Fine Asian Ceramics & Works of Art - 18 November 2020 by Oriental Art Auctions

ASIAN ART AUCTIONS 18 NOVEMBER 2020

Oriental Art Auctions Ridderstraat 13 8051 EG Hattem The Netherlands tel: +31- (0)38-3380783 info@orientalartauctions.com www.orientalartauctions.com CoC. 66070651 VAT no. NL856383405B01

ASIAN ART AUCTIONS 18 NOVEMBER 2020

AUCTION Wednesday 18 November 2020 At 10.30 pm Lot 1 - lot 84

PREVIEW By appointment Kerkhofstraat 3 8051 GG Hattem The Netherlands

Lot 1 _______________________________________________________________________________________

A LARGE CHINESE PAINTING OF AN MANCHU ARCHER, CHINA, 19TH CENTURY

Ink and colour on silk. After an 18th century original, depicting Wu Fu, Brigadier General of the Gansu Region, in brown robes checking the alignment of his bow, with a quiver and a sword at the belt. Framed and glazed. Painting: 124 by 75.5 cm. PROVENANCE: from a private Dutch collection. Estimate € 2000 - € 3000

Lot 2 _______________________________________________________________________________________

A LARGE CHINESE PAINTING OF AN MANCHU ARCHER, CHINA, 19TH CENTURY

Ink and colour on silk. Painted after an 18th century original, depicting the Second rank officer of the Imperial Guard, Tanibu, in blue robes. Framed and glazed. Painting: 124 by 75.5 cm. PROVENANCE: from a private Dutch collection. Estimate € 2000 - € 3000

Lot 3 _______________________________________________________________________________________

A FRAMED CHINESE PAINTING OF A TAOIST FIGURE ON SILK AND PAPER, LATE MING DYNASTY (17TH CENTURY), EARLY QING Taoist figure ‘Tai Ching’, one of the Three Pure Ones. 126 by 56 cm. PROVENANCE: from a private Dutch collection. Estimate € 2000 - € 3000

Lot 4 _______________________________________________________________________________________

A RARE CHINESE PAINTING OF THE KING OF HORSES ‘MA SHEN’. MING PERIODE, PROBABLY 16TH CENTURY

Painting on silk of an offering scene to the Horse Spirit or King of horses ‘Ma Shen’. The veneration of the Horse Spirit was limited to the northern part of China were most horses were bred and most popular in the Ming period. The military importance of horses for controlling the borders is stressed here by the presence of two deified generals.Further there’s Shou lao on the left and a Daoist deity on the right, possibly the Jade Emperor, who according to the myth, played a role in the creation of the Horse Spirit. At the lower end two young horses are carried on plates to the altar to be offered. The presence of the wolf and tiger at both ends of the altar is not clear. Are they perhaps the representatives of Ma Shen standing ready to devour the foals on the plates? At the lower left there are two buffalos with a young unidentified spirit. The lower end with the livestock and the human figures represents the earthly world.Beside the military importance of horses as stressed by the presence of the two generals they were also of great value in daily life, as were the buffalos standing next to the two horses in front of what appear to be large throughs.This daily life section gives us a view on an agricultural community.The actual offering would take place on the 22nd day of the 2nd lunar month. Note that the horses are adorned with a pompon for this special occasion. 101.5 by 149 cm. (excluding rim) PROVENANCE: from a private Dutch collection. Estimate € 2000 - € 3000

Lot 5 ________________________________________

Lot 6 ________________________________________

A Chinese silk hanging altar panel, embroidered in gold and polychrome on red ground with above the three Gods, Fu, Lu and Shou. In the middle ShouLao with a deer, surrounded by a band of Sanxing deities and the eight Immortals. An outer band with confronting phoenixes flanked with flower sprigs and three Fu dogs.

A Chinese silk hanging altar panel for a temple embroidered in gold and polychrome on red ground with above the three Gods, Fu, Lu and Shou. Surrounded by a band of Immortals and phoenixes flanked with flower sprigs, crane birds and qilins. In the center is a large character in gold thread, longevity symbols.

330 by 185 cm.

300 by 140 cm.

Estimate € 5000 - € 7000

Estimate € 3000 - € 5000

A CHINESE RED-GROUND SILK EMBROIDERY, 19TH CENTURY

A CHINESE RED-GROUND SILK EMBROIDERY,19TH CENTURY

Lot 7 ________________________________________________________________________________________

A LARGE CHINESE SILK KESI PANEL,19TH CENTURY

The finely silk woven panel with a scene of scholars at leisure in a garden setting, discussing a scroll. 210 by 120 cm . Estimate € 800 - € 1000

Lot 8 _________________________________________________________________________________

A LARGE CHINESE RED-GROUND SILK EMBROIDERY,19TH CENTURY A large chinese hanging panel, embroidered with dragons surrounded by clouds. 90 by 390 cm. Estimate € 800 - € 1000

Lot 9 ____________________________________________

AN INDIAN IVORY SEATED GANESHA 17TH CENTURY

The Hindu god of auspiciousness, Ganesha, is popularly accepted as the first son of Shiva and Parvati. As the deity who controls obstacles—their invention and their removal—he is worshiped prior to any serious undertaking. This seated four-armed Ganesha, modelled seated on a lotus stand with serpent belt around rotund belly, and holding a box of sweets. Height: 7.8 cm. Estimate € 800 - € 1200

Lot 10 ________________________________________________

A CHINESE SILK KESI PANEL, 19TH CENTURY A panel depicting elegant ladies playing an instrument in front of a court lady. 160 by 66 cm. Estimate € 600 - € 800

Lot 11 _____________________________________

A TIBETAN THANGKA OF TSONGKHAPA AND THE REFUGE TREE 19TH CENTURY The thangka depicts Tsongkhapa seated on top of the Refuge tree with rises from the ocean and bears a multitude of figures, all on a ground with further groups of haloed monks. Framed and glazed. 53 by 44.5 cm. Thangka: 32.5 by 24.5 cm. PROVENANCE Jan Brummelhuis collection, Amsterdam. Estimate € 800 - € 1200

Lot 12 ______________________________________________________________________________________

TWO HANGING TIBETAN BRASS INCENSE BURNERS, 19TH CENTURY

The burners decorated with the Tibetan auspicious symbols, Ashtamangala and figure of a seated Vajrasattva, 25 cm. diam. PROVENANCE Private collection, Belgium Estimate € 1500 - € 2000

Lot 13 ______________________________________________________________________________________

A GREEN-GROUND SILK EMBROIDERED ‘DRAGON’ PANEL, 18TH CENTURY

Depicting the five clawed dragon and flaming pearls, the dragons and other pictorial elements in blues, greens, browns, cream and orange on a light green background. 80 by 70 cm. Estimate € 2000 - € 3000

Lot 14 ______________________________________

A LIGHT CHINESE BLUE-GROUND SLIP DECORATED DISH, QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

The foliate-rimmed dish is decorated to the interior with a central ‘shou’ (longevity) character roundel surrounded by five bats, wufu, and stylised ruyi-shaped scrolls to the rim. The areas in relief are covered in a dark blue glaze. 25 cm. diam. 5.5 cm. height Estimate € 600 - € 800

Lot 15 ____________________________________________

AN ISLAMIC-MARKET LARGE CHINESE BLUE AND WHITE CHARGER KANGXI PERIOD (1662-1722)

Decorated with a central roundel surrounded by six-petal shaped stylized floral panels, the reverse is decorated with auspicious objects and with a channelled footring. 35 cm. diam. 7 cm. height Estimate € 800 - € 1200

Lot 16 ________________________________________________________________________________________

AN ISLAMIC-MARKET LARGE CHINESE BLUE AND WHITE VASE, 19TH CENTURY

Of octagonal form with eight faceted sides, the ovoid shaped lower body tapering at the waist before rising to a compressed globular upper bulb surmounted by a long neck, the upper bulb decorated with three roundels each enclosing Arabic inscriptions, the lower bulb with four further Arabic inscribed roundels each detailed with floral and geometric pattern, a six-character Cheng-Te mark on the base. 58 cm. Estimate € 4000 - € 6000

Lot 17 ________________________________________________________________________________________

A CHINESE BLUE AND WHITE DOUBLE GOURD DRAGON VASE, QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

The vase is flanked by pair of ruyi handles, the body is decorated to both sides with shou medallion flanked by confronting dragons. The upper section is decorated with a bat medallion, all amongst foliate scrolls. 17.5 cm. Sotheby’s London, 7 November 2012, lot 500. Estimate € 10.000 - € 14.000

Lot 18 ________________________________________________________________________________________

A CHINESE MOULDED WHITE-GROUND BLUE AND WHITE PHOENIX-TAIL VASE, KANGXI PERIOD (1662-1722) The vase is finely decorated to the body with two circular panels, one enclosing Shoulao and a deer and the other with Xiwangmu and a crane. The ground is decorated with further incised ruyi-bands, cloud scrolls, flower scrolls, and stiff leaves. The base with an apocryphal Chenghua mark. 42 cm. Estimate € 2000 - € 3000

Lot 19 ____________________________________________________________________________________

A CHINESE ISLAMIC-MARKET BLUE AND WHITE PEN BOX AND COVER, XUANDE MARK,

The cover is decorated with a shaped panel enclosing floral scrolls, all reserved on ground of dense ‘golden horn’ scrolls. The underside of the cover is decorated with the Three Friends of Winter (pine, prunus, and bamboo) below a Xuande mark. The box base is decorated with four cartouches enclosing scrolling flowers, all reserved on a honeycomb ground, the side with a Xuande mark. The interior is modelled with a separate porcelain inkwell and apertures for other writing implements. 31.5 cm. Estimate € 8000 - € 12.000

____________________________________________________________________________________

CATALOGUE NOTE

From the 13th century onwards, pen boxes of forms similar to the present lot were an essential part of the Islamic calligrapherâ&#x20AC;&#x2122;s tools. Since the travels to the Middle East, Southeast Asia, and Africa of the admiral Zhenghe during the Yongle emperorâ&#x20AC;&#x2122;s reign, the Chinese court held a fascination with the culture and art of the Islamic world, and the form of the present box is an example of such. Based on a metal prototype, the porcelain versions began to be fired at Chinese kilns in the early 15th century. For an unmarked example dated to Xuande, see that which is held in the David Collection at the British Museum, accession no. PDF,A.629.

Lot 20 _____________________________________________________________________________________________

A LARGE PAIR OF CHINESE BLUE AND WHITE PEACOCK CHARGERS KANGXI (1662-1722) Each charger is decorated to the centre with a set of panels shaped as a flower head, with the centre enclosing a flower on a seeded ground surrounded by the petals enclosing alternating lotus, peony, camellia, and chrysanthemum reserved on a trellis ground. The rim is boldly decorated with cartcouches enclosing peaches in a vase interspersed by long-tailed peacocks on a scrolling chrysanthemum ground. Each base with four beribonned precious objects. 41.7 cm. diam.

Estimate â&#x201A;Ź 3000 - â&#x201A;Ź 5000

_____________________________________________________________________________________________

CATALOGUE NOTE

Massive chargers in this classic pattern were a favorite of Chinese porcelain collectors worldwide. Examples from the royal collection at Dresden sold Christie’s London, 19 May 2005; others are in James Whistler’s famed Peacock Room, now at the Freer Gallery, Washington DC; another, also with fungus mark, in the Topkapi Saray is illustrated by Krahl and Ayers in the Catalogue of Chinese Ceramics, Vol. III, pl. 2300. A similar charger is illustrated in R. Krahl and J. Ayers, Chinese Export Porcelain in the Museum of Topkapi Saray, Istanbul, London, 1986, vol. III, no. 2300, p. 1050. Also see the V&A Museum Collection, museum number: C.792-1910. Compare a larger ‘peacock’ charger sold at Christie’s New York, 23 January 2008, lot 1.

Lot 21 _____________________________________________________________________________________________

A LARGE PAIR OF BLUE AND WHITE JARS AND COVERS, KANGXI PERIOD (1662-1722)

Finely potted with moulded petal-shaped panels, painted around the bodies with butterflies amongst densely-flowering leafy peony sprays, within floral and foliate pattern borders, the domed covers similarly decorated and surmounted by lotus-bud finials, wood stands. Each 56.5 cm high

CATALOGUE NOTE

For a very similar jar and cover, see R.Krahl, Chinese Ceramics In The Topkapi Saray Museum, Qing Dynasty Porcelain, Vol.III, London, 1986, p.1001, fig.2126. Estimate € 8000 - € 12.000

Lot 22 ______________________________________________

A LARGE CHINESE BLUE AND WHITE JAR AND COVER, KANGXI PERIOD (1662-1722)

Painted with petal-shaped panels of landscapes alternating with flowering shrubs, the domed covers with knob finial. 56 cm. Estimate € 1200 - € 1500

Lot 23 ______________________________________________

A PAIR OF CHINESE BLUE AND WHTE HEXAGONAL BOTTLE VASES KANGXI PERIOD (1662-1722)

Decorated with panels of scholars’ objects, antiquities and vases and jardinieres of flowering plants, the necks with floral and foliate panels. 31 cm. and 30.8 cm. Estimate € 1200 - € 1500

Lot 24 ____________________________________

A LARGE BLANC DE CHINE FIGUR 19TH-20TH CENTURY

Standing on stylized lotus shaped base made elaborate long swaying robe and richly decora strings of Buddhist jewellery with flower orna arms; her elaborate coiffure surmounted by a Buddha.

To the back an impressed double gourd mark version for He Chaozong, possibly made by S An identical but slightly smaller figure was off 2011, lot 49.

H. 80 cm. 26

Estimate â&#x201A;Ź 12.000 - â&#x201A;Ź 15.000

_______________________________

RE OF GUANYIN

up of multiple petals, dressed in an ated at the waist and chest with long aments and repeated on the upper a crown enclosing a seated figure of

k for Duhua above a square seal mark Su Xuejin (1869â&#x20AC;&#x201C;1919). ffered at Sothebyâ&#x20AC;&#x2122;s Paris, 15 December

Lot 25 _______________________________________________________________________________________

A LARGE CHINESE BRONZE DOUBLE GOURD VASE, 17TH CENTURY

Two figures of Laughing Twins form the handles at the neck. The body of the vase is cast in high relief with a quatrefoil panel depicting smiling figure with an attendant serving tea all below trees and a flying butterfly The base is cast with an apocryphal Xuande mark. 68 cm. PROVENANCE Private collection, Belgium Estimate € 2000 - € 3000

Lot 26 _______________________________________________________________________________________

A LARGE CHINESE BRONZE CENSER MODELLED AS A DIGNITARY RIDING A DEER, MING DYNASTY (1368-1644)

A bronze two part censer in the form of a dignitary seated on a deer. The figure wearing a long decorative robe, tall hat, seated on a harnessed deer with its head lowered and turned to one side. PROVENANCE Private collection, Belgium Estimate € 8000 - € 12.000

Lot 27 ________________________________________________________________________________________

A CHINESE FAMILLE VERTE ‘FLORAL’ DISH, CHINA, KANGXI PERIOD (1662-1722)

The dish is decorated to the centre with star-shaped floral panel surrounded by four quatrefoil cartouches enclosing various flowers, all separated by prunus and peony sprays. The exterior is decorated with two flower sprays, the underside with a floral mark within a double circle in underglaze blue. 27 cm. diam. Estimate € 1200 - € 1500

Lot 28 ________________________________________________________________________________________

A CHINESE FAMILLE VERTE VERTE BRUSH POT, BITONG KANGXI PERIOD (1662-1722)

The exterior of the slightly tapered brush pot is decorated with figures in pavilions in a mountainous river landscape, all under a gilt-decorated moon. 12.3 by 11.2 cm. PROVENANCE: from a private Dutch collection. Estimate € 4000 - € 6000

Lot 29 ______________________________________________________________________________________

A CHINESE FAMILLE ROSE ‘DEER’ TUREEN AND COVER, 18TH CENTURY

The cover and exterior are decorated and gilt with a deer below pine amongst lingzhi fungus, all below a butterfly in flight. The tureen is affixed with two fan-shaped lug handles, and the interior is decorated with a blossoming peony. The slightly domed cover is surmounted by a lotus bud finial enameled with a chrysanthemum.18 by 27.5 cm. Estimate € 800 - € 1200 Lot 30 _________________________________________

A CHINESE GILT BRONZE FIGURE OF A BUDDHA, LATE MING DYNASTY, 17TH CENTURY

The figure is modelled with a serene expression on his face between pendulous earlobes. He wears long robes which are open at the chest. His hands are held in front of him in prayer and his feet are crossed in padmasana. 11 cm. PROVENANCE Private collection, The Netherlands Estimate € 2000 - € 3000

Lot 31 ________________________________________________________________________________________

A CHINESE WANLI POLYCHROME-DECORATED ‘CRAPS DISH,16TH CENTURY

A Swatow Zhangzhou Ware Dish, Wanli period (1573-1620). Loosely decorated with a central scene of fish swimming between lotus with bands of antiquities around the rim, this dish is typical of what is commonly known as Swatow ware. Swatow is a type of Chinese export ware made for the South East Asian market and derives from “Shantou”, a coastal town in south eastern Guangdong province. The majority of Swatow wares were produced in underglaze blue, but also in monochrome and poly chrome colours. It is characterized by the imaginative scenes and somewhat folkloristic style of painting, often with sand residue from the kiln to the base of the object. Recently, Swatow kiln sites have been found in Zhangzhou prefecture in Fujian province for which reason the name Zhangzhou ware is now preferred by many Chinese scholars. 31.2 cm. diam. Estimate € 3000 - € 4000

Lot 32 _______________________________________________________________________________________

SIX CHINESE FAMILLE ROSE CUPS AND SACUERS, 18TH CENTURY H: 4.5 cm D: 4 cm. PROVENANCE: from a private Dutch collection. Estimate € 800- € 1000

Lot 33 _______________________________________________________________________________________

TWELVE CHINESE IMARI CUPS AND SAUCERS, 18TH CENTURY Decorated and gilt with pavilion in a river landscape. H: 4 cm. D: 12 cm. PROVENANCE: from a private Dutch collection. Estimate € 800 - € 1200

Lot 34 _______________________________________________________________________________________

FIVE CHINESE FAMILLE ROSE CUPS AND SACUERS, YONGZHENG (1723-1735)

Decorated with famille rose polylobed cartouches depicting a bird on a rock among bushes of peonies and other flowers. All around black, red and gold floral motifs; white enamelled base. H: 4 cm D: 11.5 cm PROVENANCE: from a private Dutch collection. Estimate € 1000 - € 1500

Lot 35 _______________________________________________

A CHINESE FAMILLE ROSE ‘BOYS’ TEAPOT AND COVER, 19TH-20TH CENTURY

The body is decorated with a multitude of boys at play in a procession in a fenced garden. The scene is bordered by a lappet band at the foot and a ruyi-head band at the rim. The handle, spout, neck, and cover are decorated with flowers on a lime green ground. The base with an apocryphal Qianlong mark. 16.5 cm. high 20.2 cm. width Estimate € 800 - € 1200

Lot 36 ___________________________________________________________

A CHINESE FAMILLE ROSE BRUSH REST, 19TH CENTURY A Chinese porcelain brush rest decorated with a butterfly flying over flowering branches.The bottom with a four Chinese Qianlong mark. 9.5 by 6.5 cm. PROVENANCE: from a private Dutch collection. Estimate € 600 - € 800

Lot 37 ______________________________________________________________________

A LARGE CANTONESE IVORY PHEASANT, CHINA, 19TH CENTURY

The bird is carved with its head raised and its wings folded on its back. Its legs modelled as if it were walking forward. The long tail trails behind. The carving bears traces of pigment. 43 cm. Estimate € 800 - € 1000

Lot 38 _____________________________________________________________________________________

A PAIR OF CHINESE FAMILLE ROSE COCKERELS, 19TH CENTURY

Each cockerel is modelled with its head turned slightly to the side and its wings closed. Its features are decorated in colourful enamels and its comb, wattle, and chest is depicted in iron red. Each bird stands with one foot up and one foot down on a mottled green-enamelled pierced rock. 38.5 by 14.5 cm Estimate € 1200 - € 1500 Lot 39 _________________________________________________

A CHINESE ENAMELLED PORCELAIN CRANE 19TH CENTURY The crane is modelled with an alert expression and looking slightly upwards, its wings are held closed on its back and it stands on a pierced gnarled pine tree trunk beside lingzhi fungus. 60 cm. Estimate € 800 - € 1200

Lot 40 ______________________________________________________________________________________

A LARGE CHINESE SANCAI GLAZED PILLOW, MING DYNASTY (1368-1644)

Shaped as a throne chair, the sides of the pillow are decorated in relief with chrysanthemum flowers below a fan shaped panel, and the centre of the backboard is decorated with a flower sprays. The front of the structure and the interior well is decorated with pierced cash symbols. 26 by 43 by 27.7 cm. Estimate € 1400 - € 1800 Lot 41 _________________________________________

A CHINESE AMBER-GLAZED JAR AND COVER, TANG DYNASTY (618-907) The jar is covered with a translucent amber glaze which stops unevenly to reveal the buff-coloured lower body. The cover is similarly covered in the amber glaze. 18 cm. PROVENANCE Private collection, The Netherlands Estimate € 600 - € 1200

Lot 42 ______________________________________________________________________________________

A CHINESE CELADON GLAZED STEMCUPS, LATE YUAN-EARLY MING DYNASTY, 14TH CENTURY The stem cups are 11 cm. and 11.5 cm. high

CATALOGUE NOTE

Compare with similar pieces in J. Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p. 463, pls.16:2 and 16:3 and J. Ayers, The Chinese Porcelain Collection of Marie Vergottis, Lausanne, 2004, p. 30, pl.9. Estimate € 3000 - € 5000 Lot 43 __________________________________

A LARGE CELADON ‘LONGQUAN TRIPOT CENSER, MING DYNASTY (1368-1644)

Of squat rounded form with everted rim standing on tripod feet, covered inside and out with a crackled green glaze, the unglazed areas on the base and interior burnt orange in the firing. 34.5 by 16.5 cm. Estimate € 1500 - € 2000

Lot 44 ______________________________________________________________________________________

A LARGE CHINESE POWDER-BLUE GROUND GILT-DECORATED CHARGER KANGXI PERIOD (1662-1722)

The interior of the charger is decorated in gilt with a central flowerhead surrounded by teardrop shaped panels resembling the petals of a flower, divided by triangular floral panels. The white glazed base bears a twin fish mark in underglaze blue. 52 cm. diam. Estimate € 3000 - € 5000

Lot 45 __________________________________

A PAIR OF CHINESE CAFE’-AULAIT-GROUND BLUE AND WHITE POTICHES AND COVER, KANGXI PERIOD (1662-1722) Each potiche is fashioned with two slender beast-head handles, each side is decorated with two shaped panels enclosing a multitude of precious objects. The slightly domed covers are similarly decorated and are surmounted by a ball finial. 17.5 by 12 cm. Estimate € 2000 - € 3000

Lot 46 _________________________________________

A CHINESE PAINTING OF IMMORTALS, 18TH CENTURY

Ink and colour on silk. The painting depicts various Immortals wearing officials’ robes seated in a circle around a central kneeling figure, possibly depicting the court of the afterlife. In the foreground stands a figure with a horse.The painting is inscribed with two inscriptions dated Qianlong. 77 by 41 cm. Framed. PROVENANCE Private collection, The Netherlands Estimate € 1400 - € 1800

Lot 47 ______________________________________

A CHNESE TURQUOISE-GROUND FAMILLE ROSE BOTTLE VASE, TIANQIUPING, 19TH-20THCENTURY The vase is boldly decorated to the exterior with two dragons amongst clouds above a band of foaming waves encircling the foot, the gilt rim with a band of ruyi heads below it. The base with an apocryphal Qianlong seal mark. 50 cm. Estimate € 1000 - €1400

Lot 48 ______________________________________

A LARGE CHINESE FAMILLE ROSE CHARGER, QING DYNASTY (1644-1911)

Well enamelled on the interior with two bees hovering above two flowering branches, the larger picked out in ochre-brown shades, bearing pink and white prunus blossoms and extending upwards around the curve of the dish, entwined by a smaller grey branch with greenish-white flowers, growing beside sprays of large iron-red peony blossoms and colourful lingzhi sprigs issuing from the trunk of the larger tree, all continuing over the mouth rim onto the underside of the dish with further peony blossoms extending in one direction around the sides and the prunus in the opposite direction. 49 cm. diam. Estimate € 1000 - €1400

Lot 49 ______________________________________

A CHINESE YELLOW-GROUND GREEN-ENAMELLED DRAGON’ BOWL, QIANLONG SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD 1736-1795

The bowl is decorated with two incised dragons chasing the flaming pearl above a band of waves. The base with a Qianlong seal mark in underglaze blue. 12.2 cm. diam. Lot 50 ______________________________________

Estimate € 4000 - € 6000

A CHINESE BLUE AND WHITE IRONRED DECORATED ‘DRAGON’ BOWL, SIX-CHARACTER JIAQING MARK AND OF THE PERIOD (1796-1820) A blue and white bowl decorated with iron-red dragons chasing flaming pearls amongst clouds. Marked to the base with a six-character Jiaqing mark. 5.9 cm. height, 11 cm. diam. Estimate € 2000 - € 3000

Lot 51 _____________________________________

A LARGE TURQUOISE GLAZED VASE 18TH CENTURY Of baluster shape, with applied dragon-head handles. 33.cm. Estimate € 800 - € 1200

Lot 52 ______________________________________

A CHINESE FAMILLE VERTE JARDINIE’RE, KANGXI PERIOD (1662-1722)

The vessel is decorated with a pheasant perched on rocks amongst flowering peonies, chrysanthemums and a stalk of bamboo below two birds in flight. The flat rim is decorated with half lotus blossoms and scrolling leaves. 27.5 by 24 cm.

CATALOGUE NOTE

For a similar example, see Christiaan J.A. Jörg, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties, p. 149, item 160. Estimate € 1200 - € 1600

Lot 53 ________________________________________________

A PAIR OF CHINESE FAMILLE VERTE FIGURES OF BOYS, KANGXI PERIOD (1662-1722) Each holding a vase of lotus to their opposite sides, wearing floral robes and standing on square pedestals enamelled with flowers. 28 cm. Estimate € 1000 - € 1400

Lot 54 _______________________________________________________________________________________

A LARGE CHINESE FAMILLE VERTE FIGURAL’ PHOENIX TAIL VASE, 19TH CENTURY The vase is finely decorated with continuous scenes of scholars and ladies at leisure amongst gardens and pavilions, separated by a brocade band interspersed with cartouches enclosing precious objects, and a cross hatch band at the shoulder, all below a geometric floral band to the rim. The base with an apocryphal Kangxi seal mark. 59.5 cm. Estimate € 1000 - € 2000

Lot 55 ____________________________________________________________________________________________

A PAIR OF CHINESE FAMILLE VERTE JARS AND COVERS KANGXI PERIOD (1662-1722)

Decorated with vibrant panels depicting ladies at leisure in a courtyard setting with castellated walls and domed rooves, the panels separated by dividers of trailing and fruiting vine leaves, each base with a double circle in underglaze blue 40 cm. high, overall including covers Estimate â&#x201A;Ź 8000 - â&#x201A;Ź 12.000

Lot 56 ____________________________________

A CHINESE EXPORT REVERSE GLASS PORTRAIT OF A LADY, 19TH CENTURY

The portrait depicts a European lady in profile, with her long brown hair swept back, she looks to one side with her hands clasped in prayer. 39 by 29 cm. Estimate € 1000 - € 2000

Lot 57 __________________________________________________

A CHINESE WHITE JADE BOX AND COVER, 18TH CENTURY

The foliate box is carved to the upper surface with one of the Eight Immortals, Lan Caihe, holding a basket full of flowers under a wisteria tree in a rocky landscape amongst clouds. The stone is of an even pale tone. 11 cm. Estimate € 1000 - € 1400

Lot 58 ____________________________________________________________________________________________

A CHINESE WHITE JADE HANGING VASE AND COVER, QING DYNASTY (1644-1911)

The flattened pear-shaped vase is carved with two scroll-shaped handles to the neck and shoulder from which suspends a swing handle. The body is carved in relief with a band of kui dragons to the shoulder and a band of taotie and cicada to the body. The base bears an apocryphal Qianlong mark. Height of vase and cover: 21.8 cm. Height of vase and handle: 28 cm. Estimate € 8000 - € 12.000

Lot 59 ______________________________________________________________________________________

A CHINESE FAMILLE VERTE CHARGER, KANGXI PERIOD (1662-1722)

The dish is decorated to the centre with a garden scene with a pair of rabbits, a pair of peacocks, and a pair of birds in flight. The foliate rim is decorated with a geometric band interspersed with cartouches. The base bears an artemisia leaf mark in underglaze blue. 37 cm. diam. PROVENANCE Property from the estate of Anton Philips and heirs. Estimate € 800 - € 1000

Lot 60 ______________________________________________________________________________________

A LARGE CHINESE FAMILLE VERTE’ DEER AND CRANE’ DISH, KANGXI PERIOD (1662-1722)

Decorated in famille verte enamels and painted with a central image of the ‘Three Friends of Winter’, featuring bamboo, pine and prunus, along with two other auspicious creatures; the crane and the deer. This design, is then encircled by a lavish foliate and gilt detailed border. 36 cm. diam. Estimate € 800 - € 1200

Lot 61 ______________________________________________________________________________________

A PAIR OF CHINESE TERRACOTTA ATTENDANTS, MING DYNASTY (1368-1644) A large pair of Ming dynasty pottery figures, a male and female attendants. The figures are standing on high hexagonal plinths and wears fine detailed clothes. 60 cm. Estimate € 3000 - € 5000

Lot 62 ______________________________________________________________________________________

A LARGE CHINESE ‘SWATOW’ CHARGER, 16TH-17TH CENTURY

A Chinese blue and white Zhangzhou ‘Swatow’ charger decorated in the centre with a pair of phoenixes amongst sprays of flowers. 48 by14 cm. Estimate € 800 - € 1200

Lot 63 ____________________________________________________________________________________________

A CHINESE POLYCHROME-DECORATED WOOD LUOHAN LATE MING DYNASTY, 17TH CENTURY

The squarely-seated figure is carved with short-cropped hair above a serene face between pendulous earlobes. He is modelled with his hands held in front of him in vitarkamudra. The figure is finely carved with detailed undulations of his long robe. 100 by 58 cm. PROVENANCE: Les Trois Garcons’, Estimate € 8000 - € 12.000

Lot 64 ____________________________________________________________________________________________

A RARE CHINESE PAINTED POTTERY FIGURE OF AN OX, HAN DYNASTY (206 BC-220 AD)

The large beast is standing foursquare with its head slightly lifted. It is modelled with a lively expression on its face and two upright horns. The long tail is modelled resting behind it and is inset with long hairs. The body is covered in a dark pigment. 44 cm. height, 17 cm. width, 70 cm. length PROVENANCE: property of a private Dutch collection. Estimate € 8000 - € 12.000

Lot 65 _________________________________________________________________

A GREY POTTERY GUARDIAN KING, CHINA, EARLY TANG DYNASTY, MID 7TH CENTURY

A grey pottery guardian king. The Tang dynasty was a luxuriant period and their aristocrats could afford sumptuous tombs. Depending their rank, the tomb chamber displayed larger and better quality of a varied array of pottery horses, camels, grooms and other subjects. The entrances to these chambers however, were always watched over by glazed or painted pottery guardians. The principle guardians, directly fronting the entrance, were a pair of seated earth spirits. Just behind these were positioned a pair of guardians like the fine presented, single example. In most tombs only one pair was represented and sculpted by the artist in a complementary standing posture. According to archaeological evidence richer burials could have up to four standing guardians. One may assume that the presented guardian was positioned on the left side of the entrance, upon entering. The guardian figure is sculpted in an aggressive stance with his hip slightly trusted to the right, legs spread and both feet firmly placed on a rectangular plinth. His left hand is raised with clenched fist while the right arm is lowered displaying the same gesture. His menacing face shows protruding eyes below furrowed brows, broad nose, mouth opened to scream, displaying at the same time two rows of teeth. On his head he wears a helmet decorated with upturned flaps and a shaped pointed finial. The guardian figure is fully outfitted in heavy, modelled thigh-length leather armour. The breastplates or cuirass are held in place by rope-like straps encircling the mid-riff and connected to a girdle tied beneath his prominent stomach. Underneath the armour is still visible a tunic with short floating sleeves and a pair of lion-mask epaulettes. Around his neck and shoulders a stole is draped knotted at the front bandoleer his throat. His legs are covered with a pair of trousers just revealing boots. Most likely the surface of this pottery figure was once extensively painted with various designs that glittered in the sparse light, and would ward off intruders when entering such a tomb. The tradition of guardians overlooking the entrance of a grave tomb predates the Tang period and they were placed directly on a rocky platform. Around the mid-seventh century a new type evolved, known as shenwang. These ‘heavenly kings’ subdued now animals. One of the subdued animals is the ox while the other represents a deer-like creature. A later development and eventually predominating, sees both guardians trampling on demonic figures. In both latter forms they are known as tianwang or lokapala. As they strongly resemble the four guardians of the Buddhist law, which faith had imbued the entire Tang upper-society, both concepts became integrated. Height 91 cm. Oxford Authentication sample PROVENANCE Pivate collection, The Netherlands Estimate € 20.000 - € 25.000

Lot 66 _____________________________________________

A LARGE STANDING POLYCHROME WOOD LATE MING DYNASTY (1368-1644)

Carved in the round and stands on a circular plinth. The raised right hand demonstrates the wish-granting ge stretches along his body and displays the same gesture. A draped a pleated garment reaching to his feet and secured at the front. A long scarf is floating around his body of w the plinth at the backside. Bandoleer his chest is another Furthermore his body is decorated with bracelets, armlet The facial expression is not only serene but also of a stern countenance giving the bodhisattva an authoritative appe are carved downcast below arched eyebrows, a bead inlai nose, pronounced lips and elongated earlobes. The latter wisdom of the god. His coiffure is combed in a chignon c with ribbing and decorated with a triangular shaped orna The tiara is carved with scrolling foliate around a minute or his spiritual father who is seated on a lotus. A trifurcat falling on each shoulder. Remains of pigments are still vis Although the presented sacred image of Guanyin is creat of this specific wood carving tradition, he still displays a presence with a stern facial expression. Height 135 cm. PROVENANCE property of a private Dutch collection.

CATALOGUE NOTE

A comparable standing example, but from the Song dynasty, demonstrates perfectly well the development of such a Guanyin type from the Song to Qing dynasty. The sculpture is published in ‘The Art of Contemplation: Religious Sculpture from Private Collections’, National Palace Museum, Taipei 1997, no. 82. Estimate € 30.000 - € 50.000

________________________________________________

D FIGURE OF GUANYIN CHINA

esture while the left Around his hips is d with a sash knotted which both ends touch scarf visible. ts and necklace. n and aloof earance. The eyes id third eye, aquiline stand for the spiritual consisting of swags ament at the front. e figure of Amitabha ted strand of hair is sible. ted at the far end robust and strong

Lot 67 ___________________________________________

A PAINTED AND LACQUERED WOOD FIG LATE MING DYNASTY (1368-1644)

This imposing guardian figure stands in martial postu feet apart but at the same time with his right slightly s a shaped, rocky base. His right arm is stretched forwa with the hand supporting an unidentifiable object. Hi ring finger pointed down and holding a long staff, it’s with an ornament and topped with a tapering, slightly His reddish lacquered, puffy face displays a stern, frow almost tending to become ferocious with the raised ey eyes, broad nose, firmly closed lips, pronounced chin The reddish face denotes his courageous temperamen some traces of black paint, mostly likely denoting his head is set a close-fitting cloth cap decorated to the fro incised lines central knotted ribbon while the sides an sections.He wears a thigh-length, multi-layered armo chevrons suggesting scales above a pair of baggy trous he wears a jacket with long sleeves. Carved with lines tunic is visible under his scaled armour with the lowe forming a triangular pleat as if blown by the wind or s unexpected, menacing step of this guardian. All garm belts. As last a stole is covering both shoulders with it down. The figure is still partly painted with some scro the figure displays a small rectangular cavity. This hol had a dual significance; not only did it help the variou out more evenly and so avoid cracking, it also formed inside the figure into which ritual items could be plac are still present and enhance the beauty of this sculptu As the figure is taken out of its original context it will ascertain his iconographic identity. His simple cloth h lion masks on the armour and simple pointed staff su one of the guardian kings of the Buddhist faith. Also t billowing scarves draped around the shoulders that ar Confucian temple guardians like Wei Tuo and even G elaborate headdresses as to emphasize their importan guardian figure is indeed topped with just a relative si occupy a less important position as a defender in the C indeed known that ferocious looking guardians weari a variety of weapons were placed flanking a door entr which housed altars to ward off evil spirits. Perhaps th such an example and represents indeed such a door go even house altar.This guardian figure is well-carved w and forms a delightful contrast to the considerable nu sculptures made during the late Ming dynasty throug which are more commonly encountered. Height 96 cm.

PROVENANCE: property of a private Dutch collecti

Estimate € 14.000 - € 18.000

__________________________________________________

GURE OF A GUARDIAN

ure with both booted stepping forward on ard at abdomen level is left arm is lowered, shaft finely carved y curved blade. wning expression, yebrows above inlaid and pendulous earlobes. nt. His cheeks still see beard. On top of his ont with some vertical nd back see upturned our engraved with a pattern of sers. Over the armour suggesting folds. A long er section at the back swirling due to an ments are secured with ts short streamers falling olling. The backside of llowing out of the wood us sections wood to dry d a hollow receptacle ced. Traces of paint ure. remain difficult to headgear, absence of uggests that he is not these latter often have re absent here. Guan Di wear more nce. As this presented imple cloth cap he might Confucian tradition. It is ing armour and holding rance of a temple, his fine guardian is od for a temple or with a naturalistic eye, attention to detail umber of crude wooden ghout the Qing dynasty,

ion.

Lot 68 Lot 69 ______________________________________________ _______________________________________________

A CHINESE PAINTED POTTERY GUARDIAN, A CHINESE PAINTED POTTERY GUARDIAN, TANG DYNASTY (618-907) TANG DYNASTY (618-907) Height 69 cm.

Height 66 cm.

Oxford Authentication Sample

PROVENANCE Private collection, The Netherlands

Estimate € 8000 - € 12.000

Lot 70 ______________________________________________

A CHINESE PAINTED POTTERY GUARDIAN, TANG DYNASTY (618-907) Height 69 cm. Oxford Authentication Sample PROVENANCE Private collection, The Netherlands Estimate € 8000 - € 12.000

CATALOGUE NOTE Comparable painted earthenware guardians, are published by Liu Liang-yu, ‘Survey of Chinese Ceramics, Early Wares: Prehistoric to Tenth Century’, Aries Gemini Publishing Ltd., Taipei 1991, p. 259. Some other pottery guardians sharing similar elaborate headgears, though of less quality, are illustrated in ‘The Art of Chinese Ceramics from the Han to Tang: Selected Treasures from the dr. T. T. Tsui Donation’, by the Provisional Regional Council, Hong Kong 1998, p. 118 - 121.

Lot 71 _________________________________________________________________________________________

A PAINTED POTTERY MYTHICAL BEAST STAND, CHINA EASTERN HAN DYANSTY 25-220 AD

A painted grey pottery mythical beast stand. The pottery figure is crisply modelled as a crouching and winged mythical beast. The animal is formed by the artist as about to leap forward with its leonine body possessing a layered tail, ridged back arched above the swirling hanches and applied behind the neck with a rectangular aperture. His sides are painted with feather markings and further scrolling. The long and upturned snout is pulled to an agressive snarl with bulging eyes and pricked ears. The mythical beast is painted with crimson, black and red details which stand out against the overall cream pigment covering most of the grey pottery ground. This kind of creature has a head resembling a tapir whilst having the pawns of a lion. In early literature these mythological animals were called chimaras. Mythical beasts of this kind were frequently placed in Eastern Han tombs in the area of modern Sichuan province and according to some scholars served as guardians. Normally they are presented as a pair. Further research has suggested that these pottery figures were used to secure screens, baldachins or canopies, their considerable width ensuring stable support for this type of furniture. Also the rectangular aperture behind the head seems to indicate that a function as a support is not to be excluded. The original meaning of the chimara however, was one of protecting. Most probably the original function of guarding has changed, in due course, into a more functional meaning. Length 42 cm. Estimate â&#x201A;Ź 20.000 - â&#x201A;Ź 30.000 Oxford Authentication Sample PROVENANCE Private collection, The Netherlands

Lot 72 ______________________________________________________________

AN UNIQUE CHINESE BRONZE BIRD-SHAPED EWER (ZUN), EASTERN ZHOU DYNASTY, SPRING AND AUTUMN PERIOD CA. 771- 453 BC This unique and superb rare bronze wine ewer is shaped in the form of a mythological bird. Clearly it is nearly impossible to ascertain the type, but one can see that its feels at home in the water considering his membrane feet. Its heels are carved in a rather long and broad fashion to facilitate the ewer’s stability. Most likely this is dodo bird extinct in Europe in the 17th century and originating from Asia where it has most likely extinct in the Han period due to climate change.The dodo achieved wide spread recognition form its role in the story of Alice’s adventures in Wonderland and it has since become a fixture in popular culture often as a symbol of extinction and obsolescence. The bronze head serves as a sprout and it is cast with a pair of minute bulging eyes, crest on top of the head and hinged, hooked beak. The latter opens automatically when the vessel is tilted forward. The head seems separately cast of the body, carved in relief with striated petal-shaped scales simulating feathers. Traces of silver and gold inlay are found in this area.A pair of feathery wings in high relief, almost executed like spiraling snakes is placed along his body.The voluminous and hollow body terminates in a shaped tail that helps balancing the vessel. The bird’s backs carved with a circular cavity closed with a bronze lid with silver and gold traces. The latter is attached with a short bronze chain to a bronze handle, slightly curved and shaped in the form of a dragon. Its front claws and head are fixed into the bird’s neck, suggesting biting the bird, while both dragon’s hind legs are inserted in the back of the bird. A short tail is curling upwards in a S-shape. The bronzed bird must have been cleaned at some moment in time, however, still traces of green and reddish-brown corrosion and silver and gold inlay are to be found all-round this unique ewer. This rare wine ewer or zun, meaning literally a ‘wine-warming vessel’ was used during ceremonies, worship and ritual. The presented ewer, constructed in nine separate pieces, all in bronze, seems to point to a change of meaning and usage, away from the ritual and transformal role from the previous periods, towards a more decorative realism and use prevalent during the late Zhou dynasties. This rare bird-ewer was once part of a grave gift for a deceased high ranking or even court member. It resembles very closely to a jade and bronze bird-shaped sun, coming clearly from the same area and grave. During the Zhou dynasty days they were the only one who could afford such sumptuous vessels. Its alcoholic liquid content was supposed to help the deceased to relax on his long journey to immortality. China, Eastern Zhou dynasty, Spring and Autumn period (ca. 771-463 BC) Ewer – bird width 13 cm., height 24 cm. length 27 cm. Lid 5,8 cm. The bronze -jade ewer bird, the only one known to exist. Width 11.5 cm. height 20.5 cm. length 23.5 cm.

PROVENANCE This bird ewer was part of an early Chinese art collection together with the jade-bronze Zun originating from the Barimex collection and obtained by the present Dutch collector some 15 years ago together with most of the important pieces from this collection. CATALOGUE NOTE There seems to be no other recorded jade and bronze ewers extant. Only bronze ewers in the form of birds have been excavated. Such a very comparable example is published by Zhu Qixin, ‘Bronze Vessels from a Spring and Autumn Period Tomb’, in Chinese Bronzes, Selected articles from Orientations 1983 – 2000, Hong Kong 2001, page 104. A slightly earlier owl-shaped bronze ewer is published in Yu Weichao (ed.), ‘A Journey into China’s Antiquity’: Paleaolithic Age –Spring and Autumn Period, vol. 1, Morning Glory Publishers, Beijing 1997, no. 32. Estimate € 30.000 - € 50.000

Lot 73 ______________________________________________________________________________

A LARGE FAHUA DRAGON TRIPOD CENSER, 16TH CENTURY

The censer is fashioned with two upright handles and standing on three feet. It is decorated to the body with a central floral head flanked by two confronting dragons, all below a squared scroll band and a band of ruyi lappets. With a wood stand and a wood cover surmounted by a green quartz finial. H. 60 cm. PROVENANCE: from a private Dutch collection. Estimate € 5000 - € 8000

Lot 74 _____________________________________

A CHINESE GREEN LEAD-GLAZED BOWL, LIAO DYNASTY (618-1125)

The glaze covers the whole of the inside of the vessel and three quarters down the outside all over a white slip, the glaze suffused with dark flecks. The base is unglazed and shows the slightly reddish-buff clay of the body. 12.5 cm. diam. PROVENANCE: from a private Dutch collection. Estimate € 600 - € 800 Lot 75 _____________________________________

A CHINESE JUNYAO BOWL, SONG DYNASTY (960-1279)

Well potted with rounded sides and slightly inverted rim, supported on a short, splayed foot, covered with a moon-white glaze stopping short of the foot to reveal the orange-buff body. 20 cm. diam 10 cm. high Estimate € 600 - € 800

Lot 76 ___________________________________________

A CHINESE CELADON GLAZED CHICKEN EWER SONG DYNASTY (960-1279)

The ewer is sturdily potted with an ovoid body rising to a waisted neck flaring to a galleried rim,a short spout in the form of a two chicken-heads, and arched handle bamboo shape grasping the mouth rim of the ewer, the body is engraved blossoms and covered allover with a greyish crackled-celadon glaze, stopping at the foot. Estimate € 3000 - € 5000

Lot 77 _______________________________________________________________________________________

A CHINESE NEOLITHIC PAINTED POTTERY JAR, MAJIAYAO CULTURE, MID TO LATE 3RD MILLENIUM BC

A neolithic jar made of orange-brown clay and pear-shaped body with a relative short but broad cylindrical neck. Standing on a flat base and equipped with a pair of broad lugs placed mid-way. The jar is made up of four large roundels, each containing a kind of checkerboard pattern, all placed above a wavy band encircling mid-way this jar. Around these medallions are visible some broad circles and semi-circles. The simple line encompassing the shoulder shows beneath another concentric though wavy band. The cylindrical neck is finely painted with chevrons while its inside sees some swaying tassels. The pottery vases of the Majiayao Culture possess the most varied and attractive decoration of any prehistoric Chinese painted pottery known. As well it includes the largest average pot size and the greatest variety of pot types among any pottery of prehistoric Chinese cultures. It is estimated that these painted pottery jars were fired at a temperature of between 800 and 1050 degrees Celsius, the highest firing temperature of any prehistoric Chinese civilization. As result, the body is hard, tough and not easily to be damaged and resistant to weathering that is confirmed by the fine condition of this jar. 42 cm. Oxford Authentication Sample PROVENANCE Private collection, The Netherlands CATALOGUE NOTE Comparable Neolithic pottery jars from the Majiayao Culture are published by R. Krahl in ’Chinese Ceramics from the Meiyintang Collection’, vol. 1, Azimuth Editions Limited, London 1994, nos. 6, 12 and 32. Estimate € 3000 - € 5000

Lot 78 _______________________________________________________________________________________

A CHINESE NEOLITHIC PAINTED POTTERY JAR, MAJIAYAO CULTURE, MID TO LATE 3RD MILLENIUM BC

A neolithic jar made of orange-brown clay and pear-shaped body with an elongated neck terminated in a slightly curved mouth rim. Standing on a flat base and equipped with a pair of broad lugs placed mid-way. The lower part is deprived of any painted decoration. The design at the upper half consists of relative simple but charming black and brownish patterns, mainly executed in thin or broad sweeping strokes creating powerful impressions. The design of the jar is divided over two broad bands. The lower segment, encompassing both looped rings for attachment, is painted with a few long black and brown scrolling lines against an uncolored fond. The shoulder section is in strong contrast decorated with four roundels consisting each of a pattern of many fine brown and black concentric and swirling lines. The pottery vases of the Majiayao Culture possess the most varied and attractive decoration of any prehistoric Chinese painted pottery known. As well it includes the largest average pot size and the greatest variety of pot types among any pottery of prehistoric Chinese cultures. It is estimated that these painted pottery jars were fired at a temperature of between 800 and 1050 degrees Celsius, the highest firing temperature of any prehistoric Chinese civilization. As result, the body is hard, tough and not easily to be damaged and resistant to weathering that is confirmed by the fine condition of both vases under review. 49.5 cm Oxford Authentication Sample PROVENANCE Private collection, The Netherlands Estimate â&#x201A;Ź 3000 - â&#x201A;Ź 5000

Lot 79 _______________________________________________________________________________________

A JAPANESE WOODEN TUSITA SCREEN ON A STAND, MEIJI PERIOD (1868-1912)

A very fine Japanese tusita standing wood screen finely detailed lacquer decoration with a carved figure with ivory face, hands and decorations in ivory, mother-of-pearl, gold. On a large wooden stand. 80 by 110 cm. Estimate € 2000 - € 3000

Lot 80 _______________________________________________________________________________________

A JAPANESE KAKIEMON DISH, 17TH CENTURY

Stands on a small footring, decorated in Kakiemon enamels with large flowering branches, to the exterior with flower scrolls. 21 cm. diam. Estimate € 800 - €1200

Lot 81 _______________________________________________________________________________________

SET OF TWO SIX PANEL BYOBU SCREENS DEPICTING A LANDSCAPE WITH A HUNTING SCENE, EDO PERIOD 1603-1868

The hunters belong to one of the tribes living in the regions to the North of the Chinese Empire. During the Edo period knowledge of these regions was rather vague and completely based on Chinese sources. In 1645 a work was published in Nagasaki with illustrations of persons who represented forty-two foreign nations and peoples who also included natives of Manchuria, Mongolia and other regions. These illustrations stood model for later depictions of ‘barbarians’ and were times after times copied. The explorations of Mogami Tokunai (1755-1836) of the northern islands Hokkaido and Sakhalin and of Mamiya Rinz (1775-1844) who traveled to a Chinese outpost on the river Amur in modern Heilongjiang Province in 1809 and who drew a map of central Manchuria and the Amur estuary stimulated Japanese interests in Manchuria and beyond especially after 1824 when the Russian exploration of Amur region began. The people here are probably Dattan, the Japanese name (from the Chinese after a Turkish term) for ‘Tatars’, since the Ming dynasty a general term for nomads of the Mongolian Plateau. In Edo period Japan ‘Dattan’ became a term for North Asians in general and a contemptuous term for Manchurians in particular. The hunters and especially their headman with his attendants sitting in a tent are depicted in more or less Chinese dress and they use Chinese weapons. Though the screens are anonymous it is quite likely that the scenery and the figures and animals were painted by different hands. The tigers and panthers are a little more realistic than the house cat-tigers (nekotora) of Edo Japan when tigers were only known as pictures (though the tigers are rather small for Amur-tigers and even for Caspian tigers). Bakumatsu period (1840-1870). H. 171.5 cm. 63 cm (6x) Estimate € 6000 - € 8000

Lot 82 ____________________________________________________________________________________

A LARGE JAPANESE GILT AND LACQUER RELIF FISH CHARGER, MEIJI PERIOD (1868 -1912) Decorated with three fishes in low relief on a gold painted ground. Signed. 56 cm. diam. Estimate € 1400 - € 1800

Lot 83 _______________________________________________________________________________________

A JAPANESE IVORY CARVED BOX AND COVER, MEIJI PERIOD (1868-1912)

Carved with various figures holding a basket. The lid decorated with two fish, and two shells. The base and cover with a seal mark. 11.5 by 11.5 cm. Estimate € 1000 - € 2000

Lot 1 _______________________________________________________________________________________

A PAIR OF JAPANESE OVAL-SHAPED IVORY MOTHER-OF-PEARL INLAID CRANES PLAQUES, MEIJI PERIOD (1868-1912) Each 13 by 8 cm.

Estimate € 1000 - € 1400

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BEFORE THE AUCTION You will receive notification of the lot numbers of your property usually about two weeks before the sale. You are of course welcome to come to the view or attend the auction if you wish.

SETTLEMENT Sale results are sent out within 48 hours of the auction and settlement is usually made six weeks after the sale, subject to normal business conditions. We can only pay out if the buyer paid for the items.

TERMS & CONDITIONS OF CONSIGNMENT - THE CONSIGNMENT OF GOODS BETWEEN CONSIGNOR AND ORIENTAL ART AUCTIONS The present document comprises the Terms & Conditions of Consignment between you and Oriental Art Auctions and is applicable to the present and to each subsequent consignment terminating upon expiry at the end of the calendar year or upon the issue of a new version made available to you. Please read this document carefully, in view of the fact that rights and obligations arise as a result of this Agreement. 1. APPLICABILITY 1.1 The present Agreement containing the General Terms & Conditions of Business is applicable to all parts of the relationship between Oriental Art Auctions B.V., hereinafter referred to as ‘Oriental Art Auctions” and the Consignor/Seller, hereinafter referred to as “the Consignor”, which include a particular purchase, sale, intermediary services, appraisals, evaluations, estimates, cataloguing, and custody, unless expressly agreed otherwise. 1.2 Any departure from the present General Conditions ls only possible if and insofar as expressly agreed in writing by Oriental Art Auctions. 2. COMMISSION CONTRACT 2.1 The Consignor hereby instructs Oriental Art Auctions to examine, appraise and sell at auction the movable property brought in by Consignor and taken delivery of by a representative of Oriental Art Auctions (hereinafter also referred to as: ‘the Items’). 2.2 Oriental Art Auctions are hereby authorized by the Consignor to sell the Items via Oriental Art Auctions under the auction conditions to be set by Oriental Art Auctions, irrespective of whether said authorisation regards all or, alternatively merely a few pieces. Consignor and Oriental Art Auctions may mutually agree upon setting a minimum price (reserve) for each consigned Item. 2.3 Taking delivery of Items, however, does not obligate Oriental Art Auctions to sell or to offer said items for sale at auction. ln the event that Oriental Art Auctions is not willing to enter the Items into auction, the Consignor will be informed by Oriental Art Auctions within four weeks subsequent to any such decision. 3. RIGHTS AND OBLIGATIONS ON THE PART OF THE CONSIGNOR 3.1 The Consignor shall provide proof of identity at the request of Oriental Art Auctions. 3.2 The Consignor warrants that in his/her capacity as true owner or by means of proper authorisation he is authorised to offer the Items for sale at auction and hereby indemnifies and holds Oriental Art Auctions harmless against any and all claims from a third party in relation thereto. 3.3 The Consignor at the request of Oriental Art Auctions is obliged to provide Oriental Art Auctions with information on and substantiated proof of provenance and origin of the Items. The Consignor is liable for any loss/damage in case of information which is inaccurate or misleading and/or in case of any other circumstances attributable to the Consignor and hereby indemnifies and holds Oriental Art Auctions harmless against any and all claims from a third party in relation thereto. 3.4 The Consignor duly declares that sale at auction of the Items is not obstructed by any national or international statutory provisions. 3.5 The Consignor is not allowed to bid on any Items brought in by him unless otherwise agreed in writing with Oriental Art Auctions. 3.6 The rights and obligations by virtue of the present General Terms and Conditions belong exclusively to the Consignor and cannot be transferred by Consignor to a third party. 4. THE RIGHTS OF ORIENTAL ART AUCTIONS 4.1 The inclusion of Items in an auction sale or the exclusion thereof, similarly any (oral) announcement in respect of an Item in the Sale Catalogue or in a brochure, is at the sole discretion of the Oriental Art Auctions, who reserve the right to consult or rely on any expert without accepting any responsibility in connection therewith. 4.2 Oriental Art Auctions reserve the right to determine in which of their sales an Item shall be put up for auction. 4.3 In the event that Oriental Art Auctions are instructed to clear the complete contents of a dwelling or warehouse, they reserve the right to exclude Items from said clearance and also to remove or dispose of any such Items which in their opinion are not suitable for auction or if possible, to convert said Items into cash by other means. 4.4 Consignor duly declares that Oriental Art Auctions are authorized to photograph, illustrate or otherwise make visual representations of all the Items offered for sale and to copy or cause said Items to be copied in any way whatsoever, both prior and subsequent to the sale, and shall observe any statutory regulations applicable thereto. Oriental Art Auctions retain the copyright in all such visual representations for use at their discretion.

14, OTHER RIGHTS AND OBLIGATIONS ON THE PART OF THE CONSIGNOR/NATURAL PERSON (NOT ACTING IN THE COURSE OF HIS/HER TRADE/PROFESSION)/LONG DISTANCE SERVICES 14.1 In the event that an agreement is entered into between Oriental Art Auctions and the Consignor/natural person who is not acting in the course of his/her trade or profession, under which, up to and including the conclusion of the Agreement, use can only be made of one or more techniques for long-distance communication within the context of the auction system for long distance services maintained by Oriental Art Auctions. in case of the above, the following shall apply. 14.2 During the duration of 7 working days to be calculated from the day upon which the Agreement is concluded, the Consignor/ natural person is entitled to cancel the Agreement free of charge and without giving reasons. Under certain circumstances the period can be extended to three months subsequent to the conclusion of the agreement. Any such termination must occur in writing (per e-mail or written letter). 14.3 The Consignor/natural person cannot assert the abovementioned right. in the event that with his/her consent Oriental Art Auctions has commenced performance of the Agreement prior to the expiry of the term mentioned above. 14.4 In deviation from the provisions set out in Article 7:46101 the Dutch Civil Code pertaining to an occurrence of default, the statutory provisions set out in Articles 6:81-83 01 the Dutch Civil Code shall apply instead. 15. MISCELLANEOUS 15.1 Nullification, annulment or the non-bindingness of one of the provisions set out in the present Agreement containing General Conditions 01 Business shall not affect the validity of the remaining provisions. In the event that one or more provisions is null and void, annulled or nonbinding, Consigner and Oriental Art Auctions shall agree one or more provisions to replace the above which are valid and which correspond as far as possible in content and purport to the provisions that are null and void, annulled or nonbinding. 15.2 Objects which, even without prior knowledge of the owner, are deemed to be cultural heritage, and objects which are made with materials which do not have the necessary CITES certificate, (Ivory, Coral, Rhinoceros horn etc.) are excluded from our Auctions. This also counts for objects which may be considered plundered artworks by the authorities. Possible confiscations and legal consequences are the sole responsibility and expense of the consignor. 15.3 The present Conditions of Business are governed exclusively by the Laws of the Netherlands. 15.4 All disputes pertaining to, arising from or in connection with any agreement entered into between Oriental Art Auctions and the Consignor or in connection with the formation of any such agreement shall be submitted to the exclusive jurisdiction of the competent court in Zwolle, except for the right of Oriental Art Auctions to choose to have the dispute adjudicated by the competent court located in the district of the Consignor.