數限制，完整中文敘述請至www.zacke.at查看。

A PAIR OF RARE MUGHAL-STYLE JADEITE MARRIAGE BOWLS, LATE QING DYNASTYChina, 19th century. The bowls well carved with elegantly rounded sides rising from short circular feet to incurved rims, each flanked by a pair of double loose-ring handles pendent from reticulated designs of blossoming chrysanthemums issuing from foliage. The translucent stone of a pale lavender tone with pale green shadings and bright emerald-green and russet streaks.Provenance: From a private collection in New York, USA.Condition: Very good condition with minor wear, possibly few minuscule smoothened losses to exposed areas. Natural inclusions to the stone. The wood stands with some wear and light scratches, some of the separately carved feet are loose.Weight: 231.6 g and 211.2 g (each excl. stand)Dimensions: Width 18 cm (each)Each bowl with a matching wood stand. (4)Expert's note: Mughal-style marriage bowls carved from jadeite are extremely rare and this particular pair is exquisitely made from a superb material of beautiful color. The exceptional quality of the stone and the carving, showing a relatively restrained form of decoration, indicate a rather early dating for jadeite carvings, no later than the mid/end of the 19th century.Auction result comparison: Type: Related Auction: Christie's London, 14 May 2013, lot 18 Price: GBP 25,000 or approx. EUR 37,500 converted and adjusted for inflation at the time of writing Description: A Mughal-style celadon jade marriage bowl, 19th century Expert remark: Note the size (24 cm)Auction result comparison: Type: Related Auction: Bonhams San Francisco, 17 December 2014, lot 9132 Price: USD 25,000 or approx. EUR 30,500 converted and adjusted for inflation at the time of writing Description: A Mughal-style carved jade marriage bowl, Qianlong mark Expert remark: Note the apocryphal Qianlong mark and size (28.5 cm)晚清一對罕見蒙兀兒風格菊花紋活環翡翠洗中國，十九世紀。翡翠，器薄，雕刻精美，圓邊，淺腹，圈足。翡翠洗雙耳成菊花紋，活環。淡紫色半透明石料，帶有淡綠色紋理和明亮的翠綠色和赤褐色條紋。 來源：美國紐約私人收藏。 品相：品相極好，有輕微磨損。石料天然內沁。木底座有一些磨損和輕微劃痕，單獨雕刻的足部鬆動。 重量：不含底座分別為231.6 克與211.2克 尺寸：寬18 厘米 分別配置木底座。 專家注釋：蒙兀兒風格的翡翠玉洗極爲罕見，這對玉洗色彩精美，雕刻品質卓越，紋飾簡潔，説明年代較早，19 世紀中葉之前。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年5月14日，lot 18 價格：GBP 25,000（相當於今日EUR 37,500） 描述：十九世紀蒙兀兒風格青玉洗 專家評論：請注意尺寸(24 厘米) 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2014年12月17日，lot 9132 價格：USD 25,000（相當於今日EUR 30,500） 描述：乾隆款蒙兀兒風格玉洗 專家評論：請注意乾隆款識和尺寸 (28.5 厘米)

A SUBLIME SANDSTONE TORSO OF UMA, ANGKOR PERIOD, BAPHUON STYLEKhmer Empire, 11th century. Standing in samabhanga, her young unadorned body with prominent breasts and her belly beautifully rounded, wearing a long, pleated sarong tied at the front, the long central fold elegantly culminating in a 'fishtail' shape at the hem, secured by a belt with beaded festoons.Provenance: Funan Selected Works of Art, Singapore, 27 September 1983. From the collection of the late Michael Sherrard CBE, QC, acquired from the above and thence by descent. A copy of the original invoice from Funan Selected Works of Art, addressed to Michael Sherrard, dated 27 September 1983, confirming the dating above, and stating a purchase price of USD 15,000 or approx. EUR 43,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings. Condition: Good condition, commensurate with age, expected weathering, wear and losses, minor nicks, few structural cracks. Some signs of erosion. Fine naturally grown patina overall.Weight: 3,885 g (excl. stand) Dimensions: Height 34.5 cm (excl. stand) and 40 cm (incl. stand)Fitted to an associated metal stand.(2)This piece exemplifies the style of Baphuon female figures with the frontal stance, the ovoid skirt wide at the hips and narrowing around the knees, the sarong in an elevated position at the back and curving down to below the navel and the elegant central pleat. According to Boisselier, the highly decorative style of Banteay Srei inspired the development of Baphuon period sculpture, a manner which became more embellished with decorative elements as it reached a zenith during the Angkor Wat period a century later, see Helen Ibbitson Jessup and Thierry Zephir, editors, Sculpture of Angkor and Ancient Cambodia - Millennium of Glory, Washington 1997, page 255.The modeling of the torso, the curled end of the sarong above the belt and a long central fold certainly recalls Banteay Srei sculpture, see Emma C. Bunker and Douglas Latchford, Adoration and Glory, The Golden Age of Khmer Art, Chicago, 2004, page 175, fig. 8.6.Auction result comparison: Type: Closely related Auction: Sotheby's Paris, 10 June 2021, lot 236 Price: EUR 18,900 or approx. EUR 20,500 adjusted for inflation at the time of writing Description: A grey sandstone torso of a female divinity, Khmer art, Baphuon style, circa 11th century Expert remark: Compare the closely related pleated sampot with similar fishtail hem. Note the size (47 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2010, lot 274 Price: USD 37,500 or approx. EUR 50,000 converted and adjusted for inflation at the time of writing Description: A sandstone torso of Uma, Khmer, Angkor period, Baphuon style, 11th century Expert remark: Compare the related belt with similar beaded festoons. Note that the figure was originally of larger size but is overall smaller than the present lot (28 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2007, lot 279 Price: USD 31,200 or approx. EUR 43,500 converted and adjusted for inflation at the time of writing Description: A small sandstone torso of a goddess, Khmer, Angkor period, Baphuon style, 11th century Expert remark: Note the related size (35.5 cm) and that the sampot is not pleated as in the present lot.

A YELLOW AND RUSSET JADE 'RABBIT' INKSTONE, EARLY QING DYNASTYOpinion: Inkstones depicting various animals were made during the Qing dynasty, including pieces of the highest quality made for the Qing court. The present inkstone, being of an abstracted form that still clearly shows the silhouette of a rabbit, with a circular recess (perhaps reminiscent of the moon, with which the rabbit is frequently associated in China) placed exactly where the hare's eye would be, is a unique and rare example of this group.China, late 17th - 18th century. Well carved as the silhouette of a rabbit with distinct nose and ears, a circular recess carved in place of the animal's eye serving as the inkwell. The translucent stone is of a fine and distinct yellow tone with russet and black patches as well as cloudy white inclusions.Provenance: French trade. Condition: Very good condition with expected old wear and signs of use including small nicks, light surface scratches, remnants of ink inside the inkwell. Natural fissures and inclusions.Weight: 231.1 gDimensions: Length 12.3 cmThe rabbit is the fourth animal in the Chinese zodiac and considered the luckiest out of all the twelve animals. It symbolizes mercy, elegance, and beauty. Rabbits are also associated with longevity by way of the Moon Hare. In Chinese folklore, the rabbit often is portrayed as a companion of the Moon goddess Chang'e, constantly pounding the elixir of life for her.Literature comparison: Compare an imperially inscribed zisha chengni inkstone molded with a rabbit gazing at the moon, with a Qianlong Yuming mark and of the period, at Christie's Hong Kong, 30 November 2020, lot 2837. Compare an inscribed inkstone in the form of a goose, dated to the Qianlong period, at Sotheby's Hong Kong, 4 October 2011, lot 1915. Compare an inkstone in the form of a buffalo, dated Ming or Qing dynasty, at Sotheby's Hong Kong, 7 April 2010, lot 1980.清初黃玉留皮兔形硯臺中國，十七世紀末至十八世紀。兔形硯臺，線條清晰分明，在眼睛的地方有一個圓形凹槽。這顆半透明石料呈溫潤的黃色，帶有赤褐色和黑色斑塊以及白色絮狀物。 專家注釋：動物形狀的硯台出現在清代，其中包括御製硯台。這件硯台以簡潔的形式清晰地顯示出兔子的輪廓，在兔子眼睛所在的位置有一個圓形的凹槽（讓人想起月亮，兔子經常與月亮聯繫在一起）。 來源：法國古玩交易。 品相：品相極好，有磨損和使用跡象，包括小刻痕、輕微的劃痕，有墨水殘留。自然裂縫和内沁。 重量：231.1 克 尺寸：長12.3 厘米 兔子在中國十二生肖中排行第四，它象徵著慈悲和優雅。兔子因爲月兔神話，同時也寓意著長壽。在中國民間傳說中，兔子是月神嫦娥的伴侶，為她搗長生不老藥。 文獻比較： 比較一件乾隆御銘的紫砂澄泥硯，飾有兔凝月，見香港佳士得，2020年11月30日，lot 2837。比較一件乾隆時期鵝形硯臺，見香港蘇富比，2011年10月4日，lot 1915。比較一件明或清代水牛形硯臺，見香港蘇富比，2010年4月7日，lot 1980。

A SANDSTONE 'BUDDHIST TRIAD' STELE, TANG DYNASTY, DATED 717China. Well carved in deep relief, the arched niche centered by a figure of Buddha standing on a double lotus dais with his right hand raised in abhaya mudra and his left lowered in varada mudra, wearing loose-fitting robes cascading in voluminous folds, his serene face with heavy-lidded eyes, plump cheeks, and full lips, the hair surmounted by an ushnisha, backed by a neatly incised halo. Flanked by two similarly carved bodhisattvas with their hair pulled up into high chignons, all above a rectangular panel with a neatly incised inscription.Inscriptions: Below the figures, 'On the eighth day of the third month of the fifth year of the Kaiyuan era of the Tang dynasty, Jia had this stele made for his parents'.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. The back with an old label, '717 AD'. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings. Condition: Excellent condition, commensurate with age. Extensive wear, shallow surface scratches, signs of weathering and erosion. Small losses, nicks and cracks, some encrustations.Weight: 3,357 gDimensions: Height 23.3 cmLiterature comparison: Compare the stone stele of this shape that is similarly carved in high relief with a seated figure of Buddha flanked by two bodhisattvas standing on waisted lotus plinths, that bears a dedicatory inscription dated to the second year of Jingyun (AD 711), illustrated by Li JIngjie in Shifo Xuancui (Essence of Buddhistic Statues), Beijing, 1995, p. 73, no. 53. The inscription states that the stele was donated by Lu Zhaoshun.Auction result comparison: Type: Closely related Auction: Christie's New York, 15 September 2017, lot 918 Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A grey limestone Buddhist stele, Tang dynasty Expert remark: Compare the closely related form of the arched niche, deep relief carving of the figures, and inscription with dating below the figures. Note the larger size (34.6 cm) and the more advanced weathering and erosion of the stone. Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 1 April 2019, lot 3015 Estimate: HKD 500,000 or approx. EUR 65,500 converted and adjusted for inflation at the time of writing Description: A rare limestone 'Buddhist triad' stele, Tang dynasty Expert remark: Compare the related form of the arched niche and deep relief carving of the figures. Note the similar size (26.4 cm).唐代砂岩三聖造像碑，717年中國。此尊龕式造像碑，裝飾精美。高浮雕佛陀立蓮像，右手施無畏印，左手與願印，身穿寬鬆袈裟，面容安詳。雙眼微垂，面容豐滿，頭上結螺髻，後有光背。兩側是菩薩，同樣高髻。 款識：大唐開元五年三月八日賈氏爲父母敬造 來源：Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。 他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極佳，與年代相符。大面積磨損、表面淺劃痕、風化和侵蝕跡象。小缺損，刻痕和裂縫，一些結殼。 重量：3,357 克 尺寸：高23.3 厘米 文獻比較： 比較一尊高浮雕坐佛像，兩邊是站在腰部蓮花座上的兩位菩薩，有景雲二年（西元711年）的銘文，見李靜杰编著，《石佛選粹》，北京，1995年，頁73，編號53。由於字數限制，完整中文敘述請至www.zacke.at查看。

A SONGHUA INK STONE, BOX AND COVER, QIANLONG MARK AND PERIODChina, 1736-1795. The soft grayish-green ink stone is of magnificent quality with distinct striations and deeply carved with a lingzhi-shaped well. The outline conforms with the highest possible precision to that of the shallow box and cover, which in turn is finely carved on the top through the grayish-green outer layer to the purplish-brown under layer with two crested cranes perched on the trunk of a gnarled pine tree, the burls in the wood superbly sculpted, the pine leaves and the cranes' plumages neatly incised.The base of the inkstone incised in a line with a four-character seal mark Qianlong nianzhi and of the period.Provenance: Mrs. Walter Sedgwick, collection no. 307, as per old label to base, and thence by descent. Probably Sotheby's London after 1968 and from there into a French collection. Parisian trade, acquired from the above. Mrs. Walter Sedgwick (1883-1967) was an English collector of Chinese art who came from a family of architects. Quite unusually at the time, she collected independently of her husband who was a barrister with little interest in Chinese art. She lent many pieces to the 1935-36 Chinese exhibition at the Royal Academy. Soame Jenyns described her as a collector of impeccable taste and in 1953 dedicated his book 'Ming Pottery and Porcelain' to her. She donated and bequeathed Chinese objects to the British Museum from 1933 to 1968 and was a generous benefactor to the British Museum, the Fitzwilliam in Cambridge, and the Victoria & Albert Museum. After her death, her collection was sold off by Sotheby's London beginning in 1968. Mrs. Sedgwick was the aunt of Professor Jessica Rawson.Condition: Excellent condition with only minor wear and traces of use.Weight: 243.6 gDimensions: Length 9 cmExpert's note: The present lot was no doubt made during the Qianlong period, a fact illuminated by a Songhua ink stone, box, and cover dated to the Republic period at Christie's Hong Kong, 9 October 2019, lot 270. Although this later example appears quite similar to the present lot at first glance, it quickly becomes evident that it does not even remotely show the same exceptional skill and attention to detail. Closer study reveals a vast number of small yet striking differences, including the two cranes, which lack the crests and open beaks, as well as the pine leaves, which lack the raised edges of their central circles, and last but not least the Imperial mark itself, which is by far not as neatly incised.Songhua stone, for its color, quality and ease of grinding the ink, was one of the preferred materials for making inkstones for the scholar's table during the Qing dynasty. Chi Jo-hsin in 'A study of the Sunghua Inkstone Tradition', Special Exhibition of Sunghua Inkstone, National Palace Museum, Taipei, 1993, page 38, notes that 'during the Qianlong period, an inventory of inkstones in the Imperial Household was compiled. Of the more than two hundred entries, six sunghua inkstones with imperial reign marks of the K'ang-hsi, Yung-cheng and Ch'ien-lung periods are recorded, five of which are in the collection of the National Palace Museum.'Design on inkstones often imitated fine paintings and it is known that the Qianlong emperor commissioned his court painters to design the lids of many of his inkstones. Shapes of the ink pool and cover also became more varied during the Qianlong emperor's reign, when new shapes in the form of peaches, crescent-moons and flowers were introduced alongside the traditional circular, octagonal and oblong shapes.In Qianlong's poetry collection 'Shengjing tuchan zoayang shier shou' (Twelve Miscellaneous Poems on the Native Products of Shengjing), the emperor praises the stone as 'Songhua yu' (Songhua jade) and mentions that it is the product of the Yuantong River in Jilin province in northeast China and can be used for making inkstones.Zhou Nanquan notes in 'Songhuashi yan' (Songhua Inkstone), Wenwu, 1980, no. 1, pages 86-87, that Songhua stone was used for the production of imperial inkstones from the early to mid-Qing dynasty. Zhou further notes that in the 39th year of Qianlong's reign (corresponding to 1774), official records mention a total of 120 Songhua stone pieces, whether worked or as raw material, in the Palace collection.Records from the fourth day of the twelfth month of the 39th year of Qianlong's reign note that on three occasions, raw material amounting to 38 pieces from Jilin province, was sent to the palace and, out of five stone pieces, eight inkstones and their boxes were made. It was customary with Songhua stone from the palace to have the inkstones in original boxes of the same material, usually using the different stratified colors. Currently there are eighty Songhua inkstones in the Palace Museum collection, of which ten are attributed to Kangxi, sixteen to Yongzheng, thirteen to Qianlong, nine to Jiaqing, one to Daoguang and five to Guangxu's reigns.Literature comparison: A related ink stone, box, and cover was included in Selected Treasures of Chinese Art, Hong Kong, 1990, cat. no. 238. A related Qianlong inkstone and cover of rectangular shape, also carved with pine trees and cranes, was included in the Special Exhibition of Songhua Inkstone, National Palace Museum, Taipei, 1993, cat. no. 57.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 2931 Price: HKD 562,500 or approx. EUR 76,000 converted and adjusted for inflation at the time of writing Description: A Songhua ink stone, box and cover, Qianlong incised four-character seal mark and of the period Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and four-character seal mark incised in a line. Note the similar size (9.6 cm). Further note that this example arguably does not show the same exceptional skill and attention to detail as the present inkstone.Auction result comparison: Type: Closely relatedAuction: Sotheby's Hong Kong, 23 October 2005, lot 23 Price: HKD 2,696,000 or approx. EUR 517,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of QianlongExpert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (10 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 23 October 2005, lot 149 Price: HKD 1,912,000 or approx. EUR 367,500 converted and adjusted for inflation at the time of writing Description: A fine Songhua inkstone, box and cover, carved mark and period of Qianlong Expert remark: Compare the closely related stone, form, manner of carving with similar lingzhi-shaped well, cranes, gnarled pine tree, and incised leaves, and incised four-character seal mark. Note the similar size (9.5 cm).乾隆款及年代松花硯中國，1736-1795年。由於字數限制，完整中文敘述請至www.zacke.at查看。

A RARE AND COMPLETE SET OF FOUR JADE OPENWORK SWORD FITTINGS, WESTERN HAN DYNASTYChina, 206 BC to 8 AD.Comprising:1) A pommel (shou) of circular form, the domed center carved as a dragon, encircled by alternating taotie masks and archaic scroll,2) A sword guard (ge) carved with central taotie masks to each side, the nose extending to the pointed lower end, flanked by phoenixes and archaic scroll,3) A scabbard chape (bi) of trapezoidal form carved with sinuously coiled dragons,4) A scabbard slide (zhi) carved with a central bi disc flanked by two confronting dragons with tails terminating in phoenix heads.Provenance: From the private collection of Irene and Wolfgang Zacke (1942-2022). The couple has been active in the art trade for well over half a century and were one of the first in Austria to offer Asian works of art in their gallery, starting in 1968. Since the late 1980s, they have been collecting ancient Chinese jades, building an extensive and multiply published collection over the decades.Condition: Excellent condition, commensurate with age. Expected wear, alterations and weathering, minuscule nibbling and losses, soil and iron rust encrustations. The stone with natural inclusions and fissures, some of which have developed into small hairline cracks over time. Weight: 113.6 g (total) Dimensions: Length 14 cm (the scabbard slide), 7 cm (the scabbard chape), and 6.8 cm (the sword guard), Diameter 6.7 cm (the pommel)The translucent jades are of a fine, greenish-yellow tone with cloudy inclusions, and scattered black speckles. The distinct iron rust encrustation indicates that the jades were buried with a source of iron, doubtlessly the decomposed blade.Expert's note: Xi'an City was the capital of China during the Western Han (202 BC-8 AD) period. According to metallographic studies of iron swords excavated in this region, all known examples were found in a severely decomposed condition. Consequently, they presented a wide range of damage such as fractures, incompleteness, and thick layers of corrosion. Such corrosion leaves notable decaying marks on their corresponding jade fittings, which take centuries to develop into the russet 'spiderweb' crackle found on the present lot. These alteration marks are inimitable, not only because they leave behind irreversible scars on the jade itself, but also because their metallurgic composition is quite unique.In ancient China, there were two pathways known for soft iron making: One was the so-called “direct process” in which bloomery iron, with a low-carbon content, was smelted in a furnace and then directly used for smithing larger numbers of lower quality blades. The second, so-called “indirect process” was more complex: After smelting from a blast furnace, cast iron was decarburized through a liquid-state procedure called Chaogang. This produced still-malleable iron with a significantly higher carbon content of up to 1%, or - in other words - steel of the best possible quality for the manufacture of high-end blades. Needless to say, jade was used primarily for fittings of blades from this group, a sign of almost exuberant luxury, marking its owner as a person of nobility. Similar fittings were also found on bronze swords, but only the ones discovered near the remnants of iron blades are encrusted with distinct rust patterns such as the present lot.This exceptional set of sword fittings exemplifies the best jade carving of the early Western Han period. Note the extreme thinness of the jades in several areas, with some parts of the guard and the chape measuring an incredible 1 mm in thickness.Literature comparison: Compare a closely related set of sword fittings once belonging to the King of Nanyue, illustrated in Zhongguo Yuqi Quanji 4 - Qin, Han, Nanbeichao, Hebei, 1993, pp. 60-61, nos. 79-82. Compare four sword fittings from the Myers collection, dated to the Western Han period, published in Fillippo Salviati, Radiant Stones: Archaic Chinese Jades, 2004, Hong Kong, nos. 130-133.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 31 May 2017, lot 2711 Price: HKD 8,460,000 or approx. EUR 1,148,000 converted and adjusted for inflation at the time of writing Description: An important set of three jade 'chilong' sword fittings and a jade sword guard, Western Han dynasty Expert remark: Note the smaller size (the largest 8.8 cm)西漢罕見一套四件玉劍飾中國，公元前206年至公元8 年。一套四件 來源：Irene與 Wolfgang Zacke (1942-2022)。自1968 年起，這對夫婦活躍在藝術貿易界，並且是奧地利最早在其畫廊中提供亞洲藝術品的人之一。1980 年代後期，他們一直在收集中國古代玉器，幾十年來建立了極富多樣性的收藏。 品相：狀況極佳，有磨損、風化、磕損、缺損、土壤結殼與鏽斑。具有天然內沁和裂縫的玉料，隨著時間的推移，其中一些已經發展成細小的裂縫。 重量：總113.6克 尺寸：劍璏長 14 厘米，劍珌7 厘米，劍格6.8 厘米，劍首直徑 6.7 厘米 玉質細膩，有綠色、赭色斑，瑩潤有澤。玉石上明顯的鐵鏽斑。由於字數限制，完整中文敘述請至www.zacke.at查看。

AN IMPERIAL SCROLL-SHAPED ZITAN BOX AND COVER, QIANLONGChina, 1736-1795. Naturalistically carved as three stacked scrolls, the upper scroll with a neatly incised lozenge diaper pattern in deep relief, the lower two with similarly executed floral and wan-symbol patterns, respectively. Each of the three with a bone-inlaid plaque imitating a label, meticulously engraved with gilt inscriptions identifying the paintings once contained in the box, all framed by a remarkably fine silver-inlaid T-scroll border, and cleverly decorated with further inlays to imitate the clasps and scroll handles. The sides again meticulously carved and painted to imitate the scroll ends. The interiors delicately padded with lozenge-diapered Imperial yellow silk.Inscriptions: The upper scroll box, 'Poetic Ideas from the Imperial Jiguang Temple, painted by Qian Weicheng, calligraphy by Liang Shizheng'. The lower left scroll, 'Poetic Ideas of the Imperial Jade Belt Bridge, painted by Xu Yang, calligraphy by Wang Yudun'. The lower right scroll, 'Poetic Ideas on the Boat Journey to Spring, painted by Dong Bangda, calligraphy by Liang Shizheng'.Provenance: British trade. Condition: Very good condition with some old wear and traces of usage, also to the interior, light surface scratches, minuscule age cracks, nicks and losses. The gilt to the incised inscriptions slightly worn off. The textiles to the inside slightly faded, with loose thread and minor creases.Weight: 1,194 g Dimensions: Length 27.8 cm This exquisitely conceived box is remarkable for the combination of zitan wood, gilt bone inlays, and silk textiles which all have been carefully assembled resulting in a harmonious design overall. Skillfully modeled to simulate three scrolls, such elaborate curiosity pieces are rare and would have enjoyed a place of prestige in an elegant scholar's studio or even an Imperial palace.The Qianlong Emperor's love of painting and calligraphy fueled the development of boxes for such treasured items. The characteristics of these containers included the use of choice materials, the preferences being zitan, carved lacquer, cloisonne, and bamboo, due to their durability and fine quality which would complement the painting and calligraphy. The shape and decoration of these containers were also carefully considered to reflect both their contents and the imperial authority. Scroll boxes in the form of either three or five stacked scrolls were made in a variety of materials and demonstrate the importance given to packaging during the Qianlong reign.The paintings contained in such scroll boxes were usually made by well-known court painters and the boxes usually depict the title on the cover. The present box is decorated with three meticulously carved inlaid plaques imitating labels, each inscribed with the title of a famous painting, all three by court painters known to be active during the reign of Qianlong. One is a landscape depicting the Yudai bridge by Xu Yang, another a landscape painting of the Jiguang temple by Qian Weicheng, the last a painting of a boat by Dong Bangda.Literature comparison:Boxes made to imitate scrolls were popular in the Qianlong period and were made in various materials and designs. Compare the near-identical scroll-form box made of zitan and inlaid ivory, and the one in carved red lacquer, both in the Palace Museum, Beijing, and illustrated in The Sumptuous Art of Imperial Packaging, Macau, 2000, pp. 30-31, nos. 2 and 3.Compare an imperial carved cinnabar lacquer scroll box and cover, dated to the Qianlong period (1736-1795), at Christie's New York, 19 March 2009, lot 589. Compare a gilt-bronze and cloisonne enamel covered box, dated to the Qianlong period, at Sotheby's Paris, 16 June 2022, lot 141. Compare a hardwood scroll shaped box and cover, dated to the Qing dynasty, at Sotheby's London, 6 November 2013, lot 73.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 April 2018, lot 3413 Estimate: HKD 500,000 or approx. EUR 68,500 converted and adjusted for inflation at the time of writingDescription: A pair of ivory-inlaid zitan scroll-shaped boxes and covers, Qing dynasty, 18th centuryExpert remark: Compare the closely related form, inlays, and decorations. Note that this lot comprises two boxes.乾隆御製紫檀卷軸蓋盒中國，1736-1795年。紫檀卷軸刻雷紋、團花紋與萬字紋，嵌象牙，象牙上刻所裝書畫名稱等畫名。可開啓。此包裝的造型采用卷軸冊頁式，製作精美。盒内襯雷紋黃地絲綿。 款識：御制玉帶橋詩意，徐揚畫，汪由敦書；御制積廣詩意，錢維城畫，梁詩正書；御制舟行春興詩意，梁詩正書，董邦達畫。 來源：英國古玩交易。 品相：狀況極好，有一些磨損和使用痕跡，內部也有輕微的劃痕，微小的老化裂縫、刻痕和缺損。鎏金略有磨損，内襯略微褪色，線鬆散，有輕微摺痕。 重量：1,194 克 尺寸：長 27.8 厘米 紫檀木、鎏金象牙以及絲綢紡織品的組合使盒子顯得尤爲珍貴，整體設計和諧，深受文人雅士甚至皇宮之中所推崇。由於字數限制，完整中文敘述請至www.zacke.at查看。

A GRAY AND BLACK NEPHRITE JADE FIGURE OF A HORSE, MING DYNASTYChina, 17th century. Well carved as a recumbent horse with the legs tucked in. The head is turned backwards with the mane falling on either side of the arched neck, and the tail is flicked onto the left rear haunch. The semi-translucent stone is of a pale gray tone with cloudy inclusions, dark veins, and black patches and shadings.Provenance: S. Bernstein & Co., Jade & Oriental Art, San Francisco, 23 August 2004. A private collection in Bethesda, Maryland, USA, acquired from the above. A copy of a description document from S. Bernstein & Co., signed and sealed by Sam Bernstein and confirming the dating above, as well as a copy of the original invoice, dated 23 August 2004 and stating a purchase price of USD 14,000 or approx. EUR 20,500 (converted and adjusted for inflation at the time of writing), accompany this lot. Sam Bernstein is an internationally recognized specialist dealer in Chinese antiquities. He has authored thirteen volumes on Chinese art including The Emperor's Jade Suit and Chinese Jade: The Immortal Stone. Over the past twenty-five years, Mr. Bernstein has gained experience in forming some of the greatest collections of Asian art in the world. Both of his parents were passionate collectors of Asian art and traveled extensively throughout Europe and the Far East. In 1991, Mr. Bernstein founded S. Bernstein & Co., Jade and Oriental Art, a gallery in San Francisco located in the historic Fairmont Hotel, which specializes in museum quality Chinese jade and related arts.Condition: Very good condition with minor old wear, few light surface scratches and minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 197.2 g (excl. base) and 245.7 g (incl. base)Dimensions: Length 8.5 cm (the jade) and 9.1 cm (the base)With a fitted wood base and a padded box. (3)The horse has a long history as a symbol of power, energy, and prestige in China. Jade carvings of horses are thought to originate in the Tang dynasty, reflecting the powerful stone sculptures of horses found on Spirit Roads and the pottery horses found in tombs.Auction result comparison:Type: Related Auction: Christie's New York, 20 September 2013, lot 1683 Price: USD 56,250 or approx. EUR 67,000 converted and adjusted for inflation at the time of writing Description: A well-carved grey-green jade figure of a recumbent horse, 17th/18th century Expert remark: Compare the closely related pose and incision work. Note the different color and larger size (15.2 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2017, lot 3056 Price: HKD 500,000 or approx. EUR 66,000 converted and adjusted for inflation at the time of writing Description: A jade recumbent horse, Ming dynasty Expert remark: Compare the closely related eyes, mane, tail, and ears, as well as the similar size (9.4 cm). Note the slightly different pose and mostly russet color.明代灰黑玉臥馬中國，十七世紀。臥馬表滿佈絲霧狀黑褐色沁，玉質溫潤，觸手細膩，包漿潤潤。玉馬倒地嬉戲，臥馬兩耳圓潤，肢體健碩，骨肉豐滿，回首向背。 來源：2004年8月23日舊金山S. Bernstein & Co.玉器與東亞藝術藝廊；美國馬里蘭州貝塞斯達私人收藏，購於上述藝廊。隨附一份藝廊Sam Bernstein親筆簽署並蓋章的描述文件，以及一份原始發票複印件，時間爲2004年8月23日，價格爲USD 14,000，相當於現在的EUR 20,500。Sam Bernstein是國際公認的中國古物專業經銷商。他撰寫了十三卷有關中國藝術的著作，包括《The Emperor's Jade Suit》和《Chinese Jade: The Immortal Stone》。在過去的二十五年裡，Bernstein先生積累了豐富的亞洲藝術收藏的經驗。他的父母都是亞洲藝術的熱情收藏家，並在歐洲和遠東多次旅行。1991 年，Bernstein先生在舊金山歷史悠久的Fairmont酒店創立了 S. Bernstein & Co., 玉器與東亞藝術藝廊，專門研究博物館品質的中國玉器及相關藝術品。 品相：狀況非常好，有輕微的磨損，輕微的表面劃痕和刻痕，有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。 重量：197.2 克 (不含底座) 與245.7 克(含底座) 尺寸：長 8.5 厘米 (玉) 與9.1 厘米 (底座) 配有合身的木質底座和帶襯墊的盒子。(3)由於字數限制，完整中文敘述請至www.zacke.at查看。

AN ARCHAIC BRONZE RITUAL WINE VESSEL, ZHI, LATE SHANG TO EARLY WESTERN ZHOU DYNASTYChina, ca. 1050 BC. Of elongated pear shape with a waisted neck and flared rim, cast below the neck with a single border of leiwen in deep relief, the splayed hollow foot encircled by two bow-string bands. The bronze skin with a magnificent, naturally grown patina showing a multitude of deep-green malachite and cuprite encrustations. Provenance: Christie's South Kensington, London, 28 July 1994. Catherine Farrell, London, acquired from the above. A copy of the provenance statement, written and signed by Catherine Farrell, dated 8 July 2022, attesting to her purchase of the present lot at Christie's South Kensington on 28 July 1994 as well as it being authenticated by Dr. Jessica Rawson in 1990, whose appraisal mentioned in the letter confirms the dating above, accompanies this lot. Dame Jessica Mary Rawson (b. 1943) is an English art historian, curator, and sinologist. She is also an academic administrator, specializing in Chinese art. Between 1976 and 1994, she served as Deputy Keeper and then Keeper of the Department of Oriental Antiquities at the British Museum in London and from 2006 to 2011 as pro-vice-chancellor of Oxford University. She has been involved in a number of high-profile exhibitions such as the Mysteries of Ancient China.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Old wear, signs of weathering and erosion, minor nicks here and there. Solid, naturally grown patina with extensive malachite and cuprite encrustation.X-Ray: Images 18-22 confirm the excellent original condition of this lot.Weight: 317.8 g Dimensions: Height 13.4 cmZhi goblets such as the present example served as drinking vessels. They were employed in important ritual performances aimed at paying homage to the ancestors. According to Chinese beliefs, the ancestors were deemed active participants in the life of their offspring, which they could positively influence if provided with the correct necessities for their own afterlife, see Jessica Rawson, 'The Power of Images: The Model Universe of the First Emperor and its Legacy', in Historical Research, no.75, 2002, pp. 123-154.Expert's note: The Qianlong emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The form of the present zhi vessel has served as the inspiration for a number of jade zhi now in private and public collections, including no. 40 in this catalog (please see the lot entry for further examples). This clearly shows that bronze zhi such as the present lot were already highly valued 300 years ago.Literature comparison: Compare a closely related zhi, of similar form and also with a leiwen band below the neck and two bow-string bands around the foot, dated to the early Western Zhou period, mid-11th to early 10th century BC, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1981.106. Compare a related zhi, also decorated with leiwen and bow-string bands, dated Shang dynasty to Western Zhou period, in the collection of the Arthur M. Sackler Museum, Harvard Art Museums, object number 1956.87.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2014, lot 10 Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: The Fu Xin Zhi, a bronze ritual wine vessel, late Shang dynasty, 13th-11th century BC Expert remark: Compare the related form and manner of casting with similar leiwen and bow-string bands, additionally with taotie mask and flanges. Note the larger size (15.2 cm) and that the zhi has a three-character inscription.Auction result comparison: Type: Related Auction: Christie's New York, 14 September 2018, lot 1103 Price: USD 37,500 or approx. EUR 40,000 converted and adjusted for inflation at the time of writing Description: A rare small bronze ritual wine vessel, zhi, late Shang-early Western Zhou dynasty, 11th century BC Expert remark: Compare the similar form and manner of casting with leiwen and bow-string bands, additionally with taotie mask and flanges. Note the smaller size (11.4 cm) and that the zhi has a two-character inscription.商末至西周青銅觶中國，約公元前1050 年。器身細高，敞口，直唇，體呈橢圓形，下腹外鼓，喇叭形高圈足，頸部雷紋帶，圈足上兩道弦紋。該器壁勻薄，造型挺拔優美。青銅表皮自然生長的包漿，呈現出大面積深綠色的銅鏽。 來源：1994年7月28日倫敦南肯辛頓佳士得；倫敦Catherine Farrell購於佳士得。隨附一份Catherine Farrell寫的關於來源説明的複本，日期爲2022年7月8日由於字數限制，完整中文敘述請至www.zacke.at查看。

AN IMPORTANT AND RARE PALE CELADON AND RUSSET JADE MOUNTAIN, 18TH CENTURYChina. Finely carved to one side with a scholar and his boy attendant walking along the mountain toward a neatly incised waterfall, and to the other with an attendant playing the qin near a pavilion above a group of scholars near a stream, one kneeling and holding a bucket, his attendant standing behind him carrying a large stick, the other two standing in front of a small cascade, all set in a monumental mountainous landscape with several beautifully carved pine trees. The translucent stone is of a pale celadon tone with distinct russet veining and patches, as well as scattered cloudy inclusions.Provenance: From a Swiss private collection. Condition: Superb condition with minor old wear, possibly microscopic nicks, the stone with natural inclusions and fissures. The matching wood base with old age cracks, minor nicks and losses, and fine naturally grown patina overall.Weight: 877.3 g (incl. base), 804.2 g (excl. base) Dimensions: Height 18.9 cm (incl. base), 16.4 cm (excl. base)With a matching wood base of the same period, finely carved with craggy rockwork, pine, bamboo, and chrysanthemum. (2)Expert note: The present jade mountain is carved all around to show a continuous scene, with the waterfall on one side of the mountain and the cascade on the other stemming from the same source. Such jade mountains with no preferred side are extremely rare. Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 1 June 2011, lot 3904Price: HKD 680,000 or approx. EUR 118,500 converted and adjusted for inflation at the time of writingDescription: A pale celadon jade mountain carving, Qing dynasty, 18th/19th centuryExpert remark: Compare the closely related form, the color of the jade, as well as the similar size (16.7 cm)Auction result comparison:Type: Closely relatedAuction: Christie's London, 8 November 2016, lot 159Price: GBP 40,000 or approx. EUR 55,000 converted and adjusted for inflation at the time of writingDescription: A pale celadon jade 'scholars' mountain, Qianlong period (1736-1795)Expert remark: Compare the closely related size and form of the figures, rock work and pine tree, as well as the closely related color of the jade. Note the smaller size (12 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 13 October 2021, lot 3693Price: HKD 378,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writingDescription: A pale green jade 'scholar' mountain Qing dynasty, 18th centuryExpert remark: Compare the closely related form, with carvings to both sides, the neatly executed rockwork, color of the jade, as well as the size (16.8 cm).十八世紀青玉山子中國。山子取整塊青玉雕琢，細膩溫潤，晶瑩通透，融合高浮雕、鏤雕、圓雕及陰刻技法，營造出山勢高聳巍峨，令人驚嘆之仙境美景。畫面中山峰猶如拔地而起，山岩間松樹老松遒勁，枝幹蜿蜒，松針如輪，挺然獨秀。山腰間搭建亭台，台上一文人撫琴。山腳有三位文人及童子，或成雙清談，或木桶取水，身後一童子。方溪澗流水潺潺。另一面山形奇特峭峻，怪石嶙峋，蒼松繁茂，一位文人沿著山徑緩步而行，後面跟著一個携琴童子。青玉帶著紅色紋理及絮狀内沁。 來源：瑞士私人收藏。 品相：狀況極佳，有輕微磨損，微小的刻痕，玉石有天然的內沁和紋理。配套的木質底座帶有老舊的裂縫、輕微的劃痕和缺損，整體包漿自然。 重量：877.3 克 (含底座)，804.2 克 (不含底座) 尺寸：高18.9 厘米 (含底座), 16.4 厘米 (不含底座) 同期木底座，雕刻假山、竹子和菊花。 專家注釋：玉山子圓雕，一氣呵成，山體一側有飛瀑，另一側瀑布同源。這種沒有偏重一邊的玉山子，極為罕見。拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2011年6月1日，lot 3904 價格：HKD 680,000（相當於今日EUR 112,500） 描述：十八或十九世紀清代青玉山子 專家評論：比較相近的形式，玉石的顏色，以及相似的大小 (16.7 厘米)。由於字數限制，完整中文敘述請至www.zacke.at查看。

A CELADON JADE 'BIRD' PENDANT, MID-WESTERN ZHOU DYNASTYChina, circa mid-10th to mid-9th century BC. The bird has a flattened, angular head, and a sharply pointed beak. The wing feathers are embellished with incised lines rising out of the scrolls that form the breast. The bifurcated tail seems to be that of a fish. Pierced through the breast is a small hole. The translucent stone is of a yellowish celadon tone with russet and cloudy inclusions as well as small dark veins and specks.Provenance: Sotheby's New York, 6 December 1989, lot 3. William and Sophia Harrison, acquired from the above. Gifted to the Speed Art Museum, Louisville, Kentucky, USA, in 2000, accession number 2000.13.16 (according to lacquer inscription), deaccessioned in 2022. The Speed Art Museum is the oldest, largest, and foremost museum of art in Kentucky, USA. The Speed houses ancient, classical, and modern art from around the world. Hattie Bishop Speed established the museum in memorial of her husband James Breckenridge Speed, a prominent Louisville businessman, art collector, and philanthropist.Condition: Very good condition with minor old wear, minuscule nibbling around the pierced hole. Microscopic encrustations and a fine, naturally grown patina overall.Weight: 5.4 gDimensions: Length 6 cmAuction result comparison: Type: Closely related Auction: Christie's, 28 November 2018, lot 2740 Price: HKD 112,500 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: A celadon jade 'bird' pendant, mid-Western Zhou dynasty, circa mid-10th-mid-9th century BCExpert remark: Compare the closely related beak, eyes, and bifurcated fish tail, as well as the related size (5.7 cm). Note that the incised lines are slightly more dense and rounded than on the present lot.西周中期青玉鳥形佩中國，公元前十世紀中期至九世紀中期。作鳥形，長尾巴，首微揚，頭上一大束羽冠，姿態生動。雙面陰刻紋飾。胸口鑽有一孔，用來繫繩佩掛。鳥形佩青黃色，褐色紋理及深色黑點。 來源：紐約蘇富比，1989年12月6日，lot 3。William 與 Sophia Harrison購於上述拍賣；2000年贈於美國肯塔基州路易維爾市 Speed Art Museum，編號 2000.13.16 ，2022年出售。The Speed Art Museum是路易維爾市最古老、最大、最重要的藝術博物館，收藏了來自世界各地的古代、古典和現代藝術作品。Hattie Bishop Speed 建立了這座博物館，以紀念她的丈夫 James Breckenridge Speed，他是路易斯維爾著名的商人、藝術收藏家和慈善家。品相：狀況非常好，有輕微的磨損，穿孔周圍有微小的刻痕。輕微結殼和自然包漿。重量：5.4 克 尺寸：長 6 厘米 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2018年11月28日，lot 2740 價格：HKD 112,500（相當於今日EUR 14,500） 描述：大約公元前十世紀中期至九世紀中期西周中期青玉鳥形佩 專家評論：比較非常相近的喙、眼睛和分叉的魚尾，以及尺寸（5.7厘米）。請注意，此玉珮的刻線比現拍品略為密集和圓潤。

AN IMPERIAL 'DRAGON' HARDWOOD CHEST, COMMEMORATING THE RENOVATION OF THE JADE PEAK PAGODA BY EMPEROR QIANLONGOpinion: The Jade Peak Pagoda, or Yu feng ta, is a famous building on Jade Spring hill in the Imperial Garden, Jingming Yuan, in Beijing. The site was originally an Imperial retreat during the Liao dynasty. Later destroyed, it was renovated in the 18th century by the Qianlong Emperor. The pagoda is 30 meters high, has seven stories, an octagonal base and frame, and is built of brick and stone. Its design imitates the Cishou Pagoda of Jiangtian Temple on the Golden Hill near Zhenjiang, Jiangsu province. It seems plausible that the present lot with its virtuously carved Imperial dragon on the lid was created to commemorate the renovation of the pagoda by Emperor Qianlong. Likewise, the ruling family of Liechtenstein is known for always having maintained an intimate relationship with China, only recently lending the country 100 works by Rubens, van Dyck and other highly important Flemish masters, for the exhibition "Masterpieces from the Collections of the Prince of Liechtenstein" in Beijing's National Museum of China.China, 1736-1795. Of rectangular form standing on four short bracket feet with a hinged cover. The cover virtuously carved in deep relief with a sinuous dragon amidst clouds, framed by a key-fret border, the sides decorated with clouds within rectangular reserves above a finely incised key-fret band. The interior cover with a blue silk panel, finely painted to depict the Jade peak pagoda on the Jade Spring hill with a stupa in the background.Inscriptions: Upper right, a poem about lotus flowers and stillness, signed 'Zhou Peiting', one seal.Provenance: From the collection of Wilhelm Alfred von und zu Liechtenstein, in the family since at least the late 19th century. Wilhelm Alfred von und zu Liechtenstein (1922-2006) was the cousin of Franz Josef II, Prince of Liechtenstein. On 21 September 1950, he renounced his name and title and began to study at the University of Natural Resources in Vienna, graduating as a forest engineer and subsequently active in various management positions in the wood industry. From 1990 until his death, he was the Grand Prior of the Sovereign Military Order of Malta. Wilhelm received several national honors, including the Grand Decoration of Honor in Silver with Sash in 1999.Condition: Very good condition with some old wear, natural age cracks, an old fill to the base, few nicks and scratches, minor splits and losses. Superb patina overall.Weight: 6 kgDimensions: Size 15.5 x 48.7 x 30.4 cm清代御製硬木龍紋木箱中國，1736-1795年。長方木箱，四短足，長方形，立在四個短支架腳上，木蓋有鉸鏈。 蓋上精美地雕刻著一條蜿蜒在雲層中的龍，雷紋邊框；箱子外壁飾雲紋。蓋内以藍色絲綢嵌板，描繪頤和園内玉泉山上的玉峰塔。 專家注釋：玉峰塔，或稱玉峰塔，是北京御花園玉泉山上的一座著名建築，位於景明園。該地原是遼朝時的皇室禁地。後來被毀，在十八世紀由乾隆皇帝重修。該塔高30米，有七層，八角形底座和框架，由磚石建成。它的設計模仿了江蘇鎮江金山寺慈壽塔。本件拍品的蓋子上刻有德高望重的御龍，似乎是為了紀念乾隆皇帝重修寶塔而製作的。同樣，列支敦士登的統治家族也因一直與中國保持著密切的關係而聞名，最近才借給中國100件Rubens、van Dyck和其他非常重要的Flemish School的作品，用於在北京中國國家博物館舉辦的《Masterpieces from the Collections of the Prince of Liechtenstein》展覽。 款識：絹本畫面上可見“菱荷香遠亭臺靜，寶塔流雲景愈幽。周佩亭並題”。 來源：Wilhelm Alfred von und zu Liechtenstein收藏，最晚在十九世紀末進入家族收藏。Wilhelm Alfred von und zu Liechtenstein (1922-2006) 是列支敦士登親王Franz Josef II的表弟。1950年9月21日他放棄了自己的姓名和頭銜，開始在維也納自然資源大學學習，畢業於森林工程係，隨後活躍於木材行業，擔任各種管理職位。從 1990 年到他去世，他是馬爾他主權軍事教團的大主教並獲得了多項國家榮譽，包括 1999 年的銀質榮譽勳章。 品相：狀況極好，有一些磨損、自然老化裂縫、底座修補、少量刻痕、劃痕、輕微裂痕和缺損。整體包漿良好。 重量：6 公斤 尺寸：15.5 x 48.7 x 30.4 厘米

A CELADON AND RUSSET JADE FIGURE OF AN ELEPHANT, MING DYNASTYChina, 1368-1644. Boldly carved as an elephant standing foursquare, three of his large legs with deep incisions reminiscent of swirling lingzhi-shaped clouds, the snout of its trunk in the form of a ruyi head, the feet neatly articulated and the almond-shaped eyes finely incised. The semi-translucent stone of a celadon and russet tone with opaque grayish-white patches and icy inclusions.Provenance: A private collection in the United States, acquired between 1960 and the early 1980s, and thence by descent in the same family. Christie's New York, 17-18 September 2015, lot 2380, sold for USD 8,750 or approx. EUR 10,800 (converted and adjusted for inflation at the time of writing). A noted private collection, acquired from the above.Condition: Excellent condition, commensurate with age. Ancient wear, small nicks, some areas with signs of erosion and minor surface alteration. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine, naturally grown patina, with an unctuous worn feel overall, due to extensive handling over centuries. Weight: 648.0 gDimensions: Length 10.2 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2019, lot 1171 Price: USD 75,000 or approx. EUR 85,000 converted and adjusted for inflation at the time of writing Description: A mottled grey, dark brown and russet jade figure of an elephant, China, Ming dynasty Expert remark: Compare the closely related manner of carving and deep incision work with similar 'naturalistic' details, though in this case with ears in the form of lotus leaves (instead of the legs with swirling lingzhi clouds found on the present lot). Note the slightly larger size (12.7 cm).Auction result comparison: Type: Related Auction: Christie's New York, 23 March 2012, lot 1815 Price: USD 21,250 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: A small greenish-yellow and russet jade carving of an elephant, 17th century Expert remark: Compare the closely related color and ruyi-form snout. Note the smaller size (5 cm).明代青玉留皮雕臥象擺件中國，1368-1644年。大象向右回首，呈半臥姿，長鼻翻捲，體態肥碩，雙耳如扇，四肢如柱，腿上飾如意雲紋，刻飾嫻熟流暢。青玉留皮，巧妙利用皮色，使大象更顯憨厚生動。 來源：美國私人收藏，購於上世紀六十至八十年代初，保存在同一家族至今；紐約佳士得2015年9月17-18日，lot 2380，售價 USD 8,750 ，相當於現在的 EUR 10,800；知名私人收藏，購於此拍賣。 品相：狀況極佳，與年齡相稱。磨損、小刻痕、部分有侵蝕跡象、輕微表面變化，具有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。由於幾個世紀以來的賞玩，表面有自然瑩潤的包漿。 重量：648.0 克 尺寸：長10.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2019年3月21日，lot 1171 價格：USD 75,000（相當於今日EUR 85,000） 描述：明代灰褐玉象 專家評論：比較非常相近的雕刻風格、巧妙利用皮色的細節，雖然此玉象飾蓮葉紋雕刻。請注意尺寸稍大(12.7 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年3月23日，lot 1815 價格：USD 21,250（相當於今日EUR 27,000） 描述：明末清初十七世紀青玉雕象馱如意把件 專家評論：比較非常相近的顏色和如意鼻頭。請注意尺寸較小(5 厘米)。

A STRING OF JADE BEADS 34ins long.

A STRING OF JADE AND PEARL BEADS. 48ins long.

A CHINESE CARVED DRAGON JADE PENDANT. 2ins

A CHINESE CARVED LARGE JADE PENDANT. 3ins.

A GOLD TOP DRAGON JADE PENDANT. 2ins.

A STRING OF JADE BEADS 20ins long.

A Vintage 9ct Gold - Jade Set Pendant of Oval Form, Set with Gold Chinese Character Figures to Centre, Attached to a 9ct Gold Chain, Marked 9ct. Length of Chain 18 Inches - 45 cms, Pendant Size 1.5 Inches - 3.75 cms. Weight 14.5 grams.

A Fine Pair of Early 20th Century Jade Carved Amulets. One Depicting Monkey and Bats, Surrounding Bulbous Fruits, The Other Beast Amongst Flora. Weight 127 grams. Sizes 2 x 2.34 Inches & 1.75 x 2.5 Inches.

Chinese 19th Century Jade Figure of a Large Toad, In a Resting Position, In Chinese Culture. The Toad Is a Symbol of Long Evity and Wealth. Excellent Condition. 3 Inches - 7.5 cms In length.

Pair of jade bangles, D7.4cm, and a carved jade pendant in the form of fruit (A/F) on white metal chain, L60cm (3)

A silver pepper grinder, Birmingham 1932 and a pair of silver coffee spoons with jade handles

A 14ct gold jade ring, size M to N

A 9 carat gold heart form locket, 3.2g and a 'jade' and gold pendant

A collection of Chinese blue & white porcelain, Qing, 19th century and later, comprising a dragon bowl with four character kangxi mark, 19.7cm dia, on wood stand; a bowl painted with a procession of trades people, four character mark, 15.2cm dia; a pair of dragon vases, 21cm; a miniature vase and cover with applied chilong, 10.7cm high; cups, saucers, a miniature vase and a cup and cover. Qty: 14One large vase with breaks and losses to the rim. A small vase with breaks and losses to the rim. The Kraak style cup marked Jade/Precious broken in two and glued and the corresponding saucer has a piece broken off and glued back in place. The other saucer also has a glued section. The cover of the small cup has rim chips and the cup has an inverted Y shape crack. The bowl with figures has a fine 3cm vertical hairline rim crack. Faults visible in online images.

Two 1950s stage costumes (swimsuit/ leotard style) to include lace and zip front, backless, faux leopard fur swimsuit, and a jade green showgirl costume with black sequins (2)leopard is goodgreen is good with some metal pin head sized nibbles at the crotch and a couple more plastic pin head sized which haven't gone through the lining, and a few missing sequins

1950s and later clothing to include an elmore suit, a Rembrant for Harrods suit, a Jaeger coat, a windsmoor jacket and two other coats, one in a vibrant jade green (7)

12 vintage dresses, 1950s-1980s. brands include Rembrandt original, Hartnell for Berketex , Susan Barry, Horrockses, Simpson Picadilly and others. A jade green, silk georgette Jean Louis Scherrer Boutique dress is included. (12)generally all in good order

vintage accessories to include a floppy red velvet Harrod's beret, a green velvet and faux leopard hat, a Victor Osbourne faux leopard hat, a velvet hat in jade green, a mink alice band, kid gloves, crocodile parse and a zipped and buckles latex waist cincher (8)

A 9ct yellow gold jade cross with a white gold central crossover design set round cut diamonds in an illusion setting, approx. total diamond weight 0.05 carats, measuring 4cm x 2.2cm (inc. bale).

A 14k yellow gold ring (hallmark slightly indistinct) set with an oval cabochon cut jade, measuring approx. 14mm x 9mm x 3.6mm, 3.00gm, size L and a pair of 22ct yellow gold earrings set with round cabochon cut jade, approx. 10mm diameter with screw on bu

A high carat charm bracelet (indistinct marking but probably 14ct plus) with ten gold charms, five are 14k yellow gold, four are 9ct yellow gold and one is un-hallmarked and depict a lion, house, rickshaw, abacus, two pots, one set jade and the other turquoise, etc, total weight 40.48gm.

Chinese hardwood seal chest inlaid with a well-carved Hetian celadon jade dragon chasing a flaming pearl along the top. Intricately carved with a rock surrounded by crashing waves surmounted by a shou symbol.Height: 8 1/2 in x width: 10 1/4 in x depth: 10 1/4 in.

Pair of modern Chinese carved jade plaques. Of a lovely pale jade mottled and streaked with spinach and russet inclusions. On custom wooden stands.Provenance: From the collection of William Atkins, Minnesota.(Each, without stand) Height: 2 3/4 in x width: 3 3/4 in.

Three finely carved Chinese jade or jadeite pieces, including a jade lock with a lucky star, a money star, and a longevity star; a jadeite abstinence plaque; and a jadeite disk.Each, Height: 1/4 in; width ranges from 1 1/2 in to 3 1/2 in; depth ranges from 2 in to 2 1/2 in.

Antique Chinese jade brush washer in the form of a lily pad, of a lovely mottled celadon jade with a few pale russet inclusions. With lovely carved details.Height: 3/4 in x width: 7 in x depth: 3 1/2 in.

Chinese delicately carved pale celadon jade belt hook in the form of a dragon. With a silk box.(Jade) Height: 3/4 in x width: 4 in x depth: 3/4 in; weight: 48 g. (Box) Height: 2 in x width: 4 3/4 in x depth: 2 in.

Chinese white jade archer's ring with pale russet inclusions. With a silk box.(Jade) Height: 1 in x diameter: 1 1/4 in; weight: 30 g. (Box) Height: 2 3/4 in x width: 2 3/4 in x depth: 3 in.

Chinese jadeite jade feather holder, of mottled spinach and white jade. Beautifully polished surface with a small pierced hole for hanging. In a silk box.(Jade) Height: 3 1/4 in x diameter: 1/2 in; weight: 38 g. (Box) Height: 2 in x width: 4 in x depth: 2 1/2 in.

Chinese jadeite jade bangle with gold inlay depicting flowers and a peach.Diameter: 70 mm; weight: 40 g.

A lovely collection of Chinese antiques, including a small porcelain elephant from the early 20th century, a 19th-century bronze of a court figure, an early 20th-century bamboo carving of an immortal, and a lovely white jade or hardstone dragon or fu dog.Height ranges from 1 1/2 in to 10 in; width ranges from 1 1/3 in to 3 1/2 in; depth ranges from 1 1/4 in to 3 1/2 in.

A Chinese carved celadon jade figure, H21cm, modelled as a lady, attached on a carved hardwood base, mid to late 20th century. Provenance: N & L Karantokis Estate.

Han Dynasty (202 BC-9 AD, 25–220 AD). Cicada. Carved Jade (?). Archaic jade cicadas were treasures of the Han Dynasty and were of great importance to funerary rituals. To console the spirits of the dead, it was customary to bury their effects with them so they could enjoy them in the afterworld. In Chinese legend, the cicada is a symbol of rebirth. Since its shape and size are similar to the tongue, it was often placed in the mouth of the deceased to bring him back to life. Property of a Distinguished Gentleman of Title. Dimensions:  18.5 (L) x 11.25 (W) x 5 cm. (D)