AUCTION JUNE, 16TH 2018 Fine Chinese Works of Art 慵天ᷕ⚳喅埻⑩ and Buddhist Sculpturesġ ⍲ἃ㔁晽⁷ AUCTION Fine Chinese Works of Art FRONT COVER: Lot 120 – Detail A LARGE AND VERY RARE KANGXI 慵天ᷕ⚳喅埻⑩ PERIOD FAMILLE VERTE BALUSTER VASE ‘LIU HAI AND FEMALE IMMORTALS’ and Buddhist Sculptures
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4 5 1 A QING DYNASTY CENTURY CANTON ENAMEL MINIATURE WINE CUP WITH DRAGON Enamel on bronze, multicolored enamels China, Qing Dynasty
This colorful, hand painted miniature cup shows a dragon stretching along the entire exterior. The mythical beast is flying amidst a dark blue sky with clouds and flames. The inside and base are enameled in white.
Shape: Circular bowl form Dimensions: 3 cm (height), 5,1 cm (diameter) Condition: Small chips to foot rim and few hairlines (mainly visible on the inside) Provenance: From an old Austrian private collection acquired before 1930, with old collector code inscription to underside
㶭ẋ⺋㜙䏢䎭⼑堾䍵漵䲳㜗 嵛悐怲䶋㚱⮷仢⎋⍲䳘⮷檖䴚䵓䷓炷ᷣ天⛐ℭ悐炸 ⤏⛘⇑䥩Ṣ侩㓞啷炻1930⸜⇵岤ℍ炻⸽ 悐 ⎗ 夳 㓞 啷 㧁 䯥 冯 ㍷ 徘
Estimate EUR 200,- Starting price EUR 100,-
3ġ A FAMILLE ROSE ‘WEIQI PLAYERS’ CANTON ENAMEL TRAY, QING collection of J.A. Lloyd Hyde, included in the exhibition Chinese Painted 2 DYNASTY, 18TH CENTURY Enamels, The China Institute in America, New York, 1969, cat. no. 13, AN 18th CENTURY CANTON ENAMEL MINIATURE WINE CUP WITH Multicolored enamels on white ground, the body made of copper, with and sold at Christie’s London, 8th July 1974, lot 208; and another sold at SCHOLARS bare lip and raised feet Christie’s London, 17th November 1980, lot 19. Enamel on bronze, multicolored enamels China, 18th century, most likely Qianlong period (1736-1795) China, 18th century ⋩ℓᶾ䲨⺋㜙戭偶䏢䎭Ⱦ⮵㡳ȿ㈀䚌 Delicately painted to depict a group of noble ladies playing Weiqi, 䘥⛘⣂⼑䏢䎭慱炻戭偶炻⒯㱧曚偶炻嵛ᶲ㎂ This finely hand painted miniature cup shows a picturesque scene with two boys watching the game which is about to begin, one female ᷕ⚳炻⋩ℓᶾ䲨炻㤝⎗傥䁢Ḧ昮㗪㛇 (1736-1795) stretching along the entire exterior. Set in a landscape with Daihu rocks, attendant serving tea, the scene set on a lakeshore under a large tree, a pine tree and a small bridge we see a scholar with his pupil studying a surrounded by various bands with peonies, peaches, Buddha hand finger ㍷丒Ḯᶨ佌屜⨎⛐⚺ᷕ䍑⚵㡳炻ℑᾳ䓟⬑⛐㕩怲奨䚳炻ᶨỵἵ⤛㬋䪗叿ᶨ䚌 scroll and to the other side another youthful scholar drinking wine he just citrons, stylized Chilong and several neatly executed geometric patterns, ⎫梇崘役炻⚃␐㧡㛐歖剙䑘丆ˤ䚌㱧ᶲ䵈刚⚻䲳炻攳䘥⛘歖剙㯜㝄䲳ˤ poured himself from a large vessel. the reverse showing an array of flowers and fruit. Among the Confucian ideals were the abilities to write calligraphy and to ₺⭞䎮゛䓇⊾㗗㚠㱽⮵㡳炻㬋⤪㈀䚌ᶲ⯽䣢䘬ˤ⚵㡳炷ㆾ⚵㡳炸㗗ᶨ㫦憅 Shape: Circular bowl form play weiqi, the subject-matter seen on the present tray. Weiqi (or Go) is ⮵ℑ⎵⮵ㇳ䘬㉥尉㇘䔍㡳䚌忲㇚炻℞䚖㧁㗗⌈柀㭼⮵ㇳ㚜⣂䘬柀⛇ˤ忁ᾳ忲 Dimensions: 3 cm (height), 5,2 cm (diameter) an abstract strategy board game for two players, in which the aim is to ㇚㗗2500⣂⸜⇵ᷕ⚳⎌ẋ䘤㖶䘬炻塓娵䁢㗗Ṳ⣑⁛㈧㚨ᷭ䘬㡳䚌忲㇚ˤ⬫ Condition: Small restorations and several hairlines (mainly visible on the surround more territory than the opponent. The game was invented in 塓娵䁢㗗⎌ẋ䘬⚃䧖➢㛔㈨傥ᷳᶨ炻⚈㬌斄㕤⬫䘬丒䔓ḇ⎗ẍ⛐⊭㊔㖑㛇 inside) ancient China more than 2,500 years ago and is believed to be the oldest ⽉墥䏢䐗墥⑩ᶲ㈦⇘炻⃀䭉⎒㚱㤝⮹㔠忁栆ἳ⫸ˤ Provenance: From an old Austrian private collection acquired before board game continuously played today. It was considered one of the four ⼊䉨烉㕡䚌 1930, with old collection label and inscription to underside essential arts in antiquity and hence its depiction is also found on early ⯢⮠烉29,5 x 29,5 x 3 cm enamel wares, including imperial commissions, although only very few of ⑩䚠㤝⤥炻㚱ᶨṃ䢐㎵炻䡽䡘⯨悐ᾖ⽑ˤ ⋩ℓᶾ䲨⺋㜙䏢䎭⼑堾䍵Ⱦ㔯ṢȾ惺㜗 such examples have yet been recorded. ⤏⛘⇑䥩Ṣ㓞啷 嵛悐怲䶋㚱⮷仢⎋⍲䳘⮷檖䴚䵓䷓炷ᷣ天⛐ℭ悐炸 㔯䌣⍫侫烉˪慵天ᷕ⚳喅埻˫炻喯 㭼炻ΐ 㔎炻2016⸜11㚰9㖍炻185嘇㉵⑩ ⤏⛘⇑䥩Ṣ侩㓞啷炻1930⸜⇵岤ℍ炻⸽ 悐 ⎗ 夳 㓞 啷 㧁 䯥 冯 ㍷ 徘 Shape: Lobed square shape 炷ᶨẞ⎴㛇⣏✳䰱⼑⺋㜙䏢䎭䚌)烊⎎ ᶨ ẞ ⮷ ✳ 攟 㕡 剙 ⋱ 䲳 䚌炻Ḷ1999⸜6 Dimensions: 29,5 x 29,5 x 3 cm 㚰15㖍⛐Ἓ⢓⼿ΐ㔎句㥴烊ᶨᾳ㶢䡇炻喯㟤嗕⚳⭞⌂䈑棐炻ッᶩ⟉炻⛐ᷕ⚳ Estimate EUR 300,- Condition: Very good condition with some wear, minor scratching, and 喅埻⚳晃⯽奥炻ΐ㔎䘯⭞喅埻⬠昊炻 1935, 䚖抬嘇2202; ⎎⢾ᶨᾳΐ㔎Ἓ Starting price EUR 150,- some restoration to chipping in the front and back of the four corners ⢓⼿2007⸜5㚰15㖍句㥴炻408嘇㉵⑩ˤ⎎夳ᶨᾳ㚜⮷溆䘬䚌⫸炻Ἦ冒J.A. Provenance: Austrian private collection Lloyd Hyde㓞啷炻夳䲸䲬伶⚳ᷕ⚳䞼䨞炻1969⸜炻䚖抬 嘇 13炻Ḷ Ἓ ⢓ ⼿ ΐ 㔎炻1974⸜7㚰8㖍炻208嘇㉵⑩烊ẍ⍲ΐ㔎Ἓ⢓⼿炻1980⸜11㚰17㖍炻19嘇 Literature comparison: Important Chinese Art. Sotheby’s, London, ㉵⑩ˤ November 9th, 2016, lot 185. (for a larger famille rose canton enamel tray from the same period) Also compare a tray of smaller rectangular size Estimate EUR 800,- and painted with flowers, sold at Christie’s London, 15th June 1999, lot Starting price EUR 400,- 123. A lobed tray, in the Royal Scottish Museum, Edinburgh, was included in the International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935, cat. no. 2202; and another was sold at Christie’s London, 15th May 2007, lot 408. See also a much smaller example, from the
6 7 4 5 A SONG DYNASTY TIXI LACQUER BOWL WITH PEWTER LINING A CINNABAR LACQUER ‘MUSICIANS’ BOX AND COVER, MING DYNASTY, 16TH CENTURY Multi-layered lacquer, interior lined with pewter Carved cinnabar lacquer in high relief, black lacquer coating inside and to base China, Song Dynasty China, 16th century
The bowl has rounded sides rising from a raised foot rim to an everted rim. The exterior is deeply carved with a Ruyi Of circular form, the flat cover carved through the rich layers of red lacquer showing a scholar playing the flute, cloud scroll pattern showcasing the multiple layers of black and red ground. At the interior is a pewter alloy inset. accompanied by his attended on a Guzheng, set in an Edenic garden under a tree sided by elaborate rockwork, the background with a lotus pond. The sides of the lid and the box encircled by keyfret bands in high relief, lacquered black Shape: Bowl shape with accentuated foot rim and flared neck to the interior and base. Dimensions: 10,5 cm (diameter), 5,5 cm (height) Condition: consistent with age, some old age cracks, minor replacement to one of the 16 sections Shape: Round Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s Dimensions: 7 cm (diameter) Condition: Very good condition with some wear and minor nibbling to black lacquer inside, one small chip to rim Literature comparison: For a near identical bowl see Sotheby’s, IMPORTANT CHINESE ART, 21 MARCH 2018, NEW restored to invisibility YORK, lot 605. Similar tixi lacquer wares have been excavated from Northern Song dynasty tombs, see Zhongguo qiqi Provenance: Austrian private collection quanji/Corpus of Chinese Lacquers, vol. 4: Fuzhou, 1998, pl. 119. Literature comparison: Important Chinese Art. Sotheby’s, London, May 13th, 2015, lot 341. (for a very similar box) ⬳ẋ⇼䈨⤪シ暚䲳䙴 ⇼䈨 ⋩ℕᶾ䲨⇼䲭Ⱦ㦪ⷓȿ味䙺 ᷕ⚳炻⬳ẋ ⇼䲭檀㴖晽炻ℭ䙺⸽⹏湹㺮 ᷕ⚳炻⋩ℕᶾ䲨 㬌⇼䈨ḹ乡䠿ᷢ㔆⎋炻⚰嵛炻忂ỻ檡湹㺮炻ἄ⇼䈨ⶍ刢⢬䎮炻☐㕕⯪䍘㛙㺮㔘忻ˤ㬌䠿➮㺮䓂⍂炻㺮刚湹Ṗ炻⤪シ⌟ḹ乡炻ḹ ⚻⼊堐朊ᶲ炻⇼䲭檀㴖晽⇣䔓炻㍷丒Ḯᶨỵ㦪ⷓ㺼⣷攟䫃炻Ṿ䘬㚳⍳⻰⣷⎌䬷炻⚃␐剙⎊`Ⱉ炻側㘗䁢匟剙㰈ˤ味⫸䭙⫸ ⣜Ṍ⍱侴伖炻剙乡朊昸乎䍘↢㛙乊乡䎮炻ἧ㔜☐⏰䍘℠晭檀峝⎴㖞㳩曚峝⸬慵ᷳ⾩ˤℏ塷㗗ᶨᾳ拓⎰慹䠿ˤ 䘬“朊䓙㴖晽䑘丆䘬暟䲳⚵丆炻ℏ悐⸽悐⟿湹刚ˤ
䠿⼊炻⚰嵛 ⚻⼊ ⯢⮠烉䚜⼹ 10,5 cm炻檀 5,5 cm ⯢⮠烉䚜⼹7 cm 冯 ⸜ ẋ 䚠 䫎炻㚱⣂ 嗽 Ḧ 塪炻16ᾖ⽑ ⑩䚠㤝⤥炻㚱ᶨṃ䢐㎵炻ℭ䙺湹㺮㚱䡽䡘炻⮷塪⎋炻⍲ᶵ⎗夳䘬ᾖ墄 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ⇅岤ℍ ⤏⛘⇑䥩Ṣ㓞啷 㔯䌣⍫侫烉ᶨẞ⸦᷶ᶨ㧉ᶨ㧋䘬㺮䠿⎗夳喯㭼˪慵天ᷕ⚳喅埻˫炻2018⸜3㚰21㖍炻䲸 䲬炻605嘇㉵⑩ˤ䚠Ụ⇼㺮☐䙧悥㗗 㔯䌣⍫侫烉˪慵天ᷕ⚳喅埻˫炻喯 㭼炻ΐ 㔎炻2015⸜5㚰13㖍炻341嘇㉵⑩ (ᶨᾳ㤝䚠Ụ䘬䙺⫸) ↢⛇Ḷ⊿⬳⠻吔炻夳˪ᷕ⚳㺮☐⣏ℐ˫䫔4Ⅎ烉䤷 ⶆ炻1998⸜炻⚾119ˤ Estimate EUR 2.000,- Estimate EUR 3.000,- Starting price EUR 1.000,- Starting price EUR 1.500,-
8 9 6 7 A MOTHER-OF-PEARL AND LACQUER INCENSE STAND, KANGXI A RARE JOSEON STATIONARY BOX WITH INLAID DRAGONS, Wood with black lacquer coating and inlaid mother of pearl 15th – 16th CENTURY China, Kangxi period (1661-1722) Lacquered wood with mother of pearl and silver inlays Korea, 15th – 16th centuries in the Joseon Dynasty ġ Finely inlaid in slivers of iridescent mother-of-pearl with a landscape depicting several pavilions scattered on rocky shores interlinked by arched bridges and lined with a variety of trees and a waterfall, with three flat-bottomed boats drifting on rippling waters and the moon rising between The mother of pearl inlays on this early Choson Dynasty misty mountains in the distance, the apron detailed with clusters of chrysanthemum flanked by lacquered wooden box are all neatly incised and form the image sprays of camellias within meander and cloud borders and fern leaves draping the legs. of two confronted dragons facing off on either side of a flaming jewel with a backdrop of scalloped clouds, on the lid and all four Shape: Rectangular shape with flat tabletop, resting on a curved framework with four contoured feet sides. These mythical scenes are framed by floral inlaid borders Dimensions: 47 x 35 x 9 cm. and thin silver borders all around. Condition: Good condition with some missing inlays here and there, some age cracks, some chipping, some touch ups to the black lacquer specifically around the feet, some wear and some Inside the box is a tray which can be taken out, lacquered in red 份夳䘬㛅歖䌳㛅坢懧Ⱦ䤍暚梃漵ȿ㕡䙺 minor stains same as the interior and the underside of the lid. The exterior 㛐偶ᶲ㺮炻坢懧戨 Provenance: Canadian private collection. shows a chocolate brown lacquer coating. 杻⚳, ⋩Ḽ军⋩ℕᶾ䲨㛅歖䌳㛅
Literature comparison: Sotheby’s, Chinese Art through the Eye of Sakamoto Goro, 08 OCT 2013, Shape: Rectangular box 忁ẞ㖑㛇㛅歖䌳㛅湹㺮㛐䙺ᶲ搚䘬䍵䎈居㭵炻ℐ悐㔜滲↯√炻 HONG KONG, lot 166. (for another, yet round incense stand from the same period and with an Dimensions: 31 cm (length), 12 cm (height), 17 cm (width) ⛐䀓䎈䘬ℑ“⼊ㆸ暁漵⮵ⲁ⯨朊ˤ⚃␐䤍暚䑘丆ˤ忁䤆娙凔䘬⟜ almost identical design) Condition: consistent with age, age crack to lid, very minor 㘗⚃怲䓙剙⋱䲳坢懧冯戨刚怲㟮㥳ㆸˤ material loss to inlays or rims, few touch ups, the four little feet 䅁⢾扟湹㺮㍷慹居㭵楁㟰 are later additions 䙺⫸ℏ悐㗗ᶨᾳ㈀䚌炻⎗ẍ⍾↢炻ᶲ䲭㺮炻冯ℏ悐味⫸䘬ᶳ“ 㛸㕁ˣ柼刚ˣ㈨埻≇傥烉㛐偶炻忂橼檡湹㺮㍷慹᷎搚居㭵 Provenance: Austrian private collection 䚠⎴ˤ⢾悐栗䣢㶙墸刚㺮⟿Ⰼˤ ᷕ⚳炻䅁⸜攻炷1661-1722炸 䱦伶䘬戨刚居㭵搚炻㟰朊㍷丒㚰ᶳⰙ攻㦻敋⮷㧳㳩㯜炻⚃␐⚵丆卲剙 Literature comparison: For two other Joseon Dynasty dragon 㕡⼊ 䲳ˣ暟 䲳ˣ䤍 暚 䲳 冯 丷 㝅 䲳ˤ inlaid lacquer boxes, later in the Joseon Dynasty see The ⯢⮠烉31 x 12 x 17cm (攟x檀x⮔) ⼊䉨烉䞑⼊炻㟴朊⸛㔜炻⚃嵛ℭ Metropolitan Museum of Art, New York, “Splendors of Korean 冯⸜ẋ䚠䫎炻味⫸悐↮㚱攳塪炻搚䈑怲䶋悐↮㛸㕁㎵⣙⼰ ⯢⮠烉47 x 35 x 9⍀䰛 Art,” October 1, 2016–September 22, 2018, Accession Nr. ⮹炻⮹㚱䡘妠炻⚃嵛䁢⼴㛇㶣伖 ⑩䚠列⤥炻 ⯨悐㚱㛸㕁仢⣙炻㚱冯⸜ẋ䚠䫎䘬塪䷓炻湹㺮∅句炻䈡⇍㗗 ‘2015.500.3.7a, b’ and Christie’s, The Ten Signs of Long Life: The ⤏⛘⇑䥩Ṣ㓞啷 ⚃嵛㚱ᶨṃ䢐㎵㰉㻔 Robert Moore Collection of Korean Art, 18 March 2014, NEW 㔯䌣⍫侫烉⎎⢾ℑẞ㛅歖䌳㛅漵䲳搚㺮䙺⎗夳䲸䲬⣏悥㚫喅埻 ≈㊧⣏䥩Ṣ㓞啷 YORK, lot 706. ⌂䈑棐”Splendors of Korean Art” ⯽奥炻2016⸜10㚰1㖍-2018 㔯䌣㭼庫烉喯㭼炻Chinese Art through the Eye of Sakamoto Goro ⸜9㚰22㖍, 䶐嘇 ‘2015.500.3.7a, b’ 冯Ἓ⢓⼿The Ten Signs of 2013⸜10㚰8㖍炻楁 㷗炻㉵ 嘇 166.炷ᶨ䚜 Ἦ 冒⎴ 㗪 ẋ ⸦ ᷶ ⎴ 姕 妰 䘬 楁 㟰炸 For inlaid lacquer stationary boxes, dating to the same period Long Life: The Robert Moore Collection of Korean Art, 2014⸜3 as our example see The Metropolitan Museum of Art, New 㚰18㖍炻䲸䲬炻706嘇㉵⑩ˤ Estimate EUR 600,- York, “Splendors of Korean Art,” October 1, 2016–September Starting price EUR 300,- 22, 2018, Accession Nr. ‘2015.500.3.1a, b’ and Sotheby’s, 喯㭼˪ṯ䃙ᷳ䍵䍑烉ᷕ⚳䒟☐⍲ⶍ喅䱦⑩ - 喅㴟奨㾌烉⛪㛔Ḽ PLAYTHINGS FROM THE COLLECTION OF EDWARD T. CHOW, 恶䍵啷Ṇ㳚㺮☐˫炻2014⸜5㚰27㖍炻楁㷗炻901嘇㉵⑩ˤ CHINESE CERAMICS AND WORKS OF ART, ASIAN LACQUER, 27 MAY 2014, HONG KONG, lot 901. Estimate EUR 800,- Starting price EUR 400,-
10 11 8ġ A PAIR OF ZITAN ‘TWO-DRAGON’ CANDLESTICKS ON STANDS, QING DYNASTY The Zitan wood with its typical “crab claw” markings, its lustrous reddish dark purple appearance and its massive weight, attached to their bases by a long metal rod China, 18th-19th century
The sticks boldly carved in high relief, partially reticulated, to depict two ferocious five-clawed dragons chasing the flaming pearl, their horns emerging from a flame-like mane, the fierce face detailed with round bulging eyes, flaring nostrils and long curly whiskers, with the mouth wide open revealing menacing teeth, their muscular limbs terminating in sharp claws, the scaly bodies coiling between multiple groups of densely carved clouds. The bases with tumultuous cresting waves.
Shape: Candle sticks Dimensions: 57.5 cm (height) Weight: 3900 grams (total) Condition: Good, the sticks with minor nibbling, the bases with some chipping and remainders of wax, old varnishing Provenance: American private collection
Literature comparison: Fine Chinese Ceramics and Works of Art. Christies, New York, March 17th, 2017, lot1113. (for a ruyi-shaped box with a comparable design) Important Chinese Art. Sotheby’s, Hong Kong, October 3rd, 2017, lot 3712. (for a sutra box with a comparable design)
㶭ẋᶨ⮵䳓㨨Ⱦ暁漵ȿ䆕冢 䳓㨨炻℟㚱℠✳䘬垡䇒䲳炻㽌㰱叿炻⭮⹎⣏炻旬月⛐ᶨ㟡 慹Ⱄ攟㛮ᶲ ᷕ⚳炻⋩ℓ军⋩ḅᶾ䲨 䳓㨨㛐塓⣏入⛘㴖晽ㆸ暁漵㇚䎈炻漵奺⽆䀓䃘凔䘬檫㮃ᷕ 晙晙⎗夳炻↞〵䘬共ᶲ䛤䜃䁗䁗㚱䤆炻䀓䲭䘬滣⫼攟攟 䘬㌚㚚檵櫂炻◜⣏⻝炻曚↢⮾⇑䘬䈁滺炻⚃偊倴倱⻢≩㚱 ≃炻漵䇒扺⇑炻漵毿㌚丆⛐⭮⭮湣湣䘬暚Ⰼᷳ攻ˤ ⸽⹏ᶲ ⎗夳㳞㸏㲊㾌ˤ 䆕冢⼊ ⯢⮠烉檀 57.5 cm 慵烉䶪 慵 3900 ⑩䚠列⤥炻堐朊㚱䡽䡘炻⸽⹏㚱ṃ䠶⯹ἁ冀炻冲㺮 伶⚳䥩Ṣ㓞啷 㔯䌣㓞啷烉Ἓ⢓⼿˪ᷕ⚳䱦伶昞䒟冯ⶍ喅⑩˫炻䲸 䲬炻2017 ⸜3㚰17㖍炻1113嘇㉵⑩炷ᶨᾳ栆Ụ晽⇣䘬⤪シ⼊䙺炸ẍ⍲ 喯㭼˪慵天ᷕ⚳喅埻˫炻楁 㷗炻2017⸜10㚰3㖍炻3712嘇㉵ ⑩炷ᶨ ᾳ 䚠 Ụ 晽 ⇣ 䘬 ἃ 䴻 䙺 炸
Estimate EUR 1.000,- Starting price EUR 500,-
‘Crab Claw‘ markings, typical for Zitan wood
1212 13 9 AN 18TH CENTURY BAMBOO-ROOT FIGURE OF A LUOHAN WITH GOLD INGOTS ġ Bamboo China, 18th century
This masterly carved bamboo-root figure depicts a Luohan, seated, leaning against a rock and with a little bowl in front of him. On the rock behind him we see one gold ingot and in either hand he holds another, carefully examining the one in his left hand.
The bony shoulders and spine stand in amusing contrast to the outsized belly and chubby feet. In general, this is a sculpture with a fine sense of humor, the facial expression is simply hilarious, another remarkable feature are the natural bamboo shoot marks that lend the head a knobby look.
Shape: Figural shape Dimensions: 11,5 cm (length), 10,5 cm (height) Condition: Good condition with natural patina and few small age hairlines, material loss to one earring Provenance: British private collection
Literature comparison: For a bamboo-root figure of a Daoist immortal of comparable quality, size and dating to the same period see Sotheby’s, SATURDAY AT SOTHEBY’S: ASIAN ART, 19 SEPTEMBER 2015, NEW YORK, lot 942.
⋩ℓᶾ䲨䪡 㟡 晽伭㻊 䪡㟡 ᷕ⚳炻⋩ℓᶾ䲨
忁ẞ晽⇣䱦㸃䘬䪡㟡Ṣ䈑⇣䔓Ḯ仿㯱⛸Ḷ⿒䞛ᷳᶲ炻暁ㇳ ⎬㊩ᶨᾳ⃫⮞ˤ橐柕䘬偑儨傲㞙冯ⶐ⣏䘬儡悐ᶵ㛥䘬 偾᷶᷶䘬儛⼊ㆸḮ㚱嵋䘬⮵㭼炻仿㯱忈✳䬨⋽侴㛜⭆炻ἄ侭 ⮡℞朊悐䘬⇣䓣䛨≃㚨ⶍ炻Ữ恋⍴㖷愺ᶵ⭂䘬䛤䜃炻⌜德↢ 崭Ṣ䘬㘢ㄏ朆↉䘬䀝⿏炻䉞⅁ℍ⽖炻䓇≐Ỉ䤆ˤἄ侭⮡仿 㯱䘬⚃偊炻䔍ἄ刢㛗䘬⣠⻈炻恋桌≐䘬嵛㊯炻ἧἄ⑩⡆⻢Ḯ 㖈旸䘬ね嵋ˤ⎎ᶨᾳ栗叿䈡溆㗗ἄ侭傥ẍ䪡㟡ᷢ㛸㕁炻晽 擪↢⤪㬌㟑㟑⤪䓇䘬仿㯱⁷炻䛇㗗䤆㕏ᷳ≇ˤ
晐⼊侴晽 ⯢⮠烉攟11,5 cm炻檀 10,5 cm ⑩䚠列⤥炻⊭㻧冒䃞炻㚱⸜ẋ农䳘⮷塪䲳炻ᶨ晣俛䑘ᶲ 㛸㕁仢⣙ 劙⚳䥩Ṣ㓞啷
Estimate EUR 1.000,- Starting price EUR 500,-
14 15 10ġ A GLASS AND ANTLER BEAD COURT NECKLACE, QING DYNASTY Beads of carved and partially stained antler and multicolored glass China, 19th century
Composed of one ninety one carved antler beads divided by four green glass fotou (‘Buddha head’), the fotou at the back connected to a gourd-shaped fotouta (‘Buddha head stupa’), supporting a silk cord tassel intersected by one flattened oval green glass pendant, and another in imitation of amber, terminating to a drop-shaped green glass with filigree cap, enhanced by three jinnian (‘reminder’) strands consisting of eight smaller, stained beads each, and each suspending a drop-shaped glass in a different color.
Shape: Necklace 11 Dimensions: Total length A QING DYNASTY SILVER MINIATURE GROUP approximately 1450 mm ‘MAGISTRATE HOLDING COURT’ Condition: Overall extensive wear and Silver and metal, wooden base patina, one fotou with a chip, the top China, 19th century, Qing Dynasty of the fotouta with a hairline Provenance: Austrian private This unique set with 14 individual silver miniature collection figurines shows a Qing Dynasty magistrate holding court. He is seated at his desk with brushes, Literature comparison: Magnificent inkstone and brush rest neatly lined out in front of Jewels and Jadeite. Sotheby’s, Hong him. Six of the other figures are guards, some which Kong, April 3rd, 2018, lot 1566. (for are punishing respectively torturing the delinquents. another glass bead court necklace) One man is dangling inside a cage and another has a torture instrument around his neck which is 㶭ẋ䍣䐫渧奺⾝䎈 inscribed “Danzhou fu Zhengtang Xian” stating the 㔜橼⣏朊䧵䢐㎵炻㚱⊭㻧炻㚱塪⎋⍲ city and county where this court used to be. 塪䲳 ⤏⛘⇑䥩Ṣ㓞啷 The Qing dynasty magistrate, was both prosecutor and judge. He decided which cases to accept, Estimate EUR 400,- directed the gathering of evidence and witnesses, Starting price EUR 200,- then conducted the trial, including the use of torture. The magistrate was the sole judge of guilt or innocence and determined the punishment or compensation. The official Five Punishments (wu xing) prescribed under the Qing Code included beating with the light bamboo, beating with the heavy bamboo, penal servitude, exile, and execution
Shape: Figural shape, rectangular and reticulated wooden base Dimensions: 13 x 8 cm (dimensions of the base), 2,5 cm (average height of a figurine) Condition: Good condition with natural patina and only very little material loss to one weapon, base shows substantial material loss to reticulated areas Provenance: Austrian private collection
㶭ẋ戨岒堾䍵Ⱦ↹➪ȿṢ䈑䳬 ⑩䚠列⤥炻㚱⣑䃞⊭㻧炻ᶨᾳ㬎☐ᶲ㚱庽⽖㛸㕁仢⣙炻 A magistrate holds court, photo taken in 1889 ⸽⹏⯨悐⋨➇㚱ṃ㛸㕁仢⣙ ⤏⛘⇑䥩Ṣ㓞啷
Estimate EUR 200,- Starting price EUR 100,-
16 17 13 AN IVORY, BAMBOO AND vaporization and inhalation of 14 SILVER OPIUM PIPE, QING opium. The lamp is crafted from AN IVORY, YIXING, PEWTER AND LACQUERED DYNASTY, WITH AN ANTIQUE brass with several openwork WOOD OPIUM PIPE, QING DYNASTY OPIUM LAMP sections and its distinctive chimney The pipe consisting of a main section made of lacquered The pipe consisting of one single is made from glass. wood, with connecting pieces made of pewter, a silver bamboo section, with both sealings Opium lamps differ from ring with raised enamel decoration, the mouth piece and carved of ivory, each resting on conventional lamps for lighting in finial carved of ivory a dark horn platelet, the saddle that they are designed to channel China, 19th century of repoussé silver showing neatly an exact amount of heat upward incised designs through their funnel-shaped The finial is carved in the shape of hand holding the China, 18th – 19th century chimneys. An opium pipe, its pipe- pipe-bowl, which is made of pewter with a copper inset, bowl primed with a small dose of and a Yixing ceramic top with a meander border and a 12 The saddle depicting several bats opium known as a “pill,” was held band with an inscription. The bottom of the hand shows AN INSCRIBED STAG ANTLER, PEWTER AND YIXING OPIUM PIPE, QING in high and low relief, flowers, an over the opium lamp causing the a neatly incised ying yang symbol. The carving of the DYNASTY inlaid rock crystal cabochon in the opium to vaporize and allowing the hand with its detailed fingernails shows a high level of The pipe consisting of five carved antler sections, each showing neatly incised center, all surrounded by various smoker to inhale the vapors. These both technical and artistic skills. The Yixing pipe-bowl top designs, the pewter section with repoussé décor in high relief dotted borders, executed again lamps were crafted mainly in China bears the nine-character inscription “Yanyun Shedong China, 19th century in high and low relief. Holding a before the communist revolution (the name of the village, where this pipe was made) metal pipe-bowl. in 1949 brought opium smoking Qingshi Shi (the name of the maker’s family) Jianzhi Depiction of eight Daoist immortals surrounded by clouds, rockwork and This pipe is an unusual example of to an abrupt halt there. Due to (supervised making)” flowers as well as several auspicious objects. The pewter saddle decorated a collaboration between a bamboo opium eradication campaigns in with further auspicious objects surrounded by clouds, showing a five-character carver and a silversmith. The end the nineteenth and early twentieth Shape: Pipe seal script inscription on each side, and holding an Yixing pipe-bowl designed of the pipe is made of ivory, while centuries, antique opium lamps are Dimensions: 45 cm (length) in the shape of abstracted chrysanthemum blossom surrounded by a stylized the working part of the opium pipe now considered as rare. Condition: Good condition with minuscule hair line to chrysanthemum-petal-border. is made of a silver alloy. Pipes of mouth piece and some tiny abrasions to wood, very good Inscription: “When you inhale opium smoke through your mouth, you sense this type were commonly carved Shape: Opium lamp old patina the real feeling, this opium is really an absolute enjoyment” from bamboo, mostly fashioned for Dimensions: 14 cm (height) Provenance: Austrian private collection members of the gentry. Condition: Very good condition Shape: Pipe with some wear, the glass with 㶭ẋ尉䈁㛐㝬沱䇯䂇㥵 Dimensions: 48 cm (length) Shape: Pipe chipping to upper opening ⑩䚠列⤥炻䂇◜悐ỵ㚱塪䷓炻㛐岒悐↮㚱䢐㎵炻⊭㻧 Condition: Good condition with top sealing missing, one age crack to antler, Dimensions: 59 cm (length) Provenance: Austrian private ⤏⛘⇑䥩Ṣ㓞啷 minor damage and missing parts to bottom of section four, old wear and Condition: Very good condition collection traces of use, the pewter with some deflections with some wear, the silver with Estimate EUR 200,- Provenance: Austrian private collection minor denting Literature comparison: Steven Starting price EUR 100,- Provenance: Austrian private Martin, The Art of Opium Antiques 㶭ẋ渧奺搚拓⭄冰沱䇯䂇㥵 collection (Silkworm Books, 2007). ⑩䚠列⤥炻枪悐怢⣙炻渧奺⚈䇚⸜ẋḦ塪炻庽⽖䢐㎵炻䫔⚃䭨⸽悐仢⮹悐 ↮炻⯙䢐㎵ἧ䓐䕽嶉炻拓悐㚱ṃ嬲⼊ġ Literature comparison: ASIAN ART. 㶭ẋ䪡岒尉䈁◜搚戨沱䇯䂇㥵炻 ⤏⛘⇑䥩Ṣ㓞啷 Bonham’s, London, November 9th, 旬䄁䅰 2015, lot 260. (for a related pipe) ⑩䚠㤝⤥炻㚱ᶨṃ䢐㎵炻戨䘬悐 Estimate EUR 200,- ↮㚱ṃ↡星 Starting price EUR 100,- The pipe comes together with ⤏⛘⇑䥩Ṣ㓞啷 an antique Asian opium lamp, which is an oil lamp designed Estimate EUR 200,- specifically to facilitate the Starting price EUR 100,-
18 19 15 16 A QING DYNASTY CELADON AND See a very similar group, included in the A FINE CELADON AND BROWN Literature comparison: Christie’s, RUSSET JADE ‘MANDARIN DUCKS exhibition Chinese Jades from Han to JADE MOUNTAIN BOULDER, Interiors, London, South Kensington, AND LOTUS’ GROUP Ch’ing, Asia House Gallery, New York, QIANLONG 15 May 2013, lot 983 (for a Jade Light celadon color jade with russet 1980, cat. no. 87. Celadon jade with russet and opaque, mountain group of comparable inclusions, smooth surface polish light brown inclusions, smooth surface composition, yet later in date). China, Qing Dynasty 㶭ẋ曺䘥䌱Ⱦ泃泎㇗咖ȿ polish 曺䘥䌱炻墸刚㰩炻堐朊㹹䳘兑 China, Qianlong Period (1736-1795) Ḧ昮⸜攻曺䌱晽Ⱉ⫸ This auspicious jade group of two ᷕ⚳炻㶭ẋ 曺䌱炻墸刚⍲ᶵ德㖶㶢㡽刚㰩炻堐朊 mandarin ducks and lotus symbolizes a 泃泎咖剙尉⽝⾓㦪䜎䘬⭞⹕䓇㳣炻忁 This 18th century jade boulder 㹹 happy and loving family life. This subject ᾳ柴㛸⛐㖶㛅⼴㛇攳⥳⺋㯶㳩埴炻⛐㶭㛅 features the charming scenery of a ᷕ⚳炻Ḧ昮⸜攻 (1736-1795) became highly popular in the later 两临⺞䓐ˤ⛐忁䳬䌱晽塷炻ㆹᾹ⎗ẍ䚳⇘泃 scholar and two pupils in a cragged Ming dynasty but remained cherished 泎◜ᷕ埼叿匾叱炻㹓㝼⛘⽄⼱℞ᷕˤ mountain landscape. To the right a 忁⹏18ᶾ䲨䘬䌱晽Ⱉ⫸⯽䣢Ḯ徟Ṣ䘬 throughout the Qing reign as well. In this pine tree is framing the imagery. The Ⱉ崟ặ䘬㘗奨ᷕ㔯⢓ℑ⎵䪍⫸ˤ example we see the ducks both holding ⼊䉨烉晐⼊侴晽 scholar is pointing to the sky whilst ⎛“⎗夳ᶨ㢝㜦㧡ˤ 㔯Ṣㇳ㊯⣑䨢炻ᶨ the same lotus flower stem in their beaks ⯢⮠烉6x9,3x5 cm (檀x攟x ⮔) one disciple is offering him a bowl, the ᾳ䪍⫸㬋怆䴎Ṿᶨᾳ䠿炻⎎ᶨᾳ䪍⫸㬋 and in tender embracement. ⑩䚠列⤥炻⊭㻧䳘兑 other boy is just about to pour more 天⽆ⶎ怲ᶨ⻝⮷㟴⫸ᶲ䘬⢢塷墉Ὰ勞ˤ 伶⚳䥩Ṣ㓞啷 tea from the pot which is standing on Shape: Figural shape with reticulated 㔯䌣⍫侫烉喯㭼˪ᷕ⚳昞䒟⍲ⶍ喅⑩˫ a little table, left of the scene. 㔜ᾳⰙ⫸㺧晽炻䓂军⛐⸽悐ˤ 晽⇣⋈Ṣ areas 炻2013⸜11㚰6㖍炻ΐ 㔎炻36嘇㉵⑩炷䚠Ụ䲣 ⶏ⥁⛘⇑䓐ᶵ德㖶䘬㡽刚䌱䙖Ἦ㧉ầ Dimensions: 6 cm (height), 9,3 cm ↿炻⯢⮠䦵⣏炸 The boulder is carved allover, even 㧡㛐䓇攟䘬⛇⢌ˤ (length), 5 cm (width) on the underside. The opaque brown Condition: Good condition with fine hand Estimate EUR 1.200,- inclusions have been cleverly used by ⼊䉨烉㨓⎹Ⱉ⫸⼊ patina Starting price EUR 600,- the artist to imitate soil from which ⯢⮠烉 7,5x11x2 cm (檀x攟x ⮔) Provenance: American private collection the tree is growing, ⑩䚠㤝⤥炻⊭㻧䳘兑炻㚱ṃ⽖∫䕽 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军 Literature comparison: Sotheby’s, FINE Shape: Horizontal boulder shape Ḽ⋩⸜ẋ⇅岤ℍ CHINESE CERAMICS & WORKS OF ART, Dimensions: 7,5 cm (height), 11 cm 㔯䌣⍫侫烉Ἓ⢓⼿˪⭌ℭ姕妰˫炻ΐ 㔎炻 06 NOVEMBER 2013, LONDON, lot 36 (length), 2 cm (width) ⋿偗彃枻炻2013⸜5㚰15㖍炻983嘇㉵⑩ (for a comparable group, slightly larger Condition: Very good condition with (⎎⢾ᶨẞ⍫䄏Ⱉ⫸炻堡㗗⸜ẋ䦵⎶)ˤ in size). fine hand patina and few tiny nicks Provenance: Old Austrian Private Estimate EUR 1.200,- collection, assembled in the 1930s to Starting price EUR 600,- early 1950s
20 21 17 19 A WHITE JADE QING DYNASTY ‘LUCKY GOD’ A WHITE JADE QING DYNASTY ‘DOUBLE PHOENIX’ MINIATURE PENDANT PENDANT White jade with ochre colored inclusions on the backside, White color jade of an even tone, smooth surface polish smooth surface polish China, Qing Dynasty China, Qing Dynasty The stone is carved and pierced in the shape of two Figural white jade pendant taking the shape of a lucky god confronting phoenix birds in profile – to both sides. In the with a bare belly. He is holding a garland with a money coin, a middle we find a lingzhi motif. fly whisk and lingzhi. Shape: Figural rounded shape with reticulation Shape: Figural shape with drilled holes for suspension Dimensions: 5,2 x 5,6 cm Dimensions: 4,5 cm (height), 2,4 cm (length), 1,3 cm (width) Condition: Good condition with fine hand patina Condition: Good condition with fine hand patina Provenance: American Private collection Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s Literature comparison: Christie’s, The Pavilion Sale - Chinese Ceramics & Works of Art, 6 October 2015, 㶭ẋ䘥䌱Ⱦ䤷㗇ȿ⮷㊪梦 HONG KONG, lot 22 (for another example of a double ⑩䚠列⤥炻⊭㻧䳘兑 phoenix pendant, of comparable size and dating). ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ 㶭ẋ䘥䌱Ⱦ暁沛ȿ㊪梦 Estimate EUR 200,- ⑩䚠列⤥炻⊭㻧䳘兑 Starting price EUR 100,- 伶⚳䥩Ṣ㓞啷
Estimate EUR 400,- Starting price EUR 200,-
18 20 A WHITE JADE QING DYNASTY ‘BOY AND LOTUS’ A QING DYNASTY WHITE JADE PENDANT OF TWO PENDANT MONKEYS WITH PEACH White jade of translucent quality with natural inclusions, White jade of translucent quality, smooth surface polish smooth surface polish China, Qing Dynasty China, Qing Dynasty Jade pendants showing the auspicious “monkeys with Jade pendants showing the auspicious “boy and lotus” motif peach” motif were high in demand during the Qing were popular during the Qing Dynasty and symbolizing the Dynasty and a symbol for promotion to a higher position wish for a male offspring. This example is well rounded, and longevity. This example is well rounded, showing the showing the boy in a recumbent posture inside a large lotus monkeys with the outsized peach between them and the leaf and holding onto a branch on which we find a lotus imagery bearing reticulation for suspension. blossom. A russet inclusion in the material has been cleverly used for the boy’s tuft of hair. Shape: Figural rounded shape with reticulation Dimensions: 5,5 cm (height), 5,2 cm (length), 2 cm (width) Shape: Figural rounded shape with reticulation Condition: Good condition with fine hand patina Dimensions: 6,3 cm (height), 4,2 cm (length), 2,4 cm (width) Provenance: Dutch collection Condition: Good condition with fine hand patina Provenance: American Private collection Literature comparison: Sotheby’s, IMPORTANT CHINESE ART, 06 APRIL 2016, HONG KONG, lot 3708 (for a white Literature comparison: Sotheby’s, PLAYTHINGS FROM THE jade group with the same subject and almost identical COLLECTION OF EDWARD T. CHOW, CHINESE CERAMICS posture of the larger monkey). AND WORKS OF ART, 27 MAY 2014, HONG KONG lot 82 (for an 18th century white and russet jade carving with the 㶭ẋ䘥䌱Ⱦ暁䋜㌏㟫ȿ same subject). ⑩䚠列⤥炻⊭㻧䳘兑 匟嗕䥩Ṣ㓞啷 㶭ẋ䘥䌱Ⱦ㊩咖䪍⫸ȿ㊪梦 ⑩䚠列⤥炻⊭㻧䳘兑 Estimate EUR 600,- 伶⚳䥩Ṣ㓞啷 Starting price EUR 300,-
Estimate EUR 400,- Starting price EUR 200,-
22 23 21 AN IMPORTANT MUTTON FAT WHITE JADE ‘LION’ FANGGU VASE, QIANLONG PERIOD White mutton fat jade, excellent surface polish, with original ebony base, in fitted box China, Qianlong period
This Qianlong period masterpiece displays superior carving quality with stellar attention to detail, best visible at the intricate fur of the beast or the archaistic décor of the vase. The Buddhist lion appears to be guarding the archaistic vase which could have been used as a brush holder. The vase is adorned with neatly incised Taotie masks and geometric patterns, the lion with curly hair, an expressive spine and a bushy tail.
Jade vases modelled in the form of archaic gu bronzes were popular in the 18th century. This piece is an outstanding example though – due to its figural shape and the most precious mutton fat material. Rounding off the composition is the masterly carved original ebony base in form of a table in a garden with lingzhi funguses.
Shape: Figural shape Dimensions: 12,4 cm (maximum extension, measured from tip of vase to tip of tail) 9,5 cm (height), 7,5 cm (length), 6 cm (width); Height with base 12 cm Condition: Excellent condition with fine hand patina Provenance: American private collection - acquired 1973 at C.C. Tih gallery in Hong Kong (see published original invoice)
Literature comparison: For three other 18th century white jade gu-shaped vases see Sotheby’s, FINE CHINESE JADES FROM THE THOMPSON-SCHWAB COLLECTION, 09 NOVEMBER 2016, LONDON, lot 1 - Sotheby’s, IMPORTANT CHINESE ART, 13 SEPTEMBER 2017, NEW YORK, lot 222 and Christie’s, Fine Chinese Ceramics and Works of Art, New York, 21 - 22 March 2013, lot 1388. For a mutton fat white jade carving of a Buddhist lion seal see Sotheby’s, FINE CHINESE CERAMICS & WORKS OF ART, 08 OCTOBER 2009, HONG KONG, lot 1689.
Ḧ昮⸜攻慵天伲傪䘥䌱䋭⫸㕡䧨 伲 傪 䘥 䌱炻堐 朊 㹹 䳘 兑炻⍇ 墅 䁷 㛐 ⸽ ⹏炻䙺 ⫸ ᷕ⚳炻Ḧ昮⸜攻
忁ẞ⸡昮㗪㛇䘬‹ἄ栗䣢↢䔞㗪⋻崲䘬晽⇣㈨喅炻䳘䭨䱦晽䳘䏊炻⯌℞橼 䎦⛐䋭㮃ㆾ剙䒞⎌刚⎌楁䘬䲳梦ᷕˤ ἃ䋭ἄ䇚➟㝬⬰嬟叿ầ⎌剙䒞ˤ䒞 幓梦㚱㔜滲↯√䘬棽棖䲳⸦ỽ⚾㟰炻䋭⫸㑩㚱㌚㚚䘬檫㮃炻㚱堐䎦≃ 䘬傲㞙㽫⭮䘬⯦ˤ
ẍ⎌ẋ曺戭☐䁢㧋⺷䘬䌱☐剙䒞⛐⋩ℓᶾ䲨枿⍿㬉彶ˤ 忁ẞἄ⑩栗䃞㗗 ᶨᾳ‹↢䘬ἳ⫸炻䱦伶䘬晽䲳冯㚨䍵屜䘬伲傪䌱㕁ˤ⍇墅䁷㛐⸽⹏ẍ㟴⫸ 䘬㧋⺷梦㚱曰剅䲳炻 㥳⚾⚻㼌ˤ
⼊䉨烉㕡䧨⼊ ⯢⮠烉12,4 cmġĩ㷔慷⽆剙䒞⮾䪗⇘⸽䪗䘬㚨⣏⺞ỠĪġ9,5x7,5x6 cmġĩ檀Ź攟 Źġ⮔Īļġ⸽⹏檀ġ12 cm ⑩䚠㤝⤥炻⊭㻧䳘兑 伶⚳䥩Ṣ㓞啷炻岤㕤1973⸜楁㷗C.C. Tih喅 (夳⓮㤕䘤䤐⍇ẞ) 㔯䌣⍫侫烉℞ṾᶱẞἮ冒⋩ℓᶾ䲨䘬䘥䌱䧨⼊䒞⎗夳喯㭼˪Ἦ冒 THOMPSON-SCHWAB㓞啷䘬ᷕ⚳䌱☐˫2016⸜11㚰9㖍炻ΐ 㔎炻1嘇㉵ ⑩ – 喯㭼˪慵天ᷕ⚳喅埻˫炻2017⸜9㚰13㖍炻䲸 䲬炻222嘇㉵⑩ẍ⍲Ἓ ⢓⼿˪ᷕ⚳昞䒟冯ⶍ喅⑩˫炻䲸 䲬炻2013⸜3㚰21-22㖍炻1388嘇 ㉵⑩ˤᶨ ẞ 伲傪䌱晽ἃ䋭⌘䪈⎗夳喯㭼˪ᷕ⚳昞䒟冯ⶍ喅⑩˫炻2009⸜10㚰8㖍炻楁 㷗炻1689嘇㉵⑩ˤ
Estimate EUR 12.000,- Starting price EUR 6.000,-
24 25 22 A LARGE 4-PART WHITE JADE ‘PRINCE UNDERNEATH PINE TREE’ CARVING, QING DYNASTY Pure white jade with very few russet inclusions, excellent polish China, Qing Dynasty
This well-carved, reticulated jade relief consist of 4 parts and was meticulously carved in openwork and with fine incised details. Originally most certainly used as an inlay for a for a folding or table screen or another object made from wood, this carving impresses through its size and the even with color.
The three larger parts make up a tall pine tree with a horizontal branch reaching out to the left. The last part depicts a youthful nobleman holding a jue vessel in his left hand.
Shape: Figural shape, reticulated. Dimensions: 29,5 cm (height of the assembled tree), 11 cm (maximum width of the tree), 6 x 3,5 (dimensions of the human figure) Condition: Good condition with fine hand patina. Tiny chip to the prince’s thumb. Provenance: American private collection
Literature comparison: For examples of Jade inlaid artworks of the period see Christie’s, Fine Chinese Ceramics and Works of Art Part I and Part II Including Original 18th century ebony base to lot 21, carved in form of a trapezoid Property from the Arthur M. Sackler Collections, table standing in a garden on serrated rockwork, surrounded by lingzhi 24 March 2011, NEW YORK, lot 1380 or Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, INCLUDING PROPERTY FROM THE COLLECTION OF THE ALBRIGHT-KNOX ART GALLERY, 19 MARCH 2007 - 20 MARCH 2007, NEW YORK lot 628.
㶭ẋ⣏✳䘥䌱Ⱦ㜦ᶳ䌳⫸ȿ4ẞ䳬㒢ẞ ⑩ 䚠列 ⤥炻⊭ 㻧 䳘 兑炻䌳 ⫸ 䘬 ㉯ ㊯ ᶲ 㚱 ṃ ⽖ 䡽 ㎵ 伶⚳䥩Ṣ㓞啷
Estimate EUR 1.500,- Starting price EUR 750,-
Dorsal view of lot 21 Invoice for lot 21, from C.C. Tih Gallery, Hong Kong 1973
26 27 23 AN EXTREMELY RARE QIANLONG PERIOD CINNABAR LACQUER EMBELLISHED JADE BOWL Celadon and grey streaked jade, smooth surface polish, cinnabar lacquer China, Qianlong Period (1736-1795)
This unique jade and lacquer bowl dates to the Qianlong period and there is only one other cinnabar lacquer embellished bowl published according to our records (please see literature comparison further below).
The jade bowl is delicately carved to perfection, with a flared rim and an accentuated round foot. The exterior is covered with red lacquer carved to depict two Imperial, five-clawed dragons in chase of the magical pearl. The scenery is set against a dense cloud foliage and whilst neck and foot rims show a plain border, a fine leaf band is adorning the lower part.
The 18th century was a period of experimentation in which the Qianlong Emperor in particular, was very keen to combine or simulate different materials – the bowl at hand is a perfect example for those artistic efforts.
Shape: Bowl shape Dimensions: 4,8cm (height), 9,5 cm (diameter) Condition: Excellent condition with fine hand patina Provenance: American Private collection
Literature comparison: Christie’s, The Imperial Sale Important Chinese Ceramics and Works of Art, Hong Kong, 31 May 2010, lot 1913 (for the only other known example of a cinnabar lacquer embellished jade bowl, here with lotus décor and bearing the Qianlong reign mark).
㤝℞份夳䘬Ḧ昮⸜攻䌱偶⇼䲭ȾḼ䇒佼漵ȿ䙴 曺䀘刚䌱炻堐朊㹹䳘兑炻⇼䲭㺮 ᷕ⚳炻Ḧ昮⸜攻 (1736-1795)
忁ᾳ䌐䈡䘬䌱冯㺮䘬䳬⎰䙴⎗ẍ徥㹗⇘Ḧ昮⸜攻ˤ㟡㒂ㆹ Ᾱ䘬姀抬炻䚖⇵⎒㚱ᶨ夳⇼䲭㺮晽䠿↢䇰炷婳⍫教ᶳ朊䘬 㔯䌣⍫侫炸ˤ
䌱偶塓䱦⽫晽⇣侴ㆸ炻㐯⎋炻⚰嵛ˤ ⢾⢾⡩㛙㺮拎⛘ᶲ⇼ ℑ晣Ḽ䇒漵㇗䎈ˤ ⚃␐暚曏䑘丆炻柠悐嵛悐䘬怲䶋⸛✎炻 ᶳ悐⇯梦㚱䱦伶䘬⌟叱䲳ˤ
18ᶾ䲨㗗ᶨᾳ娎槿㛇炻䈡⇍㗗Ḧ昮䘯ⷅ朆ⷠ䅙堟㕤⎰Ἕㆾ 䳬⎰ᶵ⎴䘬㛸㕁 – 忁ᾳ䠿⯙㗗忁ṃ喅埻≒≃䘬⬴伶℠䭬ˤ
⼊䉨: 䠿⼊ ⯢⮠烉檀 4,8cm炻䚜⼹9,5 cm ⑩䚠列⤥炻⊭㻧䳘兑 伶⚳䥩Ṣ㓞啷 㔯䌣⍫侫烉Ἓ⢓⼿˪ᷕ⚳⭖⺟⽉墥喅埻䱦⑩ˣ慵天ᷕ⚳䒟☐ ⍲ⶍ喅䱦⑩˫炻楁 㷗炻2010⸜5㚰31㖍炻1913嘇㉵⑩炷䞍䘬 ⎎ᶨẞ⽉墥䌱偶⇼䲭剙⋱䲳䙴炻拎⛘⇼咖剙䲳冯㍷慹⇣˪ ⣏㶭Ḧ昮⸜墥˫䭮㚠㫦 炸
Estimate EUR 3.000,- Starting price EUR 1.500,-
28 29 24 A MING DYNASTY MOTTLED JADE CARVING OF A RAM WITH LINGZHI Celadon, brown and black mottled jade, smooth surface polish China, Ming Dynasty
This auspicious jade figurine of a recumbent ram shows classical Ming Dynasty style. The animal is shown with its legs tucked under the body and with straight horns that are stretching along the back. The ram is holding the stem of a lingzhi spray in its mouth and the fungus is carved in high relief to one side.
Shape: Figural shape Dimensions: 4,2 cm (height), 6,3 cm (length), 2,7 cm (width) Condition: Very good condition with fine hand patina Provenance: American private collection
Literature comparison: Christie’s, Fine Chinese Ceramics and Works of Art, London, 8 November 2011, lot 148 (for a ram sculpture of similar style, yet less refined than our example).
㖶ẋ曺䘥䌱Ⱦ伲埼曰剅ȿ㒢ẞ 䌱ℭ悐⏰曺刚墸刚⍲湹刚䴖䉨炻堐朊㹹䳘兑 ᷕ⚳炻㖶ẋ 忁⎒㕄幢叿䘬⎱䤍䌱伲⃭↮栗䣢Ḯ㖶ẋ⁛䴙䌱晽桐㟤ˤ⬫ 䘬儧啷⛐幓橼ᶳ㕡炻伲奺㱧⼴側Ỡ⯽ˤ ℔伲䘬◜墉⣦叿曰 剅炻曚 ↢ 䘬 曰 剅 晽 ⇣ 䱦 伶ˤ
⼊䉨晐⼊ ⯢⮠烉4,2x6,3x2,7 cm (檀x攟x ⮔) ⑩䚠列⤥炻⊭㻧䳘兑㹓㼌 25 伶⚳䥩Ṣ㓞啷 A 17th / 18th CENTURY CELADON ⋩ᶫ军⋩ℓᶾ䲨曺䌱晽䋭⫸ 㔯䌣⍫侫烉Ἓ⢓⼿˪ᷕ⚳昞䒟⍲ⶍ喅⑩˫炻ΐ 㔎炻2011⸜11 AND RUSSET JADE ‘BUDDHIST LION’ 曺䌱ⷞ㰩炻堐朊㹹 㚰8㖍炻148嘇㉵⑩炷䚠Ụ忈✳䘬⮷伲炻Ữ㭼ㆹᾹ䘬㉵⑩㚜 CARVING ᷕ⚳炻⋩ᶫ军⋩ℓᶾ䲨 ≈䱦䶣炸 Pale celadon color jade with russet inclusions, smooth surface polish 忁ẞ䌱Ⱉ⫸晽⇣ㆸ䋭⫸再⦧ˤ ⬫䘬柕⚆廱 Estimate EUR 1.000,- China, 17th / 18th century ㈻ỷ冒䘬⯦炻⽆侴曚↢䈁滺ˤ䛤䤆䓇 Starting price EUR 500,- ≽炻⻝ 攳 䘬 滣 ⫼ 㲊 㴒 ⼊ 䘬 俛 㛝炻⋈ Ṣ 㸾 䡢 This jade pebble is carved in the shape ⛘㋽㋱ỷ共悐堐ねˤ⛐⯦悐⇵䇒ᷳ攻䘬 of a Buddhist lion, in a recumbent 㚚䶂嗽㚱ℑᾳ⮷䘬䵚䉨⋨➇炻䓐㕤ㆠ㍃ˤ posture. The beast has its head turned to grasp its own tail and thereby reveals a ⼊䉨烉 晐⼊侴晽 reticulated fang. The face with the bulging ⯢⮠烉3,4 x 7 x 4,8 cm (檀x攟x⮔) eyes, flared nostrils and wavy ears is ⑩䚠列⤥炻 ⊭㻧䳘兑 expressively captured. At the curve of the ❫慴·㻊䥹Erik Hancock 㓞啷炻⸽悐⎗ tail and between the front paws are two 夳㓞啷㧁䯥⍇ẞ small reticulated areas, for suspension. 㔯䌣⍫侫烉Ἓ⢓⼿˪ᷕ⚳䱦伶昞䒟冯ⶍ喅 ⑩˫炻2017⸜11㚰7㖍炻ΐ 㔎炻26嘇㉵⑩ (ᶨẞ Shape: Figural rounded shape with ⎗䚠Ụ䘬曺䌱ⷞ㰩䋭⫸炻⯢⮠䦵⣏) reticulation Dimensions: 3,4 cm (height), 7 cm Estimate EUR 1.000,- (length), 4,8 cm (width) Starting price EUR 500,- Condition: Good condition with extensive hand patina Provenance: Collection of Erik Hancock; original label on the underside
Literature comparison: Christie’s, Fine Chinese Ceramics & Works of Art, 7 November 2017, London, lot 26 (for a comparable celadon and russet jade carving of a Buddhist lion, slightly larger in size)
30 31 26 A QING DYNASTY WHITE AND RUSSET JADE ‘BAT AND LOTUS’ GROUP White jade with sparse russet inclusions, smooth surface polish China, Qing Dynasty
This fine white jade pebble combines the two auspicious motifs of the lotus and the bat in an ornate composition. The carving in openwork is of high quality and the very sparse russet inclusions add to the overall elegant appearance. This example could either be used as a paperweight or worn as a pendant.
Shape: Figural, longish shape with reticulation Dimensions: 7,2 cm (height), 4,2 cm (length), 2,5 cm (width) Condition: Good condition with fine hand patina and few tiny notches Provenance: American Private collection
Literature comparison: Sotheby’s, PLAYTHINGS FROM THE COLLECTION OF EDWARD T. CHOW, CHINESE CERAMICS AND WORKS OF ART, 27 MAY 2014, HONG KONG lot 73 (for a white and russet jade carving with a similar subject and of the same period and size).
㶭ẋ䘥䌱Ⱦ圁圈丷㝅ȿ ⑩䚠列⤥炻⊭㻧䳘兑炻⸦嗽庽⽖䡽䡘 伶⚳䥩Ṣ㓞啷
Estimate EUR 500,- 28 Starting price EUR 250,- A SUPERBLY CARVED WHITE JADE GROUP Shape: Sculptural OF FINGER CITRONS, QING DYNASTY, 18TH Dimensions: 9 cm (height) 27 CENTURY Condition: Excellent AN 18th CENTURY CELADON AND RUSSET JADE White jade of high purity, with a good patina Provenance: American private collection ‘PEACH AND BATS’ PEBBLE and smooth surface finish Light celadon color jade with russet inclusions, smooth China, Qianlong period 1736-1795 Literature comparison: Compare further surface polish examples of finger citron, such as one in China, 18th century or possibly earlier The naturalistically carved ‘Buddha’s hand’ the Seattle Art Museum, Seattle, illustrated attached to a leafy gnarled stalk suspending a in James C.Y. Watt, Chinese Jades from the This jade pebble is carved in the shape of a peach with smaller attendant fruit, its ‘fingers’ extending Collection of the Seattle Art Museum, Seattle, a little bat sitting on it and which is carved in high relief. sinuously and mingling at their tips, the 1989, pl. 79; another in the Alan and Simone Natural russet color inclusions in the material have been translucent stone of an attractive even white Hartman collection, illustrated in Robert used to highlight the creature and the darker colored tip color. Kleiner, Chinese Jades from the Collection of the fruit. of Alan and Simone Hartman, Hong Kong, A remarkable aspect of this carving is that both 1996, pl. 202; a third one in the Muwen Tang The peach is a symbol of longevity, and the word for fruits are rendered in an early state of decay, Collection of Chinese Jades. Sotheby’s, Hong bat in Chinese is fu which is a homophone for ‘blessing’. with their original form still being fully intact, Kong, December 1st,2016, lot 11. Together the bat and peach form ‘fushou shuang quan’, a but the skin already showing some insect bite Naturalistic ‘insect bite’ carving wish for good fortune and long life. and related signs of deterioration. By adding 㶭ẋ⋩ℓᶾ䲨䘥䌱晽⇣ἃㇳ ġto Jade surface these minor yet clever details, the artist has 䘥䌱炻檀䲼炻⊭㻧䳘兑炻堐朊㹹 ġ Shape: Figural rounded shape, two holes for suspension breathed more life into his work than seen on ᷕ⚳炻Ḧ昮(1736-1795) ġ Dimensions: 5,2 cm (height), 6,5 cm (length), 2,7 cm (width) most other depictions of this subject matter. ġ Condition: Good condition with extensive hand patina 冒䃞⛘晽⇣䘬“ἃㇳ”忋㍍叿ᶨᾳ㝅叱䷩努䘬䰿 ⯢⮠烉檀9 cm Provenance: American private collection, collector’s Exquisitely modelled and polished to a smooth 匾炻ㆠ ㍃ 叿 庫 ⮷ 䘬 ⮷ 㝄 ⮎炻⬫ 䘬 “ㇳ㊯”⮾䪗⺞Ỡ ⑩䚠㤝⤥ number to underside yet highly tactile finish, the present piece is an ᷎㶟⎰⛐ᶨ崟ˤ忁⟲䘥䌱⋲德㖶㤝℟忁⏠⺽≃ˤ 伶⚳䥩Ṣ㓞啷 impressive display of the technical expertise of 㔯䌣⍫侫烉℞Ṿἃㇳἄ⑩炻⎗夳大晭⚾伶埻棐炻 Literature comparison: Sotheby’s, QING DYNASTY JADES craftsmen working during the Qianlong period. 征ẞ晽⇣ἄ⑩䘬ᶨ᷒㗦䛨䈡䁡㗗炻᷌䥵㝄⭆悥⢬ 啷⑩↢䇰ḶJames C.Y. Watt˪大晭⚾伶埻棐ᷕ⚳ FROM A HONG KONG COLLECTION, 01 JUNE 2017, HONG The Buddha’s hand citron, which takes its name Ḷ堘侩䘬㖑㛇䉞⾩炻℞⍇⥳⼊⾩⬴⤥㖈㌇炻Ữ堐 䌱☐㓞啷˫炻大 晭 ⚾炻1989, ⚾ 79烊℞ Ṿ ⤪ Alan KONG, lot 45 (for a comparable peach and bat group, yet from the shape of its fruit that resembles the 䙖乷↢䍘ᶨṃ㖮嘓⎖䚠ㅱ䘬堘侩御尉ˤ and Simone Hartman collection, ↢䇰Ḷ Robert of larger size) idealized digit-form fingers of the Buddha, 忂彯⡆≈征ṃ⮷Ữ奨⮇䳘⽖䘬乮刪炻刢㛗⭞ᷢṾ Kleiner ˪Ἦ冒Alan and Simone Hartman㓞啷䘬 has a strong fragrance and is used as an altar 䘬ἄ⑩㲐ℍḮ㚜⣂䘬䓇␥炻侴ᶵ㗗⤪℞Ṿ⣏⣂㔘 ᷕ⚳䌱☐˫楁㷗炻1996, ⚾ 202; 䫔ᶱẞ⛐ ˪Ḽ⽟ ⋩ℓᶾ䲨曺䌱Ⱦ䤷⢥ȿⰙ⫸ offering during the New Year celebration. Ṣ⮡征᷒ᷣ桀䘬⇣䔓ˤ ⅘㶭—㰸㔯➪啷ᷕ⚳䌱晽˫炻喯 㭼炻楁 㷗炻2016 ⑩䚠列⤥炻⣏朊䧵䳘兑⊭㻧 The first character of its name fo, is a pun for ⸜12㚰1㖍炻11嘇㉵⑩ˤ 伶⚳䥩Ṣ㓞啷炻䌱ㆺℭ“⎗夳啷⭞䶐嘇 fu (‘blessings’ and ‘riches’), while the second 䘥䌱堐朊㽌䳘兑炻忁ẞἄ⑩㗗Ḧ昮㗪㛇ⶍ⋈Ᾱ character, shou, is homophonous for longevity. 䘬檀㸃晽⇣㈨埻ẌṢ⌘尉㶙⇣䘬慵䎦ˤ Estimate EUR 1.000,- Estimate EUR 500,- Fitted hardwood base. 晐⼊侴晽 Starting price EUR 500,- Starting price EUR 250,-
32 33 29 32 A PIERCED CELADON JADE ‘BUTTERFLY’ PLAQUE, QING DYNASTY Total length (necklace): 45 cm A QING DYNASTY PALE CELADON JADE CARVING Celadon jade of even color, smooth surface polish Condition: Excellent condition with fine hand patina OF TWO CATS Onyx and coral necklace with gilt silver clasp and ornaments (marked Sterling at the clasp) Provenance: American private collection Light celadon jade with ochre and milky white inclusions, China, Qing Dynasty (plaque) Europe, 20th century (necklace mounting) smooth surface polish 㶭ẋ曺䌱Ⱦ圜圞ȿ䌱䇴㊪梦 China, Qing Dynasty The centerpiece of this stylish necklace is an original Qing Dynasty celadon jade butterfly ⑩䚠列⤥炻⊭㻧䳘兑 plaque. It is carved and pierced in fine openwork and incised to both sides. Not only is the 伶⚳䥩Ṣ㓞啷 Jade pendants showing the auspicious “double-cat” butterfly a traditional symbol for beauty and love, but also longevity, in Chinese tradition. motif were high in demand during the Qing Dynasty. This Estimate EUR 400,- example is well rounded, showing the playful cats curled Shape: Figural shape (plaque) Necklace Starting price EUR 200,- towards each other with reticulation for suspension. Dimensions (plaque): 6,3 cm (height), 8,7 cm (length), 0,4 cm (width) Shape: Figural rounded shape with reticulation Dimensions: 4 cm (height), 4 cm (length), 2,3 cm (width) 30 Condition: Good condition with fine hand patina A RETICULATED CELADON JADE PLAQUE, QING Provenance: Austrian Private collection DYNASTY 31 Celadon jade of even color with sparse dark grey A QING DYNASTY PALE Condition: Good condition with Literature comparison: Bonham’s, FINE CHINESE ART, 10 inclusions, smooth surface polish CELADON JADE ‘CAT AND fine hand patina Nov 2016, LONDON, NEW BOND STREET, lot 60 (for a China, Qing Dynasty BUTTERFLY’ GROUP Provenance: American Private comparable pendant, carved from yellow & russet jade). Light celadon color jade with collection This finely carved and pierced circular plaque shows russet inclusions, the back of the 㶭ẋ曺䘥䌱晽Ⱦℑ晣⮷尻ȿ auspicious fruits such as lychee, kumquats or peaches in cat of a milky white hue, smooth Literature comparison: Sotheby’s, ⑩䚠列⤥炻⊭㻧䳘兑 a dense arrangement. The plaque is slightly curved, and a surface polish THE MUWEN TANG COLLECTION ⤏⛘⇑䥩Ṣ㓞啷 perfect circle is framing the imagery. China, Qing Dynasty OF CHINESE JADES, 01 DECEMBER 2016, HONG KONG, Estimate EUR 200,- Shape: Round shape, reticulation Small jade pebbles showing the lot 125 (for another example of Starting price EUR 100,- Dimensions: 10,5 cm (diameter) “cat and butterfly” motif were a “cat and butterfly” group of Condition: Excellent condition despite the many fragile popular during the Qing Dynasty comparable size and dating yet bridges, fine hand patina and a symbol for reaching an old depicting two cats and carved Provenance: Old Austrian Private collection, assembled in age. This example could either be from white & russet jade). the 1930s to early 1950s used as a paperweight or worn as a pendant. 㶭ẋ曺䘥䌱Ⱦ⮷尻㇗圞ȿ 㶭ẋ曺䌱掌䨢晽Ⱦẁ㟫ȿἑ梦 ⑩䚠列⤥炻⊭㻧䳘兑 ⑩䚠㤝⤥炻⃀䭉⸦嗽忋㍍嗽傮⻙炻⊭㻧䳘兑 Shape: Figural rounded shape 伶⚳䥩Ṣ㓞啷 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ with reticulation Dimensions: 5 cm (height), 4,5 cm Estimate EUR 400,- Estimate EUR 400,- (length), 2,3 cm (width) Starting price EUR 200,- Starting price EUR 200,-
34 35 33 AN 18TH CENTURY CELADON AND RUSSET JADE LOTUS VASE Pale celadon with sparse russet inclusions, excellent polish China, 18th century
The vase itself takes the shape of a curved lotus leaf with an undulated mouth and incised veins. Partially showing reticulation the vase is overgrown by smaller lotus leaves and a blossom. The stems of the plants form the encircled base.
Shape: Elongated, figural shape Dimensions: 11 cm (height), 6 cm (length), 2,5 cm (width) Condition: Excellent condition with fine hand patina Provenance: British collection
Literature comparison: Christie’s, Chinese Ceramics, Works of Art and Textiles, London, South Kensington, 17 May 2013, lot 1267 (for another lotus jade vase of similar size and dating to the same period).
⋩ℓᶾ䲨曺䌱ⷞ䙖咖叱䒞 曺䌱ⷞ㰩炻堐朊㹹䳘兑 ᷕ⚳炻⋩ℓᶾ䲨
剙䒞㛔幓⏰㚚䘬咖剙叱⼊䉨炻䒞⎋崟ặˤ䒞幓⯨悐央味⮷咖叱 ⍲咖剙ˤ䒞嵛悐ỵ咖叱匾悐䑘丆ˤ ⼊䉨烉晐㢵䈑⼊䉨⺞Ỡ ⯢⮠烉11x6x2,5 cm (檀x攟x⮔) ⑩䚠列⤥炻⊭㻧䳘兑 劙⚳䥩Ṣ㓞啷 㔯䌣⍫侫烉Ἓ⢓⼿˪ᷕ⚳昞䒟ˣⶍ喅⑩⍲䷼䈑˫炻ΐ 㔎炻⋿ 偗 彃 枻炻2013⸜5㚰17㖍炻1267嘇㉵⑩ (⎎ᶨ䚠Ụ⯢⮠⍲⸜ẋ䘬 䌱咖䒞)
Estimate EUR 1.200,- Starting price EUR 600,-
36 37 35 A TRANSLUCENT SPINACH line in the material GREEN MUGHAL STYLE Provenance: Hungarian private ‘LOTUS’ JADE BOWL, QING collection DYNASTY The jade carved in high relief, the Literature comparison: Fine mineral being of almost absolutely Chinese Ceramics and Works flawless dark-green color, with a of Art. Sotheby’s, Hong Kong, good and smooth surface finish April 8th, 2014, lot 3071. (for a China, 18th – 19th century pair of translucent white jade bowls, showing a related carving With a circumferential band of technique) raised lotus flowers accompanied 34 by the vines and leaves, the 㶭ẋ䡏䌱ㆆ⃨丷㝅大䔒咖䲳䌱䠿 A LARGE BROWN, CELADON AND WHITE JADE MOUNTAIN BOULDER, QING DYNASTY lip surrounded by a traditional 檀㴖晽炻ㆸ㶙䵈炻堐朊㹹㼌㽌ġᷕ Celadon and brown jade with russet and white inclusions, smooth surface polish, with wooden base band of ruyi, the raised foot ⚳炻⋩ℓ 军 ⋩ḅ ᶾ 䲨 ġ China, Qing Dynasty rim surrounded by a formalized ġ chrysanthemum petal band. 䠿⢾⡩ᶨ⚰丷㝅大哫咖䲳炻䠿⒯㱧ġ Most intriguing about this boulder is the use of the various hues in the jade material. The show ␐晽⇣叿⁛䴙䘬⤪シ䲳炻↠崟䘬儛ġ side features the portrayal of a scholar walking with his stick in a mountainous landscape with pine This bowl is an interesting 怲ᶨ⚰咖剙䒋䲳ˤġ trees. The wanderer is carved in a grotto like-reserve and shows white color, standing out beautifully example of two cultures meeting ġ against the brown speckled celadon color of the surrounding. The backside bears incised archaic in one single design. The 忁ᾳ䠿㗗ℑ䧖㔯⊾⛐ᶨᾳ姕妰ᷕ䚠ġ script as well as an apocryphal Yongzheng mark. traditional Chinese is represented 忯䘬㚱嵋ἳ⫸ˤġ⁛䴙䘬ᷕ⚳㔯⊾ġ by a strictly formal ruyi band, ⛐忁塷塓堐䎦䇚㟤⺷⊾⤪シ䲳炻侴ġ Shape: Vertical boulder shape, curved wooden longish base while the Mughal is represented ㆆ⃨䌳㛅⯽䎦䘬㗗丷㝅大䔒咖 Dimensions: 13 cm (height), 10,5 cm (length), 4 cm (width) by a no less formal, yet completely 䲳ˤ䠿⼊ġ⯢⮠烉IJijġŤŮġĩ䚜⼹Īġ Condition: Excellent condition with fine hand patina different band of aligned ⑩䚠㤝⤥炻堡㚱ᶨ㡅䞕䞕䘬⣑䃞ġ Provenance: American private collection geometric Chrysanthemum petals. ⡻≃䲳ġ The large flower band is situated ⊰䈁⇑䥩Ṣ㓞啷ġ 㶭ẋ⣏✳曺䘥䌱Ⱉ⫸ in the center between those 㔯䌣⍫侫烉˪ᷕ⚳䱦伶昞䒟ⶍ喅ġ ⑩䚠列⤥炻⊭㻧䳘兑 two smaller bands and bears ⑩˫炻喯㭼炻楁㷗炻ijıIJĵ⸜ĵ㚰ġĹ 伶⚳䥩Ṣ㓞啷 characteristics from both cultures. 㖍炻Ĵ ı ĸ IJ 嘇 ㉵ ⑩炷ᶨ ⮵ ⋲ 德 㖶 䘥 䌱 ġ 䠿炻䚠 役 晽 ⇣ 喅 埻炸 Estimate EUR 1.000,- Shape: Bowl Starting price EUR 500,- Dimensions: 12 cm (diameter) Estimate EUR 1.000,- Condition: Excellent condition Starting price EUR 500,- with only one short natural stress
38 39 36 A KANGXI PERIOD CELADON AND Provenance: Old Austrian Private collection, RUSSET JADE RUYI SCEPTER assembled in the 1930s to early 1950s Celadon jade of even color with russet inclusions, excellent surface polish Literature comparison: Christie’s, Important China, Kangxi period (1662 – 1722) Chinese Ceramics and Works of Art, Hong Kong, 29 November 2017, lot 2926 (for a Finely finished to a smooth and highly very similar sceptre of slightly larger size). tactile polish, this piece is notable for the attractive combination of sophisticated high 䅁⸜攻曺䘥䌱晽⤪シ relief and open work carving. The scepter 曺䘥䌱炻堐朊㹹 is naturalistically carved as a large branch of ᷕ⚳炻䅁⸜攻 (1662 – 1722) lingzhi, with the largest cap forming the head of the scepter, surmounted by a small forked 䳘兑䱦䶣䘬堐朊㹹炻檀⹎㉳炻忁ẞἄ lingzhi branch. A small bat can be found on ⑩ẍ㤝℞䷩墯䘬㴖晽攳㓦⺷晽⇣侴ㆸˤ the scepter head as well. The knotted shaft is ⤪シ㪲㛾塓冒䃞⛘晽⇣ㆸ曰剅䘬ᶨ⣏↮㓗炻 encircled by further smaller openwork lingzhi 㚨⣏䘬曰剅柕⼊ㆸḮ㪲㛾䘬柕悐炻嶐崲Ḯ branches. ᶨᾳ⮷⍱⼊䘬曰剅↮㓗ˤ⛐㛾柕ᶲ⎗ẍ㈦⇘ ᶨ晣⮷圁圈ˤㇻ䳸䘬庠塓㚜⮷䘬德晽曰剅↮ Ruyi scepters, by definition, are propitious 㓗⊭⚵ˤ objects favored for their shape, which represents the expression ‘as you wish’ and 栏⎵⿅佑炻⤪シẋ堐叿Ⱦ⤪Ἀ栀ȿ炻冯冯 for their similarity to lingzhi, the immortality 曰剅忁䧖ᶵ㛥却栆㚱䚠Ụᷳ嗽ˤ fungus. 䌱☐⛐⋩ℓᶾ䲨ᷳ⇵⼰⮹↢䎦炻⚈䁢⣏⟲䌱 Jade scepters were rarely made prior to 䞛䘬䦨仢⿏炻1760⸜⸛⭂㕘䔮ᷳ⼴ㇵ攳⥳⣏ the 18th century given the scarcity of large ㈡慷䓇䓊炻㬌㫉䴙ᶨ䡢ᾅḮ⮵䎦Ṳ㕘䔮䘬㜙 boulders and only became available in larger 䨩⍍㕗✎䵕⏦䇦⛘⋨䘬㍏⇞ˤ忁ṃ⛘⋨䘬侉 quantities after the Western campaigns of 侈ⶐ䞛塓ⷞ⇘Ḯ⭖⺟炻⛐恋墉㚨⤥䘬䞛㕁塓 1760, which secured control over the area of ⽉䓐ⶍ⋈Ᾱẍ⍲喯ⶆ䘬䌱☐ⶍ⛲ㆾ侭㶖㱛 Uyghur region of Eastern Turkistan, in present 攟䤧䔞⯨䘬ⶍἄṢ⒉晽⇣侴ㆸˤ day Xinjiang. Jade boulders from these areas were brought to the court, where the best ⼊䉨烉晐⼊侴晽 specimens were selected to be carved by ⯢⮠烉 35x7,5x3,5 cm (檀x攟x ⮔) artisans working in the palace workshop, ⑩䚠烉⮵庠ᶲ悐㚱ᶨ嗽ᾖ⽑炻⊭㻧㤝⤥ in the jade workshops of Suzhou or in ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩ those belonging to the Huai and Changlu ⸜ẋ⇅岤ℍ administrations. 㔯䌣⍫侫烉Ἓ⢓⼿˪慵天ᷕ⚳䒟☐冯ⶍ喅 ⑩˫炻楁㷗炻2017⸜11㚰29㖍炻2926嘇㉵ Shape: Figural shape ⑩ (朆ⷠ䚠Ụ䘬ᶨẞ⤪シ炻⯢⮠䦵⣏)ˤ Dimensions: 35 cm (height), 7,5 cm (length), 3,5 cm (width) Estimate EUR 7.000,- Condition: One repair to upper part of shaft; Starting price EUR 3.500,- excellent hand patina
40 41 37 AN 18TH CENTURY JADE ‘BOY AND LOTUS’ CARVING Pale celadon jade of even color and translucent quality, natural veins mainly to backside, smooth surface polish China, 18th century
This well-rounded jade carving has been used as a paperweight or could be worn as a pendant. It features the auspicious “boy and lotus” motif, symbolizing the wish for a male offspring. The smiling boy is portrayed in a recumbent posture, inside a large lotus leaf, and holding onto the curved stem of the lotus blossom we see on the underside. A vivid miniature sculpture with fine details.
Shape: Figural rounded shape with reticulation Dimensions: 6 cm (height), 4,6 cm (length), 2,7 cm (width) Condition: Excellent condition with fine hand patina Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s
Literature comparison: Sotheby’s, PLAYTHINGS FROM THE COLLECTION OF EDWARD T. CHOW, CHINESE CERAMICS AND WORKS OF ART, 27 MAY 2014, HONG KONG lot 82 (for another 18th century white and russet jade carving with the same subject).
⋩ℓᶾ䲨Ⱦ㊩咖䪍⫸ȿ䌱晽 ⑩䚠列⤥炻⊭㻧䳘兑 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ
Various detail views of lot 36 Estimate EUR 1.000,- Starting price EUR 500,-
42 43 38 THREE WHITE JADE PLAQUES FOR RUYI SCEPTER, QING DYNASTY White jade with a slight pale celadon tint, few natural inclusions, excellent surface polish. Silver mountings. China, Qing Dynasty
These three silver-mounted jade plaques were originally the inlays of a wooden Ruyi sceptre. The sceptre head plaque shows an undulated shape and is carved with the scenery of two scholars and a pupil in a mountainous landscape. The central plaque bears the portrayal of Shoulao underneath a pine tree and finally the bottom plaque is adorned with the vivid portrayal of a horse in flight. The color graduation of the plaques is getting lighter from top to bottom, the head piece showing a visible pale celadon tint whereas the horse plaque is pure white.
Ruyi scepters, by definition, are propitious objects favored for their shape, which represents the expression ‘as you wish’ and for their similarity to lingzhi, the immortality fungus.
Shape: Undulated respectively ovoid shapes Dimensions: 14 x 12 cm (largest plaque), 11 x 6,5 cm (middle plaque), 6,5 x 7 cm (smallest plaque) Condition: Very good condition and fine hand patina Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s
Literature comparison: for two examples of Ruyi scepters with white jade plaques see Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, 08 APRIL 2010, HONG KONG, lot 1887 or Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, 10 NOVEMBER 2010, LONDON, lot 308.
㶭ẋ⤪シᶲ䘬ᶱ⟲䘥䌱晽䌱㜧 䘥䌱炻䔍㚱曺刚炻ṃ⽖⣑䃞䴖䉨䈑炻堐朊㹹炻搚戨 ᷕ⚳炻㶭ẋ
忁ᶱ⟲戨搚䌱㜧⍇Ἦ㗗ᶨ⟲㛐⤪シ㪲㛾䘬橼ˤ 㪲㛾柕㜧⏰㲊㴒⼊炻晽⇣叿Ⱉ㯜ᷕℑỵ㔯⢓ ℞䪍⫸ˤ ᷕ⣖䘬䌱䇴ᶲ晽⇣叿㜦ᶳ⢥侩炻⸽悐䘬䌱䇴墅梦叿䓇≽䘬楔⋡ˤ 䌱䇴㔹⟲䘬柷刚㻠 嬲⽆枪悐⇘⸽悐嬲庽炻柕悐悐↮⏰䎦⎗夳呤䘥䘬曺刚婧炻侴楔⋡㗗䲼䘥刚䘬ˤ
⤪シ㪲㛾栏⎵⿅佑炻尉⽝叿Ⱦ⤪Ἀ栀ȿ炻⬫Ᾱ冯曰剅忁ᶵ㛥却栆㚱叿䚠Ụᷳ嗽ˤ
⼊䉨烉㨊⚻⼊ ⯢⮠烉↮⇍䇚14 x 12 cm 炻11 x 6,5 cm 冯6,5 x 7 ⑩䚠㤝⤥炻⊭㻧䳘兑 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ⇅岤ℍ 㔯䌣⍫侫烉ℑẞ䘥䌱晽⤪シ㪲㛾ᶲ䘬䌱㜧⎗夳喯㭼˪ᷕ⚳昞䒟冯ⶍ喅⑩˫炻2010⸜4㚰8㖍炻楁 㷗炻1887嘇㉵⑩冯喯㭼˪ᷕ⚳昞䒟冯ⶍ喅⑩˫炻2010⸜11㚰10㖍炻ΐ 㔎炻308嘇㉵⑩
Estimate EUR 2.000,- Starting price EUR 1.000,-
44 45 40 AN 18TH CENTURY CELADON JADE CARVING OF A RECLINING LADY Celadon Jade of an even color with very few natural inclusions, excellent surface polish China, 18th century
This masterly carved jade figure of a reclining lady is a true rarity and may derive from the erotic figures that 39 were created in the late Ming period which carried A PALE CELADON ‘HORSE AND MONKEY’ JADE into the early Qing period and gradually disappeared CARVING, QING DYNASTY, 18TH / 19TH CENTURY underground. Her pose carries the characteristics of such The stone of even, almost white color, with some faint figures, with her head propped up on one hand also her white inclusions, smooth surface polish hair is gathered in a bun at the back of her head in late- China, 18th - 19th century Ming style. The figure may also have been inspired by early Qing dynasty doctors’ models. Humoristic carving in the form of a recumbent horse with one front leg scratching the other, its bushy tail wrapped The lady is lying on a neatly incised woven mat and around its left haunch, with a small monkey trying to behind her head we see an ornate pillow with flower climb on its back by grabbing the mane and the tail at decoration. In her hand she holds a fan. This figurine the same time. could also have been used as a figural brushrest.
Shape: Sculptural See a carving of a reclining female figure resting on a Dimensions: 6 cm (length) leaf while holding a fan, attributed to the late Ming/early Condition: Excellent Qing period, from the Guan-fu collection, included in the Provenance: Austrian private collection exhibition Chinese Jades from Han to Ch’ing, Asia House Gallery, New York, 1980, cat. no. 105. Literature comparison: Important Chinese Art. Sotheby’s, 㸸㕤㖶㛓↢䎦䘬刚ねṢ䈑⁷炻忁ṃṢ䈑⛐㶭⇅忚ℍ⛘ᶳ᷎徸㻠㴰⣙ˤ ⤡䘬⦧⊊℟㚱忁㧋䘬Ṣ London, November 9th, 2016, lot 306. (for a related Shape: Figural 䈑䈡⽝炻柕悐⍲檖梦桐㟤℟㘂㖶䘬桐㟤ˤ 忁ᾳṢ⁷ḇ⎗傥⍿⇘㶭ẋ㖑㛇慓䓇㧉⺷䘬┇䘤ˤ ‘monkey and horse’ carving) Fine Chinese Ceramics and Dimensions: 7,3 cm (length), 3,2 cm (height), 3 cm Works of Art. Sotheby’s, Hong Kong, PROPERTY OF A (width) 忁ỵ⨎Ṣㇳ㊩㇯⫸幢⛐䷼䈑ᶲ炻㜽柕ᶲ㚱厗渿䘬剙㛝墅梦ˤ忁ᾳ⮷晽⁷ḇ⎗ẍ塓䓐Ἦἄ䁢䫮 PRIVATE ASIAN COLLECTION, April 8th, 2013, lot 3210. Condition: Very good condition and fine hand patina 㒙ˤ (for another related ‘monkey and horse’ carving) Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s 夳㕤㖶㛓㶭⇅㗪㛇䘬ᶨỵ㌏叿㇯⫸䘬幢⛐叱⫸ᶲ䘬㕄ῂ⤛⿏晽⁷炻Ἦ冒⽑㓞啷炻夳˪ᷕ⚳㻊 ⋩ℓ 军⋩ḅᶾ䲨曺䘥䌱Ⱦ楔ᶲ⮩ὗȿ ẋ军㶭ẋ䌱☐˫炻Ṇ 㳚 ᷳ ⭞ 喅 炻䲸 䲬炻1980⸜炻䚖抬 嘇 105ˤ ⑩䚠㤝⤥ Literature comparison: for another celadon jade ‘reclining ⤏⛘⇑䥩Ṣ㓞啷 lady’ figure of the period, see Christie’s, Important ⼊䉨烉晐⼊侴晽 Chinese Ceramics and Works of Art, Hong Kong, 30 ⯢⮠烉7,3x3,2x3 cm 炷攟x檀x⮔炸 Estimate EUR 600,- November 2011, lot 3208. ⑩䚠㤝⤥炻⊭㻧䳘兑 Starting price EUR 300,- ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ⇅岤ℍ ⋩ℓᶾ䲨曺䌱晽Ⱦ⨎Ṣẹㅑȿ 㔯䌣⍫侫烉⎎ᶨẞ⎴㗪㛇曺䌱Ⱦ⨎Ṣẹㅑȿ⎗夳Ἓ⢓⼿˪慵天ᷕ⚳昞䒟冯ⶍ喅⑩˫炻楁 㷗炻2011 曺䌱炻⎗夳⣑䃞ℭ㰩炻堐朊㹹 ⸜11㚰30㖍炻3208嘇㉵⑩ˤ ᷕ⚳炻⋩ℓᶾ䲨 Estimate EUR 1.200,- 忁ỵ䱦晽䳘䏊Ⱦ⨎Ṣẹㅑȿ䌱ẞ㗗ᶨẞ䛇㬋䦨㚱ἄ⑩炻⎗傥 Starting price EUR 600,-
46 47 43 A JADEITE SCULPTURE OF A PHEONIX WITH PEONY, 1900s Jadeite in white, lilac, russet, and green hues with natural inclusions; good polish. Original rosewood base China, around 1900
This well-carved, reticulated jadeite sculpture portrays a majestic phoenix with its head turned backwards and, in the beak, holding a peony blossom. The bird has one leg raised, resting on a rock that is partially covered by its tail feathers. The artist has beautifully used the natural color changes in the material to create a vivid portrait – whilst the head and flower show mainly russet and green, the body stands in fine contrast in its white and lilac hues.
When phoenix, the king of birds that represents prosperity and great blessings is paired with peony, or fuguihua, the flower of wealth and honor, they convey the wish fugui jixiang, ‘May there be wealth, rank, and good fortune.’
42 Shape: Figural shape, reticulated. The wooden base in A GREEN AND RUSSET LOTUS-FORM reticulated, floral shape. JADEITE BRUSH WASHER WITH THREE- Dimensions: 17,5 cm (total height), 15 cm (height of jade LEGGED TOAD, 1900s sculpture alone) Jadeite in russet, celadon and green hues, Condition: Good condition with fine hand patina, some good polish. Original rosewood base natural stress lines to material China, around 1900 Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s This well-carved lotus leaf shape brush washer shows an appealing color play Literature comparison: Christie’s, A Collecting Legacy: of russet and various shades of green Fine Chinese Jade Carvings and Works of Art from the in the jadeite material. One of the most Lizzadro Collection, 21 March 2013, NEW YORK, lot 887 popular auspicious Chinese animals, the (for a slightly taller Jadeite sculpture showing a phoenix three-legged toad, is portrayed in high pair and peonies). relief sitting inside the leaf and serves well as a brush rest. The piece comes with its 1900⸜⇵⼴侉侈晽Ⱦ沛↘䈉ᷡȾ original rosewood base, again shaped as 䤷䤧⢥䥏侉侈炻⣑䃞刚㰩炻堐朊㹹炻⍇墅剙㡐㛐⸽⹏ 41 a lotus leaf and supported by a reticulated ᷕ⚳炻1900⸜⇵⼴ A WHITE & EMERALD GREEN JADEITE BOX AND foot rim. COVER, QING DYNASTY 忁⹏侉侈晽⟹沛↘⇣䔓㳣曰㳣䎦炻柕悐⎹⼴廱≽炻᷎⛐╁ Icy white jade with splashes of emerald green, natural Shape: Figural shape ᷕ⏓叿ᶨ㛝䈉ᷡ剙ˤ 沛↘䘬ᶨ晣儧㉔崟炻㒙⛐ᶨ⟲塓⯦佥 ochre hued inclusions to underside of base, excellent polish Dimensions: 15,5 cm (length of dish), 5 cm 悐↮央味䘬ⱑ䞛ᶲˤ 晽⇣⋈Ṣⶏ⥁⛘⇑䓐Ḯ侉侈䞛㕁ᷕ China, Qing Dynasty (total height, with base) ⣑䃞䘬柷刚嬲⊾炻∝忈↢ᶨⷭ䓇≽䘬倾⁷ ˤ沛↘柕悐剙 Condition: Very good condition with fine 㛝ᷣ天⏰ᶱ奺⼊䵈刚冯幓橼䘬䘥刚㶉䳓刚刚婧⼊ㆸ This lidded box is left undecorated for the natural emerald hand patina, the wooden base misses two 歖㖶⮵㭼ˤ splashes to star in the otherwise brilliant white jadeite of the petals material. The base and lid are each carved from one piece Provenance: American collection ẋ堐䷩㥖屜䘬沍栆ᷳ䌳沛↘冯屉冯㥖嬥ᷳ剙䈉ᷡ剙惵 and polished to perfection. The box was probably used for ⮵㗪炻⁛忼叿屜⎱䤍䘬栀㛃烉Ⱦ屉炻⑩䳂炻⤥忳ȿˤ seal paste or storage of a rosary. Literature comparison: Sotheby’s, SATURDAY AT SOTHEBY’S: ASIAN ART, 16 ⼊䉨烉晐⼊烊㛐⸽⹏⏰剙⼊ Shape: Cylindrical shape SEPTEMBER 2017, NEW YORK, lot 1049 ⯢⮠烉䷥檀 17,5 cm炻侉 侈 檀 15 cm Dimensions: 2,7 cm (height), 5,8 cm (diameter) (for a pair of lotus pad-form jadeite dishes Condition: Excellent condition with fine hand patina of the same period) or Christie’s, Two ⑩䚠列⤥炻⊭㻧䳘兑炻䌱䞛塷⎗夳⣑䃞䲳嶗 Provenance: Old Austrian Private collection, assembled in Distinguished American Collections. New ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ⇅岤ℍ the 1930s to early 1950s York, 4 - 5 March 2014, lot 3 (for a jadeite 㔯䌣⍫侫烉Ἓ⢓⼿˪㉙⭅⾨䍵烉᷸叐⋻ᷕ⚥䌱晽⍲ⶍ刢䱦⑩ lotus-form brush washer of the same size 䍵啷 ˫炻2013⸜3㚰21㖍, 䲸䲬, 887嘇㉵⑩ (ᶨẞ䦵檀䘬侉 Literature comparison: Sotheby’s, FINE CHINESE CERAMICS and period yet missing the toad). 侈晽沛↘䈉ᷡ)ˤ & WORKS OF ART, 11 SEPTEMBER 2012 - 12 SEPTEMBER 2012, NEW YORK, lot 364 (for a comparable, yet taller, 1900⸜⇵⼴咖⼊Ⱦ慹垦ȿ侉侈䫮㲿 Estimate EUR 800,- cylindrical box in the group). ⑩䚠㤝⤥炻⊭㻧䳘兑炻㛐⸽⹏仢⮹ℑ䇯 Starting price EUR 400,- 伶⚳䥩Ṣ㓞啷 㶭ẋ侉侈味䙺 ⑩䚠列⤥炻⊭㻧䳘兑 Estimate EUR 400,- ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ Starting price EUR 200,-
Estimate EUR 400,- Starting price EUR 200,-
48 49 44 45 46 A MING DYNASTY MOTTLED WHITE & BLACK JADE A YUAN / MING DYNASTY MOTTLED JADE TOGGLE OF A MANDARIN DUCK A WHITE AND RUSSET JADE BELT HOOK WITH ARCHER’S RING Brown and black mottled jade, smooth surface polish PHOENIX Mottled jade ranging in color from white to black, China, Yuan / Ming Dynasty (1279 – 1644) White jade with ochre and russet inclusions, smooth smooth surface polish surface polish China, Ming Dynasty Of flattened form and carved in the shape of a mandarin duck this toggle bears the China, Modern drilling for suspension at the bird’s neck. The bird’s wings are pressed close against the This Ming Dynasty archer’s ring features are rounded sides of its body and the legs are tucked underneath. In the beak we see the stem of a This very well executed jade belt hook features the top rim and slightly tapered inside rim at the lower end. lotus flower with the blossom to one side. portrayal of a horned phoenix. Whilst the front bears the An archaistic dragon and cloud pattern in high relief is wings crossed with naturalistic rendering of the plumage, adorning the entire surface area. Shape: Figural shape the back has more archaistic feather patterns and stylized Dimensions: 3 cm (height), 5 cm (length), 2,6 cm (width) lotus petals at the knob. Shape: Tall, cylindrical ring shape Condition: Good condition with extensive hand patina and one notch to beak Dimensions: 2,5 cm (height), 3 cm (diameter) Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s Belt hooks with phoenix head finials are rare to find as Condition: Good condition with extensive hand patina the dragon is the predominant beast used for these kinds Provenance: American Private collection, collector’s Literature comparison: For two other examples of jade duck toggles dating to the of artefacts number painted onto inside Song – Ming Dynasties see Christie’s, Important Chinese Ceramics and Works of Art, Hong Kong, 3 December 2008, lot 2612 or Christie’s, The Collection of Robert Hatfield Shape: Figural shape, with reticulation, curved and with 㖶ẋ㴖晽漵䲳䀘䌱㈛㊯ Ellsworth Part III - Chinese Works of Art: Qing Ceramics, Glass and Jade Carvings, New knob to underside ⑩䚠列⤥炻⣏朊䧵䘬䳘兑⊭㻧 York, 19 March 2015, lot 631. Dimensions: 11,5 cm (height), 3,2 cm (length), 2,5 cm 伶⚳䥩Ṣ㓞啷炻䌱ㆺℭ“⎗夳啷⭞䶐嘇 (width) ⃫ㆾ㖶ẋ湹墸刚泃泎䌱䎖 Condition: Estimate EUR 300,- ⑩䚠列⤥炻⊭㻧䳘兑炻㚱ᶨ⮷仢⎋ Excellent condition with fine hand patina 47 Starting price EUR 150,- ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ Provenance: Austrian private collection A SIGNED WHITE JADE PLAQUE Dimensions: 5 cm (height), 3,5 cm PENDANT WITH MAGU (length), 0,5 cm (width) Estimate EUR 300,- 䎦ẋ䘥䌱沛䲳ⷞ㈋ White jade, smooth surface polish. The Condition: Excellent condition with fine Starting price EUR 150,- ⑩䚠列⤥炻⊭㻧䳘兑ġ backside bearing a 4-character inscription hand patina ⤏⛘⇑䥩Ṣ㓞啷 China, 20th century Provenance: Swedish private collection
Estimate EUR 300,- This finely chiseled pendant bears the Literature comparison: Christie’s, Chinese Starting price EUR 150,- portrayal of Magu who is associated Ceramics, Works of Art and Textiles Part with the Queen Mother of the West , I, London, South Kensington, 9 November Xiwangmu. Magu is accompanied by a 2016, lot 315 (for a comparable plaque, in tamed stag and carrying a double gourd circular shape). on the show side. Two stylized clouds and a central 4-character inscription reading Ḵ⋩ᶾ䲨䘥䌱Ⱦ湣⥹䌣⢥ȿ ‘Magu Xianshou’ (= Magu is coming for the ⑩䚠列⤥炻⊭㻧䳘兑 birthday celebration) adorn the backside. 䐆℠䥩Ṣ㓞啷
Shape: Rectangular shape with rounded Estimate EUR 300,- corners, small hole for suspension Starting price EUR 150,-
50 51 48 AN IMPERIAL 18TH CENTURY IVORY BITONG BRUSHPOT WITH THE STORY OF PAN YUE Ivory, wooden base China, 18th century
The thick cylindrical walls superbly carved in different levels of relief with a continuous scene depicting the famous Jin Dynasty poet Pan Yue in a cart whilst ladies and children are throwing fruits at him. The tale says that Pan Yue was so handsome that wherever he went he was pelted with fruits as a sign of admiration by the women who saw him.
Countless ladies are gathered at the palace terrace and groups of people are on their way to pick fruits or bring them back in little baskets, with further figures Two 18th century Bitong, the right one also with a Pan Yue motif, at the Metropolitan overlooking the scene from pavilions and walkways Museum of Art, New York in the background, all set within a tree-strewn rocky landscape.
The wooden base bears an old collector’s number and the inscription (=transcribed) ‘Qianlong’. The fine ⋩ℓᶾ䲨⽉墥尉䈁䫮䫺ȾṢ䈑㓭ḳ㼀ⱛȿ workmanship and some of the stylistic features found 尉䈁炻㛐⸽⹏ on the present example can be seen in a number of ᷕ⚳炻⋩ℓᶾ䲨 ivory carvings in the Palace Museum, Beijing, illustrated in Bamboo, Wood and Ivory Carvings, The Complete ⍂⍂䘬⚻㞙⼊䫮䫺堐朊ἧ䓐ᶵ⎴ㇳ㱽㶙㶢ᶵᶨ⛘晽⇣Ḯ㗱㛅叿⎵Ṣ䈑 Collection of Treasures of the Palace Museum, Hong 㼀ⱛ炷⌛㼀⬱炸↢㷠⟜㘗ˤ忁ᾳ㓭ḳ婒㼀崲㗗⤪㬌劙ὲ炻ẍ军㕤Ṿ㭷 Kong, 2002, vol. 44, nos.151, 152 and 156. 㫉↢㷠悥㚫塓⨎⤛⬑䪍“㍟㝄䙰弎”ˤ
Shape: Cylindrical shape 䃉㔠⤛⢓倂普⛐ṕ冢㦻敋⇵奨䚳炻Ṏ㚱⼰⣂Ṣ⍣㑧㯜㝄ㆾ⮯⬫Ᾱ⽆ Dimensions: 16,5 (height with base) 13,2 cm (height 䯫⫸ᷕ⍾↢ˤ⟜㘗堐䎦䔷⭮ᶵᶨ炻㧡㛐䷩努⍰㚱`Ⱉⱑ䞛ἄ䇚⟜㘗㚧 without base), 11,3 cm (diameter at the upper rim) ㎃ˤ
im Chinesischen mit Copy Paste ersetzen durch: 㛐⸽⹏ᶲ⎗夳侩啷⭞㧁䯥ȾQianlongȿ⫿㧋ˤ栆Ụⶍ喅⍲桐㟤䈡⽝⎗ Condition: Good condition with natural patina and age 夳⊿Ṕ㓭⭖⌂䈑昊ᷕ啷䈁晽炻↢䇰Ḷ˪䪡㛐䈁奺晽⇣/㓭⭖⌂䈑昊啷 cracks mainly at the rims and inside, one segment of 㔯䈑䍵⑩ℐ普˫炻楁㷗炻2002⸜炻䫔44Ⅎ炻⚾151, 152炻 156ˤ lower rim reattached professionally, bottom inset is a wooden replacement, wooden base misses one foot ⚻㞙橼 Provenance: American private collection ⯢⮠烉16,5 cmġĩ忋⸽⹏檀⹎Īġ檀13,2 cm炻ᶲ怲䶋䚜⼹11,3 cm ⑩䚠列⤥炻冒䃞⊭㻧炻⚈⸜ẋ农Ḧ塪䲳炻ᷣ天⛐怲䶋⍲䫺ℭ炻ᶳ悐 Literature comparison: For an Imperial ivory brush 怲䶋䘬㚱ᶨ㭝㚦䴻忶⮰㤕ᾖ⽑炻䒞⸽㗗ᶨᾳ㛐墥㚧ẋ⑩炻㛐⸽⹏仢ᶨ pot of comparable quality, slightly taller see Christie’s, 嵛ˤ Exceptional Chinese Works of Art from an Important 伶⚳䥩Ṣ㓞啷 European Collection, 30 November 2011, HONG 㔯䌣⍫侫烉⎎ᶨẞ⽉墥栆Ụ岒慷Ữ䦵檀䘬䫮䫺⎗夳Ἓ⢓⼿˪㫸㳚䥩Ṣ KONG, lot 2902. 䍵啷慵天ᷕ⚳喅埻⑩˫炻2011⸜11㚰30㖍炻楁㷗炻2902嘇㉵⑩ ˤ ⛐䲸䲬⣏悥㚫喅埻⌂䈑棐䘬㓞啷ᷕ㚱ᶨẞ⋩ℓᶾ䲨Ⱦ㼀ⱛṢ䈑㓭ḳȿ In the collection of the Metropolitan Museum of Art 尉䈁䫮䫺炻㓞啷䶐嘇2015.500.6.10. 㬌䫮䫺䓙 䲸䲬Florence ⍲ Herbert is an 18th century ivory brushpot depicting the tale of Irving⣓⨎㋸岰炻⍇⃰岤㕤ΐ㔎Spink & Son Ltdˤ Pan Yue, listed under Acc. Nr. 2015.500.6.10. It was donated by Florence and Herbert Irving, New York and Estimate EUR 3.000,- originally acquired at Spink & Son Ltd., London. Starting price EUR 1.500,-
52 53 49 AN 18TH CENTURY IVORY RAFT-FORM POURING VESSEL WITH CHILONG Ivory China, 18th century
This masterly carved ivory pouring vessel is crafted in log raft shape with a figural handle depicting five intertwined chilong dragons. The beasts with their reticulated, curved tails are cuddled up, one with its head upside down. A cloud pattern, carved in high relief, is adorning the rim of the hollowed spoon-like log and continued on the underside.
The purpose of this object might have been for pouring wine or tea. Maybe it was also intended as a scholar’s desk object, combining a brush rest and a brush washer.
Shape: Figural shape Dimensions: 19,5 cm (length) Condition: Excellent condition with natural patina Provenance: Austrian Private collection
Literature comparison: For two raft-form shaped pouring vessels of the same period see Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, 08 APRIL 2014, HONG KONG, lot 3139 (carved from amber) or Christie’s, Fine Chinese Ceramics and Works of Art Part I, 13 - 14 September 2012, New York, lot 1024 (carved from jade).
⋩ℓᶾ䲨尉 䈁晽 Ⱦ坕漵䲳ȿ 䪡䫷 尉䈁 ᷕ⚳炻 ⋩ℓᶾ䲨
忁ẞ晽ⶍ㶭㸃䘬䈁晽ἄ⑩ㆸ䳘攟䪡䫷⼊炻䪡䫷ᶲ晽⇣叿Ḽ晣⎗ ッ䘬⮷坕漵⸤ˤḼ晣⮷坕漵ねンᶵᶨ炻䓇≽㳣㻹ˤ㴖晽䤍暚䲳 晐叿䈁晽⼊䉨⚵丆叿ṾᾹˤ
忁ẞ☐䈑⎗傥㚦䴻䓐Ἦ墅惺ㆾ勞ˤḇㆾ侭㚦䴻㗗㔯Ṣ晭⢓㚠㟴 ᶲ䘬㒢姕炻冯䫮㒙ㆾ侭䫮㲿ᶨ崟ˤ
晐⼊侴晽 ⯢⮠烉檀19,5 cm ⑩䚠㤝⤥炻⣑䃞⊭㻧 ⤏⛘⇑䥩Ṣ㓞啷 㔯䌣⍫侫烉⎎⢾⎴㧋⸜ẋ䘬ℑẞ䪡䫷⼊䈁晽⎗夳喯㭼˪ᷕ⚳ 䱦伶昞䒟冯ㇳⶍ喅˫炻2014⸜4㚰8㖍炻楁 㷗炻3139嘇㉵⑩炷䏍䍨 晽炸 ㆾἛ⢓⼿˪ᷕ⚳䱦伶昞䒟冯ㇳⶍ喅-䫔ᶨ悐↮˫炻2012⸜9㚰 13军14㖍炻䲸 䲬炻1024嘇㉵⑩炷䌱晽炸ˤ
Estimate EUR 1.500,- Starting price EUR 750,-
54 55 50 A CARVED 17th CENTURY IVORY FIGURE OF A RECLINING WOMAN Ivory, sparse remains of paintwork. Rosewood base (dating to the Qing Dynasty) China, 17th century
This masterly carved ivory figure displays natural patina ranging from light honey to dark amber hues. There are 51 remains of red paint at the shoes and collar as well as AN 18TH CENTURY CARVED CORAL MANCHU HAT SPHERE FINIAL ⋩ℓᶾ䲨䍲䐂晽㶭㛅⭀ⷥ枪䎈 brown staining to hair. Depicted is a nude female in a Angel hair coral, smooth surface polish ⣑ἧ䍲䐂炻堐朊㹹 reclining posture, her head resting on her propped up left China, 18th century ᷕ⚳炻 ⋩ℓᶾ䲨 hand. Her hair is tied up in a beautiful knot with a little flower and she wears a leaf collar as well as bangles at This delicately carved coral bead shows chrysanthemums, peonies and a 忁㝂䍲䐂枪䎈ᶲ⎗夳卲剙ᶨ⎒⮷圜圞⼊ㆸ㲊㴒䉨⚾㟰ˤ⽖⽖㨊⚻⼊⍲✪ the arms. Her tiny feet are tied as was customary at the little butterfly amidst a wave-like pattern. The slightly ovoid shape and 䚜搥⫼⎗ẍ䡢⭂⬫㚦䴻㗗ᶨ㝂㺧㶭⭀ⷥ枪䎈ˤ㺧㶭Ḵ⑩⭀⒉䥖ⷥᶲ㚦ἧ䓐 period. The voluptuous body and the inviting face clearly vertical channel identify it as a hat finial button, worn in the Manchu court. 䍲䐂枪䎈ˤ mark this carving as an erotic sculpture, which were high Pure coral was used by courtiers of the second rank. in demand in the late Ming and early Qing dynasties and 斄㕤ᷕ⚳㺧㕷⭀ⷥⷥ⫸枪䎈䘬夷⭂⎗ẍ徥㹗⇘1636⸜ˤ㺧㕷Ṣ娵䇚ㅱ娚 are very hard to find nowadays. Laws for hat insignia, worn by the Manchu in China, date back to 1636. 㚜≈⭡㖻䘬⍣彐⇍䫱䳂 - 䃉婾㗗䘯⭌ㆸ⒉ˣ屜㕷怬㗗⭀⒉ˤ忁ὫㆸḮ䘯 ⋩ᶫᶾ䲨尉䈁墠⤛再⁷ The Manchu felt very strongly about having an easily visible means of ⭌ᷕ⚳屜㕷䶐个叿墅夷⭂ˤ⬫⮯䴙㱣昶䳂㓧⹄⭀⒉⽆㘖忂㮹䛦⋨↮攳 This fine ivory carving was possibly made in one of 尉䈁炻⯨悐㚱ἁ⼑炻剙㡐㛐⸽⹏炷ㅱ䇚㶭ẋ炸 identification – whether it be for the Imperial family or, Chinese nobles Ἦˤ⭀ⷥ塓娵䁢㗗䫱䳂⽥䪈炻㍍ᶳἮ䘬⸦ᾳᶾ䲨塷㭷ᶨ㛅䘯ⷅ悥⮵⭀ⷥ⇞ the ivory workshops in Zhangzhou, Fujian province, ᷕ⚳炻 ⋩ᶫᶾ䲨 and officials. This prompted a dress regulation that codified dress for the ⹎忚埴Ḯᾖ妪ˤ⇘Ḯ1727⸜炻晵㬋䘯ⷅ㍐↢Ḯ“㻊Ṣ枪䎈”炻ḇ塓䧙䁢ⷥ where carvings of small figures of deities, immortals or 忁ẞ晽⇣䱦伶䘬尉䈁晽⁷⣑䃞䘬⎌戭刚炻⽆㶉囄⇘㶙䏍䍨刚ˤ 朳⫸柀⫸ᶲ怬怢䔁䲭刚䘬 Imperial family and Chinese aristocrats. It distinguished the ruling elite ⫸䎫ˤṾᾹ塓䓐Ἦ嬀⇍⑩䳂ˤ䘯ⷅ㇜叿䲭䴚丑㈕㚚䘬㕳憽炻侴屜㕷⭀ auspicious images were in vogue and in great demand by 㺮⼑炻㡽刚䘬柕檖ˤ 塓㍷丒䘬㗗ᶨỵ幢叿䘬墠橼⤛⿏炻⤡䘬ⶎㇳ㐸叿柕悐ˤ檖檣ᶲ㚱ᶨ㛝 and government from the general population. Hats were believed to be ⒉㇜叿㚜䯉╖䘬枪䎈ˤ㟡㒂⁛䴙炻㚱ḅᾳ⭀借炻㭷ᾳ⑩䳂悥ẍᶵ⎴䘬枪䎈 both domestic and foreign traders. ⮷剙炻⤡㇜叿叱⫸柀炻ㇳ兪ᶲ㇜叿ㇳ揚炻⮷儛㊱䄏恋㗪䘬丷嵛佺ㄋ朆ⷠ⮷ⶏˤṢỻ⼊⾩晽 䏊 more conspicuous than rank badges and for the next century hat laws 柷刚⋨↮ˤ 䱦㸃炻㭼ἳ⋷宫炻乧㜉Ề伶炻ᷘ㺉⚮㵎炻⃭↮⯽䣢Ḯ䍘ẋ᷄㕡⤛⿏䘬Ṣỻ伶ˤ㖶㛓㶭⇅忁 㧋 would amend from emperor to emperor. By 1727, the Yongzheng Emperor Shape: Figural shape. The rosewood base is carved in the 䘬尉䈁晽⁷暨㯪慷⼰⣏炻䎦⛐⼰暋㈦⇘ˤ 忁䧖䱦䶣䘬墠⤛尉䈁⎗傥㗗Ἦ冒䤷⺢㻛ⶆ尉䈁ⶍ introduced “Mandarin buttons” also known as hat spheres. They were to ⚻⼊炻䔍栗㨊⚻⼊ shape of a Ming-style Chinese daybed ⛲ˤ㻛 ⶆ 䘬 尉 䈁 䤆 ⁷ ㆾ ⎱ 䤍 ⚾ ⁷ 䘬 晽 ⇣ 桐 㟤䚃埴炻᷎⍿⇘⚳ℏ⢾屧㖻⓮䘬⣏慷暨㯪ˤ be worn on less formal occasions and were easier to identify than former ⯢⮠烉檀2,5 cm炻攟 1,8 cm Dimensions: 13,5 cm (length of the sculpture alone), 4 晐⼊侴晽 hat insignia. The emperor wore a twisted knob of red silk cord while ⑩䚠列⤥炻⊭㻧䳘兑炻ᶨ㡅⣑䃞塪䲳 cm (height of the sculpture alone) 剙㡐㛐⸽⹏䁢㖶ẋ㖍㥣⼊ noblemen and officials wore a simpler hat sphere. There were nine official ⤏⛘⇑䥩Ṣ㓞啷 Condition: Excellent condition with natural patina ⯢⮠烉13,5 (晽⁷攟)炻4 cm (晽⁷檀) ranks according to tradition, each distinguished by a different color. 㔯䌣⍫侫: ᶨ䭯斄㕤㺧㶭⭀ⷥ⑩䳂䘬㔯䪈夳烉Amanda Girgis, ˪ᷕ⚳⭀ⷥ Provenance: Austrian Private collection ⑩䚠烉⑩䚠㤝⤥炻冒䃞⊭㻧 枪䎈˫炷Chinese Hat Spheres炸炻 䘯⭞⬱⣏䔍⌂䈑棐, 2014⸜4㚰 ⤏⛘⇑䥩Ṣ㓞啷 Shape: Round, slightly ovoid shape Literature comparison: For a carved ivory figure of a 㔯䌣⍫侫: ᶨẞ㖶㛓㶭⇅尉䈁晽岊⢓⛸⁷⸦᷶⎗ẍ㕟⭂Ἦ冒ᶨᾳⶍ⛲⎗夳喯㭼˪㯜㜦䞛 Dimensions: 2,5 cm (height), 1,8 cm (length) Estimate EUR 300,- seated sage of comparable quality, dating to the same Ⱉ啷䍵䍑⮰⟜ ₺晭㶭喲炷ᶱ炸˫炻2013⸜4㚰8㖍炻楁 㷗炻126嘇㉵⑩ Condition: Good condition with fine hand patina, one natural fissure Starting price EUR 150,- period, and most certainly originating from the same Provenance: Austrian Private collection workshop see Sotheby’s, WATER, PINE AND STONE RETREAT COLLECTION, SCHOLARLY ART III, 08 APRIL Estimate EUR 2.000,- Literature comparison: For an interesting article on Manchu hat finial ranks 2013, HONG KONG, lot 126. Starting price EUR 1.000,- see: Amanda Girgis, “Chinese Hat Spheres”, Royal Ontario Museum, April 2014.
56 57 52 53 AN 18th CENTURY AMBER MOUNTAIN CARVING ‘SCHOLARS IN LANDSCAPE’ ⋩ℓᶾ䲨䏍䍨晽ȾⰙᷕ㔯Ṣȿ AN 18th CENTURY AMBER PEBBLE CARVING Literature comparison: For an amber mountain carving of the same size and dating to Amber of bright orange color of translucent quality, smooth surface polish Ṗ湫刚德㖶䏍䍨炻堐朊㹹 ‘VILLAGE LIFE’ the same period see Christie’s, Auspicious Treasures for Scholars and Emperors: Selections China, 18th century ᷕ⚳炻⋩ℓᶾ䲨 Amber of deep red and caramel color, opaque and from the Robert H. Blumenfield Collection, 22 March 2012, New York, lot 1219 translucent, smooth surface polish This masterful amber carving of irregular shape has a drilled channel on the top for 忁ẞᶵ⎴⮳ⷠ䘬⮷Ⱉ⼊䏍䍨晽䘬枪悐㚱ᶨᾳ搥⫼忂忻炻⎗ China, 18th century ⋩ℓᶾ䲨䏍䍨Ⱉ⫸Ⱦ彚侽ȿ suspension as a pendant. The entire piece is carved in high and low relief with a ἄ䁢⎲⡄㊪ẞˤ 㔜ẞἄ⑩檀Ỷ崟ặᶵᶨ炻⎗夳Ⲷⱑ䞛ˣ㜦 㶙䲭刚䏍䍨炻⯨悐䃎䱾刚炻ᶵ德㖶ㆾ⋲德㖶炻堐朊㹹 picturesque mountain landscape with craggy rocks, pine trees and a bamboo grove. 㧡䪡㜿炻桐㘗⤪䔓ˤ⛐㽫⭮䘬Ⱉ㜿ᷕ炻㯜ᶲ炻⚃ỵ㔯Ṣ⎬ This masterly carved amber pebble of irregular shape has ᷕ⚳炻⋩ℓᶾ䲨 Amidst the dense nature setting we see a group of four contemplating scholars to one 冒⦧ンᶵᶨˤ a drilled channel on the top for suspension as a pendant. side and a scholar and pupil in a boat, floating on waves, to the other. Another figure, The entire piece is carved in high and low relief with a 忁柮晽⇣䱦㸃䘬ᶵ夷⇯⼊䉨䏍䍨Ⱉ⫸⛐枪悐㚱ᶨᾳ搥⫼炻⎗ἄ䁢⎲⡄ἧ䓐ˤ㔜ẞⰙ⫸塓晽 sitting on a throne-like chair, is carved to one of the narrow sides. ⼊䉨烉⮷Ⱉ⼊炻㚱搥⫼ traditional scenery of villagers. We see a farmer plowing ⇣ㆸ檀Ỷᶵ⸛䘬⁛䴙悱㛹桐㘗ˤᶨỵ彚㮹㬋⛐䓐䈃侽䓘炻ℑỵ⊆ἄᷕ䘬㺩⣓ᶨỵ⤛⫸㬋 ⯢⮠烉 7,5x6,3x2,5 cm (檀x攟x⮔) the fields with his oxen, two fishermen at work and a ⛐㫋岆桐㘗ˤᶵ德㖶⋲德㖶⋨➇䘬䚠㗈ㆸ嵋ˤ Shape: Irregular pebble shape with drilled channel for suspension 昌Ḯ凡ᶲ㚱ᶨ⮷仢⎋炻℞Ṿ悐ỵ⑩䚠⬴伶炻⊭㻧䳘兑 lady simply enjoying the view. The interplay of opaque Dimensions: 7,5 cm (height), 6,3 cm (length), 2,5 cm (width) 伶⚳䥩Ṣ㓞啷 and translucent areas is remarkable and appealing. Ⱉ⫸炻㚱搥⫼ Condition: Besides one small notch to boat in perfect condition, very fine hand patina 㔯䌣⍫侫烉ᶨẞ⯢⮠㚜⣏ṃ䘬䏍䍨晽⮷Ⱉ⍲䚠Ụ⟜㘗炻⎗夳 ⯢⮠烉7,3x4,5x4,5 cm (檀x攟x⮔) Provenance: American private collection Ἓ⢓⼿˪ᷕ⚳䱦伶昞䒟冯ⶍ喅⑩˫炻2013⸜3㚰21-22㖍炻䲸 Shape: Irregular pebble shape with drilled channel for ⑩䚠㤝⤥炻⊭㻧䳘兑 䲬炻1368嘇㉵⑩ˤ suspension 伶⚳䥩Ṣ㓞啷㔯䌣⍫侫Ļġᶨẞ䚠⎴⯢⮠䚠⎴㕟ẋ䘬䏍䍨Ⱉ⫸夳Ἓ⢓⼿˪⽉㟰㶭侓烉㘖⬇㔸䍵 Literature comparison: For an amber mountain carving with a similar scenery, larger in Dimensions: 7,3 cm (height), 4,5 cm (length), 4,5 cm 啷怠䱡˫炻2012⸜3㚰22㖍炻䲸 䲬炻1219嘇㉵⑩ˤ size, see Christie’s, Fine Chinese Ceramics and Works of Art, 21 - 22 March 2013, New Estimate EUR 1.000,- (width) York, lot 1368 Starting price EUR 500,- Condition: Very good condition and fine hand patina Estimate EUR 1.000,- Provenance: American private collection Starting price EUR 500,-
58 59 54 AN EXTREMELY RARE 17th CENTURY RHINOCEROS 㤝䇚份夳䘬⋩ᶫᶾ䲨䈨䈃奺晽䵈⹎㭵 HORN CARVING OF A GREEN TARA 㬌㉵⑩㚦塓㓞抬᷎↢䇰Ḷ Jan Chapman,˪ᷕ⚳䈨䈃奺晽⇣ This lot is published and Illustrated in Jan Chapman, 喅埻˫ The Art of Rhinoceros Horn Carving in China炻ΐ The Art of Rhinoceros Horn Carving in China, 㔎炻 1999,.275枩, ⚾397 (⑩䚠㛒嬲) London, 1999, p.275, pl.397 (in original condition) 䈨䈃奺㶙墸刚军⋲德㖶㡽刚炻㚱䲭刚柼㕁㭀检 Rhinoceros horn in a deep brown to maroon colored hue 㻊啷-╄楔㉱晭⛘⋨炻⋩ᶫᶾ䲨 of opaque quality. Remnants of red pigment Sino-Tibetan - Himalayan region, 17h century 忁ẞ䓙䈨䈃奺晽⇣侴ㆸ慵天ἃ㔁晽⟹㗗䎦⬀䘬ℑᾳ䞍ἳ ⫸ᷳᶨˤ⬫䘤㸸冯╄楔㉱晭⛘⋨炻偗⭂㚦Ἦ冒ᷕ⚳䘬届⑩炻䈨 This important Buddhist sculpture, carved from rhinoceros 䈃奺㛔幓䘬䦨仢⿏₡ῤ㬋⤥㘿䣢Ḯ忁ᾳ⍇⚈ˤ㬌㉵⑩ horn, is one of only two known examples still existent. ⇣䔓䘬⤛䤆䵈⹎㭵炻⛐⯤㱲䇦大啷炻ḇẍ戭挷慹⼊⺷炻⍿ It originates from the Himalayan region and was most ℞徥晐侭ⲯ㊄ˤ certainly a Chinese commission, as the rareness and value of the material suggests so. The present lot depicts the ⶽ㉱桐㟤晽⇣炻ἑ㇜Ḽ叱⭅⟼⺷⣜ⅈ䎈⮞椾梦炻䵈⹎㭵⛸ female goddess Green Tara, worshipped by followers in ⛐咖剙⮞⹏ᶲ炻⎛僂䚀崟炻ⶎ僂嶷↢炻ᶳ㚱ẘ博炻⤪⹎博⹏ˤ Nepal and Tibet and displays the same form and decoration 桬ⷞ冯咖剙⊭⚵␐幓炻⯽䣢叿䱦伶䘬掌䨢晽⇣ˤ⎛ㇳ㊩咖匾 as gilt-bronze figures of the Goddess from the region. 乻宜㱽⌘炻ⶎㇳᶳ✪乻Ḷョ⌘ˤ
Carved in Pala style, with a five-leaf tiara crown and 䩳橼䈨奺晽⇣⛐╄楔㉱晭⛘⋨㗗㤝℞份夳䘬炻⚈䇚㛸㕁䘬 beaded jewelry, Tara is seated in Lalitasana on a double 䦨仢ˤ㔯䌣姀庱䫔⋩ᶾ⣏⮞㱽䌳炻⋻䐒⣂‹炷1604-1674⸜炸 lotus base with her left foot resting on a lotus bloom 㚦㚱忶栆Ụἄ⑩炻⋻䐒⣂‹㗗叿⎵䘬啷⁛ἃ㔁☞䍃☞ᷦ㳦 issuing from the base. Heavenly bands and lotus flowers ⣏ⷓ炻ḇ㗗叿⎵䘬丒䔓ˣ䱦䤆⨺ṳẍ⍲晽⇣喅埻⭞ˤ are framing the figure and showcase fine openwork carving. In both her hands we see the stems of the lotus 晐⼊侴晽 flowers and they are held in Vitarka Mudra. ⯢⮠烉檀9,2 cm炻㚨 ⮔ 6,8 cm ⑩䚠列⤥炻⯨悐仢⣙炻⎛ㇳˣⶎ“咖剙桬ⷞ㚦塓⮰㤕ᾖ⽑ Although three-dimensional figure carvings in rhinoceros 忶ˤ㬌 奺 晽㚦 塓 ⬴ 㔜 㓞 抬 忶炻⬴ ℐ⎗ẍ 㞍 娊ˤ⛐ Chapman㚠 horn from the Himalayan regions are rare due to ᷕ㍷徘䘬ảỽ䳘䭨悥㰺㚱塓䮉㓡忶ˤ the scarce availability of the material there, there is 㱽⚳湶Gerald Levy䥩Ṣ㓞啷 documentation of such carvings being made by the 10th Karmapa, Chöying Dorje (1604-1674), who was a 㔯䌣⍫侫烉⎎⢾ℑẞ⋩ᶫᶾ䲨䈨奺晽ἃ㔁厑啑⬴㔜晽⁷⎗ famous teacher of the Karma Kagyu tradition of Tibetan 夳喯㭼˪㯜㜦䞛Ⱉ啷䍵䍑⮰⟜—₺晭㶭喲˫2010⸜10 Buddhism and well known as an artist in the mediums of 㚰8㖍炻楁 㷗炻2199嘇㉵⑩ẍ⍲喯㭼˪ᷕ⚳䱦伶昞䒟ⶍ painting, metal casting and carving. 喅⑩˫炻2006⸜4㚰10㖍炻楁 㷗炻1634嘇㉵⑩ˤ
Shape: Figural shape Estimate EUR 15.000,- Dimensions: 9,2 cm (height), 6,8 cm (maximum width) Starting price EUR 7.500,- Condition: Good condition with missing right hand, left lotus and bands professionally restored. The work is fully documented and completely reversible. Nothing of the original statue, as published in the Chapman book, has been tampered with. Provenance: Gerald Levy Collection, Paris
Literature comparison: For two other full figural, 17th century rhinoceros horn carvings of Buddhist deities see Sotheby’s, WATER, PINE AND STONE RETREAT COLLECTION - SCHOLARLY ART, 08 OCTOBER 2010, HONG KONG, lot 2199 and Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, 10 APRIL 2006, HONG KONG, lot 1634.
60 61 The Tara lot 54 next to its full page color illustration in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.275, pl.397
Bottom view of the Tara lot 54 Opposite page: Backside view of the Tara lot 54
62 63 55 A ‘LINGZHI AND CHILONG’ CARVED RHINOCEROS HORN LIBATION CUP, MING DYNASTY, 16TH - 17TH CENTURY Carved rhinoceros horn in high relief, the possibly original base carved of hardwood China, 16th – 17th century
The body skillfully carved in the form of a large lingzhi fungus issuing from a stem curling round the base and up the side to form the foot and handle together with leafy bamboo stalks extending round the sides with further smaller lingzhi, over which clamber two sinuous qilong and long curling bifurcated tails, the horn of a warm honey-brown tone. The sacred fungus is an especially important symbol of immortality and this cup may have been given as a birthday gift.
Shape: Libation cup Dimensions: 13,5 cm (diameter) Condition: Very good condition with some wear, minor insect bite, one small chip to rim reattached Provenance: Austrian private collection
Literature comparison: Classicism in Continuum - The Arts of the Ming. Sotheby’s, Hong Kong, October 7th, 2016, lot 911. (for a closely related cup) The Chester Beatty Library, Dublin, illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, pls. 205 and 206. (for closely related cups) The Gerard Levy collection, Paris, illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, pl. 204. (for another closely related cup, where the plant stem is also used as a handle and the interior is shaped as part of the fungus plant).
⋩ℕ军⋩ᶫᶾ䲨䈨䈃奺Ⱦ曰剅坕漵ȿ䤅⢥㜗 檀㴖晽䈨䈃奺炻䠔㛐⸽⹏⎗傥䁢⍇墅 ᷕ⚳炻⋩ℕ军⋩ᶫᶾ䲨
㜗橼塓ⶏ⥁⛘晽⇣ㆸᶨ㢝⣏曰剅炻匾悐ᶲ⌟ᶨᾳ⚻⼊䘬➢ 悐“朊⼊ㆸ儛㝬炻忋⎴叱䉨䘬䪡䦰ᶨ崟⺞Ỡ⇘㚜⮷䘬 曰剅ℑ“炻⛐℞ᶲ朊 䔁叿ℑ晣坕漵炻㚱叿攟攟䘬㌚㚚⯦ 炻㝼 䘬 㡽 囄 刚ˤ 曰剅尉⽝叿ᶵ㛥攟⢥炻忁ᾳ㜗⫸⼰⎗傥㗗ἄ䁢䓇㖍䥖䈑 侴⇞ˤ
⼊䉨烉䤅⢥㜗✳ ⯢⮠烉13,5 cm (䚜⼹) ⑩䚠㤝⤥炻㚱ṃ䢐㎵炻㚱垚⮷㳆炻嵛悐⮷塪⎋ᾖ墄忶 ⤏⛘⇑䥩Ṣ㓞啷 㔯䌣⍫侫烉˪Classicism in Continuum - The Arts of the Ming˫炻喯 㭼楁 㷗炻2016⸜10㚰7㖍炻911嘇㉵⑩炷ᶨᾳ䚠 役䘬㜗⫸炸 Sotheby’s, Hong Kong, October 7th, 2016, lot 911. (for a closely related cup) 烊↯ 㕗 䈡 ·㭼㚧⚦Ḏ椮炻悥 㝷㜿炻↢䇰Ḷ Jan Chapman˪ᷕ⚳䈨䈃奺晽喅埻˫The Art of Rhinoceros Horn Carving in China炻ΐ 㔎炻1999⸜炻⚾ 205 ⍲ 206 (ᶨᾳ䚠Ụ䘬㜗⫸)烊 The Gerard Levy 㓞啷炻 湶炻↢ 䇰 ḶJan Chapman˪ᷕ⚳䈨䈃奺晽喅埻˫The Art of Rhinoceros Horn Carving in China炻ΐ 㔎炻1999⸜炻⚾ 204 (⎎ᶨᾳ⼊Ụ䘬㜗⫸炻㧡㝅䁢㝬炻㜗ℭ晽⇣ㆸ曰剅⼊䉨)
Estimate EUR 8.000,- Starting price EUR 4.000,-
64 65 56 AN 18TH CENTURY RETICULATED FULL TIP RHINOCEROS ‘LOTUS’ CUP Rhinoceros horn in a deep brown to light honey hued color play with translucent quality China, 18th century
This masterly carved rhinoceros horn lotus leaf cup shows exquisite openwork with wafer-thin stems and a bowl that shows the most exquisite translucent quality. The actual bowl shows carved veins on the exterior and also on the inside. It is overgrown by leafage and two seed capsules as well as one bud. A little crab is climbing on one of the leaves.
The full tip stem consists of intertwined stems showing more leafage, a nearly closed lotus bud and another crab amidst the dense arrangement. Even the tiny tip of the stem shows naturalistic carving depicting the small holes of cut stalks.
Shape: Figural shape Dimensions: 15,7 cm (length), 5,7 cm (maximum width measured at the bowl) Condition: Excellent condition with fine hand patina Provenance: German Private collection
Literature comparison: For another lotus bowl, full tip carving of comparable size, dating to the 17th century see Sotheby’s, RHINOCEROS HORN CARVINGS FROM THE EDWARD AND FRANKLIN CHOW COLLECTION, 08 APRIL 2011, HONG KONG, lot 2703.
For two lotus leaf bowls, comparable in shape and size see Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.167, nr.210 and p.184, nr.244.
⋩ℓᶾ䲨䈨䈃奺Ⱦ匟叱ȿ㜗 㶙墸刚军Ṗ囄刚䈨䈃奺炻⋲德㖶 ᷕ⚳炻 ⋩ℓᶾ䲨
忁㫦䱦晽䳘䏊䘬䈨奺匟叱㜗⯽䎦Ḯ䱦䶣䘬掌䨢㈨㱽炻㜗幓䁢ᶨ㝅⣏匟叱炻⍰掌晽 㔠⮷㝅䚌㕳䑘丆炻᷎晽咖叱ˣ咖咔ˣ咖剙ˣ剙劆⍲ᶨ匾咤勱ἄ䁢夗㈀ˤ役⎋㱧嗽晽 ᶨ圫垡炻
⬴㔜䘬匟叱匾䦰塓⸦㟡匾䦰䑘丆炻僓䧶侴↢ˤ⌛ἧ㗗匾䘬⽖⮷⮾䪗ḇ栗䣢↢㬌☐ 晽⇣㈨㱽⪣䅇炻忈✳⃒伶䯉㻼炻↨ⶍ㳩⇑炻冒䃞ᷣ佑䌐℟⋈⽫ˤ
晐⼊侴晽 ⯢⮠烉15,7 x 5,7 cm (攟x䠿㚨⮔) ⑩䚠㤝⤥炻⊭㻧䳘兑 ⽟⚳䥩Ṣ㓞啷 㔯䌣⍫侫: ⎎ᶨẞ⯢⮠䚠役㕟ẋ䁢⋩ᶫᶾ䲨䘬䈨䈃奺晽咖叱䠿⎗夳喯㭼˪曰䈨 叔尉 ṯ䀶ᷳˣṯ⣏晬䇞⫸䍵啷䈨奺晽⇣˫炻2011⸜4㚰8㖍炻楁 㷗炻2703嘇㉵⑩ˤ ⎎⢾ℑẞ⼊⇞⍲⯢⮠䚠役䘬咖叱䠿⎗夳Jan Chapman˪ᷕ⚳䈨䈃奺晽喅埻˫炻ΐ 㔎炻1999炻167枩⚾210 and 184枩⚾244ˤ
Estimate EUR 8.000,- Starting price EUR 4.000,-
66 67 59 A QING DYNASTY SHOUSHAN ORANGE AND GREY SOAPSTONE SEAL WITH BUDDHIST LIONS Soapstone in orange and grey color with natural inclusions, fine polish China, Qing Dynasty
This intricate literati object was carved from Shoushan soapstone, showcasing a vivid grey and orange color play. The top is carved in the shape of two miniature Buddhist lions in vivid postures. The seal face is uncarved.
Shape: Rectangular shape with figural finial Dimensions: 8,5 cm (height), 3,3 cm (length), 1 cm (width) Condition: Good condition with few tiny nicks Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s
Literature comparison: This type of orange / grey soapstone is very rare – for another example, dating to the 17th/18th centuries see Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, 08 OCTOBER 2013, HONG KONG, lot 3326. ġ 㶭ẋ⢥Ⱉ䞛暁䋭⌘䪈ġ ⢥Ⱉ䞛㟼刚䀘刚䚠攻炻⣑䃞䲳䎮炻堐朊㹹 ᷕ⚳炻㶭ẋġ ġ 57 58 忁ẞ墯暄晽⇣䘬㔯Ṣ䓐⑩㗗䓐⢥Ⱉ䞛晽侴ㆸ炻䀘刚㨁刚 AN 18th CENTURY AMBER CARVING OF DONGFANG SHUO A QING DYNASTY AMBER PLAQUE WITH 䚠㗈ㆸ嵋ˤġᶨ⮵⮷䋭⫸㳣曰㳣䎦ˤ⌘䪈朊㛒䴻晽⇣ˤ Amber of bright orange color with opaque and translucent areas, smooth surface polish AN IMMORTAL China, 18th century Amber of dark chestnut color, translucent ⼊䉨烉⚻⼊⮾枪炻⌘䪈朊⏰䞑⼊ quality, smooth surface polish ⯢⮠烉8,5x3,3x1 cmġĩ檀Ź攟Ź⮔Ī This fine amber miniature carving depicts Dongfang Shuo, a Daoist immortal, with China, Qing Dynasty ⑩䚠列⤥炻㚱ṃ⽖塪䕽 a small basket at his back. Most certainly in the basket we would find the peach of ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ⇅岤ℍ longevity, Dongfang Shuo is known to have stolen. The mischievous smile on his face This figural amber plaque is carved in 㔯䌣⍫侫烉忁栆㟼䀘刚⢥Ⱉ䞛⋩↮⮹夳炻⎎ᶨẞ⋩ᶫ军⋩ℓ tells the whole legend. openwork and depicts an immortal or ᶾ䲨䘬ἄ⑩⎗夳喯㭼˪ᷕ⚳昞䒟冯ⶍ喅⑩˫炻2013⸜10㚰 dignitary, holding a scroll inscribed ‘Tianguan 8㖍炻楁 㷗炻3326嘇㉵⑩ˤ The bright orange color and the vivid interplay of translucent and opaque areas make cifu’ (= Heavenly blessing). A mythical beast is this piece a special little gem. Several drillings for suspension. surmounting the figure. Estimate EUR 500,- Starting price EUR 250,- Shape: Figural shape with small holes for suspension or mounting Shape: Flattened, figural shape with small Dimensions: 6,3 cm (height), 3,5 cm (length), 2,5 cm (width) holes for suspension or mounting Condition: Extensive hand patina, several notches and nicks Dimensions: 6,5 cm (height), 3,8 cm (length), Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s 0,3 cm (width) Condition: Good condition with fine hand Literature comparison: For another amber miniature carving of Dongfang Shuo see patina Sotheby’s, ROGER KEVERNE - 50 YEARS IN THE TRADE, 05 OCTOBER 2016, HONG Provenance: Old Austrian Private collection, KONG, lot 88 assembled in the 1930s to early 1950s
⋩ℓᶾ䲨䏍䍨晽“㜙㕡㚼” 㶭ẋ䏍䍨晽ȾẁṢ⁷ȿ ⊭㻧㼌㽌炻 ⯨悐㚱仢⎋∫䕽 ⑩䚠列⤥炻⊭㻧䳘兑 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ ẋ攻岤ℍ Estimate EUR 400,- Starting price EUR 200,- Estimate EUR 300,- Starting price EUR 150,-
68 69 61 A MASTERLY CARVED 18th CENTURY SOAPSTONE FIGURE OF A LUOHAN WITH QILIN Soapstone of an opaque beige -white color with natural inclusions in various other hues, remains of gold and black paint China, 18th century
This delicate soapstone figure once adorned a literati desk as a brush stand, as the figure is lending a brush the ideal resting place at the bend of the right arm. With his other hand, the holy man is holding a qilin cub, that is playfully looking up to him. The sculpture has been carved with exquisite detail, best visible at the facial hair, the expressive ribcage or the naturalistic flow of the gown.
Shape: Figural shape Dimensions: 5,3 cm (height), 6,5 cm (length), 1,5 cm (width) Condition: Very good condition with fine hand patina Provenance: Austrian private collection
Literature comparison: Sotheby’s, ROGER KEVERNE - 50 YEARS IN THE TRADE, 05 OCTOBER 2016, HONG KONG, lot 1 (for another Luohan soapstone figure – comparable in carving quality, size and color of the material). ġ ⋩ℓᶾ䲨⢥Ⱉ䞛䱦晽Ⱦ伭㻊渺湇ȿ ᶵ德㖶ḛ䘥刚䘪䞛炻⣑䃞䲳䎮炻怢䔁慹刚湹刚⟿㕁 ᷕ⚳炻⋩ℓᶾ䲨
忁⟲䘪䞛㚦⛐㔯Ṣ㚠㟴ᶲἄ䇚ᶨᾳ䫮㒙炻⚈䁢忁伭㻊 䫮㒙⎛兪㚚嗽⎗ẍ䎮゛䘬ㆸ䇚㮃䫮䘬ẹ〗⟜ˤġ⎎ ᶨ㕡 朊炻忁 ỵ 伭 㻊 㬋 ㉙ 叿 ᶨ 晣 渺 湇 ⸤ ⳥炻⪱ ㇚ ⛘ ẘ 㛃 叿 Ṿˤġ娚晽⟹䳘䭨晽⇣䱦伶炻⯌℞橼䎦⛐朊悐堐ねˣ㮃 檖ˣ㤝℟堐䎦≃䘬傠⍲冒䃞㳩≽䘬⢾堵ᷕˤġ
⼊䉨烉晐⼊侴晽 ⯢⮠烉5,3x6,5x1,5 cmġĩ檀Ź攟Ź⮔Ī ⑩䚠㤝⤥炻⊭㻧䳘兑 60 ⤏⛘⇑䥩Ṣ㓞啷ġġ A FINE 17th / 18th CENTURY SOAPSTONE FIGURE OF A LUOHAN ⋩ᶫ军⋩ℓᶾ䲨⢥Ⱉ䞛伭㻊⛸⁷ ġ Soapstone of a creamy-beige color with natural inclusions, burgundy, ⢥Ⱉ䞛䰛湫刚炻⣑䃞䲳䎮炻⎗夳䲭墸刚ˣ慹刚⍲湹刚⟿⼑ġ 㔯䌣⍫侫烉喯㭼˪䱦喲䏛䎭烉Roger Keverne䥩Ṣ䐘 gold and black staining ᷕ⚳炻⋩ᶫ军⋩ℓᶾ䲨 啷˫炻2016⸜10㚰5㖍炻楁㷗炻IJ嘇㉵⑩ġ炷⎎ᶨẞ⢥Ⱉ䞛 China, 17th / 18th century 伭㻊⛸⁷炻⎗㭼庫晽⇣ⶍ喅炻⯢⮠㛸㕁柼刚炸 忁ẞ䱦伶䘬⢥Ⱉ䞛伭㻊⁷炻伭㻊暁ㇳ㉙叿ᶨᾳ以ˤġṾ䘬攟堵ᶳ㒢嗽梦⌟叱 This fine soapstone carving shows a Luohan seated at ease, holding 勱䲳炻叱䇯姕妰圵⎰Ḯ⣑䃞塪䷓ˤġ伭㻊䳘攟䘬柕悐攟俛✪栗䣢ḮṾ㯠 Estimate EUR 800,- a bowl in both his hands. His long robe is incised with floral motifs at 䘬㘢ㄏ冯ㆸ⯙ˤ Starting price EUR 400,- the hems and foliate designs are incorporating the fissures. The arhat is shown with an elongated head and long earlobes, both hints to his ⼊䉨烉晐⼊侴晽 achievement of enlightenment and eternal wisdom. ⯢⮠烉11,5x6,5x5cmġĩ檀Ź攟Ź⮔Īġġ ⑩䚠㤝⤥炻⊭㻧㹓㼌炻柕悐㚱ᶨᾳ⮷仢⎋ Shape: Figural shape 劙⚳䥩Ṣ㓞啷ġġ Dimensions: 11,5 cm (height), 6,5 cm (length), 5 cm (width) ġ Condition: Very good condition with fine hand patina and one tiny notch 㔯䌣⍫侫烉喯㭼˪ᷕ⚳昞䒟⍲ⶍ喅⑩˫炻2011⸜Ķ㚰IJIJ㖍炻ΐ㔎炻122嘇㉵⑩炷 to top of head ⎎ᶨẞ⢥Ⱉ䞛伭㻊⛸⁷炻⎗㭼庫晽⇣ⶍ喅炻⯢⮠⎴ᶨ㗪ẋ Provenance: British collection Estimate EUR 800,- Literature comparison: Sotheby’s, FINE CHINESE CERAMICS & WORKS Starting price EUR 400,- OF ART, 11 MAY 2011, LONDON, lot 122 (for another Luohan soapstone figure – comparable in carving quality, size and dating to the same period). ġ
70 71 62 63 64 A QING DYNASTY ROCK CRYSTAL LITERATI SEAL ‘GUARDIAN A QING DYNASTY ROCK CRYSTAL LITERATI SEAL IN STYLIZED AN 18th CENTURY ROCK CRYSTAL LITERATI SEAL ‘HORSE” LION’ MOUNTAIN SHAPE Transparent rock crystal with natural inclusions Transparent rock crystal with natural inclusions mainly to the upper part Transparent rock crystal with natural inclusions, excellent surface polish China, 18th century China, Qing Dynasty China, Qing Dynasty The golden speckles in the rock crystal material add to the The rock crystal seal block of this literati object is near flawless besides This purist literati seal is carved from rock crystal with cloudy natural elegance of this literati seal. Although a zodiac sign and a some natural inclusions at the top, appearing to emerge from the lion inclusions. The seal ends in a subtly rounded, mountain-like finial of abstract popular motif in Chinese arts there are very few examples of dog’s paws. The beast is portrayed in an archaistic manner with finely beauty. The seal face is neatly carved – see detail picture and reads ‘Lin Chinese seals with horses. Here we see the horse with its head incised detail. The seal face is uncarved. Liu Zhang Yuan’. This could refer to Liu Daolong, who was an important turned to the side and looking down to the seal face, which is political figure in the Ming Dynasty and had the epithet name Linyuan. uncarved. The mane and tail are intricately incised. Rock crystal objects were highly sought after by Qing Dynasty literati who referred to the material as ‘water turned to stone’. Shape: Rectangular shape with abstracted, figural finial Shape: Rectangular shape with figural finial Dimensions: 6,3 cm (height), 2,5 cm (length), 2,3 cm (width) Dimensions: 9,5 cm (height), 4,5 cm (length), 4,5 cm (width) Shape: Rectangular shape with figural finial Condition: Several chips to lower part, very fine hand patina Condition: Good condition with few small notches to base Dimensions: 12,8 cm (height), 4,8 cm (length), 2 cm (width) Provenance: Austrian private collection Provenance: Austrian private collection ġ Condition: Good condition with few tiny nicks ġ Provenance: Old Austrian Private collection, assembled in the 1930s to 㶭ẋ㯜㘞Ⱉ⼊㔯Ṣ⌘䪈 ⋩ℓᶾ䲨㯜㘞楔憽㔯Ṣ⌘䪈 early 1950s ġ ⸽悐㚱⸦ᾳ⮷塪⎋炻⊭㻧㹓㼌 ⑩䚠列⤥炻⸽⹏㚱⸦ᾳ⮷↡星 ġ ⤏⛘⇑䥩Ṣ㓞啷 ⤏⛘⇑䥩Ṣ㓞啷ġġ 㶭ẋ㯜㘞䋭憽㔯Ṣ⌘䪈ġ ⑩䚠列⤥炻㚱ṃ⽖塪䕽 Estimate EUR 200,- Estimate EUR 800,- ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ⇅岤ℍ Starting price EUR 100,- Starting price EUR 400,-
Estimate EUR 200,- Starting price EUR 100,-
72 73 65 A QING DYNASTY ROCK CRYSTAL LIBATION CUP with CHILONG HANDLE Transparent rock crystal with natural inclusions China, 18th / early 19th century
Carved in classical libation cup shape this rock crystal vessel features a figural handle in shape of a powerful chilong dragon. The mythical creature is clinging onto the rim of the cup and its riven tail stretches along the body of the cup to both sides. The outer body of the vessel is incised with an archaistic pattern.
Rock crystal objects were highly sought after by Qing Dynasty literati who referred to the material as ‘water turned to stone’.
Shape: Libation cup shape with figural handle, accentuated foot rim Dimensions: 8 cm (height), 12 cm (length) Condition: One chip to upper rim with a 35 mm. stress line resulting from it, fine hand patina Provenance: Austrian Private collection ġ 㶭ẋȾ坕漵ȿ➟㝬㯜㘞ầ⎌㜗 ᶲ悐怲䶋㚱ᶨ忻役35mm
Estimate EUR 500,- Starting price EUR 250,-
66 AN ARCHAISTIC ROCK CRYSTAL LIBATION CUP with CHILONG HANDLE, QING DYNASTY Transparent rock crystal with natural inclusions China, 18th / early 19th century
This archaistic vessel is carved from rock crystal and showcases an intricately incised geometrical pattern on the outer body. The handle is carved in the shape 67 of a chilong dragon that is clinging onto the upper rim AN 18TH CENTURY ROCK CRYSTAL CUP with CHILONG HANDLE ⋩ℓᶾ䲨Ⱦ坕漵ȿ➟㝬㯜㘞㜗 of the cup. The beast’s riven tail stretches along the Transparent rock crystal with natural inclusions some of which appear like golden 德㖶㯜㘞䞛炻⣑䃞ℭ㰩炻㚱⸦嗽栆Ụ慹䇯ġ entire vessel standing in fine contrast to the patterned speckles ᷕ⚳炻⋩ℓᶾ䲨 backdrop. China, 18th century 忁ẞ䱦㸃晽⇣䘬㯜㘞➟㜗㜗橼ᶲ㚱⍵⽑䘬暟䲳墅梦炻冯㤝℟䩳 Rock crystal objects were highly sought after by Qing This masterly carved and incised rock crystal cup bears an intricate geometrical 橼デ䘬坕漵⼊ㆸ歖㖶⮵㭼ˤġ忁晣坕漵晽⇣䱦伶炻堐朊㉳炻℞ Dynasty literati who referred to the material as ‘water décor at the round vessel, standing in beautiful contrast to the plain Chilong dragon. ⯦ẍ⍲幓幨悐ỵ∃⺢㚱≃炻㗗㔜ẞἄ⑩䘬溆䜃ᷳ䫮ˤ turned to stone’. The beast is excellently carved and polished and its tail as well as a heavenly band stretch along most of the centerpiece. ⛐㶭ẋ炻㯜㘞⚈䇚⬫䘬䲼Ⅸ冯檀晭炻⯌℞塓㔯Ṣ㍐ⲯ炻Ṣ䧙㯜 Shape: Libation cup shape with figural handle, 䌱ˣ㯜 䱦 䫱ˤ accentuated foot rim Rock crystal objects were highly sought after by Qing Dynasty literati who referred Dimensions: 6,5 cm (height), 10,5 cm (length) to the material as ‘water turned to stone’. ⼊ 䉨烉➟ 㝬 㜗 ġ Condition: Good condition with fine hand patina ⯢⮠烉7x10,5 cmġĩ檀Ź⮔Ī Provenance: Austrian Private collection Shape: Cup shape with figural handle, accentuated foot rim ⑩䚠列⤥炻⊭㻧䳘兑炻㚱庽⽖䡽㎵ġ ġ Dimensions: 7 cm (height), 10,5 cm (length) ⤏⛘⇑䥩Ṣ㓞啷ġ 㶭ẋȾ坕漵ȿ➟㝬㯜㘞ầ⎌㜗ġ Condition: Good condition with fine hand patina as well as very few tiny nicks ġ ⑩䚠列⤥炻⊭㻧䳘兑 Provenance: Austrian Private collection 㔯䌣⍫侫烉喯㭼˪㶝晭⯂℠Į⎚⌂㚤晭啷ᷕ⚳喅埻䍵⑩˫炻2018 ⤏⛘⇑䥩Ṣ㓞啷 ⸜4㚰3㖍炻㉵ ⑩ 3445嘇ġĩᶨẞ慵天䘬⽉墥坕漵㯜㘞䫮㲿Īġ Literature comparison: Sotheby’s, GEMS OF CHINESE ART FROM THE SPEELMAN Estimate EUR 500,- COLLECTION I, 03 APRIL 2018, HONG KONG, lot 3445 (for an important Imperial Estimate EUR 1.500,- Starting price EUR 250,- example of a rock crystal vessel with the chilong motif). Starting price EUR 750,- ġ
74 75 68 A QING DYNASTY SMOKY QUARTZ BRUSH WASHER IN LIBATION CUP SHAPE Smoky quartz of fine transparent quality in yellow to deep brown hues, natural inclusions. Remnants of gold lacquer China, 18th / early 19th century
This neatly carved and incised brush washer bears an intricate geometrical décor at the ovoid vessel, standing in beautiful contrast to the plain figural handles as chilong dragons, confronting each other.
Shape: Ovoid, libation cup shape with figural handles, accentuated foot rim Dimensions: 5 cm (height), 10 cm (length) Condition: Good condition with fine hand patina as well as few small nicks Provenance: Austrian Private collection
㶭ẋ䄁㘞Ⱦ坕漵ȿ䫮㲿 ⑩䚠列⤥炻⊭㻧䳘兑炻㚱庽⽖䡽㎵ ⤏⛘⇑䥩Ṣ㓞啷ġ
Estimate EUR 500,- Starting price EUR 250,-
69 A QING DYNASTY ROCK CRYSTAL BRUSH WASHER IN LIBATION CUP SHAPE Transparent rock crystal with natural inclusions China, 18th / early 19th century
This archaistic vessel is carved from rock crystal and showcases an intricately incised geometrical pattern on the outer body. The two handles are formed by chilong dragons, confronting each other.
Rock crystal objects were highly sought after by Qing Dynasty literati who referred to the material as ‘water turned to stone’. 70 A QING DYNASTY SMOKY QUARTZ LIBATION CUP with CHILONG Literature comparison: Christie’s, Chinese Ceramics and Works of Art, 18 Shape: Rounded, libation cup shape with figural Smoky quartz of fine transparent quality in light yellow to deep brown hues, - 19 September 2014, New York, lot 1235 (for a smoky quartz mythical handles, accentuated foot rim natural inclusions. A citrine vein used to carve the upper part of the chilong beast sculpture of the same period and of comparable size). Dimensions: 4,2 cm (height), 10,5 cm (length) China, 18th / early 19th century ġ Condition: Good condition with fine hand patina 㶭ẋ䄁㘞坕漵䲳ầ⎌㜗 Provenance: Austrian Private collection This neatly carved and incised brush washer in libation cup shape bears ⑩䚠列⤥炻⊭㻧䳘兑炻ᶨ忻⣑䃞⮷塪䷓ ġ an intricate geometrical décor at the outside. The artist has masterly ⤏⛘⇑䥩Ṣ㓞啷 㶭ẋ㯜㘞Ⱦ坕漵ȿ䫮㲿 used a citrine vein in the material to carve the upper part of the chilong ⑩䚠列⤥炻⊭㻧䳘兑ġ dragon, used as the figural handle of this little gem. Estimate EUR 800,- ⤏⛘⇑䥩Ṣ㓞啷 Starting price EUR 400,- Shape: Libation cup shape with figural handle, accentuated foot rim Estimate EUR 500,- Dimensions: 6 cm (height), 11 cm (length) Starting price EUR 250,- Condition: Good condition with fine hand patina, one natural small chip to rim with emerging stress line, (the beginning of the line partially integrated in the carving) Provenance: Austrian Private collection
76 77 72 A QING DYNASTY ROCK CRYSTAL ‘GUANYIN ON LOTUS PEDESTAL’ SCULPTURE Transparent rock crystal, excellent surface polish China, late Qing Dynasty or early Republic period
Besides feather like natural inclusion on the lotus pedestal this 2-part rock crystal sculpture showcases flawless material. Depicted is the mother goddess Guanyin in standing posture, wearing a hooded, long gown, a necklace and holding a scroll in her folded hands. The figurine comes together with its original lotus pedestal, also carved from rock crystal.
Rock crystal objects were highly sought after by Qing Dynasty literati who referred to the material as ‘water turned to stone’.
Shape: Figural shape Dimensions: 30 cm (total height), 22 cm (height of Guanyin without pedestal) Condition: Excellent condition Provenance: French collection
Literature comparison: For two Guanyin rock crystal carvings of the same size and period see Bonham’s, FINE ASIAN ART, 11 Jun 2003, LONDON, NEW BOND STREET, lot 58 and Bonham’s, ASIAN DECORATIVE ARTS, 11 Dez 2015, SAN FRANCISCO, lot 2104. ġ 㶭ẋ㯜㘞Ⱦ奨枛䩳咖⁷ȿ ⑩䚠㤝⤥ 㱽⚳䥩Ṣ㓞啷
Estimate EUR 800,- Starting price EUR 400,-
71 ġ A LARGE QING DYNASTY SMOKY QUARTZ BRUSH WASHER 㶭ẋ⣏✳䄁㘞Ⱦ泐㇗咖叱ȿ䫮㲿ġ ‘LOTUS and DUCKLINGS’ 德㖶㘞䐑䘬䄁㘞炻㶙䀘刚炻⣑䃞䴖䉨䈑ġ Smoky quartz of fine transparent quality in light to dark grey hues, ᷕ⚳炻⋩ℓᶾ䲨军⋩ḅᶾ䲨⇅ġ natural inclusions ġ China, 18th / early 19th century 忁ẞ⣏✳䫮㲿晽ⶍ䱦㸃炻忂忶咖叱⌟㚚䵓㈲䫮㲿晽ㆸℑᾳ昼Ⰼ炻⛯⏰咖 叱⼊䉨ˤġ⛐庫⣏䘬叱⫸䘬ᶲ䶋炻⎗ẍ䚳⇘ℑ⎒⮷泐⫸炻⼤㬌朊⮵ˤġㆹᾹ怬 This large brush washer is masterly carved and bears two compartments, 䘤䎦ᶨᾳ庫⮷䘬咖啽剥ẍ⍲ᶨᾳ⎗夳䘬咖咔ˤġ㛔☐ẍ㈲咖䁢⼊⇞䈡溆炻䓇 both in the shape of a lotus leaf. On the upper rim of the larger leaf we ≽忤䛇炻䘬䡢㗗ᶨẞ⣑ㇵ⋈Ṣ䘬冒䃞ᷣ佑晽⇣ἄ⑩ˤ see two tiny ducklings, facing each other. We also find a smaller lotus bud as well as a capsule with the seeds visible growing from a branch that ⼊䉨烉晐⼊侴晽 also functions as the figural base. An overtly clever naturalistic carving by ⯢⮠烉6,5 x16,5 cmġĩ檀Ź攟Ī a gifted artist. ⑩䚠列⤥炻⊭㻧䳘兑 ⤏⛘⇑䥩Ṣ㓞啷ġġ Shape: Figural shape ġ Dimensions: 6,5 cm (height), 16,5 cm (length) 㔯䌣⍫侫烉Ἓ⢓⼿˪ᷕ⚳昞䒟冯ⶍ喅⑩˫炻2013⸜Ķ㚰14㖍炻ΐ 㔎炻85嘇㉵⑩ġĩ Condition: Good condition with fine hand patina ⎎ᶨẞ暁Ⰼ䫮㲿炻栆Ụ⯢⮠炻㯜㘞晽⇣剙⋱炻⋩ḅᶾ䲨Ī Provenance: Austrian Private collection Estimate EUR 1.000,- Literature comparison: Christie’s, Chinese Ceramics and Works of Art, Starting price EUR 500,- 14 May 2013, London, lot 85 (for another double-compartment brush washer of comparable size and with a floral motif, carved from rock crystal and dating to the 19th century).
78 79 75 A FINE QING DYNASTY AMETHYST CARVING OF HE XIANGU Amethyst of purple color in the upper and clear color in the lower part, natural inclusions China, Qing Dynasty
This finely carved amethyst sculpture features He Xiangu, the only female immortal of the Baxian. She is portrayed, holding a vase with a lingzhi spray in her right hand and is leaning against a rock formation overgrown by more of the fungus of immortality. Especially the neatly incised hair and the vivid facial features attest to the artist’s capability.
The artist has cleverly used the natural color play of the stone to highlight the upper part of the figure which stands out due to its purple hue whilst the rock and the lower part of the gown are of near clear color.
Shape: Figural shape Dimensions: 12 cm (height), 8 cm (length), 4 cm (width) Condition: Good condition with fine hand patina Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s
Literature comparison: For an interesting article on Chinese Hardstone Carvings and specifically on the artists’ use of Amethyst material with its purple / clear color scheme 73 74 see: Sun, Jason. “Chinese Hardstone A ROCK CRYSTAL ‘GUARDIAN LION’ A FIGURAL QING DYNASTY Carvings.” In Heilbrunn Timeline of Art SCULPTURE AMETHYST BEAD WITH DOUBLE- History. New York: The Metropolitan Museum Transparent rock crystal, excellent surface polish FACE LUCKY GOD of Art, June 2016. China, late Qing Dynasty or early Republic period Amethyst of even purple color, natural ġ inclusions 㶭ẋ䳓㘞晽ỽẁ⥹ Besides one tiny natural inclusion on the back China, Qing Dynasty ⑩䚠列⤥炻⊭㻧㹓㼌 this rock crystal sculpture showcases flawless ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ material. Depicted is a guardian lion of whimsical This finely carved amethyst bead shows ẋ⇅岤ℍ appearance with one paw slightly raised. Running the two-sided portrayal of a youthful through his mouth is a channel for a string, so lucky god with a third eye in flower Estimate EUR 500,- that he could be worn as a pendant. Due to the shape. There is a vertical channel for a Starting price EUR 250,- carving’s generous size and heavy weight a use as string and the original silk tassel is still a paperweight appears more feasible. in place. Another small hole is drilled to one side, where the ears of the faces Rock crystal objects were highly sought after by meet. Qing Dynasty literati who referred to the material as ‘water turned to stone’. Shape: Figural, rounded shape, drillings for suspension Shape: Figural shape Dimensions: 2,3 cm (diameter) Dimensions: 5,5 cm (height), 10 cm (length), 4,5 Condition: Good condition with fine cm (width) hand patina Condition: Excellent condition Provenance: Old Austrian Private Provenance: Old Austrian Private collection, collection, assembled in the 1930s to assembled in the 1930s to early 1950s early 1950s ġ 㶭ẋ㘂㛇ㆾ㮹⚳⇅㛇㯜㘞晽䋭⫸ 㶭ẋ䳓㘞晽暁朊䤷㗇䎈 ⑩䚠㤝⤥ ⑩䚠列⤥炻⊭㻧㹓㼌 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ ⇅岤ℍ ⋩⸜ẋ⇅岤ℍ
Estimate EUR 200,- Estimate EUR 200,- Starting price EUR 100,- Starting price EUR 100,-
80 81 Duck fledgling with orchis Anemones
Closed view of the Song Dynasty album with two exhibition catalogues, from 1974 and 1975, the “Anemones” leaf illustrated on both catalogue covers
76 LU ZONGGUI, DATED 1229: A HIGHLY IMPORTANT SONG DYNASTY 145 – Peonies, with the signature Lu Zonggui from Chekiang. This painter, 欗⬿屜炻1229⸜烉⬳ ẋ 慵 天 剙 沍Ⅎ枩 ALBUM WITH EIGHT PAINTINGS OF FLOWERS AND BIRDS famous for his depictions of flowers, bamboo and animals, was a member 䴡㛔姕刚炻⑩䚠㤝⤥ Polychrome colors on very thin, fine silk, in excellent condition of the academy in Hangzhou from 1228-1233. ᷕ⚳炻⋩ᶱᶾ䲨 China, 13th century The album contains many Chinese collector’s seals, which confirm the high age and authenticity of this work. Similar paintings have been listed in the ↢䇰䈑烉˪㹓勐㟤㓞啷ᷕ䘬ᷕ⚳䇰䔓冯丒䔓˫ 炷Chinesische Farbdrucke und Malereien der Sammlung Winzinger 炸炻䲸 ΐ Published: Chinesische Farbdrucke und Malereien der Sammlung register of the ‘Ten Bamboo Hall’ as templates for their woodblock prints.” ⟉㖍俛㚤⚳⭞⌂䈑棐旧⮼ⶫ暟ⶴ䈡·᷊≺⋼㚫⯽奥炻1974炻138-145嘇炻 ⛐⯽奥䚖抬ᷕ⎗夳㍺⚾烊˪㹓勐㟤㓞啷ᷕ䘬ᷕ⚳䇰䔓 Winzinger (Chinese Prints and Paintings from the Winzinger Collection), 冯丒䔓˫ 炷Chinesische Farbdrucke und Malereien der Sammlung Winzinger 炸炻䵕 ḇ 䲵 旧 ⮼峅 吪 ⧄ ⌂ 䈑 椮 䇰 䔓 悐炻 1975, Ausstellung der Albrecht Dürer Gesellschaft im Germanischen This is one of the few works of art, where the quality entirely speaks 138-145嘇, ⛐⯽奥䚖抬ᷕ⎗夳㍺⚾ˤ Osvald Sirén II, ⚾37-70 冯 63ˤOsvald Sirén III炻⚾ 244 冯 245ˤ Nationalmuseum Nürnberg (An Exhibition of the Albrecht Durer Society for itself. Painted in classic Song dynasty style, each of the eight leaves 句㫦: 䳡⭂Ḵ⸜ᶹ⳿⢷Ḽ㚰䔓昊⼭姼欗⬿屜⇞ in the German National Museum Nuremberg), 1974, lots 138-145, and shows superior artistic skill and supreme inspiration. Only very few ⛐ ᶲ 徘 ↢ 䇰 䈑 ᷕ炻㬌 Ⅎ 枩 㚦 塓 姽 婾 䁢烉 “忁ℓⷭ䔓ᶨ崟慵䎦Ḯ⬳ẋ丒䔓炻䈡⇍橼䎦ḮἮ冒㷾⋿㷾春㛶徒炷㳣帵Ḷ1100 -1197炸 illustrated on the title of the catalogue. Chinesische Farbdrucke und albums of comparable condition and caliber have been on the market […]㛶徒⚈Ṿ䘬剙沍䔓侴ㆸ⎵ˤ Malereien der Sammlung Winzinger (Chinese Prints and Paintings from during the last decades. the Winzinger Collection), Graphische Sammlung Albertina Wien (The Shape: Album with wooden cover sheets 138 – 㝅柕䘥沍 Albertina Collection Vienna), 1975, lots 138-145, and illustrated on the Dimensions: 40 x 28,5 cm (sheet size), 31 x 24,2 cm (image size) 139 – 㴟吝 (䚖抬⮩朊⚾) title of the catalogue. Osvald Sirén II, page 37-70 and 63. Osvald Sirén III, Condition: Outstanding condition, especially given the high age and the 140 – 剙攳㝅柕 plates 244 and 245. sensibility of the material, with only minor abrasions and fading, little 141 – 䍓䐘冯浗沍 Inscribed: “Made in the 5th month of the summer of the year yichou soiling, some creasing and pinholes, some browning 142 – 啵刚䈥䈃剙 [1229], which is the 2nd year of the Shaoding era, executed by the Provenance: The Winzinger Collection of Chinese Prints and Paintings, 143 – 䳓喌坛圪 ‘painter in attendance’ of the imperial painting academy, Lu Zonggui.” Germany; The Professor Gebhardt Collection of Chinese Paintings; Private 144 – 嗕剙⸤泐 In the aforementioned publications, the album has been described Collection Vienna; 145 – 䈉ᷡ as follows: “The eight sheets together build an album of Song dynasty Literature comparison: China Guardian, Hong Kong, May 29th, 2017, lot 欗⬿屜炻Ἦ冒㴁㰇炻ẍ℞剙沍≽䈑昊幘桐㟤↢⎵炻㚦1228-1233⍿借Ḷ㜕ⶆ䔓昊ˤ paintings, predominantly painted in the style of Li Ti from Ho Yang, 450. (for a single painting depicting a goose, size 80 x 60 cm) Ⅎ枩ᶲ⎗夳埮⣂ᷕ⚳⎌ẋ啷⭞懜⌘炻䓙㬌⎗夳嫱Ⅎ枩䘬⸜ẋ䛇⮎⿏ˤ栆Ụ䔓ἄ⎗夳˪⋩䪡滳䫢寙˫ˤ Ƹ Honan province, active from ca. 1100 until 1197. […] Li Ti was famous for 忁㗗⮹㔠喅埻ἄ⑩ᷳᶨ炻℞岒慷⬴ℐ⎗ẍ嫱㖶⬫䘬䛇⮎⿏ˤ 䴻℠䘬⬳㛅桐㟤丒䔓炻ℓⷭℲ枩ᷕ䘬㭷ᶨⷭ悥⯽䎦↢⋻崲䘬喅 his paintings of flowers, bamboo and birds. 埻㈨ⶏ㤝⣏䘬曰デˤ ⛐忶⍣䘬⸦⋩⸜墉炻⎒㚱㤝⮹㔠℟㚱⎗㭼ἄ⑩⛐ⶪ⟜ᶲ↢䎦ˤ Ⅎ枩炻㛐墥⮩朊 138 – White bird on a blooming branch ⯢⮠烉 40 x 28,5 cm (⊭⏓墅墙), 31 x 24,2 cm (䔓朊) 139 – Anemones (illustrated on the cover of the publication) ⑩䚠列⤥炻䚠㭼㛸㕁䘬檀⸜ẋ㓷デ⿏炻㔜橼⎒㚱庽⽖䘬㒎 壒刚炻⮹慷㰉㻔炻ᶨṃ㐢䕽⮷㳆炻ᶨṃ墸嬲 140 – Blooming branch with large leaves ⽟⚳㹓勐㟤Winzingerᷕ⚳䇰䔓冯丒䔓㓞啷烊㟤⑰⽟ Gebhardt㔁㌰ᷕ⚳丒䔓㓞啷烊䵕ḇ䲵䥩Ṣ㓞啷 141 – Roses and warbler 㔯䌣⍫侫烉ᷕ⚳▱⽟炻楁㷗炻2017⸜5㚰29㖍炻450嘇㉵⑩炷˪洅⚾˫炻⯢⮠80 x 60 cm炸 142 – Bindweed branch with hazy blue blossoms 143 – Wisteria and Mantis Estimate EUR 20.000,- 144 – Duck fledgling with orchis Starting price EUR 10.000,-
82 83 Wisteria and Mantis Bindweed branch with hazy blue blossoms White bird on a blooming branch Peonies
Detail view of Chinese Open view of the Song Dynasty album with two exhibition collectors seals from catalogues, from 1974 and 1975, the “Anemones” leaf illustrated on “Anemones” leaf both catalogue covers
Signature Lu Zonggui with dating 1229 from Roses and warbler Blooming branch with large leaves “Peonies” leaf
84 85 77 A LARGE YUAN / MING DYNASTY This painting features a group of six Apsara gleaming pupils set in elongated, almond-shaped ⃫㖶厑啑䔓⁷ PAINTING OF FEMALE DEITIES WITH GESSO or Feitian standing atop of clouds and in the eyes with narrow ‘bags’ below and well-shaped HIGHLIGHTS foreground is dense leafage as well as a censer. arched brows. 湣ⶫ朊炻㯜⡐炻㯜䰱炻䞛儷 ẁ⤛共悐堐䎦梥㺧炻桐㟤㶭㘘炻䫮妠侩䶜炻㖶㘿 㔯䌣⍫侫烉ᶨẞ⬳慹㗪㛇䀘㲍掉㟮˪厑啑䔓⁷˫ Ink, gouache and gesso on linen In the back we see the entrance to a terrace, ᷕ⚳炻⃫军㖶ẋ Ⰼ㫉㻠忚㝼ˤ朊柘寸䙰炻ᶳ柶㝼儜炻㛙⒯⤪⎴呻 ᶲ⎗夳⬴ℐᶨ农䈡⽝炻喯㭼˪ᷕ⚳喅埻⑩˫炻楁 China, Yuan – Ming Dynasty a tree and a vessel from which a cylindrical Shape: Rectangular horizontal shape 唦凔⇍农炻㞛䚱㛷䚖炻湹䝛䅈䅈炻䚱滣䚠忋ˤ 㷗炻2015⸜12㚰4㖍炻287嘇㉵⑩ flame is emerging. The celestial maidens are Dimensions: approx. 163 x 85 cm 㬌丒䔓䓇≽㳣㻹炻↢冒ἃ㔁⁛䴙⚾⁷炻ẍ䓀倭䚩 This remarkably lively painting stands in the shown in flowing garments and wear elaborate Condition: Overall excellent condition, consistent 㔎䃴䞛䩇ᾅ⬀䘬Ⓒẋ⡩䔓⍲䴡䔓炻㚨⺋䁢Ṣ䞍炻 攟㕡⼊ Estimate EUR 10.000,- tradition of Buddhist imagery, best known from headdresses. They hold various attributes such with its age, trimmed at the margin, some ⺞ 临 军 ⬳ˣ慹ˣ军 㖶 ẋ 㖑 㛇炻⛐ ᷕ ⚳ ⊿ 悐 ⋨ ➇ 䘬 ⯢⮠烉163 x 85 cm Starting price EUR 5.000,- wall paintings and silks from around the Tang as a canopy, lanterns or a lotus flower halberd. pigment loss and stains, soiling ⮢昊悥㗗ẍ⡩䔓⼊⺷↢䎦ˤ㔎䃴卓檀䩇怢⛨ 㔜 橼 䉨 㱩列 ⤥炻䫎 ⎰ ⸜ ẋ炻怲 䶋 ᾖ − 忶炻壒 刚炻 dynasty (618-907) preserved in the Dunhuang Lotus leaves and blossoms are repeatedly Provenance: Old Austrian Private collection, ⎗夳㲍⟹㴖晽⟿慹㈨㱽炻ᶼ䚃埴㕤⬳㗪㛐晽炻⍲ 㚱㰉嶉 cave temples of Gansu province, which lived incorporated in the depiction which a majestic assembled in the 1930s to early 1950s 慹ẋ⡩䔓ˤ 㭼庫⬳㛅㛶ⴑ丒㔯Ṣ䔓ᷕᶨṽ⤛炻桐㟤㚜栗㝼 on particularly in North China in the Song blossom right at the center. (960-1279), Jin (1115-1234) and early Ming Literature comparison: for a stucco panel of 炻朊⭡䚠役䃞庫夳ℏ㔪炻寸柘歖㼌炻䚱滣廱㉀㚚 (1368-1644) periods in form of temple frescoes. The angels’ faces show an exquisite, crisp a lady, dating to the Song / Jin dynasty and 忁ⷭ䔓䘬䈡溆㗗ᶨ䳬ℕᾳẁ⤛䩳㕤暚Ⰼᷳᶲ炻⚃ ⚻炻䍵䎈䵜檖炻㬌䴡庠䎦⬀⎘⊿⚳䩳㓭⭖⌂䈑昊炻 The technique of using gesso relief highlights painting style with sharp, determined brush showing the exact same facial features as the ␐䵈叱䂇曏䑘丆ˤ⛐側㘗塷ṕ⎘㚚㧳ˣ㳩㯜埴 ↲㕤˪ṽ⤛䔓ᷳ伶˫炻冢 ⊿炻1988⸜炻⚾ 䇰10ˤ is already found in the Mogao Grottoes of strokes, softened by graduated shading. The protagonists in the present painting, including 暚䫱䘬溆䵜炻ẁ⤛Ᾱ䨧叿䱦䶣炻ṾᾹㇳ㊩⸉㕿ˣ ⤏⛘⇑䥩Ṣ㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ Dunhuang and became popular for Song smooth, fleshy faces have exaggerated chubby the gesso highlighting, see Sotheby’s, CHINESE ⁀味炻⣂嗽⎗夳咖剙叱咖剙ˤ 岤ℍ dynasty wooden sculptures and Jin dynasty wall cheeks and chin, where the skin forms soft folds, ART, 03 DECEMBER 2015 - 04 DECEMBER 2015, paintings. stylized lips elegantly pursed like a flower, HONG KONG, lot 287.
86 87 79 A PAINTING DEPICTING SCHOLARS, LIU SONGNIAN (1155-1218) Ink and color on silk, later mounted in a paper folder, partly with gold-splashed paper China, possibly Song dynasty, but maybe a Qing dynasty copy
Fine painted landscape scene depicting the bank of a river with tall trees and gentle rocks. Two scholars are gathering in a pavilion-like boat, attended by various servants. From the right, a third scholar is approaching with a horse and his entourage. Signed on the lower right side Liu Songnian. Two collector seals in the lower right corner.
Shape: Rectangular, almost square-cut shape 78 Dimensions: 21 x 24 cm (painting size), 45 x 34 cm A SIGNED 17TH CENTURY SILK SCROLL PAINTING ‘MAGPIES (paper folder) AND QUAILS’ Condition: Age-related condition, minor wear and Ink and color on silk, mounted on fabric coated paper, brocade losses in the material, on the right a small restored crack borders and scroll end-pieces Provenance: Old Austrian Private collection, assembled China, 17th century in the 1930s to early 1950s
At the lower end of this fine 17th century silk painting is a pair of 㶭ẋầ⬳桐㟤㯜⡐姕刚Ⅎ枩˪㜿攻ẹㅑ˫ quails with irises in the foreground. The central pat is taken up by a ⑩䚠冯⸜ẋ䚠䫎炻庽⽖䢐㎵㛸㕁㎵⣙炻⎛怲㚱ᶨᾳ rock that is overgrown by peonies and in this area turquoise-blue dew ᾖ⽑忶 drops are freely incorporated in the image. At the upper part a pair of 䘬塪䷓ magpies can be seen amidst a fruit-laden tree with red berries. ⤏⛘⇑䥩Ṣ㓞啷
Signed on the left side with two artist seals. Backside bearing a Estimate EUR 300,- collector seal and the inscription (= translated from German) ‘Lychee Starting price EUR 150,- and birds, 17th century’ as well as other collector codes.
‘Two magpies’ is pronounced in the same way as ‘double happiness’ 80 so a painting of two magpies was a metaphor for double happiness A SIGNED 18TH CENTURY SILK SCROLL PAINTING and was often given as a way of expressing congratulations ‘ORIOLES AMIDST PEONIES AND PRUNUS’ particularly for a wedding. The quail is also a symbol for peace and Ink and color on silk, mounted on fabric coated paper, harmony between generations living together. wooden scroll handles China, 18th century Shape: Rectangular vertical shape Dimensions: 215 x 55 cm (total size), 115 x 39,5 (size of the painting) Fine depiction of a pair of oriole birds, one seated on a Condition: Painting with tears, creases, minor material loss, small blossoming prunus tree and watching the other which holes as well as touch ups, mounting shows tears and creases as well is captured in elegant flight with spread wings. Light Provenance: Old Austrian Private collection, assembled in the 1930s pink peony blossoms are reaching into the imagery to early 1950s from the left.
⋩ᶫᶾ䲨˪╄洚洒洱˫ Signed on the left side in very neat Chinese calligraphy 䴡㛔姕刚炻䳁㛔墅墙炻拎䶆怲䶋 ‘Shiqiao Cheng Buxun xie’ and stamped with two ᷕ⚳炻⋩ᶫᶾ䲨 artist seals. Backside bearing a collector seal and the inscription (= translated from German) ‘Flower ⛐忁ⷭ⋩ᶫᶾ䲨䴡㛔姕刚䔓ᶳ悐⎗夳ᶨ⮵洒洱ˤ䔓朊㬋ᷕ㗗`Ⱉẍ⍲ branches and birds – Qianlong period’ as well as other 䵈叱䈉ᷡ剙⎊ˤ䔓朊ᶲ㕡㗗ᶨ㟒㊪叿䲭刚㻧㝄䘬㝄㧡炻㧡ᶲ㞾〗叿ᶨ collector codes. ⮵╄洚ˤ In Chinese tradition the oriole is the bird of joy and music. 䔓朊ⶎ“㚱ℑᾳ啷⭞懜⌘ˤ側朊㚱㓞啷⌘ẍ⍲Ⱦ勼㝅沍⋩ᶫᶾ䲨”⫿㧋 ẍ⍲℞Ṿ啷⭞䶐䡤ˤ Shape: Rectangular vertical shape Dimensions: 222 x 59 cm (total size), 84 x 45 (size of “ℑ晣╄洚”䘬䘤枛㕡⺷冯“暁╄”䚠⎴炻ẍ忁㗗䈡⇍䁢⨂䥖堐忼䤅䤷 the painting) 䘬ᶨ䧖㕡⺷ˤ 洒洱ḇ㗗ᶨ⭞Ṣ䜎䚠嗽䘬尉⽝ˤ Condition: Painting with tears and small holes as well as touch ups, mounting shows tears and minor 攟㕡⼊炻䩳庠 material loss as well ⯢⮠烉215 x 55 cm (⏓墅墙), 115 x 39,5 cm (䔓朊) Provenance: Old Austrian Private collection, assembled ⑩䚠冯⸜ẋ䚠䫎炻㚱㯜嶉ˣ庽⽖㛸㕁仢⣙ˣ墅墙悐↮㚱檮㔋 in the 1930s to early 1950s ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ ⋩ℓᶾ䲨䦳㬍ⱳ㫦䴡㛔姕刚˪╄ᶲ䚱㡊˫ Estimate EUR 500,- 䔓朊㚱㯜嶉庽⽖㛸㕁㎵⣙ Starting price EUR 250,- ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ
Estimate EUR 500,- Starting price EUR 250,-
88 89 82 SHEN QUAN (1682-1760), CRANE AND DEER Ink and color on paper, signed Shen Quan Wuxing China, ca. 1730-1740, Nanping School
Depicting a red-crowned Manchurian crane (Grus Japonensis) confronting a deer under a tree, surrounded by dominating rockwork, with blooming peonies and hibiscus plants.
Shen Quan was a Chinese painter. His courtesy name was Nanpin (or Nanping) and his sobriquet was Hengzhai. His works became influential in Japanese Edo period art. Shen was invited to Japan by a high official. He arrived in Nagasaki in the final month of 1731 with two students, acquiring many Japanese students after his arrival. His paintings soon became very popular, and after his 1733 return to China he continued to send paintings back to Japan. Shen had many pupils while in Japan; his most important was Kumashiro Yuhi, who in turn taught So Shiseki and Kakutei. Other artists influenced by Shen included Katsushika Hokusai, Maruyama Okyo, and Ganku. Shen’s paintings were popular for their realistic, colored images of animals and flowers, and three-dimensional trees and rocks.
Seals: 1. Shen Quan 2. Nanping 3. Zhu Jiuri Duhua (this is a Japanese seal, the identical 81 seal also found for example on a painting by A SIX-FOLD SCREEN WITH PAINTINGS FROM A Qian Du (1764-1844/45) in the Osaka City QING-DYNASTY ALBUM Museum of Fine Arts) The six album leaves painted on paper, laid down to Dimensions: 175 x 90 cm a silk and paper screen, the screen itself in a wood Condition: Laid down on a wooden board; and metal frame scratches, stained, creases, possibly trimmed; China, the paintings Qing dynasty, 19th century or overall in fair condition, as visible on the earlier, the screen 20th century images Provenance: Austrian private collection The painting depicts six different yet connected scenes in vivid watercolors, with various deities Literature comparison: China Guardian accompanied by their disciples, carrying plants in Auctions, December 19th, 2011, lot 1706. basins, some of these being small peach trees with Christie’s, September 15th, 1998, lot 98. their fruits. The work shows a good level of quality, (both for other crane and deer paintings by with some very fine detail. this artist)
Shape: Six-fold screen 㰰戻炷1682-1760)˪ẁ浜冯渧˫ Dimensions: 264 x 120 cm 䳁㛔㯜⡐姕刚炻“⏛冰㰰戻⮓” Condition: Good condition with some wear and ᷕ⚳炻䲬 1730-1740炻⋿ 厵 㳦 traces of use, the paintings with significant abrasions ㍷丒Ḯᶨ㢝㧡ᶳ浜渧䚠⮵炻ẁ浜䩳㕤ⱑ䞛ᷳ to paper, but mostly in the background, the actual ᶲ炻⚃ ␐ 㚱 䚃 攳 䘬 䈉 ᷡ 剁 呱 ẍ ⍲ 㜦 㧡ˤ paintings still good ⌘: 1. 㰰戻 2. ⋿厵 3. 㛙ḅ㖍嬨䔓姀(⛐⎎ Provenance: Austrian private collection ᶨⷭ㓞啷Ḷ⣏旒ⶪ䩳伶埻棐䘬拊㜄 (1764- 1844/45)䔓ἄᶲ⎗㈦⇘䚠⎴啷⭞⌘) 㶭ẋℕ⯷Ṣ䈑Ⅎ枩⯷桐 ⯢⮠烉175 x 90 cm ⑩䚠列⤥炻㚱ṃ䢐㎵ἧ䓐䕽嶉炻ᷣ天⛐側朊㚱⼰⣏䢐 墅ⷨ⛐㛐㜧ᶲ炻㚱∫䕽炻㝻刚炻㐢䕽炻⎗傥㚱ᾖ ㎵炻䔓 朊 ᾅ 䔁 ⼰ ⤥ −忶炻⤪⚾夳㔜橼䉨㱩ᶵ拗 ⤏⛘⇑䥩Ṣ㓞啷 ⤏⛘⇑䥩Ṣ㓞啷 㔯䌣⍫侫烉ᷕ⚳▱⽟炻2011⸜12㚰19㖍炻1706 Estimate EUR 300,- 嘇㉵⑩烊Ἓ⢓⼿炻1998⸜9㚰15㖍炻98嘇㉵⑩ Starting price EUR 150,- 炷ℑⷭ㰰戻䘬˪ẁ浜冯渧˫炸
Estimate EUR 800,- Starting price EUR 400,-
90 91 83 84 A LARGE 18th CENTURY CHINESE SCHOOL ‘PALACE’ PAINTING A LARGE 18th CENTURY FRAGMENT OF A CHINESE SCHOOL ‘CERAMIC MANUFACTURING IN THE VILLAGE’ ‘PALACE’ PAINTING ‘THE SILK MERCHANT IN THE VILLAGE’ Ink, gouache and watercolor on paper, backed with paper Ink, gouache and watercolor on paper, backed with paper China, late 18th century China, late 18th century
Large and vividly painted depiction of a village in picturesque setting. In In the foreground of this large and colorful painting is a silk trader in the foreground we see a craftsman at the terrace of a ceramic kiln and his shop. He sells bales of silk but also shoes or other objects as we next to him are two rows of ceramic vessels that need to dry. Further can see in his shop window. A group of merchants with more bales of up is a merchant offering an already glazed vessel to a wealthy man in fabric are approaching the shop in order to do some business. A curious noble attire. Women and children are walking towards a residential neighbor is watching the scene from his terrace and further up we see a estate, all carrying fans and one a table screen. Pine trees in the herdsman with his sheep. The village is busy with more people coming in foreground and cragged, overgrown rocks throughout and a turquoise at the upper area of the artwork. blue river build the nature setting for the individual little scenes. The present artwork is made in the tradition of the Gengzhi tu, The present artwork is made in the tradition of the Gengzhi tu, ‘Illustrations of Ploughing and Weaving’, depicting all aspects of Chinese ‘Illustrations of Ploughing and Weaving’, depicting all aspects of Chinese rice-production and silk cultivation. The work was commissioned by rice-production and silk cultivation. The work was commissioned by Emperor Kangxi and was published in 1696, comprising woodblock Emperor Kangxi and was published in 1696, comprising woodblock prints by the court painter Jiao Bingzhen and accompanied by Kangxi’s prints by the court painter Jiao Bingzhen and accompanied by Kangxi’s own poetry. The emperors Yongzheng and Qianlong also published such own poetry. The emperors Yongzheng and Qianlong also published such works, while Qianlong added the theme of the porcelain production to works, while Qianlong added the theme of the porcelain production to the two existing series. During the Qing dynasty, many versions of the the two existing series. During the Qing dynasty, many versions of the production processes were published. Not only were they much sought production processes were published. Not only were they much sought after on the Chinese market, but they were also produced for Western after on the Chinese market, but they were also produced for Western buyers, to whose taste they were adapted. buyers, to whose taste they were adapted. This painting was part of a series that came from a castle in This painting was part of a series that came from a castle in Czechoslovakia, the Museum of Applied Arts in Vienna has Czechoslovakia, the Museum of Applied Arts in Vienna has several of those panels displayed in their permanent exhibition – several of those panels displayed in their permanent exhibition – see online catalog for pictures of the presentation in the MAK. see online catalog for pictures of the presentation in the MAK. Shape: Rectangular vertical shape Shape: Rectangular vertical shape Dimensions: approx. 325 x 92 cm (measured at the maximum points) Dimensions: approx. 215 x 91 cm Condition: Shows tears, creases, holes, stains and material loss Condition: Shows tears, creases, small holes, stains and material loss Provenance: Old Austrian Private collection, assembled in the 1930s to (mainly at the margins) early 1950s Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s Literature comparison: Christie’s, Asian Art, 20 - 21 May 2008, Amsterdam, lot 231. (for an album with watercolors, made in the Literature comparison: Christie’s, Asian Art, 20 - 21 May 2008, tradition of the Gengzhi tu, dating to the 19th century) Amsterdam, lot 231. (for an album with watercolors, made in the tradition of the Gengzhi tu, dating to the 19th century) ⋩ℓᶾ䲨⣏✳昊幘㯜⼑䔓˪Ⱉ㛹堋㕁冾˫ 䳁㛔㯜⡐姕刚炻䳁㛔≈⚢ ⋩ℓᶾ䲨⣏✳昊幘㯜⼑䔓˪Ⱉ㛹昞䒟ⶍ⛲˫ ᷕ⚳炻⋩ℓᶾ䲨㘂㛇 䳁㛔㯜⡐姕刚炻䳁㛔≈⚢ ᷕ⚳炻⋩ℓᶾ䲨㘂㛇 ⛐忁ⷭ䓇≽㳣㻹䘬Ⱉ㛹䓇㳣⚾⇵㘗ᷕ㚱ᶨᾳⶫ㕁抒⫸炻⸿塷㌴㩫㬋⛐℄ ⓖ䓇シˤ㝞⫸ᶲ㚱⣏⊭炻㟴⫸ᶲ㚱朳⫸㇯⫸䫱䈑ˤᶨᾳ⤥⣯䘬惘⯭⽆Ṿ 桐㘗⤪䔓䘬㛹匲ᷕ炻昞䒟ⶍ⛲塷㚱ᶨỵⶍ⋈炻Ṿ㕩怲㗗ℑ㌺暨天㘦Ḧ 䘬春⎘䚳䅙櫏炻怈嗽怬㚱彚㮹Ṿ䘬伲ˤ㛹⫸塷䘬Ṣ悥⛐⾁䠴ˤ 䘬昞䒟☐䙧ˤⶍ⛲⢾㚱ᶨỵ⢓ℝ炻䁢Ṿ䘬攟⭀㌏叿ᶨᾳ⣏䙺⫸ˤ⨎⤛ 䪍㬋⛐嶗ᶲ埴崘炻ᶵ怈嗽怬㚱ᶨ佌⨎Ṣ炻ㇳᷕ㊧叿㇯⫸炻ἵ⤛㒉 忁ẞἄ⑩㗗慯䓐“侽䷼⚾”䘬⁛䴙侴ἄ炻恋ⷭἄ⑩塷⎗夳ᷕ⚳㯜䧣䓇䓊 叿⇢䴱㢂⫸ˤ⚃␐䵈㧡`Ⱉ炻℞攻⮷㱛⽄⼱ˤ 䴚䵊䧖㢵䘬⎬ᾳ㕡朊炻䓙䅁䘯ⷅ⥼妿∝ἄ炻㕤1696⸜↢䇰炻䓙⭖⺟ 䔓⭞䃎䥱䛇丒墥炻᷎旬㚱䅁䘬娑㫴ˤ晵㬋䘯ⷅḦ昮䘯ⷅ㗪㛇ḇ∝ἄ 忁ẞἄ⑩㗗慯䓐“侽䷼⚾”䘬⁛䴙侴ἄ炻恋ⷭἄ⑩塷⎗夳ᷕ⚳㯜䧣䓇䓊 Ḯ栆Ụἄ⑩炻侴Ḧ昮⛐䎦㚱䘬ℑᾳ䲣↿ᷕ⡆≈Ḯ䒟☐䓇䓊䘬ᷣ柴ˤ⛐㶭 䴚䵊䧖㢵䘬⎬ᾳ㕡朊炻䓙䅁䘯ⷅ⥼妿∝ἄ炻㕤1696⸜↢䇰炻䓙 ẋ炻姙⣂䇰㛔䘬䓇䓊㳩䦳悥塓䘤ⶫˤṾᾹᶵ⛐ᷕ⚳ⶪ⟜⁁⍿徥㌏炻侴 ⭖⺟䔓⭞䃎䥱䛇丒墥炻᷎旬㚱䅁䘬娑㫴ˤ晵㬋䘯ⷅḦ昮䘯ⷅ㗪㛇 ᶼ怬䁢大㕡屟⭞䓇䓊炻ṾᾹ䘬⎋␛ḇ⼿⇘Ḯ婧㔜ˤ ḇ∝ἄḮ栆Ụἄ⑩炻侴Ḧ昮⛐䎦㚱䘬ℑᾳ䲣↿ᷕ⡆≈Ḯ䒟☐䓇䓊䘬ᷣ 柴ˤ⛐㶭ẋ炻姙⣂䇰㛔䘬䓇䓊㳩䦳悥塓䘤ⶫˤṾᾹᶵ⛐ᷕ⚳ⶪ⟜⁁ 忁ⷭ䔓㗗㌟㕗㳃Ẹ❶⟉䘬ᶨ⣿ἄ⑩䘬ᶨ悐↮炻䵕ḇ䲵喅埻⌂䈑棐ḇ ⍿徥㌏炻侴ᶼ怬䁢大㕡屟⭞䓇䓊炻ṾᾹ䘬⎋␛ḇ⼿⇘Ḯ婧㔜ˤ 㚦⛐℞ⷠ姕⯽奥ᷕ⯽↢Ḯ℞ᷕ䘬⸦ⷭˤ 䩳庠 忁ⷭ䔓㗗㌟㕗㳃Ẹ❶⟉䘬ᶨ⣿ἄ⑩䘬ᶨ悐↮炻䵕ḇ䲵喅埻⌂䈑棐 ⯢⮠烉䲬325 x 92 cm 炷㷔慷㗪ἧ䓐㚨⣏溆炸 ḇ㚦⛐℞ⷠ姕⯽奥ᷕ⯽↢Ḯ℞ᷕ䘬⸦ⷭˤ ⑩䚠冯⸜ẋ䚠䫎炻㚱㯜嶉ˣ㛸㕁仢⣙ ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ 䩳庠 ⑩䚠冯⸜ẋ䚠䫎炻㚱㯜嶉ˣ㛸㕁仢⣙ˣ⮷㳆 ⯢⮠烉䲬 215 x 91 cm ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ ⑩䚠冯⸜ẋ䚠䫎炻㚱㯜嶉ˣ㛸㕁仢⣙ ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ 㔯䌣⍫侫烉Ἓ⢓⼿˪Ṇ㳚喅埻˫炻2008⸜5㚰20-21㖍炻旧⥮㕗䈡 㔯䌣⍫侫烉Ἓ⢓⼿˪Ṇ㳚喅埻˫炻2008⸜5㚰20-21㖍炻旧⥮㕗䈡 ᷡ炻231嘇㉵⑩炷シ夳Ἦ冒⋩ḅᶾ䲨䘬˪侽䷼⚾˫桐㟤䘬㯜⼑Ⅎ枩炸 ᷡ炻231嘇㉵⑩炷シ夳Ἦ冒⋩ḅᶾ䲨䘬˪侽䷼⚾˫桐㟤䘬㯜⼑Ⅎ枩炸 Estimate EUR 500,- Estimate EUR 500,- Starting price EUR 250,- Starting price EUR 250,-
92 93 86 87 A CHINESE SCHOOL 19TH Provenance: Austrian private A LARGE QING DYNASTY PAINTING DEPICTING A CENTURY PAINTING collection MANCHU LADY ‘CONVENTION OF PEKING’ Ink, watercolor, gouache and gold-color on paper, Watercolor, gouache and ink on Literature comparison: for mounted on fabric coated paper, wooden scroll handles paper, with a paper mount and a comparable, yet much China, Qing dynasty wooden end bars smaller version see Sotheby’s, China, around 1860 JEWELLERY, 20TH CENTURY Depiction of a seated Manchu lady in festive garment. DESIGN AND ASIAN & The beautiful woman wears an intricate robe and precious This painting shows an EUROPEAN DECORATIVE ARTS, jewelry such as white and apple green jadeite ornaments interesting subject of historical 22 NOVEMBER 2006 - 23 at her belt or Mandarin necklace. She also wears a white significance, the Convention of NOVEMBER 2006, MELBOURNE, jade bangle as is the little boy next to her. Her robe Peking. We see Manchu soldiers lot 514. shows an intricately four-clawed dragon motif, a square as well as British soldiers, rank badge at the chest, and we can see it is fitted with parading left and right of two ᷕ⚳⋩ḅᶾ䲨˪⊿Ṕ㡅䲬˫ Hermine. At her precious crown with dangling ornaments tables where high ranked 㯜⼑炻䳁㛔姕刚炻䳁㛔㛐㈀墅ⷨ are the Chinese characters ‘Fengtiang Gaoming’ (= officials have taken a seat. ᷕ⚳炻1860⸜⇵⼴ imperial edict by command of heaven). Another interesting Military bands and servants are feature of this artwork is the meticulous painting of the in the foreground. 忁ⷭ䔓栗䣢Ḯᶨᾳ㚱㬟⎚シ佑䘬 carpet as we can even see the Peking knot stitches. ᷣ柴炻⌛⊿Ṕ㡅䲬ˤ ㆹᾹ䚳⇘㺧 The Convention or First 㕷⢓ℝ劙⚳⢓ℝ炻䪁䩳⛐檀Ⰼ Inscribed on a gold colored label at the scroll (=translated Convention of Peking is an ⭀⒉⛸䘬㟴⫸䘬ℑ㕩ˤ 幵⛀ from Chinese) ‘Imperial Honoring – Mother Zhang agreement comprising three ⁽Ṣ⛐䔓朊⇵㕡ˤ Yiren – the son will keep with respect’. Backside bearing distinct treaties concluded inscription ‘Chang Jen Mandarin Woman’ as well as other between the Qing dynasty of “㡅䲬”ㆾ“⊿Ṕ䫔ᶨ㡅䲬”㗗1860 collector codes. China and the United Kingdom, ⸜ᷕ⚳⣏㶭㛅⺟冯劙㱽Ὤᶱ⚳⎬ French Empire, and Russian 冒䯥妪䘬㇘㓿㡅䲬ˤ⛐ᷕ⚳炻㬌㡅 Shape: Rectangular vertical shape Empire in 1860. In China, they 䲬塓夾䁢ᶵ⸛䫱㡅䲬ᷳᶨˤᷕ厗 Dimensions: 255 x 79,5 cm (total size), 120 x 61(size of are regarded as among the 㮹⚳⢾Ṍ悐⮯娚㡅䲬⍇ẞᾅ⬀⛐ the painting) 85 unequal treaties. The Ministry of ⎘䀋㓭⭖⌂䈑昊ℏˤ Condition: Painting with tears, creases, and minor material A LARGE WARFARE PAINTING, QING Dimensions: 125 x 89 cm. Foreign Affairs of the Republic loss, mounting shows tears and creases as well DYNASTY Condition: Good condition with of China keeps the original 攟㕡⼊ Provenance: Old Austrian Private collection, assembled in Painted with watercolors on paper, laid some wear and minor nicks here copy of the Convention in the ⯢⮠烉126 x 66 cm (⏓墅墙), 108 the 1930s to early 1950s down on canvas and framed and there, some older scratches National Palace Museum in x 60 cm (䔓朊) China, 19th – earlier 20th century Provenance: Austrian private Taiwan. ⑩䚠冯⸜ẋ䚠䫎炻㚱㯜嶉ˣ㐢䕽 Literature comparison: Christie’s, European Noble and collection, assembled in Asia in 㛸㕁仢⣙ Private Collections, 13 - 14 December 2011, Amsterdam, Depicting attacking infantry with and before the 1930s Shape: ⤏⛘⇑䥩Ṣ㓞啷 lot 483. (for a comparable court lady portrayal) lances, one soldier carrying a large Rectangular horizontal shape 㔯䌣⍫侫烉ᶨẞ栆ỤỮ⯢⮠天⮷ flag, some mounted troops, carrying 㶭ẋ⣏✳“㇘䇕⟜㘗”丒䔓 Dimensions: 126 x 66 cm ṃ䘬䔓ἄ⎗夳喯㭼˪䎈⮞ˣḴ 㶭ẋ㯜⡐姕刚䣾⬿⁷˪婍⮩⭄Ṣ栗两⥋˫ another flag, as well as a military staff ⑩䚠列⤥炻㚱ᶨṃ䢐㎵炻冲䘬∫䕽 (total size), 108 x 60 ⋩ᶾ䲨姕妰冯Ṇ㳚⍲㫸㳚墅梦喅 ⑩䚠冯⸜ẋ䚠䫎炻㚱㯜嶉ˣ庽⽖㛸㕁仢⣙ˣ墅墙悐↮㚱 supervising the offensive from a distant ⤏⛘⇑䥩Ṣ㓞啷炻⛐ᶲᶾ䲨ᶱ⋩⸜ (size of the painting) 埻˫炻2006⸜11㚰22-23㖍炻⡐ 䇦 檮㔋 position and behind a rostrum bearing ẋ⛐Ṇ㳚岤⼿ Condition: Age-related 㛔炻514嘇㉵⑩ˤ ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ the inscription Shuai (commander, condition, tears, creases and general). The flags bear the characters Estimate EUR 200,- minor material loss with few Estimate EUR 300,- Estimate EUR 400,- Liu and Cao. Starting price EUR 100,- touchups Starting price EUR 150,- Starting price EUR 200,-
94 95 88 A ‘MORNING GLORY’ PAINTING BY QI developed an important style of so-called BAISHI, DATED 1951 Chinese scholarly painting, in his own Ink and color on paper, mounted to a expressive style. paper scroll with fabric borders China, dated 1951 Shape: Rectangular vertical shape Dimensions: 102 x 34 cm (painting size), Only one other ‘Morning Glories’ painting 186 x 46 cm (mounting) by Qi Baishi, dating to the year 1951 Condition: The painting is in good and very similar to the present artwork, condition. Slight traces of age and wear, was ever on the market and it fetched in the form of creases and moldy spots, 360.000 Euros at Poly Auctions in Beijing. are discernible Flower paintings from Qi Baishi’s late Provenance: Austrian private collection, period are amongst the most expensive acquired at Christie’s New York in the artist’s oeuvre as he had achieved the utmost expressiveness and freedom Literature comparison: Poly International in the brushstrokes by then, according to Auction, IN COMMEMORATION OF discerned scholars and collectors. MADAM GUO XIUYI’S 100TH BIRTHDAY - A RARE COLLECTION OF MODERN The painting bears the artist signature and CHINESE PAINTINGS AND CALLIGRAPHY, seal at the right margin. The calligraphy 03 Dec 2010, Beijing, lot 2707. (for a reads ‘The old Baishi painted at the age comparable, slightly smaller, Morning of 87’ and the artist seal also reads ‘The Glory painting by Qi Baishi) old Baishi’. In the lower left corner is the seal for the collection of paintings and 1951⸜滲䘥䞛˪䈥䈃剙˫ calligraphy of Xinxi. The reverse reveals the 䳁㛔㯜⡐姕刚炻拎䶆墅墙 work’s title (in Chinese) ‘Morning Glories ᷕ⚳炻1951 by Qi Baishi’ and two additional seals. 滲䘥䞛∝ἄ䘬⎎ᶨⷭ⎗徥㹗⇘1951⸜䘬˪ This painting shows a dense arrangement 䈥䈃剙˫冯忁ẞἄ⑩朆ⷠ䚠Ụ炻㚦⛐ⶪ⟜ᶲ of light grey to black leaves and vividly 扟ⓖ忶炻᷎⛐⊿Ṕᾅ⇑㉵岋㚫㉵↢360,000 painted branches and stems from which 㫸⃫檀₡ˤ㟡㒂㚱嬀ᷳ⢓㓞啷⭞䘬䚳㱽炻 morning glory buds and blossoms are 滲䘥䞛㘂⸜䘬剙⋱䔓ἄ㗗忁ỵ喅埻⭞ἄ⑩ growing. The pinkish red of the blossoms ᷕ₡㟤㚨䁢㖪屜䘬炻⚈䁢恋㗪Ṿ䴻⛐䫮⡐ stands out prominently against the ᶲ䌚⼿㤝⣏ㆸ⯙ˤ monochrome leafage. 忁ⷭ䔓⛐⎛怲䔁㚱喅埻⭞䘬句㫦“䘥䞛侩Ṣ Wild morning glories have been traced ℓ⋩ ᶫ㬚 㗪⇞”⌘䪈“䘥䞛佩”ˤ䔓 朊 ⶎᶳ back to ancient China where they were 奺⎗夳啷⭞懜⌘Ⱦᾉ䎳啷㚠䔓⌘ȿˤ⌟ 庠 ᶲ used for medicinal and ceremonial 㚠“䈥䈃剙 滲䘥䞛”⍲ℑᾳ⌘䪈ˤ purposes. The Chinese folklore of this flower symbolizes that lovers may only 忁ⷭ䔓ẍ⣏⮓シ䲭剙⡐叱䔓㱽炻㶉⡐㽫⡐ meet on one special day out of the year. Ṍ㚧䔓叱⫸炻㝅㡅匾丷丆炻剙唦剙㛝助 The story behind this is that two young ⢗䓇攟ˤⶍ䫮䰱䲭刚䘬剙㛝㚜≈夗㈀↢⮓ people fell deeply in love neglecting all of シ䘬叱⫸ˤˤ their responsibilities. As more and more chores were ignored the heavens started 慶䓇䈥䈃剙⎗ẍ徥㹗⇘ᷕ⚳⎌ẋ炻䓐㕤慓喍 to rumble with the gods dissatisfaction. 䥖₨䓐徼ˤ㟡㒂ᷕ⚳㮹攻⁛婒䈥䈃剙尉⽝ So, they decreed that the lovers could 叿ッṢ堡傥⛐䈡⭂ᶨ⣑忯⇘ᶨ䓇ᷕ䘬⎎ᶨ meet just one day out of the year. Morning ⋲ˤ忁側⼴䘬㓭ḳ㗗ℑᾳ䚠ㆨ䘬⸜庽Ṣᷕ䘬 glories also mean unrequited love. ᶨᾳ⾥夾ḮṾᾹ䘬㚱屔ảˤ崲Ἦ崲⣂䘬屔 ả塓⾥夾炻䛦䤆攳⥳ᶵ㺧ˤẍ炻Ṿ Ᾱ ᶳẌ Qi Baishi (1864 - 1957) 婒ッṢ⎒傥⛐ᶨ⸜ᷳℏ夳朊ˤ䈥䈃剙ḇシ␛ Qi Baishi was one of the most famous 叿ᶵ㯪⚆⟙䘬ッねˤ painters of the 20th century and a proprietor of modernist currents. He was 䩳庠 born son of a farmer in 1864, Xiangtan, ⯢⮠烉102 x 34 cm (䔓朊), 186 x 46 cm ( Hunan province. He died 1957 in Beijing. ⏓墅墙) He began painting at the age of 14. ⑩ 䚠列 ⤥炻㚱 庽 ⽖ 䘬 ⸜ ẋ 䢐 ㎵ 䕽 嶉炻㚱 ṃ He began a tour of China’s famous 㐢䕽暱㔹ˤ landscapes in 1904, where he attained ⤏⛘⇑䥩Ṣ㓞啷炻Ἦ冒䲸䲬Ἓ⢓⼿ˤ fame. He settled in Beijing in 1917. He was voted to the national congress of 㔯䌣⍫侫烉ᾅ⇑㉵岋˪悕䥨₨娽彘ᶨ䘦␐⸜ the people in 1953 and he was the first 䍵啷㚠䔓˫炻2010⸜12㚰3㖍炻⊿ Ṕ炻2707嘇 president of the Chinese association of ㉵⑩炷ᶨẞ䦵⮷䘬滲䘥䞛˪䈥䈃剙˫炸 artists. Three years earlier he was awarded the International Peace Price for 1950, Estimate EUR 12.000,- by the World Peace Council. Qi was a Starting price EUR 6.000,- frontrunner of modernist painting and
96 97 89 A VERY LARGE TANTRIC TEMPLE BANNER WITH TARA, NEPAL 17TH CENTURY ⋩ᶫᶾ䲨⯤㱲䇦⭮⬿⮢⺇˪⹎㭵˫㨓ⷭ Pigment and black ink on cloth. Mounted on paper within a slim golden fabric border ⶫ 㕁炻柼 㕁炻湹 ⡐炻䳁 㛔 墅 墙炻慹 怲 Nepal, 17th century ⯤㱲䇦炻⋩ᶫᶾ䲨
This horizontal scroll (bilampo) from Nepal features six depictions of Tara in various Ἦ冒⯤㱲䇦䘬忁⻝㯜⸛䔓庠炷bilampo炸ẍ ℕ 䧖 ᶵ ⎴ 兂 刚 ㍷ emanations with a different skin tone. Twice the goddess is depicted as the white 丒Ḯ⹎㭵ˤ ᶨᾳ䘥⹎㭵炻ᶨᾳ䲭䙖兂ἄ㖶ἃ㭵炻ᶨ㫉啵⹎ Tara, twice as the red-skinned Kurukulla, once as the blue Tara, Ekajata and once she 㭵炻ᶨ㫉⤡㚱㶙墸刚䘬兂刚ˤ 㚱⹎㭵悥ẍ嶛准⦧⊊↢ has a dark brown skin tone. All figures are shown in a dancing pose, standing on one 䎦炻╖ 儧 䪁 ⛐ 咖 剙 ⹏ ᶲˤ ṾᾹ㭷ᶨᾳ悥㚱ᶨᾳ㚤旨伭ᶨ leg atop a lotus pedestal. They have a mandorla and an aureole each, and in their ᾳ䑘炻⛐ṾᾹ㉔崟䘬⎛ㇳᷕ⯽䎦↢ᶵ⎴䘬⮞䈑炻ἳ⤪ⷞ㚱 raised right hand show different attributes such as a vessel with flowers or a white 歖剙ㆾ䘥刚㴟坢ˤ conch. ⹎㭵ⶎ怲㗗ᶵ㛥䘬剙䒞ᶨᾳⶐ⣏䘬咖咔炻咖剙叱↢䎦⛐ To the left of the Tara row is the vase of immortality and a large lotus seed capsule 忁ᾳ咖咔ᶲˤ ᶨ㌺㚱ᶱ晣䛤䜃䘬㚱奺䎈⮞㯋䘬ら櫼 from which a lotus leaf scroll emerges that is framing each of the deity images. A 朊℟㬋⛐徥崽⤛䤆ˤ 嶛准䘬䤆⁷搚䑘ᷕ炻᷎䨧㍺叿歖 row of horned and bejeweled demon masks with three eyes is surmounting the 剙ˤ 忁䧖栆✳䘬㨓ⷭ忂ⷠ⛐䭨㖍㛇攻⛐⮢⺇䘬⢾䇮⯽䣢ˤ goddesses. dancing Buddhist deities framed within aureoles and interspersed with flowers. This type of banner was displayed outdoors, often on the walls of a temple, 㨓ⷭ during festivals. ⯢⮠烉340 x 74 cm (䔓朊), 382 x 76 cm (⏓墅墙) ⑩䚠列⤥炻㚱庽⽖䙢䲳㯜嶉炻䓙㕤墅墙ᶵ㖻娵↢炻㱡⼑ Shape: Rectangular horizontal shape 朊㚱䢐㎵ Dimensions: 340 x 74 cm (painting size), 382 x 76 cm (including the mount) ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ Condition: Good condition with minor creases and tears, hardly discernible due to the mounting. Rubbing to paintwork 㔯䌣⍫侫烉夳剅≈⒍喅埻䞼䨞⹓⬀㶭╖ 1984.1503烊˪ Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s ⯤㱲䇦⭮⬿⮢⺇㊪ⷭ匤⎱⯤幓䓼䘬嶛准⤛䤆˫ 炻⋩ ᶫ ᶾ 䲨炻James W. Marilynn Alsdorf㓞啷 Literature comparison: see in the inventory of the Art Institute of Chicago under Acc. Nr. 1984.1503 ‘Nepalese Tantric Temple Banner of a Dancing Goddess Flanked by Estimate EUR 2.000,- Dakinis, 17th century’ from the collection of James W. and Marilynn Alsdorf. Starting price EUR 1.000,-
98 99 90 A LARGE THANGKA DEPICTING BUDDHA SHAKYAMUNI Distemper on cloth, framed in a linen mounting with silk Tibet, 18th/19th century
Shakyamuni, the founder of Buddhism, depicted here as the central figure with two attendants and surrounded by a multitude of smaller emanations arranged in rows and columns and only alternating in the color of the nimbus and aureola. Shakyamuni is seated in vajra on a lotus throne, the right hand lowered in bhumiparsha mudra and the other holding a begging bowl. He is flanked by two standing attendant monks, both holding begging bowls and the traditional walking staff (khakkara) - between them an offering of fruits.
Shape: Rectangular vertical shape Dimensions: 87,5 x 57,5 cm (painting size), 112 x 73 cm (mounting) Condition: Some wear due to age, minor staining, few smaller cracks and discoloration. Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s
⋩ḅᶾ䲨大啷慳徎䈇⯤Ⓒ⌉ ᶨṃ㰉㻔⮷㳆炻䦵㚱⮷塪䷓壒刚ˤ ⤏⛘⇑䥩Ṣ㓞啷
Estimate EUR 200,- Starting price EUR 100,-
91 A RARE MING DYNASTY VELVET AND GOLD THREAD MEDITATION HANGING 份夳䘬㖶ẋ⸛䴐慹䴚⅍゛㊪ⷭ Velvet, silk and gold threads, segmented, mounted inside wooden frame ⸛䴐炻䴚炻慹䵓炻↮㭝炻㛐㟮墅墙 China, Ming Dynasty ᷕ⚳炻㖶ẋ
This finely executed woven panel was originally used as a visual support for mediation. It 忁ᾳ䱦⽫墥ἄ䘬㊪ⷭ㚨⇅塓䓐ἄ⅍゛㗪䘬夾奢㓗㊩ˤ⬫⯽ shows densely woven Buddhist symbols and floral patterns in precious gold thread and 䣢Ḯ䱦䶣䘬ἃ㔁䫎嘇剙⋱⚾㟰炻ẍ䍵屜䘬慹䶂䲭刚䘬 red silk thread standing out beautifully against the lush velvet background. 䴚䶂⃒伶⛘⸛伖㕤⛐⣑洅䴐側㘗ᶲˤ
Meditation hangings like the present were made as imperial gifts to abbots of leading ⁷䎦⛐忁㧋䘬⅍゛㊪ẞ㗗ἄ䁢䘯⭌䥖䈑復⇘大啷⮢昊ㆾ Tibetan monasteries and to Buddhist monasteries within China. The practice of giving 侭ᷕ⚳ἃ㔁⮢昊ˤ 岰復忁䧖䥖䈑䘬 㱽⛐14ᶾ䲨15ᶾ such gifts was at its peak in the 14th and 15th centuries. 䲨忼⇘枪Ⲙˤ
Shape: Squared shape 㕡⼊ Dimensions: 85 x 91 cm (size of the hanging); 101 x 109 cm (total size incl. frame) ⯢⮠烉 85 x 91 cm (㊪ⷭ); 101 x 109 cm (⏓㛐㟮) Condition: Good condition consistent with the age, colors faded and few loose threads ⑩䚠列⤥炻㚱⸜ẋ䕽嶉炻䴚䵓䔷檮嬲唬 or thinned areas ⤏⛘⇑䥩Ṣ㓞啷 Provenance: Austrian private collection Estimate EUR 1.500,- Starting price EUR 750,-
100 101 92 A VERY FINE THANGKA PAINTING OF MILAREPA, 1900s Watercolor, tempera and gold paint on paper. Mounted by a segmented woven brocade border, fabric protection cloth Sino-Tibetan, around 1900
Milarepa is seated in characteristic posture with right hand to his ear, to listen to the voices of the afterlife. The Yogi is wearing a red meditation band over the shoulder and a white robe, seated on the ground in the midst of a mountainous landscape with a devotee and animals kneeling before him. Above Milarepa’s head we see his teacher Marpa as well as Vajradhara in clouds, framed by other deities and a red-colored Krodha head. To his lower left and right the two main disciples of Milarepa are depicted – Rechungpa and Gampopa.
The painting is framed by a segmented, woven broad brocade border in various colors with flowers, dragons and longevity symbols. Inscriptions to backside.
Shape: Rectangular vertical shape Dimensions: 47 x 72 cm (painting size), 95 x 147 cm (including the mount) Condition: Very good condition with fresh colors and only minor creases Provenance: Hungarian Private Collection
Literature comparison: Sotheby’s, THE RICHARD R. & MAGDALENA ERNST COLLECTION OF HIMALAYAN ART, 22 MARCH 2018, NEW YORK, lot 988 (for a similar Thangka depicting Milarepa, dating to the 19th century).
1900⸜⇵⼴䱦伶“⭮≺㖍”Ⓒ⌉ 䳁㛔㯜⼑ˣ噳⼑⍲慹⼑炻↮㭝䴚䵊墅墙 㻊啷炻1900⸜⇵⼴
⭮≺㖍ẍ℞䈡㚱䘬⦧ン – ẍ⎛ㇳỠ⎹俛㛝炻Ἦ倥Ἦᶾ䘬倚 枛ˤ 䐄䍰ⷓ⛐偑儨ᶲ㏕叿ᶨ㡅䲭刚䘬⅍゛ⷞ炻幓䨧䘥刚堰墇炻 ⛸⛐Ⱉ攻㘗奨ᷕ炻㚱ᶨỵ⣱䌣侭≽䈑Ᾱ嶒⛐Ṿ朊⇵ˤ ⛐⭮≺ 㖍䘬柕枪ᶲ炻㚱℞ⷓ楔䇦暚ᷕ➟慹∃䤆炻ẍ⍲℞Ṿ䤆⁷ 䲭刚伭忼柕栙ˤ ℞ⶎᶳ奺⎛“炻⎗夳⭮≺㖍䘬ℑᾳᷣ 天攨⼺ - 䂕䏤·⣂㜘ㇶ䓀㛐✉ˤ
丒䔓塓墅墙Ḷᶵ⎴柼刚䘬䴚䵊䷼䈑炻ᶲ㚱剙⋱䲳ˣ漵䲳ẍ⍲攟 ⢥⸠忳䲳ˤ側朊㚱㍷徘ˤ
⼊䉨烉攟㕡⼊ ⯢⮠烉47 x 72 cm (䔓朊), 95 x 147 cm (䶪⯢⮠) ⑩ 䚠 㤝 ⤥炻刚 ⼑ 歖 刟炻㚱 ṃ ⽖ 㐢 䕽 ⊰䈁⇑䥩Ṣ㓞啷
㔯䌣⍫侫烉喯㭼˪╄楔㉱晭喅埻烉䎮㞍⽟Ƹœ⍲䐒㟤忼厲⧄Ƹ】 㕗䈡ằ⃟㓞啷˫炻ijıIJĹ⸜Ĵ㚰ijij㖍炻䲸䲬炻ĺĹĹ嘇㉵⑩炷䚠Ụ⭮≺㖍 Ⓒ⌉䁢⋩ḅᶾ䲨炸
Estimate EUR 1.000,- Starting price EUR 500,-
102 103 93 94 A GILT BRONZE VOTIVE FIGURE OF GUANYIN, A BRONZE BUDDHA STANDING KONG, lot 3211S. (for a bronze NORTHERN WEI DYNASTY IN FRONT OF A FLAMING HALO, statue of AVALOKITESVARA Fire-gilt bronze DATED 571 executed in a similar manner, but China, Northern Wei Dynasty (386 – 535) Cast and incised bronze with a rich dated 519) an authentic malachite green age The Bodhisattva Guanyin cast standing against patina This statue comes with the a lotus petal shaped mandorla with a seated China, Northern Qi dynasty authenticity analysis report 15-006 Buddha emanation on the very top and stylized from the Archeometric Institute flames incised. Guanyin is standing on a stepped On the back of the halo is a long REM in Mannheim, which comes lotus pedestal and wears a layered robe and a devotional inscription with a date: to the conclusion “that this is an prominent necklace. In her right hand she holds (from the upper right) WUPING old metal … with no evidence a bowl and in her left a whisk. The bronze comes er nian (2nd year of Wuping), i.e. whatsoever that it was produced in complete with its original, slightly tapered support. 571. This date corresponds to the modern times …” style of the bronze. Wuping is a Shape: Figural with square, slightly tapered period of the northern Qi-dynasty 571⸜曺戭䀓䃘側ἃ旨䩳咖⁷ pedestal that began in 570 曺戭堐朊㚱叿㽫櫙䘬䛇⮎⫼晨䵈⊭ Dimensions: 18,8 cm (total height), 4,8 cm (width) 㻧ˤ⛐側⼴朊ᶨ䭯⼰攟 Condition: Good condition with extensive patina Rare bronze depicting the Buddha 䘬所㔯姀庱叿揬忈⸜ấ“㬎⸛Ḵ⸜” and abrasions to the gilding Shakyamuni (Shijiamouni) dressed 炻⌛571⸜ˤ忁ᾳ⸜ấ䫎⎰ Provenance: Hungarian private collection in a flowing robe with many folds 曺戭⁷桐㟤ˤ and standing on a lotus base ᷕ⚳炻⊿滲 Literature comparison: for another Northern Wei in front of a flaming halo. His ἃ旨幓叿忂偑堰墇炻䵓㡅㳩㙊炻壞 bronze Guanyin, smaller in size, see Sotheby’s, raised hand gives the gesture of 䙢䷩墯ˤṾ䪁Ἦ⛐咖剙⹏ CHINESE ART, 01 JUNE 2017 - 02 JUNE 2017, fearlessness, Abhaya, with the ᶲ炻側䀓䃘䄲䄲炻⎛ㇳ㕥䃉䓷 HONG KONG, lot 438. lower hand held in Varadamudra, ⌘炻ⶎㇳ㕥冯ョ⌘ˤ側ᶲἃ旨 the gesture of wish granting. ᶲ㕡咖⹏ᶲ⎗傥䁢ᶨᷣ㊩ˤ⎎㚱ℑ ⊿櫷戭挷慹奨枛䩳⁷ On the halo are accompanying ỵ厑啑ㇳ㊩咖剙↮䩳ἃ旨ℑ ⑩䚠列⤥炻⣏朊䧵⊭㻧炻慹⼑䢐㎵ bodhisattvas standing on a lotus “炻ㅱ䇚咖剙ㇳ厑啑ˤ䀓䃘側䀓 ⊰䈁⇑䥩Ṣ㓞啷 pedestal at the Buddha’s side, 冴晬晬㚱≃炻ẋ堐叿ἃ旨䘬 each holding what appears to ↢䎦⍲Ṿ䘬㔁佑ˤ Estimate EUR 500,- be a lotus blossom in one hand, ⼊䉨烉忈⁷䓇≽䩳橼炻側䁢⚻ Starting price EUR 250,- possibly Padmapani. Sitting above ⼊炻⸽⹏↠崟ˤ the Buddha on a lotus throne is ⯢⮠烉檀23⍀䰛 a figure which cannot be more 啵䵈刚扡㔹ˤ側䦵㚱㎵⢆炻晽⁷ closely identified, but which, given ᾅ⬀⬴⤥ˤ側⸽⹏⎗傥 that it is in worship and has no ⼰ᷭᷳ⇵慵㕘䳬墅忶ˤ cranial protrusion, might be an ⽟⚳䥩Ṣ㓞啷 abbot. Very powerfully designed 㔯䌣㭼庫烉喯㭼The Arts of the small tongues of the crown of Buddha炻2007⸜9㚰21 flames, which symbolizes the “light 㖍炻䲸䲬炻㉵⑩䫔5嘇炷ᶨ⹏⊿櫷 rays” of Buddha’s appearance and 䚠Ụ桐㟤䘬≺ἃ炸烊喯 teachings. 㭼炻Chinese Art through the Eye of Sakamoto Goro: Early Shape: Sculptural shape with semi- Buddhist Bronzes炻2016⸜10㚰5 plastic halo and round, 㖍炻楁㷗炻䫔3211嘇炷㕟ẋ䁢 raised base 519⸜䘬䚠Ụ忈✳䘬奨枛炸 Dimensions: Height 23 cm. 㬌曺戭忈⁷䴻忶㚤㴟⥮侫⎌䞼䨞 Condition: Strong, predominantly REM䘬㷔娎炻⟙⏲䶐嘇 green patina. Some of the 15-006炻䳸婾䁢“⎌侩慹Ⱄ㛸㕁炻 tips of the flames are damaged, 㰺㚱Ṣ嫱㒂堐㖶Ṿ㗗䎦ẋ but on the whole well and 䓇䓊䘬” completely preserved statue. The halo and the base have Estimate EUR 1.000,- been re-attached once, likely a very Starting price EUR 500,- long time ago. Provenance: German private collection
Literature comparison: Sotheby’s, The Arts of the Buddha, 21 SEP 2007, NEW YORK, lot 5. (for a Maitreya executed in similar style, dated Northern Wei dynasty, second half 5th Century) Sothebys, Chinese Art through the Eye of Sakamoto Goro: Early Buddhist Bronzes, 05 OCT 2016, HONG
104 105 97 96 A 14TH CENTURY NEPALESE GILT BRONZE FIGURE OF TARA A 17th – 18th CENTURY GILT BRONZE FIGURE OF BUDDHA Bronze with remains of gilding, remnants of pigment at the face and hair AKSHOBYA Nepal, 14th - 15th century Fire-gilt bronze 95 China, 17th/18th century Seated in lalitasana on a double-lotus base with her right hand A SMALL INSCRIBED GILT-BRONZE STELE OF MAHAKALA The two-armed “Black-Cloaked Mahakala” (Wylie: mgon po in Varadamudra and her left in Vitarkamudra, Tara is adorned with Cast bronze with fire-gilding, fine chiseling work and ber nag chen) is a protector of the Karma Kagyu school clad Gilt bronze figure of Buddha Akshobya seated with crossed various jewelry and a sash draped over the lap. The goddess is flanked remainders of cold painting in the cloak of a mantrika “warlock”. His imagery derives legs on a double-lotus base. Dressed in a long and draped by lotus blossoms at the shoulders, her face downcast and surmounted Tibetan-Chinese, 18th century from terma of the Nyingma school and was adopted by the robe and his hands performing the bhumisparsha mudra. by a foliate tiara with the hair in a tall chignon and strands falling down Karma Kagyu during the time of Karma Pakshi, 2nd Karmapa Placed in front of him on the pedestal a small double-vajra her back. The two-armed Mahakala holds a Vajra in his raised hand, Lama. He is often depicted with his consort, Rangjung as his attribute. Sealed base plate. Inscribed on the back the other showing a warning gesture (nishedha or tarjani Gyalmo, and is the main protector of the Karmapas. with old collector’s number ‘CHE’. Shape: Figural mudra), standing on a lotus pedestal decorated with a Dimensions: 8 cm (height) band of pearls, backed by a leaf-form aureole and further Shape: Rectangular form with rounded top Shape: Upright seated figure on an oval base Condition: Appealing patina, one lotus flower supplemented, bottom enclosed by a petal-form mandorla, a snake coiled around Dimensions: 11 cm (height) 2 cm (depth) Dimensions: 12,5 cm (height), 9,5 cm (width), 7 cm (depth) seal plate is an addition of later date his neck, his arms, feet, neck, ears and head with various Condition: Very good condition with some wear, minor Condition: Good condition with smooth patina, marks that Provenance: Hungarian private collection pieces of extravagant jewelry, a relief-inscription in Tibetan denting and scratches the vessel in his left hand is missing, surrounding the figure, among other things reading OM Provenance: Hungarian private collection Provenance: Austrian private collection, assembled in Asia in and Literature comparison: see Christie’s, Indian and Southeast Asian Art, MANI PEDME HUM. before the 1930sġ 19 March 2014, New York, lot 1003 (for a comparable bronze of Tara, Literature comparison: Fine Chinese Ceramics & Works of ġ slightly larger and dating to the 15th – 16th century). Mahakala is a deity common to Hinduism, Buddhism and Art. Sotheby’s, Hong Kong, October 5th, 2011, lot 2131. (for ⋩ᶫ军⋩ℓᶾ䲨戭挷慹旧敎ἃġ Sikhism. According to Hinduism, Mahakala is the consort of another small bronze stele showing an inscription in Tibetan ⑩䚠列⤥炻⊭㻧䳘兑炻ⶎㇳ⮷䠿怢⣙ġ ⋩⚃ᶾ䲨⯤㱲䇦挷慹戭⹎㭵 Hindu Goddess Kali and most prominently appears in Kalikula and Mongolian, 18th century, but depicting Vajradhara) ⤏⛘⇑䥩Ṣ㓞啷 檀晭戭䵈 sect of Shaktism. Mahakala also appears as a protector deity 咖剙ᾖ⽑忶炻⸽悐⮩ġ⌘䁢⼴㛇≈ᶲ known as a dharmapala in Vajrayana Buddhism, particularly 㶭ẋ戭挷慹⣏湹⣑⁷ġ Estimate EUR 500,- ⊰䈁⇑䥩Ṣ㓞啷 most Tibetan traditions (Citipati), in Tangmi (Chinese Esoteric ⑩䚠㤝⤥炻㚱ṃ⽖䢐㎵ˣ↡星冯∫䕽 Starting price EUR 250,- Buddhism) and in Shingon (Japanese Esoteric Buddhism). He ⊰䈁⇑䥩Ṣ㓞啷 Estimate EUR 500,- is known as Dàheitian in Chinese. Starting price EUR 250,- Estimate EUR 1.000,- Starting price EUR 500,-
106 107 98 A LARGE AND IMPORTANT MING DYNASTY 㖶ẋ⣏✳㛐偶檡㺮慹㯜㚰奨枛⁷ġ POLYCHROME-LACQUERED WOOD FIGURE OF 㛐偶檡㺮慹 GUANYIN ᷕ⚳炻㖶ẋ炻ᶩ⌗⸜炷ㅱ䇚1567ㆾ1627⸜炸 Wood and lacquer China, Ming Dynasty, dated to the Dingmao year, 奨枛冒⛐⛸㕤叱⫸央味枰⹏ᶲ炻ⶎ兪ὅ月⸦⹏炻⎛ㇳ冒䃞 corresponding to 1567 or 1627 ✪ 㓦 㕤 ⎛ 充 ᶲ炻幓 䛨 暁 柀 忂 偑 ⣑ 堋ˤ傠 ⇵ 䑼 䎆 夷 㔜 䱦 䳘炻厗 渿㚱⸷ˤ柕㡛檀檣炻䓐ᶨᾳ搚叿旧旨ἃ⼊尉䘬叱ⅈ⚢ The bodhisattva seated on leaf covered rockwork in ⭂ˤᶳ䛨伭墁炻伭墁㕤儘攻ẍ䴚䴃丷䲣炻晽⇣⮓⮎炻䳘兑炻⣑ Rajalilasana, the posture of ‘royal ease’, supported on 堋ᷳᶲ梦㚱䎈捰炻丷丆⛐奨枛⚃偊ˣ儘攻ẍ⍲墁㒢ᷳᶲˤ a raised knee in Vitarka mudra. The deity wearing a voluminous robe falling in soft pleats gathered at the 忁ỵ奨枛Ṣ䈑䘬晽⇣⭞䱦ⶏ⛘晽⇣叿䱦䶣䘬䎈⮞堋㚵䲳 base, revealing the bare chest adorned with a tiered, 䎮枮ㅱ≽ἄ嬲⊾炻堋䲳⮓⮎冒䃞炻ⶏ⥁⛘䓐㹓㝼䘬⽖䪹㋽㋱ beaded necklace. The hair drawn up in a high chignon ⇘Ḯ䤆䘬ヰず炻侴⤡⋲攱䘬䛤䜃⇯⁛忼Ḯᶨ䧖㶙㰱䘬㰱⿅䉨 and secured by a foliate crown enclosing an image ンˤ慹⼑冯墅梦㗗忁ᾳ晽⟹⍇⃰⤊厗愺䚖䘬夾奢㓰㝄䘬 of Amitabha Buddha. The hems of the garment, the 嫱㒂炻┬䓟ᾉ⤛䚠ᾉ⛐忯暋㛇攻側婎奨枛⎵⫿䘬Ṣ悥㚫塓 crown, the waist belt, all show intricate high relief floral ⤡㓹↢炻⤡㗗ἃ㔁ᷕ㚨⍿ⲯ㊄䘬䤆炻⚈㬌䴻ⷠ䩳橼㍷丒ˤ ornaments. A subtle gold décor coats the entire surface of her gown. 側⼴㚱ᶩ⌗⸜炷1567ㆾ1627⸜炸⫿㧋炻⮩⌘㓞 啷 㳆⎋ˤ
Intricately carved with elaborate jewelry and heavy 晐⼊侴晽 falling robes, the sculptor of this figure of Guanyin has ⯢⮠烉檀 62 cm skillfully captured the warmth of the deity in the gentle ⑩䚠列⤥炻㚱㬟⎚⸜ẋ怢䔁䘬䕽嶉炻㚱ᶨṃ∫䕽炻ᷣ天⛐ⱑ smile, while her half-closed eyes convey a state of deep 䞛悐↮㚱㛸㕁仢⣙ᾖ⽑ contemplation. The gilding and ornamental decoration ⺿嗕↯㕗䥹·䐒⇑Ṇ·⟼慴⬱⯤·⽟·楔℞㫸 Francesco Maria炻 are evidence of the original sumptuousness and striking Marchese Taliani de Marchio (1887 - 1968)炻 シ⣏⇑䘯 visual effect this sculpture would have made on temple ⭖⣏⣏⮯幵⍲Ṿ䘬⥣⫸䐒㟤渿⟼⤏⛘⇑㈀㕗⌉䲵⣏℔ visitors, who would have encountered it in an elaborate, Maragaretha d‘Austria Toscana (1894 – 1986) almost stage-like setting. As it was believed that anyone ⺿嗕↯㕗䥹·䐒⇑Ṇ·⟼慴⬱⯤·⽟·楔℞㫸 㗗ᶨỵ‹↢䘬シ⣏ who recited Guanyin’s name during times of distress ⇑⢾Ṍ⭀ᶨỵ⾈⮎䘬喅埻㓞啷⭞ˤ 1938⸜塓ἄ䁢シ⣏⇑ would be rescued by her, she is the most worshipped ⛐哋ṳ䞛⚳㮹㓧⹄⋿Ṕ㗪㛇䘬⣏ἧ復⇘ᷕ⚳炻Ṿㆸ䁢䫔Ḵ deity in Buddhism and has therefore been frequently 㫉㈿㖍㇘䇕䘬䚖㑲侭炻㖍㛔幵昲⛐忁㫉㇘䇕ᷕỼ柀⋿Ṕ᷎多 depicted in three-dimensional form. 㑲ᶲ㴟ˤ䔞⡐䳊慴⯤㈧娵㰒䱦堃䘬㖍㛔 㓧⹄㗪炻Taliani ⎹Ṿ㍸ṌḮṾ䘬⌘ᾉˤ 1943⸜9㚰8㖍炻Ṿ ㉺ 䳽 䘤 娻 㓰 ⾈ シ The back bears an inscription with the dating to the ⣏⇑䣦㚫ℙ⚳炷啑㳃ℙ⚳炸炻ṾṾ䘬⥣⫸塓㖍㛔Ṣ忖 Dingmao year (either 1567 or 1627) and with a sealed ㋽᷎⛐ᶲ㴟旬役䘬ᶨᾳ普ᷕ䆇㊀䔁炻ṾᾹ⛐恋慴⏮Ḯℑ⸜炻 and consecrated cavity. 䚜⇘㇘䇕䳸㜇ˤḴ㇘䳸㜇⼴炻旧䇦大⽟⽟≈㕗ἑ䇦㕘㓧⹄ℵ 㫉䡢娵Ṿ䁢楸厗⣏ἧ䚜⇘1946⸜ˤ Shape: Figural shape Dimensions: 62 cm (height) ⟼慴⬱⯤㓞啷䘬ᶨ䲣↿⎌℠ᷕ⚳⭞℟㚦㕤1944⸜塓叿⎵⬠ Condition: Good condition consistent with the age of the 侭⎌㕗⟼⣓·❫⌂⢓Dr. Gustav Ecke㓞抬Ḷ℞斄㕤ᷕ⚳⭞ sculpture, some age cracks, material loss mainly at the ⹕⭞℟䘬攳∝⿏叿ἄᷕˤ rockwork, few small reattachments 㔯䌣⍫侫烉喯㭼˪慵天ᷕ⚳喅埻˫炻2016⸜9㚰13-14㖍炻䲸 Provenance: Francesco Maria, Marchese Taliani de 䲬炻169嘇㉵⑩ (ᶨẞ㚜⣏ṃ䘬⋩ᶫ军⋩ℓᶾ䲨挷慹㺮㛐晽 Marchio (1887 - 1968), Grand Officer of the Italian Crown 奨枛)ㆾἛ⢓⼿˪ᷕ⚳䱦伶昞䒟冯ⶍ喅⑩˫炻2010⸜11㚰9㖍炻 and his wife Archduchess Maragaretha d’Austria Toscana ΐ㔎炻69嘇㉵⑩ (⋩⚃军⋩Ḽᶾ䲨䘬㛐偶檡㺮奨枛) (1894 – 1986)
Marchese Taliani was a distinguished Italian diplomat Estimate EUR 12.000,- and a devoted art collector. Sent to China in 1938 as Starting price EUR 6.000,- Ambassador to the Nationalist Government of Chiang Kai-shek in Nanjing, he became an eye-witness of the Second Sino-Japanese War, during which the Japanese forces captured the capital and attacked Shanghai. When Mussolini recognized Wang Jingwei’s Japanese puppet government, Taliani presented his credentials to him. On 8 September 1943, having refused to swear allegiance to the Italian Social Republic (Republic of Salò), he and his wife were arrested and interned by the Japanese in a concentration camp near Shanghai, where they remained for two years until the end of the war. After the end of hostilities, the new government of Alcide De Gasperi reconfirmed him as Ambassador to China until 1946.
A number of masterpieces of classical Chinese furniture in the Taliani collection have been published by the eminent scholar Dr. Gustav Ecke in his seminal book about Chinese Domestic Furniture, Beijing, 1944.
Literature comparison: Sotheby’s, IMPORTANT CHINESE ART, 13 SEPTEMBER 2016 - 14 SEPTEMBER 2016, NEW YORK, lot 169 (for a larger gilt-lacquered wood figure of Guanyin, dating to the 17th / 18th century) or Christie’s, Fine Chinese Ceramics and Works of Art, 9 November 2010, London, lot 69 (for a polychrome lacquered wood figure of Guanyin, larger in size and dating to the 14th / 15th century.
108 109 Various detail views of lot 98 Backside view of lot 98
This statue has been examined under digital x-ray at DZU laboratories, Vienna. While the exact content of the sealed cavity could not be determined from the available images, it became clear at the same time that the cavity is not empty. A CD containing the images will be handed to the winning bidder.
110 111 99 100 Hall, lot 2912 (for a domed box with the same inscription) A 17TH – 18TH CENTURY BRONZE BOMBÉ TRIPOD CENSER A 16th – 17th CENTURY ARABIC-INSCRIBED BRONZE and Sotheby’s, IMPORTANT CHINESE ART, 15 MARCH Bronze INCENSE BOX AND COVER 2017, NEW YORK, lot 560 (for a complete incense set, China, 17th / 18th century Bronze containing a comparable box). China, 16th / 17th century This heavily cast bronze bombé censer shows a compressed globular body ⋩ℕ军⋩ᶫᶾ䲨旧㉱ỗ㔯戭⚻楁䙺 rising from three short conical legs to an everted rim. It is set at the shoulder This lid of this incense box shows a raised outer rim with 曺戭 with an elegant pair of lug handles. The base bears an apocryphal Xuande the letter ‘Wan’ (= Ten thousand) appearing 12 times in ᷕ⚳炻⋩ℕ军⋩ᶫᶾ䲨 mark, masterly cast in high relief inside a rectangular cartouche. the row. In the center, standing out prominently against the granulated background is the Arabic inscription 忁ᾳ楁䙺䘬味朊攳炻攳␐⚵㴖晽12ᾳ叔⫿ˤ攳ℭ㕤䍵 Shape: Globular, tripod shape ‘Hamdulillah’ which translates to ‘Praise be to Allah’. 䎈⛘ᶲ㴖晽 旧㉱ỗ㔯“Hamdulillah”炻シ ⿅ 㗗“孂枴䛇ᷣ”ˤ Dimensions: 22 cm (length at handles), 9 cm (height) The exterior on both, the lid and the base, show chased ⚻䙺䘬味⫸⸽⹏悥⎗夳ἃ㔁䫎嘇⍲墅梦怲䶋䘬剙䲳ˤ䙺 Condition: Very good condition with appealing natural patina, especially on decoration of either Buddhist symbols or ornamental ⫸⊭㻧㶙⍂㰱䨑炻忂橼䵓㡅⃒伶ˤ the inside borders. The box shows dark patination and a perfect Provenance: Austrian private collection shape. ⢾䭙ᶲ䘬㧁㔯㗗䓐大⯤㔯⫿⮓ㆸ炻忁㗗ᶨ䧖ᷕ⚳Ẳ㕗嗕㚠 㱽⼊⺷炻㗗⽆㖶㛅⇅㛇旧㉱ỗ㔯⫿䘤⯽侴Ἦˤ ⬫⛐ᷕ⚳㜙 Literature comparison: See Sotheby’s, IMPORTANT CHINESE ART, 11 The inscription found on the present box is written in Sini 悐䘬㶭䛇⮢⺋㲃ἧ䓐炻⛐⊿Ṕ䈃埿㶭䛇⮢䘬⡩漽䘤䎦Ḯ℠ NOVEMBER 2015, NEW YORK, lot 83 (for an identically shaped censer, brown script, a Chinese Islamic calligraphic form for the Arabic ✳䘬ἳ⫸ˤ patinated and with base) and Sotheby’s, SATURDAY AT SOTHEBY’S: CHINESE script which was developed in the early Ming dynasty. ART, 21 MARCH 2015, NEW YORK, lot 788 (for a similar censer of the same It is used extensively in mosques in Eastern China with ⚻㞙⼊ material and also bearing the apocryphal Xuande mark). notable examples found in the mihrab of the Niujue ⯢⮠烉䚜⼹9 cm炻檀 4,5 cm mosque, Beijing. ⑩䚠㤝⤥炻⊭㻧⎌晭 ⋩ᶫ军⋩ℓᶾ䲨ᶱ嵛戭楁䆸 ≈㊧⣏䥩Ṣ㓞啷 ⑩䚠㤝⤥炻⊭㻧⍂㽌炻䈡⇍㗗ℭ元 Shape: Cylindrical shape ⤏⛘⇑䥩Ṣ㓞啷 Dimensions: 9 cm (diameter), 4,5 cm (height) 㔯䌣⍫侫烉夳Ἓ⢓⼿˪⭻奢㕤䈑˫炻2014⸜1㚰26㖍炻楁 㷗 㚫 Condition: Very good condition with appealing natural ⯽ᷕ⽫炻2912嘇㉵⑩炷ᶨẞ㚱叿䚠⎴旧㔯䘬⚻味楁䙺炸冯喯 Estimate EUR 500,- patina 㭼˪慵天ᷕ⚳喅埻˫炻2017⸜3㚰5㖍炻䲸 䲬炻560嘇㉵⑩炷 Starting price EUR 250,- Provenance: Canadian private collection ᶨ⣿⬴㔜楁啘☐䲣↿炻⊭⏓ᶨᾳ䚠Ụ䙺⫸炸
Literature comparison: See Christie’s, Drawn by the Estimate EUR 1.000,- Senses, 26 November 2014, Hong Kong, HKCEC Grand Starting price EUR 500,-
112 113 102 A LARGE BRONZE FIGURE OF GUARDIAN ZENG ZHANG, MING DYNASTY Massive cast and chiseled bronze with some remainders of lacquer gilding China, 16th - 17th century
Depicted in an elaborate headdress, armor, and flowing sashes, standing solidly on a rectangular pedestal, Zeng Zhang of the south is shown with a halberd in the proper right hand, the other raised in the vitarka mudra.
Shape: Sculptural Dimensions: 47 cm (height) Condition: Small segments of the sashes, three fingers and parts of the crown are missing, as well as the sealing on the backside, material deterioration on the backside, extensive wear and patina Provenance: Austrian private collection, assembled in Asia in and before the 1930s
Literature comparison: Important Chinese Art. Sotheby’s, New York, September 13th, 2017, lot 126. (for a pair of related, yet smaller guardian figures)
㖶ẋ⣏✳⡆攟⣑䌳戭⁷ġ ⮷悐↮柕䙼ˣᶱ㟡ㇳ㊯仢⣙炻ẍ⍲側朊䘬⮩⌘⍲ 㛸㕁仢⣙炻⣏朊䧵䢐㎵戭接 ⤏⛘⇑䥩Ṣ㓞啷, ᶲᶾ䲨ᶱ⋩⸜ẋ⇵⛐Ṇ㳚 岤⼿ˤ
Estimate EUR 1.000,- Starting price EUR 500,-
101 A LARGE 17th CENTURY ‘LION MASK’ OCTOLOBED BRONZE CENSER Bronze, mounted to wooden base China, 17th century
This large bombé bronze censer of octolobed form shows stepped rims at the neck and the foot. Most appealing are the well-cast and finely incised handles in shape of lion heads.
Shape: Censer shape with figural lion mask handles Dimensions: 20,5 cm (height including base), 23 cm (diameter at the upper rim) Condition: Good condition with appealing patina Provenance: American private collection
Literature comparison: For two 17th century censers showing very similar lion mask handles see Sotheby’s, SATURDAY AT SOTHEBY’S: CHINESE ART, 21 MARCH 2015, NEW YORK, lot 769 and Sotheby’s, IMPORTANT CHINESE ART, 15 SEPTEMBER 2015 - 16 SEPTEMBER 2015, NEW YORK, lot 246.
⋩ᶫᶾ䲨ℓ䒋䋭椾暁俛戭楁䆸 ⑩䚠列⤥炻⊭㻧⍂㽌 伶⚳䥩Ṣ㓞啷
Estimate EUR 500,- Starting price EUR 250,-
114 115 103 A MING DYNASTY BRONZE CENSER IN BUDDHIST LION SHAPE, 17th CENTURY Bronze China, Ming Dynasty, 17th century
The guardian lion is spiritedly cast in a classical posture with his left paw resting atop a brocade ball, symbolizing the cosmic pearl. The outsized head of the beast features bulging eyes beneath curled eyebrows, the ears upright in a horn-like fashion and the back and sides showcase a masterly incised arrangement of snail curls forming the mane.
The strong body is dressed in elaborate trappings suspending tassels, bells and bows. From the bow at the back a Buddhist double-knot is suspended, functioning as a removable lid to the vessel.
Shape: Figural shape Dimensions: 22,5 cm (length), 22,5 cm (height) Condition: Good condition with appealing natural patina Provenance: Austrian private collection, acquired 1987 in our galleries in a Ming Bronzes special exhibition (scans of catalog entry enclosed with this lot)
Literature comparison: For two other censers in shape of Buddhist lions with harness and of the period see Sotheby’s, FINE CHINESE CERAMICS & WORKS OF ART, 19 MARCH 2013 - 20 MARCH 2013, NEW YORK, lot 311 and lot 288.
⋩ᶫᶾ䲨㖶ẋ⛸䋭戭䆸 曺戭 ᷕ⚳炻㖶ẋ炻⋩ᶫᶾ䲨
䱦⽫揬忈䘬䋭⫸ẍ⁛䴙⛸⦧炻℞ⶎ䇒㒙⛐尉⽝叿⬯⭁䘬䀓䎈 ᶲˤ 䋭椾ⶐ⣏炻⛐䚱㮃ᶳ㕡㚱↠崟䘬䛤䜃炻俛㛝⁷┯⎕ᶨ㧋䚜 䩳炻側悐“朊⯽䣢Ḯ䱦䶣㚚䘬檫㮃炻⻟⢗䘬幓幨㉓叿䱦⽫ 墥ἄ䘬㳩喯炻㊪叿懜揢ˤ ἃ旨暁檣⽆⼴朊䘬✪ᶳ炻ἄ䇚味⫸⎗ ẍ⍾ᶳˤ
⛸䋭⼊ Backside view of lot 103 with the removed lid next to it ⯢⮠烉攟22,5 cm炻檀 22,5 cm ⑩䚠㤝⤥炻⊭㻧⍂㽌㰱䨑 ⤏⛘⇑䥩Ṣ㓞啷炻1987⸜⛐㛔喅ᶨ㫉㖶ẋ曺戭☐䈡⇍⯽奥ᷕ 岤屟炷旬斄㕤㬌㉵⑩䘬䚖抬㌫㍷炸
㔯䌣⍫侫烉⎎⢾ℑẞ⎴㗪㛇ⷞ䙼䋭⼊戭䆸⎗夳 喯㭼˪ᷕ⚳䱦 伶昞䒟⍲ⶍ喅⑩˫炻2013⸜3㚰19-20㖍炻䲸 䲬炻311嘇⍲288嘇 ㉵⑩ˤ
Estimate EUR 2.000,- Starting price EUR 1.000,-
116 117 104 A LARGE YUAN / MING DYNASTY BRONZE BALUSTER VASE WITH DRAGON RING-HANLDES Bronze China, Yuan / Ming Dynasty, 14th – 15th century
This large baluster bronze vase shows figural handles depicting horned dragons with their tongues forming the handles, suspending loose bronze rings. The lower part of the long neck is decorated with a wide Leiwen diaper band, the tapered foot shows archaic decoration as well.
Shape: Baluster shape with long neck and high rising, tapered foot Dimensions: 40,5 cm (height) Condition: Good condition with extensive patina, one dent and crack to foot rim Provenance: Austrian private collection
Literature comparison: For comparable Yuan / Ming bronze vases see Sotheby’s, SATURDAY AT SOTHEBY’S: CHINESE ART, 21 MARCH 2015, NEW YORK, lot 762 (for a pair, half the height and missing the rings) and lot 749 (for another, also smaller pair, with later silver inlays and no ring handles).
⃫㛓㖶⇅⣏✳漵俛暁䑘曺戭䒞 ⑩䚠列⤥炻⊭㻧幓⼴炻ᶨ嗽↡星炻嵛悐怲䶋㚱塪䷓ ⤏⛘⇑䥩Ṣ㓞啷
Estimate EUR 1.000,- Starting price EUR 500,-
105 A LARGE SIGNED MING DYNASTY 㖶ẋ⣏✳暁俛ᶱ嵛漵䲳楁䆸 BRONZE TWIN-HANDLED ‘DRAGON’ 曺戭 TRIPOD CENSER ᷕ⚳炻㖶ẋ炻⋩ᶫᶾ䲨 Bronze 忁ᾳ⣏✳曺戭楁䆸㚱ᶨ⮵㚚漵⼊ㇳ㝬 China, Ming Dynasty, 17th century 漵⼊ᶱ嵛ˤ㬌⢾炻䆸幓⎗夳沛↘ˣ⮷漵ẍ⍲ 䀓䎈㴖晽ˤ 揬忈ⶍ喅⋩↮檀㖶炻䳘䭨㚱 This large bronze vessel shows figural 堐䎦≃ˤ 䆸⸽㚱ℕ⫿㫦ˤ handles shaped as coiled dragons and the three feet boast a dragon portrayal ⼊䉨烉楁䆸⍲≽䈑㴖晽 each. Furthermore, we find high relief ⯢⮠烉檀33cm炻⮔ 51cm applications in shape of birds, a smaller ⊭㻧列⤥炻⯨悐㚱庽⽖㛸㕁㎵⣙ dragon and the flaming pearl on the ⤏⛘⇑䥩Ṣ㓞啷 exterior. The casting and chase work is of high quality with expressive detailing. 㔯䌣⍫侫烉Ἓ⢓⼿˪ᷕ⚳䱦伶昞䒟冯ⶍ喅 The base bears a 6-character old script ⑩˫炻2017⸜11㚰7㖍炻ΐ 㔎炻46嘇㉵⑩炷栆 seal mark. Ụᶨᾳᶱ嵛楁䆸㚱ầ⭋⽟㫦炸
Shape: Censer shape with figural elements Estimate EUR 1.000,- Dimensions: 33 cm (height), 51 cm Starting price EUR 500,- (maximum width) Condition: Shows fine patina, minor material loss to some of the exposed areas Provenance: Austrian private collection
Literature comparison: Christie’s, Fine Chinese Ceramics & Works of Art, 7 November 2017, London, lot 46 (for a comparable tripod censer, bearing an apocryphal Xuande mark)
118 119 106 Condition: Very good condition with some A FIRE-GILT BRONZE ‘DRAGON’ BELT old wear and traces of use, the locking BUCKLE, QING DYNASTY mechanism coming in full working order Massive bronze with original gilding, Provenance: Austrian private collection, neatly incised detail work, cast in high assembled in Asia in and before the 1930s relief, good patina China, 18th - 19th century Literature comparison: FINE CHINESE WORKS OF ART AND PAINTINGS. Cast in three curving parts which, joined Bonham’s, San Francisco, June 23rd, 2015, together, form a single panel with one lot 7112. (for a similar belt buckle) facing four-clawed dragon and two pearls, accompanied by two smaller, coiled 㶭ẋ戭挷慹Ⱦ漵䲳ȿⷞ㈋ dragons, one on each side, and each with ⑩ 䚠 㤝 ⤥炻㚱 ἧ 䓐 䕽 嶉⍲ 䢐 ㎵炻ⷞ ㈋ ⎗ẍ ⬴ his own pearl, each section with a minute ℐ㬋ⷠἧ䓐 pearl border, the plate on the reverse cast ⤏⛘⇑䥩Ṣ㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ⇵⛐Ṇ with four hooks. 㳚岤⼿
Shape: Curved three-circle-shape Estimate EUR 300,- Dimensions: 7 cm (length) Starting price EUR 150,-
109 A FIRE GILT ‘RAM’ WATER DROPPER, YONGZHENG MARK Bronze, chiseled and fire gilt China, 18th – 19th century, neatly incised four-character Yongzheng mark on the bottom and possibly of the period (1723 – 1735)
This well-cast fire gilt bronze water dropper depicts a reclining ram grasping a small bowl in its mouth. There we also find the integrated spout and at the back is the circular aperture to the hollow body. The animal is seated on the ground with all four legs tucked under its body, the horns are curved, and the head is slightly bent backwards. Masterfully incised details at the mane or the flame-like elements at the joints.
This solid bronze waterdropper is highly reminiscent of Ming Dynasty pieces, yet we find the neatly incised 4-character mark of the Yongzheng period at the underside. The Yongzheng Emperor was a great connoisseur of antiquities and had a discerning aesthetic sense for the arts. He had a strong interest in archaic bronzes and besides the monochrome porcelain wares, made in imitation of antique vessels, several miniature works of art, cast in bronze, have also been recorded. 107 108 A RETICULATED BRONZE ‘DRAGON’ extensive old wear and traces of use A SIGNED BRONZE lips. Inside the bronze is an Shape: Figural shape BELT BUCKLE, QING DYNASTY, 18TH Provenance: Austrian private collection, SCULPTURE OF incised signature or mark Dimensions: 10 cm (length at handles), 7 cm (height) CENTURY assembled in Asia in and before the GUANYIN, LATE QING reading ‘Jian Qing’. Condition: Good condition with abrasions to gilding and few small nicks Provenance: European private collection Bronze with original gilding, neatly incised 1930s, old collector number inscribed to DYNASTY
detail work, cast in high relief, good back Bronze Shape: Figural shape Literature comparison: For Yongzheng period miniature bronze objects see Sotheby’s, ASIAN ART, 16 DECEMBER 2010, patina China, late Qing Dynasty Dimensions: 28,5 cm PARIS, lot 70 (for a miniature vase) and Bonham’s, FINE ASIAN WORKS OF ART, 13 Dez 2010, SAN FRANCISCO, lot 5146 (for a th China, 18 century Literature comparison: THE COLLECTION or early Republic period (height) miniature censer). OF ALBERTO GIUGANINO (1887-1979), Condition: Shows fine Formed from two rounded pieces cast Chinese Art, Sotheby’s, Hong Kong, This decorative bronze patina, right hand missing For a Ming Dynasty water dropper of a beast with a bowl in its mouth see Sotheby’s, FINE CHINESE CERAMICS & WORKS OF in openwork with sinuous four-clawed December 3rd, 2015, lot 290. (for a related sculpture depicts the Provenance: Austrian ART, 18 MARCH 2014 - 19 MARCH 2014, NEW YORK, lot 253. dragons framed by stylized clouds and buckle) Mother Goddess Guanyin private collection waves, the frontside hook in the shape of as a young woman. She 㶭ẋ晵㬋㫦戭挷慹再伲㯜㺜 ⑩䚠列⤥炻堐朊㚱㒎 ∫䕽 a Chilong head, possibly pointing to an ⋩ℓᶾ䲨Ⱦ漵䲳ȿ戭ⷞ㈋ has her neatly incised hair 㘂㶭奨枛戭⁷ 㫸㳚䥩Ṣ㓞啷 imperial commission, the reverse cast with ⑩䚠㤝⤥炻㚱ἧ䓐䕽嶉⍲䢐㎵ artfully done up in a knot ⊭㻧列⤥炻⎛ㇳ仢⣙ two raised hooks on each section. ⤏⛘⇑䥩Ṣ㓞啷, ᶲᶾ䲨ᶱ⋩⸜ẋ⇵⛐Ṇ㳚 and wears a necklace. ⤏⛘⇑䥩Ṣ㓞啷 岤⼿炻側朊⎗夳啷⭞㓞啷䶐嘇ˤ Guanyin is shown with Estimate EUR 1.000,- Shape: Bulbous oval shape of each section a third eye, elongated Estimate EUR 200,- Starting price EUR 500,- Dimensions: 13,5 cm (length) Estimate EUR 300,- earlobes and a gentle Starting price EUR 100,- Condition: Very good condition with Starting price EUR 150,- smile playing around her
120 121 110 ⚃军Ḽᶾ䲨旨伭崓㉱≺㕗昞⁷ A MONUMENTAL HERACLES TERRACOTTA STATUE, GANDHARA, 4th 䲭昞炻役ẋ㛐⸽⹏炻檀 91 cm (ᶵ⏓⸽⹏) – 5TH CENTURY 旨伭⛘⋨炻屜曄ⷅ⚳炻⚃军Ḽᶾ䲨 Terracotta, with recent wooden base, height 91 cm (without base) 䅙慳㷔娎嫱㖶 Ancient region of Gandhara, Kushan period – 4th – 5th century TL Test confirms the dating (see below) 忁ᾳⶐ⣏䘬⸦᷶䛇Ṣ⣏⮷䘬屜曄㗪㛇旨伭晽⁷⇣䔓Ḯ䤆俾劙晬崓㉱ ≺㕗⛸⁷ˤ䔞㗪崓㉱≺㕗冯➟慹∃䤆䚠斄炻⚈㬌ḇ㗗ἃ旨䘬䫔ᶨỵᾅ嬟 This monumental, near life-size Kushan period Gandharan statue depicts 侭ˤṾ䘬共悐㤝℞㚱堐䎦≃炻护≩㚱≃䘬共悐㚚䵓炻䛤䜃↠↢炻䓇≽⛘ Heracles seated in royal ease. The divine hero was at the time connected ㌚㚚䘬柕檖攟攟䘬檵櫂ˤ⛐屜曄㗪㛇炻忁䧖檵櫂柕塓䓐㕤⸦ᾳ䓟⿏䤆䣿 with Vajrapani and hence the first protector of Buddha. He shows an ㆾ劙晬ˤ⤪旧䈡㉱㕗ㆾ䉬⤏⯤䳊㕗炻㤝⮹塓ἧ䓐ḶㆹᾹ䘬崓㉱≺㕗ˤ expressive, dominating face with bulging eyes, vividly curled hair and long 昌Ḯ丷儘ⶫ⢾炻崓㉱≺㕗崌幓墠橼䘬炻㕩怲怬㚱ᶨỵ幓㛸䞖⮷䘬⤛⿏Ṣ beard. During the Kushan period, this type of bearded head was used for 䈑炻⤡㬋⛐㊧叿儘ⷞ⍣怖ỷ⤡䘬ᶳ⋲幓ˤ several male deities or heroes. such as Atlas or Dionysus and rarely, as in our example, for Heracles. Besides a loincloth Heracles is naked, as is the 旨伭䌳⚳⽆℔⃫⇵530⸜⇘℔⃫1021⸜炻䔞㗪䘬㚨⼴ᶨᾳ⚳䌳塓冒䘬 small female human figure next to him, who is holding a loincloth up to 悐昲㭢⭛ˤ旨伭䌳⚳㨓嶐䔞Ṳ旧㯿➢㕗✎䘬悐↮⛘⋨炻ẍ℞䌐䈡 cover her lower body. 䘬ἃ㔁喅埻桐㟤侴倆⎵炻娚喅埻䓙ⶴ冀炻㔀⇑Ṇ炻㲊㕗⌘⹎䘬喅埻⼙枧 ≃⎰Ἕ侴ㆸˤ⽆䫔ᶨ军䫔Ḽᶾ䲨䘬屜曄㗪㛇炻旨伭桐㟤䚃埴᷎忼⇘溶䚃 The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last 㗪㛇ˤ⛐℔⃫ᶨᶾ䲨炻旨伭㗗ᶨṃ㚨㖑䘬ἃ㔁⚾⁷䘬娽䓇⛘ˤ king was murdered by his own troops. It stretched across parts of present- day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in ⛐䫔⚃ᶾ䲨⇘䫔ℕᶾ䲨⼴㛇炻旨伭ἧ䓐䠔岒昞䒟ẋ㚧䞛㜧炷⤪䇯ⱑ炸炻 Buddhist art, which developed out of a merger of Greek, Syrian, Persian and ⛐娚⛘⋨䅺墥䘬䱀⛇₡㟤㖪屜炻⚈䁢䅺墥忶䦳暨䘬㛐㛸䦨仢ˤ⚈㬌炻忁 Indian artistic influence. Gandharan style flourished and achieved its peak 㧋ᶨᾳ㖪屜䘬晽⟹⮯㗗ᶨᾳ朆ⷠ㚱₡ῤ䘬ἃ㔁䓊⑩ˤ⽆忁ᾳ㗪㛇夷㧉Ἦ during the Kushan period, from the 1st to the 5th century. In the first century 䚳炻⎒㚱⼰⮹䘬ℝ楔ό晽⁷㚦䴻塓姀抬ᶳἮˤ AD, Gandhara was the birthplace of some of the earliest Buddhist images. Ṣ䈑⼊䉨 The use of hard-fired ceramic instead of stone such as schist was popular ⯢⮠烉 91 x 88 x 25 cm (ᶵ⏓⸽⹏) during the later Gandharan period from the 4th to the 6th centuries C.E. ⑩䚠㤝⤥炻⸦᷶䌐ᶨ䃉Ḵ䘬ᾅ⬀䉨㱩炻⬴ℐ䫎⎰晽⟹䘬㗪ẋ炻ᶨṃ㙜曚⋨ Fired clay was expensive in the area, because the wood needed for the ➇㚱⽖ᶵ嵛忻䘬㛸㕁㎵⣙ firing process was scarce. Therefore, such an expensive sculpture would have been a highly meritorious Buddhist offering. Only very few terracotta Ἦ冒㱽⚳Ṇ䐇·傉 (1854–1932)㓞啷ˤ忁ỵ啷⭞䘬㓞啷嵛嶉⎗徥㹗⇘ Ṿ statues from this period and size have ever been recorded. 䘬䣾⃰⁛㔁⢓⎌ỗ⮇炷㱽婆⎵Évariste Regis Huc 1813 – 1860), Ṿ⛐Ṿ 䘬㕭埴ᷕ䴻忶呁⎌炻大啷ᷕ⚳ˤṆ䐇·傉⃰䓇1890⸜㚦㗗⎸欗㕗⟙ Shape: Figural shape 䣦䷥䶐炻䚜⇘1932⸜⍣ᶾ炻Ṿᶨ䚜㗗ᶨỵ⼰⍿㬉彶㓧㱣姀侭冯喅埻姽婾 Dimensions: 91 x 88 x 25 cm (without the base) ⭞ˤ1895⸜Ṿ倗⦣楔岥屜㕷⭞⹕䈡昮 Theron炻ἧṾ傥⣈两临㒜⣏Ṿ⽆⎌ Condition: Excellent, almost unique condition, fully consistent with the age ỗ⮇两㈧侴Ἦ䘬㓞啷ˤṾ⍣ᶾ⼴炻Ṿ⥣⫸㍍㓞㓞啷炻⛐⤡ᷳ⼴炻㗗ṾᾹ䘬 of the sculpture, insignificant material loss to some exposed areas ⬑⫸Ᾱ两㈧ˤ㬌㓞啷⁛㈧㚱⸷炻⸞⛐1967⸜忚埴Ḯ⣏夷㧉䘬䶐抬ⶍἄ炻 㬌⁷⛐恋㗪῁⯙䴻㚱ㇳ丒䳈㍷ (夳 www.zacke.at㍸ὃ䘬⛐䵓屯㕁) Provenance: From the collection of Arthur Huc (1854–1932), France. The roots of this collection go back to Évariste Regis Huc (1813 – 1860), 䥹⬠㷔槿烉䅙慳㷔娎䓙㴟⽟⟉⣏⬠Klaus Tschira Archaeometry ᷕ⽫ a French missionary and discoverer who became known for his travels REM laboratories ⮎槿⭌Ernst Pernicka 㔁㌰柀⮶忚埴炻㩊㷔⟙⏲#150344 through Mongolia, Tibet and China. Mr. Arthur Huc became the editor- 炻2016⸜1㚰12㖍炻䡢娵㬌⁷⸜漉䁢2,000⸜炷婌ⶖᶲᶳ500⸜炸᷎嫱⮎ “ in-chief of La Dépêche in Toulouse in 1890 and was a popular political 桐㟤⸜ẋ⮵ㅱ”ˤ journalist and a reputed art critic until his death in 1932. In 1895 he married into the wealthy and noble Theron family from Marseille, which 㔯䌣⍫侫烉旨伭昞⁷㤝℞䦨㚱炻⛐ⶪ⟜ᶲ暋⼿䘤䎦屜曄㗪㛇䘬栆Ụ enabled him to expand the collection inherited from Évariste Huc. After ἄ⑩炻䚖⇵怬㰺㚱䘤䎦䚠⎴昞⁷ˤ夳Ἓ⢓⼿˪⌘䫔⬱冯㜙⋿Ṇ喅埻˫ his death, his collection was inherited by his wife, and, after her death, 炻2013⸜3㚰19㖍炻䲸䲬炻212嘇㉵⑩炷ᶨᾳ厑啑柕⁷炸ㆾ喯㭼˪ぇ by their children. It was systematically inventoried and documented as 䚠烉⬿㔁喅埻⮰㉵˫炻2014⸜9㚰17㖍炻䲸䲬炻410嘇㉵⑩炷ᶨᾳ厑啑柕 complete collection in 1967 from which comes the hand-drawn sketch of 悐昞⁷炸ˤ this statue (see images online at www.zacke.at) ⎎夳忼㉱㕗伶埻棐⑰忼⛘⋨“厑啑㶙⿅”昞⁷ (no. 2010.17) 冯㇜㫏⯤ ᾖ㕗柕⁷炻冯䲸䲬⣏悥㚫喅埻⌂䈑棐ᷕ䘬崓㉱≺㕗⁷㤝℞䚠Ụ (no. Scientific testing: A thermoluminescence test, conducted by Professor Dr. 1979.507.2) Ernst Pernicka at the REM laboratories of the Klaus Tschira Archaeometry Center at the University of Heidelberg, the corresponding written report Estimate EUR 15.000,- #150344 dated January 12th, 2016, confirms an age of 2,000 years (with Starting price EUR 7.000,- a tolerance of +/- 500 years) and states that “the age corresponds to the stylistic dating” of this statue.
Literature comparison: As Gandharan terracotta artworks are very rare and hardly ever appear on the market the examples given here show various examples from the Kushan period but not the same motif. See Christie’s, Indian and Southeast Asian Art, 19 March 2013, NEW YORK, lot 212 (for a terracotta head of a bodhisattva) or Sotheby’s, IMAGES OF ENLIGHTENMENT: DEVOTIONAL WORKS OF ART AND PAINTINGS, 17 SEPTEMBER 2014, NEW YORK, lot 410 (for a terracotta head of a Buddha)
Also see a Hadda region terracotta figure of a ‘Thinking Bodhisattva’ in the Dallas Museum of Art (accession no. 2010.17) and a terracotta Head of A terracotta head of Dionysos, Kushan Dionysos, strongly resembling the Heracles present here, in the collection period, at the Metropolitan Museum of of the Metropolitan Museum of Art, New York (accession no. 1979.507.2) Art, New York
122 123 111 A 15TH CENTURY SUKHOTHAI BRONZE HEAD OF BUDDHA IN KAMPHAENG PHET STYLE Bronze with shell and Lapis Lazuli inlays at the eyes. Sparse remains of lacquer gilding. Mounted to bronze and wood base Thailand, Late Sukhothai period, Kamphaeng Phet style, 15th century
This bronze head of Buddha features Kamphaeng Phet style with sharper features, almond shaped eyes and eyebrows that form a continuous line above the bridge of the nose.
Buddha shows peaceful expression, with slender lips and sleek almond-shaped eyes framed underneath high arched eyebrows that meet at the bridge of his curved nose, flanked by pendulous earlobes with out-turned tips, and surmounted by a flattened heart-shaped hairline of tight curls arranged over the ushnisha, and with sparse remains of gilt lacquer on the back of the head.
Containing an important group of ancient cities neighboring Sukhothai, the region of Kamphaeng Phet was ideally situated for river trade with Southern Burma, the Lan Na kingdom, and the Chao Phraya basin. Later in the 16th century, Kamphaeng Phet’s strategic location served to defend against Burmese attacks on the Ayutthaya kingdom.
Shape: Figural head These details of lot 110 impressively show the Dimensions: 24,5 cm (height of the head), 36 cm furrowed brow and the piercing gaze, that (total height with base) reflect the taste for naturalism in the 4th – 5th Condition: Shows fine patina, material loss at the century in the Kushan period neckline restored, eye inlays partially missing Provenance: Austrian private collection
Literature comparison: for two comparable Buddha head bronzes, larger in size, see Bonham’s, INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART, 17 Sep 2014, New York, lot 176 and Sotheby’s, DEFINING TASTE, WORKS SELECTED BY DANNY KATZ, 12 NOVEMBER 2013, London, lot 20.
⋩Ḽᶾ䲨䓀䂡䡏桐㟤䳈⎗㲘曺戭ἃ柕 㲘⚳炻䳈⎗㲘㘂㛇炻䓀䂡䡏桐㟤炻⋩Ḽᶾ䲨 ⊭㻧炻柠悐ᾖ⽑䛤䜃⯨悐㚱㛸㕁仢⣙ ⤏⛘⇑䥩Ṣ㓞啷
Estimate EUR 2.000,- Starting price EUR 1.000,-
124 125 112 113 A 15TH CENTURY AYUTTHAYA PERIOD GILT A 17TH CENTURY AYUTTHAYA PERIOD BRONZE OF BRONZE HEAD OF BUDDHA BUDDHA SHAKYAMUNI Bronze with remains of lacquer gilding. Mounted to Bronze with remains of lacquer gilding. Mounted to wooden base wooden base Thailand, Ayutthaya Period, 15th century Thailand, Ayutthaya Period, 17th century
This buddha head is well-cast with a serene Buddha Sakyamuni is standing in Samabhanga pose with expression and sensitively delineated lips. The nose his right hand showing the Abhayamudra, the gesture is straight and slender, the heavy-lidded eyes are of fearlessness, reassurance and safety. His left hand framed by arched eyebrows. Flanked by elongated is stretched downwards near the hems of his garment. earlobes with out-turned tips and surmounted by Buddha is wearing a Samghati robe with a belt around a flattened heart-shaped hairline of tight, swirled his hip and pendeloque ear rings as well as an ornate curls arranged over the ushnisha. Remains of lacquer tiara with floral decoration and a stupa-like, conical- gilding throughout. shaped usnisha.
Shape: Figural head The face shows a fine meditative expression, with cast Dimensions: 18 cm (height of the head), 29,5 cm down eyes, a serene smile and elongated earlobes. (total height with base) Condition: Good condition with appealing patina Shape: Figural Provenance: Austrian private collection, acquired Dimensions: 48 cm (height of sculpture), 51 cm (total 1989 in our galleries (comes with the catalog) height with base) Condition: Good condition with appealing patina Literature comparison: see Christie’s, Indian, Provenance: Austrian private collection, acquired 1988 in Himalayan and Southeast Asian Works of Art, 13 our galleries (comes with the catalog) September 2016, New York, lot 260 (for a very similar Buddha head of comparable, dated to the 14th Literature comparison: see Christie’s, Indian, Himalayan century) and Christie’s, Indian and Southeast Asian and Southeast Asian Art, 18 April 2005, Amsterdam, Works of Art, 16 September 2008, New York, lot 577 lot 118 (for a very similar Buddha of the same size) and (for a comparable head, larger in size). Bonham’s, Indian, Himalayan and Southeast Asian Art, 17 September 2014, New York, lot 178 (for a very similar ⋩Ḽᶾ䲨㲘⚳旧䐄旨俞㛅戭挷慹ἃ柕ġ bronze, larger in size). ⑩䚠列⤥炻⊭㻧⎌侩 ⤏⛘⇑䥩Ṣ㓞啷炻1989⸜⛐㛔喅岤屟 (ⷞ䚖抬) ⋩ᶫᶾ䲨㲘⚳旧䐄旨俞㛅慳徎䧮⯤䩳⁷ġ ⑩䚠列⤥炻⊭㻧⎌侩 Estimate EUR 1.000,- ⤏⛘⇑䥩Ṣ㓞啷炻1988⸜⛐㛔喅岤屟 (ⷞ䚖抬) Starting price EUR 500,- Estimate EUR 1.000,- Starting price EUR 500,-
126 127 116 A LARGE JIN DYNASTY HENAN CIZHOU MEIPING BOTTLE WITH RUSSET FLOWERS Ceramic with faintly speckled black glaze and brush paint in russet color China, Jin Dynasty (1125 - 1234)
This fine and large Henan bottle vase has a Meiping shape with a spout-like, everted mouth on a short neck. It is covered with a lustrous black glaze that shows fine speckles and transitions to a brown hue at the mouth. Executed with vivid brush strokes and showcasing a russet color flowers have been boldly painted onto the vessel. The foot rim and underside left unglazed, revealing the buff-colored body.
Shape: Meiping shape with everted mouth on short neck Dimensions: Height 36 cm Condition: Excellent condition Provenance: from the collection of Dr. Peter Greiner, a noted collector and scholar on Chinese ceramics and works of art, inventory number P168 (label on underside)
Literature comparison: For two other Henan 114 number P96 (label on underside) bottle shaped vessels of similar shapes A LUSHAN TANG DYNASTY and with comparable russet flower décor, PHOSPHATIC-SPLASHED Literature comparison: 115 although much smaller in size see Christie’s, OVIFORM EWER Bonham’s, THE FENG WEN TANG A CIZHOU WHITE-GROUND BROWN SLIP PAINTED MEIPING Fine Chinese Ceramics and Works of Art, Ceramic with brown glaze and COLLECTION OF EARLY CHINESE BOTTLE VASE, NORTHERN SONG – JIN DYNASTY 20 - 21 March 2014, NEW YORK, lot 2084 or phosphatic splashes CERAMICS, 9 October 2014, Hong Ceramic with white and brown glaze, paintwork in dark chocolate brown Sotheby’s, CHINESE ART, 24 NOVEMBER 2014 China, Tang Dynasty (618 – 907) Kong, Admiralty, lot 240 (for a slip - 25 NOVEMBER 2014, HONG KONG, lot 1009. comparable ewer, measuring 21 China, Northern Song / Jin Dynasty, 12th – 13th century This vessel shows a body of ovoid cm in height) 慹ẋ⣏✳㱛⋿䡩ⶆ湹慱湫剙⣏㠭䒞 form rising to a waisted neck This vessel shows a body of squat Meiping shape with an accentuated 湹慱丒湫剙䒟☐ and an everted rim, the shoulder Ⓒẋ欗Ⱉ䩗剙慱㲐⫸ foot rim and a slightly flared mouth. The neck is flanked by ribbed ᷕ⚳炻慹ẋ(1125 - 1234) set with a short spout opposite 墸刚慱啵刚㔹䲳 handles. The upper part and the central body are glazed in white, whilst a double-strap handle extending ᷕ⚳炻Ⓒẋ(618 – 907) the lower part shows brown glaze with dripping glaze running down to 忁ẞ䱦伶⣏⣏㯋䘬㱛⋿☐✳䁢㠭䒞⼊炻㐯⎋炻䞕 from the rim to the base of the the foot rim. 柠ˤ䒞幓央味叿ᶨ忻攫Ṗ䘬湹刚慱炻堐䎦↢䱦䳘 shoulder. The neck is flanked by 㬌⢢㨊⚻⼊儡炻䞕柠炻⸛⸽炻偑 䘬㔹䲳炻᷎⛐⎋ᷕ⏰䎦㡽刚刚婧ˤ 䓐歖导䘬䔓 double-strap lugs. The exterior and 悐䚠⮵ᶨ朊䁢㚚㝬炻⎎ℑ朊⎬㚱 Freely painted around the bother in dark chocolate color with floral 䫮㍷丒᷎⯽䎦䲭墸刚炻歖导䘬剙㛝塓⣏入⛘⟿ upper part of the inside dressed in ᶨ䲣ˤ忂橼㕥㶙墸刚慱炻䚜军⚰ sprays, swirls and geometrical ornaments. The slip at the shoulder was ⛐䒞幓ᶲˤ 儛怲⸽悐ⶎ“㛒ᶲ慱炻栗曚↢㶢 a dark brown glaze, stopping well 嵛ᶲ㕡ˤ removed during the manufacturing process, therefore this is considered 湫刚䘬䒞偶ˤ above the accentuated foot. original to the piece. 㶙墸刚慱朊ᶲ㚱⣏入䘬䘥刚啵刚 㠭䒞炻㐯⎋炻䞕柠 The brown glaze is accented with 慱㔹炻㭼⤪偑悐ˣ㚚㝬⍲怲䶋䫱 Shape: Squat Meiping shape with ribbed handles ⯢⮠烉檀 36 cm bold milky white and blue splashes 嗽炻溆䵜叿☐䈑炻昞䒟䓴䧙忁䧖“ Dimensions: 24,4 cm (height), 21 cm (maximum diameter) ⑩䚠㤝⤥ around the shoulder, handle 䩗嬲”啵慱䁢ḛ慱ˤ Condition: Shows wear and traces of age, mainly abrasions or nicks 䞍⎵䘬ᷕ⚳昞䒟⍲ⶍ喅⑩㓞啷⁊⼤⼿·ㆰ厲䲵 and rim and also the inside. The Provenance: Austrian private collection; old paper label of the Austrian Peter Greiner ⌂⢓㓞啷炻㓞啷䶐嘇P96 (夳⸽悐) bluish or yellowish-milky white ⼊䉨烉⢢⼊炻㚚㝬炻暁俛炻⢢◜ Bundesdenkmalamt (=Federal Monuments Office) with import date of ‘phosphatic’ splashes that decorate ⯢⮠烉檀15,2 cm 1924 on the bottom 㔯䌣⍫侫烉⎎⢾ℑẞ㚱栆Ụ剙䲳䚠Ụ䒞⼊⯢ the dark brown-glazed wares of ⑩䚠㤝⤥炻ᷣ天⛐㛒ᶲ慱⋨㚱⸜ ⮠䦵⮷䘬㱛⋿☐⎗夳Ἓ⢓⼿˪ᷕ⚳昞䒟⍲ⶍ喅 this type are applied after the initial 漉䘬䕽嶉 Literature comparison: for vessels with similar free floral paintwork on ⑩˫炻2014⸜3㚰20-21㖍炻䲸 䲬炻2084嘇㉵⑩ㆾ glazing. 䞍⎵䘬ᷕ⚳昞䒟⍲ⶍ喅⑩㓞啷⁊ white glaze see Sotheby’s, INFORMING THE EYE OF THE COLLECTOR: 喯㭼˪ᷕ⚳喅埻˫炻2014⸜11㚰24-25㖍炻楁 ⼤⼿·ㆰ厲䲵Peter Greiner ⌂⢓㓞 CHINESE CERAMICS AND WORKS OF ART FROM J.T. TAI & CO., 22 㷗炻1009嘇㉵⑩ˤ Shape: Ewer shape with handle, 啷炻㓞啷䶐嘇P96 (夳⸽悐) MARCH 2011, NEW YORK, lot 148 (for a small jar) or Christie’s, Chinese lugs and spout. Ceramics and Works of Art, 19 September 2006, New York, lot 221 (for Estimate EUR 1.200.- Dimensions: Height 15,2 cm 㔯䌣⍫侫烉恎侘㕗˪⣱㔯➪啷ᷕ a larger Meiping vase). Starting price EUR 600,- Condition: Excellent condition ⚳㖑㛇䒟☐˫炻2014⸜10㚰9㖍炻 with traces of age, mainly to the 楁㷗炻240嘇㉵⑩炷栆Ụ☐䈑炻檀 ⊿⬳军慹䡩ⶆ䘥慱湹剙䲳㠭䒞 unglazed areas 21cm炸 㚱䢐㎵⸜ẋ䕽嶉炻ᷣ天㗗㒎 ㆾ⇣䕽 Provenance: from the collection of ⤏⛘⇑䥩Ṣ㓞啷烊䒞⸽㚱⤏⛘⇑㔯䈑⯨冲㧁䯥㲐㖶1924⸜ Dr. Peter Greiner, a noted collector Estimate EUR 800,- and scholar on Chinese ceramics Starting price EUR 400,- Estimate EUR 800,- and works of art, inventory Starting price EUR 400,-
128 129 119 A LARGE TRANSITIONAL Provenance: Old Austrian WUCAI BALUSTER VASE Private collection, assembled WITH PALACE SCENE, 17th in the 1930s to early 1950s CENTURY White glazed porcelain with Literature comparison: for underglaze blue decoration. a comparable vase see Multi-colored enamels in Christie’s, Chinese Ceramics, Wucai palette over the glaze Works of Art and Textiles, 13 117 118 China, mid-17th century May 2011, London, South A TRANSITIONAL WUCAI OVIFORM VASE WITH CANOPIES AND BANNERS, 17th A FAMILLE VERTE PORCELAIN ‘BOY WITH LOTUS Kensington, lot 1140. CENTURY FLOWER’, KANGXI The body of slender baluster White glazed porcelain with underglaze blue decoration. Multi-colored enamels in Wucai Porcelain with multi-colored enamels shape with flared neck and ⋩ᶫᶾ䲨Ḽ⼑Ṣ䈑㓭ḳ䒞 palette over the glaze China, Kangxi period (1662-1722) tapered foot. Finely enameled 䘥慱䒟炻慱ᶳ啵⼑炻慱ᶲ⼑ China, early 17th century around the body with a scene ᷕ⚳炻⋩ᶫᶾ䲨ᷕ Depicting a boy holding a lotus flower and dressed in of courtiers in the palace The exterior of this oviform vase shows Buddhist canopies and banners, hand painted colorful attire, this porcelain figurine shows hand painting grounds. Two young men on 䳘攟䒞幓炻柠悐ℭ㔪炻偑悐 in traditional Wucai palette enamels. Underglaze blue circles as well as overglaze in classical Famille Verte palette. The lotus flower is hollow horseback are in conversation ⢾⻝炻嵛悐⢾㐯ˤ䒞幓ẍ䏢 ornamental and floral borders round off the classic appearance of this vessel. The base so incense sticks, peacock feathers or dried flowers could with a lady, seated on a 䎭⼑㍷丒Ḯ⭖㭧䘬⟜⛘ᶲ㚱 is unglazed. be placed there. terrace. In the background ᶨ佌㛅冋ˤ ℑ⎵榶⛐楔側ᶲ we see her servant and two 䘬⸜庽䓟⫸㬋⛐ᶨỵ⛸⛐ Shape: Oviform shape Shape: Figural shape boys are standing on front of 曚⎘ᶲ䘬⤛⢓Ṍ婯ˤ 側㘗塷 Dimensions: 30 cm (height), 24 cm (maximum diameter) Dimensions: 31,5 cm (height), 8,5 cm (width) the men’s horses. The palace 㚱⤡䘬⁽Ṣℑᾳ䓟⬑䪁⛐ Condition: Very good condition with traces of age and wear Condition: Good condition with wear and minor abrasions roof is partly covered in 䓟Ṣ䘬楔⇵ˤ ⭖㭧䘬⯳枪悐 Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s Provenance: Austrian Private Collection clouds, a motif that is vividly ↮塓暚Ⰼ央味叿ˤ側朊揝䲭 painted in iron-red stretching 刚✪䚜㍷丒暚㛝䲳ᶲˤ偑悐 Literature comparison: Bonham’s, CHINESE & OTHER ASIAN WORKS OF ART, 10 Mai Literature comparison: Sotheby’s, SATURDAY AT along one vertical area of ᶨ忻⅘塪⼊䲳炻柠悐丒啵刚 2010, LONDON, KNIGHTSBRIDGE, lot 113 (for a vase comparable in size and shape, SOTHEBY’S: ASIAN ART, 19 SEPTEMBER 2015, NEW YORK, the vase. A thin ‘cracked-ice’ `Ⱉ⍲卲剙䈉ᷡˤ decorated with mythical beasts) lot 1000 (for similar figurines, yet more refined and dating border at the shoulder, below to the 19th century) a waisted neck painted with 䒞⼊ ⋩ᶫᶾ䲨Ḽ⼑㕡⊅䲳䒞 chrysanthemum and peony ⯢⮠烉檀 49,5 cm炻ᶲ悐䚜 ⑩䚠㤝⤥炻㚱⸜ẋ⍲䢐㎵䘬䕽嶉 䅁⸜攻䠔⼑Ⱦ咖剙䪍⫸ȿ sprays issuing from blue ⼹ 16,5 cm ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ ⑩䚠列⤥炻庽⽖䢐㎵ rockwork. 柠悐⎗夳ᶨ忻ᾖ墄忶䘬塪⎋ ⤏⛘⇑䥩Ṣ㓞啷 䔁ᶳ䘬檖䴚䳘䷓ Estimate EUR 300,- Shape: Slender baluster Starting price EUR 150,- Estimate EUR 200,- shape 㔯䌣⍫侫烉ᶨẞ栆Ụ⇞✳⎗ Starting price EUR 100,- Dimensions: 49,5 cm 夳Ἓ⢓⼿˪ᷕ⚳昞䒟ˣⶍ喅 (height), 16,5 cm (upper ⑩⍲䷼䈑˫炻2011⸜5㚰13 diameter) 㖍炻ΐ㔎炻⋿偗彃枻炻1140 Condition: One larger chip 嘇㉵⑩ (restored) with emerging short hairline (mostly visible Estimate EUR 1.200,- on the inside) to neck. Starting price EUR 600,-
130 131 120 A LARGE AND VERY RARE KANGXI PERIOD FAMILLE VERTE BALUSTER VASE ‘LIU HAI AND FEMALE IMMORTALS’ Porcelain with iron red, underglaze blue and multi-colored enamels in Famille Verte palette China, Kangxi period (1662-1722)
This masterly hand painted vase shows iron red outlines at the protagonists’ faces and multi colored enamels throughout, in high relief. Depicted is the god of wealth, Liu Hai, holding a string of cash and with his toad companion. Liu Hai is sitting atop a cleft rock amidst the wavy sea. A log raft boat with two female immortals, possible Xi Wangmu and an attendant, is seen next to Liu Hai. The log raft has a gnarled trunk- form mast form, from which a basket filled with lingzhi is dangling. The beauties in the boat are watching the scene of Liu Hai and his toad with amusement.
The neck of the vase shows a cloud pattern as well as bird in flight. The underside bears an underglaze blue double-circle.
Remarkable is the artistic quality of the painting, the plain white areas functioning as the canvas for the vivid imagery and the ornate patterns.
Shape: Baluster shape Dimensions: Height 46 cm Condition: Overall very good condition, besides one restored central drilling to base Provenance: Canadian private collection
Literature comparison: for Kangxi period Famille Verte porcelains of comparable quality see Sotheby’s, FINE CHINESE CERAMICS & WORKS OF ART, 17 SEPTEMBER 2013 - 18 SEPTEMBER 2013, LONDON, lot 328 (for a vase, only half the size) or Sotheby’s, IMPORTANT CHINESE ART, 11 MAY 2016, LONDON, lot 181 (for a plate).
⣏✳䅁䠔⼑Ⱦ∱㴟ẁ⥹ȿ㡺㥴䒞 昞䒟炻揝䲭慱炻曺剙慱ᶳ⼑炻Ḽ⼑ ᷕ⚳炻䅁 (1662-1722) 忁ẞ䔓≇䱦㸃䘬ㇳ丒剙䒞⛐ᷣ奺䘬共ᶲἧ䓐揝䲭刚⯽䎦廒炻᷎⛐⚃␐ἧ䓐 ⣂⼑䏢䐗慱↠↢堐朊ˤ 屉䤆∱㴟⛸⛐㲊㴒㳞㸏䘬㴟ᷕ䘬ⶐ䞛ᷳᶲ炻ㇳᷕ㊧叿 ᶨᷚ戭拊徿侵慹垦ˤ⛐∱㴟㕩怲⎗ẍ䚳⇘ᶨ刀⛸叿ℑᾳ⤛ẁ䘬㛐凡炻⎗傥㗗 大䌳㭵⤡䘬ἵ⤛ˤ㛐䫷凡柕ㆸ㚚㧡㝅炻ᶨᾳ㝅⸡✪ᶳᶨᾳ㓦㺧曰剅䘬剙 䯫ˤ 凡ᶲ䘬伶⤛㬋⛐㫋岆叿∱㴟Ṿ䘬垦嚵㇚侵ね㘗ˤ
剙䒞䘬柠悐栗䣢↢ᶨᾳḼ⼑䤍暚⚾㟰ẍ⍲梃沍ˤ 䒞⸽ⷞ㚱曺剙慱ᶳ⼑暁⚰ 㫦ˤ
㬌䒞⯌℞⺽Ṣ㲐䚖䘬㗗丒䔓䘬喅埻⑩岒炻㧠䳈䘬䘥刚⸽朊⃭䔞Ḯ䓇≽䘬⚾⁷ 厗渿䘬⚾㟰䘬䔓ⶫˤ
㡺㥴䒞⼊ ⯢⮠烉檀 46 cm ⑩䚠㔜橼㤝⤥炻⸽悐ᷕ⣖悐ấ㚱ᾖ⽑忶 ≈㊧⣏
㔯䌣⍫侫烉䅁⸜攻䠔⼑昞䒟栆Ụ岒慷⎗夳喯㭼 ˪ᷕ⚳䱦伶昞䒟冯ⶍ喅 ⑩˫炻2013⸜9㚰17-18㖍炷ᶨ ᾳ 剙 䒞炻⯢⮠ᶨ⋲⣏炸ㆾ喯㭼˪慵天ᷕ⚳喅 埻˫炻2016⸜5㚰11㖍炻ΐ 㔎炻181嘇㉵⑩炷ᶨᾳ䚌⫸炸
Estimate EUR 2.000,- Starting price EUR 1.000,-
132 133 123 A KANGXI PERIOD PEACHBLOOM LIUYEPING ‘GUANYIN’ VASE Porcelain with white and peach bloom glaze China, Kangxi period (1662-1722)
The elegant slender baluster body sing from a narrow- recessed base which is left unglazed. The tall trumpet neck shows an everted rim where the peachbloom (jiang dou hong) glaze transitions to the white glaze we find inside and at the underside which bears a double-circle mark.
The front side shows a pristine area of even red whilst the other side and the neck boasts mottled glaze with lighter colors and splashes of green.
Shape: Liuyeping shape Dimensions: Height 17 cm Condition: Excellent condition Provenance: German private collection, Munich. Acquired from Charlotte Horstmann in Hong Kong in 1972
Literature comparison: This vase belongs to the classical group of the ‘Eight Objects for the Scholar’s Desk’, whose peachbloom glazed items were very popular in the Kangxi period (cf. Suzanne Valenstein, A Handbook of Chinese Ceramics, New York 1989, p. 237).
See Sotheby’s, Fine Chinese Ceramics & Works of Art, 4 November 2009, London, lot 118 and Christie’s, CHINESE CERAMICS, EXPORT CERAMICS & WORKS OF ART, 18 June 2002, London, lot 223 (for comparable vases, slightly smaller and both bearing a six-character Kangxi mark)
䅁⸜攻寯寮䲭㞛叱䒞 昞䒟炻㟫䲭刚慱炻㛇攻⣦暄䘥刚剼溆 ᷕ⚳炻䅁⸜攻(1662-1722)
忁ẞ檀晭䘬㞛叱䒞炻☐幓䳘攟炻⸽嵛㛒ᶲ慱ˤ柠悐崟⻎ᷳ 嗽⚈慱Ⰼ庫唬⎗夳䘥偶ˤ
䒞橼忂橼㕥㟫剙䲭慱炻⏰䎦↢㶙㶢嬲⊾䘬䰱䲭刚炻℞攻⣦ 暄䵈刚剼溆ˤ
⼊䉨 烉㞛叱⼊ 121 Provenance: Austrian Private 122 檀17 cm A WHITE GLAZED ANHUA Collection A FLAMBÉ BOTTLE VASE, QIANLONG MARK ⑩䚠㤝⤥ DECORATED MEIPING VASE, Porcelain with flambé glaze ⽟⚳ヽ⯤湹䥩Ṣ㓞啷炻1972⸜⽆楁㷗Charlotte YONGZHENG MARK Literature comparison: China, 18th – 19th century, four-character Qianlong mark on the bottom and Horstmann㓞啷岤ℍ White glazed porcelain. With Christie’s, The Collection of possibly of the period (1736 - 1795) wooden base Robert Hatfield Ellsworth Part 㔯䌣⍫侫烉㬌☐Ⱄ㕤䅁ᶨ㛅寯寮䲭㔯䓐℟Ⱦℓ⣏ China, 18th – 19th century, four- III - Chinese Works of Art: The sturdily potted bottle vase delights through its expressive flambé glaze 楔Ⱦᷳᶨˤ (Suzanne Valenstein, A Handbook of Chinese character Yongzheng mark on Qing Ceramics, Glass and Jade with purple, magenta and pink streaks transitioning to a cream color at the Ceramics, New York 1989, p. 237). 夳喯㭼˪ᷕ⚳昞 the bottom and possibly of the Carvings, 19 March 2015, upper rim. Small so-called peacock eyelets are visible at the entire exterior 䒟⍲ⶍ喅⑩˫炻2009⸜11㚰4㖍炻118嘇㉵⑩烊Ἓ⢓⼿ period (1723-1735) New York, lot 440 (for a near and the bottom is glazed in a creamy hue with crazing and a 4-character ˪ᷕ⚳昞䒟ˣ⢾扟䒟⍲ⶍ喅⑩˫炻2002⸜6㚰18㖍炻ΐ identical 18th century vase, mark of the Qianlong period in underglaze blue. 㔎炻223嘇㉵⑩炷⎗㭼庫剙䒞炻⯢⮠䔍⮷炻ℑẞ悥㚱 The body is lightly incised with slightly larger and with an 䅁㫦炸 a dragon chasing the flaming apocryphal Chenghua mark) Shape: Bottle shape Magical pearl. On the base is Dimensions: Height 23 cm Estimate EUR 1.200,- an underglaze blue 4-character 晵㬋㫦䘥慱㘿剙㠭䒞 Condition: Besides some manufacturing flaws, the vase comes in good Starting price EUR 600,- mark of the Yongzheng period. ⑩䚠列⤥炻柠悐怲䶋㚱ᶨ⮷⟲仢 condition with some chipping to lip and foot rim Shape: Meiping shape. ⎋炻㛐 ⸽ ⹏ 㚱 塪 ䷓ ġ Provenance: Austrian private collection Reticulated wooden base ⤏⛘⇑䥩Ṣ㓞啷ġ Dimensions: Height 15 cm Ḧ昮⚃⫿㫦恶䩗䲭䒞 Condition: Good condition Estimate EUR 300,- 昌Ḯᶨṃ墥忈仢星⢾炻剙䒞䉨㱩列⤥炻⒯悐僂悐怲䶋㚱ᶨṃ仢⎋ġ besides one small touched up Starting price EUR 150,- ⤏⛘⇑䥩Ṣ㓞啷 chip to neck rim. Wooden base with chips Estimate EUR 200,- Starting price EUR 100,-
134 135 124 126 A PAIR OF 18th CENTURY ‘2 Mandarin Vasen Paar A LARGE CANTON FAMILLE ROSE ‘WATER EXPORT PORCELAIN 18. Jahrhundert 1952’ MARGIN’ VASE, QING DYNASTY ‘MANDARIN’ VASES (translation: 2 Mandarin Porcelain painted with polychrome enamels Painted in vivid and vases pair 18th century China, second quarter of the 19th century detailed enamels as well 1952) as iron red and gold on Of baluster form, surmounted by a trumpet mouth white ground, the foot rim Literature comparison: everting to a foliate rim, painted with large panels with a turquoise glaze, the Sothebys, Kentshire: A of figures, surrounded by emblems, with applied inside with a transparent Legendary Collection, 18 handles in the form of fu-dogs, and several sculpted glaze OCT 2014, NEW YORK, lot and gilt Chilong in high relief. The depiction showing China, Qing dynasty, circa 52. (for a similar, slightly scenes from the story of ‘The water margin’ such as 1785 larger pair) ‘The robbers of the Liang Schan moor’.
Delicately painted to ᶨ⮵⢾扟⺋⼑攳Ṣ䈑 The inscriptions reading Zhongyitang (loyalty hall) depict carious courtly 暁俛䒞 Titian Xingdao (enforce justice on behalf of heaven) scenes as well as 䳘兑䒟☐炻䘥⸽ᶲ揝䲭刚慹 An Daoquan (the great doctor An Daoquan, internal landscapes and various 刚⼑慱炻嵛怲㜦䵈刚慱炻䒞 and external disorders through pulse taking) birds on trees. ℭ德㖶慱 ᷕ⚳炻㶭㛅炻䲬1785⸜ Shape: Vase Shape: Flattened 䔓朊䱦伶炻Ṣ䈑剙沍炻攳 Dimensions: 91 cm (height) 33 cm (diameter on top) rectangular shape ⼊䉨烉⸛炻攟柠炻偑ᶲ Condition: Perfect condition with one very minor with sprawling neck, 暁俛炻 chip as a result of firing flaw on the underside of the phoenix handles on both ⯢⮠烉⎬檀24,8 foliate rim, therefore only visible from the underside shoulders, each painted ⑩䚠㤝⤥炻庽⽖䢐㎵ Provenance: Austrian private collection medallion with a raised, ⤏⛘⇑䥩Ṣ侩㓞啷炻䒞⸽ㇳ gilt and curved border ⮓‘2 Mandarin Vasen Paar Literature comparison: English Pottery and Chinese Dimensions: Height 24.8 18. Jahrhundert 1952’ (侣 Export Art. Christies, New York, January 28th, 2013, cm each 嬗烉2ᾳ⋩ℓᶾ䲨䘬ᷕ⚳剙 lot 425 (for a pair of similar vases of the same size, Condition: Excellent, with 䒞炻1952⸜) also dated to the second quarter of the 19th century) minor wear 㔯䌣⍫侫烉喯㭼˪偗䈡㕥 or Christies, London, 10 May 2016, lot 77. (for a pair Provenance/labels: Old 䇦烉ᶨ ᾳ ⁛ ⣯ 㓞 啷 ˫炻2014 of similar vases of larger size, dated to the Daoguang Austrian private collection, ⸜10㚰18㖍炻䲸 䲬炻㉵ ⑩ 52 period) the bottom with an old 嘇炷䚠 Ụ 䒟 䒞 炸 handwritten inscription: 㶭ẋᶨẞ⣏✳⺋㜙䰱⼑˪㯜㺠⁛˫㠩Ⱉ㱲Ṣ䈑㓭ḳ䒞 Estimate EUR 400,- 昞䒟炻䰱⼑ Starting price EUR 200,- ᷕ⚳炻⋩ḅᶾ䲨ᶳ⋲叱
㡺㥴䒞⼊炻⒯㱧⢾侣炻䒞ᶲ⎗夳⼰⣂Ṣ䈑⟜㘗炻䋭椾暁 125 俛炻偑 悐 㴖 晽 坕 漵 䲳ˤ䒞 幓 Ἦ 冒˪㯜㺠⁛˫Ṣ䈑㓭ḳ烉⾈ A KANGXI PERIOD BLUE AND WHITE NOVEMBER 2012, LONDON, lot 349 (for 佑➪倂㚫炻⍰⎗夳⬱忻ℐȾℭ⢾暄䕯ᶨ↯㕡傰ȿˤ MOULDED ‘YEN YEN’ BALUSTER VASE a pair of moulded Yen Yen vases, slightly Porcelain with white glaze and underglaze larger) or Sotheby’s, IMPORTANT CHINESE 㡺㥴䒞 blue painting ART, 13 SEPTEMBER 2017, NEW YORK, lot ⯢⮠烉檀91 cm炻枪 悐 䚜 ⼹ 33 cm China, Kangxi period (1662-1722) 189 (for a near identical pair of vases). ⑩䚠⬴伶炻堡㚱ᶨ㚱⮷塪⎋炻Ữ堡傥⛐⸽悐⎗夳 ⤏⛘⇑䥩Ṣ㓞啷 The globular body is petal-molded at the 䅁⸜攻曺剙屜剙⋱沛⯦⮲ 㔯䌣⍫侫烉˪English Pottery and Chinese Export Art˫ belly with overlapping panels enclosing 昞䒟曺剙慱ᶳ⼑ 炻Ἓ ⢓ ⼿炻䲸 䲬炻2013⸜1㚰28㖍炻425嘇㉵⑩炷ᶨ⮵䚠 boughs of flowering plants below jardinières ᷕ⚳炻䅁⸜攻 (1662-1722) Ụ䘬⣏⮷䚠⎴䘬䒞⫸炻⎴㧋䁢⋩ḅᶾ䲨ᶳ⋲叱炸 of leafy flowering plants divided by molded petal-edged circular floral medallions. This 沛⯦⮲☐幓溻儡炻攳䷩剙䲳ˣ⤪シ䲳ˤ柠悐 Estimate EUR 800,- part is surmounted by a smaller bulbous ㇯⼊攳咖剙䲳炻⒯㱧㕄䵓䲳ˤ⚰嵛ᶲ⸦ỽ⍲ Starting price EUR 400,- section with further molded upright petals ⤪シ暚ⷞ䑘丆炻㔜橼晵⭡厗屜炻⪴刟渿ˤ晵 reserving flowers, the waisted tall neck ⭡⋶峝炻⦯创ᷥˤ flaring to a lipped rim similarly decorated, all raised on a splayed base with rounded foot ⼊䉨烉沛⯦⮲ encircled with a floral, a geometrical and a ⯢⮠烉檀 42,2 cm cloud-band border. The underside bears a 柠悐㚱㤝⮷檖䴚塪䷓炻㔜橼⑩䚠列⤥ lingzhi spray inside a double-circle. ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩ ⸜ẋ攻岤ℍ Shape: Yen Yen (phoenix tail) shape Dimensions: Height 42,2 cm 㔯䌣⍫侫烉喯㭼˪ᷕ⚳昞䒟⍲ⶍ喅⑩˫ Condition: One tiny chip with emerging 炻2012⸜11㚰7㖍炻ΐ 㔎炻㉵ ⑩ 349嘇炷ᶨ ⮵ short hairline to neck, otherwise very good 沛⯦⮲炻䦵⣏炸ㆾ侭喯㭼˪慵天ᷕ⚳喅埻˫ condition 炻2017⸜9㚰13㖍炻䲸 䲬炻189嘇㉵⑩炷ᶨ⮵⸦ Provenance: Old Austrian Private collection, ᷶ᶨ㧉ᶨ㧋䘬䒞⫸炸 assembled in the 1930s to early 1950s Estimate EUR 600,- Literature comparison: see Sotheby’s, FINE Starting price EUR 300,- CHINESE CERAMICS & WORKS OF ART, 07
136 137 127 A PAIR OF SANCAI GLAZED ‘BUDDHIST LION’ ROOF TILES, MING DYNASTY Ceramic with Sancai glaze China, later Ming Dynasty, 16th/17th century This corresponding pair of figural ceramic roof tiles shows a Buddhist lion each. The beasts, depicted in a slightly varied, expressive manner, are confronting each other and glazed in brilliant leaf green with yellow to amber colored highlights. Sancai (translated: ‘three colors’) is a lead glazing technique, which developed in China during the Tang Dynasty (618- 907).
Shape: Figural shape Dimensions: 36 cm 128 (height), 23 cm (length) A QING DYNASTY FAMILLE VERTE BISCUIT – each PORCELAIN FIGURE OF DONGFANG SHUO Condition: Chipping and Biscuit porcelain with partial white glaze and tricolor material loss glaze in brown, yellow and green Provenance: Austrian 130 China, Qing Dynasty Private Collection A PAIR OF PURPLE- BROWN MONOCHROME This vivid porcelain figurine depicts Dongfang Shuo, a ᶨ⮵㖶ẋᶱ⼑晬䋭䒎䇯 YUHUCHUNPING VASES, Daoist immortal, with a branch of peaches at his back ⑩䚠冯⸜ẋ䚠䫎炻㛸㕁 LATE QING DYNASTY and a double gourd flask dangling from his right arm. ㎵⣙ The glaze of an intensive dark- With his left index finger, he is pointing to his raised ⤏⛘⇑䥩Ṣ㓞啷 brown varying to purple when foot. The face is unglazed with reticulation at the exposed to sunlight, the handles with an iridescent black eyes, nostrils and ears. Estimate EUR 300,- glaze Starting price EUR 150,- China, 19th – earlier 20th century Shape: Figural shape Dimensions: 24,5 cm (height) The vases are delicately potted in traditional pear- glaze on the exterior and thinning Condition: Excellent condition shape form rising from massive, tapered feet to to a dark brown near the rim. Golden-brown speckles are found Provenance: Old Austrian Private collection, sprawling necks. The exteriors are evenly covered with allover the vase, yet the most assembled in the 1930s to early 1950s a monochrome purple-brown glaze thinning to white interesting feature are the “secret on several encircling bow-string bands. The interiors decorations”, only visible at closer 㶭ẋ䠔⼑㜙㕡㚼⁷ are covered with a transparent glaze, the bases show inspection. Blooming flowers and ⑩䚠㤝⤥ the purple-brown glaze and impressed Yongzheng six- birds can be detected amidst a ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ character seal marks. The shoulders bear two mock ring picturesque nature setting. handles each, with molded mythical beasts. Estimate EUR 300,- Shape: Yen Yen (phoenix tail) shape Starting price EUR 150,- Shape: Pear shape / YUHUCHUNPING Dimensions: Height 39,5 cm Condition: Small restoration to neck Dimensions: 40 cm (height) Provenance: Old Austrian Private 129 Condition: Excellent with only very minor scratches to collection, assembled in the 1930s AN ARCHAISTIC FAMILLE VERTE Shape: Libation cup shape glaze, old soiling, one vase with minor repair to inner side to early 1950s PORCELAIN LIBATION CUP, KANGXI Dimensions: 9,7 cm (length), 4,2 cm of foot rim Biscuit porcelain with tricolor glaze in (height) Provenance: Austrian private collection, assembled in Asia 䅁ℕ⫿㫦湹慹慱沛⯦⮲ aubergine, yellow and green Condition: Chips to lower end of handle in and before the 1930s, remainders of old inscriptions by 柠悐㚱⮷ᾖ⽑ġ China, Kangxi period (1662-1722) and some extremities of the chilong the collector to the bases ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ Provenance: Old Austrian Private 131 军Ḽ⋩⸜ẋ攻岤ℍ This Kangxi period miniature vessel is collection, assembled in the 1930s to Literature comparison: Oriental Ceramic Art, S. W. A MIRROR BLACK ‘YEN YEN’ BALUSTER shaped as an archaic libation cup. It is early 1950s Bushell, Frederick Muller, London, 1981, page 201, glaze VASE WITH ‘SECRET DECORATION’, KANGXI Estimate EUR 200,- decorated with Taotie masks and prunus number 32. MARK Starting price EUR 100,- Porcelain with white and black glaze and and at the beak as well as the handle are 䅁Ḽ⼑“坕漵”ầ⎌㜗 golden-brown speckles figural onsets in shape of chilong with ➟㝬⸽悐㚱攳⎋炻坕漵悐↮㚱㎵ 㘂㶭ᶨ⮵䳓墸刚慱尉俛䌱⢢㗍䒞 China, 18th – 19th century, six-character Kangxi almost humanoid facial features. On the ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩ ⑩ 䚠 㤝 ⤥炻慱 朊 䦵 㚱 ∫ 䕽炻㰉 嶉炻䒞 嵛 ℭ “ 怲 䶋 㚱 ⮷ ᾖ ⽑ mark on the bottom and possibly of the period inside bottom is the Chinese character ⸜ẋ攻岤ℍ ⤏⛘⇑䥩Ṣ㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ⛐Ṇ㳚岤⼿炻⸽悐㚱啷 (1662-1722) Shou (=longevity). ⭞㓞啷冲㧁䯥 Estimate EUR 200,- The black enamel is applied over the white Starting price EUR 100,- Estimate EUR 1.000,- Starting price EUR 500,-
138 139 132 A VERY LARGE BLUE AND WHITE PORCELAIN BALUSTER ‘DRAGON’ VASE, GUANGXU PERIOD Porcelain with underglaze blue painting China, Guangxu Period (1875 – 1908) This large vase shows an appealing slender baluster shape with a flared neck and tapered foot. It is solidly pottered with orange peel surface and due to the generous size slightly bended. It was potted in two pieces, visible at the shoulder.
Depicted are five dragons, all with five claws, confronting each other in fight for the flaming pearl. The hand painting is of very high quality. The base with apocryphal six-character Xuande mark.
Shape: Slender baluster shape Dimensions: 59 cm (height), 14,7 cm (upper diameter) Condition: Excellent condition Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s
Literature comparison: for a Guangxu dragon vase of comparable size see Sotheby’s, SATURDAY AT SOTHEBY’S: ASIAN ART, 17 SEPTEMBER 2016, NEW YORK, lot 925.
䵺⸜攻⣏✳曺剙漵䲳䒞 昞䒟炻曺剙慱ᶳ⼑ ᷕ⚳炻䵺⸜攻 (1875 – 1908) 㛔☐☐⼊ᾖ攟炻㉀㱧炻⇲偑炻㓞儡炻㐯嵛炻忈✳椙㺉ˤ⛐偑悐 ⎗ 䘤 䎦 㟼 䙖 䲳ˤ䒞 幓 ㍷ 丒 䘬 㗗 Ḽ 㡅 Ḽ 䇒 梃 漵炻⻈ ⎋ ⾺䚖炻檫 ⍹ᶲ⅚炻䚠Ḻ㈿㊩炻䇕⤒䀓䎈炻㯋⊊《⻀ˣ㟑 㟑 ⤪ 䓇ˤ䒞 ⸽ 㚱ℕ⫿⭋⽟㫦ˤ
䒞⼊ ⯢⮠烉檀59 cm炻ᶲ悐䚜⼹ 14,7 cm ⑩䚠㤝⤥ ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ
㔯䌣⍫侫烉シ夳栆Ụ⯢⮠䘬䵺漵䲳䒞⎗夳喯㭼˪␐ℕ 喯㭼烉Ṇ㳚喅埻˫炻2016⸜9㚰17㖍炻䲸 䲬 925嘇㉵⑩ˤ
Estimate EUR 3.000,- Starting price EUR 1.500,-
140 141 133 134 A RUBY-GROUND Literature comparison: A FAMILLE ROSE PORCELAIN BRUSH POT BY ZHANG ZHITANG Literature comparison: Fine Chinese Ceramics & Works of Art. Sotheby’s, FAMILLE-ROSE Chinese Art including (1893-1971) New York, March 20th, 2012, lot 319. (for a similar brush pot) SGRAFFIATO Selected Works of Art Porcelain with fine enamel painting ‘LANDSCAPE’ BOWL, from the T.Y. Chao Family China, “in the summer month of the year wuzi”, which is 1948 ⻝⽿㸗炷1893-1971炸Ⱦ䰱⼑Ⱉ㯜䫮䫺ȿġ SEAL MARK AND PERIOD Collection. Sotheby’s, Hong 昞䒟炻䏢䎭慱 OF DAOGUANG Kong, November 30th, 2017, Painted round the sides with a continuous riverscape with trees and misty ᷕ⚳炻Ḵ⋩ᶾ䲨 Porcelain with fine enamel lot 652. (for a related bowl) peaks in the background, incorporating rustic dwellings, several figures in 䫮䫺⢾⡩ẍ⮓シㇳ㱽䔓㺧Ḯ㧡㛐暚曏丂丆䘬ⰙⲘ炻側㘗䁢悱㛹⮷⯳炻凡 painting and carved boats on a lake, signed Zhang Zhitang with one seal reading Zhitang, the ᶲ㚱Ṣ䈑ˤ⻝⽿㸗⮓娑᷎句㫦烉庽凇㴖㯜朊/剛⼹⺽Ⱉ⁊/ㆲ⫸⸜⢷㚰㗇㰇⻝ sgraffiato decor 忻㫦冯⸜ẋ䰱⼑傕傪䲭⛘ countersunk base with one seal Yitao Zhai (Yitao Studio), the inscription ⽿㸗⭊㕤䎈Ⱉ China, Daoguang period 平忻攳Ⱉ㯜⚾䙴 reading “the light boat hovers above the lake, the scented path leads to 1821-1850 昞䒟炻䏢䎭⼑炻平忻 the dwelling in the mountain”. ⻝⽿㸗炷1893-1971炸⛐ ℓ 㬚 㗪 攳 ⥳ ⬠ 佺 䒟 ☐ˤ Ṿ⛐1937⸜军1944⸜攻⯌ ᷕ⚳炻忻炷1821-1850炸 ℞㳣帵炻䔞㗪Ṿᷣ天⛐䒟㜧ᶲ䔓桐㘗䔓ˤ 㖑⸜Ṿ⍿⬳⃫Ⱉ㯜䔓䘬⼙枧ˤ With deep rounded sides, Zhang Zhitang (1893-1971) began learning to paint on porcelain when he 1945⸜⼴炻Ṿ⛐㰇大昞䒟⬠昊㘗⽟捖昞䒟⬠昊㑼ả嫃ⷓˤ Ṿ䘬ⶍἄ⭌ the exterior painted with ⚾䙴㔆⎋⢾㐯炻⢾⡩ᶲ䰱⼑丒 was just eight years old. He was most productive between the years of 1937 ⎵⎓“Ṏ昞滳”ˤ four medallions depicting 墥攳Ⱉ㯜炻平忻㘿⇣丷㝅剙 - 1944 when he mostly painted landscapes on porcelain plaques. In his early 䫮䫺⼊⯢⮠烉檀15 cm mountainous landscapes, ⋱䲳炻ℏ悐丒㚱ᶨ⚰ℓ奺⼊剙 years he was influenced by Song and Yuan landscape painting. After 1945, ⑩䚠㤝⤥ all divided by floral scrolls, ⋱䲳慹⼑炻䠿⸽⎗夳曺剙慱ᶳ he held posts as an instructor at the Jiangxi Provincial Pottery College and James E. Breece III 㓞啷 (㓞啷㧁䯥夳䫮䫺⸽悐) the interior painted with a ⼑ℕ⫿㫦ˤ the Jingdezhen Ceramic Institute. His studio name was Yitao Zhai. 㔯䌣⍫侫烉˪ᷕ⚳䱦伶昞䒟冯ⶍ喅⑩˫炻喯 㭼炻䲸 䲬炻2012⸜3㚰20㖍炻319 stylized octagonal rosette 䠿⼊ 嘇㉵⑩炷⎎ᶨẞ䚠Ụ䫮䫺炸 highlighted in gilt, the base ⯢⮠烉䚜⼹14,5 cm Shape: Brush pot with a six-character seal ⑩䚠列⤥炻怲䶋㚱⮷塪䷓炻⒯ Dimensions: 15 cm (height) Estimate EUR 1.000,- mark painted in blue under 㱧ᶲ㚱⮷柮䰺 Condition: Excellent Starting price EUR 500,- the glaze. 伶⚳䥩Ṣ㓞啷 Provenance: Collection of James E. Breece III (collection label to bottom) 㔯䌣⍫侫烉˪ᷕ⚳喅埻⑩⊭㊔ Shape: Bowl 嵁⽆埵⭞㕷㓞啷喅埻䍵⑩˫炻 Dimensions: 14,5 cm 喯㭼炻楁㷗炻2017⸜11㚰30 (diameter) 㖍炻652嘇㉵⑩ (ᶨᾳ䚠Ụ䠿) Condition: Good condition with ‘y’ form hairline on Estimate EUR 1.500,- the rim and some scattered Starting price EUR 750,- fritting on the lip Provenance: American private collection
142 143 135 A PORCELAIN BOWL ‘ZHANG DAOLING FINDING THE WHITE TIGER’ at the ‘Dragon and Tiger Mountain” which we can see at the picturesque White glazed porcelain with multi-colored enamels and gold lining landscape, painted on the bowl. China, late Qing Dynasty or Republic period Shape: Bowl shape with accentuated foot rim and flared neck 137 This finely hand painted porcelain bowl shows a Jiaqing reign seal-mark, Dimensions: 17,2 cm (diameter), 7,5 cm (height) A LARGE PORCELAIN TEA, COFFEE AND DINNER SERVICE, ca. 120 PIECES, painted in iron red over the glaze, on the underside. Condition: REPUBLIC PERIOD Very good condition with some abrasions to the gold lining Each piece with a dedication for “10 years of service at the Farmers Bank of China” on The exterior features the vivid scenery of a famous yet rarely depicted Provenance: Hungarian Private Collection the backside Chinese legend. We see the Taoist sage, Zhang Daoling, seated in a China, between 1934 and 1949 palanquin and accompanied by a group of soldiers. A general on horseback 㶭ẋ㘂㛇ㆾ㮹⚳Ⱦ⻝忻昝⮳䘥嗶ȿ䒟䠿 is pointing in the direction of a farmer that has bound a tamed, white tiger ⑩䚠㤝⤥炻慹⼑㚱ᶨṃ䢐㎵ġ Each of the ca. 120 pieces neatly painted in fine multicolored enamels to depict various to a fence. Zhang Daoling is famed for missing the first potion of immortality ⊰䈁⇑䥩Ṣ㓞啷⭞ borders and motifs, such as dragon and phoenix, the character Zhou, bats and meander, after uniting the blue dragon with the white tiger. This took place all in slight relief and vivid colors. Estimate EUR 300,- Starting price EUR 150,- The Farmers Bank of China was founded on April 1, 1933, in Hankou, China, from the amalgamation of provincial agricultural banks in Henan, Hubei, Anhui and Jiangxi. Governed by the Farmers Bank of China Law, the bank was established to stimulate 136 agricultural development by providing lines of credit to farmers and rural landowners. AN EXPORT PORCELAIN Shape: Plate in pedestal shape The loans were intended for use to purchase equipment and crops. The bank was initially ROSE MEDALLION PLATE mount under majority government ownership. IN A EUROPEAN PEDESTAL Dimensions: 17 cm (height), 22,5 MOUNT, 19TH CENTURY cm (diameter) The bank became one of the four major banks of the Republican period. Along with the Porcelain with multi-colored Condition: Excellent condition Central Bank of China, Bank of China and Bank of Communications, the Farmers Bank enamels, bronze pedestal-shape with appealing patina to the of China was allowed to issue its own banknotes until 1942. The bank was relocated to mount bronze mount Chongqing in 1937, along with Kuomintang-led Nationalist Government during Second China, 19th century (plate) Provenance: Old Austrian Private Sino-Japanese War. The landslide victory of Chinese Communist Party on Chinese Civil Europe, around 1890 (bronze collection, assembled in the War forced the bank to flee to Taiwan in 1949. mount) 1930s to early 1950s Shape: Service Four alternating panels around a ⋩ḅᶾ䲨⢾扟⺋⼑䚌搚㫸㳚戭 Dimensions: 25 cm (diameter of the largest) central gold medallion enclosing 㟮冯⸽⹏ Condition: Good condition with some wear and traces of use, a bird and a tree peony ⑩䚠㤝⤥炻戭䘬悐↮⯨悐㚱扡䵈 several pieces chipped with related hairlines, incomplete, characterize the traditional ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩ ca. 120 pieces (not exactly counted) appearance of this plate. Within ⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ Provenance: Austrian private collection the four panels are birds, flowers, butterflies, and people Estimate EUR 200,- 㮹⚳ᶨ⣿勞℟ˣ┉℟㬋梸梸℟炻䲬120ẞġ in a house. Separating the panels Starting price EUR 100,- ⑩䚠列⤥炻㚱䢐㎵ἧ䓐䕽嶉炻ᾳ⇍㚱塪䲳炻ᶵ⬴㔜炻䲬120ẞ are scrollwork vines. The plate is ⤏⛘⇑䥩Ṣ㓞啷 set in a European pedestal-shape mount, made in classic style of Estimate EUR 300,- the Historicism era. Starting price EUR 150,-
144 145 138 140 A MIDNIGHT BLUE SILK LADY’S ROBE WITH A 1920s MIDNIGHT BLUE SILK LADY’S ROBE WITH FLOWERS AND BUTTERFLIES, 1920s FLOWERS AND BUTTERFLIES Silk with multi-colored silk threads, pierced, woven Silk with multi-colored silk and gold brocade threads, application borders, embroidered bands at the hems and pierced, woven application borders embroidered bands at embroidered silk sleeve bands, inside with silk lining, the hems and embroidered silk sleeve bands, inside with three fabric buttons and loops at the front silk lining, three fabric buttons and loops at the front China, 1920s China, 1920s
This midnight blue silk Lady’s robe shows vivid This midnight blue silk Lady’s robe shows vivid embroidery embroidery decoration in rich colors. The embroideries decoration in rich colors. The embroideries depict floral depict floral arrangements and various traditional arrangements and archaically rendered butterflies. The symbols such as fish, butterflies, or gourds. The hems at hems at the lower part, collar and sleeves are featuring a the lower part, collar and sleeves are featuring a broad, broad, floral band embroidered in blue hues and stitched floral band embroidered in blue hues. Light silk bands with Buddhist symbols in gold brocade. Cream colored decorated with courtiers amidst picturesque landscapes silk bands decorated with a nobleman in a boat amidst a round off the sleeves. picturesque landscape round off the sleeves.
Shape: Robe Shape: Robe Dimensions: Total width (measured with stretched out Dimensions: Total width (measured with stretched out sleeves) 146 cm; maximum length 117 cm sleeves) 148 cm; maximum length 116 cm Condition: Excellent condition with only very few loose Condition: Very good condition with only very few loose threads threads Provenance: Old Austrian Private collection, assembled in Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s the 1930s to early 1950s
㮹⚳䞛曺䶆屜剙⋱圜圞⤛墪 1920⸜⇵⼴䞛曺䶆剙圞䲳⤛墪 ⑩䚠㤝⤥炻䦵㚱僓䵓 ⑩䚠㤝⤥炻⯨悐庽⽖僓䵓 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ
Estimate EUR 200,- Estimate EUR 200,- Startingg price EUR 100,- Starting price EUR 100,-
139139 141 A BRIBRIGHTG RED SILK LADY’S ROBE WITH ‘CHINESE AN EMBROIDERED SILK MANCHU LADY’S LEGENDS’,LEGEN 1920s INFORMAL ROBE, CHANGYI, QING SilkSilk withwit multi-colored silk threads, woven application Textured silk with multi-colored silk and gold brocade borders,borders embroidered sleeve bands, inside with silk lining, threads, with pierced, woven application borders, four ffabricab buttons and loops at the front embroidered bands at the hems and embroidered silk China,China, 1920s sleeve bands, inside with silk lining, four fabric buttons and loops at the front ThisThis brbrighti red silk Lady’s robe shows vivid embroidery China, late Qing dynasty decorationdecorat in rich colors. To each side are three roundels withwith vivividv sceneries of lovers, dignitaries and disciples This bright blue Changyi robe shows delicate satin stitch as welwelll as a fighting scene. Floral arrangements, vegetal embroidery of floral arrangements in vessels as well as shapesshapes and butterflies round off the composition. The smaller floral and vegetal shapes. At the hems woven hems aat the lower part, collar and sleeves are featuring borders are applied and joined by a broad embroidered a broabroad,d flower and butterfly band embroidered in blue band with floral decoration and Buddhist symbols, hues.hues. TheT light blue silk sleeve bands are decorated with highlighted using gold brocade. Richly decorated, creme flowers,flowers fruits and vessels, partially executed in Peking colored silk bands with flowers, birds, butterflies and rocks, knotknot stitch.sti crafted in Peking knot stitch, further adorn the sleeves.
Shape:Shape: Robe Shape: Changyi robe Dimensions:Dimens Total width (measured with stretched out Dimensions: Total width (measured with stretched out sleeves)sleeves) 124 cm; maximum length 102 cm sleeves) 138 cm; maximum length 108 cm Condition:Conditi Good condition with extensive staining and Condition: Very good condition with minor staining and only very few loose threads very few open stitches or loose threads. Inside lining is Provenance: Old Austrian Private collection, assembled in worn and shows small holes and tears the 1930s to early 1950s Provenance: Old Austrian Private collection, assembled in the 1930s to early 1950s 㮹⚳䲭䶆ȾṢ䈑 㓭 ḳ ȿ⮵备⤛墪 ⑩䚠列⤥炻⣏朊䧵刚㰉炻ṃ⽖㜦䵓 㶭ẋ㺧㕷啵⸽屜剙⋱屜⨎ⷠ堋 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ ⑩䚠㤝⤥炻庽⽖㝻刚冯㔋䵓炻ℭ夗䢐㎵⸞㚱⮷㳆㯜嶉 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ Estimate EUR 200,- Starting price EUR 100,- Estimate EUR 200,- Starting price EUR 100,-
146 147 142 A MIDNIGHT BLUE SILK LADY’S ROBE WITH AUSPICIOUS BRIDS, FLOWERS AND FRUITS, QING Silk with multi-colored silk threads, embroidered collar band, plain black silk bands at the hems, inside with gauze lining, four double loops at the front China, late Qing dynasty
This midnight blue silk Lady’s robe shows finely executed embroidery decoration in rich colors. We see a dense arrangement of auspicious fruits, flowers and birds. Phoenixes, cranes, birds of paradise and other birds fly amidst peaches, lingzhi, peonies as well as many other floral and vegetal ornaments.
Shape: Robe Dimensions: Total width (measured with stretched out sleeves) 160 cm; maximum length 110 cm Condition: Good condition with few tears, missing buttons and only very few loose threads 144 Provenance: Old Austrian Private collection, A LARGE SILK BROCADE PANEL WITH Shape: Rectangular panel assembled in the 1930s to early 1950s VINES AND LEAVES, QING DYNASTY Dimensions: 108 x 170 cm Silk with multi-colored silk threads, Condition: Good condition with minor wear 㶭ẋ䞛曺䶆䈉ᷡ屜剙沍䲳⮵备⤛墪 segmented, backside lined with silk and only few loose threads. Backside silk ⑩䚠列⤥炻⯨悐㚱㯜㻔炻㰺㚱䲸㈋炻庽⽖㔋䵓 China, Qing Dynasty only fair condition ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻岤ℍ Provenance: Old Austrian Private collection, This large woven silk brocade panel shows assembled in the 1930s to early 1950s Estimate EUR 200,- a dark red background and is overtly Starting price EUR 100,- decorated with vines and leaves held in 㶭ẋ⣏✳啵挃剙叱䲳㊪ⷭ white and gold colors. Six turquoise colored ⑩䚠列⤥炻㚱庽⽖䢐㎵炻⮹慷㜦䵓ˤ側朊䴚䵊 square reserves are sawn onto the brocade, ⑩䚠⯂⎗㍍⍿ˤ 143 again executed in weaving and with some ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩ A QING DYNASTY WEDDING SKIRT WITH satin stitches. ⸜ẋ攻岤ℍ DRAGON AND PHEONIX Silk with silk threads, linen waistband with two Estimate EUR 200,- loops; with woven application borders, silk net and Starting price EUR 100,- tassels as well as silk backing - on the two main panels 146 China, late Qing Dynasty LOT WITH TWO PEKING KNOT EMBROIDERED COLLARS, 1900s The two main panels of this Qing dynasty wedding Silk with multi-colored silk threads, plain black silk skirt feature the dragon and the phoenix, symbols hem borders, backside silk lining (black collar only) of the Chinese Emperor and Empress. There are 24 China, around 1900 more narrow panels, embroidered to both sides, with flowers and fruits. The first collar in this lot shows a black silk background and is neatly stitched in Peking knot technique with butterflies, birds, flowers and fruits Shape: Wraparound skirt as well as a tiger’s head. The second collar shows Dimensions: Total width (measured at the waist) 114 a light orange background with a satin stitch cm; maximum length 95 cm swastika décor and a total of eight reserves with Condition: Good condition with minor wear, slight auspicious fruits and flowers, executed in Peking soiling and some loose threads – mainly at the stitch technique. margin 145 Provenance: Old Austrian Private collection, Shape: collars with jagged fronts A SILK PANEL WITH SEVEN UNCUT Dimensions: 54 x 112 cm assembled in the 1930s to early 1950s Dimensions: 29 x 36 cm (orange collar); 26 x 30 cm EMBROIDERED HEM BANDS, QING (size of the sheet), 7,5 x 102 cm (black collar) Silk with multi-colored silk & gold brocade (approximate size of each band) 㶭ẋ漵沛䲳⨂墁 Condition: Good condition, color fading, some threads Condition: Very good condition with only ⑩䚠列⤥炻庽⽖䢐㎵炻⯨悐㚱㰉㻔炻怲䶋悐↮㚱僓䵓 small holes and few loose threads China, late Qing Dynasty very few loose threads ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻 Provenance: Old Austrian Private collection, Provenance: Old Austrian Private collection, 岤ℍ assembled in the 1930s to early 1950s This lot comprises a total of seven finely assembled in the 1930s to early 1950s embroidered hem bands with floral Estimate EUR 200,- 1900⸜⇵⼴ḹ偑ℑẞ decoration and gold brocade lining – all 㶭ẋᶱ啵ᶫẞ㛒塩−⇢䴱墁⫸ᶳ㒢 Starting price EUR 100,- ⑩䚠列⤥炻⯨悐壒刚炻㚱ṃ⮷㳆庽⽖僓䵓 still on an uncut piece of silk. The floral ⑩䚠㤝⤥炻⯨悐庽⽖僓䵓 ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ攻 arrangements are dense and show lotus ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩ 岤ℍ flowers, peonies, lingzhi and other ⸜ẋ攻岤ℍ auspicious flowers and plants. Estimate EUR 200,- Estimate EUR 200,- Starting price EUR 100,- Shape: Trapezoidal shape Starting price EUR 100,-
148 149 147 148 A KESI CHAIR COVER WITH A VERY LARGE SILK WALL- MANCHURIAN CRANES, QING HANGING WITH AUSPICIOUS Silk with Kesi weaving, silk and gold FRUITS, FLOWERS AND threads BUTTERFLIES, QING China, Qing Dynasty Silk with multi-colored silk threads, segmented, backside lined with linen Depicted are two reserves with China, late Qing Dynasty Manchurian cranes holding the peaches of longevity in their beaks and set inside This very large, red background an ornamental frame with auspicious silk embroidery shows satin stitch objects. Above one crane ornament is embroidery in bright colors. The panel a undulated reserve with more peaches shows auspicious floral arrangements, and above the other is an ornamental fruits, lingzhi and butterflies. Ruyi scepter with a butterfly and the double-fish symbol. The fine Kesi Shape: Rectangular panel technique and the fact that the crane Dimensions: 166 x 292 cm was the highest civic rank at the period Condition: Good condition with make this unusual chair cover highly stains, minor fading and only few collectible. loose threads. Not all segments are matching Shape: Rectangular panel Provenance: Old Austrian Private Dimensions: 49,5 x 171 cm collection, assembled in the 1930s to Condition: Good condition with minor early 1950s wear, slight soiling and some loose threads – mainly at the margin 㶭ẋⶐ✳䲭⸽䈉ᷡ屜剙沍䲳㊪ⷭ Provenance: Old Austrian Private ⑩䚠列⤥炻㚱㰉㻔炻庽⽖壒刚炻⯨悐䴚 collection, assembled in the 1930s to 䵓檮㔋炻⯨悐ᶵ⋡惵 early 1950s ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军 Ḽ⋩⸜ẋ攻岤ℍ 㶭ẋ䶁䴚ẁ浜䲳㢭⣿ ⑩䚠列⤥炻庽⽖䢐㎵冯㰉㻔炻怲䶋悐ỵ Estimate EUR 200,- 㚱㜦䵓 Starting price EUR 100,- ⤏⛘⇑䥩Ṣ侩㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ ⋩⸜ẋ攻岤ℍ
Estimate EUR 200,- Starting price EUR 100,-
150 150 A VERY HEAVY HARDWOOD LOW TABLE, QING DYNASTYġ Made of several jointed pieces of dark and massive hardwood, with a good patina. This wood will not swim in water. China, 18th - 19th century
The tabletop with a circumferential carved openwork siding of stylized Chilong openwork borders in high relief. All four feet carved with stylized meander emblems at their lower ends. 149 151 152 A SQUARE WOODEN TWO-STOREY HIGH TABLE, QING DYNASTYġ Shape: Square A RECTANGULAR WOODEN FLOWER STAND, QING DYNASTYġ A RECTANGULAR WOODEN ‘CHILONG’ FLOWER STAND, QING Made of several jointed pieces of darker hardwood, likely Hongmu, with Dimensions: 55 x 52 x 52 cm. Made of several jointed pieces of darker hardwood, likely Hongmu, DYNASTYġ a good patina Condition: Good condition with some wear and minor nicks here and with a good patina, the tabletop with a square-shaped inset made of a Made of several jointed pieces of darker hardwood, likely Hongmu, China, 19th – earlier 20th century there, some older scratches different wood with a very characteristic grain, possibly walnut with a good patina Provenance: Austrian private collection, assembled in Asia in and before China, 19th – earlier 20th century China, 19th – earlier 20th century The tabletop carved with a circumferential siding of floral borders in the 1930s high relief, depicting leafy blossoms surrounded by ruyi and tassels. All The tabletop carved with four sidings of openwork borders in high relief, The tabletop carved with three sidings of openwork borders in high four feet carved with stylized meander emblems at their lower ends. The 㶭ẋᶨ⻝㤝慵䠔㛐䞖㟴 depicting abstracted flowers surrounded by meander. All four feet left relief, depicting abstracted Chilong. All four feet left undecorated. siding of the lower tabletop with stylized meander borders as well. ⑩䚠列⤥炻㚱ᶨṃ䢐㎵炻⯨悐㚱䡽䡘炻冲䘬∫䕽 undecorated. ⤏⛘⇑䥩Ṣ㓞啷炻⛐ᶲᶾ䲨ᶱ⋩⸜ẋ⛐Ṇ㳚岤⼿ Shape: Rectangular Shape: Square Shape: Square Dimensions: 66 x 44 x 32 cm. Dimensions: 80 x 46 x 46 cm. Estimate EUR 300,- Dimensions: 72 x 34 x 34 cm. Condition: Good condition with some wear and minor nicks here and Condition: Good condition with some wear and minor nicks here and Starting price EUR 150,- Condition: Good condition with some wear and minor nicks here and there, some older scratches there, some older scratches there, some older scratches Provenance: Austrian private collection, assembled in Asia in and Provenance: Austrian private collection, assembled in Asia in and before Provenance: Austrian private collection, assembled in Asia in and before before the 1930s the 1930s the 1930s 㶭ẋȾ坕漵䲳ȿ䠔㛐剙ↈ 㶭ẋ䠔㛐暁Ⰼ檀儧㕡㟴 㶭ẋ䠔㛐剙ↈ ⑩䚠列⤥炻㚱ᶨṃ䢐㎵炻⯨悐㚱䡽䡘炻冲䘬∫䕽 ⑩䚠列⤥炻㚱ᶨṃ䢐㎵炻⯨悐㚱䡽䡘炻冲䘬∫䕽 ⑩䚠列⤥炻㚱ᶨṃ䢐㎵炻⯨悐㚱䡽䡘炻冲䘬∫䕽 ⤏⛘⇑䥩Ṣ㓞啷炻⛐ᶲᶾ䲨ᶱ⋩⸜ẋ⛐Ṇ㳚岤⼿ ⤏⛘⇑䥩Ṣ㓞啷炻⛐ᶲᶾ䲨ᶱ⋩⸜ẋ⛐Ṇ㳚岤⼿ ⤏⛘⇑䥩Ṣ㓞啷炻⛐ᶲᶾ䲨ᶱ⋩⸜ẋ⛐Ṇ㳚岤⼿ Estimate EUR 300,- Estimate EUR 300,- Estimate EUR 300,- Starting price EUR 150,- Starting price EUR 150,- Starting price EUR 150,-
152 153 153 AN OCTAGONAL WOODEN SIDE TABLE, QING DYNASTYġ Made of several jointed pieces of hardwood, likely Hongmu, with a good patina China, 19th – earlier 20th century
The tabletop with a circumferential carved siding of floral borders in high relief, depicting chrysanthemum with its leaves and tendrils. All eight feet carved with single palm leaf emblem at their lower end.
Shape: Octagonal Dimensions: 83 x 62 x 55 cm. Condition: Good condition with some wear and minor nicks here and there, some older scratches Provenance: Austrian private collection, assembled in Asia in and before the 1930s
㶭ẋ䠔㛐ℓ奺㛐㟴 ⑩䚠列⤥炻㚱ᶨṃ䢐㎵炻⯨悐㚱䡽䡘炻冲䘬∫䕽 ⤏⛘⇑䥩Ṣ㓞啷炻⛐ᶲᶾ䲨ᶱ⋩⸜ẋ⛐Ṇ㳚岤⼿
Estimate EUR 300,- Starting price EUR 150,-
154 155 AN RECTANGULAR WOODEN HIGH TABLE, QING A PAIR OF SIGNED ‘DREAMSTONE’ MARBLE AND WOOD DYNASTY CHAIRS, QING DYNASTY Made of several jointed pieces of darker hardwood, likely Made of several jointed pieces of hardwood, likely Hongmu, Hongmu, with a good patina with a good patina, as well as painted marble medallion- China, 19th – earlier 20th century shaped insets, signed Bailong (white dragon) Jushi (resting scholar) from Xinan The tabletop with a circumferential carved siding of floral China, 19th – earlier 20th century borders in high relief, depicting peonies with its leaves and tendrils. All four feet carved with stylized meander Carved with a circumferential design of aligned clouds in high emblems at their middle and lower ends. relief, the feet with further borders and emblems of vines and stylized clouds. With two Qing dynasty chair cushions, Shape: Rectangular depicting mountainous landscapes. Dimensions: 94 x 84 x 44 cm. Condition: Good condition with some wear and minor The painted marble depicting a mystic river landscape in one nicks here and there, some older scratches, one of the medallion and a colossal group of mountains in the other. border sections is loose Provenance: Austrian private collection, assembled in Shape: Rectangular chairs Asia in and before the 1930s Dimensions: 98 x 58 x 44 cm. Condition: Good condition with some wear and minor nicks 㶭ẋ攟㕡䠔㛐檀僂㟴 here and there, some older scratches, the cushions with ⑩䚠列⤥炻㚱ᶨṃ䢐㎵炻⯨悐㚱䡽䡘炻冲䘬∫䕽 extensive wear and tearing ⤏⛘⇑䥩Ṣ㓞啷炻⛐ᶲᶾ䲨ᶱ⋩⸜ẋ⛐Ṇ㳚岤⼿ Provenance: Austrian private collection, assembled in Asia in and before the 1930s Estimate EUR 300,- Starting price EUR 150,- ᶨ⮵㶭ẋ㻊䘥䌱㛐㢭 ⑩䚠列⤥炻㚱ᶨṃ䢐㎵炻⯨悐㚱䡽䡘炻冲䘬∫䕽炻⠲⫸䢐㎵庫 ⍚⭛ ⤏⛘⇑䥩Ṣ㓞啷炻⛐ᶲᶾ䲨ᶱ⋩⸜ẋ⛐Ṇ㳚岤⼿
Estimate EUR 300,- Starting price EUR 150,-
154 155 156 157 A CHINESE PAINTED AND GILT BLACK LACQUER A CHINESE PAINTED AND GILT BLACK SQUARE LOW TABLE, QING DYNASTYġ LACQUER ROUND LOW TABLE, QING Made of several jointed pieces of hardwood, entirely DYNASTYġ coated with black lacquer, delicately painted with Made of several jointed pieces of hardwood, polychrome lacquer above entirely coated with black lacquer, delicately China, 19th – earlier 20th century painted with polychrome lacquer above China, 19th – earlier 20th century The tabletop with a circumferential carved openwork siding of sectional borders showing alternating The tabletop with a circumferential carved geometrical and floral designs. The top elaborately siding of sectional openwork borders. The top painted with scholars, noble ladies and their attendants elaborately painted with scholars, noble ladies in a majestic mountainous landscape. Four feet. and their attendants in a majestic mountainous landscape. Five feet. Shape: Square Dimensions: 46 x 38 x 38 cm. Shape: Round Condition: Good condition with some wear and minor Dimensions: 48 cm (height) 36 cm (maximum nicks here and there, some older scratches diameter) Provenance: Austrian private collection, assembled in Condition: Good condition with some wear Asia in and before the 1930s and minor nicks here and there, some older scratches 㶭ẋ檡湹㺮慹⼑㕡㟴 Provenance: Austrian private collection, ⑩䚠列⤥炻㚱ᶨṃ䢐㎵炻⯨悐㚱䡽䡘炻冲䘬∫䕽 assembled in Asia in and before the 1930s ⤏⛘⇑䥩Ṣ㓞啷炻⛐ᶲᶾ䲨ᶱ⋩⸜ẋ⛐Ṇ㳚岤⼿ 㶭ẋ檡湹㺮慹⼑⚻㟴 Estimate EUR 300,- ⑩䚠列⤥炻㚱ᶨṃ䢐㎵炻⯨悐㚱䡽䡘炻冲䘬∫䕽 Starting price EUR 150,- ⤏⛘⇑䥩Ṣ㓞啷炻⛐ᶲᶾ䲨ᶱ⋩⸜ẋ⛐Ṇ㳚岤⼿
Estimate EUR 300,- Starting price EUR 150,-
156 157 IMPRINT Design (graphics) 158 Gregor Zinggl A HARDWOOD DISPLAY TABLE-CABINET, LATE QING DYNASTY Publisher The wood with an overall consistent golden-yellow grain and good patina GALERIE ZACKE Chinese Translation China, 19th – earlier 20th century 1070 WIEN (VIENNA) Zhang Jue Mariahilferstraße 112 The two doors carved in high relief with a depiction of cherry blossoms, AUSTRIA Assistance bamboo and chrysanthemum springing from rockwork. The various Marion Schor compartments surrounded by raised and neatly executed openwork borders. Tel (0043-1) 532 04 52 Fax +20 Norbu Thondup Email: offi[email protected] Lukas Zacke Shape: Display cabinet Dimensions: 53 x 42 x 12.5 cm Editor Printing Condition: Excellent, with only very minor nicks Irene M. Zacke Gröbner Druck Provenance: The estate of Mrs. Szechenyi, Florida, USA Oberwart Expert Detail of the grain at the top of the cabinet 㘂㶭䠔㛐⣂⮞㟤 Alexander Zacke Website ⑩䚠㤝⤥炻堡㚱㤝⮷仢⎋ Susanne Zacke www.zacke.at 伶⚳⺿㳃慴忼 Szechenyi怢䓊 Photography © Copyright GALERIE ZACKE Estimate EUR 300,- Georg Bodenstein Reproduction forbidden Starting price EUR 150,- Mani Hausler Errors excepted
158 159 Terms of Auction - www.zacke.at
§ 1) The auction shall be carried out in accordance with the provisions of the rules of procedure of checked prior to the auction. These items are used. Any claims for damages exceeding the liability GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA (hereinafter referred to as the company) as named above and resulting from other material defects or other defects of the item shall be well as in accordance with sections 244-246 of the Gewerbeordnung [Industrial Code] 1994. The excluded. When making the bid, the bidder confirms that it has seen the item prior to the auction auction shall be carried out on commission. The auctioneer shall be entitled to withdraw lots and has made sure that the item corresponds to the description. exceptionally, to conduct out the auction deviating from the order of the catalogue numbers and to § 11) ) If a customer is not able to participate in an auction personally, the company shall accept offer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has missed purchase orders. These orders may be placed in writing, via email or fax. In the case of a purchase a bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue order placed by phone or orally, the company shall reserve the right to make the performance auctioning off the item. The figures attached to the text shall be the expected last and highest bid dependent on a confirmation from the principal communicated in writing, via email or fax. in EURO (€) from the respective expert. As a rule, the bid shall be increased by 10% of the last bid. Furthermore, the company shall not be liable for the performance of purchase orders. Purchase (See list of the bidding increments). orders with equal top bid limits will be considered in the order of their receipt. Bids which are § 2) § 2) The acceptance ofof a a bid bid shall shall be be granted granted to to the the highest highest bidder bidder unless unless a hidden a seller’s reserve reserve has pricebeen only one increment above the starting price shall be exhausted totally. Bids which do not hasagreed been upon agreed with with the consignor the consignor. of the Such item ain seller’s question. reservation Such a hidden (also reservereferred (also to as called limit) limit shall or be correspond to the increments determined by the company (see bidding increments) in tabular thejust minimumreserve) shall price be limit the belowminimum which price particular under which lots theshall item not will be notsold be during sold during the auction. the auction. This limit form will be rounded up to the next higher increment. The table of these increments can be sent shaThisll reservebe disclosed will be upon disclosed request upon and request may not only exceed and may the exceed lower theestimated estimate. price. The Ifauctioneer a limit (seller’s will upon request. reservein this case price) bid is on not behalf achieved, of the the seller bid against of the allhighest other bidderbidders shall until be the accepted reserve hassubject been to reached. If In the case of lots auctioned“without any limits“, bids below the estimated price shall be a reserve is not reached during the auction, the auctioneer will knock down the item to the highest reservationsbidder at the only. final Inbid, this but case, the salethe highestwill be conditional bidder shall of bethe bound acceptance to its ofhighest this final bid bidfor bya periodthe seller. of 8 exhausted totally. The written bid (purchase order) must include the item stating the catalogue (eight)In this caseworking the highestdays. If bidderthe highest shall bebid bound from tothe his/her highest last bidder bid for is anot term finally of 8 daysaccepted starting within with this the number and the offered top bid limit which is quoted as the amount of the acceptance of the bid periodday of theof ti knockdown.me, its binding If the commitment winning bidder to this does bid not shall receive expire. a written In order cancellation for the final notice acceptance within of without buyer’s commission and without value added tax. thethis bidterm to of become 8 days, effective,the knockdown it is sufficient becomes to unconditional send a corresponding and the sale notification is final. Typically, to the address not more Ambiguities shall be carried by the bidder. A purchase order which has already been placed may namedthan 15% by ofthe all highest items in bidder an auction within have the astated hidden period reserve. of 8 working days. only be cancelled if the written withdrawal is received by the company at least 72 hours prior to § 3) All items shall be subject to differential taxation. A uniform surcharge of 22% plus the value the beginning of the auction. added tax applicable to the surcharge to the amount of 20% shall be added to the achieved § 12) The company may refuse to process a purchase order without explanation until offering or highest bid (final and highest bid). Thus the surcharge shall be 26.4% of the final and highest bid make this dependent on payment of a deposit. In the event of an unsuccessful order, such a in total. deposit will be reimbursed by the company within 5 working days. Processing of purchase orders § 4) In the event of sales abroad, the value added tax will be repaid if the item is sold to a is free of charge. country which is not a member country of the European Union (third country), the legal § 13) Every contributor shall in principle be entitled to withdraw the items offered for auction requirements are met and the proof of exportation is provided. The value added tax shall not be until the start of the auction. Therefore, it is impossible to assume liability or to give warranty for shown separately on the invoice. the actual offering. § 5) The auction buyer must pay the purchase price immediately upon acceptance of the bid (final § 14) Items paid must be collected within 30 days of payment. Items which have not been and highest bid plus 22% surcharge, plus the value added tax applicable to the surcharge to the collected may be delivered without further communication at a starting price from the recent amount of 20%). However, the company may grant the auction buyer a respite for the payment of auction reduced by 50% after 30 days from the respective auction date. Items which have not the purchase price in whole or in part in individual cases. If a respite is refused, the acceptance of been collected within 3 (three) working days after the auction or for which the company does not the bid may be revoked and the item may be reoffered . In the event of revocation of the receive any proper shipping instructions stating the type of shipping and the address of dispatch acceptance of the bid, the company shall be entitled to accept the last bid from the underbidder. (independent of a possibly placed purchase order) within 3 (three) working days after the auction § 6) In the event of respite in whole or in part, the company shall be entitled to charge default shall be stored at the owner’s risk. interest (12% p.a.) as well as storage charges (2.4% of the final and highest bid per month Furthermore, the company shall be entitled to store items which have been purchased at auction commenced) after 14 days upon acceptance of the bid. The item purchased at auction shall be and paid but not collected at the buyer’s risk and expense, including the costs for an insurance, handed over exclusively upon full payment of the purchase price including all costs and charges with a forwarding agency. It shall be understood that the provisions concerning the re-auctioning accrued since the acceptance of the bid. of unpaid and paid but not collected items must also apply to items not exhibited or stored on the § 7) The buyer can take acquired items in possession, as far as possible, immediately or after the premises of the company. The ownership shall be transferred the buyer at the time of handing end of the auction. Items which have been fully paid for shall be handed over in our show rooms over the delivery note. in GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA. If a deferred purchase price is not paid § 15) In the case of mixed lots with a starting price of less than EUR 350.00, the company shall within the set period, the company shall be entitled to auction the item again in order to recoup not warrant for the completeness or correctness of the individual items within a mixed lot. its claim from the defaulting auction buyer. In this case, the defaulting auction buyer shall be li- § 16) A registration for a bid by telephone for one or several items shall automatically represent able to the company for the total loss of commission incurred by the company due to the re-auc- a bid at the starting price for these items. If the company cannot reach the bidder by telephone, it tion as well as for any default interest and storage charges. will bid on behalf of the bidder by phone up to the starting price when the respective auction lot § 8) The company shall be entitled to a lien on all items of the buyer irrespective of whether the is called. buyer bought them within the scope of an auction or in free sale or the company secured § 17) Payments made to the company by mistake (through the payer’s fault) (e.g. due to ownership of these items otherwise. This lien shall serve to secure all current and future, qualified, miscalculation of the exchange rate by the payer) or payments made to the company for the same limited and unmatured claims to which the company is entitled and which result from all legal invoice several times shall be compensated in form of a credit note for goods for an indefinite transactions concluded with the buyer. period of time. The repayment of such payments in cash shall be excluded. § 9) The items received for auction will be exhibited and may be viewed prior to the auction. In § 18) In the case of individual auction lots, it may happen that they are delivered several times. doing so, the company shall give everyone the opportunity to check the nature and the condition In such a case, the auctioneer may accept a second or third etc. bid from the underbidder(s). of the exhibited items to the extent deemed possible within the scope of the exhibition. Every In this case, the text in the catalogue and not the illustration in the catalogue shall also be bidder shall be deemed to act on its own behalf unless it provides a written confirmation saying exclusively binding with regard to the warranty (relating to these auction lots). that it acts as a representative of a well-known principal. The company may refuse bids; this shall § 19) When making a bid, whether personally, in writing or by telephone, the bidder shall particularly apply if a bidder who is unknown to the company or with whom the company has no acknowledge these terms of auction, the AGB (General Terms and Conditions) as well as the rules business connections yet does not provide security by the beginning of the auction at the latest. of procedure and the schedule of fees (as amended) of the company. However, in principle there shall be no claim to accept a bid. If a bid has been refused, the § 20) The place of performance of the contract brought about between the company on the one previous bid shall remain effective. hand and the seller as well as the buyer on the other hand shall be the place of business of the § 10) The company’s experts evaluate and describe the items received for auction and determine company. The legal relationships and contracts existing between the company, the sellers and the the starting prices unless otherwise stated in the catalogue or expert opinion. The information buyers shall be subject to the Austrian substantive law. The company, the sellers and the buyers concerning production technique or material, state of preservation, origin, design and age of an shall agree to settle all disputes resulting from, concerning and in connection with this contract item is based on published or otherwise generally accessible (scientific) findings concluded by the before the territorially competent court of Vienna. company’s experts with the necessary care and accuracy. The company shall warrant to the buyer § 21) The export of art objects from Austria, when indicated, shall require a permit from the according to §22 of the AGB (General Terms and Conditions) that properties are correct provided Bundesdenkmalamt [Federal Monuments Office]. In any event, the company shall orally provide that any possible complaints referring to this are made within four weeks upon their taking into information about art objects for which an export permit will probably not be granted at the be- possession. Subsequent complaints shall be excluded in principle. The company shall not be liable ginning of the auction. for any further information in the catalogue and expert opinion as well. This shall also apply to § 22) Zacke reserves the right to assign to the customer all rights and obligations resulting from illustrations in the catalogue. The purpose of these illustrations is to guide the potential buyer the contractual relationship between Zacke and the contributor by a way of a respective during the preview. They shall not be authoritative for the condition or the characteristics of the declaration, as well to assign to the contributor all rights and obligations resulting from the pictured item. The catalogue and the expert opinions shall only mention defects and damage contractual relationship between Zacke and the customer by way of a respective declaration, in affecting the artistic or commercial value significantly. Complaints concerning the price shall be each case in terms of a complete assignment of contract with the result that the contractual excluded upon acceptance of the bid. The company reserves the right to amend catalogue relationship – following the submission of the aforementioned declarations by Zacke – shall information prior to the auction. These amendments shall be made either by a written notice at exclusively be between the contributor and the customer, which is in accordance with the basic the place of auction or orally by the auctioneer immediately prior to offering of the respective model of the commission agreement. Customers and contributors shall already now give their item. In this case, the company shall be liable for the amendment only. All items offered may be explicit consent to this contract assignment. Lot 21 AN IMPORTANT MUTTON FAT WHITE JADE ‘LION’ FANGGU VASE, QIANLONG PERIOD
160 1070 VIENNA AUSTRIA MARIAHILFERSTRASSE 112 Tel +43 1 532 04 52 Fax +20 E-mail offi[email protected]
www.zacke.at