AUCTION DECEMBER 8TH 2018

Fine Chinese Art ᷕ⚳喅埻普䍵 Japanese and Buddhist Art 㖍㛔⍲ἃ㔁喅埻 FRONT COVER LOT 153 A PORCELAIN FIGURE OF LI TIEGUAI BY ZENG LONGSHENG

BACK COVER LOT 223 AN IMPORTANT MUROMACHI PERIOD WOOD FIGURE OF AIZEN MYO-O

AUCTION Fine Chinese Art ᷕ⚳喅埻普䍵 Japanese and Buddhist Art 㖍㛔⍲ἃ㔁喅埻 Saturday December 8th 2018 at 1pm CET CATALOG CA1218

VIEWING www.zacke.at

IN OUR GALLERY

December 3rd – December 8th Monday – Friday 10 AM – 6 PM Saturday December 8th 10 AM – 12.30 PM and by appointment

GALERIE ZACKE MARIAHILFERSTRASSE 112

LOT 71 A LARGE AND IMPORTANT 1070 VIENNA AUSTRIA 14TH CENTURY LIMESTONE STELE OF A DEVI Tel +43 1 532 04 52 Fax +20 E-mail offi[email protected]

1 IMPORTANT INFORMATION ABSENTEE BIDDING FORM (According to the general terms and conditions of business Gallery Zacke Vienna) FOR THE AUCTION FINE CHINESE ART JAPANESE AND BUDDHIST ART - CA1218 ON DATE Saturday December 8th 2018 at 1pm CET

NO. TITLE BID IN EURO

Endangered Species / CITES Information Some items in this catalogue may consist of material such as for example ivory, rhinoceros horn, tortoise shell, coral or any rare types of tropical wood, and are therefore subject to the Convention on International Trade in Endangered Species of Wild Fauna and Flora [CITES]. Such items may only be exported outside the European Union after an export permit in accordance with CITES has been granted by the Austrian authorities. Zacke Gallery cannot and does not guarantee that such export permit may or will be obtained, but will by order of the winning bidder, once and exclusively after the item in question has been paid in full, apply to obtain such a permit at a fixed administrative fee of euro 500, - per application.

PLEASE RAISE MY PURCHASE BID BY ONE PLEASE CALL ME IF THERE IS ALREADY A HIGHER WRITTEN BID BID STEP (APPROX. 10%) IF NECESSARY TEL

Notice: All bids are to be understood plus buyer`s premium (incl. VAT).

If you like to bid by telephone please write in the column purchase limit „ TEL” . A bid by telephone shall automatically represent a bid at the starting price for this item. If Galerie Zacke cannot reach the Client during the auction, Galerie Zacke will bid up to the starting price for him. If no one else bids on the corresponding good, then the Client shall automatically receive the winning bid at the starting price. TERMS OF PAYMENT, SHIPPING AND COLLECTION:

NAME EMAIL

With the signature on this form the client declares his consent to aforementioned commissioning of Galerie Zacke. Bids by telephone shall be governed by the AGB (terms and conditions) of Galerie Zacke. The AGB of Galerie Zacke are part of the commissioning of Galerie Zacke by the client. The client agrees with his signature ADDRESS that he has taken note of the AGB (terms and conditions) of Galerie Zacke and that he agrees with them. POSTCODE & CITY DATE & SIGNATURE

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CASH ON DELIVERY (MAILING) UP TO DEBIT OF CREDIT CARD PLEASE MARK THE DESIRED CARD WITH A CROSS: A VALUE OF 350 ONLY AMEX DINERS MASTERCARD VISA CUSTOMER COLLECTION PAYMENT ON SITE AND IN CASH, BY CHEQUE OR CREDIT NAME CARD

INVOICE PAYMENT UPON RECEIPT OF IN- CARD NUMBER VOICE - SHIPPING UPON RECEIPT OF PAY- MENT EXPIRY DATE

EXPRESS PARCEL SERVICE REQUIRED

TRANSPORT INSURANCE: PLEASE TAKE OUT A TRANSPORT INSURANCE POLICY FOR THE ITEMS I HAVE BOUGHT PURSUANT TO Further images of all lots at: www.zacke.at THE TERMS CONCERNING THE "SHIPPING AND TRANSPORT INSURANCE"

Galerie Zacke Mariahilferstr. 112, 1070 Vienna For your information: Email [email protected] At its auctions, the Galerie Zacke offers exclusively third-party contributions for sale on commission. We would like to draw your attention to the fact that, in case of any Tel +43-1-532 04 52 complaints arising from a purchase, these have to be reported to us within 6 weeks Fax +43-1-532 04 5220 after the receipt of the item.

2 3 ABSENTEE BIDDING FORM 50 YEARS ZACKE GALLERY FOR THE AUCTION FINE CHINESE ART JAPANESE AND BUDDHIST ART - CA1218 ON DATE Saturday December 8th 2018 at 1pm CET

NO. TITLE BID IN EURO

HOW TO FIND US ON MARIAHILFERSTRASSE:

BY PUBLIC TRANSPORT: 2-3 minutes from the U3 station ZIEGLERGASSE

3-5 minutes from the U3/U6 station WESTBAHNHOF

BY CAR: Best route: take the Gürtel to the Westbahnhof and turn onto Mariahilferstraße; house number 112 is just after the Kaiserstraße.

Access is possible by car, with loading and unloading all day as well as short term parking. Multiple garages directly nearby

ADDRESS: Mariahilferstr. 112 1070 Vienna STAIRCASE 1, 2nd FLOOR (ELEVATOR)

Further images of all lots at: www.zacke.at

4 5 TERMS OF AUCTION IMPRINT

§ 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 reservations only. In this case, the highest bidder shall be bound to its highest bid for a period of 8 exhausted totally. The written bid (purchase order) must include the item stating the catalogue bidder at the final bid, but the sale will be conditional of the acceptance of this final bid by the seller. (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 Publisher 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 GALERIE ZACKE § 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 1070 WIEN (VIENNA) 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 Mariahilferstraße 112 in total. deposit will be reimbursed by the company within 5 working days. Processing of purchase orders AUSTRIA § 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 Tel (0043-1) 532 04 52 Fax +20 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 Email: offi[email protected] 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 Editor 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 Irene M. Zacke 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 Experts 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 Alexander Zacke § 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. Susanne Zacke 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 Lukas Zacke 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 Photography § 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 Georg Bodenstein 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 Design (graphics) 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. Gregor Zinggl 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 Chinese Translation 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. Zhang Jue 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 Printing 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 Gröbner Druck transactions concluded with the buyer. period of time. The repayment of such payments in cash shall be excluded. Oberwart § 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). Website 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). www.zacke.at 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 © Copyright GALERIE ZACKE 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. Reproduction forbidden 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 Errors excepted 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.

6 7 2 A RARE POLYCHROME CARVED WOOD FIGURE OF ‘GUANYIN IN ROYAL EASE, KANGXI Carved of one single piece of hardwood, original and well-preserved polychrome lacquer painting and gilding China, 17th - 18th century

The Bodhisattva seated in a position of royal ease, wearing loosely draped robes and a long flowing scarf falling around her shoulders and arms, her face with meditative expression framed by long pendulous ears and hair piled high under her hood. she wears a floral necklace. Guanyin depicted in the posture known as the ‘royal ease’ became standard representation of the Bodhisattva of Compassion in paradise after the tenth century. The present figure is particularly simple in its modelling, with Guanyin conveying a sense of profound thought and wisdom. Hardwood base. (2)

Shape: Sculptural Weight: 963 grams Dimensions: 27.5 cm Condition: Superb condition especially of the lacquer and the gilding, with wear and patina consistent with age, and some chipping to edges as visible on the images, no restoration or inpainting whatsoever. Provenance: California private collection. Acquired in San Francisco in the 1920s. (two collector labels) Auction result comparison: CHINESE ART FROM CARAMOOR CENTER FOR MUSIC AND THE ARTS. Sotheby’s, 15 MARCH 2016, NEW YORK, lot 142. (compare with a related figure of Guanyin)

⹟䅁份夳㛐晽⣂⼑奨枛Ṍ僂ῂ⛸⁷ ╖⟲䠔㛐晽⇣炻⍇⥳⼑丒冯挷慹 ᷕ⚳炻⋩ᶫ军⋩ℓᶾ䲨

忈✳烉忈⁷ 慵慷烉963 ⃳ ⯢⮠烉27.5 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻䈡⇍㗗⼑㺮冯挷慹悐↮炻㚱冯⸜ẋ䚠 䫎䘬䢐㎵␴⊭㻧炻怲䶋⎗夳⮷䡽䡘炻㰺㚱ảỽᾖ⽑ Ἦ㸸烉≈⇑䤷⯤Ṇ䥩Ṣ㓞啷炻ᶲᶾ䲨Ḵ⋩⸜ẋ岤㕤冲慹 Ⱉ炷 ℑ ᾳ 啷 ⭞ 㧁 䯥 炸

EstimateġỘ₡ġġEUR 1.000,- Starting priceġ崟㉵₡ġġEUR 500,-

1 A PAIR OF WOOD AND LACQUER ‘TWIN IMMORTALS OF Condition: Well preserved original gilding and lacquer coating with no HARMONY’ FIGURES, 17th – 18th CENTURY restoration whatsoever; some minor losses, chipping and wear. Each carved from a single piece of solid hardwood, coated with a decent Provenance: Important Austrian private collection, acquired in China lacquer gilding and occasional red pigment before 1950. Old labels and inscriptions to bottom. China, 17th - 18th century ᶨ⮵㛐晽慹㺮␴⎰Ḵẁ⁷炻⋩ᶫ军⋩ℓᶾ䲨 The boys depicted each looking directly forwards and standing on a base Ṣ⁷↮⇍䓙ᶨ㟡䌐䩳䠔㛐晽⇣侴ㆸ炻堐朊㕥慹㺮⍲䲭刚柼㕁 with curling waves carved in the deepest possible relief. Both are wearing ᷕ⚳炻 ⋩ᶫ军⋩ℓᶾ䲨 elegant garments and once likely held a lotus pod or a vase in both hands. Boys were always strongly favored in Chinese society, and pairs of laughing 忈✳烉Ṣ䈑忈⁷ boys carrying lotus pots are known as hehe erxian or the Twin Immortals 慵慷烉 637.5 冯 581 ⃳ of Harmony. They were the patron deities of Chinese merchants and ⯢⮠烉 檀24.5 ⍀䰛 each particularly of potters, and frequently accompany Cai Shen, the God of ⑩䚠烉ᾅ⬀列⤥炻⍇⥳慹⼑㮓䃉ᾖ墄炻⯨悐㚱仢⣙ˣ塪⎋⍲䢐㎵ Wealth. Ἦ㸸烉慵天⤏⛘⇑䥩Ṣ㓞啷炻1950⸜⇵岤㕤ᷕ⚳ˤ⸽悐⎗夳侩㧁䯥␴㲐慳ˤ

Shape: Sculptural EstimateġỘ₡ġġEUR 500,- Weight: 637.5 and 581 grams Starting priceġ崟㉵₡ġġEUR 250,- Dimensions: Height 24.5 cm each

8 9 4 A VERY LARGE BAMBOO SHOOT CARVING OF BUDAI WITH INGOT, QING DYNASTY Bamboo root China, Qing Dynasty

This well carved and large bamboo figure depicts Budai, the laughing or sometimes also referred to as fat Buddha. Budai is holding on to his treasure bag with one hand and in the other he holds a gold ingot. Furthermore, he is accompanied by a youthful disciple that holds a bat. Both, the lucky god and the little boy are chubby, have fat earlobes and a joyous facial expression. A very nice detail are the natural knotholes in the material which are enhancing the statue’s expressive appearance even further.

Shape: Figural shape Dimensions: 26.5 cm (height) Weight: 893 grams Condition: excellent condition with very few age cracks to backside and tiny notches to bottom rim Provenance: American private collection

㶭ẋ⣏✳䪡㟡晽ⶫ堳␴⯂ㇳ㊩⃫⮞ 䪡㟡 ᷕ⚳炻 㶭ẋ

忈✳烉Ṣ䈑 ⯢⮠烉檀26.5 ⍀䰛 慵慷烉893 ⃳ ⑩䚠烉㤝⤥炻側朊㚱ṃ⽖⸜ẋ忈ㆸ䘬 塪䷓炻怲䶋⮷䡽䡘 Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

3 A CARVED QING DYNASTY BOXWOOD FIGURE OF GUANYIN Boxwood China, Qing Dynasty

This masterly carved boxwood figure depicts Guanyin, seated in rajalilasana on a rockwork holding a scroll in her left hand over her right knee. Next to her is a small bundle with more scrolls. Her finely incised hair is arranged in loose knots that are held together by a ruyi pin. Guanyin wears elaborate jewelry and her expression is serene with her eyes cast downwards.

Shape: Figural shape Dimensions: height is 14.5 cm Weight: 171.5 grams Condition: good condition with one small restored age hairline Provenance: British private collection

Auction results comparison: For a boxwood Guanyin carving of comparable quality, size and dating to the same period see Christie’s, Important Chinese Ceramics and Works of Art, Hong Kong, HKCEC Grand Hall, 30 May 2012, lot 4282.

㶭ẋ湫㣲㛐晽㯜㚰奨枛 湫㣲㛐 ᷕ⚳炻 㶭ẋ

忈✳烉Ṣ䈑忈✳ ⯢⮠烉檀14.5 ⍀䰛 慵慷烉171.5 ⃳ ⑩䚠烉列⤥炻⎒㚱ᶨ嗽ᾖ⽑忶䘬⸜ẋ忈ㆸ䘬塪䷓ Ἦ㸸烉劙⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

10 11 6 A CARVED KANGXI PERIOD BAMBOO ‘MAGNOLIA’ LIBATION CUP Bamboo, black lacquer China, Kangxi period (1882-1722)

This Kangxi period bamboo libation cup is carved in the shape of an open flower calyx born from a neat stem visible at the underside. The exterior and underside are carved in high relief with blossoming magnolia tree branches. The inside shows black lacquer remnants and most appealing are the many incorporated knot-holes that together with the reddish patina round off this expressive vessel.

Shape: floral libation cup shape Dimensions: height is 12.5 cm, diameter is 11.5 cm Weight: 180 grams Condition: very good condition with expressive patina and usual signs of age and use Provenance: American private collection

Auction results comparison: For another libation cup carved from bamboo and of comparable quality, size and dating to the same period see Christie’s Fine Chinese Ceramics and Works of Art, London, 10 May 2011, lot 17.

⹟䅁䪡晽㛐嗕㜗 䪡炻湹 㺮 ᷕ⚳炻⹟䅁(1882-1722)

忈✳烉剙䲳㜗⼊ ⯢⮠烉檀12.5 ⍀䰛炻䚜⼹ 11.5 ⍀䰛 慵慷烉180 ⃳ ⑩䚠烉㤝⤥炻⊭㻧ↅ慵炻㚱忂ⷠ䘬⸜ẋ冯ἧ䓐䕽嶉 Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 150,-

5 AN 18TH CENTURY BAMBOO-ROOT LOG RAFT CARVING WITH IMMORTALS Bamboo root China, 18th century

This masterly carved bamboo-root log raft of miniature size features nine individual figures, being the immortals crossing the sea respectively their attendants. Amazing detail was applied to this sculpture such as the deterioration to the straw hat of one standing immortal, mushrooms growing on the log or the way every face is displaying an individual and discernible expression.

Shape: Figural shape Dimensions: 10 cm (length), 5 cm (height) Weight: 20.8 grams Condition: good condition with strong patina, two small chips, two small pieces reattached and some wear as well as minor remnants of old glue on underside Provenance: Austrian private collection

Auction results comparison: For significantly larger bamboo-root carvings with the same motif see Sotheby’s, IMPORTANT CHINESE ART, 03 APRIL 2018, HONG KONG, lot 3664 or Christie’s, Arts of the Carver Chinese Works of Art from An Important European Collection, London, 5 November 2013, lot 88.

⋩ℓᶾ䲨䪡 㟡 晽ẁṢ 䪡㟡 ᷕ⚳炻 ⋩ℓᶾ䲨

忈✳烉Ṣ䈑 ⯢⮠烉攟10 ⍀䰛炻檀 5 ⍀䰛 慵慷烉20.8 ⃳ ⑩䚠烉列⤥炻⊭㻧ↅ慵炻ℑ嗽⮷塪⎋炻ℑ嗽慵㕘䱀忋炻ᶨṃ䢐㎵ẍ⍲ᶳ㕡悐ỵ冲先㯜㭀䔁䈑 Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷

EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

12 13 7 A LARGE ZITAN ‘TREE TRUNK’ BRUSHPOT WITH SCHOLARS, QING DYNASTY ġ Carved Zitan wood, signed Wu Shi, dated Jimao Year, either 1819 or 1879 China, Qing Dynasty

To one side the exterior of this large and heavy Zitan brushpot is carved with knots and recesses in order to simulate a gnarled section of a tree trunk. In the lower right of this side we find the artist signature and seal. The other side shows a picturesque landscape with a large tree and a footbridge. Seven scholars can be seen studying a scroll and two young disciples are accompanying the literati. ġ Shape: cylindrical shape Dimensions: 19.5 cm height, diameter is 17.5 cmġ Weight: 2,907 gramsġ Condition: excellent condition with usual signs of age and use, few tiny 8 notches to rims A BRASS FITTED PIG SKIN LACQUER BOX WITH VILLAGE SCENES, 㶭ẋ㛹匲彚ἄ尔䙖㺮䙺 Provenance: from an American QING DYNASTY 㛐偶尔䙖炻䲭湹㺮 private collection Pig skin on wooden body, lacquered in gold red and black ᷕ⚳炻 㶭ẋ ġ China, Qing Dynasty Auction results comparison: For two 忈✳烉攟㕡䙺⼊ other Zitan ‘trea trunk’ brushpots This storage box shows brass hinges as well as a clever brass lock with an ⯢⮠烉24 ⍀䰛炻檀8 ⍀䰛 see Sotheby’s, FINE CHINESE openwork swastika symbol. The top, inside lid and three sides are adorned ⑩䚠烉列⤥炻㚱⸜ẋ冯ἧ䓐䕽嶉炻枪悐⇘嗽⎗夳㶭㺮⍲↡⎋ CERAMICS & WORKS OF ART, 16 with lively scenes of villagers surrounded by picturesque landscapes. The Ἦ㸸烉⤏⛘⇑䥩Ṣ怢䓊 SEPTEMBER 2014 - 17 SEPTEMBER backside shows a floral motif. Inside the box is an old collector’s label 2014, NEW YORK, lot 557 or inscribed ‘Pigskin Lacquer Box Chien Lung 1736-1795’. EstimateġỘ₡ġġEUR 200,- Sotheby’s, CHINESE ARTĭ 31 MAY Starting priceġ崟㉵₡ġġEUR 100,- 2018 - 01 JUNE 2018, HONG KONG, Shape: Rectangular box shape lot 344 – both without figural scene Dimensions: length is 24 cm, height is 8 cm and unsigned. Condition: good condition with signs of age and use such as creases to the top varnish and notches here and there 㶭ẋ⣏✳䳓㨨晽㧡䗌㔯Ṣ䫮䫺 Provenance: from an Austrian private estate 䳓㨨 ᷕ⚳炻㶭ẋ

忈✳烉䚜䫺⼊ ⯢⮠烉檀 19.5 ⍀䰛炻䚜⼹ 17.5 ⍀䰛 慵慷烉2,907 ⃳ ⑩䚠烉㤝⤥炻㚱忂ⷠ䘬⸜ẋ冯ἧ䓐䕽 嶉炻怲 䶋 㚱 ṃ ⽖ 䡽 ㎵ Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

9 A BAMBOO, JADE AND YIXING OPIUM PIPE, QING DYNASTY 㶭ẋ䪡⫸搚䌱⭄冰沱䇯㥵 The pipe consisting of one single bamboo section, with the remaining 䂇㥵䓙ᶨ㟡䪡⫸ ㆸ炻搚䌱炻ᶵ⎴慹Ⱄ炻⭄冰昞䠿 sealing made of jade, various metals used at the saddle, together with a ᷕ⚳炻㶭ẋ Yixing stoneware bowl China, Qing Dynasty 忈✳烉 䂇㥵 ⯢⮠烉 攟54 ⍀䰛 The saddle depicting a bat and a coin, the Yixing pipe-bowl is marked twice ⑩䚠烉慹Ⱄ壒刚炻ᶨ㭝᷇⣙炻㛐岒悐↮慵䎦䱀忋忶炻䪡⫸悐ỵ㚱⸜ẋ忈ㆸ䘬塪 and shows chrysanthemum petal and blossom borders. The jade inset of ䷓ appealing celadon color. Ἦ㸸烉 ⽟⚳䥩Ṣ㓞啷

Shape: Pipe EstimateġỘ₡ġġEUR 200,- Dimensions: 54 cm (length) Starting priceġ崟㉵₡ġġEUR 100,- Condition: metal is tarnished, one end piece missing, wooden ornament at the saddle reattached and one age crack to bamboo Provenance: German private collection

14 15 10 A FINELY HAND PAINTED AND INLAID CANTON SCHOOL FAN IN ORIGINAL LACQUER BOX Hand carved wood, hand painted paper, inlays, in original lacquered wooden box which is fitted China, around 1880

The paper leaves of the fan are painted with brilliant gouache, one side with officials and palace ladies in a garden. each of the figures’ faces is inlaid, their clothing is applied in silk and we see most of the figures holding a fan. A motif that is repeated on the 16 individual panels of the ornate frame. The backside shows a pair of magpies, a traditional symbol for a happy marriage, amidst auspicious flowers. To both sides the main images are framed by a decorative border with auspicious Buddhist objects. The fan comes complete in its fitted lacquer box that shows a gold lacquer decoration with a fan at the center of a floral pattern.

Shape: Fan shape Dimensions: maximum width when unfolded is 51 cm, height of the fan is 28 cm, size of the box is 31 x 6 x 4.5 cm Each of the figures’ faces is inlaid, their clothing is applied in silk Condition: very good condition with fresh colors, all inlays in place and only minor tears and little creases to paper 11 Provenance: Austrian private collection A RARE CANTONESE IVORY BOX WITH COVER, Auction results comparison: For another Cantonese EARLY 19th CENTURY ivory box with a figural knob and feet, larger in size, 䱦伶䱝㳦ㇳⶍ丒墥㇯⫸炻⍇墅㺮䙺 Ivory, wooden inset with marble paper coating see Christie’s, A Private English Collection of White ㇳⶍ㛐晽炻ㇳⶍ䳁㛔姕炻搚⳴炻⍇墅㛐岒㺮䙺 China, first half of the 19th century Jade Carvings & Fine Chinese Ceramics and Works of ᷕ⚳炻1880⇵⼴ Art Including Export Art, London, 4 November 2008, This Canton school ivory box is unusual because of its lot 256. 忈✳烉㇯ figural gourd and flower shaped knob and the leiwen ⯢⮠烉㛒⯽攳㗪㚨⮔嗽 51 ⍀䰛炻㇯檀28 ⍀䰛炻㇯䙺 31 x 6 x 4.5 feet. The four walls of the base part all show neatly ⋩ḅᶾ䲨㖑㛇份夳⺋ⶆ尉䈁味䙺 ⍀䰛 carved figures in landscapes whilst the lid is adorned 尉䈁炻㛐岒搚⳴炻ℭ塷⣏䎮䞛䲳䳁≈Ⰼ ⑩䚠烉㤝⤥炻柼刚歖刟炻㇨㚱搚⳴䞛悥㛒᷇⣙炻⛐䳁朊㚱ṃ⽖ with high relief carvings of precious vessels, books, ᷕ⚳炻⋩ḅᶾ䲨ᶲ⋲叱 ⮷䩇䩧␴壞䙢 scrolls and gourds, butterflies and flowers. Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 忈✳烉㕡⼊ Shape: rectangular shape ⯢⮠烉攟16 ⍀䰛炻檀 9 ⍀䰛 EstimateġỘ₡ġġEUR 300,- Dimensions: 16 cm length, 9 cm height 慵慷烉329 ⃳ Starting priceġ崟㉵₡ġġEUR 150,- Weight: 329 grams ⑩䚠烉列⤥炻ṃ⽖⸜ẋ忈ㆸ䘬⮷塪䷓炻⸽悐㚱ℑ嗽䡽䡘炻 Condition: Good condition with minor age hairlines ᾖ⽑忶䘬䕽嶉炻搚⳴㛐⸽悐㚱塪䷓ and tiny chips to two base corners, the walls of the Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 base part and the feet have been reattached, the wooden inset shows a bottom crack EstimateġỘ₡ġġEUR 500,- Provenance: Austrian private collection Starting priceġ崟㉵₡ġġEUR 250,-

16 17 12 A WELL-CRAFTED ARCHAISTIC SILVER EWER, QING DYNASTY Silver, cast and chased China, Qing Dynasty

This unusual lidded silver ewer shows evident Persian influence as well as a taste for archaism. The globular center part shows two rows with archaic dragons in high relief standing out prominently against the textured backdrop. The handle is made in the shape of a dog, at the spout sits a little bird and the knob to the lid resembles a humanoid toad. On the underside is an unidentified silver hallmark.

Shape: ewer with figural onsets Weight: 199 grams Dimensions: height 13 cm, width 16 cm Condition: excellent condition with only minor traces of age and use Provenance: American private collection

㶭ẋầ⎌㴖晽戨⢢ 戨炻揬 忈 ᷕ⚳炻㶭ẋ

忈✳烉⢢炻≽䈑 忈✳墅梦 慵慷烉 199 ⃳ ⯢⮠烉 檀13 ⍀䰛炻⮔ 16 ⍀䰛 14 ⑩䚠烉 ᾅ⬀㤝⤥炻㚱庽⽖⸜ẋ冯ἧ䓐䕽嶉 A PAIR OF QING DYNASTY CANTON ENAMEL RUYI SCEPTRES ᶨ⮵㶭ẋ⺋ⶆ䏢䎭⼑⤪シ Ἦ㸸烉 伶⚳䥩Ṣ㓞啷 Enamel on copper bronze 戭偶䏢䎭 China, Qing Dynasty ᷕ⚳炻 㶭ẋ EstimateġỘ₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 150,- This pair of yellow ground Canton enamel ruyi scepters is finely hand painted 忈✳烉⤪シ with lotus and peony décor on the backside whilst the Ruyi shaped head and ⯢⮠烉㭷ẞ攟 28.5 ⍀䰛 the show side of the curved handle show auspicious Buddhist objects as well 慵慷烉553 ⃳ (ℑ侭ᶨ崟) 13 as a blue and white Shou symbol. One lower handle showing two openings ⑩䚠烉㤝⤥炻⎒㚱ṃ⽖⸜ẋ冯ἧ䓐䕽嶉 A CINNABAR LACQUER BUDAI, QING DYNASTY, POSSIBLY BY for suspension of a string. Ἦ㸸烉伶⚳䥩Ṣ怢䓊 LU GUISHENG The ceramic statue entirely covered with a thick layer of rich Shape: Ruyi scepter form EstimateġỘ₡ġġEUR 500,- cinnabar lacquer, carved and incised in deep relief Dimensions: Length is 28.5 cm each Starting priceġ崟㉵₡ġġEUR 250,- China, 18th - 19th century Weight: 553 grams (both combined) Condition: excellent condition with only very minor traces of age and use The smiling happy Buddha depicted in his usual laid-back seated Provenance: from an American private estate position with a prayer bead in his right hand. His garment decorated in neatly incised swastika and key fret borders, the quality of which could lead one to believe that this could even be and 18th century work. The base with black lacquer coating. This figure appears to be carved in the style of the Qing master 15 carver, Lu Guisheng, who is famous for his signed lacquer panels A QINGTIAN SOAPSTONE SEAL WITH BAT, DATED TO THE YEAR WU WU and is also known to have carved lacquer figures. See a taller finely The stone mottled in hues of honey and mustard as well as grey spots at the carved lacquer figure of the God of Longevity, Shoulao, illustrated area of the bat in Derek Clifford, Chinese Carved Lacquer, London, 1992, pl. 123. China, dated to ‘the year WuWu’ – either 1918 or 1858

Shape: Figural Of square shape, the seal face carved in relief with a four-character seal-script Weight: 181.4 grams inscription. The sloping top carved in high relief with the portrayal of a bat Dimensions: Width 9 cm. which is also highlighted through the natural spot-like grey inclusions in the Condition: Visible break near the right foot. Deep patina and wear mineral. The front is incised with the artist signature and dating ‘Wen Xiu in the consistent with age. year Wu Wu’. Provenance From the collection of Nelson T Johnson, US ambassador to the Republic of China from 1935 to 1941, and Shape: Square matrix, sloping rectangular shape thence by descent. Dimensions: 5 cm height, seal matrix measures 3 x 3 cm Auction result: FINE CHINESE CERAMICS & WORKS OF ART. Weight: 98 grams Sotheby’s, 13 MAY 2009, LONDON, lot 104. (for a related figure, Condition: Very good condition with minor traces of age and use bearing similarly incised swastika) Provenance: American private estate

㶭ẋ䲭㺮ⶫ堳␴⯂ 曺䓘䞛圁圈䲳⌘䪈炻句㫦ㆲ⋰⸜ 昞䒟忈⁷炻㕥ᶨⰌ⍂慵㛙䲭㺮炻㶙㴖晽 曺䓘䞛囄刚前㛓刚䲳䎮炻圁圈悐↮䀘刚溆 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨 ᷕ⚥炻ㆲ⋰⸜- 1918 ㆾ 1858

忈✳烉 Ṣ䈑忈⁷ 忈✳烉㕡⟲炻枪悐⁦㕄 慵慷烉 181.4 ⃳ ⯢⮠烉檀5 ⍀䰛炻⌘䪈朊3 x 3 ⍀䰛 ⯢⮠烉 ⮔ 9 ⍀䰛. 慵慷烉98 ⃳ ⑩䚠烉⎛僂㎵⢆炻⸜ẋ㇨农䢐㎵炻⊭㻧ↅ慵 ⑩䚠烉朆ⷠ⤥炻㚱⸜ẋ␴ἧ䓐䕽嶉 Ἦ㸸烉Nelson T Johnson 㓞啷炻1935 军1941伶⚳楸ᷕ厗㮹⚳⣏ 㜍㸸烉伶⚥䥩Ṣ㓞啷 ἧ炻ᶨ䚜⛐℞㓞啷ᷕ⇘䎦⛐ EstimateġỘ₡ġġEUR 200,- EstimateġỘ₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 100,- Starting priceġ崟㉵₡ġġEUR 150,-

18 19 CHINESE LACQUER AND CLOISONNÉ LOTS 17 AND 18

20 21 16 A VERY RARE CARVED THREE-COLOR LACQUER LOBED BOX AND COVER, QIANLONG Carved lacquer in high relief in three colors: cinnabar red, amber and black on a wooden body, black lacquer coating inside and to base China, Qianlong period (1736-1795)

The top of the cover deeply and crisply carved through the outer cinnabar-red layer to the black and amber layers of lacquer to depict a scene with the Sanxing, Fu, Lu and Shou, and two attendants on a palace terrace, surrounded by a magnificent landscape. The central image is framed by a meander border and the sides on the lid and the base show alternating medallions with fruits and flowers and tied Buddhist symbols. All reserved on a diaper-ground, the interior and base lacquered black.

Shape: Lobed Dimensions: 22 cm (length) 22 cm (width) 7 cm (height) Weight: 675.5 grams Condition: Good and original condition with some cracks and very minor material loss – mainly to inside rims Provenance: from an American private estate – comes with an old article from 1966 in the Chicago Tribune which the previous owner kept as it shows a closely related box

Auction results comparison: For two other three-color lacquer boxes dating to the Qianlong period, see Bonhams, FINE CHINESE ART, 12 Mai 2016, LONDON, NEW BOND STREET, lot 279 or Christie’s, Important Chinese Ceramics and Works of Art, Hong Kong, 27 November 2007, lot 1667.

Ḧ昮⸜㤝䇚份夳䘬ᶱ刚㺮味䙺 㺮晽炻ᶱ刚㶙㴖晽烉㛙䲭炻䏍 䍨 刚 ⍲ 湹 刚炻㛐 偶炻湹 㺮 ㇻ ⸽ ᷕ⚳炻Ḧ昮 (1736-1795)

䙺味㶙㴖晽炻㚱㚨⢾Ⰼ䘬㛙䲭㺮Ⰼ㶙ℍ炻德忶湹刚冯␴䏍䍨刚㺮Ⰼ炻↨ⶍ 㶭㘘㸾䡢⛘㍷丒Ḯ䤷䤧⢥ᶱ㗇ẍ⍲⭖㭧曚⎘ᶲ䘬ℑ⎵ẁ䪍炻⚃␐㘗奨厗 渿 晵 ⭡ˤᷕ ⣖ ⚾ ⁷ 䓙 㚚 ㉀ 䘬 怲 㟮 㥳 ㆸ炻味 ⫸ ␴ ⸽ ⹏ 䘬 “ 朊 攳 ⃱炻⎗夳 歖 剙 ẁ㝄冯ἃ㔁㱽⮞ˤ䙺⫸ℏ悐␴⸽悐⟿湹刚㺮ˤ

忈✳烉Ḽ䒋⚻⼊ ⯢⮠烉攟 22 ⍀䰛炻⮔22 ⍀䰛炻檀 7 ⍀䰛 慵慷烉 675.5 ⃳ ⑩䚠烉列⤥炻ᶨṃ䡽䡘 炻ᷣ天⛐ℭ怲㱧㚱ṃ⽖㛸㕁仢⣙ Ἦ㸸烉伶⚳䥩Ṣ怢䓊–晐㺮䙺ᶨ崟怬㚱ᷳ⇵啷⭞ᶨấ㓦⛐⢾⊭墅䙺塷䘬 1966⸜˪剅≈⒍婾⡯⟙˫䘬㔯䪈

EstimateġỘ₡ġġEUR 2.000,- Starting priceġ崟㉵₡ġġEUR 1.000,-

22 23 17 A LARGE PAIR OF CINNABAR LACQUER ‘EIGHT 㶭ẋᶨ⮵⣏✳⇼䲭ℓẁṢ䈑剙如 IMMORTALS’ VASES, QING DYNASTY ⇼䲭㺮晽炻㶙㴖晽 The body entirely covered with rich cinnabar lacquer carved ᷕ⚳炻 ⋩ℓᶾ䲨㘂㛇军⋩ḅᶾ䲨 and incised in deep relief China, late 18th – 19th century 㭷ᾳ剙如ᷕ攻悐ỵ⤪ᶨᾳ⯽攳䘬㌚庠炻㍷丒Ḯℓẁᷕ䘬⸦ỵ ẁṢ炻⤪䪁⛐匟叱ᶲ䘬ỽẁ⥹ㆾ榶叿侩嗶䘬⏪㳆屻烊⛐晬῱ Each of the two compressed baluster vases in the center with 䘬㘗奨ᷕ炻㚱Ⰼ㫉↮㖶䘬ⱑ䞛ˣ㜦㧡␴㡏㟸㧡炻怬㚱⸦ᾳẁ䪍 a mirroring circumferential scroll depicting several of the Eight ␴㔯Ṣ⬠⢓ˤġ柠悐ᷕ攻梦丷㝅大䔒咖冯剕哱䲳ˤ⸽嵛⼨⢾⻝ Immortals, such as He Xiangu standing on a lotus leaf or Lu 攳炻梦㚱丷㝅大䔒咖冯垔䲳ˤ䒞ℏ␴⸽悐ᶲ湹㺮ˤ Dongbin riding on a tiger, in a majestic landscape with layered 忁⮵厗渿䘬剙如㗗㺮☐墥ἄᷕᶨᾳ⼰⤥䘬ἳ⫸ˤġ晽⇣䘬岒慷 and craggy rockwork, pine and wutong trees, as well as several ␴桐㟤炻ẍ⍲⻟婧晽⇣姕妰䘬䨢攻䘬⣏慷ἧ䓐炻㗗Ḧ昮⼴⋲ attendants and scholars. The sprawling and tapered neck with 㛇㳩埴䘬℠✳桐㟤炻⛐㶭ᷕ㗪㛇㊩临ᶨ㭝㗪攻ˤ foliate lotus bands below a single ruyi border and a central ring with neatly incised diaper patterns. The splayed foot with 忈✳烉⚻䒞 another lotus band between two key fret borders and an 慵慷烉㭷ẞ1.8 ℔㕌 archaistic blade band. The interior and base black lacquered. ⯢⮠烉㭷ẞ檀54 ⍀䰛 This remarkably imposing pair of cinnabar vases is a fine ⑩䚠烉ᾅ⬀㤝⤥炻䒞ℭ怲䶋湹刚㺮㚱庽⽖塪䲳烊ḇ姙怬㚱ᶨ example of lacquer production. The quality and style of ṃ庽⽖仢星炻ᶵ忶⛐Ṽ䳘㩊㞍ᷕ⸞㛒䘤䎦ˤ carving, as well as the generous use of space emphasizing Ἦ㸸烉伶⚳䥩Ṣ怢䓊 the carved design are typical of the style prevalent during the 㔯䌣㭼庫烉ᶨ⮵1784⸜䘬ầ⎌晽㺮䒞⎗夳㕤⣏劙⌂䈑棐ℭ炻 second half of the Qianlong period which naturally would has ↢䇰侭D. Clifford, Chinese Carved Lacquer, London, 1992, continued for some time into the subsequent reigns during the p.135, pl.109; ㆾᶨᾳ⋩ℓ军⋩ḅᶾ䲨䘬㺮䒞 Chen Huixia, mid Qing dynasty. (2) Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, pl.166. Shape: Baluster ㉵岋䳸㝄㭼庫烉FINE CHINESE ART. Bonham’s, 10 Nov 2016, Weight: 1.8 kilograms each LONDON, lot 148. (⎎ᶨ⮵㚜⣏ṃ䘬ℓẁṢ䈑⇼䲭㺮䒞) ASIAN Dimensions: Height 54 cm each ART. SOTHEBY’S, 16 SEPTEMBER 2017, NEW YORK, lot 858. ( Condition: Superb condition with only minor crazing to black Ἦ冒㘂㶭䘬ᶨ➮⇼䲭㺮䒞炻⸦᷶䚠⎴⯢⮠) lacquer and possibly some very tiny flaws, which were not discovered even at close inspection; EstimateġỘ₡ġġEUR 3.000,- Provenance: From an American private estate. Starting priceġ崟㉵₡ġġEUR 1.500,- Literature comparison: Compare with the pair of archaistic carved lacquer vases, cyclically dated to AD 1784, in the British Museum, illustrated by D. Clifford, Chinese Carved Lacquer, London, 1992, p.135, pl.109; see also a related cinnabar lacquer vase, 18th/19th century, illustrated by Chen Huixia, Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, pl.166.

Auction result comparison: FINE CHINESE ART. Bonham’s, 10 Nov 2016, LONDON, lot 148. (for another pair of cinnabar ‘eight immortals’ vases, significantly larger) ASIAN ART. SOTHEBY’S, 16 SEPTEMBER 2017, NEW YORK, lot 858. (for a related pair of cinnabar lacquer vases from the later Qing dynasty, with approximately the same size)

24 25 18 A CLOISONNÉ ENAMEL CENSER Auction result comparison: AND COVER, FANGDING, QING Chinese Ceramics, Works of Art DYNASTY and Textiles. Christies, London, 15 The massively cast bronze vessel May 2015, lot 695. compare with with fire-gilt finial, flanges, handles a related, slightly larger cloisonné and rims fangding) China, late 18th – earlier 19th century 㶭ẋ㘗㲘啵楁䆸炻㕡溶 曺戭炻味憽ˣ怲奺ˣ暁俛⍲怲㱧挷慹 This impressive censer is standing ᷕ⚳炻⋩ℓᶾ䲨㘂㛇军⋩ḅᶾ䲨㖑㛇 on four cylindric legs with archaistic cicada blades and decorated to 忈✳烉㕡溶 the blue and turquoise ground 慵慷烉 3.6 ℔㕌 with taotie masks divided by eight ⯢⮠烉 檀 31 ⍀䰛. raised vertical flanges with finely ⑩䚠烉 味⫸ᶲ䘬⯨悐䏢䎭仢⣙悐↮ incised key fret borders above a 䓐冲埇⠓⃭忶ˤ楁䆸㔜橼䉨㱩列⤥炻 circumferential scroll with mystic 㚱ᶨṃ䢐㎵␴㨇⮷䘬墥ἄ仢星ˤ 拵 animals. The rim is applied with two 慹曺戭⯨悐㚱冲䘬戭䵈ˤ upright u-shaped handles and the Ἦ㸸烉 Charlotte Horstmann 㚱旸 cover is surmounted by a gilt-bronze ℔⎠炻楁㷗炷㧁䯥) finial with a neatly incised fire-gilt dragon amid numerous clouds. EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,- Shape: Fangding Weight: 3.6 kilograms Dimensions: Heigh 31 cm. Condition: Some loss to enamels on lid with old wax filling. The main vessel in excellent condition with some wear and minimal manufacturing flaws. The gilt bronze and inside with old patina. Provenance: Charlotte Horstmann Limited, Hong Kong. (label)

19 A EXTREMELY RARE CLOISONNE ENAMEL LOTUS-LEAF FORM 㤝份夳䘬⋩ℓᶾ䲨㘗㲘啵咖剙⢢ EWER, 18TH CENTURY 挷慹戭炻戭偶䏢䎭⼑ Fire gilt and incised bronze, copper and cloisonné enamels ᷕ⚳炻⋩ℓᶾ䲨 China, 18th century ⢢ 幓 㗗 ẍ冒䃞 ⼊ ⺷ 揬 忈 ㆸ ᶨ 㛝 咖 剙炻咖 䒋䘥ᷕ 德 䰱炻⮾ 䪗 㶙 䲭刚炻慹 刚 倴 䎮 䲳 ⛐⎬䧖䵈刚ˣ䘥刚ˣ䲭刚␴啵刚䏢䐗⼑ᷕ栗⼿⯌䇚䳘䶣ˤᶨᾳ⣏匟叱ㆸ䁢➢⹏ The ewer is naturalistically cast as a lotus flower, with numerous white 悐炻咖剙匾⼊䘬挷慹戭⼊ㆸㇳ㝬炻⢢⎋㗗㕳丆䘬⮷咖剙叱炻味⫸㗗ᶨᾳ咖咔炻 petals and pinkish tips and their veins finely detailed in varied green, white, ᷕ攻⎗夳柼刚ᶵ⎴䘬博⫸炻ᶨᾳ⮷⮷慹刚咖咔䨩↢炻ㆸ䇚味憽ˤ➟㝬ᶳ㕡㗗 red and blue enamels within gilt outlines, with a large lotus leave forming ᶨ䇯⮷咖叱炻墉朊㚱⍂⍂䘬䵈慱ˤ the base, a lotus stem made of bronze forming the handle, a convoluted ⮯忁ᾳ㯜⢢⼊䉨冯⬳ẋ䘬慹Ⱄ楁䆸㭼庫㗗⼰㚱シ⿅䘬炻ἳ⤪⋿Ṕⶪ⌂䈑棐䘬 smaller lotus leave forming the spout, the lid consisting of a lotus pod with 㓞啷⑩炻℞ᷕ咖咔ˣ咖剙␴叱⫸悥㗗䓐崟ặ䘬匾忋㍍⇘ᶨᾳ攟㝬ˤ a budding lotus flower serving as the knob, and smaller lotus leaves applied to the outer wall of the ewer. The inside with a thick green glaze. 忈✳烉咖剙⼊⢢ It is interesting to compare the form of the present ewer with metalwork 慵慷烉960 ⃳ censers of Song dynasty such as the example in the collection of the Nanjing ⯢⮠烉攟 21.3 ⍀䰛 Municipal Museum, which is similarly cast with a lotus pod, lotus flower and ⑩䚠烉⍇⥳㛒ᾖ⽑䉨ン炻味憽悐ỵ庽⽖⻶㚚炻㓗㝞␴⢢◜⍲怲䶋炻⯨悐㚱䏢 leaf all borne on an undulating stem and connected to a long handle. 䎭⼑仢⣙ˤ Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷. Shape: Lotus form ewer Weight: 960 grams 㔯䋖㭼弫烉⛐㶭ẋ炻博⎞ἧ䓐䚠⻻⸧㲃炻Ữ㗗⌜⼰⮹↢䍘⛐㘗㲘咅☐䈑ᷕ炻⌜ Dimensions: Length 21.3 cm 乷ⷠ↢䍘Ḷ䌱☐␴㯜㘞☐䈑ᷕ炻㭼⤪ᶨ᷒䌱晽博⎞䪼㲿奩ḶChristie’s New Condition: Original and unrestored condition with minor bending to knob, York, 19-20 May 2013, lot 1739. stand and lips of ewer and lid, associated losses to enamels ㉵⋾乻㝄㭼弫烉Through Connoisseurs’ Eyes - Ephemeral Flowers, Enduring Provenance: Austrian private collection. Art. Christies, Hong Kong, 3 June 2015, lot 2916. (䚠役䘬㘗㲘咅䪼㲿) Important Chinese Ceramics and Works of Art. Christies, Hong Kong, 30 Literature comparison: Although lotus-leaf was a popular choice of form May 2018, lot 3040. (⎎ᶨẞ㘗㲘咅䪼㲿) during the Qing period, it is very rare to find them in cloisonné, but more often in other materials such as jade and crystal, for example, a jade lotus EstimateġỘ₡ġġEUR 2.000,- leaf-form washer sold at Christie’s New York, 19-20 May 2013, lot 1739. Starting priceġ崟㉵₡ġġEUR 1.000,-

Auction result comparison: Through Connoisseurs’ Eyes - Ephemeral Flowers, Enduring Art. Christies, Hong Kong, 3 June 2015, lot 2916. (for a related cloisonné washer) Important Chinese Ceramics and Works of Art. Christies, Hong Kong, 30 May 2018, lot 3040. (for another related cloisonné washer)

26 27 20 TWO CLOISONNÉ ENAMEL QILIN, QING DYNASTY Literature comparison: Compare with The bronze bodies with polychrome cloisonné enamels and massive a single cloisonné figure of a standing fire gilding qilin from the Qing Court Collection China, 18th – 19th century illustrated in Metal-bodied Enamel Ware, The Complete Collection of Each qilin is strongly cast standing four-square on stout legs with gilt Treasures of the Palace Museum, Hong hooves and raised head. Each animal has long gilt whiskers, horns, Kong, 2002, p. 168, no. 160. furry eyebrows and beard and bushy tail. The gilt flaring mane forms a detachable cover at the back of the head above the spiky spine. The Auction result comparison: face is decorated with red squares reserved on a blue ground with Masterpieces of the Enameller’s Art bulging eyes, snout-like nose and opened mouth exposing sets of from the Mandel Collection. Christies, gilt teeth and tongue. The body is colorfully covered with green and Hong Kong, 30 May 2012, lot 2916. turquoise scales. (for an almost identical pair)

The qilin, which resembles a stag, is an auspicious symbol of longevity, ᶨ⮵㶭ẋ㘗㲘啵渺湇 fertility and wise administration as it only appears during the reign of a 曺戭偶炻䏢䎭慱炻挷慹 benevolent ruler. It is also associated with the Confucian virtue of ren, ᷕ⚳炻⋩ℓ军⋩ḅᶾ䲨 as it is benevolent to all living creatures. Sometimes the qilin is shown 忈✳烉≽䈑忈✳ carrying a young boy on its back as it is also believed to be a bringer of 慵慷烉㭷ẞᶵ⏓⸽⹏䲬 1385 ⃳ illustrious sons, see for example a pair of cloisonné qilin bearing young ⯢⮠烉㭷ẞ攟 31 ⍀䰛 boy formerly in the T.B. Kitson Collection, sold at Sotheby’s London, 7 ⑩䚠烉㔜橼䉨㱩列⤥炻㰺㚱⣏✳㎵⛷ˣ↡ June 1967, lot 268. 星ㆾᾖ⽑ˤ㚱冯⸜ẋ䚠䫎䘬庽⽖䢐㎵ˤ Two fitted hardwood stands. (2) 挷慹戭悐ỵ⯨悐㯏⊾ˤᶨᾳ渺湇䚱㮃悐 ỵ䏢䎭ᶲ⎗夳⽖✳塪䷓ˤ Shape: Figural Ἦ㸸烉伶⚳䥩Ṣ㓞啷. Weight: ca. 1385 grams each without bases Dimensions: Length 31 cm each EstimateġỘ₡ġġEUR 3.000,- Condition: Each figure in overall good condition with no major Starting priceġ崟㉵₡ġġEUR 1.500,- damages, dents or restoration. Light wear throughout consistent with age. Some oxidation, particularly to the gilt bronze parts, one figure with minor cracks to the enamel below eyebrows. Provenance: Property from an American private collection.

28 29 21 A LARGE MOLDED CLOISONNE FLOOR VASE WITH LITERATI TREASURES, QING DYNASTY Cloisonné enamel on partially gilt copper bronze body China, Qing Dynasty

This unusual and large cloisonné vase has a hexagonal baluster shape and the entire exterior as well as the inside of the neck and the underside features a leiwen pattern. Embossed in high relief there are a multitude of literati objects such as a scholars’ desk, vessels, scrolls, fans and more showing multi-colored enamels.

Shape: Hexagonal baluster shape Dimensions: height is 58.5 cm Weight: 5,500 grams – approx. Condition: very good condition with minor traces of age and wear, outlet for cable applied later to the base part Provenance: from an Austrian private estate

㶭ẋ㘗㲘啵⌂⎌䲳岆䒞 㘗㲘啵炻⯨悐挷慹戭偶 ᷕ⚳炻㶭ẋ

忈✳烉ℕ奺䒞 ⯢⮠烉檀58.5 ⍀䰛 慵慷烉䲬5,500 ⃳ ⑩䚠烉㤝⤥炻㚱⸜ẋ冯ἧ䓐䕽嶉炻⸽⹏ ⼴Ἦ⚈䇚暣䵓塓ㇻ忂 Ἦ㸸烉⤏⛘⇑䥩Ṣ怢䓊

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

22 A CLOISONNE ‘LOTUS’ TABLE SCREEN AND STAND Cloisonné enamel on gilt bronze body China, late Qing Dynasty - early Republic periodġ ġ This table scree can be removed from its stand which is also entirely worked in cloisonné enamel with a lotus scroll décor that is also seen on the integral frame of the screen itself and even on the underside of the stand. The screen shows magpies and butterflies amidst either a blooming prunus tree or lotus flowers – to either side. ġ ġ Shape: Rectangular screen in ornate stand ġ Dimensions: height is 47 cm, size of the rectangular screen is 34.5 x 25 cm Weight: 3,900 grams – approx. Condition: very good condition with some manufacturing flaws and few small notches here and there Provenance: from a Dutch collection

㘗㲘啵咖剙㍺⯷⹏ġ 挷慹戭偶㘗㲘啵ġ ᷕ⚳炻㶭㛓军㮹⚳⇅ġ ġ 忈✳烉攟㕡⼊㍺⯷ġġ ⯢⮠烉檀47 ⍀䰛炻攟㕡⼊㍺⯷ġ34.5 x 25 ⍀䰛ġ 慵慷烉ġ䲬3,900 ⃳ ⑩䚠烉㤝⤥炻⯨悐⎗夳墥ἄ⮷仢星␴塪⎋ Ἦ㸸烉ᷡ湍䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

30 31 23 WANG SU (1794 – 1877), LARGE SCROLL Condition: The painting is in good condition with PAINTING ‘EIGHTEEN LUOHAN’ some former tears and material loss now hardly Wang Su (artist name Xiaomou) – well known discernible due to the mounting. Slight traces of age Chinese artist of the Qing Dynasty and wear, in the form of creases and moldy spots, are Ink and color on paper, mounted to a textured paper discernible scroll with wooden handles Provenance: American private collection China, 19th century Auction result comparison: Sotheby’s, FINE This original artwork by Wang Su (1794 – 1877) and CLASSICAL CHINESE PAINTINGS & CALLIGRAPHY, 14 is signed and sealed by the artist. On the backside of SEPTEMBER 2017, NEW YORK, lot 573. (for a set of six the scroll is the titling ‘Image of the eighteen Luohan’ scrolls with immortals in landscape by Wang Su) as well as a small seal from the art inspector Yue from Canton. 䌳䳈炷1794-1877炸⣏ ✳ ㊪ 庠˪⋩ℓ 伭 㻊 ˫ 䌳䳈炻⫿⮷㝸炻㶭ẋ叿⎵䔓⭞ Depicted is the famous scenery of the eighteen 䳁㛔㯜⡐姕刚炻䳁㛔墅墙炻㛐庠 luohan in traditional Chinese fashion incorporating all ᷕ⚳炻 ⋩ḅᶾ䲨 of their attributes with much attention for detail. The luohan are surrounded by a magnificent landscape 忈✳烉䞑⼊䩳ⷭ with mountains, waterfalls and pine trees and in the ⯢⮠烉167 x 70 ⍀䰛 炷䔓朊炸炻242 x 84 ⍀䰛炷墅墙炸 upper left corner is a ferocious dragon which is tamed ⑩䚠烉䔓朊⑩䚠列⤥炻冲㗪⮷⫼冯㛸㕁仢㎵⚈墅墙暋ẍ by Nantimolo, the ‘taming dragon luohan’. 彐⇍烊⎗夳壞䙢␴暱㔹炻庽⽖⸜ẋ䕽嶉冯䢐㎵ Ἦ㸸烉 伶⚳䥩Ṣ㓞啷 Shape: Rectangular vertical shape Dimensions: 167 x 70 cm (painting size), 242 x 84 cm EstimateġỘ₡ġġEUR 800,- (mounting) Starting priceġ崟㉵₡ġġEUR 400,-

32 33 24 A ‘PAK CHOI, SHITAKE AND BAMBOO SHOOT’ PAINTING BY JING ZHI, 20th CENTURY Ink and color on paper, mounted to a brocade coated paper, framed behind glass China, 2nd half of the 20th century

This original artwork by Jing Zhi appears like an homage to the great Chinese painter Qi Baishi who often painted Pak Choi in combination with other vegetables. To the upper right we find the artist signature ‘Jingzhi’, a seal ‘Huayin’ and the title ‘Countryside treats’.

Depicted is a still life with Pak Choi, Shitake mushrooms and bamboo shoots, all executed with expressive brushstrokes.

Shape: Rectangular horizontal shape Dimensions: 40.5 x 30 cm (painting size), 47 x 37 cm (frame) Condition: the painting is in good condition with discoloration to right margin Provenance: German Private collection

˪䓘⚺㱡␛˫朄ᷳ炻Ḵ⋩ᶾ䲨 䳁㛔㯜⡐姕刚炻䳁㛔拎朊墅墙炻䍣䐫㟮 ᷕ⚳炻Ḵ⋩ᶾ䲨⼴⋲叱

忈✳烉䞑⼊ ⯢⮠烉40.5 x 30 ⍀䰛 (䔓朊), 47 x 37 ⍀䰛 (⏓㟮) 25 ⑩䚠烉列⤥炻⎛怲㱧嬲刚 A VERY LARGE HAND PAINTED ‘JADE RECORD’ TRACT WITH THE The tract describes how the dead pass through the ten courts of hell and Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 COURT OF HELL are punished with terrible torture according to their misdeeds during life. Woodblock print with hand painting in water color and gold, laid down and In the first hall, the “Mirror of Reflection” lets the dead see their own sins. EstimateġỘ₡ġġEUR 200,- set in simplistic wooden frame Sins specifically mentioned include: mocking or disbelieving the tract itself, Starting priceġ崟㉵₡ġġEUR 100,- China, 19th century taking one’s life without good reason, having weak faith in the Buddha, being careless as Buddhist or Taoist priest, killing live creatures, stealing, This oversize hand colored woodblock print shows the king of hell, King cheating, gambling, drinking, drowning baby girls, killing slaves etc. Yan, also referred to as Yanluo or Yanwang, holding court in the Diyu hell. In front of him we see the mirror of retribution and in the upper right the Shape: Rectangular horizontal shape wheel of reincarnation. The image is made up of hundreds of small scenes Dimensions: 141 x 85 cm (frame), 130 x 75 cm (sheet) with judges weighing sins, people being tortured but also those who are Condition: overall good condition with some abrasions, creases and stains, released from hell and each sin is neatly inscribed with what the sinner did slightly warped and how he is to be punished. Provenance: Austrian private collection

The Jade Record or Yuli is an illustrated religious tract that circulated in ⣏✳ㇳ丒˪䌱⍌⮞憼˫⛘䋬㘗尉 various versions and editions in the 19th century in China. It has some 㛐⇣ㇳ丒炻㯜⼑炻慹⼑炻伖㕤䯉╖䘬㛐㟮ᷕ folk-Buddhist and Daoist features and describes the horrors of Diyu (hell in ᷕ⚳炻 ⋩ḅᶾ䲨 Chinese mythology) that await bad people. 忈✳烉䞑⼊㨓ⷭ The prologue states that the tract was submitted to the Jade Emperor ⯢⮠烉141 x 85 ⍀䰛炷⏓㟮炸炻130 x 75 ⍀䰛 炷䔓朊炸 or Highest God by the king of hell Yan Luo and the Bodhisattva of ⑩䚠烉㔜橼ᾅ⬀列⤥炻ᶨṃ㒎 ˣ㰉嶉␴䔍⽖⻶㚚 Compassion, then passed down to a Buddhist priest and on to a Taoist, Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 during the Song Dynasty. The Qing emperors tried to suppress the tracts, as the state religion Confucianism discouraged any speculation about the EstimateġỘ₡ġġEUR 1.000,- afterlife. Starting priceġ崟㉵₡ġġEUR 500,-

34 35 26 A VERY LARGE THANGKA BANNER WITH VARIOUS TARA EMANATIONS, TIBET 19th CENTURY Distemper and gold paint on cloth Tibet, late 19th century

This horizontal Thangka from Tibet features four depictions of Tara with different skin colors – green, blue, red and white. In between the Tara portrayals are wrathful deities such as Mahakala. Above the central row with six portrayals of Buddha, again with various skin tones and different hand gestures. The portrayals in the upper corners show Buddhist leaders and a row of monks can be found at the lower rim. On the backside are various inscriptions.

Shape: Rectangular horizontal shape Dimensions: 228 x 71 cm Condition: Good condition with minor soiling, abrasions and creases Provenance: German private collection

大啷⣏✳⹎㭵⊾幓Ⓒ⌉炻⋩ḅᶾ䲨 ⶫ朊先䔓炻慹⼑ 大啷炻⋩ḅᶾ䲨㘂㛇

忈✳烉䞑⼊㨓ⷭ ⯢⮠烉228 x 71 ⍀䰛 ⑩䚠烉列⤥炻庽⽖㰉嶉ˣ㒎 冯㐢䕽 Ἦ㸸烉⽟⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 1.000,- Starting priceġ崟㉵₡ġġEUR 500,-

36 37 28 AN EARLY CHINESE SCHOOL OIL ON TIN PAINTING ‘PAZHOU PAGODA AT WHAMPOA’ Oil on tin China, 18th century

This 18th century Chinese School trade painting shows a procession of people in front of the Pazhou Pagoda at Whampoa / Guangzhou. In the background is the busy bay with many sails of vessels visible and at the horizon a mountain range.

The Pazhou Pagoda, also known as the Whampoa Pagoda, is an ancient Chinese pagoda on Pazhou Island in Haizhu District, Guangzhou, the capital of China’s Guangdong Province. The Whampoa Pagoda initiated work in 1597 and it was completely built in 1600. The pagoda is situated on a knoll at the south bank of Pearl River. Although it was built as a Buddhist landmark, it was also a useful navigation point for merchant ships travelling to Guangzhou.

Approximately fifty miles north of Macau, Western ships trading at Canton anchored at Whampoa. Payments partly based on the size of the ship 27 were required to do business in China. At Whampoa, linguists, agents, and A VERY LARGE TIBETAN THANGKA WITH Shape: Rectangular, near square shape compradors were hired, and taxes (and bribes) were paid. Only after this SITATARA, 19th CENTURY Dimensions: 166 x 194 cm were the foreign merchants allowed to unload their ship’s cargo upriver Distemper and gold paint on cloth Condition: Overall still fair condition with extensive towards Canton. Tibet, late 19th century soiling, some creases and abrasions Provenance: German private collection Shape: Rectangular horizontal shape This oversize Thangka from Tibet features the white Dimensions: 42 x 23.5 cm Tara, Sitatara as the central deity, seated on a lotus Auction result comparison: For a related oversize Condition: overall still good condition with browning and craquelure, later pedestal with a prominent aureole and halo framing Thangka with Sitatara of Mongolian origin see drilled holes at the margin which also shows some material loss, few small her image. Tara is showing the vitarka and varada Christie’s, Indian, Himalayan and Southeast Asian touch ups to paint chips mudra and her third eye is most prominently featured Works of Art, New York, 12 September 2018, lot 710. Provenance: Austrian private collection at her forehead. Tara is flanked by four images of Buddha and two secondary deities. A bold cloud, ⣏✳大啷䘥⹎㭵Ⓒ⌉炻⋩ḅᶾ䲨 ᷕ⚳㖑㛇拓㜧㱡䔓˪䏞㳚⟼˫ mountain and flower pattern builds the backdrop for ⶫ朊先䔓炻慹⼑ 拓㜧㱡䔓 the religious portrayals. 大啷炻⋩ḅᶾ䲨㘂㛇 ᷕ⚳炻⋩ℓᶾ䲨

In Tibet the White Tara (Sanskrit: Sitatara, Tibetan: 忈✳烉䞑⼊役㕡⼊ 忈✳烉䞑⼊㨓ⷭ Sgrol-dkar) was incarnated as a Chinese princess. She ⯢⮠烉166 x 194 ⍀䰛 ⯢⮠烉42 x 23.5 ⍀䰛 symbolizes purity and is often represented seated with ⑩䚠烉列⤥炻庽⽖㰉嶉ˣ㒎 冯㐢䕽 ⑩䚠烉䷥橼ᾅ⬀列⤥炻㚱ṃ嬲湫炻塪䷓ˤ⼴㛇↢䎦䘬怲䶋⮷⫼ḇ栗䣢↢㛸㕁㎵ legs crossed, holding a full-blown lotus. She is generally Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 ⣙炻䔓朊㚱ṃ⮷ᾖ墄ˤ shown with a third eye. Tara is also sometimes shown Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 with eyes on the soles of her feet and the palms of her EstimateġỘ₡ġġEUR 1.000,- hands (then she is called ‘Tara of the Seven Eyes’ a form Starting priceġ崟㉵₡ġġEUR 500,- EstimateġỘ₡ġġEUR 400,- of the goddess popular in Mongolia). Starting priceġ崟㉵₡ġġEUR 200,-

38 39 30 A FINELY EMROIDERED CIVIL RANK BADGE WITH PHEASANT, QING DYNASTY Silk with multi-colored silk threads, plain black hems, backside linen lining China, late Qing Dynasty

Amidst a dense ruyi-cloud pattern stands a pheasant with a tail consisting of five feathers, marking the wearer as of the 29 fifth civil rank. The red sun, symbolizing the Emperor is in the LOT WITH TWO PEKING KNOT Shape: vertical, rectangular panels upper left corner which identifies that this rank badge was for EMBROIDERIES ‘PEONIES, BATS Dimensions: 54.5 x 24 cm (red background); a male. The bird is standing on a cleft rock amidst crushing AND BUTTERFLIES’, 1900s 48.5 x 22.5 cm (crème background) waves. Silk with blue, crème and white silk Condition: Good condition with minor threads, embroidered respectively material loss to the hems Shape: square panel woven hems, backside silk / linen Provenance: from an American private estate Dimensions: 31 x 32.5 cm lining Condition: Very good condition with only minor signs of age China, around 1900 ℑẞṔ事Ⱦ⸛慹ㇻ䰥ȿ䈉ᷡ圁圈圜圞乡 and use 咅刚ˣ䰛刚⍲䘥刚᷅乧炻⚃怲䶋㺧䴱炻側 Provenance: from an American private estate This set with two embroideries is held 朊᷅湣夗 㶭ẋ䱦伶㮹攻Ḽ⼑⤪シ暚䲳晱浬⇢䴱 in appealing blue and light colored ᷕ⚳炻1900⇵⼴ Ḽ⼑䴚䵓炻䲼湹刚⚃怲䶋炻側朊᷅湣夗 32 hues. The red background textile shows ᷕ⚳炻㘂㶭 A PADDED WINTER SURCOAT WITH PEKINESE STITCH EMBROIDERY, QING 㶭ẋṔ三⅔⬋⣡㡱埴墪 peonies, whereas the central flowers 忈✳烉攟㍃ⷭ Textured silk with multi-colored silk and gold brocade threads, with pierced, woven ⣦ 㡱 ⣏ 墪炻⣂ ⼑ 䴚 䵓炻慹 刚 拎 䶆 䵓炻 are executed in Peking knot which is ⯢⮠烉䲭⸽54.5 x 24 ⍀䰛炻䰛刚⸽ 48.5 x 忈✳烉㕡⼊ application borders, embroidered bands at the hems and embroidered silk sleeve ᷎⛐怲䶋↎≈䘥⸽墅梦ⷞ炻慯䓐⸛慹 also referred to as the forbidden stitch. 22.5 ⍀䰛 ⯢⮠烉31 x 32.5 ⍀䰛 bands, inside with silk lining, one metal and one fabric button as well as two fabric ㇻ䰥㱽⇢䴱炻⚃␐湹⛘⣂⼑䴱 剙⋱ We also find bats with coins and Ruyi ⑩䚠烉列⤥炻ᶳ㒢嗽⯨悐㛸㕁䢐㎵ ⑩䚠烉㤝⤥炻⎒㚱ṃ⽖⸜ẋ冯ἧ䓐䕽嶉 bands at the front, inside patted 冯㖮垚烊ℭ㚱䛇䴚夗墉炻ᶨᾳ慹Ⱄ␴ scepters on this piece. The crème Ἦ㸸烉伶⚳䥩Ṣ怢䓊 Ἦ㸸烉伶⚳䥩Ṣ怢䓊 China, Qing Dynasty ᶨᾳⶫ㕁憽㈋炻㬋朊㚱ℑ㡅专ⷞ炻ℭ colored embroidery again features 塷⣦㡱ˤ peonies in Pekinese stitch, yet here EstimateġỘ₡ġġEUR 200,- EstimateġỘ₡ġġEUR 200,- This fine woman’s padded winter surcoat is made of black silk with textured, ᷕ⚳炻㶭ẋ surrounded by butterflies. Starting priceġ崟㉵₡ġġEUR 100,- Starting priceġ崟㉵₡ġġEUR 100,- woven roundels showing Buddhist symbols such as the endless knot. The hems at the side openings have a ruyi shape. Along the collar, the center opening, and the 忈✳烉墁墅 sides are a narrow and a broad embroidered border with floral decors and birds. ⯢⮠烉䷥⮔炷Ỡ⯽堾⫸炸158 ⍀䰛; ䷥ 攟 110 ⍀䰛 Most appealing are the wide sleeve bands of cream silk embroidered in Peking ⑩䚠烉列⤥炻庽⽖㝻刚炻憅嶉⯨悐檮 knot stitch. Auspicious flowers such as peonies or chrysanthemums are neatly 㔋烊ᶨ ᾳ 偑 儨ᶲ㚱 ⸦ ᾳ 䩇 䩧 incorporated and at the center of the floral arrangement we see a little bird picking Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 from a pomegranate. EstimateġỘ₡ġġEUR 400,- Shape: Surcoat Starting priceġ崟㉵₡ġġEUR 200,- Dimensions: Total width (measured with stretched out sleeves) 158 cm; maximum length 110 cm Condition: good condition with minor staining and very few open stitches or loose threads. One shoulder shows several tears. Provenance: German private collection

31 LOT WITH FIVE EMBROIDERIES The hems are additionally embroidered Ḽẞ剙圞乡⇢事炻ᶲᶾ乒Ḵ⋩⸜ẋ ‘FLOWERS AND BUTTERFLIES’, 1920s with a floral pattern each. ⣂⼑᷅乧炻㬋朊攳⃱⣂⼑䴱 炻側 朊 ᷅ 湣 夗 Silk with multi-colored silk threads, ᷕ⚳炻䲬1920⸜ embroidered respectively woven hems, Shape: vertical, rectangular panels backside silk / linen lining Dimensions: 50.5 x 22.5 cm (smallest in 忈✳烉攟㍃ⷭ China, around 1920 group); 52 x 26.5 cm (largest in group) ⯢⮠烉㚨⮷50.5 x 22.5 ⍀䰛炻㚨⣏52 x 26.5 ⍀䰛 ⑩䚠烉列⤥炻ᶳ㒢嗽⯨悐㛸㕁䢐㎵ This set with five appealing embroideries Condition: Good condition with few Ἦ㸸烉伶⚳䥩Ṣ怢䓊 shows various flowers such as cherry loose threads, little soiling and minor blossoms, peonies or lotus and on two material loss to the hems EstimateġỘ₡ġġEUR 200,- of the panels we also see butterflies Provenance: from an American private Starting priceġ崟㉵₡ġġEUR 100,- incorporated into the dense design. estate

40 41 33 A SET WITH 21 HAND PAINTED CHINESE SHADOW PUPPETS, 1930s Hand painted hide, small metal rods China, around 1930

This set with a total of 21 shadow puppets is a colorful collection of Chinese folk art. In the set we find a horse, two large fish, a dragon- like beast and human as well as demon figures. Most have their rods for moving in place.

Originating 2000 years ago, shadow puppetry soon became a people’s art form in China. Its simplicity, portability and nighttime performances were perfectly suited for the working classes. Farmers and laborers took up puppeteering, singing, musical instruments and storytelling after the sun went down to create a tradition that became the heart of their communities. All night performances were held 35 for any and all occasions such as birthdays, weddings, house raisings, A VERY FINE SILK EMBROIDERY WITH FALANGCAI 㶭ẋ䱦伶䏢䎭⼑岆䒞䲳⇢䴱 and funerals. In its heyday, Chinese shadow puppetry was popular in WARES, QING DYNASTY Ḽ⼑䴚䵓炻⣂Ⰼ墅墙炻䳁㜧≈⚢ nearly every province making it one Silk with multi-colored silk threads, layered woven hems, ᷕ⚳炻㶭ẋ mounted to cardboard of the most wide-spread folk arts of China. Each region lent their China, Qing Dynasty 忈✳烉㕡ⷭ own personality to the art form in everything from aesthetic to 34 ⯢⮠烉 51 x 51 ⍀䰛 musical influences. A KESI SILK WALL PANEL WITH Condition: mounted to press board, The embroidery depicts flowers and berries in an elaborate ⑩䚠烉㤝⤥炻⎒㚱ṃ⽖⸜ẋ冯ἧ䓐䕽嶉 炻側 朊 ⯨ 悐 䴚 䵓 檮 㔋 MANCHURIAN CRANE, QING colors are faded, soiling as well as Falangcai porcelain vase which is also neatly stitched with a Ἦ㸸烉≈⇑䤷⯤Ṇⶆ㭼⇑⣓ⰙAlbert T Quon怢䓊ˤQuon⃰䓇䓇 Shape: figural Silk with Kesi weaving, silk and gold some tears reign mark and is standing atop an elaborate pedestal. On a 㕤ᷕ⚳炻曺⸜㗪ẋ⍣Ḯ伶⚳ˤ1928⸜䔊㤕㕤⋿≈⇑䤷⯤Ṇ⣏⬠⎶ Dimensions: average height of one puppet is approx. 35 cm threads Provenance: Austrian private jagged rose-colored base, there is a flowering bush in a low ⽆ḳḶᷕ伶忚↢⎋屧㖻ˤṾ㗗䫔ᶨᾳ⛐㭼⇑⣓Ⱉ匲岤屟㇧⛘䓊䘬 Condition: Overall good condition with usual signs of age and wear, China, Qing Dynasty collection quatrefoil flowerpot, next to the vase. The crème colored panel 厗 塼ˤṾḇ ㆸ 䇚䫔ᶨ ᾳ 㳃㛱䢗⓮㚫䘬Ṇ㳚ṢˤṾ 䴎 Ṿ 䘬 㭵 㟉 ⋿ ≈ small parts missing is framed by a layered hem border with intricate floral weaving. ⶆ⣏⬠㋸岰Ḯᶲ䘦叔伶慹ˤ⛐⣏⬠塷㚱ᶨ⹏Ṿ䘬晽⁷炻ᶨᾳ㔁⭌ Provenance: German private collection Depicted is a Manchurian crane 㶭ẋ䶁䴚ẁ浜㊄⢥㊪䤷 ẍṾ䘬⎵⫿␥⎵ˤ holding the peaches of longevity 䴚 岒炻䶁 䴚 ㈨ 㱽炻䴚 䵓 冯 慹 䵓 Shape: square panel ᶨ䳬⋩Ḵ⻝ㇳⶍᶲ刚䘬ᷕ⚳䙖⼙㇚„炻ᶲᶾ䲨ᶱ⋩⸜ẋ in his beak and set inside an ᷕ⚳炻㶭ẋ Dimensions: 51 x 51 cm EstimateġỘ₡ġġEUR 500,- ㇳⶍᶲ刚䙖䳁炻⮷慹Ⱄ䴚㠧 ornamental frame with auspicious Condition: Very good condition with only minor signs of age Starting priceġ崟㉵₡ġġEUR 250,- ᷕ⚳炻䲬1930⸜ objects, such as a conch, a canopy 忈✳烉⸛朊攟㕡⼊ and use such as very minor flows to background silk or a treasure vase. The fine Kesi ⯢⮠烉90 x 61 ⍀䰛 Provenance: From the estate of Albert T Quon, Beverly Hills. 忈✳烉Ṣ䈑 technique and the fact that the ⑩䚠烉墅梦⛐⡻㜧ᶲ炻⯨悐壒刚炻㚱㰉 Mr. Quon was born in China and came to the US as a teenager. ⯢⮠烉Ṣ„檀䲬 35 ⍀䰛 crane was the highest civic rank at 嶉␴㯜嶉 He graduated from USC in 1928 and established a successful ⑩䚠烉㔜橼ᾅ⬀列⤥炻㚱忂ⷠ䘬⸜ẋ冯ἧ䓐䕽嶉炻⯨悐㚱䢐㎵炻⮷ẞ怢⣙ the period make this textile artwork Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷 import/export business in both China and the US. He was the Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 highly collectible. first Chinese American to purchase property in Beverly Hills. EstimateġỘ₡ġġEUR 200,- He also became the first Asian to serve on the Board of the EstimateġỘ₡ġġEUR 200,- Shape: horizontal, rectangular panel Starting priceġ崟㉵₡ġġEUR 100,- Los Angeles Chamber of Commerce. He donated millions of Starting priceġ崟㉵₡ġġEUR 100,- Dimensions: 90 x 61 cm dollars to his Alma mater, USC. There is a statue of him on USC campus and a classroom was named after him.

42 43 36 A RARE SANCAI-GLAZED ‘PHOENIX’ EWER, TANG DYNASTY The finely potted body of elegant ovoid form, supported on a splayed foot, the sides molded in relief China, Tang dynasty (618-907)

With cartouches bordered with flowers, centered with a prancing phoenix to one side and a hunter on horseback to the other, below a long curved handle terminating in the head of a ferocious phoenix, surmounted by a short neck and an oval straight rim, covered with amber, cream, blue and green glazes. Similar examples to the present, with the imported cobalt-blue pigment combined with amber glazes, include one from the Ernest S. Heller and Stanley Herzman collections, illustrated in Suzanne Valenstein, The Herzman Collection of Chinese Ceramics, Hong Kong, 1992, pl. 6, sold at Sotheby’s London, 6th November 1981, lot 161, and now in the Metropolitan Museum of Art, New York; another in the Asian Art Museum of San Francisco, illustrated in He Li, Chinese Ceramics, 1996, pl. 166; and a third ewer, from the Szeyuan Tang collection, sold at Sotheby’s London, 21st September 2005, lot 16.

Margaret Medley in ‘Metalwork and Chinese Ceramics’, PDF Monograph Series, no. 2, p. 4, discusses the far-reaching effect on Chinese culture of the opening of diplomatic relations between the Chinese Emperor Yangdi of the Sui Dynasty and the Sassanian Persians in the late 6th century, and the remarkable results on ceramics. She illustrates a phoenix ewer of this pattern, pl. 3b, together with other Chinese pottery bird-headed ewers, pl. 3a, 2a and 1b, and a Sassanian silver ewer, pl. 1a. Ewers of this type appear to have been slung from the hump of laden camels, as seen with the animal excavated from a tomb at Guanlin, illustrated in Luoyang Tang sancai [Tang sancai ware from Luoyang], Beijing, 1980, pl. 80.

Shape: Ewer Weight: 1264 grams Dimensions: 29.3 cm height Condition: Firing cracks to base, two nicks to foot rim, few minuscule glaze flakes, old wear, a piece of 2.9 x 1.3 cm to lip broken off and re-stuck, two small holes drilled to base for TL testing, no restoration whatsoever Provenance: Austrian private collection. A thermoluminescence test confirms the dating of this lot. This test will be given to the winning bidder after full payment has been made.

Auction result comparison: IMPORTANT CHINESE ART. Sotheby’s, 9 NOVEMBER 2016, LONDON, lot 103. (for a similar ewer)

Ⓒᶱ⼑沛椾➟⢢ 䳘兑偶橼炻⃒晭䘬⌝⼊炻㓗㐸幓橼䘬⸽嵛⢾㐯炻“朊㴖晽 ᷕ⚳炻Ⓒẋ(618-907) ㍉䓐⟹層墅梦剙⋱㈨㱽炻ᶨ朊䁢梃佼䘬沛沍⚾炻ᶨ朊䁢Ṣ䈑榶楔⮬䭕⚾ˤ⢢ ⎋⏰沛柕䉨炻䳘柠炻㇩⚻⼊儡炻檀嵛⢾㐯炻⸛⸽ˤ忂橼㕥䵈炻墸炻䘥䫱慱炻 ⸽嵛䃉慱ˤ 冯㬌➟⢢䚠Ụ䘬⎎ᶨẞ沛椾➟⢢慯䓐Ἦ冒ᷕ㜙䘬懟啵㕁炻⎎㕥䏍䍨刚慱ẍ⍲ Ernest S. Heller 冯 Stanley Herzman冲啷ᶨẞ栆ἳ炻↢䇰Ḷ Suzanne Valenstein, ˪The Herzman Collection of Chinese Ceramics˫炻楁㷗 楁㷗炻1992⸜炻⚾䇰 6炻ⓖ㕤ΐ㔎喯⭴㭼1981⸜11㚰6㖍炻䶐嘇161炻䎦啷䲸䲬⣏悥㚫⌂䈑棐烊⎎ᶨ ἳ↢冒ᶱ喑ⶪṆ㳚喅埻⌂䈑棐炻夳屨⇑炻˪Chinese Ceramics˫炻 1996⸜炻⚾ 䇰166烊䫔ᶱἳⰔ⿅㸸➪䍵啷炻ⓖ㕤ΐ㔎喯⭴㭼2005⸜9㚰21㖍炻䶐嘇16ˤ ⬠侭Margaret Medley⛐˪Metalwork and Chinese Ceramics˫PDF䲣↿炻2嘇炻 枩4ᷕ婾徘烉昳䄔ⷅ冯㲊㕗啑䍲䌳㛅℔⃫ℕᶾ䲨㘂㛇⺢Ṍ炻⮵⼴ⶪ昞䒟䘤⯽ ⼙枧㶙怈ˤ㚠ᷕ庱抬ᶨẞ沛椾➟⢢炻䲳梦冯㛔⑩䚠⎴炻⚾䇰3b炻⸦ẞ昞沍椾 ➟⢢炻⚾䇰3aˣ2a⍲1b炻ᶨẞ啑䍲戨➟⢢炻⚾䇰1aˤ㬌栆➟⢢炻ㆾ䁢埴㕭㇨ 䓐炻㍃㕤榅Ⲙᶲ炻⎗⍫侫斄㜿䘤㍀ᷳ⠻吔↢⛇ᶨẞ榙榅⟹⁷炻˪㳃春Ⓒᶱ⼑˫ 炻⊿Ṕ炻1980⸜炻⚾䇰80ˤ

忈✳烉➟⢢ 慵慷烉1264 ⃳ ⯢⮠烉檀 29.3 ⍀䰛 ⑩䚠烉䅺墥塪䲳䚜忼⸽嵛炻⚰嵛悐ỵℑ忻⇣䕽炻ᶨṃ慱朊攳䇯炻侩䢐㎵ˤ⢢ ⒯ᶨ㭝 2.9 x 1.3 ⍀䰛塓㉀㕟⍰慵㕘⌉ỷ炻ℑᾳ⚈䇚 䅙慳⃱㷔娎䘬⮷㳆炻㰺 㚱ᾖ墄 Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 ᶨᾳ䅙慳⃱㷔娎䡢娵㉵⑩䘬㕟ẋˤ㷔槿⟙⏲⮯天⛐Ẁ㶭䪞㉵慹ᷳ⼴Ṍ䴎㚨檀 ⼿ᷣˤ

㉵岋䳸㝄㭼庫烉IMPORTANT CHINESE ART. Sotheby’s, 9 NOVEMBER 2016, LONDON, lot 103. (ᶨᾳ役Ụ䘬➟⢢)

EstimateġỘ₡ġġEUR 4.000,- Starting priceġ崟㉵₡ġġEUR 2.000,-

44 45 37 38 AN OLIVE-GREEN GLAZED CERAMIC A CIZHOU SGRAFFIATO ‘PEONY’ BOTTLE VASE, TANG DYNASTY MEIPING, JIN – YUAN DYNASTY The vessel sturdily potted, with four Sturdily potted with the lower part of the neatly applied handles, the glaze running body ribbed, the short cylindric neck with down about two third of the body, a sprawling lip leaving a band around the foot unglazed China, Jin- Yuan dynasty, China, late Tang dynasty, 8th-9th century 13th – 14th century

Shape: Ovoid form with a tall, slender Of attenuated form, carved through neck and trumpet mouth, the round base the rich brown glaze to the body with a with a withdrawn foot circumferential scroll depicting a peony Weight: 820 grams blossom accompanied by its tendrils and Dimensions: Height 22 cm. leaves, the recessed base with its broad Condition: The glaze with extensive wear, foot rim unglazed. one of the four handles re-attached. One This meiping is of a type commonly used with an old restoration, some minor chips to hold wine and is decorated using to trumpet mouth and base, still in good a technique employed at several kilns condition for a vessel of this age in north China. The technique of fully Provenance: Hungarian private collection. glazing the vessels and then cutting away or incising the design through the Ⓒẋ䵈墸慱昞䒞 glaze before firing produced a dramatic ⍂偶炻㔜滲⚃俛炻慱⼑⼨ᶳ㳩役ᶱ↮ᷳḴ䒞 design. Such designs owed their impact 橼炻嵛 悐 㛒 㕥 慱 not only to the contrast between the pale ᷕ⚳炻㘂Ⓒ炻ℓ军ḅᶾ䲨 color of the revealed body material and the rich dark brown of the glaze, but to 忈✳烉⌝⼊㉱攟炻䳘攟柠炻㔆⎋炻⚻⸽悐炻 the contrast between the slightly rough 僂悐䷖⮷ matte texture of the body and the silky 慵慷烉820 ⃳ gloss of the glaze. Vessels decorated ⯢⮠烉檀 22 ⍀䰛. using this technique were made at several ⑩䚠烉慱朊䢐㎵♜慵炻⚃俛ᷕᶨᾳ慵㕘忋 kilns producing ceramics in the Cizhou ㍍忶炻ᶨᾳᾖ⽑忶烊䒞⎋␴⸽悐㚱ᶨṃ⮷ style in Henan and Shanxi provinces. 塪⎋炻⮵㕤忁ᾳ⸜ẋἮ嫃⶚䴻䬿㗗ᾅ⬀⼰ ⤥䘬Ḯˤ Shape: Meiping Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷 Weight: 988.6 grams Dimensions: Height 27.5 cm EstimateġỘ₡ġġEUR 500,- Condition: Extensive wear, some nibbles Starting priceġ崟㉵₡ġġEUR 250,- to lip, four minute chips to base, the glaze partially oxidized, kiln grit, minor manufacturing flaws, slightly inclined to one side Provenance: American private collection.

Literature comparison: A related Cizhou meiping from the George Eumorfopoulos Collection is illustrated by R. L. Hobson, et al., The Romance of Chinese Art, New York, 1936, no. 12. Two other Cizhou meiping are illustrated in Black Porcelain from the Mrs. & Mrs. Yeung Wing Tak Collection, Guangzhou, 1997, nos. 19 and 20.

慹⃫㗪㛇䡩ⶆ䩗䈉ᷡ⌘剙㠭䒞 ⍂偶炻ᶳ悐㚱坢㕳䲳炻䞕柠炻⮔⒯ ᷕ⚳炻 慹⃫㗪㛇炻⋩ᶱ军⋩⚃ᶾ䲨

忈✳烉㠭䒞 慵慷烉 988.6 ⃳ ⯢⮠烉 檀 27.5 ⍀䰛 ⑩䚠烉⣏朊䧵䢐㎵炻ᶨṃᶨ䚜⇘⒯悐䘬㎵ ⢆炻⸽ 悐 ⚃ ᾳ ⮷ 塪 ⎋炻慱 朊 ⯨ 悐 㯏 ⊾炻䩗 䞪炻庽 ⽖ 墥 忈 仢 星炻䔍 ⽖ ⁦ 㕄 ⇘ ᶨ “ Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

46 47 39 41 A MOLDED QINGBAI BOWL, SOUTHERN SONG A CIZHOU ‘LOTUS AND DYNASTY CHRYSANTHEMUM’ SGRAFFIATO Covered inside and out with a light bluish glaze that BOWL, 13TH – 14TH CENTURY shows extensive crazing. Both the rim and the foot PUBLISHED: Song Ceramics, the rim are unglazed. Eight Kiln Groups at a Glance, China, 1127-1279 Examples from the Jiyuanshanfang Collection, 2008, page 102. The thinly potted, fragile bowl is molded in the China, 13th – 14th century center with a chrysanthemum medallion enclosed by a circumferential scroll consisting of six fan-shaped The inner of the bowl sturdily segments, each depicting a jardinière with various potted boldly carved with a central flower arrangements, all below a key fret border. medallion showing two lotus and two chrysanthemum flowers with Shape: Rounded bowl their leaves and stems, all above Weight: 239.7 grams a hatched ground with various Dimensions: Diameter 18.3 cm patterns of deeply engraved lines, Condition: Very good condition with wear as covered overall in a creamy-ivory expected on piece of this age, minor fritting to rim, glaze stopping just above the foot some manufacturing imperfections revealing the grey body. Five spur Provenance: Property from the collection of Ann and marks in well. Don McPhail, Philadelphia, USA Shape: Bowl with recessed base and Auction result comparison: The Art of China: highly raised foot rim Autumn Sale. Christies Online, 20 - 27 September Weight: 836.6 grams 2017, lot 41. (compare with a related bowl) Dimensions: Diameter 21.3 cm. Condition: Wear as expected on a ⋿⬳曺䘥䠿 piece of this age, few small chips at 塷⢾㕥㶢啵刚慱 炻慱朊攳塪♜慵烊䠿㱧冯⚰嵛曚偶 the rim filled and overpainted, minor ᷕ⚳炻 1127-1279 hairline to well.

忈✳烉⚻䠿 EXHIBITED: Morristown, New Jersey, 慵慷烉239.7 ⃳ Morris Museum, “Harmony in Clay: ⯢⮠烉䚜⼹ 18.3 ⍀䰛 the Elegance and Refinement of ⑩䚠烉䚠⮵㕤℞⸜ẋᾅ⬀㗗㤝⤥䘬炻ᶨṃ䢐㎵炻怲 Song Ceramics”, March 8-June 24, 䶋㚱庽⽖塪䷓炻ᶨṃ墥ἄ仢星 2012, #92 Ἦ㸸烉伶⚳屣❶Ann and Don McPhail 㓞啷 Auction result comparison: EstimateġỘ₡ġġEUR 600,- IMPORTANT CHINESE ART. Starting priceġ崟㉵₡ġġEUR 300,- Sotheby’s, 11 MAY 2016, LONDON, lot 211. (compare with a related small cizhou sgraffiato jar from the same period)

40 䡩ⶆ䩗䘥慱⇣咖卲剙䲳䠿 A CARVED QINGBAI BOWL, NORTHERN SONG ↢䇰烉Song Ceramics, the Eight Kiln DYNASTY Groups at a Glance, Examples from The thinly potted conical body with steep sides the Jiyuanshanfang Collection, 2008, rising from a slightly tapered foot page 102. China, Northern Song dynasty (960-1127) ᷕ⚳炻⋩ᶱ军⋩⚃ᶾ䲨

The interior freely and masterfully carved with a 忈✳烉䠿⸽嵛↡星炻檀⚰嵛 frieze of flying birds, possibly geese, each carrying 慵慷烉836.6 ⃳ a branch with a bunch of grapes in its beak, ⯢⮠烉⼹ 21.3 ⍀䰛. covered overall except for the base with a lustrous ⑩ 䚠烉㕤 㬌 ☐ 䚠 䫎 䘬 䢐 ㎵炻䠿 㱧 㚱 ṃ translucent bluish-white glaze. ⽖攳⎋炻㔜橼ᶲ慱炻庽⽖檖䴚䵓塪䷓ ↢䇰烉㕘㲥大ⶆ Morris Museum, Shape: Conical “Harmony in Clay: the Elegance Weight: 187.8 grams and Refinement of Song Ceramics”, Dimensions: Diameter 20 cm March 8-June 24, 2012, #92 Condition: One major v-shaped crack as visible on the images, old wear, few firing flaws, one tiny flake EstimateġỘ₡ġġEUR 1.500,- to lip and one chip to foot rim, remainders of old Starting priceġ崟㉵₡ġġEUR 750,- soil on the base Provenance: American private collection.

Auction result comparison: CHINESE ART. Sotheby’s, 02 - 03 JUNE 2016, HONG KONG, lot 627. (for a related bowl)

⊿⬳曺䘥慱⌘剙㔿䫈䠿 唬偶炻㔿䫈⼊炻曚偶炻↡⸽ ᷕ⚳炻⊿⬳炷960-1127炸 忈✳烉抸⼊ 慵慷烉187.8 ⃳ ⯢⮠烉䚜⼹ 20 ⍀䰛 ⑩䚠烉ᶨ嗽V✳攳⎋炻⎗⛐⚾䇯ᶲ䚳⇘炻侩䢐㎵炻⯨悐 ᾖ慱仢星炻⚰嵛ᶲ㚱ᶨ嗽仢⎋炻怲䶋↢攳䇯炻 ➢⹏ᶲ 㚱侩⛇㭀检 Ἦ㸸烉伶⚳䥩Ṣ㓞啷.

EstimateġỘ₡ġġEUR 200,- Starting priceġ崟㉵₡ġġEUR 100,-

48 49 42 43 AN EXCEPIONAL QINGBAI RETICULATED GOAT Auction result comparison: for a related archaistic A LONGQUAN CARVED BALUSTER ‘LOTUS’ JAR, Auction result comparison: Fine Chinese Ceramics FORM CENSER, YUAN DYNASTY Qingbai censer see Christie’s, Leisurely Delights of a MING DYNASTY and Works of Art Part I and Part II Including Property Reticulated, carved and molded porcelain with Transient Life, 30 May 2018, HONG KONG, Lot 2983. The large and massively potted jar entirely covered from the Arthur M. Sackler Collections. Christies, New Qingbai glaze ġ For a figural Qingbai water dropper see Christie’s, with an evenly applied, pale-olive celadon glaze, York, 24 March 2011, lot 1646. (compare with a jar China, Yuan Dynasty (1279-1368) Fine Chinese Ceramics and Works of Art, New York, showing fine crazing from the same group, but with a peony scroll, and still 19 September 2006, Lot 218. China, 15th century retaining its original lid) This rare Qingbai censer is made in the figural shape of a reclining goat. The animal is depicted in ⃫ẋ曺䘥䐆伲⼊楁䆸 The deeply and skillfully carved design shows 㖶ẋ漵㱱⇣剙咖剙攳䇯仸 a mythical manner, showing no horns yet a lot of 曺䘥慱昞䒟炻掌䨢炻晽⟹ a circumferential central scroll of lotus flowers ⣏✳⍂慵偶仸炻⇣剙炻㶢䀘䵈刚慱炻攳䇯 longevity and immortality symbolism such as the ᷕ⚳炻⃫ẋ炷IJijĸĺĮIJĴķĹ炸 accompanied by their leaves and tendrils, above a ᷕ⚳炻⋩Ḽᶾ䲨 Lingzhi shapes at his harness. The lid is reticulated and petal lappets border that encircles the slightly waisted has a lingzhi knop. The crazed Qingbai glaze is deep 忈✳烉≽䈑忈✳ base, and beneath two smaller borders with aligned 忈✳烉仸 turquoise in places where the glaze is running thickly 慵慷烉ġĸĵĴġ⃳ leaves. The convex and recessed base is glazed in ⯢⮠烉檀 28.8 ⍀䰛., 䚜⼹ 33 ⍀䰛. and light pale in other areas. ⯢⮠烉ġ攟ġijijįĶġ⍀䰛 celadon and surrounded by a slanted, unglazed foot ⑩䚠烉ᾅ⬀䉨㱩㤝⤥炻㤝⮹䢐㎵炻ᶨṃ䅺墥㗪䓊䓇䘬 ⑩䚠烉列⤥炻ⶎ俛㚱⮷塪⎋炻⒯悐冯ⶎ怲⼴儧㚱䡽䡘 rim. The inner of the jar is completely glazed as well. ᶵ夷⇯⼊ Shape: Figural Ἦ㸸烉岤㕤ΐ㔎ŋŰũůġŔűŢųŬŴ炻⸽悐侩㧁䰌 Ἦ㸸烉Ἦ冒剅≈⒍ᶨỵ㖶㗇Ṣ䈑䥩Ṣ㓞啷 Weight: 743 gramsġ Shape: Baluster Dimensions: length is 22.5 cm EstimateġỘ₡ġġEUR 1.500,- Dimensions: Height 28.8 cm., diameter 33 cm. EstimateġỘ₡ġġEUR 1.500,- Condition: good condition with chip to left ear, one Starting priceġ崟㉵₡ġġEUR 750,- Condition: Superb condition with only very little wear Starting priceġ崟㉵₡ġġEUR 750,- nibble to lip and the other to left back hoof and some minor firing irregularities Provenance: acquired at John Sparks, London – old Provenance: From a prominent Chicago private label on the underside, British private estate collection.

50 51 46 A LONGQUAN CELADON TRIPOD ‘PEONY’ CENSER, MING DYNASTY Celadon glaze stoneware with carved decoration China, Ming Dynasty (1368-1644)

Robustly potted with shallow rounded sides supported on three sturdy and protruding feet, the vessel is molded and carved around the sides with peony flowers borne on a continuous leafy scroll. The glaze shows expressive crazing and an even celadon hue, the underside of the feet and bottom center are left unglazed.

Shape: Tripod censer shape Weight: 2,052 grams Dimensions: diameter is 22 cm Condition: excellent condition with minor traces of wear and age Provenance: from an American private estate – acquired prior to the 1960s in Hong Kong

Auction result comparison: for a related ‘Peony’ tripod see Sotheby’s, FINE CHINESE CERAMICS & WORKS OF ART, 08 OCTOBER 2008, HONG KONG, Lot 2519.

㖶ẋ漵㱱曺慱⌘剙䈉ᷡᶱ嵛䆸 曺慱䁣☐炻⌘剙 ᷕ⚳炻 㖶ẋ炷1368-1644炸

忈✳烉 ᶱ嵛䆸 慵慷烉 2,052 ⃳ ⯢⮠烉䚜⼹22 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻庽⽖䢐㎵冯⸜ẋ䕽嶉with minor traces of wear and age Ἦ㸸烉伶⚳䥩Ṣ怢䓊炻ᶲᶾ䲨ℕ⋩⸜ẋ岤㕤楁㷗

44 EstimateġỘ₡ġġEUR 800,- AN INCISED YAOZHOU CELADON ‘LOTUS’ PILLOW, NORTHERN SONG Starting priceġ崟㉵₡ġġEUR 400,- DYNASTY Celadon glaze stoneware with incised decoration China, Northern Song Dynasty (960-1127) 47 AN INCISED LONGQUAN CELADON Longquan Yao Qing Ci (Celadons from This rare example of Yaozhou celadon ware is incised with a lotus blossom at STEM CUP, YUAN DYNASTY Longquan), Taipei, 1998, nos. 198-201, the head-piece which has a lobed botanical shape with a pointed top. The top 45 The elegant and almost flawless celadon pp. 217-220. However, the motives is connected to an integrated pedestal shaped base. A MING DYNASTY CIZHOU PAINTED FIGURE OF A MAN glaze evenly applied to the cup, clusters incised into this cup are more typical of WITH A PIPA LUTE of tiny air bubbles within larger Longquan celadon dishes ascribed The Yaozhou Kiln complex, at Huangbaozhen, Shaanxi, began production Ceramic with creamy glaze and paintwork in Cizhou palette China, late Yuan to early Ming Dynasty to the 15th century by Regina Krahl in during the Tang dynasty, when it was notable for Sancai earthenware. China, Ming Dynasty (1368-1644) (14th-15th century) Chinese Ceramics in the Topkapi Saray Although considerably further from Kaifeng, which became the capital of the Museum, Istanbul, 1986, vol. I, cat. nos. Song in 960, Yaozhou benefited from the move, as the previous main high- The mustached man is sitting on a drum stool and wearing The sturdily potted cup with well- 305 and ff., p. 317. quality celadon Yue ware, from further south, declined. At the end of the festive attire with and a small coolie hat that is tilting to the rounded sides and slightly everted Northern Song in 1127, the Imperial court fled south, and the capital of the side. He is playing a lute, a so-called pipa with a curved neck and lobed rim, supported on a partly Auction result comparison: PLAYTHINGS Southern Song was set up at Hangzhou. The nearby Longquan celadon kilns made in the shape of a Ruyi scepter head. hollowed, spreading stem imitating FROM THE COLLECTION OF EDWARD became the main producer of celadon and Yaozhou and the other Northern a section of bamboo, covered overall T. CHOW, CHINESE CERAMICS AND Celadons declined accordingly, in both quantity and quality, although celadons Shape: Figural with an unctuous green glaze except WORKS OF ART, COLLECTIONS, continued to be produced at Yaozhou until the Yuan dynasty. Weight: 772 grams the foot rim. The outside wall incised CHINESE ART THROUGH THE EYE OF Dimensions: 29 cm height with a stylized lappet border, the inner SAKAMOTO GOR - ASIAN LACQUER. Shape: Lobed shape with pointed top Condition: very good optical appearance, the head has been rim neatly carved with wavy border Sotheby’s, 27 MAY 2014, HONG KONG, Weight: 1,320.4 grams reattached and there is a small chip to the hem above his and an elegantly curved tendril pattern lot 621. (for are related Longquan Dimensions: 20 x 20 cm, 11 cm height stretched-out foot beneath. celadon cup) CHINESE WORKS OF ART. Condition: excellent condition with minor traces of wear and age Provenance: from an American private collection Bonham’s, 14 March 2016, NEW YORK, Provenance: from an American private estate Shape: Stem cup lot 8083. (for another related Longquan Auction result comparison: for comparable Cizhou painted Weight: 329 grams stem cup) Auction result comparison: for a related incised ‘Lotus’ Yaozhou bowl see figures of the Ming Dynasty see Bonhams, ASIAN DECORATIVE Dimensions: Height 10.3 cm. Christie’s, The Pavilion Sale - Chinese Ceramics and Works of Art, Hong Kong, ARTS, 15 Nov 2011, SAN FRANCISCO, lot 3319 or Christie’s, The Condition: Superb condition with only ⃫ẋ漵㱱曺䒟⌘剙檀嵛㜗 4 October 2018, Lot 21. Art of Asia, Online, 29 November - 8 December 2016, Lot 71. minor wear, as expected on a piece of 檀晭⸦᷶⬴伶䃉䏽䘬曺慱䠿炻檀嵛㜗炻 this age 慱ℭ㚱⮷㯋㲉 ⊿⬳侨ⶆ䩗曺慱咖剙䲳㜽 㖶ẋ䡩ⶆ䏝䏞䏜ⷓ Provenance: Canadian private collection. ᷕ⚳炻 ⃫ẋ㘂㛇军㖶ẋ㖑㛇 炷⋩⚃军 曺慱䁣☐⌘剙 䘥慱湹⸽ ⋩Ḽᶾ䲨炸 ᷕ⚳炻⊿⬳ (960-1127) ᷕ⚳炻 㖶ẋ (1368-1644) Literature comparison: For similar examples of Longquan celadon stem 忈✳烉檀嵛㜗 忈✳烉剙䒋攳⎋⼊ 忈✳烉Ṣ䈑忈✳ cups, see J. Harrison-Hall, Ming 慵慷烉 329 ⃳ 慵慷烉 1,320.4 ⃳ 慵慷烉 772 ⃳ Ceramics in the British Museum, 2001, ⯢⮠烉檀 10.3 ⍀䰛. ⯢⮠烉 20 x 20 ⍀䰛, 檀11 ⍀䰛 ⯢⮠烉檀29 ⍀䰛 p.463, pls.16:2 and 16:3; see also J. ⑩䚠烉ᾅ⬀㤝⤥炻㚱叿忁⸜ẋ忂ⷠ䘬 ⑩䚠烉ᾅ⬀㤝⤥炻庽⽖⸜ẋ䕽嶉冯䢐㎵ ⑩䚠烉夾奢㓰㝄朆ⷠ⤥炻柕悐慵㕘塓䱀忶炻Ỡ↢䘬恋晣僂䘬僂朊 Ayers, The Chinese Porcelain Collection 庽⽖䢐㎵ Ἦ㸸烉伶⚳䥩Ṣ怢䓊 㚱⮷䡽䡘 of Marie Vergottis, p.30, pl.9. The stem Ἦ㸸烉 ≈㊧⣏䥩Ṣ㓞啷 cup appeared during the Yuan period: EstimateġỘ₡ġġEUR 800,- EstimateġỘ₡ġġEUR 400,- see Zhu Boqian, EstimateġỘ₡ġġEUR 1.000,- Starting priceġ崟㉵₡ġġEUR 400,- Starting priceġ崟㉵₡ġġEUR 200,- Starting priceġ崟㉵₡ġġEUR 500,-

52 53 A HAN DYNASTY LACQUERED WOOD STATUE OF A HORSE LOT 50

54 55 49 A FIRE GILT BRONZE FIGURE OF A SITTING UP TOAD, HAN DYNASTY Heavily cast bronze with rich remains of the original fire gilding China, Han Dynasty (206 BC–220 AD)

This little animal sculpture dates to the Han Dynasty and was probably used as a mat weight as metal weights, including animal- shaped ones such as the present lot, were used by scholars of ancient China who often sat on mats of woven bamboo strips, to anchor the corners of the unfurled mat to prevent it from folding back on itself.

The depiction of toads dating to the Han dynasty are rare. See, however, a related bronze toad-shaped weight, Han dynasty, from the British Museum, London, museum no.1947,0712.384.

The present bronze shows the toad in a near humanized manner, sitting up and with voluptuous body features. It has its clawed hands placed at the upper legs and is looking at the beholder with a broad grin and bulging eyes. Inside is a paper label with old collector’s writing who is referring to the toad as the moon toad that stole the elixir of long life.

Shape: Figural Weight: 362 grams Dimensions: height 6.5 cm, width is 7.5 cm Condition: very good condition with expressive patina Provenance: Hungarian private collection, according to the previous owner this piece originally comes from the collection of famed New York lawyer and cabinet of curiosity collector Seward Kennedy

Auction results comparison: For another toad shaped Han Dynasty mat weights see Bonhams, FINE CHINESE CERAMICS AND WORKS OF ART, 3 Dez 2015, HONG KONG, ADMIRALTY, lot 35.

48 㻊ẋ挷慹戭嚌坮 A LARGE INSCRIBED ‘TLV’ BRONZE MIRROR, HAN DYNASTY Shape: Round mirror 㨇慵曺戭揬忈炻挷慹Ⰼ㭀检⍂ Cast bronze with high relief, the patina with malachite encrustation Weight: 1371 grams ᷕ⚳炻㻊ẋ China, Han dynasty, 206 BC – 220 AD Inscription: Youfeng (translated: right summit) Dimensions: 18 cm 忈✳烉≽䈑忈✳ Condition: Very good condition with some wear and extensive patina, as 慵慷烉362 ⃳ The central knob within a circular reserve with a scroll of stylized mythical customary for a piece of this age ⯢⮠烉檀 6.5 ⍀䰛, ⮔7.5 ⍀䰛 animals, within a square reserve, the outer field with ‘TLV’ pattern, eight Provenance: American private collection. Old collector label to back. ⑩䚠烉㤝⤥炻⊭㻧ↅ慵 nipples and various celestial animals including the turtle intertwined with Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷炻㌖䎦啷⭞㔀徘炻㬌ẞ a snake, a dragon, a tiger, a phoenix, all within narrow bands and hatched Auction result comparison: FINE CHINESE CERAMICS & WORKS OF ART. Ἦ冒㕤䲸䲬⼳ⷓẍ⍲㓞啷⭞⋼㚫㚫⒉Seward lines, and below a dogtooth band and a band of clouds around the rim. Sotheby’s, 16 - 17 SEPTEMBER 2014, NEW YORK, lot 128. (for a similar Kennedy 㓞啷 A TLV mirror is a type of circular bronze mirror with engraved symbols mirror, but slightly smaller) resembling the letters T, L, and V. According to Schuyler Camman, the EstimateġỘ₡ġġEUR 1.500,- design of TLV mirrors is cosmologically significant. The V shapes serves to 㻊ẋ⣏✳曺戭掉 Starting priceġ崟㉵₡ġġEUR 750,- give the inner square the appearance of being placed in the middle of a 曺戭揬忈炻㶙㴖晽炻⫼晨䞛䵈戭䵈 cross. This forms an illustration of the Chinese idea of the five directions – ᷕ⚳炻㻊ẋ炷 206 BC – 220 AD炸 North, South, West, East and Center. The central square represents China 側朊㚱Ⱦ⎛ⲘȾ⫿㧋 as the ‘Middle Kingdom.’ The area in between the central square and the circle represents the ‘Four Seas.’ During the Han Dynasty the ‘Four Seas’ 忈✳烉⚻掉 represented territories outside China. The central square within the round 慵慷烉1371 ⃳ mirror alludes to the ancient Chinese idea that heaven is round, and earth ⯢⮠烉18 ⍀䰛 is square. The Ts represent the concept of the ‘Four Gates of the Middle ⑩䚠烉䉨㱩㤝⤥炻㚱ṃ䢐㎵␴戭䵈炻冯℞⸜ẋ䚠䫎 Kingdom,’ an idea present in Chinese literature. The Ls symbolize the Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻⸽悐⎗夳侩啷⭞㧁䯥 marshes and swamps beyond the ‘Four Seas,’ at the ends of the earth. The eight nipples outside of the central square are a representation of the Eight EstimateġỘ₡ġġEUR 1.000,- Pillars, mountains that held up the canopy of heaven. Starting priceġ崟㉵₡ġġEUR 500,-

56 57 50 A LARGE AND MASSIVE LACQUERED WOOD STATUE OF A HORSE, SICHUAN, HAN DYNASTY Carved of two jointed single pieces of wood, with original black and red lacquer coating China, Sichuan province, Western Han dynasty (206 B.C.–A.D. 9)

The horse is lacquered in black with outstanding highlights in bright red. The carving style follows the minimalist formal guidelines of the period, with its dramatic archaism and simplified forms of expression. The rider, lost after millennia of burial, was once sitting on a saddle, of which the mountings are still well visible. Horse and rider probably functioned as honor guards in a ceremonial procession, a typical element of Han tomb furnishings. Several variations of such wooden horses were found and excavated during the latter part of the 20th century at Mianyang, Sichuan Province, where the lacquer industry flourished during the Han dynasty. Related examples were for example found at a Shuangbaoshan tomb and excavated in 1993, see article “Delicate and lovely, unique and strange: Art of Sichuan Province, Second Century B.C.E to Third Century C.E.,” Orientations 28, no. 8, September 1997, pp. 78-84.

Shape: Sculptural Weight: 24.9 kilograms Dimensions: Height 90 cm., length 78 cm Condition: Significant deterioration of the wood near the tail, which is loose as a result. Remainders of old mounts visible where the saddle used to be. The black lacquer coating is worn off in some areas to the extent that the red priming became visible. Some minor losses, chipping and small cracks as expected on a wood carving of this age. Provenance: American private collection; previously acquired from Kemin Hu, the leading Chinese scholar’s rocks specialist and author of several publications on the subject.

Literature comparison: Compare with a group of four horses with riders, exhibited at the The Metropolitain Museum of Art, New York, in “Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 200)” from April 3rd, 2017 – July 16th, 2017. Sichuan sheng wenwu kaogu yanjiuyuan ⚃ⶅ 䚩㔯䈑侫⎌䞼䨞昊 (Sichuan Provincial Institute of Archaeology) and Mianyang bowuguan 䵧春⌂䈑棐 (Mianyang Museum). Mianyang shuangbaoshan hanmu 䵧春暁⊭Ⱉ㻊⠻ (Mianyang shuangbaoshan Han tomb). Beijing: Wenwu Press, 2006: 71–91.

㻊ẋ⚃ⶅ⣏✳㛐晽㺮楔 ℑ⟲忋㍍䘬╖ẞ㛐柕晽⇣炻⍇⥳湹㺮䲭㺮⟿Ⰼ ᷕ⚳炻⚃ⶅ炻大㻊 (206 B.C.–A.D. 9) 忈✳烉 忈⁷ 慵慷烉 24.9 ℔㕌 ⯢⮠烉 檀 90 ⍀䰛, 攟 78 ⍀䰛 ⑩䚠烉⯦⶜旬役㖶栗徨⊾檮≽ˤ楔朵悐↮⎗夳∑检㍺ẞ烊湹㺮⚾Ⰼ⯨悐⎗夳曚↢䘬 䲭㺮ˤ冯⸜ẋ䚠䫎䘬䢐㎵ˣ䠶塪␴塪䷓ˤ Ἦ㸸烉伶⚳䥩Ṣ㓞啷; ᷳ⇵岤㕤傉⃳㓷↎炻傉⃳㓷㗗ᷕ⚳㔯Ṣ䞛⮰⭞炻㚦↢䇰忶⸦悐 䚠斄㚠䯵ˤ

EstimateġỘ₡ġġEUR 3.000,- Starting priceġ崟㉵₡ġġEUR 1.500,-

Standing Wood Horse, Han Dynasty, The Metropolitan Museum of Art, New York

58 59 51 52 A SONG - YUAN DYNASTY SCHIST HEAD OF GUANYIN A SONG - YUAN DYNASTY SCHIST HEAD OF CROWNED Schist, comes with modern metal stand GUANYIN China, Song / Yuan Dynasty, 12th - 14th century Schist, comes with modern metal stand China, Song / Yuan Dynasty, 12th - 14th century This spirited portrayal of Guanyin was masterly carved from grey schist with white speckles and ochre encrustation. The mother goddess This finely carved portrayal of Guanyin was crafted from greyish schist shows a chubby face and earlobes and a wise smile is playing around with white speckles and ochre encrustation. The mother goddess with her lips. Her hair is artistically done up with two lotus blossoms serene facial features and cast down eyes is wearing an ornate high discernible as adornments. crown featuring stylized lotus blossoms.

Shape: Figural head Shape: Figural head Dimensions: 12 cm (height of head), 19.5 cm (height including stand) Dimensions: 12.5 cm (height of head), 20.5 cm (height including Weight: 1,246 grams stand) Condition: Good, age-related condition with natural patina and some Weight: 1,536 grams notches here and there Condition: Good, age-related condition with natural patina and some Provenance: Collection of an American gentleman notches here and there Provenance: Collection of an American gentleman ⬳⃫䇯ⱑ晽奨枛柕⁷ 53 䇯ⱑ炻䎦ẋ慹Ⱄ㓗㝞 ⬳⃫䇯ⱑ晽㇜ⅈ奨枛柕⁷ A TERRACOTTA FIGURE OF A CAMEL, TANG DYNASTY ᷕ ⚳炻⬳ ⃫ 㗪 㛇炻⋩Ḵ军 ⋩ ⚃ ᶾ 䲨 䇯ⱑ炻䎦ẋ慹Ⱄ㓗㝞 Fired red terracotta with incised details ᷕ ⚳炻⬳ ⃫ 㗪 㛇炻⋩Ḵ军 ⋩ ⚃ ᶾ 䲨 China, Tang dynasty (618-907) 忈✳烉柕⁷ ⯢⮠烉柕檀 12 ⍀䰛炻䷥檀 19.5 ⍀䰛 (⏓㓗㝞) 忈✳烉柕⁷ The camel modeled standing foursquare on a rectangular plinth, with its long neck arched and head 慵慷烉1,246 ⃳ ⯢⮠烉柕檀12.5 ⍀䰛炻䷥檀 20.5 ⍀䰛 (⏓㓗㝞) rearing backwards, the mouth closed, the humps distinctly protruding and the tail curling to one side. ⑩䚠烉列⤥炻冯⸜ẋ䚠䫎䘬䉨ン炻⣑䃞⊭㻧炻⯨悐㚱仢⎋ 慵慷烉1,536 ⃳ Ἦ㸸烉 ᶨỵ伶⚳䳛⢓䥩Ṣ㓞啷 ⑩䚠烉列⤥炻冯⸜ẋ䚠䫎䘬䉨ン炻⣑䃞⊭㻧炻⯨悐㚱仢⎋ Shape: Sculptural Ἦ㸸烉ᶨỵ伶⚳䳛⢓䥩Ṣ㓞啷 Weight: 2.8 kilograms EstimateġỘ₡ġġEUR 800,- Dimensions: 45 cm height Starting priceġ崟㉵₡ġġEUR 400,- EstimateġỘ₡ġġEUR 800,- Condition: Typically these statues were reassembled from broken pieces after excavation, being Starting priceġ崟㉵₡ġġEUR 400,- buried for millennials, which is not always visible below remainders of sand; the condition therefore is described as complete, with several parts possibly reattached; Provenance: German private collection

Ⓒẋ䲭昞榙榅 䲭昞炻䳘䭨ℍ⽖ ᷕ⚳炻Ⓒẋ炷618-907炸

忈✳烉忈⁷ 慵慷烉2.8 ℔㕌 ⯢⮠烉檀45 ⍀䰛 ⑩䚠烉忂ⷠね㱩ᶳ炻忁栆忈⁷㗗䓙㊾㍀↢䘬䠶䇯慵㕘䳬墅䅺墥ˤ㱁Ⰼᷳᶳ悐ỵᶵ⎗夳烊⚈㬌炻䎦㚱䉨㱩㚱⎗ 傥䁢⸦悐↮慵㕘忋㍍ˤ Ἦ㸸烉⽟⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

60 61 54 A LARGE PARCEL-GILT BRONZE CENSER, GUI, WANLI PERIOD, HU WENMING MARK The base is cast with the maker’s mark Yunjian Hu Wenming Zhi within a rectangular panel China, Ming dynasty, Wanli period, 1573-1620

The artist Hu Wenming was a celebrated metalworker active during the late 16th to early 17th century. Large vessels by him are extremely rare. The compressed globular body has an impressive diameter of 26 centimeters including the handles and is cast in relief with mythical beasts amidst cloud scrolls against a carefully incised wave-pattern ground, below a band of interlinked stylized foliage at the neck against a scalloped ground, and above a band of lotus scroll at the foot, flanked on both sides by massive dragon-head loop handles.

Shape: Bronze censer Weight: 1596 grams Dimensions: 26 cm diameter (from handle to handle) Condition: Excellent condition with wear and patina consistent with age Provenance: American private collection.

Literature comparison: Compare with a group of metalwork examples all bearing the Hu Wenming mark, included in the exhibition Arts from the Scholar’s Studio, Hong Kong, 1986, nos. 73, 103, 230, 231, 237, and 246. Also compare with Michael Goedhuis, Chinese and Japanese Bronzes A.D. 1100-1900, London, Colnaghi Oriental, 1989, pl. 60.

Auction result comparison: The Imperial Sale & Important Chinese Ceramics and Works of Art. Christies, Hong Kong, 3 June 2015, lot 3311. (for an almost identical censer, dated 1614)

傉㔯㖶㫦⣏✳挷慹戭楁䆸炻䮳炻叔㙮 䆸⸽㚱傉㔯㖶㫦 ᷕ⚳炻㖶ẋ炻叔㙮炷1573-1620炸

喅埻⭞傉㔯㖶⛐⋩ℕᶾ䲨㛓军⋩ᶫᶾ䲨⇅㛇⚈䇚Ṿ䘬ầ⎌☐䈑墥ἄ㤝䇚↢⎵炻ἄ⑩㤝䇚份夳ˤ㬌䆸䎫 䉨橼炻ℑ“⎬戂㍍ᶨ漵俛䁢➟㝬炻℟㚱26⍀䰛ẌṢ⌘尉㶙⇣䘬䚜⼹ˤ⌟暚䲳ᷕ梦㲊㴒䲳炻柠悐梦丷㝅 䲳炻⸽ 悐 咖 剙 䲳 ⎹ 㕡炻㟑 㟑 ⤪ 䓇ˤ

忈✳烉曺戭楁䆸 慵慷烉1596 ⃳ ⯢⮠烉䚜⼹ 26 ⍀䰛炷⏓➟㝬炸 ⑩䚠烉䉨㱩㤝⤥炻冯⸜ẋ䚠䫎䘬䢐㎵␴⊭㻧ˤ Ἦ㸸烉 伶⚳䥩Ṣ㓞啷

㔯䌣㭼庫烉ᶨ䳬傉㔯㖶㫦䘬☐䈑炻⊭㊔⯽奥Arts from the Scholar’s Studio, Hong Kong, 1986, nos. 73, 103, 230, 231, 237, and 246. ẍ⍲ Michael Goedhuis, Chinese and Japanese Bronzes A.D. 1100-1900, London, Colnaghi Oriental, 1989, pl. 60. ㉵岋䳸㝄㭼庫烉The Imperial Sale & Important Chinese Ceramics and Works of Art. Christies, Hong Kong, 3 June 2015, lot 3311. 炷ᶨ ẞ ⸦ ᷶ ᶨ 㧋 䘬 楁 䆸炻1614炸

EstimateġỘ₡ġġEUR 5.000,- Starting priceġ崟㉵₡ġġEUR 2.500,-

62 63 55 A COPPER HAND-WARMER WITH RETICULATED COVER, QING DYNASTY The metal with an even reddish-brown patina, incised and embossed in repoussé technique China, 18th – early 19th century

The lobed body with a circumferential chrysanthemum and butterfly scroll below a ruyi and a key fret border, all neatly chiselled and incised against a scalloped background. The domed coved with cut out openwork decoration depicting further chrysanthemum amid their leaves and tendrils and a shou character surrounded by a ruyi border in the center. The rim of the cover with a circumferential openwork cloud border. The two swinging handles cast in bamboo shape.

Shape: Censer with cover Weight: 986 grams Dimensions: Height 20.5 cm including handles, diameter 18.5 cm. Condition: Superb original condition with only minor wear, good original patina Provenance: Austrian private collection.

Auction result comparison: Art d’Asie. Christies, Paris, 19 December 2012, lot 110. (compare with a pair of related hand warmers, dated to the 18th century)

㶭ẋ戭掐丷㝅⢥䲳ㇳ䆸 䲭墸刚⊭㻧炻掌䨢炻㶢晽 ᷕ⚳炻⋩ℓ军⋩ḅᶾ䲨

忈✳烉ⷞ味ㇳ䆸 慵慷烉986 ⃳ ⯢⮠烉檀 20.5 ⍀䰛炷⏓㍸㠩炸炻䚜⼹ 18.5 ⍀䰛. ⑩䚠烉ᾅ⬀䉨㱩㤝⤥炻ṃ⽖䢐㎵炻⍇⥳⊭㻧伶渿 Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷

EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

56 A PARCEL GILT TRIPOD CENSER WITH MONGOOSES, MING DYNASTY Parcel gilt copper bronze alloy, cast and chased China, late Ming Dynasty, 16th – 17th century

This finely executed censer has a gourd shape body resting ion 57 three elegantly curved legs. To either side at the upper rim a A BRONZE TRIPOD CENSER, XUANDE MARK, 17TH mongoose is curiously looking up and their fur is finely incised. CENTURY The bronze patinated to a light golden-brown color The mongoose is an important auspicious animal in Chinese China, 17th century tradition as it is the main attribute of wealth deities such as Jambhala, Kubera or Vaishravana which make the mongoose The compressed globular body rising from three splayed spit jewels. This has its origin in the Central Asian custom to use feet to a short neck with a wide everted lipped rim, the mongoose skin as a treasure bag. The mongoose symbolizes underside cast with an apocryphal six-character Xuande generosity, granting of desires and accomplishments. mark within a rectangle.

Shape: Figural tripod shape Shape: Censer Weight: 425.5 grams Weight: 2099 grams Dimensions: Height 7.3 cm, width 13 cm Dimensions: 22 cm diameter Condition: very good condition with appealing patina and minor Condition: Excellent condition with wear, verdigris and abrasions to gilding patina as expected on a bronze of this age Provenance: Austrian private collection Provenance: American private collection.

Auction result comparison: for another late Ming Dynasty parcel Auction result comparison: IMPORTANT CHINESE ART. gilt tripod censer of similar size, yet in a more archaistic style, Sotheby’s, 12 SEPTEMBER 2018, NEW YORK, lot 296. (for a see Bonhams, FINE CHINESE ART, 15 Mai 2014, LONDON, NEW similar censer) BOND STREET, lot 279. ⋩ᶫᶾ䲨⭋⽟㫦曺戭ᶱ嵛䆸 㖶ẋᶱ嵛䉸滔拵慹楁䆸 㶢慹墸刚⊭㻧 拵慹戭曺戭⎰慹炻揬忈 ᷕ⚳炻⋩ᶫᶾ䲨 ᷕ⚳炻㖶ẋ㘂㛇 忈✳烉楁䆸 忈✳烉≽䈑炻ᶱ嵛 慵慷烉 2099 ⃳ 慵慷烉 425.5 ⃳ ⯢⮠烉䚜⼹22 ⍀䰛 ⯢⮠烉檀 7.3 ⍀䰛炻⮔ 13 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻⤪枸㛇⎗夳冯⸜ẋ䚠䫎䘬䢐㎵ˣ戭䵈冯⊭㻧 ⑩䚠烉㤝⤥炻⊭㻧伶渿炻㚱庽⽖㒎 Ἦ㸸烉伶⚳䥩Ṣ㓞啷. Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.000,- EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 400,-

64 65 58 59 A LARGE BRONZE ‘ARROW’ VASE, TOUHU, MING A LARGE BRONZE FIGURE OF A DYNASTY YOUTHFUL DAOIST DEITY, MING Massively cast and incised hexagonal bronze vessel with DYNASTY original dark, almost black patina Cast bronze with incised detail work. China, Ming dynasty (1368-1644) Good patina China, Ming dynasty (1368-1644) The neck with two superbly cast sinuous Chilong in high relief, the sides with two openwork lion masks. The body Seated on a chair with an aperture divided by four vertical flanges. The various reserves with at the lower front and two more wave, diaper and leiwen patterns. at the back, we see a daoist deity Vases such as the present lot were designed for the ancient with youthful facial features. He is Chinese game of touhu ㈽⢢, or ‘arrow-throwing’, which dressed in a long robe and wears would form part of the entertainment at banquets and ornate shoes. His hair is artfully done is mentioned in early classical texts such as the Chunqiu up in a chignon and the fat earlobes, Zuo Zhuan attributed to Zuoqiu Ming (c.556-451 BC). heavy lidded down cast eyes as Contestants would aim feathered arrows at the various well as the well meaning smile all cylinders applied to the vase, with higher points awarded add further to the overall spiritual for the less accessible openings. The loser was made to appearance of this Ming bronze. drink wine, leading to increased inebriation and diminished throwing accuracy. Shape: Figural Whereas many examples exist of this form of vase, in Weight: approx. 4,300 grams porcelain and cloisonné as well as bronze, the present lot Dimensions: Height 38.5 cm appears to be one of the earlier versions of the subject, Condition: Good condition with old still following strict formal guidelines, with the three main wear and evident patina, traces of targets elegantly spaced around the neck angled to invite use as expected on a bronze of this the shooting of an arrow. However, the mouths of the lions age, attribute missing each offer two more, yet much smaller and therefore highly Provenance: American private valued targets, opening an option for any losing player to collection turn around the game with one last, desperate shot. Auction result comparison: For a Shape: Arrow vase related Ming Dynasty bronze of Weight: 7.9 kilograms the Daoist warrior deity Zhenwu of Dimensions: Height 58 cm. similar size see Christie’s, Chinese Condition: Superb condition with only minor wear Ceramics, Works of Art and Textiles, Provenance: Austrian private collection. London, South Kensington, lot 710. Literature comparison: For a related example, see Chinesische Kunstgeschichte von Oskar Münsterberg, 㖶ẋ⣏✳⸜庽忻㔁䤆Ṣ⁷ Esslingen, 1910, p.136. Also compare with another related 曺撄撠忈炻䳘䭨ℍ⽖, ⊭㻧伶渿 arrow vase, but with only two target ‘ears’ either side of ᷕ⚳炻㖶ẋ炷1368-1644炸 the mouth but cast with scaly dragons, illustrated by P.K. Hu, Later Chinese Bronzes: The Saint Louis Art Museum and 忈✳烉Ṣ䈑 Robert E. Kresko Collection, Saint Louis, 2008, no.5. 慵慷烉䲬 4,300 ⃳ Auction result comparison: FINE CHINESE ART. Bonham’s, ⯢⮠烉檀 38.5 ⍀䰛 16 May 2013, LONDON, lot 99. (for a similar vase, depicting ⑩䚠烉列⤥炻冲䢐㎵冯㖶栗䘬⊭㻧/戭 the eight immortals, but smaller) FINE CHINESE ART. 䵈, 㚱⸜ẋ␴ἧ䓐䕽嶉炻㱽☐怢⣙ Bonham’s, 9 Nov 2017, LONDON, lot 171. (for an arrow Ἦ㸸烉伶⚳䥩Ṣ㓞啷 vase of similar size, but likely later, with two Buddhist sitting on the shoulders) EstimateġỘ₡ġġEUR 1.000,- Starting priceġ崟㉵₡ġġEUR 500,- 㖶ẋ⣏✳曺戭㈽⢢ ℕ奺曺戭☐炻⍇⥳湹刚⊭㻧 ᷕ⚳炻㖶ẋ炻1368-1644

忈✳烉䭕䫺 慵慷烉7.9 ℔㕌 ⯢⮠烉檀 58 ⍀䰛. ⑩䚠烉ᾅ⬀㤝⤥炻⎒㚱庽⽖䢐㎵ Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷.

EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

Ming Dynasty Xuande Emperor playing touhu, 15th century.

66 67 61 A CARVED WOOD AND GESSO FIGURE OF A LUOHAN, YUAN DYNASTY Light wood with gesso coating, remnants of paintwork, with modern base China, Yuan Dynasty (1279-1368)

This early Buddhist sculpture portrays a luohan in a standing posture with both hands folded in prayer in front of his chest. The pious immortal wears a long monk robe, tied with a belt at his left shoulder.

Figures of luohan rose in popularity during the Song dynasty, due to divisions within Buddhism that lead to the establishment of different schools. The luohan being direct disciples of the Buddha, formed a connection between the patriarchs of the different schools and the Buddha, by allowing the patriarchs to claim descent through a lineage leading back to these original disciples. Depictions of luohans fall into two groups. The first group are depicted with clearly what Chinese artists considered Indian features, such as bushy beards, curly hair, big eyes beneath prominent brows and large noses. The second group more closely resemble Chinese scholars, except that they have shaved heads and wear monks’ robes.

The present lot clearly belongs to the second group. With his shaven head and elongated earlobes, he is clearly a monk, but his refined facial features, elegant posture, with long-sleeved robe and pointed shoes more closely resemble figures of scholar’s popular during the Yuan and early Ming dynasty.

Shape: Figural Weight: approx. 480 grams (without the base) Dimensions: total height 38 cm, height without the base is 36 cm Condition: shows extensive traces of age such as loss to the gesso coating and paintwork, repaired breakages to hands and backside Provenance: American private collection

Auction results comparison: For a related Luohan sculpture of larger scale see Bonhams, CHINESE WORKS OF ART AND PAINTINGS, 19 March 2018, NEW YORK, lot 8185.

⃫ẋ㛐晽伭㻊⁷ 庽㛐ᶲ䞛儷⸽㕁炻刚⼑㭀检炻䎦ẋ⸽⹏ 60 ᷕ⚳炻⃫ẋ(1279-1368) A RARE AND IMPORTANT GILT AND POLYCHROMED ZITAN FIGURE Auction results comparison: For a closely related polychromed Zitan figure OF MAHAKALA, 16th – 17th CENTURY of SIMHANADA MANJUGHOSHA see Christie’s, Indian, Himalayan and 忈✳烉Ṣ䈑忈⁷ Zitan with gold lacquer and polychrome hand painting Southeast Asian Works of Art, New York, 12 September 2018, lot 324. 慵慷烉䲬480 ⃳ (ᶵ⏓⸽⹏) Tibeto-Chinese, 16th – 17th century ⯢⮠烉䶪檀 38 ⍀䰛炻ᶵ⏓⸽⹏ 36 ⍀䰛 份夳䘬慵天挷慹䳓㨨⣏湹⣑⁷炻⋩ℕ军⋩ᶫᶾ䲨 ⑩䚠烉⸜ẋ䕽嶉㖶栗炻䞛儷⟿Ⰼ␴⼑丒⯨悐䢐㎵炻ㇳ␴側悐 Seated in lalitasana atop a human corps the wrathful deity is shown in his 䳓㨨炻慹㺮炻ㇳ丒ᶲ⼑ 䟜㎵↎⶚ᾖ⽑ four-armed version. His main hands hold a kapala and a curved knife, a 㻊啷炻⋩ℕ军⋩ᶫᶾ䲨 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 sword is to be seen in his right hand. The deity is wearing a skull crown with a central cobra and precious jewelry. The face is exquisitely gilt and 嬟㱽䤆⣏湹⣑ẍẹ改⛸⦧Ḷ⯠Ṣᷳᶲ炻⚃兪晬⢗ˤṾᶨㇳ㊧叿ᶨ᷒▶⶜㉱䠿 EstimateġỘ₡ġġEUR 800,- hand painted with special focus on the three eyes. An ornate aureole is ␴ᶨ㈲⻶↨炻⎛ㇳ㊩∵ˤ⣏湹⣑柕㇜柕橐ⅈ炻ᷕ⣖䚌巆叿ᶨ㡅䛤掉噯ẍ⍲䍵 Starting priceġ崟㉵₡ġġEUR 400,- framing the sculpture and bears Tibetan script ‘Om Ah Hum‘ script as well 屜䘬䎈⮞ˤ共悐䱦伶䘬挷慹␴ᶱ䛤ㇳ丒ᶲ⼑䌐䈡ˤᶨᾳ厗渿䘬⃱䑘堐䎦䇚忈 as remnants of an old seal on the backside. ⁷⢾㟮炻ẍ⍲冲⌘䪈䘬怢ἁˤ

The present work is carved entirely from zitan, a hardwood from India 忈⁷⬴ℐ㗗䓐Ἦ冒⌘⹎䘬䳓㨨㛐晽⇣侴ㆸ炻䳓㨨⛐㖶㛓㶭⇅↢⎋⇘ᷕ⚳ˤ晾 that was exported to China in the late Ming and early Qing dynasties. 䃞䳓㨨㗗ᶨᾳ⊭㊔姙⣂㛐㛸䧖栆䘬忂䓐埻婆炻ỮṢᾹ㘖念娵䁢⬫Ⱄ㕤䳓㨨 While zitan is a general term which includes numerous species of wood, Ⱄ炷Pterocarpus炸ˤ䳓㨨㗗ᶨ䧖䳓湹刚䳘䰺䠔㛐炻㗗ᷕ⚳Ṣ娵䁢㚨䍵屜䘬䠔 it is commonly agreed that it belongs to the genus Pterocarpus. A 㛐ˤ㛐㛸䘬⭮⹎ἧ忁䧖㛸㕁䈡⇍怑⎰䱦䳘␴⽑暄䘬晽⇣ˤ䓙㕤℞䓇攟䶑ㄊ炻 purplish-black, fine-grained hardwood, zitan was considered the most 䳓㨨忂ⷠ⎒傥⮹慷ὃㅱ炻侴⛐Ḧ昮㗪㛇炷1736-1795炸炻⬫䘬ἧ䓐㗗䓙䘯ⷅ㍏ prized hardwood by the Chinese. The density of the wood makes this ⇞䘬ˤ㛐㛸䘬䍵屜㛔岒シ␛叿⬫⮯ㆸ䁢慵天䈑⑩䘬㛸㕁炻⎒㚱⮹㔠晽⟹忈⁷ material especially suitable for fine and intricate carving. Due to its slow- 塓Ṣ㇨䞍ˤ growing nature, zitan often was only available in small quantities, and by the Qianlong period (1736-1795), its use was controlled by the emperor 忈✳烉Ṣ䈑忈⁷ himself. Only few works of sculpture in zitan are known, although the 慵慷烉111 ⃳ precious nature of the wood meant it would have been an appropriate ⯢⮠烉檀 28 ⍀䰛 material for an object of worship. ⑩䚠烉䉨㱩列⤥炻⊭㻧䛇⮎炻挷慹␴⼑丒悐↮ᾅ⬀列⤥炻⯨悐㛸㕁㎵⣙ˤ⤪⚾ ㇨夳ˤ Shape: Figural Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷 Weight: 111 grams Dimensions: Height 28 cm ㉵岋䳸㝄㭼庫烉ᶨẞ䚠Ụ䘬䳓㨨⣂⼑䵈㔯㬲⁷夳Christie’s, Indian, Condition: good condition with appealing authentic patina, gilding and Himalayan and Southeast Asian Works of Art, New York, 12 September paint work very well preserved, material loss as seen in the images 2018, lot 324. Provenance: Hungarian private collection EstimateġỘ₡ġġEUR 2.000,- Starting priceġ崟㉵₡ġġEUR 1.000,-

68 69 64 A LARGE GILT REPOUSSÉ FIGURE OF TARA, DOLLONOR, 18th – 19th CENTURY Copper repoussé with gilding and partial dark patination China / Mongolia, Dollonor, Qing Dynasty, 18th – 19th century

This beautiful sculpture depicts the young goddess Syamatara, who is venerated as a liberator, able to free devotees from the chain of birth and rebirth and all the suffering that ensues. In myth, she emerged from the tears of Avalokiteshvara as he wept for the suffering of all sentient beings. It is a testament to her supreme compassion and agency.

The figure sits in dhyanasana on a round lotus base with both hands resting in her lap, facing upwards. Clad in a flowing dhoti with hems neatly incised with a foliate pattern and adorned with precious jewelry. The face shows a serene expression, the urna is rendered prominently and the hair is done up into a tall chignon.

The exquisitely worked heavenly bands, strands of hair and earrings are all hallmarks of the finest work from Dolonnor in Inner Mongolia, which catered to the rapid expansion of Tibetan Buddhist temples along the border regions of the Qing empire, particularly under the Qianlong emperor (1735-1795).

Shape: Figural Weight: 1,607 grams Dimensions: Height 42 cm, maximum width is 24 cm Condition: Good original condition with minor traces of age and use, bottom plate and attribute missing Provenance: Hungarian private collection

Auction result comparison: For a closely related standing 62 63 Bodhisattva, sharing the near identical facial features see A SMALL TIBETO CHINESE GILT BRONZE BUDDHA AMITABHA, A GOLD LACQUERED TERRACOTTA FIGURE OF BUDDHA Christies, Himalayan, Indian and South East Asian Art, 17th – 18th CENTURY AMITAYUS, QING DYNASTY New York, 15 March 2017, lot 220. Cast and chased fire gilt bronze, remnants of cold paint, sealed off base with Terracotta with gold lacquer and hand painted details a copper plate China, Qing Dynasty (1644-1912) ⣏✳挷慹戭晽掐慹⹎㭵⁷炻⋩ℓ军⋩ḅᶾ䲨 Tibet / China, 17th – 18th century 挷慹戭炻晽慹炻⯨悐湹刚戭䵈 This highly unusual gold lacquered terracotta sculpture shows ᷕ⚳/呁⎌炻⣂昮媦䇦炻㶭ẋ炻⋩ℓ军⋩ḅᶾ䲨 Seated in dhyanasana on a double-lotus pedestal with a pearl bordure, this Buddha Amitayus seated in dhyanasana atop a double-lotus delightful git bronze depicts Buddha Amitabha holding a bowl in his lap with pedestal. The Buddha of infinite life is holding the vessel 忈✳烉Ṣ䈑忈✳ both hands. He is dressed in a neatly incised monk’s robe and has a high of amrita in his lap and is framed by celestial bands. He is 慵慷烉1,607 ⃳ chignon. A well-meaning smile is playing around his lips and his eyes are cast adorned with various foliate jewelry and the hair pulled into ⯢⮠烉檀 42 ⍀䰛, 㚨⮔䁢24 ⍀䰛 down. a high chignon, behind the foliate crown. The underside ⑩䚠烉⍇⥳䉨㱩列⤥炻㚱ṃ⽖⸜ẋ冯ἧ䓐䕽嶉炻⮩⸽戭䇯 shows old paper labels with mentioning of Biyun Temple and 冯㱽☐怢⣙ Amitabha Buddha presides over the West and embodies Buddhahood’s Xiangshan Mountain near Beijing. Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷 transcendence over the karmic poison desire. He is also revered just as much as Shakyamuni in East Asia as the central figure in Pure Land Buddhism, a Shape: Figural EstimateġỘ₡ġġEUR 1.500,- major Mahayana subdivision. Pure Land advances an array of heavenly realms Weight: 537 grams Starting priceġ崟㉵₡ġġEUR 750,- and teaches methods by which one may be reborn in one of these paradises. Dimensions: Height 14.5 cm, width 10.5 cm The cult of Amitabha in China can be traced back to at least 2nd century CE, Condition: good condition with appealing patina and some when the Sukhavativyuha Sutra was first translated into Chinese. chips as well as hairlines and material loss to lacquer coating Provenance: Hungarian private collection Shape: Figural Weight: 112 grams 㶭ẋ慹㺮䲭昞旧⻴旨ἃ⛸咖⁷ Dimensions: Height 6.8 cm 䲭昞炻慹㺮炻䳘䭨ㇳ丒 Condition: good condition with small nicks here and there, bowl and bottom ᷕ⚳炻㶭ẋ seal plate are later additions Provenance: Hungarian private collection 忈✳烉Ṣ䈑 慵慷烉537 ⃳ Auction results comparison: For a related Ming Dynasty miniature gilt Buddha ⯢⮠烉檀 14.5 ⍀䰛炻⮔ 10.5 ⍀䰛 (measuring 12.5 cm in height) see Sotheby’s, ARTS D’ASIE, 12 DECEMBER ⑩䚠烉䉨㱩列⤥炻⊭㻧⺽Ṣ㲐䚖炻ᶨṃ⮷塪⎋炻慹㺮⟿Ⰼ㚱檖䴚 2017, PARIS, lot 25. 䉨塪䷓␴⯨悐㛸㕁仢⣙ Ἦ㸸烉 ⊰䈁⇑䥩Ṣ㓞啷 ⮷✳㻊啷挷慹戭旧⻴旨ἃ⛸博⁷炻⋩ᶫ军⋩ℓᶾ䲨 挷慹戭撠忈炻⅟丒炻ẍ戭䇯⮩⸽炻㚱⌘䪈 EstimateġỘ₡ġġEUR 500,- 大啷 / ᷕ⚳炻 ⋩ᶫ军⋩ℓᶾ䲨 Starting priceġ崟㉵₡ġġEUR 250,-

忈✳烉Ṣ䈑 慵慷烉112 ⃳ ⯢⮠烉檀 6.8 ⍀䰛 ⑩䚠烉列⤥炻⯨悐㚱⮷仢⎋炻䠿␴⌘䪈戭⸽䁢⼴≈ Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

70 71 65 AN IMPORTANT GILT MING BRONZE FIGURE OF BUDDHA, 16th CENTURY Gilt copper bronze alloy, cast and chased China, 16th century

Buddha Ratnasambhava, one of the Five Dhyani Buddhas, seated in in dhyanasana on a lotus pedestal rising on a stalk from an architectural pedestal with six protruding feet and a fence. His hands show the varada and dyhana mudra. His face with the prominent urna with contemplative expression, the hems of his garment delicately incised with floral and geometric designs and a swastika is incised at his chest. This three-part sculpture can be disassembled, and the Buddha figure is sealed at the underside with a copper plate.

Shape: Figural Weight: 986 grams Dimensions: Total height 18.5 cm Condition: very good condition with appealing patina and minor abrasions to gilding, one narrow section of fence at bottom base missing and small part of inner rim on lotus blossom reinforced with copper segment Provenance: American private estate, ex collection Frank Jannotta – accompanied by scans of illustrations and original old invoice as well as appraisal and cue card – all dating to between 1980 and 1986

Literature comparison: the present piece was exhibited at the Oglethorpe University Museum of Art in the exhibition ‘The many faces of Buddha’ in 1986. A scan of the pages of the museum catalog were the statue is illustrated and described can be found online at the detail pictures

Auction result comparison: for a near identical example, measuring 25 cm in height, see Sotheby’s, IMPORTANT CHINESE ART, 16 MAY 2018, NEW YORK, lot 86.

⋩ℕᶾ䲨慵天挷慹戭⮞䓇ἃ⛸咖⁷ 挷慹戭炻揬忈 ᷕ⚳炻⋩ℕᶾ䲨

⮞䓇ἃ䁢ἃ㔁Ḽ㕡ἃᷳᶨ炻䳸嵷嵢⛸⛸㕤咖⹏ᷳᶲ炻咖剙⹏様䨢侴崟炻ℕ嵛⸽ ⹏炻⚃␐⚵㪬ˤᶨㇳ㕥冯ョ⌘炻ᶨㇳ㕥䃉䓷⌘ˤ 共悐㶙⿅炻堰墇ᶳ㒢⎗夳䱦䶣剙 ⋱冯⸦ỽ⚾㟰炻傠⇵叔⫿䫎ˤ忈⁷↮䇚ᶱ悐↮炻⎗㉮⌠ˤ⸽悐䓐戭㜧⭮⮩ˤ

忈✳烉Ṣ䈑忈⁷ 慵慷烉 986 ⃳ ⯢⮠烉䶪檀 18.5 ⍀䰛 ⑩䚠烉ᾅ⬀䉨㱩㤝⤥炻⊭㻧徟Ṣ炻挷慹庽⽖㒎 炻⸽悐➢⹏⚵㪬ᶨ䭕柕怢⣙炻怲䶋 ᶨ⮷悐↮䓐䖃≈⚢ˤ Ἦ㸸烉伶⚳䥩Ṣ怢䓊炻⍇Frank Jannotta 㓞啷- 㟡㒂⍇⥳䘤䤐⍲㲐慳⌉䇯炻句 㫦 Ḷ 1980 冯1986ᷳ攻ˤ

EstimateġỘ₡ġġEUR 5.000,- Starting priceġ崟㉵₡ġġEUR 2.500,-

72 73 66 67 A FINE GILT BRONZE FIGURE OF MANJUSHRI, 18th ⋩ℓᶾ乒挷慹撄㔯 㬲⛸博⁷ AN 18th CENTURY GILT-BRONZE FIGURE OF Literature comparison: The tradition in China of CENTURY 挷慹戭炻揬忈炻⅟丒怢ἁ GUANYIN casting bronze figures of Avalokiteshvara in this Gilt copper bronze alloy, cast and chased, remnants of ᷕ⚳炻⋩ℓᶾ䲨 Gilt copper bronze alloy, cast and chased posture dates back to at least the early Ming, as cold paint China, 18th century evinced by a well-known example in the British China, 18th century 㔯㬲厑啑ẍ⅍゛⺷⛸㕤暁Ⰼ咖⹏ᷳᶲ炻Ṿ冱崟䘬⎛ㇳ檀 Museum (see Beguin, Dieux et Démons de 冱 ⮞∵炻ⶎㇳ㊩䘰ὅ⌘ˤ幓叿⮔⣏堋堵炻梦㚱儘ⷞ␴椾 The deity seated in rajalilasana on a rectangular l’Himalaya, Paris, 1977, p.194, no.207). A similar The bodhisattva sits in dhyanasana on a double-lotus 梦炻朊 悐 堐 ね ⸛ 朄 ⬱ 娛炻檖 檣 ⇵ 㚱 叱 䉨 柕 梦ˤ⸽ ⹏ 㚱 ⍇ 墅 stepped base decorated with incised floral Qing-dynasty example is published in the same base, holding aloft the remaining handle of his khadga 戭䇯⮩⸽炻ᶲ㚱暁慹∃㜝 ˤ patterns. Guanyin is holding a kalasha and a jewel volume (no.211). sword in his raised right hand and his left hand shows and is framed by celestial bands. Her voluminous the vitarka mudra. He is clad in a voluminous dhoti and 忈✳烉Ṣ䈑忈⁷ lower garment is tied at the waist and she wears Auction result comparison: for a near identical adorned with sashes and jewelry. The face is serene in 慵慷烉1,067.5 ⃳ precious jewelry with a seated figure of Amitabha example see Sotheby’s, IMPORTANT CHINESE ART, expression and surmounted by a foliate tiara in front of ⯢⮠烉檀 18.5 ⍀䰛 in the crown band. She has her head slightly 16 MARCH 2016, NEW YORK, lot 375. the braided chignon. The base is sealed with its original ⑩䚠烉䉨㱩㤝⤥炻⊭㻧伶渿炻挷慹悐ỵ㚱庽⽖䢐㎵炻∵↫ inclined and her facial expression is mild and well bronze plate incised with a double vajra. 怢⣙ˤ meaning. The underside of the base is sealed with ⋩ℓᶾ䲨挷慹戭 奨枛⛸⁷ Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷 a copper plate incised with a double vajra. 挷慹戭炻揬忈 Shape: Figural ᷕ⚳炻⋩ℓᶾ䲨 Weight: 1,067.5 grams ㉵岋䳸㝄㭼庫烉ᶨẞ䦵⮷Ữ⋩↮㍍役䘬忈⁷夳Sotheby’s, Shape: Figural Dimensions: height 18.5 cm ARTS D’ASIE, 23 JUNE 2016, PARIS, lot 160. Weight: 1,234 grams 慵慷烉 1,234 ⃳ Condition: very good condition with appealing patina Dimensions: Height 18.2 cm, width 11 cm ⯢⮠烉 檀 18.2 ⍀䰛 ⮔ 11 ⍀䰛 and minor abrasions to gilding, sword blade lost EstimateġỘ₡ġġEUR 3.000,- Condition: very good condition with appealing ⑩䚠烉 㤝⤥炻㚱⊭㻧炻挷慹㚱庽⽖䢐㎵ Provenance: Hungarian private collection Starting priceġ崟㉵₡ġġEUR 1.500,- patina and only minor abrasions to gilding Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 Provenance: Austrian private collection Auction result comparison: for a comparable example, EstimateġỘ₡ġġEUR 2.000,- slightly smaller but with near identical facial features see Starting priceġ崟㉵₡ġġEUR 1.000,- Sotheby’s, ARTS D’ASIE, 23 JUNE 2016, PARIS, lot 160.

74 75 68 70 A LARGE WEN STONE SCHOLAR’S A MON-DVARAVATI STUCCO HEAD ROCK, LATE QING DYNASTY OF BUDDHA, 8TH / 9TH CENTURY Two summit mountain with main Stucco with slip decoration, with valley and lake beneath modern base China, 19th – earlier 20th century Thailand, Mon-Dvaravati period, 8th – 9th century This scholar’s rock has a dramatic sense of movement created by the This expressive Buddha head displays tension between the two summits pure Mon Dvaravati style with heavy- and the craggy layers of rockwork lidded down cast eyes, arching brows separating them as well as the and a full smile. The urna is rendered in small lake lying beneath a vertically high relief as are the spiked curls. seceding scarp on the frontside. The silhouette expands from this lake The Dvaravati period lasted from around upwards to the main summit, with the 6th to the 11th century. Dvaravati the second, slightly smaller summit refers to a culture, an art style, and a hidden behind. The deeply wrinkled disparate conglomerate of principalities. and scarred skin has a lustrous patina Dvaravati itself was heavily influenced and protruding reddish veins typical by Indian culture and played an of the best examples of Wen stone. important role in introducing Buddhism and particularly Buddhist art to the Fitted hardwood base with stepped region. Stucco motifs on the religious edge, carved with a key fret border monuments include garudas, makaras, and several layers of stylized and Nagas. Additionally, groups of bamboo. (2) musicians have been portrayed with their instruments, prisoners, females Shape: Scholar’s rock with their attendants, soldiers indicative Weight: 22 kilograms of social life. Votive tablets have also Dimensions: Length ca. 47 cm been found, also molds for tin amulets, Condition: Good condition with pottery, terracotta trays, and a bronze extensive old patina, this rock likely chandelier, earring, bells and cymbals. having been exposed to weather conditions for at least several Shape: Head with flattened back decades Dimensions: total height 25.5 Provenance: American private cm, height without the base is 18 collection. cm Weight: 2,603 grams (with the base) Auction result comparison: The Condition: Age-related good condition Flacks Family Collection: A Very with encrustation, cracks and material Personal Selection. Christies, New loss as seen on the pictures York, 16 September 2016, lot 1142. Provenance: Collection of an American (for a wen stone, where the mineral gentleman, Philadelphia shows a very similar patina, likely Auction results comparison: For also coming from weather exposure) two related Mon-Dvaravati stucco heads see Sotheby’s, COLLECTION 㘂㶭⣏✳㔯Ṣ岆䞛 DE MR GEORGES HALPHEN, Paris, 20 ℑ⹏ⰙⲘ炻Ⱉ察⍲㷾㱲 November 2003, lot 402 or Bonhams, ᷕ⚥炻⋩ḅᶾ䲨军Ḵ⋩ᶾ乒㖑㛇 INDIAN, HIMALAYAN AND SOUTHEAST ASIAN, 19 Mär 2012, NEW YORK, lot 忈✳烉㔯Ṣ䞛 1134. 慵慷烉22 ℔㕌 旨伭以⛘䌳⚳⬇㕷䞛䀘䰱⇟ἃ柕⁷炻ℓ ⯢⮠烉攧乎 47 ⍀䰛 军ḅᶾ䲨 ⑩䚠烉⑩䚠列⤥炻⊭㳮ↅ慵㵎㲥炻忁 䞛䀘䰱⇟炻䎦ẋ⸽⹏ ⟲岆䞛䚳ᶲ⍣⶚⛐冒䃞㯋῁ᷕ伖㓦Ḯ 㲘⚳炻旨伭以⛘䌳⚳⬇㕷㗪㛇炻ℓ军ḅ ⸦⋩⸜Ḯ ᶾ䲨 㜍㸸烉 伶⚥䥩Ṣ㓞啷. 忈✳烉柕⁷炻側朊㇩⸛ ⯢⮠烉䶪 檀 25.5 ⍀䰛, ᶵ⏓⸽⹏檀18 ⍀ EstimateġỘ₡ġġEUR 800,- 䰛 慵慷烉2,603 ⃳炷⏓ ⸽ ⹏ 炸 Starting priceġ崟㉵₡ġġEUR 400,- ⑩䚠烉⸜ẋ䚠ㅱ䘬列⤥⑩䚠炻⤪⚾㇨夳䳸 㭤ˣ塪䷓␴㛸㕁䢐㎵ Ἦ㸸烉ᶨỵ伶⚳䳛⢓䥩Ṣ㓞啷, 屣❶ 69 A LARGE THREE-PART BRONZE CENSER, MING DYNASTY Provenance: Austrian private collection. EstimateġỘ₡ġġEUR 1.500,- The massive bronze with rich patina and incised openwork décor, partially ġ Starting priceġ崟㉵₡ġġEUR 750,- in high relief Auction result comparison: Art d’Asie. Christies, Paris, 9 June 2015, lot 57. China, 17th century (compare with the elephant heads on another reticulated bronze censer from the same period and with the same size) The main vessel with a circumferential scroll of vines, blossoms and leaves, neatly incised, as well as several mice and two raised elephant head masks. 㖶ẋ⣏✳曺戭䤆䌠楁䆸 The lid with similar décor executed in a reticulated manner, with a large 曺戭炻⊭㻧ↅ慵炻掌䨢炻⯨悐㶙㴖晽 Buddhist lion sitting on top and serving as the handle. The matching base ᷕ⚳炻⋩ᶫᶾ䲨 shows the same pattern of vines, leaves and blossoms, also reticulated. Tang Zhenwan studio seal mark to base. (3) 忈✳烉楁䆸 慵慷烉5.5 ℔㕌 Shape: Censer ⯢⮠烉䚜⼹ 38 ⍀䰛 Weight: 5.5 kilograms ⑩䚠烉⮷仢⣙炻味ᶲ庽⽖塪䷓炻栗叿䘬䢐㎵␴ἧ䓐䕽嶉炻堐朊㚱∫䕽 Dimensions: 38 cm diameter Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷 Condition: Some smaller losses, one minor crack to lid, significant wear and traces of use, some surface scratches EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

76 77 71 A LARGE AND IMPORTANT LIMESTONE STELE OF A DEVI, NEPAL, 14th – 15th CENTURY Limestone, sculpted, carved and incised, well grown age-patina Nepal, Malla Dynasty, 14th – 15th century

Depicted is a devi in a standing posture atop a lotus pedestal and framed by an aureole and a halo. The deity holds a lidded bowl or possibly a kapala in her right hand that is raised to the chest. With her other hand she holds on to a staff with a miniature stupa. Precious jewelry such as the floral earrings or the broad necklace adorn her as is the long floating dhoti that is fastened at the left shoulder.

This sculpture is highly comparable with the famous ‘Surya, with Navagrahas’ which was stolen from Panauti, Nepal in the early 1980s. See picture. The facial features are very similar as is rendering of the jewelry and other areas.

Shape: Sculpture on a stele Weight: approx. 62.8 kilograms (with the base) Dimensions: Height 102 cm (including base), height 91 cm (without base), width 37 cm Condition: Losses and damages as visible on the main picture as well as further images available online. Overall very good preservation given the age of this statue Provenance: from a UK private estate, acquired by the previous owner in the 1970s, a provenance letter by the heirs will be handed to the winning bidder

Auction result comparison: Christie’s, The James and Marilynn Alsdorf Collection, New York, 22 March 2011, lot 31 (for a related Nepalese stone figure with Avalokiteshvara, dating to the 12th / 13th century).

⯤㱲䇦⣏✳慵天䞛䀘䞛晽㍸㭿⁷ 䞛䀘䞛炻晽⇣炻↯√炻⸜ẋᷭ怈⼊ㆸ⊭㻧 ⯤㱲䇦炻䐒㉱䌳㛅炻⋩⚃军⋩Ḽᶾ䲨

晽⁷㇨⇣䔓䘬㗗䩳㕤咖⹏ᶲ䘬㍸㭿⁷ẍ⍲⃱䑘⃱側ˤ㍸㭿⎛ㇳ塷㊧叿 ᶨᾳ䠿炻ḇ姙㗗ᶨᾳ▶⶜㉱䠿炻伖㕤傠⇵ˤ⤡䘬⎎ᶨ晣ㇳ㊧叿ᶨᾳ⽖✳ ἃ⟼ˤ䍵屜䘬䎈⮞⤪剙✳俛䑘ㆾ⮔⣏䘬枭捰溆䵜叿⤡炻⯙⁷ⶎ偑ᶲ桬㎂ 㴖≽䘬桬ⷞᶨ㧋ˤ

忁⹏晽⁷冯ᶲᶾ䲨ℓ⋩⸜ẋ㖑㛇⛐⯤㱲䇦ⶽ䐁㍸塓䚄䘬 ‘Surya, with Navagrahas’炷⣒春冯ḅ㚄炸⎗⩚伶ˤ朊悐䈡⽝冯䎈⮞⍲℞Ṿ⋨➇㷚㝻⋩ ↮䚠Ụˤ

忈✳烉晽⟹ 慵慷烉䲬 62.8 ℔㕌炷⏓➢⹏炸 ⯢⮠: 檀 102 ⍀䰛 (⏓⸽⹏), 檀 91 ⍀䰛 (ᶵ⏓), ⭥ 37 ⍀䰛 ⑩䚠烉䟜㎵↎⎗⛐䵚䴉㍸ὃ䘬䄏䇯䚳⇘ˤ㔜橼ᾅ⬀列⤥炻冯⸜ẋ䚠䫎ˤ Ἦ㸸烉Ἦ冒劙⚳䥩Ṣ怢䓊炻ᷳ⇵䘬啷⭞岤㕤ᶲᶾ䲨ᶫ⋩⸜ẋˤ斄㕤䘬Ἦ㸸 ᾉẞ⮯Ṍ䴎ᷕ㧁侭ˤ

㉵岋䳸㝄㭼庫烉Christie’s, The James and Marilynn Alsdorf Collection, New York, 22 March 2011, lot 31 (ᶨẞ栆Ụ䘬⯤㱲䇦俾奨枛䞛⁷炻⋩Ḵ 军⋩ᶱᶾ䲨)

EstimateġỘ₡ġġEUR 6.000,- Starting priceġ崟㉵₡ġġEUR 3.000,-

78 79 72. A BLACK STONE STELE OF VISHNU, PALA PERIOD The black phyllite stone skillfully carved and incised. Good patina Northeastern India, 12th century

Finely carved with extensive detail, this impressive stele of Vishnu, the god of Preservation, demonstrates the masterful craftsmanship of twelfth century artists working in Northeast India. The present figure of Vishnu is shown here in all his glory, holding his principal attributes: a mace or club and a discus in his two raised hands. He is flanked by Lakshmi on the left and Saraswathi on the right, while various attendants and apsaras surround him in adoration.

Vishnu is standing in samapadasana and dressed in a short, striated dhoti and adorned with a pendant garland, sacred thread, and various necklaces, surmounted by a tall conical headdress.

Shape: Sculptural stele Dimensions: total height is 63 cm (measured including the conical base part), maximum width is 28 cm Weight: approx. 12.6 kilograms Condition: Losses and damages as visible on the main picture as well as further images available online. Overall good preservation given the age of this statue Provenance: Hungarian private collection

Auction result comparison: Christie’s, Indian, Himalayan and Southeast Asian 73 74 Works of Art, New York, 13 September A SILVER AND COPPER INLAID JAIN BRASS SHRINE WITH AN INDIAN BRASS FIGURE OF NANDI, 15th CENTURY 2017, lot 329 (for a very similar frieze MAHAVIRA, 15th – 16th CENTURY Brass with 70.5 cm in height). Brass with copper and silver inlays India, Himachal Pradesh, 15th century India, 15th – 16th century 㲊伭䌳㛅湹䞛㭿㸧⤜晽⟹ Nandi is reclining on a rectangular platform with one foreleg lifted, 湹刚⋫㝂ⱑⶏ⥁晽⇣⍲↯√炻⊭㻧列⤥ Mahavira is seated in lotus posture on a throne supported by two addorsed wearing beaded jewelry and cowbells around the neck. ⌘⹎㜙⊿⛘⋨炻⋩Ḵᶾ䲨 lions, surrounded by further Tirthankara and attendants, the pierced and arched throneback with elephants flanking a round canopy. The altar is Nandi, the bull vahana of the Hindu god Shiva is identified as the god’s 忈✳烉晽⟹ finely executed in openwork and inlaid with silver at the eyes of MAravira vehicle since the Kushan dynasty (circa 1st century CE). Most Shaivite ⯢⮠烉䶪檀63 ⍀䰛炷⊭㊔⚻抸⼊➢悐炸炻 and few other places it is also inscribed on the reverse. temples have the figure of a humped white bull reclining on a raised 㚨⮔↎ 28 ⍀䰛 platform and facing the entrance door of the shrine so that he may 慵慷烉䲬12.6 ℔㕌 Shape: Sculptural shrine perpetually gaze on the god. ⑩䚠烉䟜㎵↎⎗⛐䵚䴉㍸ὃ䘬䄏䇯䚳 Weight: 641 grams ⇘ˤ㔜 橼 ᾅ ⬀列 ⤥炻冯 ⸜ ẋ 䚠 䫎ˤ Dimensions: Height 15 cm, width 10 cm Shape: Figural Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷 Condition: good condition with appealing patina and some dents as well Weight: 1,199.5 grams as casting imperfections – mainly to bottom rim Dimensions: Height 15 cm, length 12.5 cm EstimateġỘ₡ġġEUR 2.000,- Provenance: from a German private collection Condition: good condition with appealing patina and some dents as well Starting priceġ崟㉵₡ġġEUR 1.000,- as casting imperfections – mainly to bottom rim and one horn Auction result comparison: Christie’s, Indian and Southeast Asian Art, Provenance: ex Doris Wiener Gallery New York, 1975 New York, 27 March 2003, lot 58 (for a related silver inlaid brass shrine, somewhat larger and dating to 1606). Auction result comparison: Christie’s, The Doris Wiener Collection, New York, 20 March 2012, lot 68 (for the present lot in a group of three). ⌘⹎侮恋㔁湫戭搚戨⣏晬⮲侭ἃ漽炻⋩Ḽ军⋩ℕᶾ䲨 湫戭炻拗戭拗戨 ⌘⹎⋿徒湫戭⁷炻⋩Ḽᶾ䲨 ⌘⹎炻⋩Ḽ军⋩ℕᶾ䲨 湫戭 ⌘ ⹎炻╄ 樔 ´ ⮼ 恎炻⋩ Ḽ ᶾ 䲨 忈✳烉忈⁷ἃ漽 慵慷烉641 ⃳ 忈✳烉 Ṣ䈑忈✳ ⯢⮠烉檀 15 ⍀䰛炻⮔ 10 ⍀䰛 慵慷烉 1,199.5 ⃳ ⑩䚠烉列⤥炻㚱戭䵈炻ᷣ天⛐怲䶋悐↮㚱ᶨṃ↡星␴揬忈仢星 ⯢⮠烉 檀 15 ⍀䰛炻攟12.5 ⍀䰛 Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 ⑩䚠烉列⤥炻㚱戭䵈炻ᷣ天⛐怲䶋悐↮⍲奺ᶲ㚱ᶨṃ↡星␴揬忈仢星 Ἦ㸸烉⇵䲸䲬Doris Wiener喅⹲炻1975 EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,- EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

80 81 76 A GANDHARA SCHIST FRIEZE to the 5th century. In the first OF THE FIRST SERMON OF century AD, Gandhara was the BUDDHA, 2nd – 3rd CENTURY birthplace of some of the earliest Grey schist, with modern metal Buddhist images. base Ancient region of Gandhara, 2nd Shape: Frieze with high relief – 3rd century figures Dimensions: 26.5 cm (height This masterful Schist frieze is of sculpture alone), 27.5 cm a narrative relief of the life of (maximum width), 32 cm (height Buddha, representing his first with base) sermon. Held by an atlas-like Weight: approx. 9.6 kilograms figure is the triple chakra, flanked (with the base) by adorant figures. Provenance: accompanied by a scanned note by Josette The Buddha’s first Schulmann, Paris, 1973, acquired teaching was called the at Cabinet Portier, Paris, French 75 Dhammacakkappavattana Sutta, private collection A FINE BRONZE FIGURE OF BUDDHA SHAKYAMUNI, LAOS / NORTHERN which means the Turning of the Condition: Losses and damages THAILAND, 17th – 18th CENTURY Wheel of Truth. It was given on as visible on the main picture as Massively cast bronze with appealing dark patina the full-moon day of July, called well as further images available Laos or Norther Thailand – 17th – 18th century Asalha. This discourse was given online. Overall very good to the five ascetics who were his preservation given the age of this Seated in vajrasana, the right hand in bhumisparsa mudra, the left in avakasha former companions, at the Deer statue mudra, clad in an elegant yet simple uttarasangha covering the left shoulder. Park in Isipatana (now called The heavy-lidded eyes are cast down and the full lips show a serene smile. At Sarnath), near Benares, India. Literature comparison: A closely the base is a neatly incised bordure with geometrical flowers. Many devas and brahmas (angels comparable frieze is listed as plate and gods) were present to listen 202 in W. Zwalf, A Catalogue The history and religion of northern Thailand and Laos are very intertwined. to the discourse. of the Gandhara Sculpture in The founder of the Thai Lan Na kingdom, King Mangrai, took Vientiane under the British Museum – Vol II. his rule in the 13th century. Half a century later, the Thai exile, Fa Ngum, broke The Buddha then taught the five Description is on page 184 in away and established the Lao kingdom Lan Xang Hom Khao. He is credited with ascetics the Four Noble Truths. Vol I. bringing the Sinhalese Buddhism adopted in Northern Thailand at that time to They are: the truth of suffering, Laos. Similarly, Lao Buddhist sculpture borrowed heavily from northern Thai its cause, its end, and the way to Auction result comparison: styles produced at centers of production like Chiang Mai. Within this context, its end. Everything in this world Christie’s, The Scholar’s Vision: it is not surprising that the present lot shows stylistic features common to both is full of suffering, and the cause The Pal Family Collection cultures. of suffering is craving. The end New York, 20 March 2008, lot of suffering is nirvana. The way 329 (for a very similar frieze). Shape: Figural to the end of suffering is via the Weight: approx. 2,7 kilograms Noble Eightfold Path. The Buddha ‍旨伭䇯ⱑ晽ἃ旨䫔ᶨ㫉嫃忻炻 Dimensions: Height 28 cm said that he was enlightened only Ḵ军ᶱᶾ䲨 Condition: excellent condition with appealing authentic patina after he understood these Four 䀘䇯ⱑ炻䎦ẋ慹Ⱄ⸽⹏ Provenance: Austrian private collection Noble Truths. ⎌‍旨伭⛘⋨炻Ḵ军ᶱᶾ䲨

曺戭慳徎䈇⯤⛸⁷炻侩㑦/㲘⚳⊿悐炻⋩ᶫ军⋩ℓᶾ䲨 The kingdom of Gandhara lasted 忈✳烉 ⷞ䉨墅梦炻㶙㴖晽 曺戭揬忈炻湹刚⊭㻧 from 530 BC to 1021 AD, when ⯢⮠烉 檀26.5 ⍀䰛炷晽⟹炸炻 侩㑦ㆾ㲘⚳⊿悐炻⋩ᶫ军⋩ℓᶾ䲨 its last king was murdered by his 㚨⮔↎27.5 ⍀䰛炻䷥檀 32 ⍀䰛 own troops. It stretched across 慵慷烉 䶪慵䲬 9.6 ℔㕌 忈✳烉Ṣ䈑忈✳ parts of present-day Afghanistan Ἦ㸸烉 旬ⷞJosette Schulmann䘬 慵慷烉䲬 2,7 ℔㕌 and Pakistan. Gandhara is noted 㲐慳㌫㍷ẞ炻⶜湶 1973炻岤㕤 ⯢⮠烉檀 28 ⍀䰛 for its distinctive style in Buddhist 㱽⚳⶜湶Cabinet Portier炻㱽⚳ ⑩䚠烉㤝⤥炻⊭㻧䛇⮎ art, which developed out of a 䥩Ṣ㓞啷 Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷 merger of Greek, Syrian, Persian ⑩䚠烉䟜㎵↎⎗⛐䵚䴉㍸ὃ䘬䄏 and Indian artistic influence. 䇯䚳⇘ˤ㔜橼ᾅ⬀列⤥炻冯⸜ EstimateġỘ₡ġġEUR 600,- Gandharan style flourished and ẋ䚠䫎ˤ Starting priceġ崟㉵₡ġġEUR 300,- achieved its peak during the Kushan period, from the 1st EstimateġỘ₡ġġEUR 2.000,- Starting priceġ崟㉵₡ġġEUR 1.000,-

82 83 77 A VERY LARGE TANTRIC BONE CARVING WITH MAHAKALA AND VAJRAYOGINI, 17th – 18th CENTURY Bone with exquisite patina ranging from honey to deep amber hues Tibet, 17th – 18th century

To one side of this oversize bone carving we see the detailed tantric portrayal of Mahakala with his consort in yab-yum. The wrathful deity is standing atop human corpses and at his feet is what appears to be a human with a ritual tantric mask and a serpent tongue. Flames are in the backdrop and at the lower end we see a stylized mountain range.

The other side bears the portrayal of the wrathful female deity Vajrayogini standing on human figures and drinking blood from a kapala. Around her neck is a skull necklace and she holds a curved knife in one of her hands. Again, the backdrop shows flames yet the lower end on this side features a stylized lotus petal border.

The carving is made from one piece of bone with oval bone insets sealing the base and top.

Shape: Irregular tapered cylinder shape with high relief sculpting Weight: 2,024 grams Dimensions: Height 26 cm Condition: very good condition with appealing authentic patina, very minor chips to few exposed areas Provenance: old and important Austrian private collection - acquired in the 1980s in the art trade

Auction results comparison: for related tantric bone carvings for a ritual apron see Bonhams, Indian, Himalayan and Southeast Asian Works of Art, New York, 17 Sep 2014, lot 72 or Bonhams, THE PRESENCER COLLECTION OF BUDDHIST ART, 2 Okt 2018, HONG KONG, ADMIRALTY, lot 197.

⣏✳⭮⬿橐晽⣏湹⣑冯䨢埴㭵 橐晽炻⊭㻧ↅ慵炻囄刚军囄埇刚倴䎮 大啷炻⋩ᶫ军⋩ℓᶾ䲨

忈✳烉ᶵ夷⇯抸⼊⚻㞙幘炻㶙㴖晽 慵慷烉2,024 ⃳ ⯢⮠烉檀 26 ⍀䰛 ⑩䚠烉ᾅ⬀䉨㱩㤝⤥炻戭䵈䛇⮎徟Ṣ炻⯨ 悐 㙜 曚 ⋨ ➇⎗夳⮷塪⎋ Ἦ㸸烉慵天⤏⛘⇑䥩Ṣ侩㓞啷 – 岤㕤ᶲᶾ䲨ℓ⋩ ⸜ẋ䘬喅埻ⶪ⟜

EstimateġỘ₡ġġEUR 2.000,- Starting priceġ崟㉵₡ġġEUR 1.000,-

84 85 78 79 80 AN INDIAN COPPER BRONZE ALLOY FIGURE OF VISHNU, 18th – A BRONZE FIGURE OF TARA STANDING IN TRIBHANGA, TIBET, 19th A TURQUOISE INLAID GILT BRONZE FIGURE OF A GREEN TARA, TIBET, 17th – 18th CENTURY 19th CENTURY CENTURY Cast and chased bronze with lacquer gilding, remnants of cold paint and inlaid turquoise Cast and chased copper and bronze alloy Cast and chased bronze, sealed off base with a copper plate cabochons Southern India, 18th – 19th century Tibet, 19th century Tibet, 17th – 18th century

Standing in samapada on a double lotus pedestal atop a square base, This bronze depicts Tara in a standing posture, wearing a long dhoti and Syamatara or Green Tara seated in lalitasana on a double lotus base with her pendant foot resting the four-armed Vishnu shows the hand gestures of vitarka mudra. adorned with jewelry as well as a foliate crown. At her shoulders are lotus on a lotus blossom and her hands in varada and vitarka mudra. The deity is dressed in a dhoti One of his main attributes, the conch can be seen in his right lower flowers, lotus flowers are incised to her gown and a stylized lotus petal secured at the waist and anklets, necklaces and armlets, the hair painted blue under a foliate hand and the other, the chakra is at the back of his head. The figure is border is at the pedestal. Both her hands are held in vitarka mudra and crown. adorned with jewelry characteristic of south Indian bronzes and wears her benevolent facial expression is enhanced by the cast down eyes. On a tall mitered headdress. A small, kneeling Garuda figure is applied to the backside of the pedestal is Tibetan script and the base is sealed with a Shape: Figural the front of the pedestal. copper plate incised with a double vajra. Weight: 222 grams Dimensions: Height 10.8 cm Shape: Figural Shape: Figural Condition: good condition with wear to gilding and some turquoise inlays as well as the base seal Weight: 640 grams Weight: 568 grams missing Dimensions: Height 17.3 cm Dimensions: Height 17 cm Provenance: American private collection Condition: good condition with losses to attributes and extensive Condition: good condition with fine patina and some nicks and dents to patina base rim Auction results comparison: For a closely related bronze of exact same height see Lempertz, Provenance: Austrian private collection Provenance: Austrian private collection Tibetan-Nepalese Art, 18.06.2017, Brussels, lot 1010.

⋩ℓ 军⋩ḅᶾ䲨戭⎰慹㭿㽽⤜⁷ ⋩ḅᶾ䲨大啷戭⹎㭵ᶱ⯰⺷䩳⁷ 大啷戭挷慹搚䵈㜦䞛䵈⹎㭵炻⋩ᶫ军⋩ℓᶾ䲨 戭⎰慹揬忈 曺戭撠忈炻ẍ戭䇯⮩⸽炻㚱⌘䪈 曺戭撠忈炻挷慹炻ᶲ㺮炻⅟丒炻搚⳴䵈㜦䞛 ⋿⌘⹎炻 ⋩ℓ 军⋩ḅᶾ䲨 大啷炻⋩ḅᶾ䲨 大啷炻⋩ᶫ军⋩ℓᶾ䲨

忈✳烉Ṣ䈑 忈✳烉Ṣ䈑忈⁷ 忈✳烉Ṣ䈑 慵慷烉640 ⃳ 慵慷烉568 ⃳ 慵慷烉222 ⃳ ⯢⮠烉檀 17.3 ⍀䰛 ⯢⮠烉檀 17 ⍀䰛 ⯢⮠烉檀 10.8 ⍀䰛 ⑩䚠烉列⤥炻ᾳ⇍㱽☐怢⣙炻⊭㻧ↅ慵 ⑩䚠烉列⤥炻⊭㻧䳘兑炻㚱ṃ仢⎋炻⸽悐怲䶋㚱↡䕽 ⑩䚠烉列⤥炻挷慹⯨悐䢐㎵炻ᶨṃ䵈㜦䞛⍲⸽⹏᷇⣙ Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷 Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷 Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 400,- EstimateġỘ₡ġġEUR 400,- EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 200,- Starting priceġ崟㉵₡ġġEUR 200,- Starting priceġ崟㉵₡ġġEUR 400,-

86 87 81 82 83 A LINED AND CABOCHON INSET RITUAL KAPALA A NEPALESE BRONZE FIGURE OF BUDDHA AMITAYUS, 16th – 17th A FINE BRONZE FIGURE OF VAJRASATTVA, TIBET, 16th - 17th SKULL CAP, 19th CENTURY CENTURY CENTURY Bone, silver-plate copper, coral and rock crystal Copper bronze alloy, black patination and remnant of gilding Cast and chased bronze cabochons Nepal, 16th – 17th century Tibet, 16th / 17th century Tibet, 19th century This two-part sculpture shows Buddha Amitayus seated in dhyanasana Seated in dhyanasana on a double-lotus pedestal, this delightful bronze The ritual skull is framed by a silver-plate copper rim and atop a high double-lotus pedestal. The Buddha of infinite life is holding the depicts Vajrasattva holding the vajra before his chest and the ghanta at his bears lining of the same material at the interior. To the vessel of amrita in his lap and is framed by celestial bands. He is adorned waist. The tall chignon, petal-shaped crown ribbons, the folds of the dhoti front and back is a semi-sphere onset, holding three with various foliate jewelry and the hair pulled into a high chignon, behind and ornate jewelry all crafted with much attention for detail as is the crisp large cabochons each. A central coral is framed by two the foliate crown. face with well-meaning expression. The hands are in varada mudra and rock crystals. vitarka mudra, the base is not sealed. Shape: Figural Shape: Skull cap Weight: 477 grams His name meaning ‘Vajra Being’, Vajrasattva is the Adi Buddha ascribed Dimensions: 18,5 cm (length) 14,5 cm (width) 7,5 cm Dimensions: Height 14.5 cm, width 8.5 cm agency. He is frequently invoked for purification rituals and as a (height) Condition: good condition with appealing patina and some dents as well bodhisattva. The Nyingma also treat him as a yidam. In certain instances, Weight: 372 grams as casting imperfections – mainly to bottom rim Vajrasattva is considered a sixth Presiding Buddha, representing their Condition: Very good condition with age-related signs Provenance: From the estate of an American gentleman who traveled ethereal unity. of wear and small nicks. Impressive patina. One rock extensively in Asia while working for the State Department in the 1950s crystal cabochon missing and 1960s. Part of his collection was auctioned off at Christie’s in New Shape: Figural Provenance: Austrian private collection York City in 2010 and 2011 Weight: 274 grams Dimensions: Height 11 cm ⋩ḅᶾ䲨⮞䞛搚⳴㱽☐▶⶜㉱䠿 Auction result comparison: for two related Amitayus bronzes from Nepal Condition: good condition with expressive patina and some notches and 柕橐炻戨⊭戭炻䍲䐂炻㯜㘞䞛 see Christie’s, Art d’Asie, Paris, 20 June 2017, lot 161 or Christie’s, The dents to base rim 大啷炻 ⋩ḅᶾ䲨 Doris Wiener Collection, New York, 20 March 2012, lot 113. Provenance: American private collection

忈✳烉 柕橐䠿 ⯤㱲䇦旧⻴旨ἃ曺戭⁷炻⋩ℕ军⋩ᶫᶾ䲨 大啷䱦伶曺戭慹∃啑➝炻⋩ℕ军⋩ᶫᶾ䲨 ⯢⮠烉攟 18,5 ⍀䰛炻⮔14,5 ⍀䰛炻檀7,5 ⍀䰛 戭冯曺戭⎰慹炻湹刚⟿Ⰼ冯挷慹㭀检 曺戭揬忈 慵慷烉372 ⃳ ⯤㱲䇦炻 ⋩ℕ军⋩ᶫᶾ䲨 大啷炻⋩ℕ军⋩ᶫᶾ䲨 ⑩䚠烉朆ⷠ⤥炻冯⸜ẋ䚠䫎䘬䢐㎵␴⮷䡽䡘炻⊭㻧ↅ慵炻 ᶨ⟲㯜㘞䞛᷇⣙ 忈✳烉Ṣ䈑忈✳ 忈✳烉Ṣ䈑 Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 慵慷烉477 ⃳ 慵慷烉274 ⃳ ⯢⮠烉檀 14.5 ⍀䰛炻⮔ 8.5 ⍀䰛 ⯢⮠烉檀 11 ⍀䰛 EstimateġỘ₡ġġEUR 400,- ⑩䚠烉列⤥炻㚱⊭㻧炻ᷣ天⛐怲䶋悐↮㚱ᶨṃ↡星␴揬忈仢星 ⑩䚠烉列⤥炻⊭㻧ↅ慵炻㚱ṃ↡星冯仢⎋ Starting priceġ崟㉵₡ġġEUR 200,- Ἦ㸸烉Ἦ冒ᶨỵ伶⚳䳛⢓䘬怢䓊ˤᶲᶾ䲨Ḽ⋩军ℕ⋩⸜ẋ炻⛐Ṿ䁢伶⚳⚳⊁昊 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 ⶍἄ㛇攻㚦⣂㫉⛐Ṇ㳚㕭埴ˤṾ䘬㓞啷䘬ᶨ悐↮㚦2010⸜2011⸜⛐䲸䲬Ἓ⢓ ⼿忚埴忶㉵岋ˤ EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,- EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

88 89 86 A FAMILLE VERTE ‘LOTUS BAND’ COVERED BALUSTER PORCELAIN JAR, KANGXI Finely potted and well painted in polychrome Famille Verte enamels and iron red, with glazing inside, on the foot and also inside the lid China, Kangxi period (1662-1722)

The jar decorated with a scrolling band of four single lotus blossoms, each on a separate leafy stem, the lotus pod at the center of each flower neatly painted in iron red, all set between a band of lappets encircling the base and an elaborate cloud-collar band enclosing stylized chrysanthemum medallions surrounded by their stems, leaves and blossoms on a pale-green ground, the rim with a chevron filet. The lid with a flower border on the lip, immediately followed by a smaller “double cloud” border delicately painted in iron red, a second cloud-collar band enclosing stylized chrysanthemum and a large chrysanthemum blossom painted in iron red on the knob.

Shape: Lidded baluster jar Weight: 3080 grams including the lid Dimensions: Height 35 cm including lid Condition: Excellent condition with some minor fritting to rim and a few tiny glaze flakes, both common with original Kangxi porcelains of this type Provenance: Property from a Prominent Chicago Collection 84 A TRANSITIONAL WUCAI BALUSTER ‘LADY AND BOYS’ Auction result comparison: IMPORTANT VASE, 17TH CENTURY CHINESE ART. Sotheby’s, 12 SEPTEMBER White glazed porcelain with underglaze blue decoration. 2018, NEW YORK, lot 353. (for one Multi-colored enamels in Wucai palette over the glaze, nice example of a rouleau vase with a similar carved wooden base 85 border) IMPORTANT CHINESE ART. China, mid-17th century A VERY LARGE AND MASSIVE FAMILLE VERTE PORCELAIN BASIN, KANGXI Sotheby’s, 12 SEPTEMBER 2018, NEW Painted in deep green, aubergine, blue and pale yellow enamels as well as iron red and YORK, lot 347. (for one example of a pair The body of broad baluster shape with flared neck and black above the glaze, the charger sturdily potted with a deep well and raised, convex rim of vases similarly painted with a scrolling tapered foot. Finely painted with a continuous scene of an China, late 17th – early 18th century band of flowering lotus borne on an elegantly attired lady watching over small boys at play in a undulating, leafing stem) grand garden setting, A large Daihu rock is partly covered in The well with a magnificent flower arrangement in a basket, the handle painted in blue clouds, a motif that is vividly painted in iron-red stretching with a neatly drawn bow in iron red on top. The rim showing a black dotted green ⹟䅁䠔⼑⤪シ咖剙䲳⮯幵仸 along one vertical area of the vase. A thin dotted border border with four oval medallions, each containing one of the Eight Buddhist Treasures. 偶橼䳘兑炻䠔⼑ẍ⍲揝䲭慱炻䒞ℭˣ⸽嵛 at the shoulder, below a waisted neck painted with peony ⍲㱧ℭᶲ慱 sprays issuing from blue rockwork. A double circle is running Shape: Oval basin ᷕ⚳炻⹟䅁(1662-1722) along the base part and on the bottom is a small glazed area Weight: 2636 grams in the center of the otherwise unglazed material. This vase Dimensions: Height 45 cm. 忈✳烉⮯幵仸 comes together with a pretty carved wooden base showing Condition: One chip to rim restored (measuring 1.5 x 3 cm), some fritting to rim (typical 慵慷烉䷥慵3080 ⃳ ruyi shapes. for these wares), minor wear and manufacturing flaws; still remarkably good condition ⯢⮠烉䶪檀 35 ⍀䰛 for its age; ⑩䚠烉ᾅ⬀㤝⤥炻㱧ℭṃ⽖ᾖ慱炻ᶨṃ攳 Shape: Broad baluster shape Provenance: American private collection. 䇯炻悥 䫎 ⎰ ⹟ 䅁 ⸜ 攻 㬌 栆 ☐ 䈑 䘬 ね 㱩 Dimensions: 16.8 cm Ἦ㸸烉 剅≈⒍ᶨỵ㖶㗇Ṣ䈑㓞啷ġ Weight: 873 grams (without the base) Auction result comparison: Collected in America: Chinese Ceramics from The Condition: Very good condition with minor signs of age and Metropolitan Museum of Art. Christies, New York, 15 September 2016, lot 886. (for a EstimateġỘ₡ġġEUR 1.000,- wear related basin, a bit smaller in size) Starting priceġ崟㉵₡ġġEUR 500,- Provenance: from the estate of an America gentleman who worked in China for the UN shortly after WW2 ⹟䅁䠔⼑剙䯫䲳⣏䚌 㶙䵈刚ˣ䳓刚ˣ啵刚⍲湫刚慱炻ẍ⍲揝䲭冯湹刚慱ᶲ⼑烊⣏䚌偶橼⍂慵炻⚰嵛㶙 ⋩ᶫᶾ䲨Ḽ⼑⫘㇗⚾仸 ᷕ⚳炻⋩ᶫᶾ䲨㘂㛇军⋩ℓᶾ䲨⇅ 䘥慱䒟炻曺剙慱ᶳ⼑炻Ḽ⼑刚䚌ᷕ䘬⣂䧖慱ᶲ⼑炻㛐晽⸽⹏ ᷕ⚳炻⋩ᶫᶾ䲨ᷕ㛇 忈✳烉㨊⚻ 慵慷烉2636 ⃳ 忈✳烉仸 ⯢⮠烉檀 45 ⍀䰛. ⯢⮠烉16.8 ⍀䰛 ⑩䚠烉ᶨ忻攳⎋⶚ᾖ⽑炷䲬 1.5 x 3 ⍀䰛)炻怲 䶋 ᾖ 慱炷⮵ 㬌 栆 ☐ ℟ Ἦ 婔 ⋩ ↮ ⸛ ⷠ炸炻庽 ⽖ 䢐 慵慷烉873 ⃳ (ᶵ⏓⸽⹏) ㎵炻墥ἄ仢星烊䚠⮵⸜ẋ侴妨ᾅ⬀䉨㱩䚠⮵列⤥ ⑩䚠烉㤝⤥炻⎒㚱庽⽖⸜ẋ冯ἧ䓐䕽嶉 Ἦ㸸烉伶⚳䥩Ṣ㓞啷. Ἦ㸸烉Ἦ冒ᶨỵ伶⚳䳛⢓怢䓊炻Ṿ㚦⛐㇘⼴䁢倗⎰⚳⛐ᷕ⚳ⶍ ἄ忶ġ EstimateġỘ₡ġġEUR 400,- Starting priceġ崟㉵₡ġġEUR 200,- EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

90 91 87 A RARE PAIR OF FAMILLE NOIRE FIGURES OF FOREIGNERS, KANGXI The porcelain figures painted in black, green, pale yellow and aubergine enamels as well some iron red China, Kangxi period, 1662-1722, the ormolu bronze mountings 18th – 19th century

Modelled standing with one hand on their hips, the other raised with their thumb pointing upwards, wearing black tunics with green collars, a waistband with a bow on the front and short, pale yellow pantaloons, all with neatly painted lotus flower designs, and large black boots. The rocky base painted in vivid aubergine, pale yellow and green. The faces modelled smiling with mouth open, tongue exposed and the eyebrows ᶨ⮵⹟䅁䍵䦨⡐⛘䳈ᶱ⼑⢾⚳Ṣ䈑晽⟹ in tight curls above bulging eyes. 昞䒟Ṣ䈑⁷⡐⛘ᶲ㚱䵈ˣ湫ˣ䳓⍲ᶨṃ揝䲭慱 The ormolu mountings cast in massive, fire gilt ᷕ⚳炻⹟䅁炷1662-1722炸炻⋩ℓ军⋩ḅᶾ䲨搚挷 bronze. (2) 慹戭⸽⹏

Shape: Figural Ṣ䈑ᶨㇳ㓦⛐儘悐炻⎎ᶨ晣ㇳ冱崟⛐傠⇵炻幓䨧 Weight: ca. 1770 grams each 䵈刚堋柀䘬湹刚⢾⣿炻儘ⷞ㬋朊墅梦㚱圜圞䳸炻 Dimensions: Height 33 cm each. 㶢湫刚楔壚炻ᶲ㚱㔜滲䘬咖剙䲳ˤ共悐Ụ᷶䔍ⷞ Condition: Very good condition with only one 䪹シ炻◜⶜⻝攳炻⎗夳曚↢䘬冴柕炻䚱㮃䵲䵛⛐ of the thumbs minimally restored, and one small ↠↢䘬䛤䜃ᶲ㕡ˤ touch up to one shoulder of each figure. 挷慹戭⸽⹏㤝䇚⍂慵ˤ Provenance: The estate of Lili Israel, New York. 忈✳烉Ṣ䈑 Literature comparison: Compare with a 慵慷烉㭷ẞ䲬1770 ⃳ related figure of a ‘Nubian slave girl’ holding ⯢⮠烉㭷ẞ檀 33 ⍀䰛 a cornucopia and standing on a leaf-shaped ⑩䚠烉䉨㱩㤝Ἓ炻⎒㚱ᶨᾳ⮷㉯㊯⣏䘬ᾖ⽑炻㭷 plinth in the collection of S.E. Kennedy, Esq., ᾳṢ⁷ᶨᾳ偑儨⮷⟲㼌刚 illustrated by E. Gorer and J.F. Blacker, Chinese Ἦ㸸烉䲸䲬Lili Israel怢䓊 Porcelain and Hardstones, vol. I, London, 1911, pl. 74 and later sold at Christies London, 21 June 㔯䌣㭼庫烉ᶨᾳ䚠Ụ䘬⛐S.E. Kennedy㓞啷ᷕ 1916, Lot 80, and color frontispiece. It was again 䘬⾺㭼⬱⤛⤜⁷ㇳ㊩寸塽ᷳ奺炻䪁䩳⛐ᶨᾳ illustrated by G. Reitlinger, The Economics of 叱⼊➢⹏炻⎗夳E. Gorer 冯J.F. Blacker㇨䶐⮓ Taste, London, vol. II, p. 328. A clock flanked by 䘬˪Chinese Porcelain and Hardstones˫ vol. a pair of related blackamoor figures was included I, London, 1911, pl. 74 ẍ⍲ᷳ⼴⛐ Christies in the exhibition, Chinesische Kunst, Berlin, 1929, London, 21 June 1916, Lot 80㇨㉵岋䘬ˤ ℵ Catalogue, no. 1012. Compare also with two 夳G. Reitlinger˪The Economics of Taste˫ blackamoor figures from the Collection of Mr. London, vol. II, p. 328. ᶨ⮵䪁⛐㗪揀ℑ“䘬 and Mrs. David Rockefeller, sold at Christies New 湹Ṣ⁷⎗夳Ḷ⯽奥䚖抬˪Chinesische Kunst˫ York, 23 March 1995, lot 367. 炻Berlin, 1929, Catalogue, no. 1012. ⎎⢾ℑᾳ 湹Ṣ⁷⎗夳ḶMr. and Mrs. David Rockefeller㓞 Auction result comparison: Asian Export Art. 啷炻Ḷ Christies New York, 23 March 1995, lot Christies, London, 16 November 1999, lot 300. 367㉵岋ˤ (compare with a related blackamoor figure) FINE CHINESE CERAMICS AND WORKS OF ART. EstimateġỘ₡ġġEUR 3.000,- Sotheby’s, 9 NOVEMBER 2011, LONDON, lot 533. Starting priceġ崟㉵₡ġġEUR1.500,- (for a pair of similarly modelled figures, but with famille verte enamels, and extensive restoration)

92 93 88 A SMALL ‘HANSHAN’ YIXING EWER, QING DYNASTY The fully figural ceramic vessel with some neatly carved details and black lacquer painting China, Qing Dynasty (1644-1912) 89 90 A FAMILLE-VERTE BISCUIT ‘MONKEY’ WINE POT, QING DYNASTY, A RARE OCTAGONAL FAMILLE VERTE ‘CHILONG’ BISCUIT A humorous depiction of Hanshan leaning on a tree stub and reading KANGXI PERIOD JARDINIÉRE, KANGXI a book, which serves as the vessel’s lid. A sleeping pig is lying in front Biscuit porcelain with three-color glaze in manganese yellow, dark brown and Sturdily potted with a sprawling lip, modelled with a lobed rim of the famous poet. intense green. and four ruyi shaped feet Hanshan (literally: “Cold Mountain”) is a legendary figure associated China, Kangxi period (1662-1722) China, Kangxi period (1668-1722) with a collection of poems from the Chinese Tang Dynasty in the Taoist and Chan tradition. No one knows who he was, when he lived The rare wine pot modelled in the form of a seated monkey holding a peach, The outer walls neatly painted in famille verte enamels with a and died, or whether he actually existed. In the Chinese Buddhist with a cub sitting on its lap, the hat of the monkey serving as the lid, depicted circumferential scroll of sinuous Chilong amid sprays of lotus tradition, Hanshan and his sidekick Shide are honored as emanations with large rounded brown-glazed eyes and rounded nose and ears, its fur enhanced in iron-red above the glaze. The upper side of the of the bodhisattvas Manjusri and Samantabhadra, respectively. Little neatly incised and covered in a thin wash of manganese yellow, the spout rim with a blossom- and diaper-border containing swastika and is known of his work, since he was a recluse living in a remote region glazed in in green, brown and yellow, the left arm of the monkey serving as various sorts of blossoms. The ruyi feet are molded with their and his poems were written on rocks in the mountains he called the handle. outlines in high relief. The inside and the based are glazed in home. Of the 600 poems he is thought to have written at some point white. Several spur marks to base. before his death, 313 were collected and have survived. Shape: Monkey with cub Old box with inscription. Matching old stand made of reticulated The present depiction possibly refers to a poem by Hanshan, where he Weight: 535 grams bentwood. (3) comments on the relationship of man and pig. Dimensions: Height 17.8 cm (including lid) Very nice carved wood stand, possibly Zitan (good reddish color and Condition: Very good condition with some wear, very minor manufacturing Shape: Octagonal basin some crabs claw marks). (2) flaws, some minuscule nibbles and one tiny chip at the lip, all not visible when Weight: 746.9 grams the lid is in place Dimensions: Diameter 19.3 cm Shape: Figural Provenance: American private collection. Condition: The basin in perfect condition with some wear as Weight: 158.7 expected of a piece of this age, the wooden base with some Dimensions: Length 10 cm. Auction result comparison: FINE CHINESE CERAMICS AND WORKS OF ART. breakages and old repairs. Condition: Excellent Sotheby’s, 09 NOVEMBER 2011, LONDON, lot 540. (for a related winepot) Provenance: From a lady’s estate in Honolulu, Hawaii. Her father Provenance: American private collection. purchased this vase in Hong Kong prior to 1970. (by repute) ⹟䅁䠔⼑䳈䅺偶暁䋜惺⢢ ⭄冰⭺Ⱉ⮷⢢ 䳈䅺偶䒟⢢炻湫慱䇚ᷣ炻㶙墸刚⍲䵈刚慱 ⹟䅁份夳ℓ奺䠔⼑坕漵䲳䳈偶剙䙮 Ṣ䈑忈✳䘬⮷⢢炻晽⟹䳘䶣炻⯨悐湹㺮⼑丒 ᷕ⚳炻⹟䅁炷1662-1722炸 ⍂偶炻㔆⎋炻⸽嵛ᶳ⚃ᾳ⤪シ⼊嵛 ᷕ⚳炻㶭ẋ (1644-1912) 忈✳烉㭵䋜冯⸤䋜 ᷕ⚳炻⹟䅁炷1668-1722炸 忈✳烉Ṣ䈑 慵慷烉 535 ⃳ 慵慷烉158.7 ⃳ ⯢⮠烉䶪檀 17.8 ⍀䰛 忈✳烉ℓ奺䙮 ⯢⮠烉攟 10 ⍀䰛 ⑩䚠烉ᾅ⬀䉨㱩㤝⤥炻ᶨṃ䢐㎵炻庽⽖墥ἄ仢星炻⒯㱧ᶲ㚱ᶨṃ⽖⮷䘬䡽䡘␴ᶨ 慵慷烉746.9 ⃳ ⑩䚠烉⃒䥨 嗽⮷攳⎋炻味ᶲ味⫸⯙䚳ᶵ夳Very ⯢⮠烉䚜⼹ 19.3 ⍀䰛 Ἦ㸸烉伶⚳䥩Ṣ㓞啷.ġ Ἦ㸸烉伶⚳䥩Ṣ㓞啷. ⑩䚠烉剙䙮ᾅ⬀⬴伶炻㚱⚈䇚⸜ẋ㇨ㅱ㚱䘬䢐㎵烊㛐⸽⹏⯨悐㕟 塪炻侩 䘬 ᾖ 墄 EstimateġỘ₡ġġEUR 400,- EstimateġỘ₡ġġEUR 800,- Ἦ㸸烉ᶨỵἮ冒⢷⦩⣟䀓⤜欗欗䘬屜⨎怢䓊炻⤡䘬䇞奒Ḷ1970⸜ Starting priceġ崟㉵₡ġġEUR 200,- Starting priceġ崟㉵₡ġġEUR 400,- ⇵⛐楁㷗岤⼿㬌䙮

EstimateġỘ₡ġġEUR 1.000,- Starting priceġ崟㉵₡ġġEUR 500,-

94 95 EIGHT HORSES OF MU WANG LOTS 91 AND 92

96 97 92 A GROUP OF EIGHT BISCUIT ‘HORSES OF MU WANG’, QING DYNASTY Elaborately modelled with extremely fine detail, evenly glazed in pale imperial yellow China, Qing dynasty, 19th century

The famous eight horses of king Mu Wang are depicted in various positions and can be arranged at will. They have been modelled with a high level of attention to nature, movement and character of horses and show neatly executed incising work. It is a very fortunate that the complete group is still together. (8)

Shape: Figural Weight: 196 grams (only one horse weighed) Dimensions: 17 cm length (only one horse measured) Condition: Breakages to ears, tails and feet at every horse have been professionally restored with no spraying whatsoever, only minor touchups to the cracked areas. With the exception of a few ear tips nothing has been replaced, and so these horses are still 99% original. Provenance: From the collection of Nelson T Johnson, US ambassador to the Republic of China from 1935 to 1941, and thence by descent.

91 㶭ẋᶨ䳬䳈偶湫慱Ⱦ䧮䌳ℓ榧ȿ䒟楔 A BLUE AND WHITE ‘EIGHT HORSES OF MU WANG’ PORCELAIN Weight: 5.3 kilograms 䳘䭨姕妰䱦⽫炻⪴湫慱⛯⊨ TABLE SCREEN, KANGXI Dimensions: 59.5 x 60 x 21 cm (the screen) 35 x 26 cm (the plaque) ᷕ⚳炻㶭ẋ炻⋩ḅᶾ䲨 The sturdily potted and cloverleaf-shaped plaque delicately painted in Condition: The plaque in perfect condition. The screen with minor losses, intense cobalt blue under the glaze and set in a carved openwork hongmu cracks and extensive traces of use. Remainders of old black cement. 忈✳烉≽䈑忈✳ table screen Provenance: American private collection. 慵慷烉196 ⃳ (ᶨ⋡楔) The plaque Kangxi period (1662-1722), the screen Qing dynasty ⯢⮠烉攟17 ⍀䰛 (ᶨ⋡楔) ⹟䅁曺剙Ⱦ䧮䌳ℓ榧ȿ㍺⯷ ⑩䚠烉㭷⋡楔䘬俛㛝ˣ⯦⶜␴僂悐㕟塪↎⛯⶚䴻忶⮰㤕ᾖ⽑烊㰺㚱ảỽ⟿Ⰼ烊 This distinguished Kangxi painting shows the legendary Eight Horses ⍂偶炻⎞䇯䉞䒟㜧炻曺剙桄刚Ṗᷥ炻乊㛐仈㝅㟮⸽⹏ 昌Ḯ㕟塪↎㚱ᾖ墄ᷳ⢾℞Ṿ悐ỵ㰺㚱塓㚧㎃忶烊㇨ẍ忁ṃ楔99%悥怬㗗⍇⥳ of Mu Wang, the fifth sovereign of the Western Zhou dynasty (c.1100- 䒟㜧烉⹟䅁(1662-1722) 䉨ン 771 BC), which were renowned for their speed and perseverance. They ⢾㟮烉㶭ẋ Ἦ㸸烉Ἦ冒 Nelson T Johnson㓞啷炻Ṿ㚦㗗1935军1941⸜伶⚳楸ᷕ厗㮹⚳⣏ are traditionally believed to have been used by King Mu on his mythical ἧ炻冒 㬌 ᶨ䚜 ᾅ ⬀ ⛐ 㓞 啷 ᷕ journey to visit Xi Wang Mu, the Queen Mother of the West, and on his 忈✳烉㍺⯷炻ℑ悐↮炷㍺⯷冯⸽⹏炸 expeditions to subdue barbarian tribes. A popular decorative motif in 慵慷烉5.3 ℔㕌 EstimateġỘ₡ġġEUR 500,- Chinese art, the horses each bore a distinguishing name, and their unique ⯢⮠烉㍺⯷59.5 x 60 x 21 ⍀䰛炻 35 x 26 ⍀䰛 (䒟㜧) Starting priceġ崟㉵₡ġġEUR 250,- dispositions are perhaps suggested here on this charming and very rare ⑩䚠烉䒟㜧⬴伶炻㍺㟮㚱ṃ⽖㎵⢆ˣ∫䕽冯ἧ䓐䕽嶉烊⯙湹㯜㲍检䔁 molded jardinière in which they appear in various dramatic poses. Ἦ㸸烉伶⚳䥩Ṣ㓞啷.ġ

Shape: Table screen, two parts (screen and stand) EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

98 99 93 A CHINESE EXPORT PORCELAIN FAMILLE ROSE ‘FLOWERS’ TUREEN AND COVER, QIANLONG Neatly painted in pink, green and turquoise enamels as well as iron red above the glaze, some gilt details China, ca. 1775

The massively potted soup tureen with the depiction of numerous flowers, such as chrysanthemum and peonies, along with their tendrils and leaves, with a lotus-shaped knob to the cover, and to pig heads as handles in high relief to the narrow sides.

Shape: Octagonal tureen Weight: 3482 grams Dimensions: Length 36 cm. Condition: Two minor losses to lotus knob, minute chips to both handles, otherwise excellent condition Provenance: German private collection.

Auction result comparison: IMPORTANT AMERICANA. Sotheby’s, 24 - 25 JANUARY 2014, NEW YORK, lot 41. (for a related tureen with stand)

Ḧ昮⢾扟䰱⼑剙⋱味䙮 䰱刚ˣ䵈刚ˣ㜦䵈刚⍲揝䲭慱炻⯨悐拵慹 ᷕ⚳炻䲬1775

忈✳烉ℓ奺䙮 慵慷烉3482 ⃳ ⯢⮠烉攟 36 ⍀䰛 ⑩䚠烉咖剙憽悐㚱ℑ嗽⮷㎵⢆炻暁俛↎↮ ⇍㚱㤝⮷䡽䡘炻㔜橼ね㱩列⤥ Ἦ㸸烉⽟⚳䥩Ṣ㓞啷.

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

95 94 A CHINESE FAMILLE ROSE AND CAFE-AU-LAIT GROUND FIVE-PIECE A LARGE IMARI PORCELAIN PLATE, GARNITURE, 18th CENTURY 18TH CENTURY Comprising three lidded baluster vases and covers and two beaker vases, each Painted in underglaze blue as well as iron decorated with flowers within leaf-shaped panels red and gold above the glaze China, Yongzheng/Qianlong period, 18th century China, 18th century Neatly painted in polychrome enamels to depict various flowers such The center and border delicately chrysanthemum, cherry blossoms, lotus, amid leaves and tendrils, butterflies and painted to depict orchids, peonies and peacocks, all set between two horizontal diaper borders. All five with double circle chrysanthemum with their leaves and marks painted in underglaze blue on the base. (5) tendrils. The backside with flowers painted in iron red. Shape: Beaker and lidded baluster vases Weight: ca. 820 grams (the beaker vases) ca. 740 grams (the lidded baluster vases) Shape: Plate Dimensions: Height 25 cm (the beaker vases) 26.5 cm (the lidded baluster vases) Weight: 1516 grams Condition: Superb condition, only one lid with a minor chip on the inside Dimensions: 38 cm diameter Provenance: Austrian private collection. Condition: Attractive condition with few manufacturing flaws, minor fritting to Auction result comparison: Interiors. Christies, London, 14 September 2016, lot 66. foot, old wear and one hairline (6cm) (for a similar garniture) Provenance: Austrian private collection. ᶨ䳬Ḽẞ⋩ℓᶾ䲨䳓慹慱⛘攳⃱剙沍岆䒞 ⋩ℓᶾ䲨⣏✳Ẳ叔慴䈉ᷡ卲剙䚌 ᶱᾳ⮯幵仸炻ℑᾳ剙如炻㭷ᶨᾳ悥攳⃱梦剙沍䲳 曺剙慱ᶳ⼑炻慱ᶲ䞦䲭⼑␴慹⼑ ᷕ⚳炻晵㬋/Ḧ昮⸜攻炻⋩ℓᶾ䲨 ᷕ⚳炻 ⋩ℓᶾ䲨 忈✳烉剙如冯⮯幵仸 忈✳烉䚌 慵慷烉䲬 820 ⃳ (剙如) ca. 740 ⃳ (⮯幵仸) 慵慷烉1516 ⃳ ⯢⮠烉檀 25 ⍀䰛 (剙如) 26.5 ⍀䰛 (⮯幵仸) ⯢⮠烉䚜⼹38 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻㚱ᶨ嗽ℭ㱧㚱䳘⽖塪⎋ ⑩䚠烉ᾅ⬀列⤥炻ᶨṃ墥ἄ仢星炻嵛怲ᾖ Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷 . 慱炻侩 䢐 ㎵炻ᶨ 㡅 檖 䴚 塪 ䷓ (6⍀䰛) Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,- EstimateġỘ₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 150,-

100 101 96 THE ‘DORIS DUKE’ SACRIFICAL-BLUE CONICAL PORCELAIN BOWL, YONGZHENG YONGZHENG SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD, FORMERLY IN THE COLLECTION OF DORIS DUKE, SOLD AT CHRISTIES NEW YORK, 2004 China, 1723-1735

With widely flared sides and a minimally everted rim, recessed base and raised thin cylindrical foot, the exterior covered in a rich and unctuous blue glaze, the interior and the base glazed white.

Shape: Conical bowl Weight: 454.2 grams Dimensions: 22.7 cm. diameter Condition: Superb condition with only one tiny glaze flake to rim (see detail image, size 7 x 2 mm) Provenance: American private collection. Acquired at Christies, The Doris Duke Collection, New York, 3 June 2004, lot 421. (the lot originally contained two bowls, one damaged, one in very good condition, which is the present bowl) Old Christies auction label inside the bowl, reading “03 JUN 04, Sale 1455, Lot 421”

Auction result comparison: HEIRLOOMS OF CHINESE ART FROM THE HOSOKAWA CLAN. Sotheby’s, 8 OCTOBER 2014, HONG KONG, lot 3113. (for a smaller bowl bearing a similar mark and glaze)

Doris Duke (November 22, 1912 – October 28, 1993) was an American heiress, socialite, art collector, and philanthropist. The daughter of a wealthy tobacco and energy tycoon, Duke was able to fund a life of global travel and wide-ranging interests. These included Chinese, Islamic and Oriental art in general. Years of her work centered on her legendary estate Shangri-La which today is operated by the Doris Duke Foundation for Islamic Art. Twice divorced, Duke enjoyed a colorful private life that was seldom out of the Doris Duke (1912 – 1993) gossip columns. Her estimated $1.3 billion fortune was largely left to charity. Duke’s legacy is now administered by the Doris Duke Charitable Foundation, dedicated to medical research, the performing arts, wildlife and ecology.

晵㬋DORIS DUKE䤕啵慱䠿 晵㬋曺剙慱ᶳ⼑暁⚰ℕ⫿㫦炻ᷳ⇵⛐DORIS DUKE㓞啷炻Ḷ 2004⸜⛐ CHRISTIES NEW YORK句㥴ㆸṌ ᷕ⚳炻 1723-1735

⮔儡炻怲䶋⢾侣炻⸽嵛ℭ↡炻䚜⚰嵛炻⢾⡩㕥㽫櫙䘬䤕啵慱, 䠿ℭ冯⸽嵛䁢䘥慱 忈✳烉抸⼊䠿 慵慷烉454.2 ⃳ ⯢⮠烉䚜⼹22.7 ⍀䰛. ⑩䚠烉ᾅ⬀㤝⤥炻怲䶋䦵㚱攳䇯炷夳䳘⚾炻7 x 2 mm炸 The Doris Duke estate, previously the home of the Yongzheng Sacrificial Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻岤㕤Ἓ⢓⼿ Doris Duke 㓞啷, 2004⸜6㚰3㖍䲸䲬 炻421 Blue Conical Bowl ㉵⑩ˤ(⍇㉵⑩㚱ℑ晣䠿炻ᶨ晣㎵⢆炻ᶨ晣⑩䚠㤝⤥炻⌛㬌䠿)烊䠿 ℭ 㱧 Ἓ ⢓ ⼿ ㉵ 岋侩㧁䯥 “03 JUN 04, Sale 1455, Lot 421”ˤ

㉵岋䳸㝄㭼庫烉˪HEIRLOOMS OF CHINESE ART FROM THE HOSOKAWA CLAN˫Sotheby’s, 8 OCTOBER 2014, HONG KONG, lot 3113. (ᶨẞ⮷ᶨ溆䘬 䠿炻䚠 Ụ 㫦 冯 慱 )

EstimateġỘ₡ġġEUR 10.000,- Starting priceġ崟㉵₡ġġEUR 5.000,-

102 103 97 98 A FLAMBÉ-GLAZED LOBED DISH, QING Auction result comparison: CHINESE CERAMICS AND A COPPER-RED-GLAZED DISH, QIANLONG MARK AND PERIOD DYNASTY WORKS OF ART. Christies, London, 19 June 2003, lot The base with a six-character seal mark in underglaze blue Sturdily potted and decorated in a streaked red, 241. (for a ruyi-shaped washer with a similar glaze) China, Qianlong period, 1736-1795 cream and lavender glaze, the base entirely covered with an opaque brown glaze and with a broad 㶭ẋ寯寮乊ℕ䒋攳⎋䚌 The shallow rounded sides set over a straight foot, with unglazed foot rim, white sprawling lip, covered overall unglazed foot rim ⍂偶炻ᶵ⎴柼刚䘬䲭慱⇘啵䳓刚炻⸽嵛ᶵ德㖶墸刚慱炻 in a muted cranberry-red glaze. China, 18th – earlier 19th century ⚰嵛曚偶 ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨⇅ Shape: Dish The iridescent glaze with a very pleasant, unctuous Weight: 269.5 grams feeling. The weight feels rather heavy, giving the dish 忈✳烉ℕ䒋攳⎋炻㭷䒋⛐䚌⢾⡩㚱ℑ忻ㆾᶱ忻✪䚜䵓㡅 Dimensions: 18.2 cm diameter a comforting overall appeal. ⇘⸽嵛炻悐↮⺞Ỡ⇘⇵朊 Condition: Good condition with minuscule chip and glaze flake to rim, associated tiny and short hairline 慵慷烉 1172 ⃳ Provenance: From the estate of Albert T Quon in Beverly Hills, California. Shape: The lip of the lobed dish divided into six ⯢⮠烉䚜⼹ 23.8 ⍀䰛. segments, each with double and triple vertical lines ⑩䚠烉䉨㱩㤝⤥炻㚱ṃ䢐㎵炻堐朊㚱ṃ∫䕽 Auction result comparison: ASIAN ART. Sotheby’s, 24 MARCH 2018, NEW YORK, lot 1755. (for a similar dish, on the backside, partially extending to the front Ἦ㸸烉伶⚳䥩Ṣ㓞啷. but slightly smaller and in restored condition) Weight: 1172 grams ġ Dimensions: Diameter 23.8 cm. EstimateġỘ₡ġġEUR 500,- Ḧ昮慱塷䲭䡇炻㫦冯⸜ẋ Condition: Very good condition with some wear and Starting priceġ崟㉵₡ġġEUR 250,- ⸽悐曺剙ℕ⫿㫦 minor surface scratches ᷕ⚳炻Ḧ昮炷1736-1795炸 Provenance: American private collection. 忈✳烉䡇 慵慷烉269.5 ⃳ ⯢⮠烉⼹18.2 ⍀䰛 ⑩䚠烉列⤥炻⮷䡽䡘炻怲㱧慱⼑䳘⮷塪䷓ Ἦ㸸烉≈⇑䤷⯤Ṇⶆ㭼⇑⣓ⰙAlbert T Quon怢䓊

EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

104 105 99 100 A PAIR OF YELLOW GLAZED PORCELAIN BOWLS, QING A YELLOW GLAZED Provenance: American private DYNASTY, ex DORIS DUKE ESTATE MONOCHROME BALUSTER VASE, collection. Acquired from Coleman The superbly potted monochrome bowls with very thin, 18TH CENTURY Auction Galleries Inc., New York, stepped lips, raised foot rims and a slightly sprawling shapeġ The evenly potted miniature vessel New York, January 4, 1938. Thence China, Qing Dynasty (1644-1912) with a finely applied glaze by descent. China, 18th century The outside of each vessel is entirely covered by a bright ⋩ℓᶾ䲨湫慱䳘柠䒞 imperial yellow while the inside shows a deep turquoise The intense and unctuous lemon- ⛯⊨偶橼炻⽖✳䒞炻慱朊䳘兑 glaze. The bases are unglazed. (2) yellow glaze shows very fine overall ᷕ⚳炻⋩ℓᶾ䲨 crazing, the inner of the vessel and Shape: Bowls the base glazed as well, the baluster 忈✳烉䳘柠䒞 Weight: 283.3 and 290.5 grams shaped vase with a recessed base 慵慷烉 49.2 ⃳ Dimensions: 16.2 cm each and a raised bare foot rim, the ⯢⮠烉檀 10 ⍀䰛 Condition: One with a tiny chip to rim and associated elongated neck with a sprawling lip. ⑩䚠烉⬴伶 hairline, the other in perfect condition, both with minor Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻1938⸜1㚰4㖍岤 100 manufacturing flaws and old wear and some kiln grit as Shape: Baluster Ḷ䲸䲬Coleman Auction Galleries炻ᷳ customary for porcelain of this period Weight: 49.2 grams ⼴ᶨ䚜ᾅ⬀Ḷ℞㓞啷ˤ Provenance: Property from the estate of Doris Duke Dimensions: Height 10 cm. (November 22, 1912 – October 28, 1993). Old Christies Condition: Perfect condition EstimateġỘ₡ġġEUR 300,- Label “1108” to bottom. Starting priceġ崟㉵₡ġġEUR 150,-

ᶨ⮵㶭ẋ⪴湫慱䒟䠿炻⍇Doris Duke怢䓊 唬偶䳘兑炻⒯⢾㐯炻檀⚰嵛炻ġ⮔儡ġ 101 ᷕ⚳炻㶭ẋġ(1644-1912) A YELLOW GLAZED originated in the course of the 忈✳烉䠿ġ MONOCHROME BOTTLE VASE, manufacturing process and typical 慵慷烉283.3 冯ġ290.5 ⃳ġ QING DYNASTY for these wares; minor chipping to 102 ⯢⮠烉㭷ᾳ16.2 ⍀䰛ġġ The sturdily potted miniature vessel wooden base; A TURQUOISE GLAZED MEIPING, 18TH Literature comparison: A related turquoise- ⑩䚠烉ᶨᾳ怲䶋㚱ᶨᾳ䳘⽖⮷⎋␴檖䴚䳘䷓炻⎎ᶨᾳ䉨㱩⬴ with a thick, unctuous glaze Provenance: American private CENTURY glazed vase of Meiping form, dated to the 伶烊ℑᾳ悥㚱庽⽖墥ἄ仢星炻侩䢐㎵炻冯℞⸜ẋ䚠䫎ġ China, 18th – 19th century collection. A neatly potted porcelain vase entirely Kangxi period, but incised with dragons and Ἦ㸸烉Doris Duke (1912⸜11㚰22㖍ġ– 1993⸜10㚰28㖍)怢䓊炻 covered by a deep and intense turquoise floral sprays, is illustrated in Ming and Qing ⸽悐⎗夳Ἓ⢓⼿冲㧁䯥“1108” The light and translucent lemon- 㶭ẋ湫慱㞛叱䒞 glaze Monochrome Wares in the Percival David yellow glaze shows very fine overall 偶橼⍂炻⽖✳䒞炻湫慱寸儜㖶㼌 China, Qianlong period (1736-1795) Foundation of Chinese Art, London, 1989, EstimateġỘ₡ġġEUR 500,- crazing, the inner of the neck and ᷕ⚳炻⋩ℓ军⋩ḅᶾ䲨 pl.A565. Starting priceġ崟㉵₡ġġEUR 250,- the base partially glazed as well, the 忈✳烉䒞 The elegant Meiping with a tapered, bottle shaped vessel with a recessed 慵慷烉 55.7 ⃳ unglazed base rising to high rounded Auction result comparison: Chinese Art. base and a raised, broad foot rim, ⯢⮠烉檀 9 ⍀䰛. shoulders and a short, sprawling neck with Christies, London, 7 November 2008, lot the elongated cylindric neck with a ⑩䚠烉列⤥炻⸽嵛怲㱧㚱ṃ慱朊攳䇯炻 a stepped rim, the inner side of the lip with 439. (compare with another 18th century thin lip. Nice old wooden base with 䫎⎰㬌栆╖刚慱䒟䘬墥ἄ䦳⸷烊㛐⸽ an incised double circle, covered with a turquoise glazed Meiping, larger in size) openwork carving and good patina. ⹏㚱ṃ䡽䡘 translucent and extremely finely crackled (2) Ἦ㸸烉伶⚳䥩Ṣ㓞啷 turquoise glaze. ⋩ℓᶾ䲨㜦䵈慱㠭䒞 Good wooden base. (2) 偶橼⛯⊨炻䵈㜦䞛慱 Shape: Bottle EstimateġỘ₡ġġEUR 300,- ᷕ⚳炻Ḧ昮 (1736-1795) Weight: 55.7 grams Starting priceġ崟㉵₡ġġEUR 150,- Shape: Meiping 忈✳烉㠭䒞 Dimensions: Height 9 cm. Weight: 286 grams 慵慷烉286 ⃳ Condition: Good condition with Dimensions: Height 15.3 cm ⯢⮠烉檀 15.3 ⍀䰛 some glaze flakes to foot rim, Condition: Very good condition with minor ⑩䚠烉㤝⤥炻嵛ℭ䦵㚱曚偶炻⒯㱧庽⽖慱朊攳 fritting to inner foot and few tiny glaze 䇯⍲㤝䞕檖䴚䳘䷓ flakes to lip, one with an associated short Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻岤㕤1936⸜12㚰9㖍䲸 hairline 䲬Rains Galleries炻ᷳ⼴ᶨ䚜ᾅ⬀⛐㓞啷塷军 Provenance: American private collection, Ṳ烊㛐 ⹏ ⸽ 悐 冲 㧁 䯥 acquired from Rains Galleries, New York, December 9, 1936, and thence by descent; EstimateġỘ₡ġġEUR 1.000,- remainders of old labels to bottom of Starting priceġ崟㉵₡ġġEUR 500,- wooden base; 101

106 107 103 A PAIR OF CLAIR-DE-LUNE-GLAZED DISHES, YONGZHENG MARKS Literature comparison: A pair of dishes of this size with Yongzheng marks AND PERIOD in a rectangular reserve and covered with what is described as a pale Both dishes neatly potted and covered with an almost flawless, unctuous cobalt-blue glaze from the Percival David Foundation is included in the glaze Illustrated Catalogue of Ming and Ch’ing Monochrome, London, 1973, China, Yongzheng six-character marks in underglaze blue within a double Section 6, nos. B560 and 561. Two similarly marked dishes of the same circle and of the period size, with a lavender blue glaze, were included in the O.C.S. exhibition, Each with shallow rounded sides rising to a slightly everted rim from a Monochrome Porcelain, London, 1948, nos. 39 and 136. short foot, covered inside and out with in pale blue, the glaze thinning towards the rim and stopping neatly around the foot, the base glazed Auction result comparison: Fine Chinese Ceramics and Works of Art. white. The well suffused with few minute white specks. Christies, New York, 24 March 2004, lot 224. (compare with a pair of claire-de-lune yongzheng dishes, with a similarly glaze, the marks each Shape: Dishes within a square reserve) Chinese Monochrome Porcelain. Christies, Weight: 182.9 and 182.5 grams London, 7 June 2004, lot 273. (compare with a pair of claire-de-lune Dimensions: 17.3 cm and 17.5 cm diameter yongzheng dishes, with a slightly darker blue glaze, the marks each within Condition: Perfect condition with very minor wear a double circle) IMPORTANT CHINESE ART. Sotheby’s, 12 SEPTEMBER Provenance: From a private collection built in Shanghai from the 1930s to 2018, NEW YORK, lot 128. (compare with a single claire-de-lune the 1950s and in Hong Kong and Taiwan from the 1950s to the 1960s. yongzheng dish, with a slightly darker blue glaze, the mark within a double Thence by descent. circle, the inside glazed in white)

ᶨ⮵⣑啵慱䚌炻晵㬋㫦冯⸜ẋ

偶橼䳘兑炻⣑啵慱⸦役䃉㘯 ᷕ⚳炻晵㬋曺剙暁⚰ℕ⫿㫦

㭷ᾳ䚌⢾⡩ᶲ悥⎗夳㶢㶢䘬⚻⚰炻⸽嵛ᶲ⋯⇘䔍⽖⢾侣䘬怲䶋ˤ䚌ℏ⢾央味叿⣑啵刚慱炻慱朊㛅叿怲䶋嬲唬᷎ᶼ㔜滲⛘⛐⸽嵛 㬊炻⸽嵛ℭ悐㕥䘥慱炻⎗夳⮹ 慷䘥刚㔹䲳ˤ

忈✳烉䚌 慵慷烉182.9 冯 182.5 ⃳ ⯢⮠烉䚜⼹↮⇍䇚 17.3 ⍀䰛 冯 17.5 ⍀䰛 ⑩䚠烉⬴伶炻庽⽖䢐㎵ Ἦ㸸烉䥩Ṣ㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ军Ḽ⋩⸜ẋ⺢䩳㕤ᶲ㴟炻Ḽ⋩⸜ẋ军ℕ⋩⸜ẋ⍣Ḯ楁㷗␴冢䀋炻ᷳ⼴ᶨ䚜ᾅ⬀⛐㓞啷ᷕˤ

㔯䌣㭼庫烉ᶨ⮵Ἦ冒David Foundation⎴⯢⮠䘬㕡⼊曺剙慱ᶳ⼑晵㬋㫦䚌⎗夳㕤˪Catalogue of Ming and Ch’ing Monochrome˫炻London, 1973, Section 6, nos. B560 and 561ˤℑ ẞ 䚠 Ụ 㫦 䘬 ⎴ ⯢ ⮠ 啵 䳓 慱 䡇 ⫸ ⎗夳O.C.S. exhibition˪Monochrome Porcelain˫, London, 1948, nos. 39 and 136.

㉵岋䳸㝄㭼庫烉˪Fine Chinese Ceramics and Works of Art˫炻Christies, New York, 24 March 2004, lot 224. (ᶨ⮵⣑啵刚晵㬋䡇⫸炻䚠役慱刚炻↮⇍䁢㕡⼊㫦) ˪ Chinese Monochrome Porcelain˫炻 Christies, London, 7 June 2004, lot 273. (ᶨ⮵⣑啵刚晵㬋䡇⫸, 䦵㘿啵慱炻暁⚰㫦) ˪IMPORTANT CHINESE ART˫ Sotheby’s, 12 SEPTEMBER 2018, NEW YORK, lot 128. (ᶨ晣⣑啵刚晵㬋䡇⫸炻䦵㘿啵慱炻暁⚰㫦炻䡇ℭ䘥慱)

EstimateġỘ₡ġġEUR 5.000,- Starting priceġ崟㉵₡ġġEUR 2.500,-

108 109 104 105 A ROULEAU SHAPE MINIATURE CORAL GLAZE PORCELAIN A BOTTLE SHAPE MINIATURE CORAL GLAZE PORCELAIN VASE, 18th – 19th CENTURY VASE, 18th – 19th CENTURY Sturdily potted porcelain with monochrome glaze Porcelain with monochrome glaze China, 18th – 19th century China, 18th – 19th century

This vase shows a classical rouleau shape with a short neck and This little bottle vase has a long neck and a fine even has a finely speckled coral glaze. The bottom, neck rim and the monochrome coral red glaze. The bottom is also glazed in coral inside are glazed in white. red whilst the neck rim and the inside are glazed in white.

Shape: Rouleau form Shape: Bottle form Weight: 236 grams Weight: 97.4 grams Dimensions: 12.5 cm height Dimensions: 13.7 cm height Condition: excellent condition with minimal wear to foot Condition: excellent condition with minimal wear to foot and and neck rim, glaze hairlines to interior and few tiny glaze neck rim and few tiny glaze imperfections imperfections Provenance: from an American private collection 106 Provenance: from an American private collection A LARGE BLUE AND WHITE FLORAL PLATE, KANGXI ⋩ℓ军⋩ḅᶾ䲨⽖✳䍲䐂䲭䒟䒞 The massively potted plate with cobalt blue painting under the glaze ⋩ℓ 军⋩ḅᶾ䲨⽖✳䍲䐂䲭䒞 ╖刚䒟 China, Kangxi period (1662-1722) ⍂偶炻╖刚慱䒟 ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 Nicely painted with various flowers springing from craggy layered rockwork, surrounded by flying 忈✳烉䒞 butterflies, the border with multiple segments each with depiction of chrysanthemum, peonies, lotus, 忈✳烉䒞 慵慷烉97.4 ⃳ cherry blossoms and other flowers and plants. The backside with a neatly incised wave pattern leading 慵慷烉236 ⃳ ⯢⮠烉13.7 ⍀䰛 檀 towards the raised foot rim, the recessed base with a mark painted in cobalt blue inside a double circle. ⯢⮠烉檀 12.5 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻嵛㱧庽⽖䢐㎵炻ᶨ溆㕥慱仢星 ⑩䚠烉ᾅ⬀㤝⤥炻⸽嵛冯柠悐怲䶋㚱庽⽖䢐㎵炻塷朊㚱䘤䴚䵓塪 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 Shape: Plate ䷓炻庽⽖㕥慱仢星 Weight: 1845 grams Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,- Dimensions: 36 cm diameter Starting priceġ崟㉵₡ġġEUR 150,- Condition: Old fritting to rim as customary with these wares, minor wear and some small manufacturing EstimateġỘ₡ġġEUR 300,- flaws, overall beautiful condition with no cracks or restoration whatsoever Starting priceġ崟㉵₡ġġEUR 150,- Provenance: Austrian private collection.

⹟䅁⣏✳曺剙剙⋱䲳䚌 ⍂偶䚌炻曺剙慱ᶳ⼑ ᷕ⚳炻⹟䅁 (1662-1722)

忈✳烉䚌 慵慷烉1845 ⃳ ⯢⮠烉䚜⼹ 36 ⍀䰛 ⑩䚠烉忂ⷠ㬌栆䚌䘬嵛怲ᾖ慱炻庽⽖䢐㎵炻ᶨṃ⮷墥ἄ仢星炻㔜橼ᾅ⬀列⤥炻㰺㚱塪䇯␴ᾖ⽑ Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

110 111 108 A LARGE BLUE AND WHITE ‘IMMORTALS’ BALUSTER JAR AND COVER, 18th – early 19th CENTURY Porcelain with underglaze blue hand painting China, 18th – early 19th century

This sturdily potted and sprawling baluster jar and cover of large size shows a vivid scenery with three immortals in a splendid garden, standing on a terrace. Floral and ruyi borders are adoring the rims and a double circle is found on the underside. The lid is continuing the garden motif with an overgrown Daihu rock.

Shape: Baluster shape Weight: 2,076 grams Dimensions: total height is 44.5 cm Condition: very good condition with minor traces of wear and age Provenance: from an Austrian private collection

Auction result comparison: for a related pair of blue and white baluster jars with strong similarities at the fauna and ruyi borders see Bonhams, FINE FURNITURE AND DECORATIVE ARTS, CLOCKS AND SILVER, 24 Sep 2012, NEW YORK, Lot 5200.

⋩ℓ军⋩ḅᶾ䲨曺剙ẁṢ⮯幵仸ġ ㇳ丒曺剙慱ᶳ⼑昞䒟ġġġġ ᷕ⚳炻ġ⋩ℓ军⋩ḅᶾ䲨ġ ġ 忈✳烉⮯幵仸ġ 慵慷烉ġijĭıĸķġ⃳ġ ⯢⮠烉ġ䶪檀ġĵĵįĶġ⍀䰛ġ ⑩䚠烉䉨㱩㤝⤥炻㚱庽⽖䢐㎵␴⸜ ẋ䕽嶉ġġ Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷

107 EstimateġỘ₡ġġEUR 600,- A VERY RARE ZUN SHAPE KANGXI BLUE AND WHITE VASE WITH SHOU CHARACTERS Starting priceġ崟㉵₡ġġEUR 300,- Porcelain with underglaze blue hand painting, comes inside its original old wooden collector’s box with various inscriptions in Chinese and English China, Kangxi period (1662-1722)

This elegant Kangxi period vase in the rarely found Zun shape shows a large cartouche on either main side. One is decorated with precious objects and the other shows magpies amidst peonies. Within a net -like structure we find prominent Shou characters bridging the two main images. Ruyi, double circle and other geometrical borders adorn the rims. The vase comes inside an old wooden box which bears various inscriptions and labels.

Shape: Zun shape Weight: 896.7 grams Dimensions: height is 23.3 cm Condition: very good condition with minor traces of wear and age and very few glaze flaws Provenance: from a collection that was assembled around 1940 in Canton

Auction result comparison: for another Kangxi period Zun shape Vase, somewhat larger yet restored see Christie’s, Art d’Asie, Paris, 15 December 2010, Lot 147.

⹟䅁䍵䦨曺剙⌂⎌叔⢥⮲ ㇳ 丒 曺 剙 慱 ᶳ ⼑ 昞 䒟炻⍇ 墅 啷 ⭞ 㛐 䙺炻㚱 ᷕ 劙 㔯 㧁 䯥 ᷕ⚳炻ġ⹟䅁炷IJķķijĮIJĸijij炸ġġġ ġ 忈✳烉ġ⮲⼊ 慵慷烉ġĹĺķįĸġ⃳ ⯢⮠烉ġ檀ġijĴįĴġ⍀䰛 ⑩䚠烉䉨㱩㤝⤥炻㚱庽⽖䢐㎵␴⸜ẋ䕽嶉炻庽⽖慱朊㎵⛷ Ἦ㸸烉Ἦ冒ᶨᾳᶲᶾ䲨⚃⋩⸜ẋ⛐⺋㜙䓇㳣䘬㓞啷

EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

112 113 110 A CARVED LAPIS LAZULI ‘LUOHAN’ TABLE SCREEN, QING DYNASTY Lapis lazuli, carved light and dark wood base China, Qing Dynasty

The rectangular lapis lazuli plaque is framed by an elaborately worked wooden frame with openwork support and base. Carved to the front with a Luohan resting underneath a tree in a mountainous landscape. A nice detail are the sandals, that the arhat has taken off his tired feet and placed in front of him on the ground.

Table screens made of hardstones were particularly popular during the Qing Dynasty. They were usually of rectangular or round shape and often came in pairs. Their function was purely decorative and thus they were decorated with symbolic, auspicious motifs such as pine and crane, bat and deer, rising sun or as in the present piece scholars, immortals of Luohan. Small screens were valued as aesthetic objects for the scholar’s desk.

Shape: Rectangular with ornate base Dimensions: total height is 28.5 cm, maximum width is 13 cm (measured at the base) Weight: 816 grams Condition: restored break line as well as minor notches here and there Provenance: Private collection, Bilbao

Auction results comparison: Sotheby’s, FINE CHINESE CERAMICS & WORKS OF ART, 14 MAY 2014, LONDON, lot 43 (for a Lapis Lazuli screen of comparable size and dating, depicting deer).

曺慹䞛晽伭㻊㍺⯷炻㶭ẋ 曺慹䞛炻晽⇣㛐⸽⹏ ᷕ⚳炻㶭ẋ

忈✳烉䞑⼊炻⸽⹏厗渿 109 ⯢⮠烉䶪檀 28.5 ⍀䰛炻㚨⮔↎13 ⍀䰛 炷⸽ A LARGE CARVED LAPIS LAZULI ‘PARROTS AND PEACHES’ GROUP, ⹏炸 LATE QING DYNASTY 慵慷烉 816 ⃳ Lapis lazuli, carved wooden base ⑩䚠烉⯨悐⎗夳塪䷓ᾖ⽑䕽嶉⍲↺䕽 China, late Qing Dynasty Ἦ㸸烉 䔊䇦⶜悪䥩Ṣ㓞啷

This well carved Lapis Lazuli sculpture depicts a ‘love birds’ parrot couple on EstimateġỘ₡ġġEUR 600,- a jagged and cleft rock formation, crafted in openwork. The birds are facing Starting priceġ崟㉵₡ġġEUR 300,- each other, and in their beaks, they hold a branch with peaches, a classical symbol of longevity. A sculpture like the present piece would have been a traditional gift for a wedding, symbolizing endless love and a happy marriage. It comes complete with a nice wooden base.

Shape: Figural shape Dimensions: total height (with base) is 26.5 cm, height of sculpture itself is 22.5 cm Weight: 2,779 grams (without the base) Condition: very good condition with very few and tiny nicks to exposed areas Provenance: American private collection

㘂㶭⣏✳曺慹䞛晽淂洉⎋┋⢥㟫 曺慹䞛炻掌䨢晽㛐⸽⹏ ᷕ⚥炻㘂㶭

忈✳烉≽䈑 ⯢⮠烉䷥檀26.5 ⍀䰛炷⏓⸽⹏炸炻淂 洉 冒幓 檀 22.5 ⍀䰛 慵慷烉2,779 ⃳ 炷ᶵ⏓⸽⹏炸 ⑩䚠烉⑩䚠朆ⷠ⤥炻⯨悐ṃ⽖⮷䡽䡘 㜍㸸烉 伶⚥䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 400,- Starting priceġ崟㉵₡ġġEUR 200,-

114 115 112 A SOAPSTONE FIGURE OF SHOULAO, QING DYNASTY, 19TH CENTURY The beige stone finished with a refined polish and traces of black and red pigments China, 19th century

The immortal holding a peach in his raised right hand, a long gnarly walking staff with a scroll suspended to its top in his left, wearing long layered robes and shoes finely incised with stylized shou characters and clouds. Old carved openwork hardwood base. (2)

111 Shape: Figural XU XINZHOU (1853-1925), NARRATIVE Weight: 3.7 kilograms without base SOAPSTONE BITONG BRUSHPOT Dimensions: 36 cm height including base Soapstone Condition: Good condition with extensive China, late Qing Dynasty patina, one tiny chip, some natural veins to mineral This finely carved soapstone Bitong brush pot Provenance: American private collection. shows the artist signature of Xu Yinzhou – Old collector label ‘AC 504A’ to base of artist name Xingzhou (1853-1925) who was a statue and ‘AC504B’ to wooden base. student of the famous painter Wu Changshuo. Literature comparison: For similar figures He lived in the Wu county of the Jiangsu dated to the 18th century, see Christie’s province. The inscription on the brush pot New York, 30th May 1991, lot 44, and reads ‘Xu Xinzhou from the Wu School, on a Christie’s London 15th June 1999, lot 134. spring day in March in the year …’ Auction result comparison: FINE CHINESE The exterior of the vessel is masterly carved CERAMICS & WORKS OF ART. Sotheby’s, with a traveling group of men, many riding 16 - 17 SEPTEMBER 2014, NEW YORK, lot on Bactrian camels. They are surrounded 654. (for a similar statue of Shoulao) by a magnificent landscape with pine trees, mountains, footbridges, pavilions and judging 㶭ẋ䘪䞛晽⢥侩炻⋩ḅᶾ䲨 from their facial expressions all appear to be 䰛 湫 刚炻堐 朊 ⃱ 㹹炻湹 刚 䲭 刚 倴 䎮 extremely excited about their adventurous ᷕ⚥炻⋩ḅᶾ乒 journey. 忈✳烉Ṣ䈑 Shape: Cylindrical shape 慵慷烉3.7 ℔㕌炷ᶵ⏓⸽⹏炸 Dimensions: 12 cm (height), 12 cm (diameter) ⯢⮠烉檀36 ⍀䰛炷⏓⸽⹏炸 Weight: 1,347 grams ⑩䚠烉⑩䚠列⤥炻⊭㳮ↅ慵㵎㲥炻ᶨ㜉⮷塪 Condition: very good condition with minor 仅炻ᶨ ṃ ⣑ 䃞 倴 䎮 乡 嶗 traces of age and use, very tiny nicks along the 㜍㸸烉伶⚥䥩Ṣ㓞啷炻⸽⹏ᶲ㚱侩啷⭞㞯 natural veins in the material 䬦“AC 504A” ⍲㛐⹏ᶲ“AC504B” Provenance: Austrian private collection EstimateġỘ₡ġġEUR 800,- Auction results comparison: For a large Starting priceġ崟㉵₡ġġEUR 400,- carved soapstone seal by the same artist see Christie’s, Important Chinese Ceramics and Works of Art, Hong Kong, 28 November 2012, lot 2292.

⼸㕘␐炷1853-1925炸䘪 䞛 晽 Ṣ 䈑 䫮 䫺 䘪䞛 ᷕ⚥炻㘂㶭

忈✳烉⚻䫺⼊ ⯢⮠烉檀12 ⍀䰛炻䚜⼹12 ⍀䰛 慵慷烉1,347 ⃳ ⑩䚠烉⑩䚠朆ⷠ⤥炻ṃ⽖⸜ẋ冯ἧ䓐䕽嶉炻䘪䞛 倴䎮ᷕ⼰䳘⽖䘬⮷䡽䡘 㜍㸸烉 ⤍⛘⇑䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 1.000,- Starting priceġ崟㉵₡ġġEUR 500,-

116 117 114 A CELADON AND RUSSET CARVING OF AN APSARA, SONG OR MING DYNASTY The stone is of a celadon hue with grey mottling as well as various shades of russet, excellent surface finish China, 12th-16th century

Carved and pierced with the angelic figure flying elegantly whilst wearing a long flowing robe, a celestial scarf and an elaborate hairdo with curls.

Apsaras are often depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in the Mogao and Yulin Caves, and the Yungang and Longmen Grottoes, and may also be depicted as dancers or musicians. They are referred to as feitian (梆⣑) in Chinese.

Shape: Sculptural Dimensions: Length 5.2 cm Weight: 35.4 grams Condition: very good condition with some miniscule natural flaws in the mineral Provenance: Ex Collection Robert Kleiner, American private Museum collection

Literature comparison: By the Tang dynasty, small jade figures of flying apsaras began to appear; see for example one in the Tianjin Museum, Tianjin, illustrated in Jade Wares Collected by Tianjin Museum, Beijing, 2012, pl. 110, together with two attributed to the Song dynasty, pls. 120 and 121, and a fourth attributed to the Jin dynasty, pl. 141.

Auction results comparison: THE MUWEN TANG COLLECTION OF CHINESE JADES, Sotheby’s, Hong Kong , 1 December 2016, lot 24. (for a comparable example, dating to the Song Dynasty)

墸㔹䘥䌱晽梃⣑䪍⫸㈲ẞ炻⬳ㆾ㖶ẋ 䌱䞛曺刚炻䀘墸刚㰩㔹炻堐朊⃱㼌 ᷕ⚳炻 ⋩Ḵ军⋩ℕ ᶾ 䲨

113 忈✳烉晽⟹ AN 18th CENTURY CARNELIAN AGATE BELT BUCKLE ‘CAT WITH BUTTERFLY’ ⯢⮠烉攟 5.2 ⍀䰛 The stone is of high polished quality with banded areas surrounding the carnelian at 慵慷烉 35.4 ⃳ the center ⑩䚠烉㤝⤥炻䌱䞛ℭ⣑䃞䳘⽖仢星 China, 18th century. Ἦ㸸烉 ⍇Robert Kleiner㓞啷炻伶⚳䥩Ṣ伶埻棐㓞啷

This 18th century belt hook is carved from Carnelian Agate, a rare and highly sought- EstimateġỘ₡ġġEUR 1.000,- after material that was mainly in fashion in 18th century Qing Dynasty China. Carved Starting priceġ崟㉵₡ġġEUR 500,- out of the natural carnelian inclusion is a kitten playing with a butterfly. The ‘cat and butterfly’ motif was popular during the Qing Dynasty and a symbol for reaching an old age.

Shape: Belt hook Dimensions: length is 7.5 cm, width is 4 cm Weight: 64.5 grams Condition: very good condition with tiny notches and some miniscule natural flaws in the mineral Provenance: from a Hungarian private collection

Auction results comparison: for other Qing Dynasty miniature carvings out of Carnelian agate see Christie’s, Chinese Ceramics, Works of Art and Textiles Part I, London, South Kensington, 4 November 2014, lot 120 or Christie’s, Important Chinese Ceramics and Works of Art, Hong Kong, 27 November 2013, lot 3618.

⋩ℓᶾ䲨䐒䐁晽尻㑚圞ⷞ憶 䱦ⶍ㉃⃱炻ᷕ⣖悐↮⎗夳ⷞ䉨倴䎮 ᷕ⚳炻 ⋩ℓᶾ䲨

忈✳烉ⷞ憶 ⯢⮠烉攟7.5 ⍀䰛炻⮔4 ⍀䰛 慵慷烉64.5 ⃳ ⑩䚠烉㤝⤥炻⯨悐⎗夳∫䕽炻ᶨṃ⣑䃞仢星 Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 1.000,- Starting priceġ崟㉵₡ġġEUR 500,-

118 119 AN 18TH CENTURY JADE LOG RAFT CARVING LOT 116

120 121 115 A QING DYNASTY WHITE JADE SCULPTURE OF KUIXING, THE GOD OF LITERATURE The stone is of a white, slightly tinted hue with sparse grey and russet veins and inclusions China, Qing Dynasty

This expressive jade sculpture shows the rare to be found portrayal of the god of successful examinations and literature, Kuixing, in classical pose. He is standing on a dragon fish and holds a pen in his raised hand.

Shape: Sculptural Dimensions: height is 16.5 cm Weight: 345 grams Condition: excellent condition Provenance: American private Museum collection

Auction results comparison: Sotheby’s, A PRIVATE COLLECTION OF SCHOLARLY AND IMPERIAL WORKS OF ART, Hing Kong, 4 April 2012, lot 3042 (for a Kuixing statue, dating to the 17th century).

㶭ẋ䘥䌱櫩㗇 䘥䌱炻⯨悐䀘墸刚倴䎮㰩㔹 ᷕ⚳炻 㶭ẋ

忈✳烉晽⟹ ⯢⮠烉檀 16.5 ⍀䰛 慵慷烉345 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉伶⚳䥩Ṣ伶埻棐㓞啷

EstimateġỘ₡ġġEUR 2.000,- Starting priceġ崟㉵₡ġġEUR 1.000,-

116 A RARE 18th CENTURY PALE CELADON JADE Shape: Figural shape CARVING OF ZHANG QIAN ON A LOG RAFT Dimensions: 10,5 cm (length), 9 cm (height) The stone of even pale celadon hue with spare russet Weight: 68.5 grams highlights Condition: very good condition with some miniscule China, 18th century natural flaws in the mineral Provenance: American private Museum collection This masterly carved jade group shows the Han Dynasty statesman Zhang Qian, seated inside a large hollowed Auction results comparison: For two raft-form jades log with a tree-form stern. He is accompanied by a young with Zhang Qian and of the same period see Christie’s, servant who is in charge of the oar and a crane is also Fine Chinese Ceramics and Works of Art Part I, 13 - 14 depicted, resting inside the log. The carving is of very September 2012, New York, lot 1024 or Christie’s, Fine fine quality best visible in the russet highlighted leafage Chinese Ceramics, Paintings and Works of Art, New of the tree or the knot-holes covering the entire vessel. York, Park Avenue, 22 March 1999, lot 29.

Zhang Qian was a Han dynasty imperial envoy and ⋩ℓᶾ䲨份夳曺䘥䌱晽⻝槓 traveler. The subject of Zhang Qian in his log boat was a 曺䘥刚⣦暄墸刚㰩㔹 popular theme during the Ming and early Qing periods, ᷕ⚳炻 ⋩ℓᶾ䲨 and is most often seen in rhinoceros horn carvings, such as the three examples illustrated in The Complete 忈✳烉Ṣ䈑✳忈 Collection of Treasures of the Palace Museum - 44 - ⯢⮠烉攟10,5 ⍀䰛炻檀9 ⍀䰛 Bamboo, Wood, and Rhinoceros Horn Carvings, Hong 慵慷烉 68.5 ⃳ Kong 1999, nos. 118-20. Rhinoceros horn examples ⑩䚠烉㤝⤥炻䦵㚱䌱䞛⣑䃞仢星 are in numerous public and private collections, several Ἦ㸸烉伶⚳䥩Ṣ伶埻棐㓞啷 of which are illustrated by T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, EstimateġỘ₡ġġEUR 1.500,- nos. 70-4. The representations of Zhang Qian, as well as Starting priceġ崟㉵₡ġġEUR 750,- the log raft, vary in these carvings.

These carvings, as well as the present jade vessel, may all have been inspired by the famous silver example formerly in the collection of the late Lady Percival David included in the exhibition, Chinese Art under the Mongols: The Yuan Dynasty (1279-1368), Cleveland Museum of Art, 1968, no. 37.

122 123 117 118 A CELADON AND RUSSET JADE SCROLL WEIGHT WITH A CELADON JADE BRUSH REST WITH CONFRONTING DRAGONS AND MOUNTAINS SCHOLAR AND PUPIL, 18TH – 19th CENTURY The stone is of an even celadon hue The stone is of an even celadon hue with russet highlights China, Qing Dynasty (1644 – 1912) China, 18th – 19th century Carved in the form of a mountain with several peaks with waves crashing against the rock The arched top is carved in high relief with a scholar and his pupil formation at the lower end. The show side bears the detailed portrayal of two confronting amidst a mesmerizing landscape. Pine trees and bamboos are flanking dragons of which the scaled tails are also visible between the mountain peaks on the backside. the figures, who stand next to a footbridge and in the background are mountains and clouds. This elegant piece exemplifies the aesthetic taste of scholar-officials of the Ming and Qing dynasties, who sought objects for their studio that had a variety of functions, such as brush rests This elegant piece exemplifies the aesthetic taste of scholar-officials of and paperweights, as well as being works of art in their own right. the Ming and Qing dynasties, who sought objects for their studio that had a variety of functions, such as brush rests and paperweights, as Shape: Sculptural well as being works of art in their own right. Dimensions: Length 12 cm Weight: 176.7 grams Shape: Rounded rectangular shape Condition: excellent condition Dimensions: Length 23.2 cm Provenance: American private Museum collection Weight: 335 grams Condition: excellent condition Literature comparison: a slightly larger carving of this theme, in the Palace Museum, Beijing, is Provenance: American private Museum collection illustrated in The Compendium of Collections in the Palace Museum. Jade, vol. 9, Qing Dynasty, Beijing, 2011, pl.64, together with one modelled as three peaks with chilong, pl. 66. Auction results comparison: Christie’s, Fine Chinese Ceramics And Works Of Art, New York, 19 March 2008, lot 427. (for a white Jade Auction results comparison: Sotheby’s, SATURDAY AT SOTHEBY’S: CHINESE ART, Hong Kong, 21 scroll weight dating to the same period and of near identical shape March 2015, lot 692. (for a comparable example, of the same size and dating) and size) 曺䌱漵様佌Ⱉ䫮㒙炻㶭ẋ 曺䌱墸㔹䈏䪍㊯嶗捖䳁炻⋩ℓ军⋩ḅᶾ䲨 䌱䞛⏰䎦⛯⊨曺刚 曺刚䌱炻墸刚倴䎮 ᷕ⚳炻 㶭ẋ ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 忈✳烉晽⟹ 忈✳烉攟㕡幘炻堐朊⚻⻏⼊ ⯢⮠烉攟 12 ⍀䰛 ⯢⮠烉攟 23.2 ⍀䰛 慵慷烉176.7 ⃳ 慵慷烉335 ⃳ ⑩䚠烉㤝⤥ ⑩䚠烉㤝⤥ Ἦ㸸烉 伶⚳䥩Ṣ伶埻棐㓞啷 Ἦ㸸烉伶⚳䥩Ṣ伶埻棐㓞啷 EstimateġỘ₡ġġEUR 1.500,- EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,- Starting priceġ崟㉵₡ġġEUR 750,-

124 125 119 A LARGE CELADON AND RUSSET JADE ‘BUDDHIST LION’, 17th CENTURY The stone shows celadon, grey and russet hues China, 17th century

This vivid jade sculpture portrays a ferocious Buddhist lion who is holding a brocade ball with his front pays, whilst scratching his right ear with one of his hind paws. The liveliness of the movement is further enhanced by the naturalistic mane and spine of the mythical beast. An outstanding feature is his tail that is remnant of a Buddha hand citron.

On the belly we find the collector’s label of Erik Hancock, who was one of the best-known collectors through the late 1960s and 1970s. Born into a privileged Birmingham family he grew up surrounded by antiques. In young adulthood he too became an avid collector and over his own lifetime amassed a large collection of Chinese Art with a specific interest in Jades and Chinese Snuff Bottles. Nearly all the pieces of the collection bare a distinctive collector’s label which is easily recognized. Many pieces from his collection are now housed in major collections around the world and listed in publications of private snuff bottle and jade collectors spanning the decades since the 1970s.

Shape: Figural Dimensions: length is 16.5 cm, height is 7 cm Weight: 1,661 grams Condition: excellent condition Provenance: ex collection of Erik Hancock (label on underside still in place); ex collection Robert Kleiner Ltd., London, American Private collection

Auction results comparison: Christie’s, Chinese Ceramics, Works of Art and Textiles, London, South Kensington, 9 November 2012, lot 1069 (for another celadon and russet jade Buddhist lion, dating to the late Ming Dynasty but smaller in size)

⣏✳曺䌱晽ἃ䋭炻⋩ᶫᶾ䲨 曺刚⣦暄䀘墸刚㰩㔹 ᷕ⚳炻⋩ᶫᶾ䲨

忁ẞ晽ⶍ䱦㸃䘬䌱晽㍷丒Ḯᶨ⎒漯䈁⑏◜ἃ䊖炻Ṿ⇵ 䇒㌏䛨ᶨ᷒拎䶆䎫炻⎴㗪䓐Ṿ䘬ᶨ晣⼴䇒橂㋈⎛俛ˤ 䤆娙ᷕ䘬慶䌠䘬檫㮃⌟㚚␴幓⫸⢖⭆炻忚ᶨ㬍刢㛗㓰 㝄ˤ ⎎ᶨ᷒䨩↢䈡溆㗗Ṿ䘬⯦⶜㗗㉪⯀⯦悐ˤ ⛐偂⫸ᶲㆹᾹ㈦⇘Ḯ㓞啷⭞Erik Hancock䘬㧁䰌炻Ṿ 㗗20ᶾ䲨60⸜ẋ㛓␴70⸜ẋ㚨叿⎵䘬㓞啷⭞ᷳᶨˤ Ṿ↢䓇⛐ᶨᾳỗ㖶侘峝㕷⭞⹕炻Ṷ⮷⯙塓⎌䍑⚜乽ˤ ⛐曺⸜㗪㛇炻ṾḇㆸḮᶨᾳ䉪䅙䘬㓞啷⭞炻᷎⛐Ṿ冒⶙ 䘬ᶨ䓇ᷕ䧵䳗Ḯ⣏慷䘬ᷕ⚳喅埻⑩炻Ṿ⮡䌱☐␴滣䂇 ⢞䈡⇍デ冰嵋ˤ⸦᷶㇨㚱啷⑩悥㚱ᶨᾳ䌐䈡䘬㓞啷⭞ 㧁䰌炻⼰⭡㖻嬀⇍ˤ Ṿ㓞啷䘬姙⣂刢㛗⑩䎦⛐悥塓㓞 ⻽Ḷᶾ䓴⎬⛘䘬慵天㓞啷ᷕ炻᷎↿⛐冒20ᶾ䲨70⸜ẋ ẍἮ㔠⋩⸜攻滣䄁⢢␴䌱☐䥩Ṣ㓞啷⭞䘬↢䇰䈑ᷕˤ

忈✳烉䌠⼊ ⯢⮠烉攟16.5 ⍀䰛, 檀 7 ⍀䰛 慵慷烉 1,661 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉 ⍇Erik Hancock 㓞啷炷⸽悐⎗夳㓞啷㧁䯥炸烊 ⍇ΐ㔎Robert Kleiner Ltd.㓞啷烊伶⚳䥩Ṣ㓞啷

㉵岋䳸㝄㭼庫烉Christie’s, Chinese Ceramics, Works of Art and Textiles, London, South Kensington, 9 November 2012, lot 1069 炷⎎ᶨẞ曺䌱墸㔹䌱晽ἃ 䋭炻㘂 㖶炻⯢⮠䔍⮷炸

EstimateġỘ₡ġġEUR 5.000,- Starting priceġ崟㉵₡ġġEUR 2.500,-

126 127 CHINESE JADES LOTS 122, 128, 120, 125 AND 121

128 129 120 121 A CELADON AND RUSSET JADE ‘CHILONG’ AN 18th CENTURY CELADON AND Literature comparison: compare to LIBATION CUP, 17th CENTURY RUSSET JADE CARVING OF A another nephrite carved elephant The stone shows celadon, grey and russet hues CAPARISONED ELEPHANT with children and ruyi, from the China, 17th century The stone is of a celadon hue with collection of the Beijing Palace grey mottling as well as russet skin Museum, illustrated in Jadeware (III), The cup of irregular form and with two knobs at the in places The Complete Collection of Treasures upper rim features an archaistic cloud pattern incised China, 18th century of the Palace Museum, Hong Kong, on the exterior. The upper rim shows an intricate 1995, pl. 97. meander boarder and on the pure russet side an The elephant is standing sturdily incised chilong is depicted. Another, figural, chilong foursquare, detailed with a pair of Auction results comparison: QING with a celadon hue is climbing towards the rim and floppy ears above a long curling trunk DYNASTY JADES FROM A HONG his celadon color tail is visible as well, adding to the between sharp tusks. The symbolist KONG COLLECTION, Sotheby’s, Hong plasticity of the sculpture. animal is caparisoned with a saddle Kong , 1 June 2017, lot 52 (for a draped over with a tasseled tapestry comparable, Russet and Celadon Shape: libation cup shape incised to both sides with the imagery example). For a white Jade elephant Dimensions: length is 8.5 cm, height is 6 cm of the moon above waves and at the in near identical pose and of the same Weight: 226 grams top we see the Yin and Yang symbol size see Christie’s, Important Chinese Condition: very good condition with some small flanked by two bats. Ceramics and Works of Art, Hong natural flaws in the mineral Kong , 28 November 2012, lot 2179. Provenance: American private Museum collection The elephant is an auspicious symbol which is used in numerous rebuses to ⋩ℓᶾ䲨曺䌱 䩳 尉 Auction results comparison: Christie’s, Fine Chinese convey peace, prosperity and good 曺䌱ⷞ䙖炻䀘墸刚倴䎮 Ceramics and Works of Art, London, 9 November fortune. ᷕ⚳炻 ⋩ℓᶾ䲨 2010, lot 179 (for a celadon and russet jade libation cup of the same period and comparable size) Shape: Sculptural 忈✳烉晽⟹ Dimensions: length is 8 cm, height ⯢⮠烉攟8 ⍀䰛, 檀 5.2 ⍀䰛 曺䌱晽坕漵䙫炻⋩ᶫᶾ䲨 is 5.2 cm 慵慷烉 272 ⃳ 曺刚炻䀘墸刚㰩㔹 Weight: 272 grams ⑩䚠烉㤝⤥ ᷕ⚳炻 ⋩ᶫᶾ䲨 Condition: excellent condition Ἦ㸸烉 ⍇Robert Kleiner㓞啷炻伶⚳䥩 Provenance: Ex Collection Robert Ṣ伶埻棐㓞啷 忈✳烉䙫 Kleiner, American private Museum ⯢⮠烉攟8.5 ⍀䰛, 檀 6 ⍀䰛 collection EstimateġỘ₡ġġEUR 2.000,- 慵慷烉226 ⃳ Starting priceġ崟㉵₡ġġEUR 1.000,- ⑩䚠烉㤝⤥炻䦵㚱䌱䞛⣑䃞仢星 Ἦ㸸烉伶⚳䥩Ṣ伶埻棐㓞啷

EstimateġỘ₡ġġEUR 2.000,- Starting priceġ崟㉵₡ġġEUR 1.000,-

130 131 122 123 A LARGE TWIN DRAGON CARP JADE VASE, 18th / 19th CENTURY A LARGE 18th CENTURY WHITE AND RUSSET JADE LOTUS LEAF BRUSH The stone is of an even celadon hue with milky white inclusions, very smooth surface polish WASHER WITH FROG China, 18th to 19th centuries The stone is of a creamy white hue with sparse grey mottling as well as russet skin in places The vase is carved as a pair of ferocious dragon-carps rising from swirling turbulent waves, and modelled with China, 18th century mouth open, teeth bared, and the tails elegantly curled. Its beards, manes and scales are detailed with finely incised lines. The deep vessel is naturalistically carved as a large open lotus leaf borne on a stem that issues from the center of the base and is ending at the upper rim in The subject-matter is that of the carp reaching the upper courses of the Yellow River and leaping up the rapids arrangement with further stems that bear smaller lotus flowers and grasses, at Dragon Gate where it transforms into a dragon. This feat is compared to success in the state examinations which extend around the sides and up towards the rim as well. Inside the and the transformation from carp to dragon symbolizing promotion to the position of official. This was a undulated vessel we see a frog in an attentive posture and with bulging eyes. popular subject on carved jades for its drama and auspicious representations. Shape: Sculptural Shape: Sculptural Dimensions: length is 14.5 cm, height is 4 cm Dimensions: width is 17 cm, height is 12.5 cm Weight: 495.6 grams Weight: 1,060 grams Condition: very good condition with some miniscule natural flaws in the Condition: excellent condition mineral Provenance: American private Museum collection Provenance: American private Museum collection

Literature comparison: a white jade twin carp vase which compares well to the present example is illustrated by Auction results comparison: Christie’s, Fine Chinese Ceramics and Works of S. Nott, Chinese Jade Throughout the Ages, London, 1936, pl. XCII. Art (Parts I & II), New York, 22 - 23 March 2012, lot 1947 (for a green jadeite frog and lotus brush washer) or Sotheby’s, IMPORTANT CHINESE ART, London, Auction results comparison: Sotheby’s, IMPORTANT CHINESE WORKS OF ART, New York, 17-18 March 2015, 11 November 2015, lot 50 (for a comparable Lotus washer with a crab and lot 325 (for a celadon dragon carp vase of similar size). For a yellow jade dragon carp vase, smaller in size see frog). Christie’s, Important Chinese Ceramics and Works of Art, Hong Kong, 30 May 2012, lot 4212. ⋩ℓᶾ䲨⣏✳䘥䌱ⷞ䙖咖叱曺嚁 䫮㲿 ⣏✳曺䌱晽欂帵漵攨䲳䒞炻⋩ℓ军⋩ḅᶾ䲨 䘥䌱䀘刚倴䎮炻⯨悐䔁墸刚䙖 曺刚䌱炻⯨悐ḛ䘥刚㰩㔹炻堐朊⃱㼌 ᷕ⚳炻 ⋩ℓᶾ䲨 ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 忈✳烉晽⟹ 忈✳烉晽⟹ ⯢⮠烉攟14.5 ⍀䰛, 檀 4 ⍀䰛 ⯢⮠烉⮔17 ⍀䰛, 檀 12.5 ⍀䰛 慵慷烉495.6 ⃳ 慵慷烉1,060 ⃳ ⑩䚠烉㤝⤥炻䦵㚱䌱䞛⣑䃞仢星 ⑩䚠烉㤝⤥ Ἦ㸸烉伶⚳䥩Ṣ伶埻棐㓞啷 Ἦ㸸烉伶⚳䥩Ṣ伶埻棐㓞啷 EstimateġỘ₡ġġEUR 1.500,- EstimateġỘ₡ġġEUR 3.000,- Starting priceġ崟㉵₡ġġEUR 750,- Starting priceġ崟㉵₡ġġEUR 1.500,-

132 133 124 AN ARCHAISTIC KHOTAN-GREEN JADE CONG, QIANLONG Auction results comparison: For Qianlong mark and period PERIOD Khotan-green jades see Sotheby’s, WATER, PINE AND STONE The stone of a translucent quality and an even dark green hue RETREAT COLLECTION – QIANLONG, 08 OCTOBER 2009, HONG with ochre and russet inclusions KONG, lot 1832 (for a jue cup) or Sotheby’s, FINE CHINESE China, Qianlong period (1736-1795) CERAMICS AND WORKS OF ART, 05 NOVEMBER 2008, LONDON, lot 60 (for a small phoenix jar). This archaistic cong is carved from Khotan-green jade and is masterly carved with two expressive Taotie masks in the classical Ḧ昮ầ⎌␴䓘⡐䌱䏖 style of the Liangzhu culture. Furthermore, the hexagonal ritual ⋲德㖶䞛炻⡐䵈刚倴䎮炻崕䞛刚⍲墸刚㰩 object shows a meander border incised to both rims. ᷕ⚥炻Ḧ昮炷1736-1795炸

This cong dates to the Qianlong period and belongs to the 忈✳烉㕡䏖⼊ precious group of archaistic jade objects that were so high in ⯢⮠烉檀8 ⍀䰛炻䚜⼹ 9.5 ⍀䰛 fashion at the period as the Emperor Qianlong was one of the 慵慷烉386.5 ⃳ few historical emperors obsessed with jades. And it was during ⑩䚠烉Ề䥨炻䒞㱧↎ṃ⽖⮷䡽䡘 this jade-obsessed Emperor’s reign that Chinese jade art reached 㜍㸸烉伶⚥䥩Ṣ㓞啷 an unprecedented peak. Qianlong-era jades can therefore be divided into jades in period styles (shizuo yu) and archaistic jades EstimateġỘ₡ġġEUR 1.500,- (fanggu yu). Starting priceġ崟㉵₡ġġEUR 750,-

Shape: Hexagonal cong shape Dimensions: 8 cm height, diameter is 9.5 cm Weight: 386.5 grams Condition: excellent condition with few small nicks to bottom rim Provenance: from an American private collection

length is 14.6 cm

125 A LARGE SPINACH GREEN JADE ‘DRAGON’ BELT HOOK, QIANLONG PERIOD The stone is of spinach green color and shows superior surface polish China, Qianlong period (1736-1795)

This 18th century belt hook, of exceptionally large size, is powerfully worked and reticulated with a ferocious dragon head terminal facing an undercut chilong clambering on the curved shaft. The reverse with an ovoid knob and some strands of the dragon’s mane.

Shape: Belt hook Dimensions: length is 14.6 cm Weight: 137 grams Condition: excellent condition Provenance: from an American private collection

Auction results comparison: Sotheby’s, IMPORTANT JADES, AMBERS AND HARDSTONES FROM A DISTINGUISHED CONNOISSEUR, 03 OCTOBER 2018, HONG KONG, lot 3345 (for a comparable belt hook of near identical size, carved from white jade)

⣏✳䡏䌱㴖晽漵䲳ⷞ憶炻Ḧ昮⸜ 䡏䵈刚炻堐朊䱦ⶍ㉃⃱ ᷕ⚳炻 Ḧ昮 (1736-1795)

忈✳烉ⷞ憶 ⯢⮠烉攟14.6 ⍀䰛 慵慷烉137 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

134 135 126 AN IMPERIAL ZITAN ‘DRAGON’ TRAY WITH JADE INSET, QIANLONG Ḧ昮⸜⽉⇞䳓㨨⳴䌱漵䲳㈀䚌 PERIOD 䳓㨨炻䡏䌱 Zitan wood and spinach green jade ᷕ⚥炻Ḧ昮炷1736 – 1795炸 China, Qianlong period (1736-1795) 忁ẞ晽⇣䱦伶䘬䳓㨨㛐㈀䚌䁢䞑⼊炻⚻奺炻䞕嵛ˤ ⮔敲䘬怲㟮ᶲ⚃奺⍲ This masterly carved Zitan wood tray is of rectangular form with rounded ᶨ怲ᷕ攻⎗夳⎱䤍圁圈㴖晽炻℞Ṿᶱ怲㟮ᷕ⣖⤪シ㴖晽ᶲ炻㴖晽䓙ᶨ㡅 corners, supported on short bracket feet. The wide borders are carved in relief 㴖晽䴚䵓䲳ᷚ倗ˤ depicting five winged auspicious bats and three ornamental shapes formed by ruyi, all connected by a neatly carved fabric string. ㈀䚌ᷕ⣖ℑ㡅㯋⊊⬷῱䘬Ḽ䇒梃漵炻怐㷠Ḷ㲊㴒ᷕ炻徥徸㇚侵䀓䎈ˤ䀓 䎈䓙厈厄䵈䡏䌱墥ㆸ炻墯暄䘬㚚㉀怲䓴炻㶢↡炻⚈䁢⬫䓐㕤㓦伖䠿ㆾ The central image on the interior is that of two Imperial, five-clawed, dragons 㜗ˤ in pursuit of the cosmic pearl amidst crushing waves. The pearl itself is the spinach green inset which shows an intricate meander border and is shallow 忈✳烉㈀䚌 as its use was for serving a bowl or cup. ⯢⮠烉32.5 x 24 ⍀䰛, 檀3 ⍀䰛 慵慷烉 1,043 ⃳ Shape: tray shape ⑩䚠烉Ề䥨 Dimensions: 32.5 x 24 cm, 3 cm height 㜍㸸烉Ἦ冒剅≈⒍Ṇ㳚伶埻棐棐啷怢䔁炻Ẳ⇑媦㕗炷側朊⎗夳㧁䯥炸 Weight: 1,043 grams Condition: excellent condition ㉵岋䳸㝄㭼庫烉䚠Ụ䳓㨨漵䲳䙺⎗夳 Sotheby’s, PORTABLE Provenance: from the collection of the Heritage Museum of Asian Art, TREASURES – THE DR S.Y. YIP COLLECTION, 05 APRIL 2017, HONG Chicago, Illinois (label on the backside in place) KONG, lot 3505ˤᶨ ẞ Ḧ 昮 ⸜ ⮷ ✳ 䳓 㨨 搚 䌱 ㍺ ⯷ ⎗夳 Sotheby’s, IMPORTANT CHINESE ART, 05 APRIL 2017, HONG KONG, lot 3634. Auction results comparison: For a Zitan ‘dragon’ box of comparable quality see Sotheby’s, PORTABLE TREASURES – THE DR S.Y. YIP COLLECTION, 05 EstimateġỘ₡ġġEUR 5.000,- APRIL 2017, HONG KONG, lot 3505. For a small jade inset Zitan table screen Starting priceġ崟㉵₡ġġEUR 2.500,- of the Qianlong period see Sotheby’s, IMPORTANT CHINESE ART, 05 APRIL 2017, HONG KONG, lot 3634.

136 137 127 128 A LARGE MUGHAL STYLE SPINACH JADE CHRYSANTHEMUM AN EXCEPTIONAL MUGHAL-STYLE WHITE JADE EWER AND COVER, JIAQING PERIOD BOWL, QING DYNASTY The stone is of a pure white color and a translucent quality The stone is of a mottled green and grey color scheme with sparse China, Jiaqing period (1796 – 1820) ochre hued inclusions China, Qing Dynasty This masterly carved, lidded miniature ewer or water pot has an octolobed melon form. The lid also shows eight petals as well as a small chrysanthemum shaped finial. The elegant handle is Carved on the interior as four rows of chrysanthemum flower petals adorned with a ruyi form and counterbalanced by the tapered spout. The foot rim is a perfect radiating from an open flower heart. The design is continued on the accentuated circle. exterior and on the concave flower shaped foot. This ewer is related in form and fineness of carving as well as the quality of the white stone The present bowl, of Chinese craftsmanship, appears to have to others of Qianlong and Jiaqing date. During the Qianlong and Jiaqing periods ‘Hindustan’ drawn from and blended design elements from the area then called jades were highly in fashion and Muslim jade carvers were sent to work in the Imperial Palace ‘Hindustan’. Once the popularity and market for Mughal jades workshops in order to copy Mughal jades. The present lot is polished to a high degree, a had become apparent in the Qianlong period, Chinese artisans technique learned from the Mughal jade workers, and therefore appears to be part of the began copying and incorporating Mughal patterns into their own Mughal-style jade receptacles made for the Chinese market. creations. Several of the Chinese artworks with blended Chinese and Islamic motifs made their way into the Qing palace as tribute from Shape: lidded miniature tea pot shape the Mughal empire, creating confusion in the court. The Qianlong Dimensions: length is 9 cm, height is 4.8 cm emperor assumed they were legitimate Mughal creations and accused Weight: 127.5 grams the foreign artisans of ‘stealing Chinese styles’. Condition: excellent condition Provenance: from an American private collection Shape: Floral bowl shape Dimensions: diameter is 17.8 cm, height is 6 cm Auction results comparison: For a larger white jade ewer and cover, dating to the 18th century Weight: 435 grams ⣏✳ㆆ⃨⃺桐㟤䡏䌱卲剙䠿炻㶭ẋ and sharing the level of quality as in the present piece see Christie’s, Fine Chinese Ceramics, Condition: excellent condition 䌱䞛⏰䀘䵈㔹楩刚炻䲭墸刚㰩㔹 Paintings and Works of Art, New York, 21 March 2000, lot 136. Provenance: estate of Stephen Stempler – a distinguished New York ᷕ⚳炻㶭ẋ interior designer and art collector. He was also a board member of the ㆆ⃨⃺桐㟤䘥䌱味⢢炻▱ㄞ⸜ Foundation for Art and Preservation in Embassies for many years and 忈✳烉剙䠿⼊ 䲼䘥刚炻⋲德㖶 worked on numerous embassies around the world. Some of his more ⯢⮠烉䚜⼹ 17.8 ⍀䰛, 檀 6 ⍀䰛 ᷕ⚳炻▱ㄞ炷1796 – 1820炸 noted clientele included the former President Richard M. Nixon or 慵慷烉435 ⃳ Edgar M. Bronfman, former chairman of Seagram’s. ⑩䚠烉㤝⤥ 忈✳烉勞⢢⼊ Ἦ㸸烉Stephen Stempler 怢䓊ˤStephen Stempler 㚦䁢䲸䲬⭌ℭ墅㼊姕妰ⷓ⍲喅 ⯢⮠烉攟9 ⍀䰛, 檀 4.8 ⍀䰛 Auction results comparison: Christie’s, The Decorative Arts Sale, 埻㓞啷⭞ˤṾḇ㚦⣂⸜㑼ả⣂ᾳ⣏ἧ棐喅埻⍲ᾅ嬟➢慹㚫吋ḳ㚫天借炻⇵䷥䴙⯤ 慵慷烉127.5 ⃳ Amsterdam, 26 - 27 March 2013, lot 325 (for a slightly smaller spinach ⃳㢖⍲Seagram ⇵ᷣⷕEdgar M. Bronfman 悥㚦㗗Ṿ䘬⭊㇞ˤ ⑩䚠烉㤝⤥ jade chrysanthemum dish) or Sotheby’s, IMPORTANT CHINESE ART, 15 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 MARCH 2017, NEW YORK, lot 756 (for a Qianlong period jade bowl EstimateġỘ₡ġġEUR 1.000,- with very similar design to interior and base) Starting priceġ崟㉵₡ġġEUR 500,- EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

138 139 129 A LARGE ARCHAISTIC JADE GU BEAKER VASE, 17th – 18th CENTURY The stone of celadon color with milky and russet inclusions and veins China, 17th – 18th century

This archaistic Gu beaker vase is of impressive size and shows a high level of craftsmanship quality. The central swelling section carved in high relief to each face with a taotie mask and rising from a high spreading foot with stylized leaf bands, the tall flaring neck similarly carved with leaves. Meander borders, clouds and other ornamentation round off this early Qing Dynasty homage to the Shang bronze age.

Shape: Square gu shape Dimensions: 8 cm height, maximum width is 9.5 cm Weight: 1,966 grams Condition: very good condition with 130 natural veins in the mineral, along those AN 18th CENTURY CELADON JADE PHOENIX SHAPE POLE FINIAL tiny notches here and there The stone is of an even celadon hue, very fine surface polish Provenance: from an American private China, 18th century collection This 18th century pole finial is carved in the shape of a majestic phoenix Auction results comparison: For a with its long tail feathers and its feet tucked underneath its belly. A comparable jade Gu, yet significantly vertical drilling marks this piece as a staff or pole finial. smaller, see Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, 04 From the Song to Ming periods, bird-shaped jade staff finials were made NOVEMBER 2009, LONDON, lot 133. in the Han style. Each year in mid-autumn those who had reached the age of seventy were presented with a foot-long jade staff adorned at ⣏✳䌱晽ầ⎌㕡如䒞炻⋩ᶫ军⋩ℓ㬚ᶾ䲨 one end with the figure of a dove. The dove was chosen as the ideal 曺刚䌱炻㼌䘥刚墸刚倴䎮⍲䲳嶗 gift for elderly persons because it is known for its ability to swallow and ᷕ⚥炻⋩ᶫ军⋩ℓᶾ乒 digest anything without choking, and of course, the gift implied that the recipient would perform likewise. 忈✳烉㕡如 ⯢⮠烉檀8 ⍀䰛炻㚨⭥⢬ 9.5 ⍀䰛 Shape: Figural shape 慵慷烉1,966 ⃳ Dimensions: length is 8 cm, height is 4.5 cm ⑩䚠烉朆ⷠ⤥炻⣑䃞倴䎮炻⯨悐⎗夳⮷䡽 Weight: 113.5 grams 䡘 Condition: very good condition with tiny nicks to one temple 㜍㸸烉伶⚥䥩Ṣ㓞啷 Provenance: from an American private collection

EstimateġỘ₡ġġEUR 1.500,- Auction results comparison: Sotheby’s, FINE CHINESE CERAMICS AND Starting priceġ崟㉵₡ġġEUR 750,- WORKS OF ART 131 08 APRIL 2014, HONG KONG, lot 3145 (for a white jade ‘bird’ finial, A LARGE ARCHAISTIC JADE VASE WITH PHOENIXES, 1900s dating to the Ming Dynasty) The stone is of a celadon and pale cream color scheme with translucent and near opaque areas ⋩ℓᶾ䲨曺䌱沛 ↘ 㛾椾 China, around 1900 曺刚䌱炻堐朊㉃⃱䳘䶣 ᷕ⚳炻 ⋩ℓᶾ䲨 This large jade vase is of archaistic shape with a tapered and tall foot as well as figural side handles in the shape of Buddhist lions. The 忈✳烉沍⼊ exterior is caved in high relief with depictions of phoenixes amidst ⯢⮠烉攟8 ⍀䰛, 檀 4.5 ⍀䰛 flowers. 慵慷烉113.5 ⃳ ⑩䚠烉㤝⤥炻⯨悐㚱⮷䡽䕽 Shape: Archaistic vase shape Ἦ㸸烉伶⚳䥩Ṣ㓞啷 Dimensions: height is 25.8 cm, maximum width is 14.5 cm Weight: 1,551 grams EstimateġỘ₡ġġEUR 800,- Condition: besides one tiny nick to upper rim very good condition, lid Starting priceġ崟㉵₡ġġEUR 400,- and rings at handles are lost Provenance: from an American private collection

Ḵ⋩ᶾ䲨⇅⣏✳ầ⎌沛 ↘暁俛䌱䒞 曺刚䌱炻⣦暄⋲德㖶ᶵ德㖶䘥刚倴䎮 ᷕ⚳炻Ḵ⋩ᶾ䲨⇅

忈✳烉ầ⎌䒞⼊ ⯢⮠烉檀 25.8 ⍀䰛炻 㚨⮔↎14.5 ⍀䰛 慵慷烉1,551 ⃳ ⑩䚠烉↢䒞⎋怲䶋㚱䳘⽖仢⎋炻℞Ṿ悐ỵᾅ⬀㤝⤥炻䒞味⍲➟㝬↎⚻䑘 ᷇⣙ Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

140 141 132 134 AN 18th CENTURY WHITE JADE ‘MELON’ PENDANT A GIA CERTIFIED EMERALD-GREEN JADEITE BROOCH, QING White color jade of an even tone, smooth surface polish DYNASTY China, 18th century The stone of intense emerald-green color (untreated), 14 carat gold mounting and pin The stone is carved and pierced in the shape of two melons born on gnarled China, the jade dates to the late Qing Dynasty, the mounting is later leafy vines. A natural vein in the material has been cleverly carved to both sides as a longish tendril. The upper area with reticulation for suspension on a This emerald green jadeite plaque is finely carved in openwork with string. auspicious symbols such as a coin, a bat or lingzhi sprays. The plaque is set in a 14-carat gold mount with a floral shape and has a pin as well as Shape: Figural shape with reticulation the hallmark 14K. The enclosed GIA certificate states that the Jadeite is of Dimensions: height is 7.2 cm natural color and not treated. Weight: 32.3 grams Condition: excellent condition with fine hand patina Shape: Gourd shape Provenance: American Private collection, acquired in Chicago prior to 1970 Dimensions: 8 cm height, width is 9.5 cm Weight: 5.8 grams Literature comparison: Sotheby’s, FINE CHINESE CERAMICS AND WORKS Condition: excellent condition OF ART, London, 15 May 2013, lot 295. (for another white jade pendant, of Provenance: from the collection of an American lady – acquired before comparable size and dating) the 1970s

⋩ℓᶾ䲨䘥䌱䒄䒆䵧⺞㊪ẞ Auction results comparison: For an emerald green jade plaque of similar 䘥䌱炻堐朊⃱㽌㝼␴ size and color see Christie’s, Fine Chinese Ceramics and Works of Art, ᷕ⚳炻 ⋩ℓᶾ䲨 New York, 16 September 2016, lot 1295.

忈✳烉掌晽 㶭ẋ侉侈⤪シ拊⸋䲳傠憅炻GIA揺⭂嫱㚠 ⯢⮠烉檀 7.2 ⍀䰛 ⣑䃞䣾㭵䵈刚侉侈炷朆Ṣⶍ炸炻14K湫慹搚⳴⍲憅㈋ 慵慷烉32.3 ⃳ ᷕ⚥炻侉侈䁢㘂㶭炻慹岒悐↮䁢⼴Ἦ搚⳴ ⑩䚠烉㤝⤥炻㈲䍑⊭㻧䳘兑 Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻1970⸜⇵⛐剅≈⒍岤⼿ 忈✳烉䒄⼊ ⯢⮠烉檀8 ⍀䰛炻⮔ 9.5 ⍀䰛 EstimateġỘ₡ġġEUR 500,- 慵慷烉5.8 ⃳ Starting priceġ崟㉵₡ġġEUR 250,- ⑩䚠烉Ề䥨 㜍㸸烉伶⚥⤛㓞啷⭞炻峕Ḷᶲᶾ乒ᶫ⋩⸜ẋ⇵

EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

133 135 A PALE CELADON JADE OPENWORK PLAQUE, MING DYNASTY A YELLOW AND RUSSET JADE PENDANT WITH GUANYIN, QING The stone of an even pale celadon jade hue, gilt mounting and pin DYNASTY (later additions) Yellow color jade with sparse russet inclusions, modern 14 carat gold China, 16th – 17th century in the Ming Dynasty hinge (marked 585) China, Qing Dynasty The plaque is of oval form, carved in two layers with a phoenix perched among the leafing stems of a chrysanthemum. The stone is of The pendant is of rather large size and is neatly incised to both sides. an even near white color with opaque inclusions here and there. Depicted is the mother goddess Guanyin in a flowing robe and framed by celestial bands. Shape: oval Dimensions: 7 x 4.5 cm Shape: Flattened, figural shape with reticulation Weight: 26.5 grams Dimensions: height (including gold hinge) is 9.5 cm Condition: very good condition with small notches to backside Weight: 35.9 grams Provenance: from a German private collection Condition: very good condition with some miniscule natural flaws in the mineral Auction results comparison: Sotheby’s, IMPORTANT CHINESE ART, Provenance: Austrian private collection 13 SEPTEMBER 2017, NEW YORK, lot 219 (for a comparable plaque)

㖶ẋ曺䘥䌱掌晽ἑ梦 湫墸䌱奨枛㊪ẞ炻㶭ẋ 曺䘥䌱炻挷慹搚⳴⍲⇍憅炷⼴Ἦ≈ᶲ炸 湫刚䌱炻ⷞ䙖炻墸刚㰩㔹炻䎦ẋ14K湫慹搚⳴炷585⌘姀炸 ᷕ⚥炻㖶ẋ⋩ℕ军⋩ᶫᶾ䲨 ᷕ⚳炻㶭ẋ

忈✳烉㨊⚻⼊ ⯢⮠烉7 x 4.5 ⍀䰛 忈✳烉掌晽㇩⸛Ṣ䈑忈✳ 慵慷烉26.5 ⃳ ⯢⮠烉 檀炷⊭ ㊔ 搚 慹 悐 ỵ 炸9.5 ⍀䰛 ⑩䚠烉朆ⷠ⤥炻側朊㚱⮷仢⎋ 慵慷烉 35.9 ⃳ 㜍㸸烉⽟⚥䥩Ṣ㓞啷 ⑩䚠烉㤝⤥炻䌱䞛ℭ㚱ṃ⽖⣑䃞仢星 Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷 EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,- EstimateġỘ₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 150,-

142 143 136 A QING DYNASTY YELLOW AND RUSSET JADE WATERPOT WITH TAOTIE RING MASKS The stone is of pale-yellow color with russet inclusions, comes with a nice wooden stand China, Qing Dynasty

This bulbous little water pot shows a neatly carved Taotie mask with a loose ring to either side. The surface is very smooth and oily, the base is carved with an indentation.

Shape: Globular shape with mask handles Dimensions: length is 9.5 cm, height is 4.2 cm Weight: 158.5 grams (jade alone) Condition: very good condition with a natural dark vein that is visible on the exterior as well as inside Provenance: from an American private collection

㶭ẋ湫䌱晽棽棖暁俛䑘㯜䙪 湫刚⣦暄䲭刚㰩炻㛐⸽⹏ ᷕ⚳炻 㶭ẋ

忈✳烉䎫⼊㯜䙪䌠䲳➟㝬 ⯢⮠烉攟9.5 ⍀䰛, 檀 4.2 ⍀䰛 慵慷烉158.5 ⃳ 炷䌱慵炸 ⑩䚠烉㤝⤥炻䙪ℭ䙪⢾䘮⎗夳⣑䃞㶙刚倴䎮 Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

138 137 A PALE GREEN AND LAVENDER COVERED VASE WITH CHILONG, LATE QING DYNASTY A CELADON JADE BOWL, QING DYNASTY The stone is of an appealing light green and lavender color scheme Celadon color jade with dark green and russet veins China, late Qing Dynasty China, Qing Dynasty The slightly flattened baluster body rising from a short spreading foot to a broad shoulder with masterly carved, The simplistic bowl shows a flared rim and a circular reticulated horned dragon ring handle masks. The lid shows another pair of ring handle masks, yet in the shape of indented underside. The material is near translucent, lingzhi. The dragon motif is continued on the lid in shape of a coiled chilong in openwork. revealing appealing dark green and russet veins when held against the light. Shape: slightly flattened baluster shape Dimensions: length is 13.5 cm, height is 13 cm Shape: Bowl Weight: 461 grams Dimensions: diameter is 12 cm, height is 5 cm Condition: excellent condition Weight: 205.3 grams Provenance: from an American private collection Condition: very good condition with some miniscule natural flaws in the mineral Auction results comparison: Sotheby’s, ST GEORGE STREET SALE: CHINESE ART Provenance: Austrian private collection 10 NOVEMBER 2017, LONDON, lot 301 (for a jadeite ‘chilong’ baluster vase with the same color scheme)

曺䌱䠿炻㶭ẋ 䵈ᷕ桬䳓坕漵暁俛䒞炻㶭ẋ㘂㛇 曺刚䌱炻㶙䵈⍲墸刚倴䎮 㶢䵈ᷕ桬䳓倴䎮 ᷕ⚳炻㶭ẋ ᷕ⚳炻 㶭ẋ㘂㛇

忈✳烉䠿 忈✳烉暁俛味䒞 ⯢⮠烉䚜⼹ 12 ⍀䰛炻檀 5 ⍀䰛 ⯢⮠烉攟13.5 ⍀䰛, 檀 13 ⍀䰛 慵慷烉205.3 ⃳ 慵慷烉 461 ⃳ ⑩䚠烉㤝⤥炻䦵㚱䌱䞛⣑䃞仢星 ⑩䚠烉㤝⤥ Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷 Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 500,- EstimateġỘ₡ġġEUR 1.000,- Starting priceġ崟㉵₡ġġEUR 250,- Starting priceġ崟㉵₡ġġEUR 500,-

144 145 139 AN ENAMELED SILVER AND JADE HAND Shape: Ruyi scepter shape 戨偶䏢䎭搚䌱ⷞ憶㝬ㇳ掉炻㶭ẋ㘂㛇 MIRROR, LATE QING DYNASTY Dimensions: length is 21 cm, diameter of the mirror 戨炻䏢 䎭炻曺 刚 䌱 Silver, enamel and pale celadon jade is 8 cm ᷕ⚳炻 㶭ẋ㘂㛇 China, late Qing Dynasty Weight: 145 grams Condition: very good condition with minor nicks and 忈✳烉⤪シ➟㝬⼊ A Ruyi scepter shaped mirror in a silver frame, very little material loss to filigree silver mounting ⯢⮠烉 攟21 ⍀䰛炻掉䚜⼹8 ⍀䰛 enameled with butterflies and floral motifs. The Provenance: from an American private collection 慵慷烉 145 ⃳ reverse of the mirror is a pierced jade plaque of pale ⑩䚠烉ᾅ⬀㤝⤥炻㚱䳘⮷∫䕽炻搚戨↎ celadon hue with a flower. The handle is also inlaid Auction results comparison: Sotheby’s, SATURDAY AT 㚱ṃ⽖㛸㕁㎵⣙ with jade on the reverse. The mirror has a filigree SOTHEBY’S: ASIAN ART, 16 SEPTEMBER 2017, NEW Ἦ㸸烉伶⚳䥩Ṣ㓞啷 silver ruyi border, and the sides of the handle have YORK, lot 1048 (for another enameled silver and jade incised lotus designs. At the lower end of the handle hand mirror of larger size) EstimateġỘ₡ġġEUR 600,- the mark ‘Silver’ is stamped. Starting priceġ崟㉵₡ġġEUR 300,-

141 AN GILT SILVER AND JADE HAND MIRROR, LATE QING DYNASTY Silver, jadeite, tourmaline and semi-precious stone insets, jade plaque China, late Qing Dynasty

A finely embossed and gilt silver repoussé mounting holds the round mirror which is supported by a pair of butterflies at the handle shaft. The backside continues the butterfly motif and at the center is a filigree border holding a jade plaque in the form of an archaistic vase with a taotie mask. Furthermore, we find insets of jadeite and other semi-precious stones such as tourmalines. At the lower end of the handle the mark ‘Silver’ is stamped.

140 Shape: Round shape with figural handle shaft A TIBETO CHINESE JADEITE AND SILVER to see a Tibetan constantly rotating the hand wheel 㻊啷侉侈搚戨廱䴻䫺炻㶭ẋ㘂㛇 Dimensions: length is 16.2 cm, diameter of the mirror is 12.2 cm PORTABLE PRAYER WHEEL, LATE QING and chanting a mantra as he or she walks, in the same 戨炻侉 侈炻暣 㯋 䞛炻䵈 㜦 䞛 ⍲ ℞ Ṿ 䣎 䞛 Weight: 218 grams DYNASTY way the pious Catholics use their rosaries. 㻊啷炻㶭ẋ㘂㛇 Condition: very good condition with minor nicks and very little material loss to some Silver, jadeite, tourmaline, turquoise and other semi- stone insets precious stones Shape: Prayer wheel shape 忈✳烉廱䴻䫺 Provenance: from an American private collection Tibeto-Chinese, late Qing Dynasty Dimensions: length is 19 cm ⯢⮠烉攟19 ⍀䰛 Weight: 182 grams 慵慷烉182 ⃳ Auction results comparison: Christie’s, A Passion for Asian Art, 28 October - 11 This portable prayer wheel is a handsome ensemble of Condition: very good condition with minor nicks to ⑩䚠烉㤝⤥炻戨㟮↎㚱⸦嗽⇣䕽 November 2014, lot 98 (for a white jade embellished silver hand mirror with a very jadeite and silver inlaid with more jadeite, turquoise, filigree silver mounting Ἦ㸸烉 ⊿⌉伭Ἦ䲵ⶆ㟤㜿⦩June similar hardstone inset repousse mounting) and tourmalines as well as other semi-precious Provenance: Estate of June Montague Ficklen of Montague Ficklen 怢䓊ˤ Mrs. stones. The wheel spins with a 12-sided attachment. Greenville, North Ficklen 㚦䁢⊭㊔⊿⌉伭Ἦ䲵ⶆ伶埻棐 ⳴䌱挷慹戨㟮㈲掉炻㶭ẋ㘂㛇 ⍲㟤 㜿 ⦩ 伶 埻 棐 䫱 ⸦ ỵ 棐 攟 ⶍἄˤ⤡ 戨炻侉 侈炻暣 㯋 䞛 ⍲ ℞ Ṿ ⮛ 䞛 搚 ⳴炻䌱 䇴 Just as the Buddha symbolically turned the wheel Carolina. Mrs. Ficklen served on several boards of 䴻ⷠ㉥䨢冯℞ᶰ⣓ 䑘䎫㕭埴炻⸞⛐ ᷕ⚳炻 㶭ẋ㘂㛇 of the Law when he preached his first sermon and directors including the North Carolina Art Museum or 䎈⮞㕡朊㚱叿䈡⇍䘬⑩␛ˤ taught the way to enlightenment at Sarnath, India, the Greenville Art Museum. Mrs. Ficklen Still found 忈✳烉⚻⼊炻晽⇣ㇳ㝬 so pious Tibetan Buddhists literally rotate a wheel time to travel the globe with her husband and was EstimateġỘ₡ġġEUR 500,- ⯢⮠烉攟16.2 ⍀䰛炻掉⫸䚜⼹12.2 ⍀䰛 to earn the merit that will enhance the likelihood of known for her refined taste in jewelry. Starting priceġ崟㉵₡ġġEUR 250,- 慵慷烉218 ⃳ enlightenment. The Tibetan prayer wheel, however, ⑩䚠烉㤝⤥炻䳘⮷⇣䕽炻⯨悐搚⳴⮛䞛᷇⣙ is not an ordinary wheel but a cylindrical metal drum Literature comparison: For a closely related portable Ἦ㸸烉伶⚳䥩Ṣ㓞啷 that rotates around an axis. There are two such prayer wheel see Pilgrimage and Buddhist Art, Asia wheels, those that are immovable and placed inside Society, New York, 2010. Acc. Nr. 57.2285 - John and EstimateġỘ₡ġġEUR 600,- or outside a shrine and those that are carried by hand, Berthe Ford, Baltimore; given to Walters Art Museum, Starting priceġ崟㉵₡ġġEUR 300,- like the present example. It is not an uncommon sight 2002.

146 147 142 AN IMPRESSIVE ARCHAISTIC JADEITE GUANG VESSEL WITH COVER 143 Mint green jadeite with white and russet inclusions, openwork boxwood A LARGE ARCHAISTIC JADEITE ‘DRAGON’ VESSEL WITH COVER pedestal Mint green jadeite with apple-green, spinach and russet inclusions, openwork boxwood pedestal China, 20th century China, 20th century

This very large jade vessel with cover is carved in the shape of an archaic This lidded jadeite vessel, reminiscent of archaic bronzes, has a thick wall with a dragon motif in high relief on bronze GUANG, a ritual wine pouring vessel of the Shang Dynasty. The one side and a four-character mark ‘Er Long Xi Zhu’ (= two dragons playing with the pearl) on the other. The vessel is decorated in relief with taotie masks and gui dragons and has accentuated foot features three linghzi masks with suspended ring handles and shows a stylized Ruyi bordure. elaborate dragon handles on opposite sides, one with a suspended ring The shoulder is flanked by reticulated dragon handles and the cover is crowned by a coiled dragon and has a handle. total of six more dangling rings. The curved, slanted cover decorated with a chilong and further Shang bronze motifs. Shape: archaistic lidded vessel Dimensions: 27 cm (total height with base), width of vessel is 25 cm, height of vessel is 21.5 cm Shape: Guang shape Weight: 3,540 grams (excluding wooden base) Dimensions: 29.5 cm (total height with base), width of vessel is 31 cm, Condition: excellent condition and shows only minimal signs of age-related wear; the pedestal likewise height of vessel is 25 cm Provenance: acquired 1989 at Sotheby’s Hongkong – see (low resolution) scan; European private collection Weight: approx. 5,090 grams (excluding wooden base) Condition: excellent condition and shows only minimal signs of age-related ⣏✳ầ⎌侉侈晽漵䲳味䒞 wear; the pedestal likewise 㶢䵈刚侉侈炻喳㝄䵈刚⍲䡏䵈刚倴䎮炻墸刚㰩烊掌䨢湫㣲㛐➢⹏ Provenance: acquired 1989 at Sotheby’s Hongkong – see (low resolution) ᷕ⚥炻Ḵ⋩ᶾ乒 scan; European private collection 忈✳烉ầ⎌味䒞 侉侈晽ầ⎌味妍 ⯢⮠烉 27 ⍀䰛 炷䷥檀炻⏓⸽⹏炸炻䒞 ⮔ 25 ⍀䰛炻䒞檀21.5 ⍀䰛 㶢䵈刚侉侈炻喳㝄䵈刚⍲䡏䵈刚倴䎮炻墸刚㰩烊掌䨢湫㣲㛐➢⹏ 慵慷烉 3,540 ⃳ 炷ᶵ⏓⸽⹏炸 ᷕ⚥炻Ḵ⋩ᶾ乒 ⑩䚠烉Ề䥨炻⎒㚱㤝⮹↎冯⸜ẋ䚠䫎䘬䕽嶉炻⸽⹏ね㱩䚠⎴ 㜍㸸烉 1989⸜峕Ḷ楁㷗剷⭴㭼 - 奩㈓㍷ẞ烊㫏㳚䥩Ṣ㓞啷 忈✳烉 妍⼊ ⯢⮠烉 29.5 ⍀䰛炷䷥檀炻⏓⸽⹏炸炻☐ ⮔ 31 ⍀䰛炻☐檀 25 ⍀䰛 EstimateġỘ₡ġġEUR 1.000,- 慵慷烉 䲬5,090 ⃳炷 ᶵ ⏓ ⸽ ⹏ 炸 Starting priceġ崟㉵₡ġġEUR 500,- ⑩䚠烉Ề䥨炻⎒㚱㤝⮹↎冯⸜ẋ䚠䫎䘬䕽嶉炻⸽⹏ね㱩䚠⎴ 㜍㸸烉 1989⸜峕Ḷ楁㷗剷⭴㭼 - 奩㈓㍷ẞ烊㫏㳚䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 1.000,- Starting priceġ崟㉵₡ġġEUR 500,-

148 149 A XUANTONG MARK AND PERIOD DRAGON DISH LOT 163

150 151 144 145 146 A CORAL GLAZE PORCELAIN WATER COUPE, LATE QING OR A HU SHAPE MINIATURE CLAIRE DE LUNE PORCELAIN VASE, LATE A PAIR OF CORAL GLAZED MONOCHROME JARS WITH COVERS, REPUBLIC PERIOD QING OR REPUBLIC PERIOD DAOGUANG Porcelain with monochrome glaze, carved wooden pedestal Porcelain with monochrome glaze, wooden base China, Daoguang six-character marks in running script painted in iron red to China, late Qing Dynasty – early Republic Period – 1900-1930s China, late Qing Dynasty – early Republic Period – 1900-1930s the base and of the period Sturdily potted with an evenly applied rich coral glaze, the covers with thick This monochrome glazed water coup shows an intense coral red hue This little vase shows an archaistic Hu shape with stylized dragon handles cylindric knobs. (2) and a shiny luster. It has a perfect round shape with the shoulder and a Claire de Lune monochrome glaze. On the underside is an apocryphal reaching down into the neck. The bottom and inside are glazed mark of the Yongzheng period. It comes complete with a base that bears the Shape: Jars with covers in white. It comes complete with a nicely carved and reticulated collector’s number on the underside. Weight: 223.7 grams and 239.4 grams pedestal. Dimensions: 9cm diameter each Shape: Hu form Condition: Minor chipping to lips. Old wear and some surface scratches. The Shape: Round form Weight: 73.7 grams (without the base) bases both with old collector’s inscriptions. Weight: 137.8 grams (without the base) Dimensions: 8 cm height (without the base) Provenance: From the estate of H. Leo Gould, author of the book Ma-Jung: Dimensions: 6 cm height (without the base), diameter is 9 cm Condition: excellent condition with minimal wear to foot rim The Ancient Game of China, 1922. (old label) Condition: excellent condition with minimal wear to foot rim, one Provenance: From the estate of Albert T Quon, Beverly Hills. Mr. Quon was glaze imperfection there as well born in China and came to the US as a teenager. He graduated from USC in 忻⃱ᶨ⮵䍲䐂䲭味仸 Provenance: from an American private collection 1928 and established a successful import/export business in both China and ᷕ⚳炻忻⃱⸜攻炻⸽悐䞦䲭⼑慱忻⃱ℕ⫿㫦 the US. He was the first Chinese American to purchase property in Beverly 䍲䐂䲭䒟㯜䙪炻㘂㶭ㆾ㮹⚳ Hills. He also became the first Asian to serve on the Board of the Los Angeles 忈✳烉味仸 ╖刚慱䒟炻㛐晽⸽⹏ Chamber of Commerce. He donated millions of dollars to his Alma mater, USC. 慵慷烉223.7 ⃳ 冯 239.4 ⃳ ᷕ⚳炻㘂㶭军㮹⚳⇅⸜炷1900-1930ⶎ⎛炸 There is a statue of him on USC campus and a classroom was named after ⯢⮠烉㭷ẞ䚜⼹ 9⍀䰛 him. ⑩䚠烉⒯㱧庽⽖䠶塪烊侩䢐㎵炻堐朊㚱ṃ∫䕽烊⸽悐㚱侩啷⭞㲐慳 忈✳烉⚻⼊ Ἦ㸸烉H. Leo Gould怢䓊炻H. Leo Gould㗗˪ 湣 ⮯ ˫䘬 ἄ 侭 - Mahjong: The 慵慷烉137.8 ⃳ (ᶵ⏓⸽⹏) ⽖✳⣑曺刚⍴俛⢞炻㘂㶭ㆾ㮹⚥ Ancient Game of China炻 1922. (侩㧁䯥) ⯢⮠烉檀6 ⍀䰛 (ᶵ⏓⸽⹏)炻䚜⼹ 9 ⍀䰛 ⋽刚䒟炻㛐⸽⹏ ⑩䚠烉ᾅ⬀㤝⤥炻嵛㱧庽⽖䢐㎵炻ᶨ溆㕥慱仢星 ᷕ⚳炻㘂㶭军㮹⚥⇅⸜炷1900-1930炸 EstimateġỘ₡ġġEUR 500,- Ἦ㸸烉伶⚳䥩Ṣ㓞啷 Starting priceġ崟㉵₡ġġEUR 250,- 忈✳烉⢞ EstimateġỘ₡ġġEUR 300,- 慵慷烉73.7 ⃳ (ᶵ⏓⸽⹏) Starting priceġ崟㉵₡ġġEUR 150,- ⯢⮠烉檀8 ⍀䰛 (ᶵ⏓⸽⹏) ⑩䚠烉ᾅ⬀㤝⤥炻⸽嵛弣⽖䢐㌇ Ἦ㸸烉 ≈⇑䤷⯤Ṇⶆ㭼⇑⣓ⰙAlbert T Quon怢䓊ˤQuon⃰䓇䓇㕤ᷕ⚳炻曺⸜㗪 ẋ⍣Ḯ伶⚳ˤ1928⸜䔊㤕㕤⋿≈⇑䤷⯤Ṇ⣏⬠⎶⽆ḳḶᷕ伶忚↢⎋屧㖻ˤṾ㗗䫔 ᶨᾳ⛐㭼⇑⣓Ⱉ匲岤屟㇧⛘䓊䘬厗塼ˤṾḇㆸ䇚䫔ᶨᾳ 㳃㛱䢗⓮㚫䘬Ṇ㳚Ṣˤ Ṿ䴎Ṿ䘬㭵㟉⋿≈ⶆ⣏⬠㋸岰Ḯᶲ䘦叔伶慹ˤ⛐⣏⬠塷㚱ᶨ⹏Ṿ䘬晽⁷炻ᶨᾳ㔁 ⭌ẍṾ䘬⎵⫿␥⎵ˤ

EstimateġỘ₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 150,-

152 153 147 A DARK BLUE MONOCHROME GLAZED DRUM- SHAPE VASE, GUANGXU PERIOD Porcelain with monochrome blue glaze China, Guangxu period (1875-1908)

This type of vase, made in the shape of a drum with figural lion-mask ring handles, was high in fashion during the reigns of the Qianlong and Yongzheng emperors. Therefore we also find an apocryphal Yongzheng reign mark on the underside as an homage to earlier works. The nail borders and handles lend the piece plasticity which is enhanced by the lustrous dark blue glaze.

Shape: Cong form Weight: 2,076 grams Dimensions: width is approx. 25 cm, 18.5 cm height Condition: very good condition with minor traces of wear and age – mainly to inside Provenance: from an American private estate – the collection was built prior to the 1970s

⃱䵺㶙啵慱溻憀㲿 啵慱䒟 ᷕ⚳炻⃱䵺 (1875-1908)

忈✳烉溻⺷ 慵慷烉2,076 ⃳ ⯢⮠烉⮔䲬 25 ⍀䰛, 檀 18.5 ⍀䰛 ⑩䚠烉ᾅ⬀䉨㱩㤝⤥炻ᷣ天⛐ℭ悐庽⽖䢐㎵␴⸜ẋ䕽嶉 Ἦ㸸烉伶⚳䥩Ṣ怢䓊炻㓞啷⛐ᶲᶾ䲨ᶫ⋩⸜ẋᷳ⇵

EstimateġỘ₡ġġEUR 400,- Starting priceġ崟㉵₡ġġEUR 200,-

148 A MOLDED TURQOISE GLAZE BISQUE PORCELAIN VASE, 19th CENTURY Molded bisque porcelain with monochrome glaze China, 19th century

This vase shows an archaistic shape and décor. It has four slightly curved walls that end in squares at the lower and upper end. Two figural lion masks as 149 well as dragons in high relief and decorative ruyi and A FAMILLE ROSE FIGURE OF BUDAI WITH ‘ZHU MAOSHENG’ MARK leaf patterns round off the archaic design. The thick Porcelain with polychrome enamels layer of turquoise glaze is reaching into the interior, China, earlier 20th century the underside left unglazed and with an apocryphal Qianlong six character reign mark. The laughing God seated in royal ease, his right hand holding a rosary balanced on his raised right knee, his ample figure and full stomach visible Shape: Curved, rectangular shape with figural masks amid the folds of his outer robe painted in famille rose enamels. The underside Weight: 1,025.5 grams bears the impressed JIANGXI JINGZHEN ZHU MAOJI ZAO mark. Dimensions: 21.5 cm height Condition: excellent condition with few tiny glaze chips Shape: Figural to lion masks Weight: 2,096 grams Provenance: from an American private collection, Dimensions: 26.5 cm height acquired in the Hong Kong trade in 1979 – a certificate Condition: excellent condition with minimal signs of age and abrasions from the Hong Kong Art Craft Merchant Association Provenance: from a German private collection stating that this piece was more than 100 years old (in 1979) is accompanying this lot Auction result comparison: for near identical Budai figurines see Christie’s, Interiors - Including Asian Works of Art, London, South Kensington, 9 ⋩ḅᶾ䲨㜦䵈慱䳈䅺䒟䒞 September 2015, lot 559 or Bonhams, ASIAN DECORATIVE ARTS, 18 Dez 㧉⡻䳈䅺䒟炻╖刚慱 2013, SAN FRANCISCO, Lot 6412. ᷕ⚳炻⋩ḅᶾ䲨 Ⱦ㛙努姀忈ȿ㫦䰱⼑ⶫ堳␴⯂ 忈✳烉⻶㚚炻攟㕡橼炻暁俛 䰱⼑昞䒟 慵慷烉1,025.5 ⃳ ᷕ⚳炻 Ḵ⋩ᶾ䲨⇅ ⯢⮠烉21.5 ⍀䰛 檀 ⑩䚠烉ᾅ⬀㤝⤥炻⎒㚱⛐䋭朊俛慱朊㚱⮷䡽䡘 忈✳烉Ṣ䈑忈✳ Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻1979⸜⛐楁㷗岤⼿ – 旬ⷞ䔞⸜楁㷗 慵慷烉2,096 ⃳ 喅埻⑩⓮㚫↢℟䘬嫱㚠婔㖶㬌ẞ䔞㗪军⮹崭忶100⸜㬟⎚ ⯢⮠烉檀 26.5 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻㨇庽⽖⸜ẋ䕽嶉冯㒎 EstimateġỘ₡ġġEUR 500,- Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 Starting priceġ崟㉵₡ġġEUR 250,- EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

154 155 150 151 152 A POLYCHROME AND GILT PORCELAIN FIGURE OF A PEKING OPERA A FAMILLE ROSE FIGURE OF A MANCHU MAN WIT OPIUM PIPE, A FAMILLE ROSE FIGURE OF A LUOHAN, LATE 19th CENTURY DANCER LATE 19th CENTURY Porcelain with polychrome enamels, comes with a fitted box Porcelain with polychrome enamels and gold color Porcelain with polychrome enamels China, late 19th century China, late Qing Dynasty (1644-1912) China, late 19th century The pious man with folded hands, seated on a magnificent stepped back chair The man in a vividly moved posture and dressed in an Imperial robe with The man dressed in typical Manchu attire and wearing his hair in a with a green colored cover. His robe and the other textiles are painted in fine dragon cartouches and a dense array of flowers and Buddhist symbols. Most neatly modelled long queue. His garment adorned with butterflies, detail with a dense array of flowers, butterflies, dragons and various Buddhist certainly he is impersonating an immortal or god such as Guandi also visible flowers and bats. The most interesting feature is certainly the opium symbols. The figure comes complete in its fitted box. at the reddish hue in his face. Inside the figure is an unidentified impressed pipe in his right hand. manufacturer’s mark. Shape: Figural Shape: Figural Weight: 2,350 grams Shape: Figural Weight: 1,096.6 grams Dimensions: 26.5 cm height of the figurine Weight: 824,4 grams Dimensions: 27 cm height of the figurine Condition: excellent condition with minimal signs of age and firing faults to Dimensions: 24.5 cm height of the figurine Condition: some losses to pipe, left hand and knob on cap – otherwise underside Condition: restoration to both feet and right sided hem of the robe, minor good condition Provenance: from a British private collection material loss to headdress Provenance: from an American private collection Provenance: from an American private collection Auction result comparison: for a near identical Luohan figurine see Sotheby’s, ⋩ḅᶾ䲨㘂㛇䰱⼑㖙䂇Ṣ䈑䩳⁷ FINE CHINESE WORKS OF ART, 13 NOVEMBER 2003, OLYMPIA, Lot 480 (in a Auction result comparison: for a related porcelain group with Peking opera 昞䒟䰱⼑ group of two). singers see Bonhams, ASIAN WORKS OF ART, 21 Dez 2011, SAN FRANCISCO, ᷕ⚳炻⋩ḅᶾ䲨㘂㛇 Lot 8814. ⋩ḅᶾ䲨㘂㛇䰱⼑伭㻊⁷ 忈✳烉Ṣ䈑忈✳ 䰱⼑昞䒟炻惵㚱䙺⫸ 㘂㶭䰱⼑Ṕ∯Ṣ䈑⁷ 慵慷烉1,096.6 ⃳ ᷕ⚳炻⋩ḅᶾ䲨㘂㛇 䰱⼑昞䒟炻慹⼑ ⯢⮠烉檀 27 ⍀䰛 ᷕ⚳炻㘂㶭 (1644-1912) ⑩䚠烉㖙䂇ᶲ㚱ṃ㎵⢆炻ⶎㇳㇳ㊯悐↮仢⣙炻℞Ṿ悐↮列⤥ 忈✳烉Ṣ䈑忈✳ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 慵慷烉2,350 ⃳ 忈✳烉Ṣ䈑忈✳ ⯢⮠烉檀26.5 ⍀䰛 慵慷烉 824,4 ⃳ EstimateġỘ₡ġġEUR 400,- ⑩䚠烉ᾅ⬀㤝⤥炻庽⽖⸜ẋ䕽嶉炻⸽悐㚱䅺墥仢星 ⯢⮠烉 檀24.5 ⍀䰛 Starting priceġ崟㉵₡ġġEUR 200,- Ἦ㸸烉劙⚳䥩Ṣ㓞啷 ⑩䚠烉ℑ嵛冯堋堵⎛“ᾖ⽑忶炻柕梦悐↮㚱㛸㕁仢⣙ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,- EstimateġỘ₡ġġEUR 400,- Starting priceġ崟㉵₡ġġEUR 200,-

156 157 LI TIEGUAI portrayed by QI BAISHI (1864-1957), who influenced ZENG LONGSHENG (1901-1964)

153 A PAINTED AND ENAMELED PORCELAIN FIGURE OF LI TIEGUAI BY ZENG LONGSHENG (1901-1964) The inside of the garment with an impressed rectangular cartouche seal reading Zeng Longsheng zao China, Republic period

Li, one of the legendary Eight Immortals, is extremely finely rendered with ġ a contemplative expression carrying his gnarly crutch to which his famous ġ gilt double gourd is attached. His various garments are all neatly decorated ġ with fine gold painting depicting multiple floral motifs amid leaves and ġ tendrils and geometric patterns. His face is a true masterpiece, where ġ the artist has paid attention to every detail, such as the typical beard, the ġ messy hair held together by a blue band, the ears each with a small hole ġ and the open mouth revealing two rows of teeth. The chest is naked as is ġ the right arm with which the immortal is attempting to scratch his back. ġ ġ Li Tieguai is a Chinese mythological figure and one of the Eight Immortals ġ in the Daoist pantheon. He is sometimes described as irascible and ill- ġ tempered, but also benevolent to the poor, sick and the needy, whose ġ suffering he alleviates with special medicine from his gourd. He is often ġ portrayed as an ugly old man with scraggy beard and messy hair held by a ġ band. He walks with the aid of a crutch and often has a gourd slung over his shoulder or held in his hand. The legend says that Li was born in the 㚦漵㖯䒟晽懬㉸㛶昞䒟 Yuan dynasty (1279–1368) and was originally named “Li Yuan”. However, 忈⁷堋㚵塷㚱Ⱦ㚦漵㖯忈㫦ȿ in folklore, he is depicted as Laozi’s apprentice, hence he should have lived ᷕ⚳炻㮹⚳军⺢⚳⇅㛇 in the sixth century BC. 懬㉸㛶㗗ℓẁṢ䈑ᷕ䘬ᶨỵẁṢ炻㔜 橼 刚 ⼑ 㷚 㝻 䱦 䶣炻㉸ 㛾 䰿 䌟炻ᶲ朊㊪叿 Zeng Longsheng was a Republic period Jingdezhen artist who specialized Ṿ䘬慹暁吓單ˤ ㉓㔋䘬堋㚵墸⸽㍷慹⼑⌟叱剙⋱䲳ˤ 共悐⟹忈䓇≽㳣㻹炻 in figural works. A complete set of the eighteen Luohan by Zeng 喅埻⭞㲐慵㭷ᶨᾳ䳘䭨炻ἳ⤪℠✳䘬檵櫂炻柕檖ⅴḪ炻柕专啵ⷞ烊㭷ᾳ俛㛝 Longsheng, donated by Sir Kenneth Ping-fan Fung, is in the collection of ᶲ悥㚱ᶨᾳ⮷⫼炻◜⶜⻝攳曚↢ℑ㌺䈁滺烊傠悐冯⎛兪墠曚炻⎛ㇳỤ᷶⛐側 the University Museum and Art Gallery, University of Hong Kong. Zeng’s 悐㐻䘊䘊ˤ work was influenced by one of the greatest painters of his time, Qi Baishi. 㚦漵㖯㗗㮹⚳军⺢⚳⇅㛇㘗⽟捖䘬晽⟹⎵⭞ˤṾ䘬ᶨ䳬⬴㔜䘬ℓẁṢ䈑昞䒟 This can clearly be seen when their works are directly compared, such as 晽⟹塓Sir Kenneth Ping-fan Fung 楖䥱剔䇝⢓㋸岰䴎楁㷗⣏⬠伶埻棐ˤ㚦漵 the present statue with Qi Baishi’s portrait of Li Tieguai. 㖯䘬ἄ⑩㚦⍿滲䘥䞛⼙枧炻忁⎗傥ḇ⎗ẍ妋慳䇚Ṩ湥忁ẞ懬㉸㛶㚱溆冯滲䘥 䞛䫮ᶳ䘬懬㉸㛶⼊尉⋩↮䚠Ụˤ Shape: Figural Weight: 1642 grams 忈✳烉Ṣ䈑晽⟹ Dimensions: Height 35 cm 慵慷烉1642 ⃳ Condition: Superb condition, with only one small loss to top of hairband ⯢⮠烉檀 35 ⍀䰛 Provenance: From the estate of Albert T Quon, Beverly Hills. Mr. Quon was ⑩䚠烉ᾅ⬀㤝⤥炻⛐䘤ⷞᶲ㚱⮷䡽 ˤ born in China and came to the US as a teenager. He graduated from USC Ἦ㸸烉≈⇑䤷⯤Ṇⶆ㭼⇑⣓ⰙAlbert T Quon怢䓊ˤQuon⃰䓇䓇㕤ᷕ⚳炻曺⸜ in 1928 and established a successful import/export business in both China 㗪ẋ⍣Ḯ伶⚳1928⸜䔊㤕㕤⋿≈⇑䤷⯤Ṇ⣏⬠⎶⽆ḳḶᷕ伶忚↢⎋屧㖻ˤṾ and the US. He was the first Chinese American to purchase property in 㗗䫔ᶨᾳ⛐㭼⇑⣓Ⱉ匲岤屟㇧⛘䓊䘬厗塼ˤṾḇㆸ䇚䫔ᶨᾳ 㳃㛱䢗⓮㚫䘬 Beverly Hills. He also became the first Asian to serve on the Board of the Ṇ㳚ṢˤṾ䴎Ṿ䘬㭵㟉⋿≈ⶆ⣏⬠㋸岰Ḯᶲ䘦叔伶慹ˤ⛐⣏⬠塷㚱ᶨ⹏Ṿ䘬 Los Angeles Chamber of Commerce. He donated millions of dollars to his 晽⁷炻ᶨᾳ㔁⭌ẍṾ䘬⎵⫿␥⎵ˤ Alma mater, USC. There is a statue of him on USC campus and a classroom was named after him. ㉵岋䳸㝄㭼庫烉˪ASIAN ART˫Sotheby’s, 15 SEPTEMBER 2018, NEW YORK, lot 1487. (㚦漵㖯㫦䒟晽伭⿁伭⮲侭⛸⁷) ˪Art d’Asie˫Christies, Paris, 10 Auction result comparison: ASIAN ART. Sotheby’s, 15 SEPTEMBER 2018, December 2014, lot 292. (㚦漵㖯㫦䒟晽ⱛ梃) NEW YORK, lot 1487. (compare with a portrait of Rahula by Zheng Longsheng) Art d’Asie. Christies, Paris, 10 December 2014, lot 292. EstimateġỘ₡ġġEUR 6.000,- (compare with a portrait of general Yue Fei by Zheng Longsheng) Starting priceġ崟㉵₡ġġEUR 3.000,-

158 159 156 A PAIR OF YELLOW-GROUND ENAMELLED ‘LANDSCAPE’ BOWLS, REPUBLIC PERIOD Finely potted with thin walls, slightly sprawling and gilt lip, raised foot rim and Qianlong seal marks to base China, late 19th - early 20th century 154 155 A FAMILLE ROSE ‘SANDUO’ BOWL, MARK AND PERIOD OF A FINELY ENAMELED ‘BIRDS He also became the first Asian Each deep bowl vibrantly enameled in Qianlong Imperial style with various GUANGXU AND FLOWERS’ BOWL, REPUBLIC to serve on the Board of the Los floral sprays amid their leaves and tendrils, including orchid, peony, prunus, The thinly potted and translucent bowl neatly painted in polychrome PERIOD Angeles Chamber of Commerce. chrysanthemum and magnolia, all reserved on a bright yellow ground, as well enamels Subtly potted with translucent walls, He donated millions of dollars to his as three round medallions with various landscape scenes in summer, fall and China, Guangxu period (1875-1908) recessed base with stepped foot rim, Alma mater, USC. There is a statue of winter. The foot rim with a neatly painted key fret border. The base and the Qianlong seal mark him on USC campus and a classroom inside enameled with a bright turquoise glaze. The seal marks painted in iron The enameled bowl with leafy fruiting sprays of pomegranate, China, late 19th - early 20th century was named after him. red. (2) persimmon and lychee, forming the sanduo, issuing from the foot and extending across the exterior and over the rim onto the interior, the Three round medallions each Auction result comparison: ASIAN Shape: Bowl base with the iron-red six-character reign mark. depicting peonies, chrysanthemum DECORATIVE WORKS OF ART. Weight: 284 grams and 269 grams and lotus, along with a quail, Bonham’s, 27 June 2018, lot 810. Dimensions: 16.8 cm diameter each Shape: Bowl a sparrow and a pair of ducks (compare with a related republic Condition: Excellent condition with only minimal wear, gilding to rims slightly Weight: 140.5 grams respectively. The rim decorated with bowl) rubbed off, one foot with a minimal nibble Dimensions: 13.3 cm diameter two extremely fine borders, one with Provenance: American private collection Condition: Perfect two rows of diapers, the other with 㮹⚳䏢䎭⼑攳⃱剙沍⮷䙪 Provenance: American private collection. ruyi. The background is black with a 唬 偶炻⋲ 德 㖶 ⡩炻⸽ 嵛 昶 㡗 ⺷炻Ḧ 昮 㫦 㮹⚳ᶨ⮵湫⛘攳⃱Ⱉ㯜䙴ġ neatly painted swastika pattern. The ᷕ⚳炻⋩ḅᶾ䲨㘂㛇军Ḵ⋩ᶾ䲨⇅ 䳘 䒟炻唬 ⡩炻怲 䶋 䦵 ⢾ 㐯炻⚰ 嵛炻拵 慹炻⸽ 悐 Ḧ 昮 㫦 Auction result comparison: CHINESE ART INCLUDING SELECTED foot is surrounded by an archaistic ᷕ⚳炻⋩ḅᶾ䲨㘂㛇军Ḵ⋩ᶾ䲨⇅ WORKS OF ART FROM THE T.Y. CHAO FAMILY COLLECTION. border. The six-character seal mark 忈✳烉䙪 Sotheby’s, 30 NOVEMBER 2017 - 01 DECEMBER 2017, HONG KONG, is painted in iron red within a square 慵慷烉206.6 ⃳ 忈✳烉䙴 lot 641. (compare with a related pair of ‘sanduo’ bowls, mark and reserve. ⯢⮠烉䚜⼹13.3 ⍀䰛 慵慷烉↮⇍䇚284 ⃳冯 269 ⃳ period of Guangxu) ⑩䚠烉⬴伶 ⯢⮠烉㭷ẞ䚜⼹ 16.8 ⍀䰛 Shape: The form in the manner of an Ἦ㸸烉≈⇑䤷⯤Ṇⶆ㭼⇑⣓ⰙAlbert ⑩䚠烉ᾅ⬀㤝⤥炻⎒㚱庽⽖䢐㎵炻拵慹怲䶋悐ỵ⯨悐塓㐑㒎炻ᶨ嵛㚱庽⽖䡽䡘 䰱⼑忶㝅ᶱ⣂䲳䙴炻⃱䵺㫦冯⸜ẋġ alms bowl T Quon怢䓊ˤQuon⃰䓇䓇㕤ᷕ⚳炻 Ἦ㸸烉 伶⚳䥩Ṣ㓞啷 唬偶炻⋲德㖶䙴炻⣂刚䰱⼑ Weight: 206.6 grams 曺⸜㗪ẋ⍣Ḯ伶⚳ˤ1928⸜䔊㤕㕤⋿ ᷕ⚳炻 ⃱䵺 (1875-1908) Dimensions: 13.3 cm diameter ≈⇑䤷⯤Ṇ⣏⬠⎶⽆ḳḶᷕ伶忚↢⎋ EstimateġỘ₡ġġEUR 1.000,- Condition: Perfect condition 屧㖻ˤṾ㗗䫔ᶨᾳ⛐㭼⇑⣓Ⱉ匲岤屟 Starting priceġ崟㉵₡ġġEUR 500,- 忈✳烉䙴 Provenance: From the estate of ㇧⛘ 䓊 䘬 厗 塼ˤṾḇ ㆸ 䇚䫔ᶨ ᾳ 㳃㛱 慵慷烉140.5 ⃳ Albert T Quon, Beverly Hills. Mr. 䢗⓮㚫䘬Ṇ㳚ṢˤṾ 䴎 Ṿ 䘬 㭵 㟉 ⋿ ≈ ⯢⮠烉䚜⼹13.3 ⍀䰛 Quon was born in China and came to ⶆ⣏⬠㋸岰Ḯᶲ䘦叔伶慹ˤ⛐⣏⬠塷 ⑩䚠烉⬴伶 the US as a teenager. He graduated 㚱ᶨ⹏Ṿ䘬晽⁷炻ᶨᾳ㔁⭌ẍṾ䘬⎵ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 from USC in 1928 and established a ⫿␥⎵ˤ successful import/export business in Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.000,- both China and the US. He was the Starting priceġ崟㉵₡ġġEUR 500,- first Chinese American to purchase EstimateġỘ₡ġġEUR 500,- property in Beverly Hills. Starting priceġ崟㉵₡ġġEUR 250,-

160 161 157 159 AN OPENWORK BLUE AND WHITE A BLUE AND WHITE ‘YELLOW EMPEROR AND ‘LANDSCAPE’ EXPORT PORCELAIN BAI ZE’ PORCELAIN VASE, QING DYNASTY PLATE, QING DYNASTY The sturdily potted vessel with delicate painting Delicately painted in cobalt blue under in cobalt blue under the glaze the glaze, the rim with a café-au-lait China, 19th century, Qianlong seal mark painted glaze in underglaze blue on the base China, 18th – 19th century Expressive yet detailed depiction of the Yellow Depiction of a Chinese School river Emperor Huangdi who has just met the talking landscape with trees, a boat, a pavilion beast Bai Ze that taught him the knowledge of and a pagoda, several smaller buildings all supernatural creatures. He is accompanied and two discussing scholars in the by two Daoist scholars who are resting under a center. The well surrounded by a fragile gnarly wutong tree springing from a craggy rock. openwork border. The rim with neatly Several bats are flying above. painted diaper border on both sides. The Yellow Emperor, also known as the Yellow God, or simply by his Chinese name Huangdi, is Shape: Plate a deity in Chinese religion, one of the legendary Weight: 765 grams Chinese sovereigns and culture heroes included Dimensions: 27.8 cm. among the mytho-historical Three Sovereigns Condition: Superb condition with no and Five Emperors and cosmological Five Forms breakage to openwork whatsoever, of the Highest Deity. First calculated by Jesuit one almost invisible hairline to rim, missionaries on the basis of Chinese chronicles about 1 cm long, which looks like a and later accepted by the twentieth-century firing flaw; tiny manufacturing flaws to promoters of a universal calendar starting the glaze; with the Yellow Emperor, Huangdi’s traditional Provenance: American private reign dates are 2697–2597 or 2698–2598 BC. collection. Huangdi’s cult became prominent in the late Warring States and early Han period, when he 㶭ẋ⢾扟曺剙掌䨢攳⃱Ⱉ㯜䚌 was portrayed as the originator of the centralized 曺剙慱ᶳ⼑㍷丒䱦䶣炻怲䶋㶢墸刚慱 state, as a cosmic ruler, and as a patron of ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 esoteric arts. A large number of texts – such as the Huangdi Neijing, a medical classic, and the 忈✳烉䚌 Huangdi Sijing, a group of political treatises – 慵慷烉765 ⃳ were thus attributed to him. Having waned in ⯢⮠烉27.8 ⍀䰛. influence during most of the imperial period, ⑩䚠烉ᾅ⬀䉨㱩姀嘇炻掌䨢悐ỵ㰺㚱㕟 in the early twentieth century Huangdi became 塪炻怲 㱧 ↎ ⣏ 䲬 㚱ᶨ ⍀ 䰛 攟 䘬 ⍲ᶵ ⎗夳 a rallying figure for Han Chinese attempts 䘬檖䴚䳘䷓炻⎛朊㚱庽⽖墥ἄ仢星ˤ to overthrow the rule of the Qing dynasty, Ἦ㸸烉伶⚳䥩Ṣ㓞啷ġ which they considered foreign because its emperors were Manchus. To this day the Yellow EstimateġỘ₡ġġEUR 300,- Emperor remains a powerful nationalist symbol. Starting priceġ崟㉵₡ġġEUR 150,- Traditionally credited with numerous inventions and innovations – ranging from the calendar to an ancestor of football – the Yellow Emperor is now regarded as the initiator of Chinese civilization and said to be the ancestor of all Chinese. The talking beast Bai Ze was encountered by the Shape: Hexagonal form with sprawling Yellow Emperor while he was on patrol in the lip and recessed base east and visited the mythical East sea. During Weight: 706.5 grams this encounter, the creature dictated to Huangdi Dimensions: 22 cm a guide to the forms and habits of all 11,520 Condition: Excellent condition with types of supernatural creatures in the world, and only two minute chips to the tail of one how to overcome each of their their hauntings 158 of the openwork lion dog handles and and attacks. The emperor had this information A QIANJIANG SCHOOL ‘SHOULAO’ some minor wear written down in a book called the Bai Ze Tu. The PORCELAIN VASE, LATE QING Provenance: German private collection. book no longer exists, but many fragments of it DYNASTY Found by the previous owners in 2015 survive in other ancient texts. The sturdily potted hexagonal vase in a 200-year old half-timbered house painted in vivid enamels, with two in east Germany, which the bought at a Shape: Baluster vase lion dog openwork handles on the foreclosure auction. Weight: 3.5 kilo shoulders Dimensions: 38.6 cm. China, early 20th centuryġ 㘂㶭㶢䴛⼑⢥侩ℕ奺䒞ġ Condition: Two small chips to rim, one with ġ ⍂偶炻ℕ奺炻㶢䴛⼑炻暁偑ᶲ⎬㚱ᶨ晣䋭 associated hairline of 2 cm. Some minor firing Depiction of Shoulao resting together ⫸䉿⼊俛ġ flaws. Otherwise excellent condition. with an attendant under a gnarly ġ Provenance: American private collection. plum tree with finely painted details. ᷕ⚳炻Ḵ⋩ᶾ䲨⇅ Inscription in black 20-character ġ 㶭ẋ曺剙ȿ湫ⷅ冯䘥㽌ȿ䒟䒞 running script to backside. 忈✳烉ℕ奺炻⒯㱧⢾㐯炻⸽嵛ℭ↡ġ 曺剙慱ᶳ⼑炻⍂偶䒞 慵慷烉706.5 ⃳ġ ᷕ⚳炻 ⋩ḅᶾ䲨炻䒞⸽曺剙Ḧ昮㫦 As typical for these wares, there ⯢⮠烉22 ⍀䰛ġ 忈✳烉䒞 is an inscription executed in black ⑩䚠烉ᾅ⬀㤝⤥炻ᶨ晣䋭⫸䉿䘬⯦⶜ᶲ㚱 慵慷烉3.5 ℔㕌 20-character running script to the ℑ忻⮷攳⎋炻ᶨṃ䢐㎵ġ ⯢⮠烉38.6 ⍀䰛. backside. It bears the date “Yisi” which Ἦ 㸸烉⽟ ⚳ 䥩 Ṣ 㓞 啷烊⇵ ᷣ ṢḶ 2015⸜⛐ ⑩䚠烉怲㱧ℑ㡅⮷攳⎋炻ᶨ㡅⤪檖䴚攟2⍀䰛炻ᶨṃ is equivalent to 1905. Furthermore ⽟⚗㜙悐ᶨ⹏⚈䇚㉝㉤侴塓㉵岋䘬200 墥ἄ仢星炻℞Ṿᾅ⬀䉨㱩㤝⤥ there are characters for luck and ⸜侩䘬⋲㛐䳸㥳㇧⫸塷㈦⇘ˤ Ἦ㸸烉伶⚳䥩Ṣ㓞啷. longevity as well as some writing about how reading and poetry are important EstimateġỘ₡ġġEUR 300,- EstimateġỘ₡ġġEUR 500,- for running a family. Starting priceġ崟㉵₡ġġEUR 150,- Starting priceġ崟㉵₡ġġEUR 250,-

162 163 160 161 A BLUE AND WHITE ‘CRANE, PEACOCK AND DEER’ CIRCULAR A BLUE AND WHITE ‘DRAGON’ PORCELAIN DISH, DAOGUANG PORCELAIN PLAQUE, QING DYNASTY DAOGUANG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD The sturdily potted plaque painted in cobalt blue under the glaze China, 1821-1850 China, 18th – 19th century The interior vividly painted with a central double circle medallion enclosing a five-clawed Atmospheric depiction of a pair of deer, a crane and a peacock in a dragon striding in pursuit of the flaming pearl amidst scrolling clouds, the exterior rocky landscape with a gnarly wutong tree in the center. The peacock similarly decorated with two fierce sinuous dragons amongst cloud scrolls. feathers show very fine detail, among other areas, and superior painting skill. Shape: Dish Weight: 225.6 grams Shape: Flat circular Dimensions: Diameter 16.5 cm. Weight: 861 grams Condition: Perfect condition Dimensions: 27.7 cm. Provenance: American private collection. Condition: Excellent condition with some wear and minimal fritting to edge, as customary with this type of plaque Literature comparison: A very similar dish, Daoguang mark and of the period is Provenance: American private collection. illustrated by P.Lam, Imperial Porcelain of the Late Qing From the Kwan Collection, Hong Kong, 1983, p.48, no.14. Auction result comparison: CHINESE ART. Sotheby’s, 31 MAY 2018 - 01 Auction result comparison: ASIAN ART. Sotheby’s, 18 MARCH 2017, NEW YORK, lot JUNE 2018, HONG KONG, lot 523. (compare with another blue and 1001. (for a similar dish) FINE CHINESE ART. Bonham’s, London, 14 May 2015, lot 223. white plaque from the same period, but with a landscape motif) (for another similar dish)

㶭ẋ曺剙ẁ浜⫼晨㠭剙渧昞䒟㊪䚌 忻⃱曺剙漵䲳䡇 ⍂偶炻曺剙慱ᶳ⼑ 忻⃱ℕ⫿曺剙㫦 ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 ᷕ⚳炻忻⃱ 炷1821-1850炸 忈✳烉 䡇 忈✳烉㇩⚻⼊ 慵慷烉 225.6 ⃳ 慵慷烉 861 ⃳ ⯢⮠烉䚜⼹ 16.5 ⍀䰛 ⯢⮠烉 27.7 ⍀䰛 ⑩䚠烉⬴伶 ⑩䚠烉ᾅ⬀㤝⤥炻ᶨṃ䢐㎵炻㬌栆㊪䚌忂ⷠ䘬怲䶋ᾖ偶 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 Ἦ㸸烉伶⚳䥩Ṣ㓞啷. EstimateġỘ₡ġġEUR 1500,- EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 750,- Starting priceġ崟㉵₡ġġEUR 300,-

164 165 162 163 A YELLOW-GROUND GREEN-ENAMELLED ‘DRAGON’ DISH, MARK AND PERIOD OF GUANGXU AN IRON-RED-DECORATED ‘DRAGON’ DISH, XUANTONG MARK AND Sturdily potted, incised and painted in green enamel against a yellow ground, raised foot rim PERIOD China, Guangxu period (1875-1908) Sturdily potted with a raised foot rim and painted in iron-red above the glaze as well as white enamels in relief The interior decorated below the lobed rim with two five-clawed dragons each in pursuit of a flaming pearl, China, Xuantong six-character mark in underglaze blue and of the period surrounding a five-clawed dragon and flaming pearl amidst flowers within a double circle, the exterior with (1908-1911) floral sprays. Six-character mark painted in running script in underglaze blue to the base. Wooden stand. (2) The dish is boldly decorated with two writhing five-clawed dragons chasing a gilt-decorated flaming pearl, with the teeth, eyes, ears and claws highlighted Shape: Lobed dish in white enamel, all amongst flame scrolls and ruyi-shaped clouds. The reverse Weight: 105.4 grams is decorated with a circumferential band of lotus flowers with their leaves and Dimensions: 13.2 cm diameter tendrils in iron-red. Condition: Excellent condition with only minor wear Provenance: From the estate of Albert T Quon, Beverly Hills. Mr. Quon was born in China and came to the US as Shape: Dish a teenager. He graduated from USC in 1928 and established a successful import/export business in both China Weight: 506 grams and the US. He was the first Chinese American to purchase property in Beverly Hills. He also became the first Dimensions: 22 cm diameter Asian to serve on the Board of the Los Angeles Chamber of Commerce. He donated millions of dollars to his Condition: Excellent condition with only one tiny chip to rim (well visible on Alma mater, USC. There is a statue of him on USC campus and a classroom was named after him. the images) Provenance: From the estate of Frederick C. McMillen, a US government and Auction result comparison: CHINESE ART INCLUDING SELECTED WORKS OF ART FROM THE T.Y. CHAO FAMILY UN official in China after the second world war. COLLECTION. Sotheby’s, 30 NOVEMBER 2017 - 01 DECEMBER 2017, HONG KONG, lot 623. (compare with a related pair of Guangxu dragon dishes) Auction result comparison: Fine Chinese Ceramics & Works of Art. Christies, London, 7 November 2017, lot 217. (compare with a related dish) ⃱䵺湫⛘䵈慱漵䲳剙⎋䚌 ⍂偶炻湫⛘䵈慱炻⚰嵛炻⃱䵺㫦冯⸜ẋ ⭋䴙䞦䲭⼑暁漵㇚䎈䡇炻⭋䴙㫦冯⸜ẋ ᷕ⚳炻⃱䵺 (1875-1908) ⚰嵛炻䞦䲭⼑慱ᶲ⼑炻䘥刚䏢䎭 ᷕ ⚳炻⭋ 䴙 曺 剙 ℕ ⫿ 㫦炻⭋ 䴙炷1908-1911炸 忈✳烉剙⎋䚌 忈✳烉䡇 慵慷烉105.4 ⃳ 慵慷烉506 ⃳ ⯢⮠烉13.2 ⍀䰛 䚜⼹ ⯢⮠烉䚜⼹22 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻㚱⮷䢐㎵ ⑩䚠烉ᾅ⬀㤝⤥炻䡇㱧ᶲ㚱⮷䡽䡘 炷䄏䇯ᶲ⎗夳炸 Ἦ㸸烉≈⇑䤷⯤Ṇⶆ㭼⇑⣓ⰙAlbert T Quon怢䓊ˤQuon⃰䓇䓇㕤ᷕ⚳炻曺⸜㗪ẋ⍣Ḯ伶⚳ˤ1928⸜䔊㤕㕤⋿≈⇑ Ἦ㸸烉Frederick C. McMillen怢䓊炻Ḵ㇘⼴伶⚳㓧⹄⍲倗⎰⚳㳦怋ᷕ⚳ 䤷⯤Ṇ⣏⬠⎶⽆ḳḶᷕ伶忚↢⎋屧㖻ˤṾ㗗䫔ᶨᾳ⛐㭼⇑⣓Ⱉ匲岤屟㇧⛘䓊䘬厗塼ˤṾḇㆸ䇚䫔ᶨᾳ 㳃㛱䢗⓮㚫 䘬Ṇ㳚ṢˤṾ䴎Ṿ䘬㭵㟉⋿≈ⶆ⣏⬠㋸岰Ḯᶲ䘦叔伶慹ˤ⛐⣏⬠塷㚱ᶨ⹏Ṿ䘬晽⁷炻ᶨᾳ㔁⭌ẍṾ䘬⎵⫿␥⎵ˤ EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,- EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

166 167 165 A GUANGXU PERIOD FAMILLE VERTE CONG VASE WITH DRAGONS Porcelain with polychrome enamels China, Guangxu period (1875-1908)

This type of archaistic porcelain vase in the shape of a rectangular cong with figural elephant mask ring handles was very high in fashion during the Guangxu period (1875- 1908). The present vase shows a dense wave pattern at all four sides and each of them features confronting dragons chasing the cosmic pearl. The dragons are 164 executed in green, yellow and iron- AN INCISED AND GILT ‘DRAGON’ red enamels. The round neck and PORCELAIN MEIPING, LATE QING base rims each show a meander DYNASTY border and at the shoulder are Sturdily potted, covered with a robin’s clouds. egg glaze, the relief-work with extensive gilding Shape: Cong form China, late 19th – early 20th century Weight: 2,336 grams Dimensions: 24.5 cm height The two main sides with a lobed reserve Condition: very good condition depicting two sinuous Chilong amid with minor traces of wear and age – clouds in high relief against a curled mainly to the foot rim waves background. The shoulders Provenance: from an American with two Buddhist lion masks. The private collection main reserves each surrounded by four flying bats in high relief, the neck with Auction result comparison: for a two lotus blossoms and their tendrils. related blue-glazed elephant mask The background with incised hibiscus, Cong vase of the Guangxu period bamboo and cherry blossoms, the lip with see Bonhams, FINE CHINESE ART, a key fret border. The base with an incised 11 Nov 2010, LONDON, NEW BOND Qianlong seal mark. STREET, Lot 403. Old custom-made tin box with inscription. Well-carved matching hardwood base ⃱䵺䠔⼑漵䲳暁俛䏖䒞 with ruyi in high relief. (3) 䠔⼑昞䒟 ᷕ⚳炻⃱䵺炷1875-1908炸 Shape: Meiping Weight: 1921 grams 忈 ✳烉䏖 ⼊ Dimensions: Height 31 cm (without base) 慵慷烉2,336 ⃳ Condition: Excellent condition with only ⯢⮠烉檀 24.5 ⍀䰛 minor wear and some minute fritting to ⑩䚠烉㤝⤥炻ᷣ天⛐⚰嵛悐ỵ㚱庽⽖⸜ base ẋ䕽嶉冯䢐㎵ Provenance: From a lady’s estate in Ἦ㸸烉伶⚳䥩Ṣ㓞啷 Honolulu, Hawaii. Her father purchased this vase in Hong Kong prior to 1970. (by EstimateġỘ₡ġġEUR 600,- repute) Starting priceġ崟㉵₡ġġEUR 300,-

㘂㶭挷慹平忻攳⃱暁漵㇚䎈㠭䒞 ⍂偶橼炻䆸懆慱炻㴖晽炻挷慹 ᷕ⚳炻 ⋩ḅᶾ䲨㘂㛇军Ḵ⋩ᶾ䲨㖑㛇

忈✳烉㠭䒞 慵慷烉 1921 ⃳ ⯢⮠烉 檀 31 ⍀䰛 (ᶵ⏓⸽⹏) ⑩䚠烉ᾅ⬀㤝⤥炻⎒㚱ṃ⽖䢐㎵␴⸽嵛ᶨ ṃ䡽䡘 Ἦ㸸烉ᶨỵἮ冒⢷⦩⣟䀓⤜欗欗䘬屜⨎怢 䓊炻⤡ 䘬 䇞 奒 Ḷ1970⸜⇵⛐楁㷗岤⼿㬌䒞

EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

168 169 166 168 A PAIR OF ENAMELED A ‘DRAGON’ PORCELAIN CHARGER, ‘BUTTERFLY’ PLATES, LATE QING LATE QING DYNASTY DYNASTY The massively potted plate painted in The sturdily plates painted in vivid polychrome enamels on yellow ground polychrome enamels on a light China, 19th – to earlier 20th century turquoise ground China, 19th – earlier 20th century, Zestfully painted to depict two five-clawed square hallmark painted in dragons amid numerous clouds and flames underglaze blue to the base chasing the flaming magic pearl. The backside with a six-character Qianlong mark painted Delicately painted with numerous in iron red, as well as remainders of an old butterflies of various sizes amid collector’s label and an old appliance for wall chrysanthemum, peonies, lichee and suspension. pomegranates surrounded by their leaves and tendrils. Shape: Dish Both with old appliances for wall Weight: 1609 grams suspension. Dimensions: 34.5 cm. Condition: Perfect condition with only minor Shape: Plates manufacturing flaws Weight: 760 grams approximately Provenance: German private collection. each Acquired in China around 1930 and thence Dimensions: 25.5 cm each by descent. Condition: Very good condition with one microscopic glaze flake to rim, 㘂㶭暁漵㇚䎈䚌 some wear and surface scratches, 偶橼⍂慵炻湫⛘⣂⼑慱 and little loss of enamel to one ᷕ⚳炻⋩ḅ军Ḵ⋩ᶾ䲨⇅ butterfly and flower Provenance: German private 忈✳烉䚌 collection. Acquired in China around 慵慷烉1609 ⃳ 1930 and thence by descent. ⯢⮠烉34.5 ⍀䰛 ⑩䚠烉⬴伶 炻 庽 ⽖ 墥 ἄ 仢 星 ᶨ⮵㘂㶭圜圞剙⋱䲳䚌 Ἦ㸸烉⽟⚳䥩Ṣ㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ岤㕤ᷕ 䵈㜦䞛刚⸽慱炻⣂刚䏢䎭慱 ⚳炻ᷳ⼴ᶨ䚜ᾅ⬀⛐㓞啷ᷕ ᷕ⚳炻⋩ḅ军Ḵ⋩ᶾ䲨⇅炻⸽悐曺剙 ➪㫦 EstimateġỘ₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 150,- 忈✳烉䚌 慵慷烉㭷ẞ䲬760 ⃳ ⯢⮠烉㭷ẞ 25.5 ⍀䰛 169 ⑩䚠烉ᾅ⬀㤝⤥炻怲䶋嗽㚱ᶨ㡅㤝 A LARGE LILING ‘MONTAIN LANDSCAPE’ 䳘⽖慱朊攳塪炻ᶨṃ䢐㎵炻堐朊⇖䕽炻 PORCELAIN PLATE, MODERN 圜圞␴剙⋱ᶲ㚱ṃ⼑慱㎵⣙ Sturdily potted and painted in polychrome Ἦ㸸烉 ⽟⚳䥩Ṣ㓞啷炻䲬⛐1930⸜岤 enamels above the glaze, with a gilded rim 㕤ᷕ⚳炻ᷳ⼴ᶨ䚜⛐㓞啷ᷕ China, date year of Xinwei Artist signature QUN LI EstimateġỘ₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 150,- Neatly enameled with a monumental scene showing a lakeshore garden with two houses, a blooming cherry and a willow tree, surrounded by craggy layered rockwork, with high rising mountains in the background, partially hidden behind fog, with stairs leading towards the summit, and few smaller pavilions. Inscription with two seals on the left: “Under the weeping willow is a place for retreat.” The backside with a square mark JINGDEZHEN and inscription LILING CHINA as well as the company trademark.

Shape: Plate Weight: 1848 grams Dimensions: Diameter 35.5 cm Condition: Perfect condition Provenance: German private collection.

167 Provenance: From a lady’s estate in Honolulu, Hawaii. Her father purchased Auction result comparison: ASIAN ART. AN UNUSUAL TEADUST BOWL, QING DYNASTY this vase in Hong Kong prior to 1970. (by repute) Bonham’s, 14 May 2018, LONDON, lot 151. Sturdily potted with a sprawling lip and a massive, raised foot rim, entirely (compare with a pair of bowls with youxiacai covered with a rich teadust glaze 㶭ẋ勞叱㛓慱䠿 (Liling Qun li) seal mark) China, Qing dynasty ⍂ 偶炻㐯 ⒯炻⍂ ⚰ 嵛炻偶 橼 㕥 ᶨ Ⰼ 寸 儜 㖶 㼌 勞 叱 㛓 慱 ᷕ⚳炻 㶭ẋ Ḵ⋩ᶾ䲨⣏✳Ⱦ㣲㞛㧡ᶳ㚱⸥⯭ȿ䰱⼑䚌 Incised four-character Xuande mark in a black, square reserve to base. The 䰱⼑炻攳⃱炻怲䶋拵慹 thick and bubble-suffused glaze with a smooth appearance, thinning towards 忈✳烉 䠿 ᷕ⚳ the lip and neatly ending just above the foot rim. 慵慷烉 564.5 ⃳ 忈✳烉䚌 Old box with inscription. Fitted hardwood stand with five ruyi-shaped feet. (3) ⯢⮠烉䚜⼬20.6 ⍀䰛 慵慷烉1848 ⃳ ⑩䚠烉ᾅ⬀㤝⤥炻庽⽖墥忈仢星炻偶橼䳘兑 ⯢⮠烉䚜⼹ 35.5 ⍀䰛 Shape: Bowl Ἦ㸸烉ᶨỵἮ冒⢷⦩⣟䀓⤜欗欗䘬屜⨎怢䓊炻⤡䘬䇞奒Ḷ1970⸜⇵⛐楁㷗 ⑩䚠烉⬴伶 Weight: 564.5 grams 岤⼿㬌䠿 Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 Dimensions: Diameter 20.6 cm Condition: Excellent condition with some manufacturing flaws and minute EstimateġỘ₡ġġEUR 500,- EstimateġỘ₡ġġEUR 500,- kiln grit to well Starting priceġ崟㉵₡ġġEUR 250,- Starting priceġ崟㉵₡ġġEUR 250,-

170 171 172 A JADEITE ‘CHILONG’ SNUFF BOTTLE, QING DYNASTY White jadeite with splashes of apple and spinach green, good surface polish China, 18th – 19th century

Carved in high relief and with neatly incised detail work to depict a Chilong climbing up the frontside of the bottle. The reverse left plain to reveal the beauty of the jade.

Shape: Rectangular with rounded shoulders Hollowing: Good Mouth, neck and lip: Short sprawling and cylindric neck with slanted lip Base: Oval with broad raised foot rim Stopper: Green aventurine cabochon Height of the bottle with stopper: 7.1 cm. Width of the mouth: 7 mm. Width of the neck: 21 mm. Weight: 101 grams Condition: Excellent with some old wear Provenance: UK private collection

Auction result comparison: FINE CHINESE CERAMICS AND WORKS OF ART. Sotheby’s, 25 APRIL 2004, HONG KONG, lot 351. (for another jadeite ‘chilong’ bottle)

侉侈晽坕漵滣䂇⢢炻㶭ẋ 䘥刚侉侈㺪䵈炻堐朊⃱㹹 ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 ⢢✳烉㇩⸛攟㕡⼊⚻偑 ㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻㐯⒯ 170 171 ⸽嵛烉㨊⚻檀⚰嵛 A MOTTLED GREEN JADEITE Provenance: American private A PLAIN WHITE AND RUSSET JADE SNUFF BOTTLE, 1750-1850 ⢢味烉䵈刚㜙昝䞛 SNUFF BOTTLE, 1785-1880 collection, old museum inventory Nephrite of ochre-white color with hues of russet, excellent surface polish ⢢檀炷⏓⢢味炸烉7.1 ⍀䰛 The apple-green stone mottled number to base China, 1750-1850 ⎋⼹烉7 㮓䰛 with icy-white and spinach-green ⢢柠⮔烉21 㮓䰛 inclusions, very good hand-polish Literature comparison: The Palace The superbly hollowed bottle of classic form, with two separate clouds of 慵慷烉101 ⃳ China, 1780-1880 glassworks also made bottles that russet slightly flattened by the carver. The backside is of pure and even color. ⑩䚠烉㤝⤥炻ᶨṃ⸜ẋ䕽嶉 simulated jadeite in both color Overall a simple yet striking bottle. Ἦ㸸烉劙⚳䥩Ṣ㓞啷 The color combination of the and weight (see one example, present material is an unusual formerly in the Meriem Collection Shape: Rounded, slightly bulbous square shape EstimateġỘ₡ġġEUR 600,- one, but the traditional shape, and sold at Christies, New York, Hollowing: Excellent, the weight of the bottle alone is only 59.3 grams! Starting priceġ崟㉵₡ġġEUR 300,- fine hollowing and good surface- 19 September 2007, lot 699). Mouth, neck and lip: Broad and short cylindric neck, flat top and small mouth polish indicate an earlier example. Base: Raised oval foot rim and large oval base Jadeite comes from a remote part Auction result comparison: Fine Stopper: Glass in imitation of coral on a gilt bronze platelet, with a very nice of Burma and first attracted the Chinese Ceramics and Works of old spoon elegantly carved of stag antler attention, and then the passion of Art Part I and Part II Including Height of the bottle with stopper: 7.1 cm. the Qianlong emperor, although Property from the Arthur M. Width of the mouth: 19 mm. regular supplies of the stone Sackler Collections. Christies, Width of the neck: 6 mm. had to await the normalization New York, 24 March 2011, lot Weight: 72.2 grams of previously bellicose relations 1590. The Ruth and Carl Barron Condition: Absolutely perfect condition, one natural fissure to the mineral between China and Burma in Collection of Fine Chinese Snuff Provenance: American private collection 1784. In the latter part of the Bottles: Part I. Christies, New Qianlong reign, snuff bottles were York, 16 September 2015, lot Auction result comparison: A Collecting Legacy: Fine Chinese Jade Carvings regularly made of jadeite for, and 253. (both for bottles made from and Works of Art from the Lizzadro Collection. Christies, New York, 21 at the Court, and its ongoing similar jade dating from the same March 2013, lot 895. (for a similar bottle, the russet being mottled instead of popularity may be seen in a series period) concentrated in two clouds) Part II of the same sale, 19 September 2013, lot of porcelain bottles and other 1230. (for a pebble bottle, also with two separated, flattened russet clouds) wares with glazes imitating jadeite 侉侈⃱䳈滣䂇⢢炻1785-1880 during the Daoguang period 侉侈ⷞ㶙㶢侈䵈刚⅘䘥倴䎮㡅 䘥䌱ⷞ䙖滣䂇⢢炻1750-1850 (Moss, Graham and Tsang, The 䲳炻䱦ⶍㇻ䢐㉃⃱ 䘥䌱ⷞ㰩刚炻堐朊䱦ⶍ㉃⃱ Art of the Chinese Snuff Bottle. ᷕ⚳炻 1780-1880 ᷕ⚳炻 1750-1850 The J & J Collection, no. 251). ⢢✳烉 溻⚻⽫⼊ ⢢✳烉 ῷ⚻䎫⼊䘬㕡⼊ Shape: Bulbous heart shape ㌷元烉 夷㔜炻ᶵ⊭⏓⢢味慵 ㌷元烉 㤝⤥炻ᶵ⏓味⢢慵59.3 ⃳! Hollowing: Very good, the weight 45,9 ⃳炻㤝庽 ⢢⎋ˣ柠冯⒯悐烉 ⮔侴䞕䚜柠炻⸛朊⢢⎋炻⮷⎋ of only 45,9 grams excluding ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⸛朊 ⸽嵛烉 㨊⚻⼊⚰嵛炻⸽悐㨊⚻ stopper is extremely low ⢢⎋炻⮔⎋ ⢢味烉 ầ䍲䐂䍣䐫味炻戭㈀䇯炻朆 ⷠ 䱦 伶 䘬 晽 ㆸ 渧 奺 䘬 侩 㛻 Mouth, neck and lip: Short ⸽嵛烉 㨊⚻⼊⸛⚰嵛 ⢢檀炷⏓⢢味炸烉 7.1 ⍀䰛 cylindric neck, flat top, cylindric ⢢味烉 䰱㘞⚻味炻湹㈀炻侩㛻 ⎋⼹烉 19 㮓䰛 wide mouth ⢢檀炷⏓⢢味炸烉5.9 ⍀䰛 ⢢柠⮔烉 6 㮓䰛 Base: Flat oval base ⎋⼹烉 7 㮓䰛 慵慷烉 72.2 ⃳ Stopper: Rose quarz with black ⢢柠⮔烉 16 㮓䰛 ⑩䚠烉 䳽⮵⬴伶, 䣎䞛倴䎮ℭ㚱ᶨ⣑䃞塪䲳 platelet and good old spoon 慵慷烉 50 ⃳ Ἦ㸸烉 伶⚳䥩Ṣ㓞啷 Height of the bottle with stopper: ⑩䚠烉 ⬴伶炻堡㚱⒯悐䦵㚱庽 5.9 cm. ⽖䡘㎵ EstimateġỘ₡ġġEUR 500,- Width of the mouth: 7 mm. Ἦ㸸烉 伶⚳䥩Ṣ㓞啷炻⸽悐⎗夳 Starting priceġ崟㉵₡ġġEUR 250,- Width of the neck: 16 mm. ⌂䈑棐㓞啷侩㧁䯥 Weight: 50 grams Condition: Perfect condition with EstimateġỘ₡ġġEUR 500,- only one microscopic nibble to lip Starting priceġ崟㉵₡ġġEUR 250,-

172 173 173 174 A CELADON AND RUSSET JADE SNUFF A PALE CELADON ‘WRAPPED’ JADE SNUFF BOTTLE, BOTTLE, 18TH CENTURY 18th – 19th CENTURY The stone of rich celadon color with one deep Very pure nephrite of even color, with hardly any inclusions russet cloud on the front side and several at all associated shades and veins, good surface polish China, 18th- 19th century China, 18th century The body of the vessel is partially wrapped with a brocade An elegant and appealing bottle that seduces the cloth, leaving one shoulder naked. The wrapping cloth with a seasoned jade collector with its strictly formal repeating petal diaper motif carved and incised in light relief. design enhancing the natural beauty of the The shoulders with lion mask rings carved in high relief, with mineral. one mask covered by the brocade cloth.

Shape: Bulbous oval shape Shape: Sweeping rectangular form with rounded shoulders, Hollowing: Very good slightly bulbous Mouth, neck and lip: Elongated cylindric neck with Hollowing: Very good slanted inner and outer lips, slightly convex top Mouth, neck and lip: Short sprawling neck with slanted lip and very small mouth and tiny mouth Base: Oval, almost rectangular base with broad, Base: Oval convex base raised foot rim Stopper: Imperial Beijing style stopper carved out of one Stopper: Porcelain in imitation of turquoise with single piece of mother of pearl, old spoon metal mounting Height of the bottle with stopper: 6.8 cm. Height of the bottle with stopper: 6.2 cm. Width of the mouth: 6 mm. Width of the mouth: 6 mm. Width of the neck: 16 mm. Width of the neck: 18 mm. Weight: 47.2 grams Weight: 78 grams Condition: Perfect condition Condition: Perfect, with some natural fissures to Provenance: UK private collection the mineral Provenance: American private collection Auction result comparison: CHINESE WORKS OF ART AND PAINTINGS. Bonham’s, 19 March 2018, NEW YORK, lot 8025. 曺䌱ⷞ䙖滣䂇⢢炻⋩ℓᶾ䲨 (for a celadon jade bottle with a similar motif) 曺刚䌱炻㬋朊⸦㡅刚㽌ᶵ⎴䲭刚倴䎮炻堐朊㉃⃱列⤥ ᷕ⚳炻ġ⋩ℓᶾ䲨 曺䘥䌱晽堰墇滣䂇⢢炻⋩ℓ军⋩ḅᶾ䲨 朆ⷠ䲼Ⅸ䘬曺䘥䌱炻⸦᷶㰺㚱ảỽ暄刚 ⢢✳烉㨊⚻⼊ ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 ㌷元烉㤝⤥ ⢢✳烉攟⼊⚻偑炻 ⢢⎋ˣ柠冯⒯悐烉䚜柠⺞Ỡ炻㐯⒯炻⎋㤝⮷ ㌷元烉㤝⤥ ⸽嵛烉㨊⚻炻役᷶㕡⼊⸽炻檀⚰嵛 ⢢ ⎋ˣ柠 冯 ⒯ 悐烉䞕 柠炻㐯 ⒯炻⮷ ⎋ ⢢味烉ġầ䵈㜦䞛昞䒟味炻慹Ⱄ㟮 ⸽嵛烉㨊⚻檀⚰嵛 ⢢檀炷⏓⢢味炸烉ġ6,2ġ⍀䰛 ⢢味烉⊿Ṕ⽉墥桐㟤⢢味炻⭀ⷥ枪䎈⼊炻侩㛻 ⎋⼹烉6ġ㮓䰛 ⢢檀炷⏓⢢味炸烉 6.8 ⍀䰛 ⢢柠⮔烉18ġ㮓䰛 ⎋⼹烉6 㮓䰛 慵慷烉78ġ⃳ ⢢柠⮔烉16 㮓䰛 ⑩䚠烉⬴伶炻ↈ忻⣑䃞塪䷓ 慵慷烉47.2 ⃳ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 ⑩䚠烉⬴伶 Ἦ㸸烉劙⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,- EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

174 175 175 AN INSCRIBED WHITE JADE ‘BOY AND BAT’ SNUFF BOTTLE, 18TH inscribed jade bottles, see Moss, Graham, Tsang, A Treasury of Chinese CENTURY Snuff Bottles, The Mary and George Bloch Collection, Vol. I, Hong Kong, Absolutely flawless, pure white jade (nephrite) with carving in light relief, 1995, pp. 266-69, no. 109. incised, well-polished China, 18th century Auction result comparison: A comparable bottle from The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part IV was sold at The superb carving comes in very thin relief and depicts a playful dancing Christie’s New York, 15 March 2017, lot 318. boy and a flying bat. The backside shows a neatly incised 30-character poem. The characters are stained in gold lacquer which has developed a 䘥䌱圈䪍滣䂇⢢炻⋩ℓᶾ䲨 good, natural patina. Highly detailed, powerful lion mask ring handles to 㻼䘥䃉䏽䘬䘥䌱炻晽⇣䱦䶣炻堐朊⃱㼌 the side, skillfully carved in high relief. ᷕ⚳炻 ⋩ℓᶾ䲨 Overall the strictly formal execution of shape, handles, hollowing, foot and 晽⇣䱦㸃炻ᶨ朊㶢晽ᶨᾳί䙖䘬ㇳ准嵛巰䘬䓟⬑価椾䚳⎹梃准䘬圁圈ˤ側朊 neck, along with the magnificent quality of the carving and incising of the 晽⇣Ḯᶨ椾ᶫ妨娑ˤṢ䈑䓐慹㺮ᶲ刚炻⼊ㆸ⣑䃞⊭㻧ˤ䳘䭨ℍ⽖炻䋭椾埼䑘炻 poem, indicate an Imperial provenance. ⶏ⥁㶙㴖晽ˤ Bottles that show both a depiction and a poem are generally considered to ䷥橼侴妨炻⢢⼊ˣ➟㝬ˣ㌷元ˣ⸽嵛冯柠悐⇣䔓ẍ⍲娑娆录喣厗渿炻⬴ℐ婔㖶 be extremely rare, much rarer that their counterparts that show only the 忁㚦䴻㗗ᶨẞ⽉䓐滣䂇⢢ˤ poems. 㬌栆滣䂇⢢炻ᶨ朊晽⇣Ṣ䈑炻ᶨ朊娑娆炻㤝℞份夳炻冯⎒㚱ᶨ朊⇣娑䚠㭼炻㚜 䇚⮹夳ˤ Poem translation: 娑烉 Fortune rises up and falls down, 䤷⋯䤷句䤷㺧➪ The hall is filled with fortune; 䤷梃䤷佼䤷⣑旵 Fortune flies and floats, 慹䪍䌱㊯柷⃺朊 Fortune falls from the sky; 価椾䚤Ἦ䤍䤷枛 The golden boy has fingers like jade and a face so soft, ⫸ᶹ He raises his head and longs for good news. Zizhou ⢢✳烉 ㇩⸛⽫⼊ ㌷元烉 ᶵ⎴↉枧 Shape: Flattened heart shape ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻枪悐↠↢炻㶙ᶼ⮵䧙䘬ℭ⚻㞙炻⮷⎋ Hollowing: Outstanding ⸽嵛烉 㨊⚻⼊⸽炻⚰嵛举䳘㇩⸛ Mouth, neck and lip: Short cylindric neck with convex top and deep, 忈✳ˣ句㫦⍲㳩㳦烉㤝⁷⽉墥⑩炻⊿Ṕ symmetric inner cylinder, small mouth ⢢味烉 䲭䍲䐂⍲䍵䎈㕳憽炻湹刚㈀䇯炻侩 㛻 ᾅ ⬀ ⤥ Base: Oval base with thin, flattened foot rim ⢢檀炷⏓⢢味炸烉 8.2 ⍀䰛 Design, marks, school: Most likely Imperial workshops, Beijing ⎋⼹烉 8 㮓䰛 Stopper: Red coral cabochon with pearl knob, black platelet and good, old ⢢柠⮔烉 18 㮓䰛 spoon 慵慷烉 104.4 ⃳ Height of the bottle with stopper: 8.2 cm. ⑩䚠烉 ⬴伶炻㮓䃉⣑䃞仢星 Width of the mouth: 8 mm. Ἦ㸸烉 伶⚳╔㱣Ṇⶆ Mary Ann Edmondson Bresee㓞啷炻䉪䅙䘬㓞啷⁊炻 Width of the neck: 18 mm. 㚦㗗⚳晃ᷕ⚳滣䂇⢢㓞啷⋼㚫㚫⒉ˤ⤡䘬䣾䇞㗗Walter T. Candler炻Asa G. Weight: 104.4 grams Candler䘬⃺⫸炻⎗⎋⎗㦪℔⎠ㆸ䩳Ṣˤ⤡ 䘬 滣 䂇 ⢢㚦 ⛐ the Cummer Museum Condition: Perfect. The material does not even show any natural flaws. of Art and Gardens伶埻棐⍲the Norton Museum of Art伶埻棐⯽↢忶ˤ Provenance: From the collection of Mary Ann Edmondson Bresee, Georgia, 㔯䌣㭼庫烉ᶨẞḦ昮㗪㛇湫䌱晽⽉娑滣䂇⢢ẍ⍲⎎ᶨẞ⽉䓐䌱晽滣䂇⢢炻 USA, avid collector and former member of the International Chinese ⎗夳Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, The Mary Snuff Bottle Society. Her grandfather was Walter T. Candler, son of Asa and George Bloch Collection, Vol. I, Hong Kong, 1995, pp. 266-69, no. G. Candler, the founder of the Coca-Cola Company. Her bottles were 109. exhibited both at the Cummer Museum of Art and Gardens and the ㉵岋䳸㝄㭼庫烉The Ruth and Carl Barron Collection of Fine Chinese Snuff Norton Museum of Art. Bottles: Part IV ḶChristie’s New York, 15 March 2017, lot 318.

Literature comparison: A yellow jade bottle incised with a Qianlong EstimateġỘ₡ġġEUR 3.000,- Imperial poem on either side, and a further discussion of imperially Starting priceġ崟㉵₡ġġEUR 1.500,-

176 177 176 177 A PALE CELADON ‘CHILONG’ JADE SNUFF BOTTLE, QING DYNASTY A RARE ‘LIU HAI’ JADE SNUFF BOTTLE, QING DYNASTY The nephrite of pure and even pale celadon tone, carved in high relief, Yellow jade with a cinnabar inclusion and some lighter veins, carved and with a good hand-polish incised in high relief, very good manual polish with almost ‘oily’ surface China, 18th-19th century China, 18th – 19th Century

The rectangular-shaped bottle carved with two sinuous chilong in slightly Liu Hai is shown standing on top of the three-legged toad with the raised reserves with rounded edges. The sides with powerful lion mask string of cash in his raised right hand. The back side with several lingzhi ring handles in high relief. springing from rockwork and a flying bat.

Shape: Rectangular Shape: Bulbous sweeping shape Hollowing: Very good Hollowing: Superb Mouth, neck and lip: Cylindric, slightly sprawling neck, convex top and Mouth, neck and lip: Short sweeping neck with slanted lip, flat top, very small mouth small mouth Base: Oval base with significantly raised foot rim Base: Oval convex base with flat foot rim Stopper: Matching yellow jade stopper on a malachite platelet with a very Stopper: Coral cabochon with old metal mounting and spoon, organic nice, old spoon platelet Height of the bottle with stopper: 7 cm. Height of the bottle with stopper: 7.4 cm. Width of the mouth: 6 mm. Width of the mouth: 5 mm. Width of the neck: 20 mm. Width of the neck: 19 mm. Weight: 89 grams Weight: 61.4 grams Condition: Excellent, with only a few natural fissures Condition: Excellent with some old wear, as expected on a bottle of this Provenance: From the collection of Mary Ann Edmondson Bresee, age Georgia, USA, avid collector and former member of the International Provenance: American private collection Chinese Snuff Bottle Society. Her grandfather was Walter T. Candler, son of Asa G. Candler, the founder of the Coca-Cola Company. Her bottles 份夳䌱晽∱㴟滣䂇⢢炻㶭ẋ were exhibited both at the Cummer Museum of Art and Gardens and the 湫 䌱 ⷞ 㛙 䲭 㰩 刚炻倴 䎮 䳘 ⽖炻㶙 㴖 晽炻䱦 ⶍ ㉃ ⃱炻堐 朊 ⃱ 㹹 㼌 㽌 Norton Museum of Art. ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 ⢢✳烉䎫䉨炻ᶳ㔪 Auction result comparison: CHINESE WORKS OF ART, Bonham’s, 14 ㌷元烉檀崭 March 2016, NEW YORK, lot 8020. (for a bottle from the same group) ⢢⎋ˣ柠冯⒯悐烉柠悐䞕ᶼ⮔⣏炻㐯⒯炻⸛朊⢢⎋炻⎋㤝⮷ ⸽嵛烉㨊⚻↠↢炻⸛⚰嵛 曺䘥䌱坕漵滣䂇⢢炻㶭ẋ ⢢味烉䍲䐂炻慹Ⱄ㟮炻⮷㛻炻㚱㨇㛸㕁㈀䇯 曺䘥䌱䲼Ⅸ炻晽⇣䱦伶炻堐朊㉃⃱㝼␴ ⢢檀炷⏓⢢味炸烉7.4 ⍀䰛 ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 ⎋⼹烉5 㮓䰛 ⢢✳烉 攟㕡幘 ⢢柠⮔烉19 㮓䰛 ㌷元烉 㤝⤥ 慵慷烉61.4 ⃳ ⢢⎋ˣ柠冯⒯悐烉⮔⣏⚻㞙⼊柠悐炻枪悐↠崟炻⮷⎋ ⑩䚠烉㤝℞⃒䥨炻䦵㚱⸜ẋ䕽嶉 ⸽嵛烉 㨊⚻⼊⸽炻檀⚰嵛 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 ⢢味烉 湫䌱味炻⫼晨䞛㈀䇯炻䱦 䶣 䘬 侩 㛻 ⢢檀炷⏓⢢味炸烉 7 ⍀䰛 EstimateġỘ₡ġġEUR 600,- ⎋⼹烉 6 㮓䰛 Starting priceġ崟㉵₡ġġEUR 300,- ⢢柠⮔烉 20 㮓䰛 慵慷烉 89 ⃳ ⑩䚠烉ᶵ⎴↉枧炻㚱ṃ⽖⣑䃞⮷䷓ Ἦ㸸烉伶⚳╔㱣Ṇⶆ Mary Ann Edmondson Bresee㓞啷炻䉪䅙䘬㓞啷⁊炻 㚦㗗⚳晃ᷕ⚳滣䂇⢢㓞啷⋼㚫㚫⒉ˤ⤡䘬䣾䇞㗗Walter T. Candler炻Asa G. Candler䘬⃺⫸炻⎗⎋⎗㦪℔⎠ㆸ䩳Ṣˤ⤡ 䘬 滣 䂇 ⢢㚦 ⛐ the Cummer Museum of Art and Gardens伶埻棐⍲the Norton Museum of Art伶埻棐 ⯽↢忶ˤ

EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

178 179 179 A CHALCEDONY ‘LIU HAI’ OFFICIAL SCHOOL SNUFF BOTTLE, QING DYNASTY Chalcedony of light caramel tone with several dark inclusions, which were used to enhance the design, carved in high relief and incised with fine details, good surface polish China, 1750-1850

The subject here is Liu Hai, a patron saint of commerce. His three-legged toad sits on a rocky bank and is enticed by Liu’s string of cash. It is one of the finest examples of this subject that this author has ever seen, and it was a fairly popular one with the Official School. A flying bat is completing the scene.

Shape: Bulbous round form Hollowing: Superb, with the interior profile precisely following the exterior shape Mouth, neck and lip: Short, broad and cylindric neck with curved top and very small mouth, slanted lip Base: Flat oval base Design, marks, school: Official school Stopper: Banded agate on black platelet with good old spoon Height of the bottle with stopper: 6.9 cm. Width of the mouth: 6 mm. Width of the neck: 21 mm. Weight: 71.9 grams Condition: Perfect condition Provenance: Canadian private collection

Auction result comparison: CHINESE ART. Sotheby’s, 3 DECEMBER 2015 - 04 DECEMBER 2015, HONG KONG, lot 655. (for a related bottle with the same subject)

⭀⭞ⶍ⛲䌱橻ⶏ晽∱㴟滣䂇⢢炻㶭ẋ 178 㶢䃎䱾刚炻⯨悐㶙刚悐ỵⶏ晽Ṣ䈑⼊尉炻㶙㴖晽炻䳘䭨ℍ⽖炻堐朊⃱㹹 A HUMORISTIC ‘LIU HAI’ SHADOW AGATE SNUFF BOTTLE, OFFICIAL SCHOOL, 1750-1850 ᷕ⚳炻1750-1850 The agate of very light and even cream color, with barely any inclusions, a darker layer carved in ⢢✳烉⚻䎫⼊ high relief, neatly incised detail work, good polish ㌷元烉ᶵ⎴↉枧炻晐⢢幓⼊䉨ㆸ⼊ China, 1750-1850 ⢢⎋ˣ柠冯⒯悐烉䞕⮔柠炻⢢⎋⻶㚚炻⎋㤝⮷炻㐯⒯ ⸽嵛烉㇩㨊⚻⼊ Here comes a humoristic variation of the subject with Liu Hai using his string of cash as a skipping 忈✳ˣ句㫦⍲㳩㳦烉⭀㕡ⶍ⛲ rope while the three-legged toad is attentively watching the scene. ⢢味烉ⷞ䉨䐒䐁炻湹刚㈀䇯炻侩 㛻 ᾅ ⬀列 ⤥ ⢢檀炷⏓⢢味炸烉 6.9 ⍀䰛 Shape: Bulbous square shape with rounded shoulders ⎋⼹烉6 㮓䰛 Hollowing: Very good, with the interior profile precisely following the exterior shape ⢢柠⮔烉21 㮓䰛 Mouth, neck and lip: Short, broad and cylindric neck with curved top and small mouth 慵慷烉71.9 ⃳ Base: Oval recessed base with raised and rounded oval foot rim ⑩䚠烉⬴伶 Design, marks, school: Official school Ἦ㸸烉≈㊧⣏䥩Ṣ㓞啷 Stopper: Coral on green platelet, good spoon Height of the bottle with stopper: 6.9 cm. EstimateġỘ₡ġġEUR 600,- Width of the mouth: 6 mm. Starting priceġ崟㉵₡ġġEUR 300,- Width of the neck: 19 mm. Weight: 50.8 grams Condition: Absolutely perfect Provenance: From the collection of Mary Ann Edmondson Bresee, Georgia, USA, avid collector and former member of the International Chinese Snuff Bottle Society. Her grandfather was Walter T. Candler, son of Asa G. Candler, the founder of the Coca-Cola Company. Her bottles were exhibited both at the Cummer Museum of Art and Gardens and the Norton Museum of Art.

⭀⭞ⶍ⛲⼙⫸䐒䐁ⶏ晽∱㴟㇗慹垦滣䂇⢢炻1750-1850 刚 㽌 庽 䙰炻⸦ ᷶䁢 ⤞ 㱡 刚炻⸦ ᷶ 㰺 㚱ả ỽ ⣦ 暄 䈑炻柼 刚 庫 㶙 ↎ ⶏ 晽 Ṣ䈑炻䳘 䶣 ℍ ⽖炻㉃ ⃱列 ⤥ ᷕ⚳炻 1750-1850 ⢢✳烉 㕡䎫⼊⚻偑 ㌷元烉 朆ⷠ⤥炻晐⢢幓⼊䉨ㆸ⼊ ⢢⎋ˣ柠冯⒯悐烉⢢柠䞕ᶼ⮔炻⏰䚜䫺䉨炻䒞⎋枪悐ᶵ⸛炻⮷⎋ ⸽嵛烉 㨊⚻⼊ℭ↡嵛 忈✳ˣ句㫦⍲㳩㳦烉⭀⭞ⶍ⛲ ⢢味烉 䍲䐂炻䵈刚㈀䇯炻⢢ 㛻 ᾅ ⬀列 ⤥ ⢢檀炷⏓⢢味炸烉 6.9 ⍀䰛 ⎋⼹烉 6 㮓䰛 The bottle seen against the light ⢢柠⮔烉 19 㮓䰛 慵慷烉 50.8 ⃳ ⑩䚠烉 䳽⮵⬴伶 Ἦ㸸烉 伶⚳╔㱣Ṇⶆ Mary Ann Edmondson Bresee㓞啷炻䉪䅙䘬㓞啷⁊炻㚦㗗⚳晃ᷕ⚳滣䂇⢢㓞啷 ⋼㚫㚫⒉ˤ⤡䘬䣾䇞㗗Walter T. Candler炻Asa G. Candler䘬⃺⫸炻⎗⎋⎗㦪℔⎠ㆸ䩳Ṣˤ⤡ 䘬 滣 䂇 ⢢ 㚦⛐the Cummer Museum of Art and Gardens伶埻棐⍲the Norton Museum of Art伶埻棐⯽↢忶ˤ

EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

180 181 The bottle seen against the light

180 A SUPERBLY CARVED ‘MONKEY AND Literature comparison: A related cameo HORSES’ CAMEO AGATE SNUFF BOTTLE, agate bottle of similar coloring, but carved QING DYNASTY with mythical felines (xiezhai) playing Attributed to the ‘Stevens Deer Master’, with brocade balls, is illustrated in Snuff Official School Bottles in the Collection of the National China, 1740-1840 Palace Museum, p.231, no. 320. Another agate bottle attributed to the Stevens Deer Depiction of two horses resting under a pine Master, carved with a Buddhist lion with a tree, in which a lurking monkey is hidden. brocade ball beneath a bird perched in a Executed in very high relief with incredibly prunus branch, is illustrated by D. Low, More fine incising work. The translucent mineral Treasures from The Sanctum of Enlightened of even, almost flawless honey-brown color Respect, p. 244, no. 227. Three other bottles with a completely opaque layer of light attributed to his hand in the collection of ochre carved through. The backside with Mary and George Bloch and are illustrated few white speckles and clouds of cinnabar- by Moss, Graham, Tsang, A Treasury of red. Excellent surface polish. Chinese Snuff Bottles, Vol. 1, Quartz, pp. This bottle relates to a group of chalcedony 392-99, nos. 326-28, the last of which is bottles classified by Hugh Moss as Group B carved from green moss agate with a relief (see H. Moss, Chinese Snuff Bottles of the design carved from a layer of beige crystal. Silica or Quartz Group and Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, Auction result comparison: Important Vol. 2, Quartz, no. 326, where a small sub- Chinese Snuff Bottles From The J&J group of spectacularly well-carved agate Collection, Part IV. Christies, New York, 22 bottles has been identified and the name March 2007, lot 33. (for a bottle from the “The Stevens Deer Master” was coined for same artist) the carver). This bottle is one of the few examples known, displaying inspired use of 囄䱾䐒䐁䱦晽楔ᶲ⮩ὗ滣䂇⢢炻㶭ẋ the stone’s markings and impeccable carving ⭀㕡ⶍ⛲ and polishing. ᷕ⚳炻 1740-1840

Shape: Bulbous square form with rounded ⢢✳烉㕡⼊⚻偑 shoulders ㌷元烉⃒䥨 Hollowing: Excellent ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⢢⎋堐朊↠↢炻㕄 Mouth, neck and lip: Short cylindric neck ⒯炻⮷ ⎋ with convex top and slanted lip, small mouth ⸽嵛烉 㨊⚻檀⚰嵛 Base: Oval base with raised foot rim 忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ Design, marks, school: Official school ⢢味烉䲭䡏䞛炻湹㈀䇯炻㚱 㨇 㛸 㕁 侩 㛻 ᶲ⎗夳 ⽖ Stopper: Red Jasper, black platelet, ᶵ嵛忻䘬䡽䡘 minuscule old spoon neatly carved of ⢢檀炷⏓⢢味炸烉 7.8 ⍀䰛 organic material ⎋⼹烉 7 㮓䰛 Height of the bottle with stopper: 7.8 cm. ⢢柠⮔烉 27 㮓䰛 Width of the mouth: 7 mm. 慵慷烉 103.5 ⃳ Width of the neck: 27 mm. ⑩䚠烉 ⬴伶 Weight: 103.5 grams Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕 Condition: Absolutely perfect Provenance: From a Beverly Hills, California, EstimateġỘ₡ġġEUR 1.500,- private estate Starting priceġ崟㉵₡ġġEUR 750,-

182 183 182 AN INSCRIBED CAMEO AGATE SNUFF BOTTLE, OFFICIAL SCHOOL, QING DYNASTY The translucent stone of a milky-blueish color with hues of amber-brown and a layer of russet, carved in high relief to form the design, good surface polish China, 1760-1830

Carved and incised on one side utilizing the russet layer in the stone with a prancing horse ridden by a monkey under a pine tree. Four-character inscription reading “Horse” and “Wish” in relief within a banner-shaped frame. A popular subject found on Official School bottles of the late 18th/early 19th century, a monkey riding a horse, forms a popular rebus expressing a wish for “Ma Shang Feng Hou”, a “Promotion approaching fast”. With the present bottle, the carver has used the natural markings in the stone to full advantage and presented a powerful impression of three-dimensional depth, being distinguished especially by the rather unusual addition of the inscription, which appears to be a clever double entendre referring both to the “horse” and to the “wish” for promotion of the recipient.

Shape: Flattened square form with rounded shoulders Hollowing: Excellent Mouth, neck and lip: Short cylindric neck with convex top and slanted lip Base: Rectangular base with raised foot rim and rounded corners Design, marks, school: Official school Stopper: Green and ochre nephrite, wooden platelet, ‘drawstring’ shaped spoon neatly carved of organic material Height of the bottle with stopper: 7.5 cm. Width of the mouth: 8 mm. Width of the neck: 23 mm. Weight: 111.5 grams Condition: Excellent Provenance: From a Beverly Hills, California, private estate, old collector 181 number to base A CAMEO AGATE ‘MONKEY ON HORSEBACK’ SNUFF BOTTLE, OFFICIAL SCHOOL, QING DYNASTY Literature comparison: For a discussion of the Official School of hard-stone The stone of transparent honey-brown color with relief in more opaque, carving, see H. Moss, V. Graham, K. B. Tsang, A Treasury of Chinese Snuff darker brown that has an upper layer of speckling of a different tone partially Bottles: The Mary and George Bloch Collection, vol. 2, Quartz, no. 258, and cut through, good manual surface polish nos. 301-306 which are all from the same school and decorated with horses China, 18th – 19th century in a somewhat similar vein. An agate bottle of related design, but lacking the inscription, is illustrated by R. Kleiner, Chinese Snuff Bottles - The White Wings Humoristic depiction of a monkey riding a horse and chasing several Collection, p. 180, no. 122. butterflies. Very fine detail work incised. Auction result comparison: J & J COLLECTION OF SNUFF BOTTLES, PART III. Shape: Flattened square form with rounded shoulders Christies, New York, 29 March 2006, lot 10. (for another inscribed cameo Hollowing: Excellent agate ‘horse’ snuff bottle) Mouth, neck and lip: Elongated cylindric neck with convex top and slanted lip Base: Rectangular base with raised foot rim and rounded corners ⭀⭞ⶍ⛲䐒䐁ⶏ晽楔ᶲ⮩ὗ滣䂇⢢炻㶭ẋ Design, marks, school: Official school ⋲德㖶ḛ曺刚炻囄墸刚ⷞ䙖↎㶙㴖晽炻堐朊㉃⃱列⤥ Stopper: Glass imitating ochre agate, blue platelet, good old spoon neatly ᷕ⚳炻 1760-1830 carved of organic material Height of the bottle with stopper: 7.8 cm. ⢢✳烉㇩⸛㕡⼊炻⚻偑 Width of the mouth: 8 mm. ㌷元烉⃒䥨 Width of the neck: 24 mm. ⢢⎋ˣ柠冯⒯悐烉 䞕䚜柠炻⢢⎋堐朊↠↢炻㕄⒯ Weight: 103.5 grams ⸽嵛烉㕡⸽檀⚰嵛炻⚻奺 Condition: Excellent 忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ Provenance: From a Beverly Hills, California, private estate, old collector ⢢味烉䵈刚崕䞛刚䌱炻㛐㈀䇯炻㜇 ⷞ ⼊ 㚱 㨇 㛸 㕁 ⮷ 㛻 number to base ⢢檀炷⏓⢢味炸烉 7.5 ⍀䰛 ⎋⼹烉 8 㮓䰛 Auction result comparison: SNUFF BOTTLES FROM THE MARY & GEORGE ⢢柠⮔烉23 㮓䰛 BLOCH COLLECTION: PART VIII. Sotheby’s, 26 MAY 2014, HONG KONG, lot 慵慷烉 111.5 ⃳ 1104. (for a similar bottle) ⑩䚠烉 ⃒䥨 Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕炻⸽悐⎗夳㓞啷⭞侩㧁䯥 ⭀⭞ⶍ⛲䃎䱾䐒䐁ⶏ晽楔ᶲ⮩ὗ滣䂇⢢炻㶭ẋ 德㖶囄墸刚炻ᶵ德㖶⍲㶙墸刚倴䎮↎ⶏ晽≽䈑炻堐朊㉃⃱㤝⤥ EstimateġỘ₡ġġEUR 500,- ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨 Starting priceġ崟㉵₡ġġEUR 250,-

⢢✳烉 ㇩⸛㕡⼊炻⚻偑 ㌷元烉 ⃒䥨 ⢢⎋ˣ柠冯⒯悐烉 攟䚜柠炻⢢⎋堐朊↠↢炻㕄⒯ ⸽嵛烉 㕡⸽檀⚰嵛炻⚻奺 忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ ⢢味烉 ầ崕䞛刚䐒䐁䍣䐫炻啵刚㈀䇯炻㚱㨇㛸㕁侩㛻列⤥ ⢢檀炷⏓⢢味炸烉7.8 ⍀䰛 ⎋⼹烉 8 㮓䰛 ⢢柠⮔烉24 㮓䰛 慵慷烉103.5 ⃳ ⑩䚠烉⃒䥨 Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕炻⸽悐⎗夳㓞啷⭞侩㧁䯥

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

184 185 184 A SHADOW AGATE ‘SCHOLAR EXAMINES PAINTING’ SNUFF BOTTLE, QING DYNASTY The translucent agate of even light caramel tone, with one layer of intense russet, cleverly used to enhance the design, good surface polish China, 1750-1850

Skillfully carved to depict a scholar and his pupil standing under a peach tree unrolling a scroll while, much to their surprise, two small bats have chosen to perch on the painting. A third bat is approaching while a fourth one, extremely well carved, is shown on the backside of the bottle.

Shape: Bulbous square form with rounded shoulders Hollowing: Excellent Mouth, neck and lip: Short cylindric neck with convex top and slanted lips Base: Oval recessed base Design, marks, school: Official school Stopper: Coral cabochon of nice color on a stepped green platelet carved from organic material, very nice old spoon Height of the bottle with stopper: 7 cm. Width of the mouth: 7 mm. Width of the neck: 20 mm. Weight: 61.4 grams Condition: Excellent Provenance: From a Beverly Hills, California, private estate

⼙⫸䐒䐁ⶏ晽㧡ᶳ㔯Ṣ岆䔓滣䂇⢢炻㶭ẋ ⋲德㖶䐒䐁炻㶢䃎䱾刚炻堐朊ⷞ䙖炻㉃⃱列⤥ ᷕ⚳炻 1750-1850 ⢢✳烉㕡⼊⚻偑 ㌷元烉⃒䥨 ⢢⎋ˣ柠冯⒯悐烉䞕柠炻⢢⎋堐朊↠↢炻㕄⒯ 183 ⸽嵛烉㨊⚻ℭ↡嵛 AN UNUSUAL ‘RESTING SCHOLAR’ SHADOW AGATE SNUFF 忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ BOTTLE, 19TH CENTURY ⢢味烉䍲䐂枪炻䵈刚㚱㨇㛸㕁⊭⳴炻侩㛻朆ⷠ⤥ The agate of light brown color with the back showing a darker tone, ⢢檀炷⏓⢢味炸烉7 ⍀䰛 the center with a copper-colored layer, carved and incised in high ⎋⼹烉7 㮓䰛 relief ⢢柠⮔烉20 㮓䰛 China, 19th century 慵慷烉61.4 ⃳ ⑩䚠烉⃒䥨 Depiction of a sage resting under a pine tree surrounded by serrated Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕 rockwork. The copper-tone layer in the agate was very cleverly used to highlight the peaceful scene, with the rocks on the sides and some EstimateġỘ₡ġġEUR 500,- waves on the lower end serving as a silent yet dominating framework. Starting priceġ崟㉵₡ġġEUR 250,-

Shape: Flattened rectangular form with rounded shoulders Hollowing: Good Mouth, neck and lip: Short cylindric and sprawling neck, convex top and slanted lip, the mouth not exactly symmetrical Base: Large oval base with raised and rounded foot rim Design, marks, school: Official school Stopper: White jadeite with hues of green, no spoon Height of the bottle with stopper: 7.8 cm. Width of the mouth:16 mm. Width of the neck: 6 mm. Weight: 67.7 grams Condition: Excellent Provenance: American private collection

Literature comparison: The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part III. Christies, New York, 14 September 2016, lot 567. (compare with a jade bottle showing a similar motif)

䦨㚱⼙⫸䐒䐁ⶏ晽㔯Ṣ㜦ᶳẹㅑ⚾滣䂇⢢炻⋩ḅᶾ䲨 㶢墸刚䐒䐁炻側朊晙䲬⎗夳㶙刚炻ᷕ⣖䁢戭刚Ⰼ炻㶙㴖晽 ᷕ⚳炻 ⋩ḅᶾ䲨 ⢢✳烉㇩⸛䞑⼊炻⚻偑 ㌷元烉列⤥ ⢢⎋ˣ柠冯⒯悐烉䞕⚻䫺䉨⺞Ỡ⢢柠炻⢢⎋↠崟炻㐯⒯炻⢢⎋ᶵ⬴ℐ⮵䧙 ⸽嵛烉⣏㨊⚻⼊⸽嵛炻檀⚰嵛 忈✳ˣ句㫦⍲㳩㳦烉⽉䓐 ⢢味烉䘥刚侉侈桬䵈炻䃉㛻 ⢢檀炷⏓⢢味炸烉 7.8 ⍀䰛 ⎋⼹烉16 㮓䰛 ⢢柠⮔烉6 㮓䰛 慵慷烉67.7 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 400,- Starting priceġ崟㉵₡ġġEUR 200,-

186 187 185 AN EXTREMELY RARE ‘CELESTIAL EYE’ REVERSE INTAGLIO AGATE SNUFF BOTTLE, 1750-1850 Attributed to the Cameo Ink-play Master, possibly Imperial, Official School China, 1750-1850

This bottle is the only example known to this author that is entirely executed in reverse intaglio, meaning that the design is carved completely INSIDE THE BOTTLE in reverse technique. In other words, there is absolutely no carving on the outside of the bottle and hence no relief whatsoever is visible or perceptible outside the bottle as well. The reverse intaglio technique here was derived from ancient Roman gem carving, where it became popular because the Roman cameo gems were flat and therefore convenient to access for the carver, and so the technique was simple to execute and the stunning effect easy to achieve. In the case of the present bottle this is absolutely not the case, because the carving had to be executed exclusively through the mouth, which – to add further complexity – is extremely small. Celestial eye goldfish or Choutengan in a pond were a popular motif during the Qing dynasty. Yet they seldomly appear on agate bottles, possibly because it may have been difficult to capture their appearance in a both natural and realistic manner. Here, two of them are shown swimming in a pond, with the plants solely Literature comparison: For other examples by this master, see Moss, Graham, consisting of natural inclusions in the stone, whereas the fish themselves are Tsang, Treasury 2, nos. 320–325 and for the one from the Prince Ding Collection, partially carved and partially consisting of natural inclusions. Treasury 2, no. 362, where it is grouped with other bottles bearing the prince’s hall This bottle is part of a small sub-group of the Official school that represents the name. There was another sold in China (China Guardian, Beijing, 21 October 1996, height of both chalcedony carving and ink-play agate in the snuff-bottle field and, lot 1932) and a more obvious example from the J & J Collection is illustrated in therefore, in the whole of Chinese history, since the snuff bottle was both the last Moss, Graham, and Tsang 1993, no. 156. Others are illustrated in Moss 1971, nos. imperial fling and the epitome of so many art forms. This carver may have had his 145, 147 (the J&J fish) and 148, and in Sotheby’s, New York, 22 September 1995, own workshop, but he also appears to have worked for the court and possibly at lot 150. It now seems possible that the green relief chalcedony, no. 211 in Moss, the palace workshops or some other imperial facility. The palace workshops were Graham, and Tsang 1993 (better illustrated in color in Stevens 1976, no. 520) may often staffed with artists co-opted from private workshops around the country and be from the hand of this master whose works are linked as much by technique and the honor of working for the emperor was rarely turned down. He was dubbed the genius as by any predictable style. No. 521 in the same publication may also be by Cameo Ink-play Master by Moss, Graham and Tsang because all of his recognizable him. One more example, definitely by the master and decorated with a five-clawed works are cameos to some extent, and yet he also managed to combine his varied dragon which, from the mid-Qing period implies an imperial product, remains as relief work using different colors in the material with some of the most imaginative yet unpublished (Hugh Moss personal records). The bottle with the five-clawed and masterly ink-play works in the entire medium. Yet no other work by him dragon also has a distinct flat upper neck rim of typical palace style. This is a very executed solely in the reverse intaglio technique is known to this date. unusual feature on any Official school bottle and may indicate that the Cameo Ink- This bottle bears all the master’s hall marks. It is superbly made and hollowed play Master worked, for at least part of his career, at the palace workshops. and of an intriguing and exciting material. It is also well realized with masterly technique, but above all it is his extraordinary use of the natural markings in the 㤝䦨㚱慹欂䛤⍵晽⇣䐒䐁滣䂇⢢炻1750-1850 material which sets it apart and identifies it as one of his creations. The transparent ㆾ䇚䐒䐁⡐㇗⣏ⷓ㇨⇞炻⭀⭞ⶍ⛲ agate has striations running through it which the artist has aligned vertically ᷕ⚳炻1750-1850 and diagonally as framing decoration of considerable power, leaving the natural planes of color in the stone to one main side only, where they were, together with 忁ẞ滣䂇⢢㗗䚖⇵㇨䞍⬀ᶾⓗᶨᶨẞ⍵晽䐒䐁ἄ⑩炻⌛⬴ℐ⢢ℭ晽⇣㈨埻ˤ㎃⎍ several darker and lighter ‘ink drops’, perfectly interpreted as a pond with all its 娙婔炻⢢⢾⃱䳈炻⬴ℐ㰺㚱ảỽ晽⇣ˤ natural details. It is a masterly ink-play agate and, like many of the finest, perfectly 忁墉䘬⍵晽ℭ⇣㈨埻㸸冒⎌伭楔⮞䞛晽⇣炻⚈℞⸛㹹ὧ㕤㈨ⷓ晽⇣炻᷎ᶼ㖻㕤⮎ integrates minor yet clever editing of the colored areas, in this case the fish eyes, 䎦ẌṢ樂▮䘬㓰㝄炻⚈㬌㳩埴ˤ侴忁ẞ滣䂇⢢⌣䳽⮵ᶵ㗗忁䧖ね㱩炻⚈䁢⍵晽⽭ the contours of the tails and some of the blossoms surrounding the fish. 枰⬴ℐ忂忶◜悐炻忁忚ᶨ㬍⡆≈Ḯ墯暄⿏ˤ It also has another common feature of this master’s works: a high gloss finish. ⛐㶭ẋ炻㰈⠀ᷕ䘬⣑䛤慹欂㚦㗗ᶨᾳ㳩埴䘬ᷣ柴ˤ 䃞侴炻⬫Ᾱ⼰⮹↢䎦⛐䐒䐁䒞 Intriguingly, when one compares the plain areas of this bottle with many others of ᶲ炻⎗傥㗗⚈䁢⼰暋ẍ冒䃞␴忤䛇䘬㕡⺷㋽㋱⬫Ᾱ䘬⢾⼊ˤ ⛐忁ᾳ⢢ℭ炻ℑ㡅慹 the Official school, there seems to be no difference in polish, and yet a high gloss 欂⛐㰈⠀ᷕ㷠㯜炻㯜勱唑㻦炻⬫Ᾱ悐↮晽⇣侴↢炻悐↮㗗⚈䇚⣑䃞倴䎮⯽䣢ˤ is the remaining impression one gets from most of his works. It would appear to be an illusion set up by the extraordinary perfection of intaglio reverse carving, ⢢✳烉 ⚻⼊ finishing and polishing of the carved details inside the bottle that gives the feeling ㌷元烉 㨇⬴㔜 of an even higher gloss than normally. ⢢⎋ˣ柠冯⒯悐烉䞕柠炻⽖⽖価崟炻⢢⎋⸛朊炻㤝⮷⎋炻㐯⒯ The Cameo Ink-play Master preferred no particular shape, allowing his ink-play as ⸽嵛烉 㨊⚻⼊↡星炻⚰嵛 much freedom as possible. Where there is decoration, he lets the form follow the ⢢味烉 ⣏䍲䐂炻㈀䇯䁢Ὤ伭㕗 1912䘬 50 䥹ἑ⃳⸋炷⋲ᾳ䚏ⶫ炸炻拵戨㛻⢢檀 dictates of the markings in the stone. Here the shape is probably prompted by the 炷⏓⢢味炸烉8 ⍀䰛 vertical banding on the edges to the narrow sides, positioned slightly off-center ⎋⼹烉 6 㮓䰛 to balance the depiction at the front, which required a fairly large bottle with a ⢢柠⮔烉 25 㮓䰛 continuous, even contour and no foot rim to avoid any visual conflict with the 慵慷烉 66.3 ⃳ ᶵ⏓味炷⮵㕤ᶨẞ忁ᾳ⯢⮠䘬滣䂇⢢Ἦ婔㗗朆ⷠ庽䘬炻婔㖶⬫㌷ powerful vertical and diagonal banding as well as the many larger and smaller ink 元朆ⷠ㤝䶣炸␴ 94.4 ⃳ ⏓味炷味䘬慵慷⯙⶚䴻㗗⢢䘬ᶨ⋲炸 drops. ⑩䚠烉 ⬴伶 Ἦ㸸烉伶⚳╔㱣Ṇⶆ Mary Ann Edmondson Bresee㓞啷炻䉪䅙䘬㓞啷⁊炻㚦㗗 Shape: Bulbous round form ⚳晃ᷕ⚳滣䂇⢢㓞啷⋼㚫㚫⒉ˤ⤡䘬䣾䇞㗗Walter T. Candler炻Asa G. Candler䘬 Hollowing: Superb ⃺⫸炻⎗⎋⎗㦪℔⎠ㆸ䩳Ṣˤ⤡䘬滣䂇⢢㚦⛐the Cummer Museum of Art and Mouth, neck and lip: Short, slightly waisted neck with convex top, extremely small Gardens伶埻棐⍲the Norton Museum of Art伶埻棐⯽↢忶ˤ mouth and slanted lip Base: Oval recessed base with slanted foot rim 㔯䌣㭼庫烉忁ỵ⣏ⷓ䘬⎎ᶨᾳ䚠Ụἄ⑩⎗夳 Moss, Graham, Tsang, Treasury 2, Stopper: Large coral cabochon with a Russian 1912 50 Kopeck (half Ruble) coin as nos. 320–325 ẍ⍲Ἦ冒the Prince Ding Collection, Treasury 2, no. 362, 冯℞Ṿ滣 collar and associated silvered metal spoon 䂇⢢䳬ㆸᶨ䳬㱧䓐奒䌳➪⎵炻炷⛐ᷕ⚳▱⽟㉵岋㉵↢炻1996⸜10㚰21㖍炻 lot Height of the bottle with stopper: 8 cm. 1932) ẍ⍲⎎ᶨẞἮ冒 J & J Collection㚜≈㖶栗䘬ἳ⫸䘣抬ḶMoss, Graham, and Width of the mouth: 6 mm. Tsang 1993, no. 156ˤ⎎⢾⎗⍫侫Moss 1971, nos. 145, 147 (the J&J fish) 冯 148 Width of the neck: 25 mm. 炻⍲Sotheby’s, New York, 22 September 1995, lot 150ˤ怬㚱䵈刚㴖晽䌱橻 炻䚖 Weight: 66.3 grams without stopper (very light for a bottle of this size, due to 抬嘇 211炻 Moss, Graham ␴Tsang 1993 (Stevens 1976, no. 520柼刚㚜䇚忤䛇) ⎗ extreme hollowing) and 94.4 grams with the stopper (the stopper alone weighs 傥㗗↢冒忁ỵ⣏ⷓᷳㇳ炻⽆㈨ⶏẍ⍲⣑ㇵἮ䚳ˤ⎴ᶨ㛔㚠ᷕ䘬No. 521 ḇ⎗傥㗗 about half of the bottle!) Ἦ冒ḶṾˤ怬㚱ᶨẞ䳽⮵㗗忁ỵ⣏ⷓ桐㟤䘬Ἦ冒㶭ᷕ㛇⽉䓐⑩Ḽ䇒漵⌣怬㰺㚱 Condition: Perfect ↢䇰 (Hugh Moss ᾳṢ姀抬). Ḽ䇒漵滣䂇⢢䘬柠悐ḇ⎴㧋㚱叿⽉䓐桐㟤䘬⸛✎怲 Provenance: From the collection of Mary Ann Edmondson Bresee, Georgia, USA, 䶋ˤ忁冯⭀⭞ⶍ⛲↢䓊䘬滣䂇⢢ᶵ⎴炻堐㖶㗗㝸ỵ⡐㇗⣏ⷓ㇨↢炻军⮹㗗Ṿ⛐䘯 avid collector and former member of the International Chinese Snuff Bottle Society. ⭞ⶍ⛲ⶍἄ㛇攻ˤ The bottle seen against the light Her grandfather was Walter T. Candler, son of Asa G. Candler, the founder of the Coca-Cola Company. Her bottles were exhibited both at the Cummer Museum of EstimateġỘ₡ġġEUR 4.000,- Art and Gardens and the Norton Museum of Art. Starting priceġ崟㉵₡ġġEUR 2.000,-

188 189 186 187 A ‘BAMBOO SHOOT’ CHALCEDONY SNUFF BOTTLE, QING DYNASTY A CHALCEDOY ‘BAT, LINGZHI AND PINE’ SNUFF BOTTLE, QING Translucent chalcedony of even honey-brown color DYNASTY China, 1760-1880 Suzhou, School of Zhiting, the stone of superb honey-brown color with some darker inclusions, well-polished surface The almost completely plain bottle incised with a minuscule bamboo shoot China, Qing Dynasty, 18th / 19th Century and carved with two lion mask ring handles in high relief on each shoulder. Old wooden stand with nice openwork carving. This is another masterly carving of the Zhiting School applied to certain standard pictorial elements. There are low relief groups of serrated-edge Shape: Flattened square form with rounded shoulders rocks, ledges with roughly vertically carved rockwork sides, and others Hollowing: Excellent with horizontally serrated rocky sides. The pine trees of this school Mouth, neck and lip: Short cylindric neck with convex top and slanted lip are epitomised here with two trees, one on the frontside high up next Base: Oval base with raised foot rim to the bat, the other on the backside springing from rocks. Both are Stopper: Glass in imitation of coral, green platelet, pearl knob, spoon composed around darker markings in the material used as formalized Height of the bottle with stopper: 6.7 cm. pine-needle-clusters, and the balance between the darker foliage and the Width of the mouth: 7 mm. network of trunk and branches carved from the ground color as usual is Width of the neck: 20 mm. characteristically inspired. Given the use of the natural markings in the Weight: 41.2 grams stone as the foliage, it would be difficult to imagine a more satisfying Condition: Excellent, with two minuscule nibbles to inner lip; the wooden composition of branches and trunk. The carving is completed with a flying stand with remainders of old glue and missing sections to openwork bat and several minuscule lingzhi springing from the rockwork. carving on backside; Provenance: From a Beverly Hills, California, private estate, old collector The hollowing here is well done in that there is a perfectly controlled, number to base evenly profiled, well finished inner oval to hold snuff. But it is not too thinly done, such as in bottles from a few other schools. The foot on this 䌱橻ⶏ晽䪡叱䲳滣䂇⢢炻㶭ẋ example is also typical. Along with thinly hollowed bottles, a protruding ᶵ德㖶䌱橻炻囄墸刚 foot rim was very much the exception with the School of Zhiting. As a ᷕ⚳炻 1760-1880 rule, they were simply flattened and oval in shape.

⢢✳烉㇩⸛㕡⼊炻⚻偑 Shape: Flattened oval shape ㌷元烉⃒䥨 Hollowing: as described above ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⢢⎋堐朊↠↢炻㕄⒯ Mouth, neck and lip: Cylindric neck, flat top, slanted lips and larger ⸽嵛烉㨊⚻⸽檀⚰嵛 mouth ⢢味烉ầ䍲䐂䍣䐫炻䵈刚㈀䇯炻䍵䎈枪炻ⷞ㛻 Base: Flat oval ⢢檀炷⏓⢢味炸烉 6.7 ⍀䰛 Design, marks, school: Suzhou, School of Zhiting ⎋⼹烉7 㮓䰛 Stopper: Old coral cabochon with stepped, gilt and incised bronze ⢢柠⮔烉20 㮓䰛 mounting and good, old spoon 慵慷烉41.2 ⃳ Height of the bottle with stopper: 6.2 cm. ⑩䚠烉⃒䥨炻ℭ⒯㱧ℑ嗽㤝⽖⮷䡽䡘烊㛐⸽⹏ 㚱怢䔁冲先㯜炻側朊掌晽⯨悐 Width of the mouth: 7 mm. 㚱怢⣙ Width of the neck: 14 mm. Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕炻⸽悐⎗夳㓞啷⭞侩㧁䯥 Weight: 44 grams Condition: Excellent with very tiny nibbles to lip and foot EstimateġỘ₡ġġEUR 300,- Provenance: From a Beverly Hills, California, private estate Starting priceġ崟㉵₡ġġEUR 150,- Auction result comparison: SNUFF BOTTLES FROM THE MARY & GEORGE BLOCH COLLECTION: PART VIII. Sotheby’s, 26 MAY 2014, HONG KONG, lot 1094. (for a related suzhou bottle, of similar shape, base and foot, carved from similar chalcedony)

㶭ẋ䌱橻ⶏ晽䤷⢥⺞⸜滣䂇⢢ 喯ⶆ炻剅ṕ㳦炻囄㡽刚䞛炻⯨悐㶙刚刚㰩炻堐朊㉃⃱列⤥ ᷕ⚳炻⋩ℓ军⋩ḅᶾ䲨

⢢✳烉㇩⸛㣕⚮⼊ ㌷元烉列⤥ ⢢⎋ˣ柠冯⒯悐烉ġ䚜柠炻⸛⎋炻㐯⒯炻⮔⎋ ⸽嵛烉⸛㨊⚻⼊ 忈✳ˣ句㫦⍲㳩㳦烉ġ喯ⶆ炻剅ṕ㳦 ⢢味烉ġ戭⳴䍲䐂炻侩㛻 ⢢檀炷⏓⢢味炸烉ķįijġ⍀䰛 ⎋⼹烉ĸġ㮓䰛 ⢢柠⮔烉IJĵġ㮓䰛 慵慷烉ĵĵġ⃳ ⑩䚠烉⃒䥨炻⒯㱧␴嵛悐㚱庽⽖䡽䡘 Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ怢䓊

EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

190 191 188 A SUBLIME ‘RED-TAILED HAWK AND DOG’ CAMEO AGATE SNUFF BOTTLE, QING DYNASTY Translucent stone of light-brown color with a dark-brown, almost black layer carved in very high relief and incised with fine detail, this layer bearing a hue of cinnabar-red cleverly used to enhance the depiction China, 1740-1840

One of the best cameo agates this author has ever handled: A gnarly pine tree springing from craggy rocks, with a hawk hiding in it, his left claw raised and ready for attack. Just a bit further down we see a small dog looking back, confronting the hawk. A thriller captured in stone, where the observer can only speculate on what will happen next…

The carving of this rare subject is as masterly as any known, with crisp and confident control of the medium and imaginative use of the material. The falcon is shown with minuscule detail such as its typical nostril or even the tooth-like process of the bill, both features barely visible to the naked eye, yet clearly present when looked at under a strong magnifying glass. Another important and highly unusual detail is the tail-feather carved from a hue of cinnabar-red, the only inclusion of such color existing in the cameo layer. The carver certainly has planned early in the process to add this red tail feather to the bird, therefore his intention must have been to depict a red-tailed hawk. Interestingly, this bird of prey is native of the Americas only and was unknown in China until the later 18th century, when trade between China and America started to get traction and the first illustrations of native American animals came to China. In any case, its precisely such fine and rare details that make a bottle special, if not unique, details that would have been simply ignored by many an artist.

Shape: Flattened rectangular form with rounded shoulders Hollowing: Superb, with inner contours perfectly matching the shape, 189 and the hollowing going well below the shoulders A CHALCEDONY ‘HAWK AND POEM’ SNUFF BOTTLE, QING Mouth, neck and lip: Short cylindric and sprawling neck with convex DYNASTY top and slanted lip, small mouth The mineral of milky-caramel tone with hues of ochre and a russet Base: Oval base with raised foot rim layer carved in high relief, good surface polish Design, marks, school: Official school China, 1750-1850 Stopper: Agate cabochon, spoon Height of the bottle with stopper: 6.7 cm. Carved and neatly incised to depict a hawk perched on a pine tree and Width of the mouth: 6 mm. a round medallion with a rhyme from the ‘Spring’ poem by Weng Sen, Width of the neck: 16 mm. a poet from the Yuan period, written in 14 character running script. Weight: 49.5 grams The poem: Birds and branches are friends, poems are written from Condition: Very good with only microscopic nibbles at the inner lip falling blossoms and rain. Provenance: From a Beverly Hills, California, private estate The meaning: If you are a happy person, you can be in a good mood, regardless of the situation you are in. 囄䱾䐒䐁ⶏ晽䲭⯦涡冯䉿滣䂇⢢炻㶭ẋ ⋲德㖶㶢墸刚炻㶙墸刚役湹刚䙖㶙㴖晽炻䳘䭨ℍ⽖炻ⶏ⥁⇑䓐㛙䲭刚 Shape: Bulbous square form with rounded shoulders 倴䎮⡆⻢䔓朊曰≽ Hollowing: Excellent Detail of the red-tailed hawk on bottle ᷕ⚳炻 1740-1840 Mouth, neck and lip: Short cylindric neck with convex top and slanted ⢢✳烉 ㇩⸛㕡⼊炻⚻偑 lip ㌷元烉 晐⼊侴ἄ炻偑ᶳ悐䨢⽫ Base: Rectangular base with raised foot rim and rounded corners ⢢⎋ˣ柠冯⒯悐烉 䞕䚜柠炻⢢⎋堐朊↠↢炻㕄⒯炻⮷⎋ Design, marks, school: Official school ⸽嵛烉 㨊⚻檀⚰嵛 Stopper: Coral with stepped bronze mounting, good old spoon 忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ Height of the bottle with stopper: 8.5 cm. ⢢味烉 䐒䐁炻⮷㛻 Width of the mouth: 8 mm. ⢢檀炷⏓⢢味炸烉 6.7 ⍀䰛 Width of the neck: 26 mm. ⎋⼹烉 6 㮓䰛 Weight: 134,8 grams ⢢柠⮔烉 16 㮓䰛 Condition: Excellent 慵慷烉 49.5 ⃳ Provenance: From a Beverly Hills, California, private estate ⑩䚠烉ℭ⒯㱧㤝⽖⮷䡽䡘↎ Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕 䌱橻ⶏ晽多ᶲ㝅柕滣䂇⢢炻㶭ẋ ḛ刚䃎䱾炻⯨悐崕䞛刚檀㴖晽炻堐朊㉃⃱列⤥ EstimateġỘ₡ġġEUR 1.500,- ᷕ⚳炻 1750-1850 A red-tailed hawk in flight Starting priceġ崟㉵₡ġġEUR 750,- ⢢✳烉 㕡⼊⚻偑 ㌷元烉 ⃒䥨 ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⢢⎋堐朊↠↢炻⒯悐㕄↢ ⸽嵛烉 攟㕡⼊檀⚰嵛炻⚻奺 忈✳ˣ句㫦⍲㳩㳦烉 ⭀㕡ⶍ⛲ ⢢味烉 戭䇯⳴䍲䐂炻侩㛻列⤥ ⢢檀炷⏓⢢味炸烉8.5 ⍀䰛 ⎋⼹烉8 㮓䰛 ⢢柠⮔烉26 㮓䰛 慵慷烉134,8 ⃳ ⑩䚠烉⃒䥨 Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

192 193 191 A CARVED SILHOUETTE AGATE ‘GUANDI’ SNUFF BOTTLE, OFFICIAL SCHOOL, 1760-1840 The mineral of a deep honey-brown color, with several dark inclusions cleverly used to enhance the design, outstanding manual polish China, 1760-1840

Incised and carved in light relief to depict Guandi, the god of war, with a sword in his raised right hand. Lion mask ring handles on both narrow sides, carved in high relief. This is a good example of the lower-relief range of partial cameo carvings typical of the school that fall between the standard high-relief type and those known as “silhouette agates” where only a thin sliver of darker color is selected to form the design. The bottle shows particular inventiveness in the use of the varied range of coloring in the stone.

Shape: Flattened square form with rounded shoulders Hollowing: Excellent Mouth, neck and lip: Short cylindric neck with convex top and slanted lip Base: Rectangular base with raised foot rim and rounded corners Design, marks, school: Official school Stopper: Green serpentine on black platelet, good old spoon Height of the bottle with stopper: 6.7 cm. Width of the mouth: 8 mm. Width of the neck: 21 mm. Weight: 66.2 grams Condition: Excellent, with two minuscule nibbles to lip Provenance: From a Beverly Hills, California, private estate, old collector number to base

Literature comparison: For a discussion on the Official School of hardstone carving, see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, Vol. 2, Quartz, no. 258, with numerous examples.

190 Auction result comparison: Important Chinese Snuff Bottles from The J&J A CHALCEDONY ‘CAT AND BUTTERFLY’ SNUFF BOTTLE, QING DYNASTY Collection, Part IV. Christies, New York|22 March 2007, lot 87. (for a very The translucent chalcedony of a chestnut-brown tone with banded darker similar bottle) inclusions, an ochre layer in the mineral carved in high relief, good surface polish ⼙⫸䐒䐁ⶏ晽斄ⷅ滣䂇⢢炻⭀㕡ⶍ⛲, 1760-1840 China, 1750-1850 囄墸刚炻㶙刚倴䎮悐ỵⶏ晽炻堐朊㉃⃱↢刚 ᷕ⚳炻 1760-1840 Humorous depiction of a cat chasing a bat, with serrated ‘suzhou’ style ⢢✳烉㕡⼊㇩⸛炻⚻偑 rockwork in the background, the details to fur, face and paws of the cat neatly ㌷元烉⃒䥨 incised, rendering an overall vivid scene. ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⢢⎋堐朊↠↢炻㕄⒯ ⸽嵛烉㕡⸽炻檀⚰嵛炻⚻奺 Shape: Bulbous square form with rounded shoulders 忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ Hollowing: Excellent ⢢味烉䵈刚噯䲳䞛炻湹刚㈀䇯炻侩 㛻列 ⤥ Mouth, neck and lip: Short cylindric neck with convex top and slanted lips, ⢢檀炷⏓⢢味炸烉6.7 ⍀䰛 small mouth ⎋⼹烉8 㮓䰛 Base: Oval base with raised foot rim ⢢柠⮔烉21 㮓䰛 Design, marks, school: Official school 慵慷烉66.2 ⃳ Stopper: Chalcedony on black platelet with good old spoon ⑩䚠烉⃒䥨炻⒯悐ℑ嗽⽖ᶵ嵛忻⮷䡽䡘 Height of the bottle with stopper: 6.8 cm. Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕炻⸽悐⎗夳㓞啷⭞侩㧁䯥 Width of the mouth: 7 mm. Width of the neck: 22 mm. EstimateġỘ₡ġġEUR 800,- Weight: 84,5 grams Starting priceġ崟㉵₡ġġEUR 400,- Condition: Excellent Provenance: From a Beverly Hills, California, private estate

Auction result comparison: FINE CHINESE ART, Bonham’s, 11 May 2017, LONDON, NEW BOND STREET, lot 285. (for another shadow agate bottle with this subject)

䌱橻ⶏ晽⮷尻㇗圞滣䂇⢢炻㶭ẋ ⋲德㖶䌱橻炻㞿㡽刚炻ⷞ䉨㶙刚倴䎮炻檀㴖晽崕䞛Ⰼ炻堐朊㉃⃱㤝⤥ ᷕ⚳炻 1750-1850 ⢢✳烉㕡⼊⚻偑 ㌷元烉⃒䥨 ⢢⎋ˣ柠冯⒯悐烉䞕柠炻⢢⎋朊↠↢炻⮷⎋ ⸽嵛烉 㨊⚻⸽嵛炻檀⚰嵛 忈✳ˣ句㫦⍲㳩㳦烉 ⭀㕡ⶍ⛲ ⢢味烉䌱橻炻湹刚㈀䇯炻侩 㛻 ⢢檀炷⏓⢢味炸烉6.8 ⍀䰛 ⎋⼹烉7 㮓䰛 ⢢柠⮔烉22 㮓䰛 慵慷烉84,5 ⃳ ⑩䚠烉⃒䥨 Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕

EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

194 195 192 193 AN OVERLAY GLASS ‘POCKET-WATCH’ SNUFF BOTTLE, A RARE CARVED BLUE ‘COIN’ GLASS between China and the United States QIANLONG / JIAQING PERIOD SNUFF BOTTLE, 1796-1830 intensified, the first American trading Transparent glass with flowing hues of bright carmine red, translucent Translucent aquamarine blue glass, carved vessel having arrived in Guangzhou olive-green overlay and neatly incised in deep and high relief in 1785. After the American War of China, 1770-1830 China, Jiaqing to earlier Daoguang period, Independence, the United States accepted 1796-1830 the eight-real coins as their official This particular copy of a European watch is rather unique in the currency. It was not until 1785 that a new snuff-bottle world. It may be surprising, given imperial interest in Deeply and skillfully carved on the American-style silver dollar was approved European watches and clocks from the Kangxi period onwards, that two main sides with the obverse and by congress, but no coins were struck until there are not more imperial snuff bottles of this design from the reverse of a Mexican eight-real coin 1794. American traders to China would earlier eighteenth century, but as a general rule, snuff bottles copying bearing the head of Charles IIII of Spain have been using mostly Mexican dollars watches were made only from the late-Qianlong period onwards, ENCIRCLEDBYTHELEGEND#!2/,53s))) in the early trading years and were almost becoming particularly popular during the nineteenth century. Perhaps SIC s$%)s'2!4)!sANDTHEREVERSE certainly the main impetus behind this new with the court awash with the real thing, there was little incentive to with the Spanish coat of arms, again in type of snuff bottle. create exact copies of them on snuff bottles. good detail, and the continued legend The unusual palette of bright carmine red and olive-green gives the ()30!.s%4).$2%8s-/s2s&s-4HE Shape: Flattened round shape decoration a distinctly European appearance. The numbers shown shoulders, base and neck neatly incised Hollowing: Standard on the dial are roman and range from I – XII, while the hands show with key fret borders. The earliest possible Mouth, neck and lip: Short cylindric neck, three o’clock precisely on both sides. The shoulders are decorated date for this example, for obvious reasons, flat top, slanted lip, wide mouth with neatly carved archaistic lion masks. While it is a remote possibility is 1796, but it is highly unlikely that a coin Base: Small oval and convex base that the present bottle might have been a direct response from the fresh from the mint would find its way Stopper: Rose quartz on black platelet with imperial glassworks to a particular European watch, intended to be into a Chinese lapidary workshop in China good old spoon presented to the court at some point, it could also very well have been in the same year, hence the dating 1796- Height of the bottle with stopper: 6.3 cm. a simple yet clever novelty object for a private audience. 1830. Width of the mouth: 8 mm. The inscription incorrectly reads ‘CAROLUS Width of the neck: 18 mm. Shape: Rounded globular hear shape III’ instead of ‘CAROLUS IIII’, which is Weight: 74.7 grams Hollowing: Standard either the result of an incorrectly minted Condition: Absolutely perfect condition Mouth, neck and lip: Wide mouth, convex top, slanted lip coin having been the model for this Provenance: Hungarian private collection Base: Oval raised foot rim bottle, or of a carver who simply didn’t Design, marks, school: Possibly imperial glassworks Beijing pick up the increase in numbering. The Literature comparison: For further Stopper: Hardstone stopper with spoon latter seems possible, because in 1796 information on the coins copied and the Height of the bottle with stopper: 4.8 cm. a significant number of ‘CAROLUS III’ group in general, see Moss, Graham, and Width of the mouth: 7 mm. bottles had already been produced, and Tsang 1993, page 633, a glass overlay The obverse of a 1796 Mexican Width of the neck: 15 mm. since the two emperors have a strong bottle, and Moss 1971, pp. 75 -- 78, and eight-real coin bearing the head Weight: 28.9 grams resemblance, a carver accustomed to for another example in crystal of similar of Charles IIII of Spain. Condition: One minuscule nibble to the right ear of one of the lion inscribing the “CAROLUS III” legend to form see Stevens 1976, no. 459. In the masks, otherwise absolutely perfect condition earlier bottles may not have noticed the same publication, no. 467 is a crystal bottle Provenance: Hungarian private collection change. Either way, this bottle belongs to with a copy of a Maria Theresa thaler a series depicting the Spanish silver dollar of 1765, a coin that was less frequently Literature comparison: It might simplify matters to separate this bottle which, along with its gold counterpart, copied onto snuff bottles. Another Maria from production destined for imperial uses, however an imperial was standard international currency in Theresa thaler, in aragonite, is illustrated by connection cannot completely be ruled out. A small series of watch- global trading during the 19th century. Lawrence 1996, no. 31. A crystal example form bottles produced in the late Qianlong period and bearing reign Such bottles are usually of rock crystal but of the Charles III coin without the lobed marks proves an imperial interest in the design. A splendid example are also found in other types of quartz, body is illustrated in Jutheau 1980, p. 111, from the Robert and Molly Hsieh Collection is illustrated in The Blair and nephrite, and very rarely, in glass. no. 7, as is another, but copying a Charles Bequest: Chinese Snuff Bottles from the Princeton University Art This excellent example exhibits a faithful IV coin of 1789 is Sin, Hui, and Kwong Museum, Michael Hughes, Baltimore: International Chinese Snuff reproduction of the original coin, including 1996, no. 215, and there is an example Bottle Society, 2002, no. 282; compare also with another example all the text, which would have meant in orange quartz or quartzite, which is an sold at Sotheby’s New York, 23 March 2004, lot 95. nothing to a Chinese lapidary and was alternative but rarer variant to the crystal frequently reduced to mirror images, a examples, in Geng and Zhao 1992, no. Auction result comparison: SNUFF BOTTLES FROM THE MARY AND pastiche, or meaningless squiggles. The 328. GEORGE BLOCH COLLECTION: PART X. Sotheby’s, 1 JUNE 2015, ‘M’ with the distinctive small circle over HONG KONG, lot 113. (for an enameled pocket watch bottle) The it indicates production at the Mexican Auction result comparison: J & J Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part mint. The arrangement of the obverse and COLLECTION OF SNUFF BOTTLES, PART III. Christies, New York, 14 September 2016, lot 410. (for a porcelain reverse of the coin on different sides of the III. Christies, New York, 29 March 2006, pocket watch bottle) IMPORTANT CHINESE SNUFF BOTTLES FROM bottle perfectly suits the Chinese taste for lot 68. (for a glass overlay bottle with the THE J & J COLLECTION. Christies, New York, 30 March 2005, lot 45. panels of decoration. The minuscule yet portrait of Charles the IV) (for a gold and silver inlaid copper pocket watch bottle) clearly visible milled edge of the coin on the present bottle creates the panel frame 份夳啵㕁㴖晽大㕡䠔⸋柕⁷䲳滣䂇 ⣿㕁㆟拞䲳滣䂇⢢炻Ḧ昮/▱ㄞ⸜ and certainly posed a significant challenge ⢢炻1796-1830 德㖶傕傪䲭⛘⣿㧬㪾䵈㕁☐ to the carver. Milled edges on coinage ⋲德㖶啵㕁䍣䐫炻㶙㴖晽 ᷕ⚳炻 1770-1830 were introduced at a time when coins ᷕ⚳炻▱ㄞ-忻⃱㖑㛇炻1796-1830 were made of precious metal, to prevent ⢢✳烉 ㇩⸛ℓ䒋⚻⼊ ⢢✳烉 䎫䉨⽫⼊ the clipping of small amounts of valuable ㌷元烉 夷㔜 ㌷元烉 夷㔜 material from the edges of coins. ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⸛朊⢢⎋炻 ⢢⎋ˣ柠冯⒯悐烉⮔⎋炻⸛朊⢢⎋炻㐯⒯ For a deeper discussion on these coins, ⮔⎋ ⸽嵛烉 㨊⚻⚰嵛 see Moss, Graham, Tsang, A Treasury of ⸽嵛烉 㨊⚻⼊⮷⸛⸽ 忈✳ˣ句㫦⍲㳩㳦烉ㆾ䇚⊿Ṕ⽉墥㕁☐ Chinese Snuff Bottles, vol. 2, Quartz, no. ⢢味烉 䰱㘞炻湹刚㈀䇯炻⼰⤥䘬侩㛻 ⢢味烉 䠔䞛炻⮷㛻 238, where it is noted: Of the known early ⢢檀炷⏓⢢味炸烉 6.3 ⍀䰛 ⢢檀炷⏓⢢味炸烉 4.8 ⍀䰛 coin bottles, almost all of them reproduce ⎋⼹烉 8 㮓䰛 ⎋⼹烉 7 㮓䰛 coins minted in Mexico during the reign of ⢢柠⮔烉 18 㮓䰛 ⢢柠⮔烉 15 㮓䰛 Charles III (1760-1788) or his son Charles 慵慷烉 74.7 ⃳ 慵慷烉 28.9 ⃳ IV (1788-1808). The earliest date noted ⑩䚠烉 ⬴伶 The reverse of a Mexican ⑩䚠烉 䋭椾ᶨ⎛俛㚱庽⽖䡽䡘炻℞Ṿ悐↮ᾅ⬀㤝⤥ so far on one of these coin bottles is 1780 Ἦ㸸烉 ⊰䈁⇑䥩Ṣ㓞啷 eight-real coin bearing Ἦ㸸烉 ⊰䈁⇑䥩Ṣ㓞啷 and the latest 1801, with many examples the Spanish coat of arms. for the years 1789-1798, which coincides EstimateġỘ₡ġġEUR 1.000,- EstimateġỘ₡ġġEUR 800,- almost exactly with the period when Starting priceġ崟㉵₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 400,- commerce

196 197 194 195 196 Shape: Flattened round shape 197 A SANDWICHED PINK GLASS Width of the neck: 9 mm. A SANDWICHED STRAWBERRY- Height of the bottle with stopper: A MILKY WHITE AND PINK Hollowing: Standard A PLAIN RUBY-PINK GLASS SNUFF BOTTLE, 1740-1800 SNUFF BOTTLE, ATTRIBUTED Weight: 29.2 grams PINK GLASS SNUFF BOTTLE, QING 6.8 cm. SANDWICHED GLASS SNUFF Mouth, neck and lip: Sprawling lip The translucent pink glass around the neck gradually fading into a TO THE PALACE WORKSHOPS, Condition: Perfect condition with DYNASTY Width of the mouth: 10 mm. BOTTLE, 1720-1830 with flat top an slanted lip transparent, bubble-suffused ruby-red body, smooth surface polish 1730-1800 only minimal wear, some open Attributed to the Imperial Beijing Width of the neck: 18 mm. Attributed to the Imperial Base: Oval convex base China, 1740-1800 Blown transparent and bubble- bubbles glassworks Weight: 61 grams glassworks, Beijing Design, marks, school: Attributed to suffused glass with a multitude Provenance: From a Beverly Hills, China, 1740-1840 Condition: Very good condition with China, 1720-1830 the Imperial glassworks, Beijing This bottle is a plain example from a range of glass bottles in which we of pink and milky-white hues, California, private estate, old some wear and few tiny nibbles to Stopper: Miniature coral carving of a find the standard ruby color mixed with colorless glass to the point at well-polished surface collector’s label Of flattened disc form with a outer lip The compressed bottle with its flat Buddhist lion on a black platelet which it becomes a pale ruby-pink with a high degree of transparency. China, Beijing, 1730-1800 slightly sprawling neck and a very Provenance: American private narrow sides is accented with dark Height of the bottle with stopper: Glass of this nature is found most often in a series of octagonal bottles 䘥⣦䰱䲭䍣䐫滣䂇⢢炻ㆾ䁢⽉䓐ⶍ large mouth typical for 18th century collection, old number ‘50’ on spoon pink splashes sandwiched between 5.8 cm. decorated with Buddhist emblems and, usually, fish. These can be A lovely bottle where the various ⛲⇞炻1730-1800 imperial glass bottles, the completely two layers of translucent, bubble- Width of the mouth: 15 mm. confidently designated Imperial, dated to the eighteenth century, and color shades and the multitude ḛ䘥刚⣦䰱䲭刚德㖶㲉㲉䍣䐫炻 opaque glass shading from an outer Auction result comparison: The suffused milky white glass. Width of the neck: 5 mm. attributed to the Imperial glassworks. of air bubbles of all sizes 堐朊⃱㹹 layer of milky strawberry color to a Meriem Collection Important With sandwiched pink and white Weight: 30.8 grams altogether create a vivid pattern ᷕ⚳炻⊿Ṕ炻1730-1800 darker-toned underlayer visible at Chinese Snuff Bottles. Christies, New glass, the color comes from Condition: Perfect condition, on Shape: Flattened round shape rarely seen as exciting in pink ⢢✳烉㇩⸛㡐⼊ the lip. York, 19 September 2007, lot 685. powdered ruby glass added between microscopic manufacturing flaw to Hollowing: Standard bottles of this period. ㌷元烉夷㔜炻ℭ⢾⼊橼䘬䳘⽖ⶖ⇍ Sandwiched glass bottles are (for another sandwiched strawberry- two layers of glass, the outer of base Mouth, neck and lip: Cylindric neck with very wide mouth 㗗℠✳㖑㛇⏡⇞䍣䐫䘬㧁⽿ characterized by simple shapes pink glass snuff bottle) which has to be either transparent, Provenance: American private Base: Oval base with neatly raised Shape: Flattened pear shape ⢢⎋ˣ柠冯⒯悐烉柠悐䵲層⢢幘炻 usually blown into a mold, where or at least semi-transparent. collection Design, marks, school: Imperial glassworks, Beijing Hollowing: Standard, the slight 㐯⒯ distinctive colors and textures were 䍓䲭刚㕁⃱䳈滣䂇⢢炻㶭ẋ Sandwiched glass bottles were a Stopper: Green glass stopper differences between the inner ⸽嵛烉㨊⚻⸽檀⚰嵛 created by fusing a layer of brightly ㆾ䇚⊿Ṕ⽉䓐㕁☐ⶍ⛲⇞ popular staple at the Court during Auction result comparison: The Height of the bottle with stopper: 7.1 cm. and outer shape are typical for 忈✳ˣ句㫦⍲㳩㳦烉ㅱ䇚⊿Ṕ⽉ colored or distinctively marked ᷕ⚳炻 1740-1840 the eighteenth century, where Ruth and Carl Barron Collection of Width of the mouth: 9 mm. early blown bottles 墥㕁☐ glass between two plainer colors, similar sandwiched pink glass was Fine Chinese Snuff Bottles: Part VI. Width of the neck: 16 mm. Mouth, neck and lip: Neck ⢢ 味烉曺 慹 䞛炻㛙 䲭 ㈀ 䇯炻渧 奺 the upper one of which must be ⢢✳烉 ㇩⸛⚻⼊ also carved as a series of lotus-petal Christies, New York, 12 September Weight: 46.4 grams succinct to body, with slanted ⼊⮷㛻 transparent to some extent. This ㌷元烉 夷㔜 bottles, such as the example in the 2018, lot 668. J & J COLLECTION OF Condition: Perfect inner and outer lips ⢢檀炷⏓⢢味炸烉 5.5 ⍀䰛 strawberry-pink color was probably ⢢⎋ˣ柠冯⒯悐烉 柠悐漸⣏炻⣏⎋ J & J Collection, illustrated by Moss SNUFF BOTTLES, PART III. Christies, Provenance: American private collection Base: Oval base with raised foot ⎋⼹烉6 㮓䰛 derived from ruby-red glass made at ⸽嵛烉 㨊⚻檀⚰嵛 et. al., The Art of the Chinese Snuff New York, 29 March 2006, lot 79. rim ⢢柠⮔烉9 㮓䰛 the court from the early 18th century 忈✳ˣ句㫦⍲㳩㳦烉 ㆾ䇚⊿Ṕ⽉䓐㕁 Bottle, vol. 2, no. 358, and the bottle (both for similar bottles) Auction result comparison: J & J COLLECTION OF SNUFF BOTTLES, Design, marks, school: Attributed 慵慷烉29.2 ⃳ onwards but mixed with other colors. ☐ⶍ⛲⇞ from the Exstein Collection sold at PART III. Christies, New York, 29 March 2006, lot 63. (compare with a to the Imperial Glassworks ⑩䚠烉⬴伶炻㤝䳘⽖䢐㎵炻ᶨṃ㯋 Ruby-red, and sandwiched pink glass ⢢味烉拵戨剙䲳戭味炻侩㛻列⤥ Christies, 21 March 2002, lot 44. For 䘥⣦䰱䲭䍣䐫滣䂇⢢炻1720-1830 carved version of this type of glass bottles) Beijing 㲉攳⎋ were both popular a court, but this ⢢檀炷⏓⢢味炸烉 6.8 ⍀䰛 further discussion on sandwiched ㅱ䁢⽉墥⑩炻⊿Ṕ Stopper: Lapis cabochon on Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ particular color is extremely rare. ⎋⼹烉 10 㮓䰛 glass and its association with the ᷕ⚳炻 1720-1830 ⮞䞛䲭㕁䳈䍣䐫滣䂇⢢炻1740-1800 cinnabar platelet, old carved 䓊㤕炻⎗夳啷⭞㓞啷㧁䯥 ⢢柠⮔烉 18 㮓䰛 mass production of snuff bottles to ⢢✳烉 ㇩⸛⚻⼊ 柠悐⋲德㖶䰱䲭䍣䐫炻⼨ᶳ徸㻠徨嬲ㆸ德㖶⭮普㯋㲉䲭⮞䞛刚炻堐朊㉃ antler spoon Shape: Flattened disc form 慵慷烉 61 ⃳ be distributed by the Court as gifts ㌷元烉 夷㔜 ⃱㝼␴ Height of the bottle with EstimateġỘ₡ġġEUR 500,- Hollowing: Standard ⑩䚠烉 朆 ⷠ ⤥炻㚱 ṃ ⽖ 䢐 ㎵炻⒯ 悐 ⢾㱧 for various festivals and birthdays ⢢⎋ˣ柠冯⒯悐烉⢢⒯⺞Ỡ炻⸛朊⢢ ᷕ⚳炻 1740-1800 stopper: 5.5 cm. Starting priceġ崟㉵₡ġġEUR 250,- Mouth, neck and lip: Slightly 㚱ṃ姙䡽䡘 each year, see Moss, Graham, ⎋炻㐯 ⒯ ⢢✳烉 ㇩⸛⚻⼊ Width of the mouth: 6 mm. sprawling neck and very large mouth Ἦ㸸烉 伶⚳䥩Ṣ㓞啷炻⮷㛻ᶲ㚱Ⱦ50ȿ Tsang, A Treasury of Chinese Snuff ⸽嵛烉 㨊⚻↠⸽ ㌷元烉 夷㔜 Base: Oval with raised foot rim 㧁嬀 Bottles, vol. 5, Glass, nos. 722-35, 忈✳ˣ句㫦⍲㳩㳦烉ㅱ䇚⽉墥㕁☐炻 ⢢⎋ˣ柠冯⒯悐烉䚜柠炻⮔⎋ Design, marks, school: Attributed to where no. 726 is of similar material ⊿Ṕ ⸽嵛烉 㨊⚻⼊⸽炻檀⚰嵛 the Imperial Beijing glassworks EstimateġỘ₡ġġEUR 500,- to the present example. This color ⢢味烉 䍲䐂⽖晽ἃ䋭炻湹刚㈀䇯 忈✳ˣ句㫦⍲㳩㳦烉⊿Ṕ⽉墥㕁☐ Stopper: Nicely cast and silvered Starting priceġ崟㉵₡ġġEUR 250,- of sandwiched glass was extremely ⢢檀炷⏓⢢味炸烉 5.8 ⍀䰛 ⢢味烉 䵈䍣䐫 bronze stopper with a floral motif popular on a range of plain and ⎋⼹烉 15 㮓䰛 ⢢檀炷⏓⢢味炸烉 7.1 ⍀䰛 and good old spoon carved wares for the Court. This ⢢柠⮔烉 5 㮓䰛 ⎋⼹烉 9 㮓䰛 example is probably an Imperial 慵慷烉 30.8 ⃳ ⢢柠⮔烉 16 㮓䰛 bottle, but such plain wares may ⑩䚠烉 ⬴伶炻⢢⸽䳘⽖墥ἄ仢星 慵慷烉 46.4 ⃳ also have been made privately at Ἦ㸸烉 伶⚳䥩Ṣ㓞啷 ⑩䚠烉 ⬴伶 the same time, inhibiting a firm Ἦ㸸烉 伶⚳䥩Ṣ㓞啷 attribution. EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,- EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

198 199 198 A RUBY-RED IMPERIAL GLASS SNUFF BOTTLE, QIANLONG MARK AND PERIOD Transparent deep ruby-red glass of rare, elongated shape China, 1736-1795

The slender and elegant bottle with a waisted body and neatly incised and gold-filled four-character Qianlong mark in running script at the base. Matching stopper with superbly carved spoon of organic material, showing a good patina, the top carved of apple green jade in Beijing style with a miniature knob on top. Once put in place, the spoon is well visible from the outside and sits exactly were the body is waisted, cleverly enhancing the overall appearance of this bottle.

Shape: Elongated and waisted cylindric shape Hollowing: Standard Mouth, neck and lip: Cylindric neck with flat top and deep cylindric mouth Base: Flat oval base Design, marks, school: Imperial glass workshops, Beijing Stopper: See description above, black onyx platelet Height of the bottle with stopper: 10.4 cm. Width of the mouth: 7 mm. Width of the neck: 13 mm. Weight: 36.1 grams Condition: Perfect condition with only minimal wear Provenance: From a Beverly Hills, California, private estate

Auction result comparison: The Imperial Sale. Christies, Hong Kong, 29 May 2007, lot 1407. (for another ruby-red glass bottle, bearing a similarly incised mark, with carved decor)

⮞䞛䲭㕁䍣䐫滣䂇⢢炻Ḧ昮㫦⍲⸜ẋ 德㖶㶙⮞䞛䲭䍣䐫炻份夳䘬䳘攟⼊ ᷕ⚳炻 1736-1795 ⢢✳烉䳘攟炻㔪儡 ㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉⚻㞙⼊柠悐炻⸛⎋炻㶙⚻㞙⼊⎋ ⸽嵛烉㨊⚻⸽ 忈✳ˣ句㫦⍲㳩㳦烉⊿Ṕ⽉䓐ⶍ⛲ ⢢味烉湹刚仇䍃䐁㈀䇯 ⢢檀炷⏓⢢味炸烉10.4 ⍀䰛 ⎋⼹烉7 㮓䰛 ⢢柠⮔烉13 㮓䰛 慵慷烉36.1 ⃳ ⑩䚠烉⬴伶 炻㤝 䳘 ⽖ 䢐 ㎵ Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕

EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

200 201 201 A GOLDEN-YELLOW ‘AMBER’ GLASS SNUFF BOTTLE, PROBABLY IMPERIAL, QING DYNASTY Translucent, almost flawless glass of intense, egg-yolk amber color China, 1727-1800

Imperial yellow glass was a staple at the Imperial glassworks from the late Kangxi period onwards, being mentioned as early as 1702 in contemporary sources. Several varieties of yellow were used simultaneously. This is an example of the deep, rich, egg-yolk color. Generally, yellow glass occurs rarely as an undecorated monochrome such as this. Among the roughly thirty glass colors mentioned in the Yongzheng era Zaobanchu archives is liang huang, ‘transparent yellow’. Another passage in the same archives, from 1727, refers to a transparent (touming) yellow glass, saying it strongly resembles amber and can be substituted for those more expensive materials in the making of various articles. This passage confirm that ‘transparent yellow’ glass was being produced by 1727.

Shape: Flattened oval shape Hollowing: Standard Mouth, neck and lip: Short cylindric neck with very large mouth, typical for 18th century Imperial bottles Base: Oval base with raised foot rim, neatly executed Design, marks, school: Attributed to the Imperial Glassworks Beijing Stopper: White jadeite with splashes of intense emerald green, well carved old spoon Height of the bottle with stopper: 6.8 cm. Width of the mouth: 9 mm. Width of the neck: 14 mm. Weight: 45.1 Condition: Perfect condition with only minimal wear Provenance: From a Beverly Hills, California, private estate (old 199 200 collector’s label to base) AN EMERALD-GREEN GLASS SNUFF BOTTLE, QING DYNASTY A LIME-GREEN GLASS SNUFF Height of the bottle with Transparent glass of rich green color with very few minuscule bubbles BOTTLE, QING DYNASTY stopper: 5.9 cm. Literature comparison: Zhao Ruzheng in Jian Bian Bi Yan Hu illustrates China, 18th – 19th century Transparent glass of slightly iridescent Width of the mouth: 6 mm. a very similar yellow glass flattened rounded bottle, p. 35, no. 19. luster and intense lime-green color, Width of the neck: 17 mm. Compare the two glass bottles in the Palace Museum, Beijing, One single feature of this bottle suggests an Imperial connection: The only very few microscopic bubbles, Weight: 59.7 gramsġ of similar yellow color, but of different shapes, illustrated in The emerald-green glass is almost completely free from internal air bubbles well-polished surface Condition: Perfect condition with Complete Collection of the Palace Museum - Snuff Bottles, vol. 47, or other flaws, making it one of the purest monochrome glass bottles. China, 18th – 19th century only minimal wear Hong Kong, 2003, pp. 67-8, nos. 105-6. Close examination with a powerful magnifying glass reveals but a few Provenance: From a Beverly Hills, scattered, minute air bubbles that are hardly visible the naked eye. The distinctive pale color seems to California, private estate Auction result comparison: SNUFF BOTTLES FROM THE MARY AND have been a Qianlong innovation, GEORGE BLOCH COLLECTION: PART VI. Sotheby’s, 27 MAY 2013, Shape: Rectangular with rounded shoulders although it may have its origins in the Literature comparison: The Hope HONG KONG, lot 157. (for a similar bottle) IMPORTANT CHINESE SNUFF Hollowing: Standard, the inner contours well matching the outer color of a small Yongzheng-marked Danby Collection, S. Marchant & BOTTLES FROM THE J&J COLLECTION. Christies, Hong Kong, 25 April shape cup from the Hope Danby Collection Son. 1999, no. 1. Hugh Moss, Victor 2004, lot 803. (for a similar bottle) Mouth, neck and lip: Cylindric neck, convex top, small mouth (S. Marchant & Son. 1999, no. 1). Graham and Ka Bo Tsang, A Treasury Base: Proportionally quite large, oval base with broad raised foot rim The color is related to a group of of Chinese Snuff Bottles: The Mary ⪴湫㕁⃱䳈滣䂇⢢炻ㆾ⽉墥炻㶭ẋ Stopper: Transparent glass cabochon with old spoon imperial bottles carved from solid and George Bloch Collection, vol. 5, ⋲德㖶炻⸦᷶⬴伶䘬噳湫䏍䍨刚 Height of the bottle with stopper: 5.8 cm. blocks of glass, which mostly come Hong Kong, 2002, no. 697. ᷕ⚳炻 1727-1800 Width of the mouth: 5 mm. in beryl-green or aquamarine-blue ⢢✳烉 ㇩⸛㨊⚻⼊ Width of the neck: 13 mm. and seem to have been inspired by Auction result comparison: SNUFF ㌷元烉 夷㔜 Weight: 28.3 grams those two semi-precious stones. The BOTTLES FROM THE MARY AND ⢢⎋ˣ柠冯⒯悐烉䞕柠炻⢢⎋㤝⣏炻℠✳䘬⋩ℓᶾ䲨⽉墥滣䂇⢢ Condition: Good condition with few tiny nibbles to lip and one present bottle, while a trifle more GEORGE BLOCH COLLECTION: PART ⸽嵛烉㨊⚻⸽炻檀⚰嵛炻↯√㔜滲 microscopic nibble to foot yellow than the solid-block group, X. Sotheby’s, 01 JUNE 2015, HONG 忈✳ˣ句㫦⍲㳩㳦烉ㆾ䇚⊿Ṕ⽉墥ⶍ⛲ Provenance: From a Beverly Hills, California, private estate (old is from the same general range of KONG, lot 41. (for a similar bottle) ⢢味烉 䘥侉侈桬䵈炻晽⇣䱦䶣䘬⢢㛻 collector’s label to base) colors. Since the solid-block carvings ⢢檀炷⏓⢢味炸烉6.8 ⍀䰛 appear to be from the mid-Qing, this 㶢曺㩠㕁⃱䳈滣䂇⢢炻㶭ẋ ⎋⼹烉9 㮓䰛 Auction result comparison: CHINESE ART. Sotheby’s, 01 JUNE 2017 may also be ascribed to that period. 德㖶曺㩠刚䔍ⷞ嘡⼑⃱㽌䍣䐫炻㤝⮹ ⢢柠⮔烉14 㮓䰛 - 02 JUNE 2017, HONG KONG, lot 503. (for a related bottle) SNUFF The glassblower has matched his 㯋㲉炻堐朊⃱㹹 慵慷烉45.1 BOTTLES FROM THE MARY & GEORGE BLOCH COLLECTION: PART IX. inner bubble very carefully to the ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 ⑩䚠烉⬴伶炻㤝℞䳘⽖⸜ẋ䕽嶉 Sotheby’s, 24 NOVEMBER 2014, HONG KONG, lot 109. (for a related outer form, compromising only at the ⢢✳烉⚻䎫⼊ Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕 炻⎗ 夳 啷 ⭞ 㓞 啷 㧁 䯥 bottle, with an Imperial mark) shoulders close to the neck, where ㌷元烉夷㔜炻晐⢢幓⼊䉨ㆸ⼊ the bubble, to remain natural, must ⢢⎋ˣ柠冯⒯悐烉䞕柠炻⮷⎋炻㐯⒯ EstimateġỘ₡ġġEUR 600,- ⮞䞛䵈㕁⃱䳈滣䂇⢢炻㶭ẋ be constricted by the narrow neck. ⸽嵛烉㨊⚻⸽ Starting priceġ崟㉵₡ġġEUR 300,- 德㖶⮞䞛䵈㕁䍣䐫炻䳘⽖㯋㲉 ⢢味烉㔹楩䵈䌱炻㚱㨇㛸㕁㈀䇯炻戨 㛻 ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 Shape: Bulbous round form ⢢檀炷⏓⢢味炸烉5,9 ⍀䰛 ⢢✳烉攟⼊⚻偑 Hollowing: Standard, well-matching ⎋⼹烉ġ6 㮓䰛 ㌷元烉夷㔜炻晐⢢幓⼊䉨ㆸ⼊ the overall shape ⢢柠⮔烉17 㮓䰛 ⢢⎋ˣ柠冯⒯悐烉䚜柠炻⢢⎋↠↢炻⮷⎋ Mouth, neck and lip: Short cylindric 慵慷烉ġ59,7 ⃳ ⸽嵛烉㭼ἳ䚠⮵庫⣏炻㨊⚻⸽嵛炻檀⚰嵛 neck with small mouth and slanted ⑩䚠烉⬴伶炻堡㚱ṃ⽖䢐㎵ ⢢味烉德㖶䍣䐫炻侩㛻 lip Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕 ⢢檀炷⏓⢢味炸烉 5.8 ⍀䰛 Base: Flat oval base ⎋⼹烉5 㮓䰛 Stopper: Mottled green jade with EstimateġỘ₡ġġEUR 500,- ⢢柠⮔烉13 㮓䰛 organic platelet and silver spoon Starting priceġ崟㉵₡ġġEUR 250,- 慵慷烉28.3 ⃳ ⑩䚠烉列⤥炻⒯悐㚱䳘⽖䡽䡘炻嵛悐㚱ᶨ㡅䳘䷓ Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕炻⎗夳啷⭞㓞啷㧁䯥

EstimateġỘ₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 150,-

202 203 204 A PALE-YELLOW GLASS ‘ARCHAISTIC’ SNUFF BOTTLE, MID QING DYNASTY Attributed to the Imperial glassworks, Beijing China, 18th – early 19th century

Opaque glass of even, pale yellow color with a concave lip and recessed, oval foot surrounded by a protruding convex foot rim. Carved in high relief with a continuous formalized archaistic design showing two taotie masks in oval reserves with plain narrow sides. The edges of the carving have been skillfully rounded and polished so that the surface renders an overall smooth touch.

The paler range of imperial yellows is discussed under Treasury 5, no. 797, where its apparently early use is mentioned. All bottles from this group can be dated to no later than the mid-Qing period and show a fairly wide range of yellow glass to have been produced concurrently at court. Although pale yellow may have been available during the first half of the eighteenth century, with the evidence of this bottle we may be sure it continued to be used in the mid- century, alongside the darker color. in this example the taotie masks are decorated with tassels in the shape of stylized lingzhi at the lower end - a slightly humoristic and purely Qianlong departure from ancient style. Mid-eighteenth-century palace artists were particularly inventive in their contribution to archaism.

Shape: Rounded rectangular Hollowing: Standard Mouth, neck and lip: Short sprawling neck with slated lip and small mouth 202 203 Base: Oval with raised and slanted foot rim A MILKY-WHITE GLASS SNUFF BOTTLE, QING DYNASTY A PLAIN CARAMEL GLASS SNUFF BOTTLE, 1760-1860 Stopper: Stained coral on a green platelet made from organic Opaque white glass with excellent surface polish Opaque caramel glass of elegant shape and with a well-polished surface material China, 18th – 19th century China, 1760-1860 Height of the bottle with stopper: 7.2 cm. Width of the mouth: 4 mm. The body of the bottle is blown, while a lapidary has cut the concave This type of bottle typically dates from the last quarter of the 18th century Width of the neck: 16 mm. foot, detailed mouth and lip, and polished the exterior. Unusually for to the first quarter of the 19th century and seems to have been originally Weight: 62.8 grams a blown bottle, there are no air bubbles detectable here, even with designed to be either decorated in Guyue Xuan enamels or embellished with Condition: Perfect a strong light and magnifying glass. It is a piece of glass as pure and carved overlay. This small yet strikingly elegant example, however, was left Provenance: American private collection flawless as one can possibly imagine. undecorated and would certainly have rendered a fantastic workpiece for skilled enamel artists of the 20th century such as Ye Bengqi. Auction result comparison: FINE ASIAN WORKS OF ART, Shape: Flat rectangular form with rounded shoulders JUNE 21, 2006, Bonham’s, SAN FRANCISCO, lot 3114. Hollowing: Standard Shape: Sprawling cylinder shape (compare with a related bottle, dated to the 19th century) Mouth, neck and lip: Cylindric broad neck with slanted inner and outer Hollowing: Standard lips and small mouth, quite deep inner cylinder Mouth, neck and lip: Short sprawling neck with convex top, small mouth and 湫䍣䐫ầ⎌滣䂇⢢炻㶭ẋᷕ㛇 Base: Oval base with raised foot rim slanted lip ㅱ䇚⽉墥㕁☐炻⊿Ṕ Stopper: Agate cabochon on black platelet with good old carved Base: Recessed round base with thin raised foot rim ᷕ⚳炻 ⋩ℓᶾ䲨军⋩ḅᶾ䲨⇅ spoon Stopper: Beijing school glass stopper imitating coral ⢢✳烉㇩⸛㨊⚻⼊ Height of the bottle with stopper: 7.6 cm. Height of the bottle with stopper: 6.2 cm. ㌷元烉夷㔜 Width of the mouth: 6 mm. Width of the mouth: 5 mm. ⢢⎋ˣ柠冯⒯悐烉䞕⮔柠炻㐯⒯炻⮷⎋ Width of the neck: 18 mm. Width of the neck: 13 mm. ⸽嵛烉㨊⚻⼊⚰嵛⢾㐯 Weight: 45.9 grams Weight: 23.3 grams ⢢味烉㝻刚䍲䐂炻䵈刚㚱㨇㛸㕁㈀䇯 Condition: Perfect condition with only minimal wear Condition: Perfect ⢢檀炷⏓⢢味炸烉7.2 ⍀䰛 Provenance: From a Beverly Hills, California, private estate Provenance: American private collection ⎋⼹烉4 㮓䰛 ⢢柠⮔烉16 㮓䰛 Auction result comparison: SNUFF BOTTLES FROM THE MARY AND Auction result comparison: Fine Chinese Ceramics and Works of Art Part I. 慵慷烉62.8 GEORGE BLOCH COLLECTION: PART X. Sotheby’s, 01 JUNE 2015, Christies, New York, 13 - 14 September 2012, lot 1152. (compare with a Guyue ⑩䚠烉⬴伶 HONG KONG, lot 115. (for a related bottle) Xuan bottle of similar size, shape and color) Ἦ㸸烉伶⚳䥩Ṣ㓞啷

㴭䘥䍣䐫⃱䳈滣䂇⢢炻㶭ẋ 䃎䱾刚䳈䍣䐫滣䂇⢢炻1760-1860 EstimateġỘ₡ġġEUR 500,- 㴭䘥䍣䐫炻堐朊䱦ⶍ㉃⃱ ᶵ德㖶䃎䱾刚䍣䐫炻⼊⺷檀晭炻堐朊䱦ⶍ㉃⃱ Starting priceġ崟㉵₡ġġEUR 250,- ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 ᷕ⚳炻 1760-1860 ⢢✳烉攟㇩⼊炻⚻偑 ⢢✳烉㔜橼䁢⮯幵仸⼊ ㌷元烉夷㔜 ㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉⮔䚜柠炻㐯⒯炻⮷⎋炻⚻䫺ℭ㤝㶙 ⢢⎋ˣ柠冯⒯悐烉䞕⮔柠炻⸛朊⢢⎋炻⮷⎋炻㐯⒯ ⸽嵛烉㨊⚻⸽炻檀⚰嵛 ⸽嵛烉⚻⼊↡⸽炻⚰嵛⢾㐯 ⢢味烉䐒䐁炻湹刚㈀䇯炻⮷ 㛻 晽 ⇣ 䳘 䶣 ⢢味烉ầ䍲䐂⊿Ṕ䍣䐫味 ⢢檀炷⏓⢢味炸烉 7.6 ⍀䰛 ⢢檀炷⏓⢢味炸烉 6.2 ⍀䰛 ⎋⼹烉6 㮓䰛 ⎋⼹烉5 㮓䰛 ⢢柠⮔烉18 㮓䰛 ⢢柠⮔烉13 㮓䰛 慵慷烉45.9 ⃳ 慵慷烉23.3 ⃳ ⑩䚠烉⬴伶炻朆ⷠ䳘⽖䘬䢐㎵ ⑩䚠烉⬴伶 Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕 Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 300,- EstimateġỘ₡ġġEUR 400,- Starting priceġ崟㉵₡ġġEUR 150,- Starting priceġ崟㉵₡ġġEUR 200,-

204 205 205 A CARVED BLUE AND PINK DOUBLE OVERLAY ‘CHILONG AND COIN’ GLASS SNUFF BOTTLE Opaque white glass with dusky-pink and sapphire-blue double overlay, carved and incised in deep and high relief China, 1780-1860

On one side with a chilong and coin above a cloud of smoke rising from rockwork, with a flying bat and lingzhi fungus next to it, the reverse with a crane and two bats next to the three-legged toad exhausting a stream of vapor with a small hut on top. The shoulders with mock ring handles. All carved in high relief above a neatly incised wave pattern. Both the incised wave ground and the almost invisible second layer of pink overlay are quite rare features. The rather unusual idea of mostly hiding the pink overlay, thus leaving it only to subtly add a third dimension to the scene, has not yet been discussed in the snuff bottle literature at all, at least not to the knowledge of this author. It may well be that this spectacular effect was so difficult to create that it prohibited the carvers from producing a larger quantity of this type of bottle, thus restricting the number of bottles remaining in collections today to only a few, if not just this one example.

Shape: Oval flattened Hollowing: Standard Mouth, neck and lip: Sprawling neck with small mouth, convex top and slanted lip Base: Broad flattened oval foot rim consisting of blue overlay, emerging from rockwork around the base Design, marks, school: Possibly Imperial glassworks, Beijing Stopper: Moonstone cabochon Height of the bottle with stopper: 7.1 cm. Width of the mouth: 5 mm. Width of the neck: 14 mm. 206. 207 Weight:41.3 grams A BLUE OVERLAY ‘ARCHAISTIC CHILONG’ GLASS SNUFF BOTTLE, 18TH A YANGZHOU SCHOOL ‘FIVE BATS’ GLASS OVERLAY SNUFF Condition: Absolutely perfect; some small air bubbles CENTURY BOTTLE, 19TH CENTURY Provenance: From the collection of Mary Ann Edmondson Bresee, Opaque sky-blue overlay on opaque white ground, carved in high relief and Cinnabar-red overlay on opaque turquoise-blue glass, carved in light Georgia, USA, avid collector and former member of the International incised relief, with neatly incised details Chinese Snuff Bottle Society. Her grandfather was Walter T. Candler, China, 18th century China, Yangzhou, 19th century son of Asa G. Candler, the founder of the Coca-Cola Company. Her bottles were exhibited both at the Cummer Museum of Art and A rather unusual, early bottle, with an archaistic circumferential design Both sides show five bats surrounding the shou sign in the center. A Gardens and the Norton Museum of Art. depicting two chilong on each side, surrounded by various key fret borders. fairly good sign of the quality of this bottle is the reasonable control of the overlay color on the foot rim, which, while appearing almost 㴭䘥⛘⣿䲭啵暁刚㕁坕漵拊⸋䲳滣䂇⢢ Shape: Flattened pear shape faultless on the outside, ‘bleeds’ into the foot inside. The composition 㴭䘥⛘㕁⣿䰱曆刚⍲⮞䞛啵暁刚㕁炻㶙㴖晽 Hollowing: Standard is well balanced and powerful, with confident use of a strong contrast ᷕ⚳炻 1780-1860 Mouth, neck and lip: Cylindric, slightly sprawling neck, with very large mouth in colors. ⢢✳烉 㨊⚻㇩⸛⼊ Base: Oval with raised foot rim ㌷元烉 夷㔜 Stopper: Honey colored agate with black platelet and good, old spoon Shape: Flattened oval ⢢⎋ˣ柠冯⒯悐烉⮔柠炻⮷⎋炻⸛朊⢢⎋炻㐯⒯ Height of the bottle with stopper: 7.5 cm. Hollowing: Standard ⸽嵛烉 ⮔⣏䘬㇩⸛㨊⚻⼊⸛嵛炻啵㕁央味炻⛐⸽悐␐⚵ⱑ䞛ᷕ曚↢ Width of the mouth: 6 mm. Mouth, neck and lip: Slightly sprawling, elongated neck with slanted 忈✳ˣ句㫦⍲㳩㳦烉ㆾ䇚⽉墥⑩炻⊿Ṕ Width of the neck: 10 mm. lip and very large mouth ⢢味烉 噳䘥䞛ㆺ朊 Weight: 30.8 grams Base: Oval with raised thin foot rim ⢢檀炷⏓⢢味炸烉 7.1 ⍀䰛 Condition: Very good with some microscopic nibbling to lip, possibly from Stopper: Agate cabochon on black platelet ⎋⼹烉 5 㮓䰛 manufacturing Height of the bottle with stopper: 6.6 cm. ⢢柠⮔烉 14 㮓䰛 Provenance: Sotheby Parke Bernet, New York, April 1975, by repute, thereafter Width of the mouth: 7 mm. 慵慷烉41.3 ⃳ American private collection Width of the neck: 12 mm. ⑩䚠烉 䳽⮵⬴伶⑩䚠炻㕁ℭ⎗夳ᶨṃ⮷㯋㲉 Weight: 25.6 cm Ἦ㸸烉 伶⚳╔㱣Ṇⶆ Mary Ann Edmondson Bresee㓞啷炻䉪䅙䘬 㴭䘥⛘⣿⣑啵㕁坕漵滣䂇⢢炻⋩ℓᶾ䲨 Condition: Perfect 㓞啷⁊炻㚦㗗⚳晃ᷕ⚳滣䂇⢢㓞啷⋼㚫㚫⒉ˤ⤡䘬䣾䇞㗗Walter T. 㴭䘥⛘⣿ᶵ德㖶⣑啵刚㕁䍣䐫炻㶙㴖晽炻䳘䭨ℍ⽖ Provenance: American private collection Candler炻Asa G. Candler䘬⃺⫸炻⎗⎋⎗㦪℔⎠ㆸ䩳Ṣˤ⤡ 䘬 滣 䂇 ⢢ ᷕ⚳炻 ⋩ℓᶾ䲨 㚦⛐the Cummer Museum of Art and Gardens伶埻棐⍲the Norton ⢢✳烉 ㇩⸛㡐⼊ Auction result comparison: SNUFF BOTTLES FROM THE MARY AND Museum of Art伶埻棐⯽↢忶 ㌷元烉 夷㔜 GEORGE BLOCH COLLECTION ⢢⎋ˣ柠冯⒯悐烉䚜䫺⮔柠炻⢢⎋㤝⣏ Part V. Bonham’s, 27 May 2012, Hong Kong, lot 59. (compare with a EstimateġỘ₡ġġEUR 800,- ⸽嵛烉 㨊⚻⼊⚰嵛 bottle from the same group, showing a ‘Zhong Kui’ motif) Starting priceġ崟㉵₡ġġEUR 400,- ⢢味烉 囄刚䐒䐁炻湹刚㈀䇯炻侩 㛻 ᾅ ⬀列 ⤥ ⢢檀炷⏓⢢味炸烉 7.5 ⍀䰛 ㎂ⶆḼ䤷⣿㕁䍣䐫滣䂇⢢炻⋩ḅᶾ䲨 ⎋⼹烉 6 㮓䰛 䵈㜦䞛啵刚⛘⣿㛙䲭㕁炻䳘䭨ℍ⽖ ⢢柠⮔烉 10 㮓䰛 ᷕ⚳炻 ㎂ⶆ炻⋩ḅᶾ䲨 慵慷烉 30.8 ⃳ ⢢✳烉 ㇩⸛㨊⚻⼊ ⑩䚠烉 㤝⤥炻⒯悐㚱䳘⽖䡽㎵炻⎗傥㗗墥ἄ仢星 ㌷元烉 夷㔜 Ἦ㸸烉 喯⭴㭼Parke Bernet炻䲸 䲬炻1975⸜4㚰炻ᷳ⼴伶⚳䥩Ṣ㓞啷 ⢢ ⎋ˣ柠 冯 ⒯ 悐烉柠 悐 䳘 攟 ⢾ 㐯炻㐯 ⒯炻⮔ ⎋ ⸽嵛烉 㨊⚻⼊㶢⚰嵛 EstimateġỘ₡ġġEUR 300,- ⢢味烉䐒䐁味炻湹刚㈀䇯 Starting priceġ崟㉵₡ġġEUR 150,- ⢢檀炷⏓⢢味炸烉 6.6 ⍀䰛 ⎋⼹烉7 㮓䰛 ⢢柠⮔烉12 㮓䰛 慵慷烉25.6 cm ⑩䚠烉⬴伶 Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

206 207 208 209 A VERY RARE RED AND BLUE OVERLAY ‘FLASHED’ A THREE-COLOR OVERLAY ‘PEONY AND LOTUS’ GLASS YELLOW GLASS SNUFF BOTTLE, 1770-1830 SNUFF BOTTLE, 1760-1810 Sapphire-blue, lemon-yellow and cinnabar-red overlays carved Transparent glass with transparent overlays, carved in high in high relief on a yellow flashed ground, with neatly incised relief detail work China, 1760-1810 China, 1770-1830 Of compressed ovoid form with flat, slightly convex lip and The circumferential design shows pomegranates, finger citrus, recessed foot surrounded by a sapphire-blue foot rim, both peaches surrounded by their leafy stems, with two large bats sides carved with a peony blossom in reddish-pink, above on the shoulders. The mouth is very large, pointing towards an lotus flowers with their stems and leaves in pale green, eighteenth-century bottle. The various glass filaments in the carved in almost incredible fine detail, both through and back ground, the furiously dispersed glass bubbles, the foot within the overlay, all against the bubble-suffused ground. rim being formed of leaves and branches, which are part of This bottle is part of a group of late Qianlong bottles with the design, further strengthen this dating approach. heavily bubbled grounds, and bright, multi-colored overlays. This bottle is a very rare example of Chinese flashed glass, Certain groups of these mid-Qing glass bottles have been where a thin layer of color is added to the colorless glass, attributed to the Xin or Le family of glass carvers. They are giving the impression that the entire ground is yellow. This mentioned by nineteenth-century snuff connoisseur Zhao rarely-used technique was usually confined to monochrome Zhiqian in his Yonglu xianjie where he writes that these wares, nearly always of ruby-red color. In the present example, families were famous during the Qianlong period. The Xin the flashing didn’t succeed completely, leaving numerous glass family overlays according to Zhao Zhiqian, “are the most filaments in the background. It is extremely rare to find it as cleanly done, and, as their colors are made out of crushed the ground for a cameo overlay carving, and its combination gems, the luster dazzles the eye”. The Le family overlays, on with this rare multicolor overlay appears to be almost unique. the other hand, “have a lotus powder ground as white as frozen snow. The way the colors are arranged is also quite Shape: Flattened oval shape extraordinary, with red, purple, sky-blue, and kingfisher-blue Hollowing: Standard alternating one with the other in a natural fashion.” Mouth, neck and lip: Short cylindric neck succinct to body, very large mouth, slanted lip Shape: Compressed ovoid form Base: Foot rim consisting of carved stems and leaves in high Hollowing: Standard relief Mouth, neck and lip: Neck succinct o body, with very wide Stopper: Beijing style stopper carved of red glass in imitation mouth and slanted lip of coral (minimal chips) Base: Oval with raised foot rim Height of the bottle with stopper: 6.8 cm. Design, marks, school: Possibly Ye or Xin family of glass Width of the mouth: 9 mm. carvers Width of the neck: 14 mm. Stopper: Very nice old stopper made of bronze, coral and Weight: 53.4 grams pearl, no spoon Condition: Very good condition with possibly some minuscule Height of the bottle with stopper: 7.1 cm. nibbling, but hard to say whether these are original to the Width of the mouth: 8 mm. bottle or not Width of the neck: 11 mm. Provenance: American private collection Weight: 42.5 Condition: Perfect condition, with possibly some microscopic Literature comparison: See Christie’s, Hong Kong, 1 November nibbling due to open bubbles or manufacturing flaws 1994, lot 1215 for an example of a ‘flashed’ reddish-pink glass Provenance: American private collection snuff bottle. Auction result comparison: The Meriem Collection Important Auction result comparison: The Meriem Collection Important Chinese Snuff Bottles. Christies, New York, 19 September Chinese Snuff Bottles. Christies, New York, 19 September 2007, lot 638. (for a similar bottle) 2007, lot 646. (for another ‘flashed’ glass overlay snuff bottle) 䈉ᷡ咖剙暒⛘ᶱ刚⣿㕁䍣䐫滣䂇⢢炻1760-1810 朆ⷠ份夳䘬檖䴚䲳湫⛘⣿䲭啵㕁滣䂇⢢炻1770-1830 德㖶䍣䐫炻德㖶⣿㕁炻㶙㴖晽 湫⛘䍣䐫ᶲ⣿⮞䞛啵炻㩠㩔湫⍲㛙䲭䍣䐫炻䳘䭨䱦䶣 ᷕ⚳炻1760-1810 ᷕ⚳炻 1770-1830 ⢢✳烉⡻䷖⌝⼊ ⢢✳烉 ㇩⸛㨊⚻⼊ ㌷元烉夷㔜 ㌷元烉 夷㔜 ⢢⎋ˣ柠冯⒯悐烉柠悐䯉㻼炻⮔⎋炻㐯⒯ ⢢ ⎋ˣ柠 冯 ⒯ 悐烉䞕 䚜 柠炻⺞ Ỡ 军 ⢢ 橼炻⎋ 㤝 ⣏炻㐯 ⒯ ⸽嵛烉㨊⚻⼊⚰嵛 ⸽嵛烉 ⸽嵛⣿㴖晽⌟叱䲳 忈✳ˣ句㫦⍲㳩㳦烉⎗傥䁢叱㮷ㆾ彃㮷㕁☐滣䂇⢢⭞㕷 ⢢味烉 ⊿Ṕ桐㟤ầ䍲䐂䲭䍣䐫 炷䳘⮷䡽㎵炸 ⢢味烉朆ⷠ䱦伶䘬䓙曺戭ˣ䍲䐂⍲䍵䎈墥ㆸ䘬侩味炻䃉㛻 ⢢檀炷⏓⢢味炸烉 6.8 ⍀䰛 ⢢檀炷⏓⢢味炸烉 7.1 ⍀䰛 ⎋⼹烉 9 㮓䰛 ⎋⼹烉8 㮓䰛 ⢢柠⮔烉 14 㮓䰛 ⢢柠⮔烉11 㮓䰛 慵慷烉 53.4 ⃳ 慵慷烉42.5 ⑩䚠烉 㤝⤥炻㚱⸦嗽⽖ᶵ嵛忻䘬䡽㎵炻⼰暋婔㗗⏎㗗㬌⢢⍇ⷞ ⑩䚠烉⬴伶炻㚱ṃ姙⚈䇚㯋㲉䶋㓭↢䎦䘬墥ἄ仢星⍲䡽䡘 Ἦ㸸烉 伶⚳䥩Ṣ㓞啷 Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 600,- EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 300,-

208 209 210 211 AN INSIDE-PAINTED ‘BOYS AT PLAY’ SNUFF BOTTLE, A CLOISONNÉ ‘CRICKET’ SNUFF BOTTLE, QING DYNASTY SIGNED YE ZHONGSAN, BEIJING Massive metal body with silvered foot and neck, the multicolored Rock crystal, of almost flawless clarity cloisonné on ‘imperial’ blue ground with copper wires China, Beijing, dated Spring of Yichou year, 1925 China, 18th – earlier 19th century

Signed by Ye Zhongsan (1865 - 1945), one of the most Each side with a yellow ground square vignette depicting a cricket prolific snuff bottle painters of the era, the skillfully and cabbage on one side and butterfly and peonies on the reverse, executed work shows a continuous scene of boys playing surrounded by neatly executed lotus scrolling, all on an intense ‘Blindman’s Buff‘ in a garden with a large tree in the center, blue ground, above a lappet band at the base and below a ruyi surrounded by other boys playing all sorts of games, all band around the collar. neatly painted with an almost incredible attention to detail It is impossible to confirm with certainty whether neck and base in various and vivid colors. are original to this bottle or not, but it is this author’s firm opinion that they indeed are, because they fit both the form and the Inscription (translated): In the spring of the year yichou design of the bottle, including the cloisonné enamels, to absolute (1925), done by Ye Zhongsan perfection. Seal: Zhongsan Shape: Flattened rectangular form with broad shoulders Shape: Square shape with rounded shoulders Hollowing: Excellent Hollowing: Standard Mouth, neck and lip: Short cylindric neck, with small mouth Mouth, neck and lip: Cylindric neck with small mouth and well-formed inside neck cylinder Base: Oval shape with Base: Oval base with raised foot rim broad raised foot rim Stopper: Good old mother of pearl stopper with stepped silver Stopper: Carved coral in the shape of a Chilong head on a mounting gilt metal platelet, no spoon Height of the bottle with stopper: 7 cm. Height of the bottle with stopper: 6.8 cm Width of the mouth: 6 mm. Width of the mouth: 7 mm Width of the neck: 15 mm. Width of the neck: 16 mm Weight: 83.3 grams Weight: 38.3 grams Condition: Superb condition with wear as expected on an old Condition: Excellent, with one minuscule chip to lip, hardly bottle and numerous small air bubbles visible to the naked eye Provenance: American private collection Provenance: American private collection Literature comparison: IMPORTANT CHINESE SNUFF BOTTLES Literature comparison: Bob C. Stevens, The Collector‘s FROM THE J&J COLLECTION. Christies, Hong Kong, 25 April 2004, Book of Snuff Bottles, page 253. (for a short essay on the lot 812. (compare the execution of the lotus with this bottle) artist) The Apricot Grove Studio, the Ye Family of Snuff Bottle Artists, Part 1. Hugh M Moss, The Journal of the 㘗㲘啵䘥厄坰坰滣䂇⢢炻㶭ẋ International Chinese Snuff Bottle Society v. 14, no. 1, ⍂慵慹Ⱄ偶炻嵛悐冯柠悐拵戨炻䘯⭞啵⛘㌸䴚⣂⼑䏢䎭 Spring 1982, pp. 1-8. (for a detailed account of the snuff ᷕ⚳炻 ⋩ℓᶾ䲨军⋩ḅᶾ䲨㖑 㛇 bottles painted by the Ye family) The Meriem Collection of ⢢✳烉㕡⼊⚻偑 Important Chinese Snuff Bottles. Christie’s, September 19th, ㌷元烉夷㔜 2007, New York, lot 648. (for an almost identical bottle). ⢢⎋ˣ柠冯⒯悐烉䚜䫺柠炻⮷⎋ ⸽嵛烉㨊⚻⸽炻檀⚰嵛 Auction result comparison: The Ruth and Carl Barron ⢢味烉戨⳴居㭵 Collection of Fine Chinese Snuff Bottles: Part I. Christies, ⢢檀炷⏓⢢味炸烉7 ⍀䰛 New York, 16 September 2015, lot 326. (for a very similar ⎋⼹烉ġ6 㮓䰛 bottle) ⢢柠⮔烉15 㮓䰛 慵慷烉83.3 ⃳ 㯜㘞ℭ䔓⫘㇗⚾滣䂇⢢炻叱ẚᶱ㫦炻⊿Ṕ ⑩䚠烉ᶵ⎴↉枧炻⸜ẋ䕽嶉炻䏢䎭堐朊ṃ⽖⮷㯋㲉 㯜㘞炻⸦᷶䲼Ⅸ䃉㘯 ᷕ⚳炻 ⊿Ṕ炻句㫦ḁᶹ⸜炻1925 EstimateġỘ₡ġġEUR 500,- ⢢✳烉 ㇩攟⼊炻⮔偑 Starting priceġ崟㉵₡ġġEUR 250,- ㌷元烉 㤝⤥ ⢢ ⎋ˣ柠 冯 ⒯ 悐烉䞕 䚜 柠炻⮷ ⎋炻柠 ℭ ㆸ ✳列 ⤥ ⸽嵛烉 㨊⚻⸽嵛炻⮔⚰嵛 ⢢味烉 坕漵⼊䍲䐂味炻慹Ⱄ㈀䇯炻䃉 㛻 ⢢檀炷⏓⢢味炸烉6.8 cm ⎋⼹烉7 㮓䰛 ⢢柠⮔烉16 㮓䰛 慵慷烉38.3 ⃳ ⑩䚠烉㤝⤥炻㚱⒯悐䳘⽖䡽㎵炻倱䛤⸦᷶ᶵ⎗夳 Ἦ㸸烉伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

210 211 214 A FINE ENAMEL ON COPPER ‘PEONY’ SNUFF BOTTLE, 18TH CENTURY Guangzhou school, possibly Imperial China, 1705-1800

Delicately painted in polychrome enamels on white ground to depict a garden view with various multicolored peonies and star chrysanthemums springing from craggy and layered rockwork, framed by a minuscule and neatly painted flower border at the lower end and a key fret border together with a second floral border around the neck. A butterfly completes the peaceful scene. The distinctive rounded, flattened form of this lovely bottle is typical of Guangzhou production, being first employed during the Yongzheng period and continuing way into the Qianlong period. The peony, “the king of flowers,” represents prosperity, and is associated with the upper classes of society. Although unmarked, the choice of subject matter suggests an Imperial connection.

Shape: Rounded, flattened form Hollowing: Standard, the body made of rather thin copper Mouth, neck and lip: Short neck with raised bare copper lip and copper top , the inside of the bottle is enameled in white Base: Oval base in white enamels, with a bare copper foot rim Stopper: The stopper on this bottle is likely original and is based on the shape of the Emperor’s, or an official’s Court hat, with the finial resembling the rank- identifying knob. It is made of incised and bare copper and rests on a black platelet. Good old spoon. Height of the bottle with stopper: 5.7 cm. Width of the mouth: 6 mm. Width of the neck: 13 mm. Weight: 30.6 grams 212 213 Condition: Excellent condition with some old wear A SMALL CORAL SNUFF BOTTLE, LATER QING DYNASTY AN EMBELLISHED ‘POMEGRANATE’ enough to make even a small snuff Provenance: From the collection of Mary Ann Edmondson Bresee, Georgia, Coral of good and even color, with only few white inclusions, good CORAL SNUFF BOTTLE, 19TH bottle. Several of the earliest known USA, avid collector and former member of the International Chinese Snuff polish, carving in high relief, incised detail work CENTURY coral bottles were made in segments Bottle Society. Her grandfather was Walter T. Candler, son of Asa G. Candler, China, late Qing to earlier Republic period, ca. 1880-1930 Coral with neatly incised inlays made joined together, or when made the founder of the Coca-Cola Company. Her bottles were exhibited both at from turquoise, carnelian and tiger’s from flawed material (which was all the Cummer Museum of Art and Gardens and the Norton Museum of Art. Depiction of several flowers amid their leaves and tendrils above a eye. that was available), requiring either wavy background, framed by a lappet border at the lower end and a The bottle: China, 19th century, patches of coral inlaid to fill flaws, or Literature comparison: For the shape, the style and the color combination neatly incised ruyi border around the collar. Two lugs at the shoulders possibly even a bit earlier. wax inlays. of this bottle, compare with Bob C. Stevens, the Collector’s Book of Chinese for suspension on a necklace. One side with the Chinese character for The embellishment: Japan, Snuff Bottles, lot 1028. Also compare this bottle with Moss, Graham, Tsang, longevity. late 19th – early 20th century. Shape: Heart Treasury, Volume 6, Part 1, lot 1065, a very early enamel on copper bottle, Hollowing: Very good dated 1705-1718. Shape: Bulbous cylindric shape Of heart form with flat top and Mouth, neck and lip: Flat top with Hollowing: Little recessed foot surrounded by an oval tiny mouth 戭偶䏢䎭䈉ᷡ滣䂇⢢炻⋩ℓᶾ䲨 Mouth, neck and lip: Sprawling neck with slanted lip and wide mouth foot rim, the embellishments carved Base: Oval with raised foot rim ⺋ⶆ炻ㆾ䇚⽉墥⑩ Base: Flat oval base in crisp relief with two pomegranates Stopper: Green glass in imitation of ᷕ⚳炻 1705-1800 Stopper: Matching coral stopper, no spoon and one blossom growing from a nephrite ⢢✳烉 ㇩⚻⼊ Height of the bottle with stopper: 5 cm. gnarly stem, surrounded by a few Height of the bottle with stopper: ㌷元烉 夷㔜炻戭偶 Width of the mouth: 5 mm. smaller leaves. 5.9 cm. ⢢⎋ˣ柠冯⒯悐烉䞕柠炻⒯悐曚↢戭偶炻⢢ℭᶲ䘥刚䏢䎭 Width of the neck: 10 mm. Coral is a symbol of longevity, due to Width of the mouth: 5 mm. ⸽嵛烉 㨊⚻⸽悐ᶲ䘥刚䏢䎭⼑炻⚰嵛↎曚↢戭偶 Weight: 29.5 grams its resemblance to a tree that seems Width of the neck: 19 mm. ⢢味烉 ⢢味ㅱ䇚⍇墅⢢味炻℞⸽⹏⼊䉨䁢⭖⺟⭀ⷥ炻⸞㚱⑩䳂㧁⽿䘬枪䎈ˤ戭偶 Condition: Perfect to last forever. It was also a symbol Weight: 58.7 grams ⢾曚炻⹏Ḷ湹刚㈀䇯ᷳᶲ炻⮷㛻ᾅ⬀列⤥ Provenance: Austrian private collection of the first rank as civil officers of the Condition: Excellent. Remainders of ⢢檀炷⏓⢢味炸烉5.7 ⍀䰛 first rank wore coral buttons on their old glue near the inlays. Some natural ⎋⼹烉6 㮓䰛 䍲䐂⤪シ䲳㟫剙⮷滣䂇⢢炻㶭ẋ㘂㛇 hats. Coral was highly valued at court imperfections to the material and ⢢柠⮔烉13 㮓䰛 䍲 䐂 柼 刚 ⛯ ⊨炻堡 㚱⮹ 慷 䘥 刚 倴 䎮炻㉃ ⃱列 ⤥炻㶙 㴖 晽炻䳘 䭨 䱦 䶣 and was considered to be the third microscopic nibbling two rims. 慵慷烉30.6 ⃳ ᷕ⚳炻㶭ẋ㘂㛇军㮹⚳⇅㛇炻䲬1880-1930 most valuable gem. In the catalogue Provenance: Hungarian private ⑩䚠烉㤝⤥炻ṃ⽖⸜ẋ嶉尉 ⢢✳烉䎫䉨⚻䫺 of the Exhibition of Qing Dynasty collection Ἦ㸸烉伶⚳╔㱣Ṇⶆ Mary Ann Edmondson Bresee㓞啷炻䉪䅙䘬㓞啷⁊炻㚦㗗 ㌷元烉⮷ Costume Accessories, page 31, the ⚳晃ᷕ⚳滣䂇⢢㓞啷⋼㚫㚫⒉ˤ⤡䘬䣾䇞㗗Walter T. Candler炻Asa G. Candler ⢢ ⎋ˣ柠 冯 ⒯ 悐烉敲 柠炻㐯 ⒯炻⮔ ⎋ order of value is given as pearl, ruby, 䍲䐂䞛㥜搚⳴滣䂇⢢炻⋩ḅᶾ䲨 䘬⃺⫸炻⎗⎋⎗㦪℔⎠ㆸ䩳Ṣˤ⤡ 䘬 滣 䂇 ⢢㚦 ⛐ the Cummer Museum of Art and ⸽嵛烉㨊⚻⸽ coral, sapphire, lapis lazuli, quartz, 䍲䐂搚⳴↯√㔜滲䘬䵈㜦䞛ˣ䲭䌱橻 Gardens伶埻棐⍲the Norton Museum of Art伶埻棐⯽↢忶ˤ ⢢味烉⋡惵䍲䐂味炻䃉㛻 shell etc. Coral was also the material ⍲嗶䛤䞛 ⢢檀炷⏓⢢味炸烉 5 ⍀䰛 used for the emperor’s court necklace ⢢烉ᷕ⚳炻 ⋩ḅᶾ䲨炻⎗傥㚜㖑ṃ EstimateġỘ₡ġġEUR 1.000,- ⎋⼹烉5 㮓䰛 when worshipping at the Altar of 搚⳴烉㖍㛔炻⋩ḅᶾ䲨㘂㛇军Ḵ⋩ Starting priceġ崟㉵₡ġġEUR 500,- ⢢柠⮔烉10 㮓䰛 the Sun, matched by a coral belt. ᶾ䲨㖑㛇 慵慷烉29.5 ⃳ Coral snuff bottles were produced ⢢✳烉 ⽫⼊ ⑩䚠烉⬴伶 for the Court throughout the early ㌷元烉 朆ⷠ䱦䳘 Ἦ 㸸烉⤏ ⛘ ⇑ 䥩 Ṣ 㓞 啷 to mid-Qing period, and apart from ⢢⎋ˣ柠冯⒯悐烉⸛朊⢢⎋炻⮷⎋ the Palace workshops, we are told ⸽嵛烉 㨊⚻⼊⚰嵛 EstimateġỘ₡ġġEUR 300,- in Masterpieces of Snuff Bottles in ⢢味烉 ầ䌱䍣䐫味 Starting priceġ崟㉵₡ġġEUR 150,- the Palace Museum, page 29, that ⢢檀炷⏓⢢味炸烉 5.9 ⍀䰛 the records reveal that snuff bottles ⎋⼹烉 5 㮓䰛 made of gems and gemstones (which ⢢柠⮔烉 19 㮓䰛 included coral) were mostly produced 慵慷烉 58.7 ⃳ at Imperial lapidary workshops in ⑩䚠烉 㤝Ἓ炻 搚⳴䈑旬役⎗夳先䉨 Suzhou and Yangzhou by order of the 检䔁炻ᶨṃ⣑䃞㛸㕁仢星⍲ℑ嗽㨇 Emperor. ⽖⮷䡽䡘 The rarity of genuine early and mid- Ἦ㸸烉 ⊰䈁⇑䥩Ṣ㓞啷 Qing coral snuff bottles is presumably due to the fact that only the EstimateġỘ₡ġġEUR 500,- occasional branch was large Starting priceġ崟㉵₡ġġEUR 250,-

212 213 215 216 AN EARLY MALACHITE ‘WAVES’ SNUFF BOTTLE, 1750-1850 A RARE ‘NANTIMITOLO’ AMETHYST SNUFF BOTTLE, MASTER OF THE Plain malachite with a superb manual surface polish ROCKS, QING DYNASTY China, 1750-1850 Transparent amethyst of light purple color, streaked with white shades of crystal, carved and incised in high relief This is one of the few early malachite bottles that have appeared on the China, 18th – 19th century market during the past two or three decades. It shows all the typical features of 18th century hardstone bottles, such as a simple yet perfectly executed The seated figure is shown with his right hand raised above his head holding hand-polish, an excellent hollowing and a well-balanced shape to name just a a pearl and a fierce dragon amid swirling clouds above him. These attributes few. The design of this bottle ‘only’ serves two purposes, and these in a nearly identify him as Nantimitolo, known in Chinese as the ‘Dragon Subduing ideal manner: The consumption of snuff and the display of the natural beauty Luohan’, luohan being the Chinese transliteration of the Sanskrit word arhat. of the mineral. An arhat is a perfected being, a disciple of Buddha who has attained Malachite snuff bottles are rare, considering how readily available the material enlightenment, but chooses to remain engaged in the world, postponing must have been. It is likely that its softness and brittleness may have depleted nirvana, in order to aid all sentient beings. The arhat achieves enlightenment an originally larger body of examples, as with other fragile stones. On top of through instruction rather than through insight and meditation, and as a that it may also be that it was simply not used so often for carving bottles, result, ranks just below the bodhisattva. which may be the reason why the stone was not mentioned by Zhao Zhiqian In this figure of Nantimitolo, the expressive face with protruding chin, large in the 1860s (The Journal of the International Snuff Bottle Society, Autumn eyes and prominent nose, so unlike Chinese physiognomy, points to his foreign 1991). origins. The facial expression on the present figure has parallels in iron figures Malachite is a hydrated copper carbonate occurring typically in the oxidation dating from the Song dynasty such as in the guardian from Jinci Temple in zone of copper deposits where it is associated with other ores of copper Taiyuan, Shanxi illustrated in A. Paludan, Chinese Sculpture: A Great Tradition, and is the product of their alteration. It is a soft stone, about 4 on the Mohs Chicago, 2006, p. 388, fig. 258. scale, and easily scratched with a steel blade. Of widespread occurrence, it The backside of the bottle carved with further clouds and an incised deer. is found as a rule wherever copper appears, such as in Guangdong, Hubei, Jiangxi, Inner Mongolia, Gansu, Tibet, and Yunnan, where there are extensive Shape: Bulbous rectangular shape deposits. Some of these areas became major producers of malachite only in Hollowing: Excellent recent times, such as Yangchun in Guangdong for example, where mining only Mouth, neck and lip: Cylindric neck with convex top, slated lip and small began in 1966. But in any case, the odd piece was certainly picked up in some mouth of these areas and presented to the court long before systematic production Base: Oval with raised foot rim began. Malachite actually is even found at the sites of Shang dynasty copper Design, marks, school: Master of the Rocks School works and was also ground up and used in as a pigment for architectural Stopper: Tourmaline cabochon with old metal mounting and spoon painting and other applications. Height of the bottle with stopper: 8 cm. Width of the mouth: 7 mm. Shape: Rounded and flattened rectangular shape Width of the neck: 19 mm. Hollowing: Excellent Weight: 95.5 grams Mouth, neck and lip: Short cylindric neck, convex top, slanted lip, small mouth Condition: Excellent condition with one tiny nibble to lip and some minuscule Base: Oval raised and rounded foot rim natural flaws Design, marks, school: Possibly imperial, see literature comparison Provenance: American private collection Stopper: Coral stopper with good original platelet and spoon Height of the bottle with stopper: 6.3 cm. Auction result comparison: SNUFF BOTTLES FROM THE MARY AND GEORGE Width of the mouth: 6 mm. BLOCH COLLECTION: PART VI. Sotheby’s, 27 MAY 2013, HONG KONG, lot Width of the neck: 17 mm. 204. (for a Suzhou jade bottle with the same subject) Weight: 85,8 grams Condition: Excellent original condition with minor natural flaws to the mineral 份夳䳓㘞晽ㄞ⍳⮲侭滣䂇⢢炻䞛栆㳦⣏ⷓ, 㶭ẋ and some wear as expected on a bottle of this age 德㖶䳓㘞柼刚Ṗ渿炻⎗夳䘥刚倴䎮䲳炻㶙㴖晽 Provenance: American private collection ᷕ⚳炻 ⋩ℓ 军⋩ḅᶾ䲨 ⢢✳烉攟䎫⼊ Literature comparison: Early malachite bottles are rare, and considerably harder ㌷元烉㤝⤥ to find than, for instance, early turquoise bottles. Bob C. Stevens, The Collectors ⢢⎋ˣ柠冯⒯悐烉䚜柠炻↠枪炻㜧ⱑ⒯炻⮷⎋ Book of Chinese Snuff Bottles, 1976, illustrates only two (nos. 629 and 669) ⸽嵛烉㨊⚻⼊⚰嵛 while including ten early turquoise bottles. For other examples of this rare 忈✳ˣ句㫦⍲㳩㳦烉‹↢䞛栆㳦 group, see Friedman 1990, no. 59; Lawrence 1996, no. 34; Sotheby’s, London, ⢢味烉侩慹Ⱄ⊭暣㯋䞛ㆺ朊炻⮷㛻 24 April 1989, lot 432, and Chinese Snuff Bottles No. 1, p. 19, middle left. ⢢檀炷⏓⢢味炸烉8 ⍀䰛 ⎋⼹烉7 㮓䰛 Auction result comparison: SNUFF BOTTLES FROM THE MARY AND GEORGE ⢢柠⮔烉19 㮓䰛 BLOCH COLLECTION, Part I. Bonham’s, Hong Kong, 28 May 2010, lot 86. 慵慷烉95.5 ⃳ ⑩ 䚠烉㤝 ⤥炻 ⛐ ⒯ 悐 㚱ᶨ ↎ 䳘 ⽖ 䡽 ㎵炻ᶨ ṃ 冒䃞 仢 星 ⫼晨䞛㲊㴒䲳滣䂇⢢炻1750-1850 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 ⫼晨䞛炻堐朊㉃⃱㤝⤥ ᷕ⚳炻 1750-1850 EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,- ⢢✳烉 ⚻偑㇩⸛䞑⼊ ㌷元烉 㤝⤥ ⢢⎋ˣ柠冯⒯悐烉䞕柠炻↠枪炻㐯⒯炻⮷⎋ ⸽嵛烉 㨊⚻㶢⚰嵛 忈✳ˣ句㫦⍲㳩㳦烉ㆾ䇚⽉墥 ⢢味烉 䍲䐂味炻⍇墅⮷㛻 ⢢檀炷⏓⢢味炸烉6.3 ⍀䰛 ⎋⼹烉 6 㮓䰛 ⢢柠⮔烉17 㮓䰛 慵慷烉 85,8 ⃳ ⑩䚠烉 ⍇⥳䉨ン㤝⤥炻ṃ⽖䢐㎵炻冯⸜ẋ䚠䫎 Ἦ㸸烉 伶⚳䥩Ṣ㓞啷

EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

214 215 217 A LARGE FAMILLE ROSE ‘WEIQI PLAYERS’ PORCELAIN SNUFF BOTTLE, QING DYNASTY White porcelain with vivid polychrome enamels and gold painting China, 18th – 19th century, Qianlong six-character mark painted in blue at the base

Fine and well-detailed depiction of a group of noble figures watching two weiqi players at their game. The backside with other noble figures examining a scroll painting.

Shape: Bulbous square form Hollowing: Standard Mouth, neck and lip: Elongated cylindric neck with flat top, large mouth Base: Oval base with raised unglazed foot rim Stopper: Apple green jadeite with green platelet and good, old spoon Height of the bottle with stopper: 10 cm. Width of the mouth: 10 mm. Width of the neck: 24 mm. Weight: 145 grams Condition: Tiny chip to foot, fritting to neck, some very minor abrasions to painting Provenance: American private collection, old collector label to top

⣏✳䰱⼑㔯Ṣᶳ㡳⚾滣䂇⢢炻㶭ẋ 䘥慱⸽炻䰱⼑炻慹⼑ ᷕ⚳炻⋩ℓ军⋩ḅᶾ䲨炻⸽悐曺剙Ḧ昮ℕ⫿㫦

⢢✳烉 㕡⼊⚻偑 218 219 ㌷元烉夷㔜 A FAMILLE-ROSE PORCELAIN Shape: Peach A BLUE AND WHITE PORCELAIN SNUFF BOTTLE, QING DYNASTY ⢢⎋ˣ柠冯⒯悐烉㉱攟䚜柠炻⢢⎋⸛㔜炻⣏⎋ PEACH-FORM SNUFF BOTTLE, Hollowing: Standard Porcelain, painted in cobalt-blue and iron-red under a transparent glaze ⸽嵛烉㨊⚻檀⚰嵛炻㛒ᶲ慱 QING DYNASTY, 19TH CENTURY Mouth, neck and lip: Small cylindric China, 19th century ⢢味烉喳㝄䵈侉侈炻䵈刚㈀䇯炻侩 㛻列 ⤥ Molded and carved porcelain painted neck with wide mouth ⢢檀炷⏓⢢味炸烉10 ⍀䰛 in polychrome enamels Base: None Delicately painted to depict a warrior and noblemen under a blooming ⎋⼹烉10 㮓䰛 China, 19th century Design, marks, school: Jingdezehn cherry tree in a garden setting. The foot painted with a cobalt-blue ⢢柠⮔烉24 㮓䰛 kilns double circle. 慵慷烉 145 ⃳ Naturalistically formed and carved Height of the bottle with stopper: ⑩䚠烉 ⸽嵛⮷塪⎋炻柠悐㚱䳘䷓炻䔓朊ᶲ㚱庽⽖䢐㎵ to depict a peach with its leaves 7.3 cm. Shape: Cylindric Ἦ㸸烉 伶⚳䥩Ṣ㓞啷炻⸽悐⎗夳㓞啷⭞侩㧁䯥 executed in reticulated manner, Width of the mouth: 6 mm. Hollowing: Standard delicately painted with polychrome Width of the neck: 9 mm. Mouth, neck and lip: Cylindric sprawling neck with large mouth, the EstimateġỘ₡ġġEUR 500,- enamels. Most likely Jingdezhen. Condition: Perfect, the glaze with inner of neck glazed Starting priceġ崟㉵₡ġġEUR 250,- Ceramics were produced in many minimal wear Base: Round base with raised foot rim parts of China, of course, and Provenance: American private Height of the bottle with stopper: 7 cm. there were other main centers of collection Width of the mouth: 8 mm. production; but most are well- Width of the neck: 15 mm. documented and distinctively Literature comparison: Snuff Bottles Weight: 44,5 cm different in their paste and usually in from the Mary & George Bloch Condition: One chip to inner foot rim, almost not visible from the their range of glazes and enamels, Collection: Part VIII. Sotheby’s, Hong outside, some minuscule fritting to lip, otherwise excellent as well. The two raw materials Kong, May 26th, 2014, lot 1145. (for Provenance: United Kingdom private collection, old collector’s label to required for the finest porcelain were an almost identical bottle) bottom conveniently located in different deposits near Jingdezhen, which was 䰱⼑⢥㟫⼊滣䂇⢢炻㶭ẋ, ⋩ḅᶾ䲨 曺剙慱塷䲭滣䂇⢢炻㶭ẋ the reason for its establishment as 䰱⼑炻⟹⼊ 昞䒟炻曺剙慱塷䲭 China’s main porcelain metropolis ᷕ⚳炻⋩ḅᶾ䲨 ᷕ⚳炻 ⋩ḅᶾ䲨 since long before the Qing dynasty. ⢢✳烉 㟫⼊ According to Rose Kerr, there were ㌷元烉夷㔜 ⢢✳烉 ⚻㞙⼊ some three hundred kilns operating ⢢⎋ˣ柠冯⒯悐烉⮷䚜柠炻⮔⎋ ㌷元烉 夷㔜 at Jingdezhen during the Daoguang ⸽嵛烉䃉 ⢢⎋ˣ柠冯⒯悐烉䚜柠⎹ᶲ徸㻠⢾㐯炻⣏⎋炻柠ℭᶲ慱 period, and they produced the vast 忈✳ˣ句㫦⍲㳩㳦烉㘗⽟捖 ⸽嵛烉 ⚻⼊ℭ↡炻檀⚰嵛 majority of the high-fired white- ⢢檀炷⏓⢢味炸烉7.3 ⍀䰛 ⢢檀炷⏓⢢味炸烉 7 ⍀䰛 paste, fine-quality porcelain we see ⎋⼹烉6 㮓䰛 ⎋⼹烉 8 㮓䰛 today. A bottle like the present one, ⢢柠⮔烉9 㮓䰛 ⢢柠⮔烉 15 㮓䰛 although not typical of the broader ⑩䚠烉⬴伶炻⎛朊㚱庽⽖壒刚 慵慷烉 44,5 cm range of Jingdezhen wares, is still Ἦ㸸烉伶⚳䥩Ṣ㓞啷 ⑩䚠烉 ⚰嵛ℭ塷㚱ᶨ↎⮷䡽㎵炻⽆⢾悐ᶵ⎗夳烊⒯悐⮷㐢怲炻℞Ṿ悐ỵᾅ likely to have been made there. ⬀㤝⤥ It is surprising that the peach shape EstimateġỘ₡ġġEUR 300,- Ἦ㸸烉 劙⚳䥩Ṣ㓞啷炻⢢⸽⎗夳啷⭞㓞啷侩㧁䯥 does not occur far more often Starting priceġ崟㉵₡ġġEUR 150,- in porcelain snuff bottles. It was EstimateġỘ₡ġġEUR 200,- popular enough in other materials Starting priceġ崟㉵₡ġġEUR 100.- and is not a difficult form to make in a two-part mold, so given its obvious symbolism of longevity, we might expect far more to have been made than appears to be the case.

216 217 221 A RARE LACQUER GILT 18th CENTURY BRONZE OF FUDO MYO-O (ACALA) Lacquer gilt bronze Japan, 18th century, Edo period (1615-1868)

The wisdom king is depicted somewhat youthful but nonetheless menacing, standing upright on a plinth with a e- Ken sword, also known as the wisdom sword, in his right hand. In his left hand he is holding a Kensaku rope, which is used to bind and catch demons and evildoers, thus upholding the Buddhist law. The combination of the two attributes together are used to ‘tie and kill’ all evil. Fudo Myo-o has a grim facial expression and well-expressed bushy curls on his head. The figure has been lacquer-gilt in the front and has developed a very fine patina over time.

Representations of Fudo Myo-o executed in bronze are very rare, as most figures are made from wood, often pigmented or lacquered.

Shape: Figural standing on a plinth Dimensions: Height 20 cm Condition: The figure in excellent condition with a fine patina. The mandorla is lost. Provenance: Collection of Dr. Frank S. Janotta who had acquired it at Trocadero – Kenny & Higgins Asian art Inc., Washington, on 12th April 1986 (old invoice and numerous other old collector paperwork included in this lot).

Literature comparison: For a detailed explanation of Fudo Myo-o’s attributes see Ernest Dale Saunders, A study of symbolic gestures in Japanese Buddhist sculpture, Princeton University Press, 1985, pages 172- 173 & 182-183

Auction result comparison: Another bronze of Fudo Myo-o was sold at Christie’s, Japanese and Korean Art, New York, 24 March 2010, lot 597

EstimateġỘ₡ġġEUR 1.000,- Starting priceġ崟㉵₡ġġEUR 500,-

220 A MUROMACHI PERIOD STONE FIGURE OF BUDDHA AMIDA NYORAI Reddish-grey Sandstone, sculpted Japan, Muromachi period (1336-1573)

This expressive an early Japanese stone sculpture depicts Buddha Amida Nyorai seated on a round lotus pedestal and framed by a curved aureole which has the halo incised. Buddha has his hands in Mida no Join Meditation mudra which symbolizes the triumph of enlightenment over the world of illusions and is exclusive to Japanese sculptures of this particular Buddha.

Amida Nyorai, also referred to as Amida Butsu, is a celestial Buddha who has passed the bodhisattva path and has achieved superhuman powers giving him the power to live in the heavens. Amida Butsu is considered as the ‘Buddha of Infinite Light.’ He is the principal Buddha for East Asian Buddhism and is known for his long life and has total appreciation and the deep knowledge of the individualities of different people.

Shape: Figural Dimensions: 22.5 cm (height), 14 cm (maximum width) Weight: 2,713 grams Condition: Good, age-related condition with natural patina and some notches here and there Provenance: Collection of an American gentleman

EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

218 219 222 AN EXCELLENT BRONZE STATUE OF DARUMA, 17th/18th CENTURY Bronze Japan, 17th/18th century, Edo period (1615-1868)

Daruma, the first patriarch of Zen-Buddhism, is standing fully clothed, his garments flowing beautifully with his arms crossed and hidden under his robes. He is bare-chested and has an indignant expression, though somewhat disgruntled, as he is looking downwards with his bushy eyebrows lowered and pouting lips. His facial expression is executed with great detail, as well as the curls of his eyebrows and the curls on the side of his shimmering bald head.

It is said that Bodhidharma, in Japanese Daruma, had meditated in a cave in front of a wall for seven years, not speaking or moving, though he fell asleep once and cut off his eyelids consequently. Thus, he is often depicted in a grotesque manner, sometimes poking fun at the Zen patriarch, especially in later works. This early work comes across as highly spiritual with only the incredibly detailed facial expression conveying his discontent.

Shape: Figural Dimensions: Height of the figure 28.3 cm (total 30.3 cm) Condition: Excellent condition, with a remarkable patina. The figure has been attached to a later base. Provenance: Collection of Dr. Frank S. Janotta, acquired at Sotheby’s, Japanese Works of Art, London, 13-14th November 1986, lot 1129. With old invoice, proof of export and old cue card.

Auction result comparison: A comparable early figure of Daruma, in wood and dated to the Muromachi period, was sold at Christie’s, Japanese and Korean Art, New York, 17 September 2009, lot 1054

EstimateġỘ₡ġġEUR 2.000,- Starting priceġ崟㉵₡ġġEUR 1.000,-

220 221 223 AN IMPORTANT GILT AND Aizen Myo-o, also known as Ragaraja, is POLYCHROMED WOOD FIGURE OF one of the five wisdom kings, sometimes AIZEN MYO-O, MUROMACHI PERIOD referred to as the ‘god of love’ and is (1333-1573) worshipped for translating worldly lust and Gilt and polychrome pigments on wood, desire into spiritual awaking. metal and glass Japan, Muromachi period (1333-1573), Shape: Figural possibly earlier Dimensions: Height 48 cm Condition: Very good and original The wrathful deity is carved in wood with condition, considering the age. The entire polychrome pigments, predominantly in figure has been examined under blacklight red and is gilded in some areas. Aizen and has remained unrestored, which is Myo-o is depicted here characteristically extremely rare considering that most of with six arms, the lower arms holding a these figures are restored and painted over. five-pronged vajra, the diamond which Expected wear, surface cracks and chips. cuts through an illusion, and a ritual bell, Provenance: Austrian private collection which calls one to awareness. The other hands are holding a bow and arrow and an Literature comparison: A similar figure, unopened lotus flower, which represents especially when looking at the manner of the power of subjugation. His headdress the shishi in the crown and the color of the is ornate and made of metal with several red pigments, is in the National Museum of glass beads hanging from it, with a snarling Tokyo and is dated to the Kamakura period shishi on top, colored in blue and green (13th century) pigments. He is seated in lotus position on top of a lotus pedestal on a multi-stepped Auction result comparison: Compare to a base with a ribbon tied around it. The folds very similar figure, though restored, which of his garments are expressive and colored sold at Bonhams, Fine Japanese and Korean in great detail with a brocade pattern. A Art, London, 15. March 2017, lot 6158 large mandorla with an intricately painted pattern, which surrounds the deity is EstimateġỘ₡ġġEUR 5.000,- attached to the base. His facial expression Starting priceġ崟㉵₡ġġEUR 2.500,- is ferocious as he opens his mouth, baring his teeth and his hair is wild and flaming, representing rage, lust and passion.

222 223 224 A RARE JAPANESE STAG ANTLER SCROLL CASE FOR A BUDDHIST SUTRA WITH DRAGON AND TIGER Stag antler with roller ends made of dark horn Japan, late 19th century, Meiji period (1868-1912)

The case in the form of a scroll, openable in the middle, with the roller ends inlaid in dark horn. Depicted is a celestial dragon, finely carved amidst clouds, the scales and fierce expression particularly detailed. Below the dragon is a tiger snarling at the dragon, naturalistically carved with sprays of waves around him. They represent the earth and sky and are protecting the Buddhist teachings that would be stored inside the scroll. The antler has been carved with great skill, almost simulating ivory.

Shape: Scroll shaped Dimensions: Length 16 cm Condition: Very good condition, one tiny age crack, a minor imperfection around the edge of the opening and a tiny chip on the edge Provenance: Austrian private collection

EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

225. A PAIR OF FULLY ARTICULATED JIZAI OKIMONO DEPICTING EBI (SPINY LOBSTER) BY HIROYOSHI Copper Japan, late 19th century, Meiji period (1868-1912)

The ten legs, four antennae, multi-sectioned tail, as well as the mandibles are fully articulated and movable on both crustaceans. When brushing over the extremities they make a sound that is eerily reminiscent of the crawling of their real-life counterparts. The entire carapace is covered with little spikes identifying these crustaceans as spiny lobsters, also known as ebi in Japan. Signature HIROYOSHI on the underside

Shape: Figural Dimensions: Largest 27.5 cm length, Smallest 20 cm length (both including antennae) Condition: Very good complete condition Provenance: American private collection

Auction result comparison: Another model of a spiny lobster by Hiroyoshi (erroneously described as crayfish) was sold at Bonhams, Fine Japanese Works of Art, New York, 19 March 2014, lot 3295

EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

224 225 226 AN IRON TSUBA DEPICTING SHOKI AND ONI Iron Japan, 19th century, Edo period (1615-1868)

The patinated iron tsuba maru gata with two hitsu, carved in openwork depicting a shoki with drawn sword chasing an oni amongst clouds. The face of shoki with very good detail, as well as his flowing beard and Chinese robes. The oni is depicted in motion cowering with a fierce expression, his eyes and the bangles around his arms and legs are inlaid in gold.

Shape: Circular maru gata tsuba Dimensions: Diameter 8.1 cm Condition: Very good condition with expected surface wear Provenance: Austrian private collection

EstimateġỘ₡ġġEUR 200,- Starting priceġ崟㉵₡ġġEUR 100,-

227 A SMALL MIXED METAL VASE WITH BIRDS AND FLOWERS Sentoku with shibuichi and silver inlay Japan, late 19th century, Meiji period (1868-1912)

The vase of sentoku with various inlays in shibuichi and silver depicting birds, leaves and flowers. The stems and twigs have been finely incised, and the neck is further decorated with gilt leaves.

Shape: Small baluster-shaped vase with a wide base and neck 228 Dimensions: Height 12.2 cm A RARE AND FINE INLAID Condition: Excellent condition with minor, expected CLOISONNE ENAMEL GOLD wear LACQUERED TRAY Provenance: Austrian private collection Wood, lacquer and cloisonné enamel Japan, late 19th century, Meiji period EstimateġỘ₡ġġEUR 300,- (1868-1912) Starting priceġ崟㉵₡ġġEUR 150,- The footed tray is covered in beautiful gold lacquer, with the edges decorated with various astoundingly fine brocade and floral patterns in gold and silver takamaki-e. The center with a polished lacquer reserve, with kiku (chrysanthemum) blossoms inlaid in white cloisonné enamels, the leaves inlaid with silver and green enamels. The rims silver and the reverse with dense nashiji.

Shape: Octagonal tray with a footed base Dimensions: Size 19 x 25 cm Condition: Good condition, minor expected wear to the lacquer with minor scratches and cracks Provenance: American private collection

Auction result comparison: Compare to a very similar tray sold by Bonhams, Fine Japanese Art, London, 11 May 2010, lot 358

EstimateġỘ₡ġġEUR 1.500,- Starting priceġ崟㉵₡ġġEUR 750,-

226 227 229 AN EXPRESSIVE POLYCHROME AND GILT MOKUGYO Wood, polychrome pigments and gilding Japan, Edo period (1615-1868)

The percussion instrument, also called a wooden fish, is covered in polychrome pigments in blue and green with some gilding. This mokugyo is modelled as a dragon fish with a bifurcated tail, ears and a long snout with fangs which hold a pearl. The scales are expressively carved, the eyes are wide open, and the fish holds another pearl in-between its tail, which serves as the handle for the instrument, which is well hollowed out and has a very good sound.

The story of the mokugyo comes from a repentant fish, which committed a crime when he was a human. He helped a monk across the river and in return asked for a path to enlightenment. After seventeen years the monk had return and had forgotten the fish’s plea, who almost drowned the monk in the river in his rage. The monk was saved but his sutras were ruined. The monk then created a wooden effigy of the fish and beat it with a wooden hammer, and every time he hit the fish’s head, a character came out of its mouth – thus a few years later his sutras were replaced.

Shape: Figural, shape of a mokugyo Dimensions: Height 28 cm, Length 31 cm Condition: Good condition considering age and use. There is peeling to the paint, 231 age cracks and minor chipping. A FINE LACQUERED RYOSHIBAKO Provenance: Viennese private collection (DOCUMENTS BOX) WITH SAKURA TREE, CRANES AND MINOGAME EstimateġỘ₡ġġEUR 500,- Lacquered wood and leather Starting priceġ崟㉵₡ġġEUR 250,- Japan, 19th century

The large rectangular box with inrobuta (flush- fitting) lid, the cover and all sides lacquered in gold takamaki-e with a blossoming cherry tree on a red-gold layer of lacquer below a layer of silver lacquer which is partially polished to create a cloud-like effect. The beautiful gold lacquered sakura tree is inlaid with gold and brown hirame flakes and is particularly dense on the lid. The inside of the lid is lacquered in gold takamaki-e with cranes and minogame, which are symbols of longevity, on a rock above waves with beautiful ferns, the rock further inlaid with hirame flakes. The inside of the box, as well as the lid and underside, with dense nashiji.

Shape: Rectangular box with lid Dimensions: Size 35 x 45 x 18 Condition: Expected wear to lacquer, some areas of the gold lacquer chipped, and extensive scratches to the underside. Particularly worn on the edges, revealing the layer of leather. Generally, in good condition. Provenance: American private collection

230 EstimateġỘ₡ġġEUR 800,- A LARGE LACQUERED SAGEMONO FOR CALLIGRAPHY EQUIPMENT Shape: Double tube shape with cover Starting priceġ崟㉵₡ġġEUR 400,- Lacquered wood Dimensions: Length 42.2 cm Japan, Meiji period (1868-1912) Condition: Generally, in good condition, with expected wear and peeling to lacquer, with some minor cracks. Part of the bottom section of one tube Arranged in two long tubes, one of them for holding a paintbrush and the is missing other presumably holding a scroll, as there is a protective layer of paper on Provenance: Viennese private collection the inside. The outside is finely lacquered on a beautiful shimmering roiro- nuri ground with gold takamaki-e ferns and cherry blossoms. Nashiji flakes EstimateġỘ₡ġġEUR 300,- are spread out around the composition and there is some hirame flakes Starting priceġ崟㉵₡ġġEUR 150,- inside the gnarly trunk of the sakura tree. Two metal fittings, one on the cover, so that it can function as sagemono (hanging thing).

228 229 232 234 A PAIR OF IMARI PORCELAIN AN AMUSING HIRADO STYLE GINGER JARS WITH LIDS BLUE AND WHITE PORCELAIN Imari porcelain VESSEL WITH AN ESCAPING Japan, 1900s, Meiji period TORTOISE (1868-1912) Porcelain Japan, mid-19th centuy, Edo period Painted in the traditional imari (1615-1868) color palette of blue and iron red with gold, with two large reserves The vessel glazed in deep blue on depicting Chinese boys, one with the outside and with a blueish-white a pet tortoise on a leash, beneath on the inside. The inside is finely cherry blossoms, pine trees and painted with blue cherry blossoms, sparrows. Between the reserves are and a figural tortoise is peeking out dense leaves and vines in red, blue over the rim, its head turned to the and gold. The lids with a similar left. The vessel is likely depicting a decoration. bronze censer, and the little tortoise that has escaped from the inside Shape: Ginger jars with lids has tipped the censer over with its Dimensions: Height 26.5 cm (each) weight, creating a dent that keeps Condition: Generally, in good the vessel in place. The patterns of condition, the painting slightly worn the shell are finely modelled, and the in some areas. The base ring of one tortoise has a slightly confused and jar chipped. mischievous expression. Provenance: German private collection Shape: Censer-shaped vase with a flaring rim EstimateġỘ₡ġġEUR 400,- Dimensions: Height 18.6 cm, Starting priceġ崟㉵₡ġġEUR 200,- Diameter 12.6 cm Condition: Good condition, minor imperfections to glaze Provenance: American private collection

rican private collection

EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

233 A HIRADO PORCELAIN VASE WITH CICADA Porcelain Japan, late 19th century, Meiji period (1868-1912)

The vase of a beautiful white color with an uneven wavy surface, simulating the surface of tree bark. A small naturalistically molded cicada in a brownish glaze with a slight blue hue is seated on top of the vase, which is highly contrasting to the pure white ‘hirado glaze’ of the conical vase. Usually this depiction is found with the cicada in the same colour of the vase, displaying the act of camouflage. Interestingly however, in this case the cicada is either about to adapt to the color of the vase or is unable to do so - a clever touch by the artist.

Shape: Conical vase with a circular base and slightly tapered neck and uneven mouth Dimensions: Height 20 cm Condition: Mint condition Provenance: American private collection

Auction result comparison: A similar vase was sold at Christie’s Online only, Japanese craftsmanship: Art of the Meiji period, 9-23 July 2015, lot 56

EstimateġỘ₡ġġEUR 500,- Starting priceġ崟㉵₡ġġEUR 250,-

230 231 235 A FINE BLUE AND WHITE RETICULATED HIRADO PORCELAIN KORO (INCENSE BURNER) Hirado porcelain Japan, late 19th century, Meiji period

An elaborately worked Koro (incense burner) in blue and white Hirado porcelain. The incense burner is set on a base with four curved feet, with finely painted sides. Above this is a chrysanthemum flower, the many petals neatly arranged and incised, with four blue-painted leaves on the sides. The next layers consist of two reticulated globular ‘baskets’, increasing in size as you go up, with shishi mask and dragon handles. Through the open-worked basket weave, one can see a cylindrical core with finely painted floral motifs in blue. The cylindrical container of the top section serves as the container for the 236 incense. The top with a lid in a similarly A LARGE AND FINE SETO-WARE open-worked basket weave design. BLUE AND WHITE PORCELAIN VASE BY KATO KICHIBEI Shape: Globular Incense burner with lid Porcelain with blue and white on a square base with curved feet painting Dimensions: Height 23.3 cm Japan, Meiji period (1868-1912) Condition: Remarkably in mint condition Provenance: American private collection The large vase depicting various birds in very fine blue and white painting. Auction result comparison: A very similar The bottom section is arranged slightly larger incense burner was sold at in two separate rows with cranes Christie’s, Masterful Exuberance, Artistic in flight between dense clouds. Craftsmanship of Imperial Japan: The The mid-section with a dense and Property of a Lady, London, 18 May impressive pine tree with a large 2012, lot 145 falcon, bearing a grim expression, perched on a branch. Not far from EstimateġỘ₡ġġEUR 800,- him is an owl seated on another Starting priceġ崟㉵₡ġġEUR 400,- branch with many sparrows gliding in the wind and some seated in further branches of the pine tree. Below them is a pair of pheasants looking upwards. The area around the neck and the lid are further decorated with phoenixes amongst clouds in half circle reserves, as well as the lid with same motif and a whimsical piebald rabbit finial. When removing the lid, one finds another lid with a figural pine cone continuing the design on the vase. Signed Nihon, Seto, Kato Kichibei. Seto city in Aichi prefecture is one of Japan’s representative ceramic-producing areas and the artist’s name Kichibei, comes from the Japanese word Hechibei, meaning ‘funny fellow’, as he was known for curious wares.

Shape: Baluster shaped vase with two lids with figural finials Dimensions: Height 56 cm Condition: Good condition, only the outer lid with two small v-shaped hairlines restored to perfection Provenance: American private collection

Auction result comparison: A comparable Seto-ware porcelain vase, smaller and with a floral motif, was sold at Christie’s, Japanese Art and Design, London, 11 May 2011, lot 122

EstimateġỘ₡ġġEUR 1.200,- Starting priceġ崟㉵₡ġġEUR 600,-

232 233 237 AN IZUMO-WARE VASE WITH A SILVER DESIGN OF A DRAGON BY IZUMO JYAKUZAN Porcelain with gold flakes and silver deposit Japan, 1900s, Meiji period (1868- 1912)

The porcelain vase decorated in a ‘tiger-eye’ glaze with densely applied gold flakes and an expressively painted three-clawed silver dragon. The marks on the bottom read Jyakuzan Izumo, corresponding to Izumo ware, with the mark below reading Dai (short for Dai Nihon – great Japan). Izumo ware was a type of fine quality export porcelain created in what is now the Shimane prefecture. The Tezen museum in Izumo is dedicated to arts and crafts from the Izumo region and has many fine objects from Jyakuzan.

Shape: Vase with a circular base, globular body and slightly tapering neck with a circular mouth and two handles Dimensions: Height 31.5 cm Condition: Good condition with minor wear to silver painting. Two tiny chips around the base and minor wear to glaze in that area Provenance: American private collection

EstimateġỘ₡ġġEUR 600,- Starting priceġ崟㉵₡ġġEUR 300,-

238 A FINE AND RARE SATSUMA PLATE BY KINKOZAN DEPICTING COCKERELS, CHERRY BLOSSOMS, SPARROWS AND BAMBOO Satsuma ceramic Japan, late 19th – early 20th century, Meiji period (1868-1912)

The plate is decorated with dense gold floral enamels on a cobalt-blue ground with one square and one rectangular panel with finely painted depictions. The square panel with a beautifully painted cockerel with two chicks below a blossoming cherry tree. Cockerels by the Kinkozan studio are quite rare and certainly one of the most sought-after motifs by the artist. The long rectangular reserve with four sparrows in flight, two of them fighting, below a leafy stalk of bamboo. The rim gilt with a geometrical and floral pattern and the outside of plain cobalt-blue color. Signed in gold on the underside KINKOZAN zo.

Shape: Plate with a circular foot Dimensions: Diameter 22.4 cm Condition: Mint condition Provenance: American private collection

Auction result comparison: A large baluster vase depicting cockerels in a reserve on a cobalt-blue ground by the Kinkozan studio was sold at Bonhams, Fine Japanese Art, London, 9 November 2017, lot 266

EstimateġỘ₡ġġEUR 1.200,- Starting priceġ崟㉵₡ġġEUR 600,-

234 235 239 241 A FINE SATSUMA PLATE BY A MARVELLOUS SATSUMA PLATE KINKOZAN WITH BLOSSOMS, BY KINKOZAN DEPICTING DOVES BIRDS AND BUTTERFLIES WITH CHERRY BLOSSOMS Satsuma ceramic Satsuma ceramic Japan, late 19th – early 20th century, Japan, late 19th – early 20th century, Meiji period (1868-1912) Meiji period (1868-1912)

The plate is decorated with dense The plate is decorated with dense gold floral enamels on a cobalt-blue gold floral enamels on a cobalt-blue ground with one rectangular and ground with a large heart-shaped square panel with finely painted reserve depicting doves underneath depictions. The long rectangular cherry blossoms. The five doves are reserve with a small bird sitting depicted all with different postures below a blossoming tree and and color of plumage, next to a deep watching a spray of water flowing blue puddle and sakura trees with out of a fountain. The other square the beautiful pink and white cherry reserve with a butterfly above a blossoms hanging over the doves. dense bush of flowers. The rim gilt The rim gilt with a geometrical and with a geometrical and floral pattern floral pattern and the outside of plain and the outside of plain cobalt-blue cobalt-blue color. Signed in gold on color. Signed with an impressed seal the underside KINKOZAN zo. KINKOZAN zo. Shape: Plate with a circular foot Shape: Plate with a circular foot Dimensions: Diameter 22.2 cm Dimensions: Diameter 22.5 cm Condition: Mint condition Condition: Mint condition Provenance: American private Provenance: American private collection collection EstimateġỘ₡ġġEUR 800,- EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,- Starting priceġ崟㉵₡ġġEUR 400,-

240 242 A FINE SATSUMA PLATE BY A FINE SATSUMA PLATE BY KINKOZAN DECORATED WITH A KINKOZAN DEPICTING BLOSSOMS, SNIPE AMONGST BLOSSOMS BUTTERFLIES AND SPARROW Satsuma ceramic Satsuma ceramic Japan, late 19th – early 20th century, Japan, late 19th – early 20th century, Meiji period (1868-1912) Meiji period (1868-1912)

The plate is decorated with dense The plate is decorated with dense gold gold floral enamels on a cobalt- floral enamels on a cobalt-blue ground blue ground with a fan shaped with two fan-shaped reserves with panel decorated with a snipe finely painted depictions. The upper amongst dense bushels of grasses reserve with a suzume (sparrow) in and flowers. The rim gilt with a flight above a lake with dense bushels geometrical and floral pattern of various aquatic plants. The lower and the outside of plain cobalt- reserve with peonies and butterflies. blue color. Signed in gold on the The rim gilt with a geometrical and underside KINKOZAN zo. floral pattern and the outside of plain cobalt-blue color. Signed in gold on Shape: Plate with a circular foot the underside KINKOZAN zo. Dimensions: Diameter 22.3 cm Condition: Mint condition Shape: Plate with a circular foot Provenance: American private Dimensions: Diameter 22.4 cm collection Condition: Mint condition Provenance: American private EstimateġỘ₡ġġEUR 800,- collection Starting priceġ崟㉵₡ġġEUR 400,- EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

236 237 244 A FINE SATSUMA TRAY BY SENZAN Satsuma ceramic Japan, late 19th century, Meiji period (1868-1912)

The tray with gilt border above an arrangement of red and green maple leaves with small bird in- between them. The center with a serene depiction of a daily-life scene of people walking through a pass 243 to a temple, beautiful pink cherry A JAPANESE SATSUMA BOWL WITH A NOH ACTOR blossoms hanging over them, the Satsuma ceramic details gilt and giving the surface a Japan, late 19th century, Meiji period (1868-1912) shimmering effect. The underside with the signature in a gilt square The inside of the bowl completely covered in hundreds of small gilt reserve reading SENZAN. enamel dots, the center with a noh actor wearing the mask of okina, an eboshi and holding a golden fan up high. This scene if from the Shape: Rectangular tray with lobed famous Noh play Okina, in which three characters perform ritual edges dances with a fan and a bell tree. The rim of the bowl is decorated Dimensions: 18.5 x 11.5 cm with geometrical motifs, as well as the outside of the bowl, which is Condition: Excellent condition further ornately decorated with scrolling vines. Provenance: American private collection Shape: Footed bowl with outward flaring rim Dimensions: Height 5.5 cm, Diameter 15 cm EstimateġỘ₡ġġEUR 1.000,- Condition: Good condition, some rubbing to the enamel Starting priceġ崟㉵₡ġġEUR 500,- Provenance: American private collection – old collection number ‘AC227’ on the base

EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

238 239 245 246 247 A FINE SATSUMA OKIMONO FIGURE OF A WOOD CUTTER A SATSUMA OKIMONO FIGURE OF FUKUROKUJU WITH CRANE AN EXCELLENT DEEP SATSUMA BOWL CHEWING TOBACCO Satsuma ceramic DEPICTING KANNON AND TWO ONI Satsuma ceramic Japan, late 19th century, Meiji period (1868-1912) ATTRIBUTED TO THE KINKOZAN WORKSHOP Japan, late 19th century, Meiji period (1868-1912) Satsuma ceramic The lucky deity Fukurokuju is depicted here seated on a plinth with his Japan, late 19th century, Meiji period (1868-1912) The old man is taking a break, sitting on a bundle of logs, his hatchet companion the red-crested crane, a symbol of longevity, seated next in one hand and the other hand holding chew tobacco. He has a to him, one hand of the deity caressing the animal. The other hand is The deep bowl is elaborately decorated on the humorous expression and his mouth is wide open, showing rows of holding a fan, with a hossu on top. His robes are ornately decorated inside with the goddess Kannon, her robes flowing missing teeth, a consequence of his habit. His clothes are ornately with scrolling vines, geometrical patterns and clovers and he is wearing and covered beautifully with gilt enamels and decorated with gilt enamels with floral and scrolling tendril patterns. a Taoist cap. Impressed seal reading Oimatu Sanjin. When examining the floral patterns. She has split the earth below her facial features, one immediately notices the detailed facial expression of feet, revealing a river to ward off the evil spirits in Shape: Figural the lucky god, which is modelled precisely, as if it was a portrait. It has the form of two oni, their robes equally ornately Dimensions: Height 15.5 cm been suggested that a man from Oimatsu-chyo has ordered this figure to decorated. The outside of the bowl with a fine and Condition: Very good condition; only the end of the hatchet has been look like Makuzu Kozan, who was an important Japanese ceramicist. (see elaborate pattern on the rim and a brocade pattern re-attached literature comparison) on the lower part of the bowl. Provenance: American private collection Shape: Figural Louis Lawrence, who has published several books on EstimateġỘ₡ġġEUR 400,- Dimensions: Height 12.5 cm satsuma, has attributed this piece to the Kinkozan Starting priceġ崟㉵₡ġġEUR 200,- Condition: Mint condition workshop (see literature). Provenance: American private collection Shape: Deep bowl with a circular, slightly raised foot Literature comparison: See an entry into the Kozan weblog, related to the Dimensions: Height 7.6 cm, Diameter 17.6 cm aforementioned suggestion, that a man from Oimatsu-chyo has ordered Condition: Mint condition this figure to look like Makuzu Kozan Provenance: American private collection

EstimateġỘ₡ġġEUR 400,- Literature comparison: Compare to a vase executed Starting priceġ崟㉵₡ġġEUR 200,- in similar style signed Kinkozan, note the similarities in gilding of the robes, execution of the clouds and ornate patterns of the borders, illustrated in Satsuma Masterpieces from the world’s important collections, Louis Lawrence, London, 1991, page 160, no. 81

EstimateġỘ₡ġġEUR 1.200,- Starting priceġ崟㉵₡ġġEUR 600,-

240 241 248 250 A RARE SATSUMA ‘MILLEFLEUR’ A LARGE AND FINE SATSUMA BOWL BY KOZAN TEAPOT BY MATSUMOTO Satsuma ceramic HOZAN Japan, late 19th century, Meiji period Satsuma ceramic (1868-1912) Japan, late 19th- early 20th century, Meiji period (1868-1912) The outside of the bowl decorated with many flowers amongst grasses The large teapot with three feet, a with gilt details, the gilt rim with a spout and bamboo handle ornately geometrical pattern. The inside is decorated with alternating reserves decorated elaborately with the very in-between fine gilt borders with popular ‘millefleur’ décor – meaning geometrical and brocade patterns. ‘thousands of flowers’ – in the form of One reserve with a depiction of many petals in red, blue and gold. The samurai warriors, their clothes with underside with the signature in a gold gilt details, opposite a reserve with square reserve reading dai Nihon Kozan a depiction of court ladies with zo (great Japan made by Kozan) above children. The remaining reserves, the Shimazu clan mon. as well as the lid, filled with fine Shape: Footed tea bowl floral motifs. The tapered mid- Dimensions: Height 5.5 cm, Diameter section is decorated with a gilt band 12.2 cm filled with scrolling vines and floral Condition: Very good condition, very motifs and the underside plain with minor wear to enamels dense craquelure and signature Provenance: American private collection in a gilt square reserve reading MATSUMOTO HOZAN underneath Auction result comparison: A the shimazu mon. comparable model, unsigned, was sold at Bonhams, Fine Japanese and Korean Shape: Teapot with a tapered mid- Art, New York, 12 September 2018, section with three feet, spout, lot 1233 handle and lid with a small knob. Dimensions: Height 19 cm (with EstimateġỘ₡ġġEUR 800,- handle), width 20 cm Starting priceġ崟㉵₡ġġEUR 400,- Condition: Excellent condition Provenance: American private collection

Auction result comparison: For a large vase by the celebrated artist see Bonhams, Fine Japanese and Korean Art, New York, 21 March 2018, lot 2199

EstimateġỘ₡ġġEUR 800,- Starting priceġ崟㉵₡ġġEUR 400,-

249 A JAPANESE SATSUMA BOWL WITH FLOWER CRESTS Satsuma ceramic Japan, late 19th century, Meiji period (1868-1912)

The cream-colored bowl covered in dense craquelure, the inside plain and the outside decorated with beautifully arranged crest-like medallions in gilt and polychrome enamels with various floral motifs including kiku blossoms, plum blossom, grasses and rose mallow.

Old wooden base. (2)

Shape: Footed tea bowl Dimensions: Height 7 cm, Diameter 12 cm Condition: Good condition, some rubbing to the enamel Provenance: American private collection – old collection number ‘AC228’ on the base

EstimateġỘ₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 150,-

242 243 252 A KAKEJIKU OF MONKEYS BY MORI SOSEN (1747-1821) Ink and color on silk 251 Japan, late 18th – early 19th century A SUMI-E DEPICTING GIBBONS BY KANO EISHIN YASUNOBU (1614-1685) Depicted is a mother monkey with her two Ink on paper young picking fleas. The mother is caressing Japan, 17th century one of the younger monkeys and is looking towards the left, her facial expression The sumi-e (ink wash painting) depicts three beautifully naturalistic. The younger ones animated gibbons, with their characteristically are looking at fleas between their fingers long arms, pointing and grasping at a waterfall and are visually absorbed by this. The which draws their attention. A leafy stalk of background with little speckles of ink and bamboo is seen to the right of the monkeys. gold flakes to create a three-dimensional Signed Hogan Eishin hitsu with seal. effect, further highlighting the image of the monkeys. Signed Sosen utsuishi, sealed Mori Shusho and Sosen. Shape: Rectangular painting in frame Dimensions: 48 x 34 (painting) Mori Sosen was the founder of the Mori Condition: The painting in good condition with school was active in Osaka at the end of only minor white spots the Edo period and was famous for his Provenance: American private collection paintings of monkeys, his designs were copied for some of the very best satsuma Auction result comparison: Another painting and lacquer works. His brush strokes and of Gibbons by Kano Yasunobu was sold at style are unmistakable, and he was said to Christie’s, Japanese and Korean Art, New York, have painted from sketches he made in real March 24 2010, lot 615 life, which explains the incredible sense of naturalism conveyed by his paintings. EstimateġỘ₡ġġEUR 1.200,- Starting priceġ崟㉵₡ġġEUR 600,- Shape: Kakejiku scroll Dimensions: Painting 82 x 43 cm Condition: Very good condition, minor creases Provenance: Isreal Goldman Japanese Prints, London England, 13 December 2000, and thence by decent

Auction result comparison: A similar painting by Mori Sosen, with similar treatment of the background, was sold at Bonhams, London, 11 November 2010, lot 343

EstimateġỘ₡ġġEUR 2.000,- Starting priceġ崟㉵₡ġġEUR 1.000,-

244 245 253 255. A FOUR PANEL STANDING SCREEN WITH BAMBOO A KANO SCHOOL FOUR PANEL Wood, ink and color on paper, brass fittings STANDING SCREEN WITH BIRDS Japan, 19th century or earlier AND PINE TREE Wood, gold and silver paper, ink and The wood screen with a depiction of leafy stalks of bamboo on paper colors, patinated copper fittings across four panels. Incised brass fittings on the edges. Japan, 19th century or earlier

Shape: Rectangular four-panel standing screen The four-panel standing screen Dimensions: 183 x 91. 5 (total) made of wood. Painted on gold is a Condition: The edges of the wood frame with minor damages. The depiction of red crested cranes with painting with many spots of white paint, some soiling, minor tears, a stream in the middle, one of the overall fair condition cranes drinking from a little pond in Provenance: Viennese private collection the left. There is pheasant next to rose mallow flowers and a couple EstimateġỘ₡ġġEUR 400,- of songbirds perched on a rock Starting priceġ崟㉵₡ġġEUR 200,- beneath a blossoming cherry tree. Patinated copper fittings with incised decorations on the edges and the backside with geometrical patterns. 254 A PAINTING WITH A MANTIS ON A FRUITING BRANCH OF Shape: Rectangular four-panel POMEGRANATE standing screen Ink and colors on paper. Japan, 19th century Dimensions: 122 x 47 (image) 173.5 x 109 cm (total) The painting executed with vivid brushstrokes depicting a mantis on Condition: The wood frame with a branch of ripe pomegranate, the bottom section of the branch with damages on the edges and the dense, dark green leaves. Signed in sosho with a seal. backside with tears. The silver frame within the wood frame with some soiling and losses. The image with Shape: Rectangular painting in frame losses to painting, soiling and tears Dimensions: 35 x 25 cm (painting) Provenance: Viennese private Condition: Good condition collection Provenance: Viennese private collection EstimateġỘ₡ġġEUR 600,- EstimateġỘ₡ġġEUR 200,- Starting priceġ崟㉵₡ġġEUR 300,- Starting priceġ崟㉵₡ġġEUR 100,-

246 247 256 AN UNUSUAL AND RARE PAINTING OF FUDO Shape: Formerly a Kakejiku mounted in a frame MYO-O (ACALA) Colors and ink on paper, silk mounting Dimensions: 62 x 42 cm (painting) Japan, 17th-18th century, Edo period (1615-1868) Condition: The painting with some soiling, creases, losses and surface degradation Fudo-myo, also known as Acala, is depicted here on top of a dragon amidst billowing flames and turbulent Provenance: American private collection waters. He is holding a straight vajra sword and a serpent scepter in his hands and is wearing ornate EstimateġỘ₡ġġEUR 800,- jewelry, a serpent crown and is surrounded by shining Starting priceġ崟㉵₡ġġEUR 400,- halo. He is depicted like a Bodhisattva with flowing garments, note the round facial features and indignant expression. Fudo-myo is one of the five wisdom kings and is associated closely with serpents and dragons.

LOT 126 AN IMPERIAL QIANLONG JADE INSET ZITAN ‘DRAGON’ TRAY

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