Fine Chinese Art, Japanese and Buddhist Art by zacke1664

Auction

DECEMBER 8th 2018

Fine Chinese Art 中國藝術集珍 Japanese and Buddhist Art 日本及佛教藝術

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

LOT 71 A LARGE AND IMPORTANT 14TH CENTURY LIMESTONE STELE OF A DEVI

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 MARIAHILFERSTR ASSE 112 1070 VIENNA AUSTRIA Tel +43 1 532 04 52 Fax +20 E-mail ofﬁce@zacke.at 1

IMPORTANT INFORMATION (According to the general terms and conditions of business Gallery Zacke Vienna)

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 ďŹ xed administrative fee of euro 500, - per application.

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

ABSENTEE BIDDING FORM 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

PLEASE RAISE MY PURCHASE BID BY ONE BID STEP (APPROX. 10%) IF NECESSARY

PLEASE CALL ME IF THERE IS ALREADY A HIGHER WRITTEN BID 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: EMAIL

NAME

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 that he has taken note of the AGB (terms and conditions) of Galerie Zacke and that he agrees with them.

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CUSTOMER COLLECTION PAYMENT ON SITE AND IN CASH, BY CHEQUE OR CREDIT CARD INVOICE PAYMENT UPON RECEIPT OF INVOICE - SHIPPING UPON RECEIPT OF PAYMENT

DINERS

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Galerie Zacke Mariahilferstr. 112, 1070 Vienna Email office@zacke.at Tel +43-1-532 04 52 Fax +43-1-532 04 5220

For your information: 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 complaints arising from a purchase, these have to be reported to us within 6 weeks after the receipt of the item.

ABSENTEE BIDDING FORM 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

50 YEARS ZACKE GALLERY

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

TERMS OF AUCTION § 1) The auction shall be carried out in accordance with the provisions of the rules of procedure of GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA (hereinafter referred to as the company) as well as in accordance with sections 244-246 of the Gewerbeordnung [Industrial Code] 1994. The auction shall be carried out on commission. The auctioneer shall be entitled to withdraw lots exceptionally, to conduct out the auction deviating from the order of the catalogue numbers and to offer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has missed a bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue auctioning off the item. The figures attached to the text shall be the expected last and highest bid in EURO (€) from the respective expert. As a rule, the bid shall be increased by 10% of the last bid. (See list of the bidding increments). §§ 2) acceptance ofofaabid bidshall shallbebegranted grantedtotothethe highest bidder unless a seller’s reserve 2) The The acceptance highest bidder unless a hidden reserve has price been has been agreed the consignor. reservation (also reserve referred(also to ascalled limit)limit shallorbe agreed upon withwith the consignor of theSuch item ainseller’s question. Such a hidden the pricebelimit which lots the shallitem notwill be not soldbeduring the auction. This limit justminimum reserve) shall the below minimum priceparticular under which sold during the auction. This reserve will beupon disclosed upon request onlyexceed and may estimate. The Ifauctioneer will shall be disclosed request and may not theexceed lower the estimated price. a limit (seller’s in this case bid on behalf of the seller against all other bidders until the reserve has been reached. If reserve price) is not achieved, the bid of the highest bidder shall be accepted subject to 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 bidder at the final bid, but the sale will be conditional of the acceptance of this final bid by the seller. (eight) working days. If bidder the highest bidbound from to thehis/her highest bidder finally accepted within In this case the highest shall be last bid foris anot term of 8 days starting withthis the period of time, its binding commitment to this bidnot shall expire. In order for the final acceptance day of the knockdown. If the winning bidder does receive a written cancellation notice within of the it is sufficient send a corresponding notification to the address this bid termtoofbecome 8 days, effective, the knockdown becomestounconditional and the sale is final. Typically, not more than 15% items inbidder an auction hiddenperiod reserve. named by of theallhighest withinhave theastated of 8 working days. § 3) All items shall be subject to differential taxation. A uniform surcharge of 22% plus the value added tax applicable to the surcharge to the amount of 20% shall be added to the achieved highest bid (final and highest bid). Thus the surcharge shall be 26.4% of the final and highest bid in total. § 4) In the event of sales abroad, the value added tax will be repaid if the item is sold to a country which is not a member country of the European Union (third country), the legal requirements are met and the proof of exportation is provided. The value added tax shall not be shown separately on the invoice. § 5) The auction buyer must pay the purchase price immediately upon acceptance of the bid (final and highest bid plus 22% surcharge, plus the value added tax applicable to the surcharge to the amount of 20%). However, the company may grant the auction buyer a respite for the payment of the purchase price in whole or in part in individual cases. If a respite is refused, the acceptance of the bid may be revoked and the item may be reoffered . In the event of revocation of the acceptance of the bid, the company shall be entitled to accept the last bid from the underbidder. § 6) In the event of respite in whole or in part, the company shall be entitled to charge default interest (12% p.a.) as well as storage charges (2.4% of the final and highest bid per month commenced) after 14 days upon acceptance of the bid. The item purchased at auction shall be handed over exclusively upon full payment of the purchase price including all costs and charges accrued since the acceptance of the bid. § 7) The buyer can take acquired items in possession, as far as possible, immediately or after the end of the auction. Items which have been fully paid for shall be handed over in our show rooms in GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA. If a deferred purchase price is not paid within the set period, the company shall be entitled to auction the item again in order to recoup its claim from the defaulting auction buyer. In this case, the defaulting auction buyer shall be liable to the company for the total loss of commission incurred by the company due to the re-auction as well as for any default interest and storage charges. § 8) The company shall be entitled to a lien on all items of the buyer irrespective of whether the buyer bought them within the scope of an auction or in free sale or the company secured ownership of these items otherwise. This lien shall serve to secure all current and future, qualified, limited and unmatured claims to which the company is entitled and which result from all legal transactions concluded with the buyer. § 9) The items received for auction will be exhibited and may be viewed prior to the auction. In doing so, the company shall give everyone the opportunity to check the nature and the condition of the exhibited items to the extent deemed possible within the scope of the exhibition. Every bidder shall be deemed to act on its own behalf unless it provides a written confirmation saying that it acts as a representative of a well-known principal. The company may refuse bids; this shall particularly apply if a bidder who is unknown to the company or with whom the company has no business connections yet does not provide security by the beginning of the auction at the latest. However, in principle there shall be no claim to accept a bid. If a bid has been refused, the previous bid shall remain effective. § 10) The company’s experts evaluate and describe the items received for auction and determine the starting prices unless otherwise stated in the catalogue or expert opinion. The information concerning production technique or material, state of preservation, origin, design and age of an item is based on published or otherwise generally accessible (scientific) findings concluded by the company’s experts with the necessary care and accuracy. The company shall warrant to the buyer according to §22 of the AGB (General Terms and Conditions) that properties are correct provided that any possible complaints referring to this are made within four weeks upon their taking into possession. Subsequent complaints shall be excluded in principle. The company shall not be liable for any further information in the catalogue and expert opinion as well. This shall also apply to illustrations in the catalogue. The purpose of these illustrations is to guide the potential buyer during the preview. They shall not be authoritative for the condition or the characteristics of the pictured item. The catalogue and the expert opinions shall only mention defects and damage affecting the artistic or commercial value significantly. Complaints concerning the price shall be excluded upon acceptance of the bid. The company reserves the right to amend catalogue information prior to the auction. These amendments shall be made either by a written notice at the place of auction or orally by the auctioneer immediately prior to offering of the respective item. In this case, the company shall be liable for the amendment only. All items offered may be

checked prior to the auction. These items are used. Any claims for damages exceeding the liability named above and resulting from other material defects or other defects of the item shall be excluded. When making the bid, the bidder confirms that it has seen the item prior to the auction and has made sure that the item corresponds to the description. § 11) ) If a customer is not able to participate in an auction personally, the company shall accept purchase orders. These orders may be placed in writing, via email or fax. In the case of a purchase order placed by phone or orally, the company shall reserve the right to make the performance dependent on a confirmation from the principal communicated in writing, via email or fax. Furthermore, the company shall not be liable for the performance of purchase orders. Purchase orders with equal top bid limits will be considered in the order of their receipt. Bids which are only one increment above the starting price shall be exhausted totally. Bids which do not correspond to the increments determined by the company (see bidding increments) in tabular form will be rounded up to the next higher increment. The table of these increments can be sent upon request. In the case of lots auctioned“without any limits“, bids below the estimated price shall be exhausted totally. The written bid (purchase order) must include the item stating the catalogue number and the offered top bid limit which is quoted as the amount of the acceptance of the bid without buyer’s commission and without value added tax. Ambiguities shall be carried by the bidder. A purchase order which has already been placed may only be cancelled if the written withdrawal is received by the company at least 72 hours prior to the beginning of the auction. § 12) The company may refuse to process a purchase order without explanation until offering or make this dependent on payment of a deposit. In the event of an unsuccessful order, such a deposit will be reimbursed by the company within 5 working days. Processing of purchase orders is free of charge. § 13) Every contributor shall in principle be entitled to withdraw the items offered for auction until the start of the auction. Therefore, it is impossible to assume liability or to give warranty for the actual offering. § 14) Items paid must be collected within 30 days of payment. Items which have not been collected may be delivered without further communication at a starting price from the recent auction reduced by 50% after 30 days from the respective auction date. Items which have not been collected within 3 (three) working days after the auction or for which the company does not receive any proper shipping instructions stating the type of shipping and the address of dispatch (independent of a possibly placed purchase order) within 3 (three) working days after the auction shall be stored at the owner’s risk. Furthermore, the company shall be entitled to store items which have been purchased at auction and paid but not collected at the buyer’s risk and expense, including the costs for an insurance, with a forwarding agency. It shall be understood that the provisions concerning the re-auctioning of unpaid and paid but not collected items must also apply to items not exhibited or stored on the premises of the company. The ownership shall be transferred the buyer at the time of handing over the delivery note. § 15) In the case of mixed lots with a starting price of less than EUR 350.00, the company shall not warrant for the completeness or correctness of the individual items within a mixed lot. § 16) A registration for a bid by telephone for one or several items shall automatically represent a bid at the starting price for these items. If the company cannot reach the bidder by telephone, it will bid on behalf of the bidder by phone up to the starting price when the respective auction lot is called. § 17) Payments made to the company by mistake (through the payer’s fault) (e.g. due to miscalculation of the exchange rate by the payer) or payments made to the company for the same invoice several times shall be compensated in form of a credit note for goods for an indefinite period of time. The repayment of such payments in cash shall be excluded. § 18) In the case of individual auction lots, it may happen that they are delivered several times. In such a case, the auctioneer may accept a second or third etc. bid from the underbidder(s). In this case, the text in the catalogue and not the illustration in the catalogue shall also be exclusively binding with regard to the warranty (relating to these auction lots). § 19) When making a bid, whether personally, in writing or by telephone, the bidder shall acknowledge these terms of auction, the AGB (General Terms and Conditions) as well as the rules of procedure and the schedule of fees (as amended) of the company. § 20) The place of performance of the contract brought about between the company on the one hand and the seller as well as the buyer on the other hand shall be the place of business of the company. The legal relationships and contracts existing between the company, the sellers and the buyers shall be subject to the Austrian substantive law. The company, the sellers and the buyers shall agree to settle all disputes resulting from, concerning and in connection with this contract before the territorially competent court of Vienna. § 21) The export of art objects from Austria, when indicated, shall require a permit from the Bundesdenkmalamt [Federal Monuments Office]. In any event, the company shall orally provide information about art objects for which an export permit will probably not be granted at the beginning of the auction. § 22) Zacke reserves the right to assign to the customer all rights and obligations resulting from the contractual relationship between Zacke and the contributor by a way of a respective declaration, as well to assign to the contributor all rights and obligations resulting from the contractual relationship between Zacke and the customer by way of a respective declaration, in each case in terms of a complete assignment of contract with the result that the contractual relationship – following the submission of the aforementioned declarations by Zacke – shall exclusively be between the contributor and the customer, which is in accordance with the basic model of the commission agreement. Customers and contributors shall already now give their explicit consent to this contract assignment.

IMPRINT

Publisher GALERIE ZACKE 1070 WIEN (VIENNA) Mariahilferstraße 112 AUSTRIA Tel (0043-1) 532 04 52 Fax +20 Email: ofﬁce@zacke.at Editor Irene M. Zacke Experts Alexander Zacke Susanne Zacke Lukas Zacke Photography Georg Bodenstein Design (graphics) Gregor Zinggl Chinese Translation Zhang Jue Printing Gröbner Druck Oberwart Website www.zacke.at © Copyright GALERIE ZACKE Reproduction forbidden Errors excepted

1 A PAIR OF WOOD AND LACQUER ‘TWIN IMMORTALS OF HARMONY’ FIGURES, 17th – 18th CENTURY Each carved from a single piece of solid hardwood, coated with a decent lacquer gilding and occasional red pigment China, 17th - 18th century The boys depicted each looking directly forwards and standing on a base with curling waves carved in the deepest possible relief. Both are wearing 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 boys carrying lotus pots are known as hehe erxian or the Twin Immortals of Harmony. They were the patron deities of Chinese merchants and particularly of potters, and frequently accompany Cai Shen, the God of Wealth. Shape: Sculptural Weight: 637.5 and 581 grams Dimensions: Height 24.5 cm each

Condition: Well preserved original gilding and lacquer coating with no restoration whatsoever; some minor losses, chipping and wear. Provenance: Important Austrian private collection, acquired in China before 1950. Old labels and inscriptions to bottom. ᶨ⮵㛐晽慹㺮␴⎰Ḵẁ⁷炻⋩ᶫ军⋩ℓᶾ䲨 Ṣ⁷↮⇍䓙ᶨ㟡䌐䩳䠔㛐晽⇣侴ㆸ炻堐朊㕥慹㺮⍲䲭刚柼㕁 ᷕ⚳炻 ⋩ᶫ军⋩ℓᶾ䲨忈✳烉Ṣ䈑忈⁷ 慵慷烉 637.5 冯 581 ⃳ ⯢⮠烉檀24.5 ⍀䰛 each ⑩䚠烉ᾅ⬀列⤥炻⍇⥳慹⼑㮓䃉ᾖ墄炻⯨悐㚱仢⣙ˣ塪⎋⍲䢐㎵ Ἦ㸸烉慵天⤏⛘⇑䥩Ṣ㓞啷炻1950⸜⇵岤㕤ᷕ⚳ˤ⸽悐⎗夳侩㧁䯥␴㲐慳ˤ EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

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ℑᾳ啷⭞㧁䯥炸 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

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,-

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,-

5 AN 18 TH 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,-

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,-

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 notches to rims Provenance: from an American private collection ġ Auction results comparison: For two other Zitan ‘trea trunk’ brushpots see Sotheby’s, FINE CHINESE CERAMICS & WORKS OF ART, 16 SEPTEMBER 2014 - 17 SEPTEMBER 2014, NEW YORK, lot 557 or Sotheby’s, CHINESE ARTĭ 31 MAY 2018 - 01 JUNE 2018, HONG KONG, lot 344 – both without ﬁgural scene and unsigned. 㶭ẋ⣏✳䳓㨨晽㧡䗌㔯Ṣ䫮䫺䳓㨨 ᷕ⚳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,-

8 A BRASS FITTED PIG SKIN LACQUER BOX WITH VILLAGE SCENES, QING DYNASTY Pig skin on wooden body, lacquered in gold red and black China, Qing Dynasty This storage box shows brass hinges as well as a clever brass lock with an openwork swastika symbol. The top, inside lid and three sides are adorned with lively scenes of villagers surrounded by picturesque landscapes. The backside shows a ﬂoral motif. Inside the box is an old collector’s label inscribed ‘Pigskin Lacquer Box Chien Lung 1736-1795’.

㶭ẋ㛹匲彚ἄ尔䙖㺮䙺㛐偶尔䙖炻䲭湹㺮 ᷕ⚳炻㶭ẋ 忈✳烉攟㕡䙺⼊ ⯢⮠烉24 ⍀䰛炻檀8 ⍀䰛 ⑩䚠烉列⤥炻㚱⸜ẋ冯ἧ䓐䕽嶉炻枪悐⇘嗽⎗夳㶭㺮⍲↡⎋ Ἦ㸸烉⤏⛘⇑䥩Ṣ怢䓊 EstimateġỘ₡ġġEUR 200,Starting priceġ崟㉵₡ġġEUR 100,-

Shape: Rectangular box shape Dimensions: length is 24 cm, height is 8 cm Condition: good condition with signs of age and use such as creases to the top varnish and notches here and there Provenance: from an Austrian private estate

9 A BAMBOO, JADE AND YIXING OPIUM PIPE, QING DYNASTY The pipe consisting of one single bamboo section, with the remaining sealing made of jade, various metals used at the saddle, together with a Yixing stoneware bowl China, Qing Dynasty The saddle depicting a bat and a coin, the Yixing pipe-bowl is marked twice and shows chrysanthemum petal and blossom borders. The jade inset of appealing celadon color. Shape: Pipe Dimensions: 54 cm (length) Condition: metal is tarnished, one end piece missing, wooden ornament at the saddle reattached and one age crack to bamboo Provenance: German private collection

㶭ẋ䪡⫸搚䌱⭄冰沱䇯㥵䂇㥵䓙ᶨ㟡䪡⫸ ㆸ炻搚䌱炻ᶵ⎴慹Ⱄ炻⭄冰昞䠿 ᷕ⚳炻㶭ẋ 忈✳烉䂇㥵 ⯢⮠烉攟54 ⍀䰛 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 ䷓ Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 200,Starting priceġ崟㉵₡ġġEUR 100,-

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.

Each of the ﬁgures’ faces is inlaid, their clothing is applied in silk

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 Condition: very good condition with fresh colors, all inlays in place and only minor tears and little creases to paper Provenance: Austrian private collection 䱦伶䱝㳦ㇳⶍ丒墥㇯⫸炻⍇墅㺮䙺ㇳⶍ㛐晽炻ㇳⶍ䳁㛔姕炻搚⳴炻⍇墅㛐岒㺮䙺 ᷕ⚳炻1880⇵⼴忈✳烉㇯ ⯢⮠烉㛒⯽攳㗪㚨⮔嗽 51 ⍀䰛炻㇯檀28 ⍀䰛炻㇯䙺 31 x 6 x 4.5 ⍀䰛 ⑩䚠烉㤝⤥炻柼刚歖刟炻㇨㚱搚⳴䞛悥㛒᷇⣙炻⁭⁭⛐䳁朊㚱ṃ⽖ ⮷䩇䩧␴壞䙢 Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

11 A RARE CANTONESE IVORY BOX WITH COVER, EARLY 19 th CENTURY Ivory, wooden inset with marble paper coating China, first half of the 19 th century This Canton school ivory box is unusual because of its figural gourd and flower shaped knob and the leiwen feet. The four walls of the base part all show neatly carved figures in landscapes whilst the lid is adorned with high relief carvings of precious vessels, books, scrolls and gourds, butterflies and flowers. Shape: rectangular shape Dimensions: 16 cm length, 9 cm height Weight: 329 grams Condition: Good condition with minor age hairlines and tiny chips to two base corners, the walls of the base part and the feet have been reattached, the wooden inset shows a bottom crack Provenance: Austrian private collection

Auction results comparison: For another Cantonese ivory box with a ﬁgural knob and feet, larger in size, see Christie’s, A Private English Collection of White Jade Carvings & Fine Chinese Ceramics and Works of Art Including Export Art, London, 4 November 2008, lot 256. ⋩ḅᶾ䲨㖑㛇份夳⺋ⶆ尉䈁味䙺尉䈁炻㛐岒搚⳴炻ℭ塷⣏䎮䞛䲳䳁≈Ⰼ ᷕ⚳炻⋩ḅᶾ䲨ᶲ⋲叱忈✳烉㕡⼊ ⯢⮠烉攟16 ⍀䰛炻檀 9 ⍀䰛慵慷烉329 ⃳ ⑩䚠烉列⤥炻ṃ⽖⸜ẋ忈ㆸ䘬⮷塪䷓炻⸽悐㚱ℑ嗽䡽䡘炻 ᾖ⽑忶䘬䕽嶉炻搚⳴㛐⸽悐㚱塪䷓ Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

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 ⑩䚠烉 ᾅ⬀㤝⤥炻⁭㚱庽⽖⸜ẋ冯ἧ䓐䕽嶉 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

13 A CINNABAR LACQUER BUDAI, QING DYNASTY, POSSIBLY BY LU GUISHENG The ceramic statue entirely covered with a thick layer of rich cinnabar lacquer, carved and incised in deep relief China, 18th - 19th century The smiling happy Buddha depicted in his usual laid-back seated 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 carver, Lu Guisheng, who is famous for his signed lacquer panels and is also known to have carved lacquer figures. See a taller finely carved lacquer figure of the God of Longevity, Shoulao, illustrated in Derek Clifford, Chinese Carved Lacquer, London, 1992, pl. 123. Shape: Figural Weight: 181.4 grams Dimensions: Width 9 cm. Condition: Visible break near the right foot. Deep patina and wear consistent with age. Provenance From the collection of Nelson T Johnson, US ambassador to the Republic of China from 1935 to 1941, and thence by descent. Auction result: FINE CHINESE CERAMICS & WORKS OF ART. Sotheby’s, 13 MAY 2009, LONDON, lot 104. (for a related figure, bearing similarly incised swastika) 㶭ẋ䲭㺮ⶫ堳␴⯂ 昞䒟忈⁷炻㕥ᶨⰌ⍂慵㛙䲭㺮炻㶙㴖晽 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨忈✳烉 Ṣ䈑忈⁷ 慵慷烉 181.4 ⃳ ⯢⮠烉 ⮔ 9 ⍀䰛. ⑩䚠烉⎛僂㎵⢆炻⸜ẋ㇨农䢐㎵炻⊭㻧ↅ慵 Ἦ㸸烉Nelson T Johnson 㓞啷炻1935 军1941伶⚳楸ᷕ厗㮹⚳⣏ ἧ炻ᶨ䚜⛐℞㓞啷ᷕ⇘䎦⛐ EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

14 A PAIR OF QING DYNASTY CANTON ENAMEL RUYI SCEPTRES Enamel on copper bronze China, Qing Dynasty

ᶨ⮵㶭ẋ⺋ⶆ䏢䎭⼑⤪シ戭偶䏢䎭 ᷕ⚳炻㶭ẋ

This pair of yellow ground Canton enamel ruyi scepters is ﬁnely hand painted with lotus and peony décor on the backside whilst the Ruyi shaped head and the show side of the curved handle show auspicious Buddhist objects as well as a blue and white Shou symbol. One lower handle showing two openings for suspension of a string.

忈✳烉⤪シ ⯢⮠烉㭷ẞ攟 28.5 ⍀䰛慵慷烉553 ⃳ (ℑ侭ᶨ崟) ⑩䚠烉㤝⤥炻⎒㚱ṃ⽖⸜ẋ冯ἧ䓐䕽嶉 Ἦ㸸烉伶⚳䥩Ṣ怢䓊

Shape: Ruyi scepter form Dimensions: Length is 28.5 cm each Weight: 553 grams (both combined) Condition: excellent condition with only very minor traces of age and use Provenance: from an American private estate

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

15 A QINGTIAN SOAPSTONE SEAL WITH BAT, DATED TO THE YEAR WU WU The stone mottled in hues of honey and mustard as well as grey spots at the area of the bat China, dated to ‘the year WuWu’ – either 1918 or 1858 Of square shape, the seal face carved in relief with a four-character seal-script inscription. The sloping top carved in high relief with the portrayal of a bat which is also highlighted through the natural spot-like grey inclusions in the mineral. The front is incised with the artist signature and dating ‘Wen Xiu in the year Wu Wu’. Shape: Square matrix, sloping rectangular shape Dimensions: 5 cm height, seal matrix measures 3 x 3 cm Weight: 98 grams Condition: Very good condition with minor traces of age and use Provenance: American private estate 曺䓘䞛圁圈䲳⌘䪈炻句㫦ㆲ⋰⸜ 曺䓘䞛囄刚前㛓刚䲳䎮炻圁圈悐↮䀘刚溆 ᷕ⚥炻ㆲ⋰⸜- 1918 ㆾ 1858 忈✳烉㕡⟲炻枪悐⁦㕄 ⯢⮠烉檀5 ⍀䰛炻⌘䪈朊3 x 3 ⍀䰛慵慷烉98 ⃳ ⑩䚠烉朆ⷠ⤥炻㚱⸜ẋ␴ἧ䓐䕽嶉㜍㸸烉伶⚥䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 200,Starting priceġ崟㉵₡ġġEUR 100,-

CHINESE LACQUER AND CLOISONNÃ&#x2030; LOTS 17 AND 18

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,-

17 A LARGE PAIR OF CINNABAR LACQUER ‘EIGHT IMMORTALS’ VASES, QING DYNASTY The body entirely covered with rich cinnabar lacquer carved and incised in deep relief China, late 18th – 19th century Each of the two compressed baluster vases in the center with a mirroring circumferential scroll depicting several of the Eight Immortals, such as He Xiangu standing on a lotus leaf or Lu Dongbin riding on a tiger, in a majestic landscape with layered and craggy rockwork, pine and wutong trees, as well as several attendants and scholars. The sprawling and tapered neck with foliate lotus bands below a single ruyi border and a central ring with neatly incised diaper patterns. The splayed foot with another lotus band between two key fret borders and an archaistic blade band. The interior and base black lacquered. This remarkably imposing pair of cinnabar vases is a ﬁne example of lacquer production. The quality and style of carving, as well as the generous use of space emphasizing the carved design are typical of the style prevalent during the second half of the Qianlong period which naturally would has continued for some time into the subsequent reigns during the mid Qing dynasty. (2) Shape: Baluster Weight: 1.8 kilograms each Dimensions: Height 54 cm each Condition: Superb condition with only minor crazing to black lacquer and possibly some very tiny ﬂaws, which were not discovered even at close inspection; Provenance: From an American private estate. 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.

㶭ẋᶨ⮵⣏✳⇼䲭ℓẁṢ䈑剙如 ⇼䲭㺮晽炻㶙㴖晽 ᷕ⚳炻 ⋩ℓᶾ䲨㘂㛇军⋩ḅᶾ䲨㭷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῱ 䘬㘗奨ᷕ炻㚱Ⰼ㫉↮㖶䘬ⱑ䞛ˣ㜦㧡␴㡏㟸㧡炻怬㚱⸦ᾳẁ䪍 ␴㔯Ṣ⬠⢓ˤġ柠悐ᷕ攻梦丷㝅大䔒咖冯剕哱䲳ˤ⸽嵛⼨⢾⻝攳炻梦㚱丷㝅大䔒咖冯垔䲳ˤ䒞ℏ␴⸽悐ᶲ湹㺮ˤ 忁⮵厗渿䘬剙如㗗㺮☐墥ἄᷕᶨᾳ⼰⤥䘬ἳ⫸ˤġ晽⇣䘬岒慷 ␴桐㟤炻ẍ⍲⻟婧晽⇣姕妰䘬䨢攻䘬⣏慷ἧ䓐炻㗗Ḧ昮⼴⋲ 㛇㳩埴䘬℠✳桐㟤炻⛐㶭ᷕ㗪㛇㊩临ᶨ㭝㗪攻ˤ 忈✳烉⚻䒞慵慷烉㭷ẞ1.8 ℔㕌 ⯢⮠烉㭷ẞ檀54 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻䒞ℭ怲䶋湹刚㺮㚱庽⽖塪䲳烊ḇ姙怬㚱ᶨ ṃ庽⽖仢星炻ᶵ忶⛐Ṽ䳘㩊㞍ᷕ⸞㛒䘤䎦ˤ Ἦ㸸烉伶⚳䥩Ṣ怢䓊㔯䌣㭼庫烉ᶨ⮵1784⸜䘬ầ⎌晽㺮䒞⎗夳㕤⣏劙⌂䈑棐ℭ炻 ↢䇰侭D. Clifford, Chinese Carved Lacquer, London, 1992, p.135, pl.109; ㆾᶨᾳ⋩ℓ军⋩ḅᶾ䲨䘬㺮䒞 Chen Huixia, Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, pl.166. ㉵岋䳸㝄㭼庫烉FINE CHINESE ART. Bonham’s, 10 Nov 2016, LONDON, lot 148. (⎎ᶨ⮵㚜⣏ṃ䘬ℓẁṢ䈑⇼䲭㺮䒞) ASIAN ART. SOTHEBY’S, 16 SEPTEMBER 2017, NEW YORK, lot 858. ( Ἦ冒㘂㶭䘬ᶨ➮⇼䲭㺮䒞炻⸦᷶䚠⎴⯢⮠) EstimateġỘ₡ġġEUR 3.000,Starting priceġ崟㉵₡ġġEUR 1.500,-

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)

18 A CLOISONNÉ ENAMEL CENSER AND COVER, FANGDING, QING DYNASTY The massively cast bronze vessel with fire-gilt finial, flanges, handles and rims China, late 18th – earlier 19th century This impressive censer is standing on four cylindric legs with archaistic cicada blades and decorated to the blue and turquoise ground with taotie masks divided by eight raised vertical flanges with finely incised key fret borders above a circumferential scroll with mystic animals. The rim is applied with two upright u-shaped handles and the cover is surmounted by a gilt-bronze finial with a neatly incised fire-gilt dragon amid numerous clouds. 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)

Auction result comparison: Chinese Ceramics, Works of Art and Textiles. Christies, London, 15 May 2015, lot 695. compare with a related, slightly larger cloisonné fangding) 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 ᷕ⚳炻⋩ℓᶾ䲨㘂㛇军⋩ḅᶾ䲨㖑㛇忈✳烉㕡溶慵慷烉 3.6 ℔㕌 ⯢⮠烉檀 31 ⍀䰛. ⑩䚠烉味⫸ᶲ䘬⯨悐䏢䎭仢⣙悐↮ 䓐冲埇⠓⃭忶ˤ楁䆸㔜橼䉨㱩列⤥炻㚱ᶨṃ䢐㎵␴㨇⮷䘬墥ἄ仢星ˤ 拵慹曺戭⯨悐㚱冲䘬戭䵈ˤ Ἦ㸸烉 Charlotte Horstmann 㚱旸 ℔⎠炻楁㷗炷㧁䯥) EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

19 A EXTREMELY RARE CLOISONNE ENAMEL LOTUS-LEAF FORM EWER, 18 TH CENTURY Fire gilt and incised bronze, copper and cloisonné enamels China, 18th century The ewer is naturalistically cast as a lotus flower, with numerous white petals and pinkish tips and their veins finely detailed in varied green, white, red and blue enamels within gilt outlines, with a large lotus leave forming the base, a lotus stem made of bronze forming the handle, a convoluted smaller lotus leave forming the spout, the lid consisting of a lotus pod with 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. It is interesting to compare the form of the present ewer with metalwork censers of Song dynasty such as the example in the collection of the Nanjing Municipal Museum, which is similarly cast with a lotus pod, lotus flower and leaf all borne on an undulating stem and connected to a long handle. Shape: Lotus form ewer Weight: 960 grams Dimensions: Length 21.3 cm Condition: Original and unrestored condition with minor bending to knob, stand and lips of ewer and lid, associated losses to enamels Provenance: Austrian private collection. Literature comparison: Although lotus-leaf was a popular choice of form 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 leaf-form washer sold at Christie’s New York, 19-20 May 2013, lot 1739.

㤝份夳䘬⋩ℓᶾ䲨㘗㲘啵咖剙⢢ 挷慹戭炻戭偶䏢䎭⼑ ᷕ⚳炻⋩ℓᶾ䲨 ⢢幓㗗ẍ冒䃞⼊⺷揬忈ㆸᶨ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➢⹏ 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 ᷕ攻⎗夳柼刚ᶵ⎴䘬博⫸炻ᶨᾳ⮷⮷慹刚咖咔䨩↢炻ㆸ䇚味憽ˤ➟㝬ᶳ㕡㗗 ᶨ䇯⮷咖叱炻墉朊㚱⍂⍂䘬䵈慱ˤ ⮯忁ᾳ㯜⢢⼊䉨冯⬳ẋ䘬慹Ⱄ楁䆸㭼庫㗗⼰㚱シ⿅䘬炻ἳ⤪⋿Ṕⶪ⌂䈑棐䘬㓞啷⑩炻℞ᷕ咖咔ˣ咖剙␴叱⫸悥㗗䓐崟ặ䘬匾忋㍍⇘ᶨᾳ攟㝬ˤ 忈✳烉咖剙⼊⢢ 慵慷烉960 ⃳ ⯢⮠烉攟 21.3 ⍀䰛 ⑩䚠烉⍇⥳㛒ᾖ⽑䉨ン炻味憽悐ỵ庽⽖⻶㚚炻㓗㝞␴⢢◜⍲怲䶋炻⯨悐㚱䏢䎭⼑仢⣙ˤ Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷. 㔯䋖㭼弫烉⛐㶭ẋ炻博⎞ἧ䓐䚠⻻⸧㲃炻Ữ㗗⌜⼰⮹↢䍘⛐㘗㲘咅☐䈑ᷕ炻⌜ 乷ⷠ↢䍘Ḷ䌱☐␴㯜㘞☐䈑ᷕ炻㭼⤪ᶨ᷒䌱晽博⎞䪼㲿奩ḶChristie’s New York, 19-20 May 2013, lot 1739. ㉵⋾乻㝄㭼弫烉Through Connoisseurs’ Eyes - Ephemeral Flowers, Enduring 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 May 2018, lot 3040. (⎎ᶨẞ㘗㲘咅䪼㲿) EstimateġỘ₡ġġEUR 2.000,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)

20 TWO CLOISONNÉ ENAMEL QILIN, QING DYNASTY The bronze bodies with polychrome cloisonné enamels and massive fire gilding China, 18th – 19th century Each qilin is strongly cast standing four-square on stout legs with gilt hooves and raised head. Each animal has long gilt whiskers, horns, 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 face is decorated with red squares reserved on a blue ground with bulging eyes, snout-like nose and opened mouth exposing sets of gilt teeth and tongue. The body is colorfully covered with green and turquoise scales. The qilin, which resembles a stag, is an auspicious symbol of longevity, fertility and wise administration as it only appears during the reign of a benevolent ruler. It is also associated with the Confucian virtue of ren, as it is benevolent to all living creatures. Sometimes the qilin is shown carrying a young boy on its back as it is also believed to be a bringer of illustrious sons, see for example a pair of cloisonné qilin bearing young boy formerly in the T.B. Kitson Collection, sold at Sotheby’s London, 7 June 1967, lot 268. Two fitted hardwood stands. (2) Shape: Figural Weight: ca. 1385 grams each without bases Dimensions: Length 31 cm each Condition: Each figure in overall good condition with no major 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.

Literature comparison: Compare with a single cloisonné ﬁgure of a standing qilin from the Qing Court Collection illustrated in Metal-bodied Enamel Ware, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2002, p. 168, no. 160. Auction result comparison: Masterpieces of the Enameller’s Art from the Mandel Collection. Christies, Hong Kong, 30 May 2012, lot 2916. (for an almost identical pair) ᶨ⮵㶭ẋ㘗㲘啵渺湇曺戭偶炻䏢䎭慱炻挷慹 ᷕ⚳炻⋩ℓ军⋩ḅᶾ䲨忈✳烉≽䈑忈✳ 慵慷烉㭷ẞᶵ⏓⸽⹏䲬 1385 ⃳ ⯢⮠烉㭷ẞ攟 31 ⍀䰛 ⑩䚠烉㔜橼䉨㱩列⤥炻㰺㚱⣏✳㎵⛷ˣ↡ 星ㆾᾖ⽑ˤ㚱冯⸜ẋ䚠䫎䘬庽⽖䢐㎵ˤ 挷慹戭悐ỵ⯨悐㯏⊾ˤᶨᾳ渺湇䚱㮃悐 ỵ䏢䎭ᶲ⎗夳⽖✳塪䷓ˤ Ἦ㸸烉伶⚳䥩Ṣ㓞啷. EstimateġỘ₡ġġEUR 3.000,Starting priceġ崟㉵₡ġġEUR 1.500,-

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,-

23 WANG SU (1794 – 1877), LARGE SCROLL PAINTING ‘EIGHTEEN LUOHAN’ Wang Su (artist name Xiaomou) – well known Chinese artist of the Qing Dynasty Ink and color on paper, mounted to a textured paper scroll with wooden handles China, 19th century This original artwork by Wang Su (1794 – 1877) and is signed and sealed by the artist. On the backside of the scroll is the titling ‘Image of the eighteen Luohan’ as well as a small seal from the art inspector Yue from Canton. Depicted is the famous scenery of the eighteen luohan in traditional Chinese fashion incorporating all of their attributes with much attention for detail. The luohan are surrounded by a magniﬁcent landscape with mountains, waterfalls and pine trees and in the upper left corner is a ferocious dragon which is tamed by Nantimolo, the ‘taming dragon luohan’. Shape: Rectangular vertical shape Dimensions: 167 x 70 cm (painting size), 242 x 84 cm (mounting)

Condition: The painting is in good condition with some former tears and material loss now hardly discernible due to the mounting. Slight traces of age and wear, in the form of creases and moldy spots, are discernible Provenance: American private collection Auction result comparison: Sotheby’s, FINE CLASSICAL CHINESE PAINTINGS & CALLIGRAPHY, 14 SEPTEMBER 2017, NEW YORK, lot 573. (for a set of six scrolls with immortals in landscape by Wang Su) 䌳䳈炷1794-1877炸⣏✳㊪庠˪⋩ℓ伭㻊˫ 䌳䳈炻⫿⮷㝸炻㶭ẋ叿⎵䔓⭞ 䳁㛔㯜⡐姕刚炻䳁㛔墅墙炻㛐庠 ᷕ⚳炻 ⋩ḅᶾ䲨忈✳烉䞑⼊䩳ⷭ ⯢⮠烉167 x 70 ⍀䰛炷䔓朊炸炻242 x 84 ⍀䰛炷墅墙炸 ⑩䚠烉䔓朊⑩䚠列⤥炻冲㗪⮷⫼冯㛸㕁仢㎵⚈墅墙暋ẍ 彐⇍烊⎗夳壞䙢␴暱㔹炻庽⽖⸜ẋ䕽嶉冯䢐㎵ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

24 A ‘PAK CHOI, SHITAKE AND BAMBOO SHOOT’ PAINTING BY JING ZHI, 20 th CENTURY Ink and color on paper, mounted to a brocade coated paper, framed behind glass China, 2nd half of the 20 th 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) ⑩䚠烉列⤥炻⎛怲㱧嬲刚 Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 200,Starting priceġ崟㉵₡ġġEUR 100,-

25 A VERY LARGE HAND PAINTED ‘JADE RECORD’ TRACT WITH THE COURT OF HELL Woodblock print with hand painting in water color and gold, laid down and set in simplistic wooden frame China, 19th century This oversize hand colored woodblock print shows the king of hell, King 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 wheel of reincarnation. The image is made up of hundreds of small scenes with judges weighing sins, people being tortured but also those who are released from hell and each sin is neatly inscribed with what the sinner did and how he is to be punished. The Jade Record or Yuli is an illustrated religious tract that circulated in various versions and editions in the 19th century in China. It has some folk-Buddhist and Daoist features and describes the horrors of Diyu (hell in Chinese mythology) that await bad people. The prologue states that the tract was submitted to the Jade Emperor or Highest God by the king of hell Yan Luo and the Bodhisattva of Compassion, then passed down to a Buddhist priest and on to a Taoist, during the Song Dynasty. The Qing emperors tried to suppress the tracts, as the state religion Confucianism discouraged any speculation about the afterlife.

The tract describes how the dead pass through the ten courts of hell and are punished with terrible torture according to their misdeeds during life. In the first hall, the “Mirror of Reflection” lets the dead see their own sins. Sins specifically mentioned include: mocking or disbelieving the tract itself, taking one’s life without good reason, having weak faith in the Buddha, being careless as Buddhist or Taoist priest, killing live creatures, stealing, cheating, gambling, drinking, drowning baby girls, killing slaves etc. Shape: Rectangular horizontal shape Dimensions: 141 x 85 cm (frame), 130 x 75 cm (sheet) Condition: overall good condition with some abrasions, creases and stains, slightly warped Provenance: Austrian private collection ⣏✳ㇳ丒˪䌱⍌⮞憼˫⛘䋬㘗尉㛐⇣ㇳ丒炻㯜⼑炻慹⼑炻伖㕤䯉╖䘬㛐㟮ᷕ ᷕ⚳炻 ⋩ḅᶾ䲨忈✳烉䞑⼊㨓ⷭ ⯢⮠烉141 x 85 ⍀䰛炷⏓㟮炸炻130 x 75 ⍀䰛炷䔓朊炸 ⑩䚠烉㔜橼ᾅ⬀列⤥炻ᶨṃ㒎 ˣ㰉嶉␴䔍⽖⻶㚚 Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

26 A VERY LARGE THANGKA BANNER WITH VARIOUS TARA EMANATIONS, TIBET 19 th 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,-

27 A VERY LARGE TIBETAN THANGKA WITH SITATARA, 19 th CENTURY Distemper and gold paint on cloth Tibet, late 19th century This oversize Thangka from Tibet features the white Tara, Sitatara as the central deity, seated on a lotus pedestal with a prominent aureole and halo framing her image. Tara is showing the vitarka and varada mudra and her third eye is most prominently featured at her forehead. Tara is ﬂanked by four images of Buddha and two secondary deities. A bold cloud, mountain and ﬂower pattern builds the backdrop for the religious portrayals. In Tibet the White Tara (Sanskrit: Sitatara, Tibetan: Sgrol-dkar) was incarnated as a Chinese princess. She symbolizes purity and is often represented seated with legs crossed, holding a full-blown lotus. She is generally shown with a third eye. Tara is also sometimes shown with eyes on the soles of her feet and the palms of her hands (then she is called ‘Tara of the Seven Eyes’ a form of the goddess popular in Mongolia).

Shape: Rectangular, near square shape Dimensions: 166 x 194 cm Condition: Overall still fair condition with extensive soiling, some creases and abrasions Provenance: German private collection Auction result comparison: For a related oversize Thangka with Sitatara of Mongolian origin see Christie’s, Indian, Himalayan and Southeast Asian Works of Art, New York, 12 September 2018, lot 710. ⣏✳大啷䘥⹎㭵Ⓒ⌉炻⋩ḅᶾ䲨 ⶫ朊先䔓炻慹⼑大啷炻⋩ḅᶾ䲨㘂㛇忈✳烉䞑⼊役㕡⼊ ⯢⮠烉166 x 194 ⍀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,-

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 were required to do business in China. At Whampoa, linguists, agents, and compradors were hired, and taxes (and bribes) were paid. Only after this were the foreign merchants allowed to unload their ship’s cargo upriver towards Canton. Shape: Rectangular horizontal shape Dimensions: 42 x 23.5 cm Condition: overall still good condition with browning and craquelure, later drilled holes at the margin which also shows some material loss, few small touch ups to paint chips Provenance: Austrian private collection ᷕ⚳㖑㛇拓㜧㱡䔓˪䏞㳚⟼˫ 拓㜧㱡䔓 ᷕ⚳炻⋩ℓᶾ䲨忈✳烉䞑⼊㨓ⷭ ⯢⮠烉42 x 23.5 ⍀䰛 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㎵ ⣙炻䔓朊㚱ṃ⮷ᾖ墄ˤ Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 400,Starting priceġ崟㉵₡ġġEUR 200,-

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

29 LOT WITH TWO PEKING KNOT EMBROIDERIES ‘PEONIES, BATS AND BUTTERFLIES’, 1900s Silk with blue, crème and white silk threads, embroidered respectively woven hems, backside silk / linen lining China, around 1900 This set with two embroideries is held in appealing blue and light colored hues. The red background textile shows peonies, whereas the central flowers are executed in Peking knot which is also referred to as the forbidden stitch. We also find bats with coins and Ruyi scepters on this piece. The crème colored embroidery again features peonies in Pekinese stitch, yet here surrounded by butterflies.

31 LOT WITH FIVE EMBROIDERIES ‘FLOWERS AND BUTTERFLIES’, 1920s Silk with multi-colored silk threads, embroidered respectively woven hems, backside silk / linen lining China, around 1920 This set with five appealing embroideries shows various flowers such as cherry blossoms, peonies or lotus and on two of the panels we also see butterflies incorporated into the dense design.

Shape: vertical, rectangular panels Dimensions: 54.5 x 24 cm (red background); 48.5 x 22.5 cm (crème background) Condition: Good condition with minor material loss to the hems Provenance: from an American private estate ℑẞṔ事Ⱦ⸛慹ㇻ䰥ȿ䈉ᷡ圁圈圜圞乡咅刚ˣ䰛刚⍲䘥刚᷅乧炻⚃怲䶋㺧䴱炻側朊᷅湣夗 ᷕ⚳炻1900⇵⼴

Amidst a dense ruyi-cloud pattern stands a pheasant with a tail consisting of five feathers, marking the wearer as of the fifth civil rank. The red sun, symbolizing the Emperor is in the upper left corner which identifies that this rank badge was for a male. The bird is standing on a cleft rock amidst crushing waves. Shape: square panel Dimensions: 31 x 32.5 cm Condition: Very good condition with only minor signs of age and use Provenance: from an American private estate 㶭ẋ䱦伶㮹攻Ḽ⼑⤪シ暚䲳晱浬⇢䴱 Ḽ⼑䴚䵓炻䲼湹刚⚃怲䶋炻側朊᷅湣夗 ᷕ⚳炻㘂㶭

忈✳烉攟㍃ⷭ ⯢⮠烉䲭⸽54.5 x 24 ⍀䰛炻䰛刚⸽ 48.5 x 22.5 ⍀䰛 ⑩䚠烉列⤥炻ᶳ㒢嗽⯨悐㛸㕁䢐㎵ Ἦ㸸烉伶⚳䥩Ṣ怢䓊

忈✳烉㕡⼊ ⯢⮠烉31 x 32.5 ⍀䰛 ⑩䚠烉㤝⤥炻⎒㚱ṃ⽖⸜ẋ冯ἧ䓐䕽嶉 Ἦ㸸烉伶⚳䥩Ṣ怢䓊

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

The hems are additionally embroidered with a ﬂoral pattern each. Shape: vertical, rectangular panels Dimensions: 50.5 x 22.5 cm (smallest in group); 52 x 26.5 cm (largest in group) Condition: Good condition with few loose threads, little soiling and minor material loss to the hems Provenance: from an American private estate

Ḽẞ剙圞乡⇢事炻ᶲᶾ乒Ḵ⋩⸜ẋ ⣂⼑᷅乧炻㬋朊攳⃱⣂⼑䴱炻側朊᷅湣夗 ᷕ⚳炻䲬1920⸜ 忈✳烉攟㍃ⷭ ⯢⮠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㎵ Ἦ㸸烉伶⚳䥩Ṣ怢䓊 EstimateġỘ₡ġġEUR 200,Starting priceġ崟㉵₡ġġEUR 100,-

32 A PADDED WINTER SURCOAT WITH PEKINESE STITCH EMBROIDERY, QING Textured silk with multi-colored silk and gold brocade threads, with pierced, woven application borders, embroidered bands at the hems and embroidered silk sleeve bands, inside with silk lining, one metal and one fabric button as well as two fabric bands at the front, inside patted China, Qing Dynasty This fine woman’s padded winter surcoat is made of black silk with textured, 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 sides are a narrow and a broad embroidered border with floral decors and birds. Most appealing are the wide sleeve bands of cream silk embroidered in Peking knot stitch. Auspicious flowers such as peonies or chrysanthemums are neatly incorporated and at the center of the floral arrangement we see a little bird picking from a pomegranate. Shape: Surcoat 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

㶭ẋṔ三⅔⬋⣡㡱埴墪 ⣦㡱⣏墪炻⣂⼑䴚䵓炻慹刚拎䶆䵓炻 ᷎⛐怲䶋↎≈䘥⸽墅梦ⷞ炻慯䓐⸛慹ㇻ䰥㱽⇢䴱炻⚃␐湹⛘⣂⼑䴱剙⋱ 冯㖮垚烊ℭ㚱䛇䴚夗墉炻ᶨᾳ慹Ⱄ␴ ᶨᾳⶫ㕁憽㈋炻㬋朊㚱ℑ㡅专ⷞ炻ℭ 塷⣦㡱ˤ ᷕ⚳炻㶭ẋ 忈✳烉墁墅 ⯢⮠烉䷥⮔炷Ỡ⯽堾⫸炸158 ⍀䰛; ䷥ 攟 110 ⍀䰛 ⑩䚠烉列⤥炻庽⽖㝻刚炻憅嶉⯨悐檮㔋烊ᶨᾳ偑儨ᶲ㚱⸦ᾳ䩇䩧 Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 400,Starting priceġ崟㉵₡ġġEUR 200,-

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 dragonlike 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 for any and all occasions such as birthdays, weddings, house raisings, and funerals. In its heyday, Chinese shadow puppetry was popular in nearly every province making it one of the most wide-spread folk arts of China. Each region lent their own personality to the art form in everything from aesthetic to musical influences. Shape: figural Dimensions: average height of one puppet is approx. 35 cm Condition: Overall good condition with usual signs of age and wear, small parts missing Provenance: German private collection

忈✳烉Ṣ䈑 ⯢⮠烉Ṣ„檀䲬 35 ⍀䰛 ⑩䚠烉㔜橼ᾅ⬀列⤥炻㚱忂ⷠ䘬⸜ẋ冯ἧ䓐䕽嶉炻⯨悐㚱䢐㎵炻⮷ẞ怢⣙ Ἦ㸸烉⽟⚳䥩Ṣ㓞啷

Depicted is a Manchurian crane holding the peaches of longevity in his beak and set inside an ornamental frame with auspicious objects, such as a conch, a canopy or a treasure vase. The ﬁne Kesi technique and the fact that the crane was the highest civic rank at the period make this textile artwork highly collectible.

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

Shape: horizontal, rectangular panel Dimensions: 90 x 61 cm

ᶨ䳬⋩Ḵ⻝ㇳⶍᶲ刚䘬ᷕ⚳䙖⼙㇚„炻ᶲᶾ䲨ᶱ⋩⸜ẋ ㇳⶍᶲ刚䙖䳁炻⮷慹Ⱄ䴚㠧 ᷕ⚳炻䲬1930⸜

34 A KESI SILK WALL PANEL WITH MANCHURIAN CRANE, QING Silk with Kesi weaving, silk and gold threads China, Qing Dynasty

Condition: mounted to press board, colors are faded, soiling as well as some tears Provenance: Austrian private collection 㶭ẋ䶁䴚ẁ浜㊄⢥㊪䤷䴚岒炻䶁䴚㈨㱽炻䴚䵓冯慹䵓 ᷕ⚳炻㶭ẋ 忈✳烉⸛朊攟㕡⼊ ⯢⮠烉90 x 61 ⍀䰛 ⑩䚠烉墅梦⛐⡻㜧ᶲ炻⯨悐壒刚炻㚱㰉嶉␴㯜嶉 Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 200,Starting priceġ崟㉵₡ġġEUR 100,-

35 A VERY FINE SILK EMBROIDERY WITH FALANGCAI WARES, QING DYNASTY Silk with multi-colored silk threads, layered woven hems, mounted to cardboard China, Qing Dynasty The embroidery depicts flowers and berries in an elaborate Falangcai porcelain vase which is also neatly stitched with a reign mark and is standing atop an elaborate pedestal. On a jagged rose-colored base, there is a flowering bush in a low quatrefoil flowerpot, next to the vase. The crème colored panel is framed by a layered hem border with intricate floral weaving. Shape: square panel Dimensions: 51 x 51 cm Condition: Very good condition with only minor signs of age and use such as very minor flows to background silk Provenance: From the estate of Albert T Quon, Beverly Hills. Mr. Quon was born in China and came to the US as a teenager. He graduated from USC in 1928 and established a successful import/export business in both China and the US. He was the first Chinese American to purchase property in Beverly Hills. He also became the first Asian to serve on the Board of the Los Angeles Chamber of Commerce. He donated millions of dollars to his Alma mater, USC. There is a statue of him on USC campus and a classroom was named after him.

㶭ẋ䱦伶䏢䎭⼑岆䒞䲳⇢䴱 Ḽ⼑䴚䵓炻⣂Ⰼ墅墙炻䳁㜧≈⚢ ᷕ⚳炻㶭ẋ 忈✳烉㕡ⷭ ⯢⮠烉 51 x 51 ⍀䰛 ⑩䚠烉㤝⤥炻⎒㚱ṃ⽖⸜ẋ冯ἧ䓐䕽嶉炻側朊⯨悐䴚䵓檮㔋 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 500,Starting priceġ崟㉵₡ġġEUR 250,-

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,-

37 AN OLIVE-GREEN GLAZED CERAMIC BOTTLE VASE, TANG DYNASTY The vessel sturdily potted, with four neatly applied handles, the glaze running down about two third of the body, leaving a band around the foot unglazed China, late Tang dynasty, 8th-9th century Shape: Ovoid form with a tall, slender neck and trumpet mouth, the round base with a withdrawn foot Weight: 820 grams Dimensions: Height 22 cm. Condition: The glaze with extensive wear, one of the four handles re-attached. One with an old restoration, some minor chips to trumpet mouth and base, still in good condition for a vessel of this age Provenance: Hungarian private collection. Ⓒẋ䵈墸慱昞䒞 ⍂偶炻㔜滲⚃俛炻慱⼑⼨ᶳ㳩役ᶱ↮ᷳḴ䒞橼炻嵛悐㛒㕥慱 ᷕ⚳炻㘂Ⓒ炻ℓ军ḅᶾ䲨忈✳烉⌝⼊㉱攟炻䳘攟柠炻㔆⎋炻⚻⸽悐炻僂悐䷖⮷ 慵慷烉820 ⃳ ⯢⮠烉檀 22 ⍀䰛. ⑩䚠烉慱朊䢐㎵♜慵炻⚃俛ᷕᶨᾳ慵㕘忋㍍忶炻ᶨᾳᾖ⽑忶烊䒞⎋␴⸽悐㚱ᶨṃ⮷ 塪⎋炻⮵㕤忁ᾳ⸜ẋἮ嫃⶚䴻䬿㗗ᾅ⬀⼰ ⤥䘬Ḯˤ Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

38 A CIZHOU SGRAFFIATO ‘PEONY’ MEIPING, JIN – YUAN DYNASTY Sturdily potted with the lower part of the body ribbed, the short cylindric neck with a sprawling lip China, Jin- Yuan dynasty, 13th – 14th century Of attenuated form, carved through the rich brown glaze to the body with a circumferential scroll depicting a peony blossom accompanied by its tendrils and leaves, the recessed base with its broad foot rim unglazed. This meiping is of a type commonly used to hold wine and is decorated using a technique employed at several kilns in north China. The technique of fully glazing the vessels and then cutting away or incising the design through the glaze before ﬁring produced a dramatic design. Such designs owed their impact not only to the contrast between the pale color of the revealed body material and the rich dark brown of the glaze, but to the contrast between the slightly rough matte texture of the body and the silky gloss of the glaze. Vessels decorated using this technique were made at several kilns producing ceramics in the Cizhou style in Henan and Shanxi provinces. Shape: Meiping Weight: 988.6 grams Dimensions: Height 27.5 cm Condition: Extensive wear, some nibbles 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,-

39 A MOLDED QINGBAI BOWL, SOUTHERN SONG DYNASTY Covered inside and out with a light bluish glaze that shows extensive crazing. Both the rim and the foot rim are unglazed. China, 1127-1279 The thinly potted, fragile bowl is molded in the center with a chrysanthemum medallion enclosed by a circumferential scroll consisting of six fan-shaped segments, each depicting a jardinière with various ﬂower arrangements, all below a key fret border. Shape: Rounded bowl Weight: 239.7 grams Dimensions: Diameter 18.3 cm Condition: Very good condition with wear as expected on piece of this age, minor fritting to rim, some manufacturing imperfections Provenance: Property from the collection of Ann and Don McPhail, Philadelphia, USA Auction result comparison: The Art of China: Autumn Sale. Christies Online, 20 - 27 September 2017, lot 41. (compare with a related bowl) ⋿⬳曺䘥䠿塷⢾㕥㶢啵刚慱炻慱朊攳塪♜慵烊䠿㱧冯⚰嵛曚偶 ᷕ⚳炻 1127-1279 忈✳烉⚻䠿慵慷烉239.7 ⃳ ⯢⮠烉䚜⼹ 18.3 ⍀䰛 ⑩䚠烉䚠⮵㕤℞⸜ẋᾅ⬀㗗㤝⤥䘬炻ᶨṃ䢐㎵炻怲䶋㚱庽⽖塪䷓炻ᶨṃ墥ἄ仢星 Ἦ㸸烉伶⚳屣❶Ann and Don McPhail 㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

40 A CARVED QINGBAI BOWL, NORTHERN SONG DYNASTY The thinly potted conical body with steep sides rising from a slightly tapered foot China, Northern Song dynasty (960-1127) The interior freely and masterfully carved with a frieze of flying birds, possibly geese, each carrying a branch with a bunch of grapes in its beak, covered overall except for the base with a lustrous translucent bluish-white glaze. Shape: Conical Weight: 187.8 grams Dimensions: Diameter 20 cm Condition: One major v-shaped crack as visible on the images, old wear, few firing flaws, one tiny flake to lip and one chip to foot rim, remainders of old 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

41 A CIZHOU ‘LOTUS AND CHRYSANTHEMUM’ SGRAFFIATO BOWL, 13TH – 14TH CENTURY PUBLISHED: Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 102. China, 13th – 14th century The inner of the bowl sturdily potted boldly carved with a central medallion showing two lotus and two chrysanthemum flowers with their leaves and stems, all above a hatched ground with various patterns of deeply engraved lines, covered overall in a creamy-ivory glaze stopping just above the foot revealing the grey body. Five spur marks in well. Shape: Bowl with recessed base and highly raised foot rim Weight: 836.6 grams Dimensions: Diameter 21.3 cm. Condition: Wear as expected on a piece of this age, few small chips at the rim filled and overpainted, minor hairline to well. EXHIBITED: Morristown, New Jersey, Morris Museum, “Harmony in Clay: the Elegance and Refinement of Song Ceramics”, March 8-June 24, 2012, #92 Auction result comparison: IMPORTANT CHINESE ART. Sotheby’s, 11 MAY 2016, LONDON, lot 211. (compare with a related small cizhou sgraffiato jar from the same period) 䡩ⶆ䩗䘥慱⇣咖卲剙䲳䠿 ↢䇰烉Song Ceramics, the Eight Kiln Groups at a Glance, Examples from the Jiyuanshanfang Collection, 2008, page 102. ᷕ⚳炻⋩ᶱ军⋩⚃ᶾ䲨忈✳烉䠿⸽嵛↡星炻檀⚰嵛慵慷烉836.6 ⃳ ⯢⮠烉⼹21.3 ⍀䰛. ⑩䚠烉㕤㬌☐䚠䫎䘬䢐㎵炻䠿㱧㚱ṃ ⽖攳⎋炻㔜橼ᶲ慱炻庽⽖檖䴚䵓塪䷓ ↢䇰烉㕘㲥大ⶆ Morris Museum, “Harmony in Clay: the Elegance and Refinement of Song Ceramics”, March 8-June 24, 2012, #92 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

42 AN EXCEPIONAL QINGBAI RETICULATED GOAT FORM CENSER, YUAN DYNASTY Reticulated, carved and molded porcelain with Qingbai glaze ġ China, Yuan Dynasty (1279-1368) This rare Qingbai censer is made in the ﬁgural shape of a reclining goat. The animal is depicted in a mythical manner, showing no horns yet a lot of longevity and immortality symbolism such as the Lingzhi shapes at his harness. The lid is reticulated and has a lingzhi knop. The crazed Qingbai glaze is deep turquoise in places where the glaze is running thickly and light pale in other areas. Shape: Figural Weight: 743 gramsġ Dimensions: length is 22.5 cm Condition: good condition with chip to left ear, one nibble to lip and the other to left back hoof Provenance: acquired at John Sparks, London – old label on the underside, British private estate

Auction result comparison: for a related archaistic Qingbai censer see Christie’s, Leisurely Delights of a Transient Life, 30 May 2018, HONG KONG, Lot 2983. For a ﬁgural Qingbai water dropper see Christie’s, Fine Chinese Ceramics and Works of Art, New York, 19 September 2006, Lot 218. ⃫ẋ曺䘥䐆伲⼊楁䆸曺䘥慱昞䒟炻掌䨢炻晽⟹ ᷕ⚳炻⃫ẋ炷ĲĳĸĺĮĲĴķĹ炸忈✳烉≽䈑忈✳ 慵慷烉ġĸĵĴġ⃳ ⯢⮠烉ġ攟ġĳĳįĶġ⍀䰛 ⑩䚠烉列⤥炻ⶎ俛㚱⮷塪⎋炻⒯悐冯ⶎ怲⼴儧㚱䡽䡘 Ἦ㸸烉岤㕤ΐ㔎ŋŰũůġŔűŢųŬŴ炻⸽悐侩㧁䰌 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

43 A LONGQUAN CARVED BALUSTER ‘LOTUS’ JAR, MING DYNASTY The large and massively potted jar entirely covered with an evenly applied, pale-olive celadon glaze, showing fine crazing China, 15th century The deeply and skillfully carved design shows a circumferential central scroll of lotus flowers accompanied by their leaves and tendrils, above a petal lappets border that encircles the slightly waisted base, and beneath two smaller borders with aligned leaves. The convex and recessed base is glazed in celadon and surrounded by a slanted, unglazed foot rim. The inner of the jar is completely glazed as well. Shape: Baluster Dimensions: Height 28.8 cm., diameter 33 cm. Condition: Superb condition with only very little wear and some minor firing irregularities Provenance: From a prominent Chicago private collection.

Auction result comparison: Fine Chinese Ceramics and Works of Art Part I and Part II Including Property from the Arthur M. Sackler Collections. Christies, New York, 24 March 2011, lot 1646. (compare with a jar from the same group, but with a peony scroll, and still retaining its original lid) 㖶ẋ漵㱱⇣剙咖剙攳䇯仸 ⣏✳⍂慵偶仸炻⇣剙炻㶢䀘䵈刚慱炻攳䇯 ᷕ⚳炻⋩Ḽᶾ䲨忈✳烉仸 ⯢⮠烉檀 28.8 ⍀䰛., 䚜⼹ 33 ⍀䰛. ⑩䚠烉ᾅ⬀䉨㱩㤝⤥炻⁭㤝⮹䢐㎵炻ᶨṃ䅺墥㗪䓊䓇䘬 ᶵ夷⇯⼊ Ἦ㸸烉Ἦ冒剅≈⒍ᶨỵ㖶㗇Ṣ䈑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

44 AN INCISED YAOZHOU CELADON ‘LOTUS’ PILLOW, NORTHERN SONG DYNASTY Celadon glaze stoneware with incised decoration China, Northern Song Dynasty (960-1127) This rare example of Yaozhou celadon ware is incised with a lotus blossom at the head-piece which has a lobed botanical shape with a pointed top. The top is connected to an integrated pedestal shaped base. The Yaozhou Kiln complex, at Huangbaozhen, Shaanxi, began production during the Tang dynasty, when it was notable for Sancai earthenware. Although considerably further from Kaifeng, which became the capital of the Song in 960, Yaozhou beneﬁted from the move, as the previous main highquality celadon Yue ware, from further south, declined. At the end of the Northern Song in 1127, the Imperial court ﬂed south, and the capital of the Southern Song was set up at Hangzhou. The nearby Longquan celadon kilns became the main producer of celadon and Yaozhou and the other Northern Celadons declined accordingly, in both quantity and quality, although celadons continued to be produced at Yaozhou until the Yuan dynasty. Shape: Lobed shape with pointed top Weight: 1,320.4 grams Dimensions: 20 x 20 cm, 11 cm height Condition: excellent condition with minor traces of wear and age Provenance: from an American private estate

45 A MING DYNASTY CIZHOU PAINTED FIGURE OF A MAN WITH A PIPA LUTE Ceramic with creamy glaze and paintwork in Cizhou palette China, Ming Dynasty (1368-1644) The mustached man is sitting on a drum stool and wearing festive attire with and a small coolie hat that is tilting to the side. He is playing a lute, a so-called pipa with a curved neck made in the shape of a Ruyi scepter head. Shape: Figural Weight: 772 grams Dimensions: 29 cm height Condition: very good optical appearance, the head has been reattached and there is a small chip to the hem above his stretched-out foot Provenance: from an American private collection

Auction result comparison: for a related incised ‘Lotus’ Yaozhou bowl see Christie’s, The Pavilion Sale - Chinese Ceramics and Works of Art, Hong Kong, 4 October 2018, Lot 21.

Auction result comparison: for comparable Cizhou painted ﬁgures of the Ming Dynasty see Bonhams, ASIAN DECORATIVE ARTS, 15 Nov 2011, SAN FRANCISCO, lot 3319 or Christie’s, The Art of Asia, Online, 29 November - 8 December 2016, Lot 71.

⊿⬳侨ⶆ䩗曺慱咖剙䲳㜽曺慱䁣☐⌘剙 ᷕ⚳炻⊿⬳ (960-1127)

㖶ẋ䡩ⶆ䏝䏞䏜ⷓ 䘥慱湹⸽ ᷕ⚳炻㖶ẋ (1368-1644)

忈✳烉剙䒋攳⎋⼊慵慷烉 1,320.4 ⃳ ⯢⮠烉 20 x 20 ⍀䰛, 檀11 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻庽⽖⸜ẋ䕽嶉冯䢐㎵ Ἦ㸸烉伶⚳䥩Ṣ怢䓊

忈✳烉Ṣ䈑忈✳ 慵慷烉 772 ⃳ ⯢⮠烉檀29 ⍀䰛 ⑩䚠烉夾奢㓰㝄朆ⷠ⤥炻柕悐慵㕘塓䱀忶炻Ỡ↢䘬恋晣僂䘬僂朊㚱⮷䡽䡘

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

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

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

47 AN INCISED LONGQUAN CELADON STEM CUP, YUAN DYNASTY The elegant and almost ﬂawless celadon glaze evenly applied to the cup, clusters of tiny air bubbles within China, late Yuan to early Ming Dynasty (14th-15th century) The sturdily potted cup with wellrounded sides and slightly everted and lobed rim, supported on a partly hollowed, spreading stem imitating a section of bamboo, covered overall with an unctuous green glaze except the foot rim. The outside wall incised with a stylized lappet border, the inner rim neatly carved with wavy border and an elegantly curved tendril pattern beneath. Shape: Stem cup Weight: 329 grams Dimensions: Height 10.3 cm. Condition: Superb condition with only minor wear, as expected on a piece of this age Provenance: Canadian private collection. Literature comparison: For similar examples of Longquan celadon stem cups, see J. Harrison-Hall, Ming Ceramics in the British Museum, 2001, p.463, pls.16:2 and 16:3; see also J. Ayers, The Chinese Porcelain Collection of Marie Vergottis, p.30, pl.9. The stem cup appeared during the Yuan period: see Zhu Boqian,

Longquan Yao Qing Ci (Celadons from Longquan), Taipei, 1998, nos. 198-201, pp. 217-220. However, the motives incised into this cup are more typical of larger Longquan celadon dishes ascribed to the 15th century by Regina Krahl in Chinese Ceramics in the Topkapi Saray Museum, Istanbul, 1986, vol. I, cat. nos. 305 and ff., p. 317. Auction result comparison: PLAYTHINGS FROM THE COLLECTION OF EDWARD T. CHOW, CHINESE CERAMICS AND WORKS OF ART, COLLECTIONS, CHINESE ART THROUGH THE EYE OF SAKAMOTO GOR - ASIAN LACQUER. Sotheby’s, 27 MAY 2014, HONG KONG, lot 621. (for are related Longquan celadon cup) CHINESE WORKS OF ART. Bonham’s, 14 March 2016, NEW YORK, lot 8083. (for another related Longquan stem cup) ⃫ẋ漵㱱曺䒟⌘剙檀嵛㜗檀晭⸦᷶⬴伶䃉䏽䘬曺慱䠿炻檀嵛㜗炻慱ℭ㚱⮷㯋㲉 ᷕ⚳炻 ⃫ẋ㘂㛇军㖶ẋ㖑㛇炷⋩⚃军 ⋩Ḽᶾ䲨炸忈✳烉檀嵛㜗慵慷烉 329 ⃳ ⯢⮠烉檀 10.3 ⍀䰛. ⑩䚠烉ᾅ⬀㤝⤥炻㚱叿忁⸜ẋ忂ⷠ䘬庽⽖䢐㎵ Ἦ㸸烉 ≈㊧⣏䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

A HAN DYNASTY LACQUERED WOOD STATUE OF A HORSE LOT 50

48 A LARGE INSCRIBED ‘TLV’ BRONZE MIRROR, HAN DYNASTY Cast bronze with high relief, the patina with malachite encrustation China, Han dynasty, 206 BC – 220 AD Inscription: Youfeng (translated: right summit) The central knob within a circular reserve with a scroll of stylized mythical animals, within a square reserve, the outer field with ‘TLV’ pattern, eight nipples and various celestial animals including the turtle intertwined with a snake, a dragon, a tiger, a phoenix, all within narrow bands and hatched lines, and below a dogtooth band and a band of clouds around the rim. A TLV mirror is a type of circular bronze mirror with engraved symbols resembling the letters T, L, and V. According to Schuyler Camman, the design of TLV mirrors is cosmologically significant. The V shapes serves to give the inner square the appearance of being placed in the middle of a cross. This forms an illustration of the Chinese idea of the five directions – North, South, West, East and Center. The central square represents China 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’ represented territories outside China. The central square within the round mirror alludes to the ancient Chinese idea that heaven is round, and earth is square. The Ts represent the concept of the ‘Four Gates of the Middle Kingdom,’ an idea present in Chinese literature. The Ls symbolize the 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 Pillars, mountains that held up the canopy of heaven.

Shape: Round mirror Weight: 1371 grams Dimensions: 18 cm Condition: Very good condition with some wear and extensive patina, as customary for a piece of this age Provenance: American private collection. Old collector label to back. Auction result comparison: FINE CHINESE CERAMICS & WORKS OF ART. Sotheby’s, 16 - 17 SEPTEMBER 2014, NEW YORK, lot 128. (for a similar mirror, but slightly smaller) 㻊ẋ⣏✳曺戭掉曺戭揬忈炻㶙㴖晽炻⫼晨䞛䵈戭䵈 ᷕ⚳炻㻊ẋ炷 206 BC – 220 AD炸側朊㚱Ⱦ⎛ⲘȾ⫿㧋忈✳烉⚻掉慵慷烉1371 ⃳ ⯢⮠烉18 ⍀䰛 ⑩䚠烉䉨㱩㤝⤥炻㚱ṃ䢐㎵␴戭䵈炻冯℞⸜ẋ䚠䫎 Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻⸽悐⎗夳侩啷⭞㧁䯥 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

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 animalshaped 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. 㻊ẋ挷慹戭嚌坮㨇慵曺戭揬忈炻挷慹Ⰼ㭀检⍂ ᷕ⚳炻㻊ẋ 忈✳烉≽䈑忈✳ 慵慷烉362 ⃳ ⯢⮠烉檀 6.5 ⍀䰛, ⮔7.5 ⍀䰛 ⑩䚠烉㤝⤥炻⊭㻧ↅ慵 Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷炻㌖䎦啷⭞㔀徘炻㬌ẞ Ἦ冒㕤䲸䲬⼳ⷓẍ⍲㓞啷⭞⋼㚫㚫⒉Seward Kennedy 㓞啷 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

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

51 A SONG - YUAN DYNASTY SCHIST HEAD OF GUANYIN 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 shows a chubby face and earlobes and a wise smile is playing around her lips. Her hair is artistically done up with two lotus blossoms discernible as adornments. Shape: Figural head Dimensions: 12 cm (height of head), 19.5 cm (height including stand) Weight: 1,246 grams Condition: Good, age-related condition with natural patina and some notches here and there Provenance: Collection of an American gentleman ⬳⃫䇯ⱑ晽奨枛柕⁷ 䇯ⱑ炻䎦ẋ慹Ⱄ㓗㝞 ᷕ⚳炻⬳⃫㗪㛇炻⋩Ḵ军⋩⚃ᶾ䲨忈✳烉柕⁷ ⯢⮠烉柕檀 12 ⍀䰛炻䷥檀 19.5 ⍀䰛 (⏓㓗㝞) 慵慷烉1,246 ⃳ ⑩䚠烉列⤥炻冯⸜ẋ䚠䫎䘬䉨ン炻⣑䃞⊭㻧炻⯨悐㚱仢⎋ Ἦ㸸烉 ᶨỵ伶⚳䳛⢓䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

52 A SONG - YUAN DYNASTY SCHIST HEAD OF CROWNED GUANYIN Schist, comes with modern metal stand China, Song / Yuan Dynasty, 12th - 14th century This ﬁnely carved portrayal of Guanyin was crafted from greyish schist with white speckles and ochre encrustation. The mother goddess with serene facial features and cast down eyes is wearing an ornate high crown featuring stylized lotus blossoms. Shape: Figural head Dimensions: 12.5 cm (height of head), 20.5 cm (height including stand) Weight: 1,536 grams Condition: Good, age-related condition with natural patina and some notches here and there Provenance: Collection of an American gentleman ⬳⃫䇯ⱑ晽㇜ⅈ奨枛柕⁷ 䇯ⱑ炻䎦ẋ慹Ⱄ㓗㝞 ᷕ⚳炻⬳⃫㗪㛇炻⋩Ḵ军⋩⚃ᶾ䲨忈✳烉柕⁷ ⯢⮠烉柕檀12.5 ⍀䰛炻䷥檀 20.5 ⍀䰛 (⏓㓗㝞) 慵慷烉1,536 ⃳ ⑩䚠烉列⤥炻冯⸜ẋ䚠䫎䘬䉨ン炻⣑䃞⊭㻧炻⯨悐㚱仢⎋ Ἦ㸸烉ᶨỵ伶⚳䳛⢓䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

53 A TERRACOTTA FIGURE OF A CAMEL, TANG DYNASTY Fired red terracotta with incised details China, Tang dynasty (618-907) The camel modeled standing foursquare on a rectangular plinth, with its long neck arched and head rearing backwards, the mouth closed, the humps distinctly protruding and the tail curling to one side. Shape: Sculptural Weight: 2.8 kilograms Dimensions: 45 cm height Condition: Typically these statues were reassembled from broken pieces after excavation, being 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,-

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ᶨẞ⸦᷶ᶨ㧋䘬楁䆸炻1614炸 EstimateġỘ₡ġġEUR 5.000,Starting priceġ崟㉵₡ġġEUR 2.500,-

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 three elegantly curved legs. To either side at the upper rim a mongoose is curiously looking up and their fur is ﬁnely incised. The mongoose is an important auspicious animal in Chinese tradition as it is the main attribute of wealth deities such as Jambhala, Kubera or Vaishravana which make the mongoose spit jewels. This has its origin in the Central Asian custom to use mongoose skin as a treasure bag. The mongoose symbolizes generosity, granting of desires and accomplishments. Shape: Figural tripod shape Weight: 425.5 grams Dimensions: Height 7.3 cm, width 13 cm Condition: very good condition with appealing patina and minor abrasions to gilding Provenance: Austrian private collection Auction result comparison: for another late Ming Dynasty parcel gilt tripod censer of similar size, yet in a more archaistic style, see Bonhams, FINE CHINESE ART, 15 Mai 2014, LONDON, NEW BOND STREET, lot 279. 㖶ẋᶱ嵛䉸滔拵慹楁䆸拵慹戭曺戭⎰慹炻揬忈 ᷕ⚳炻㖶ẋ㘂㛇忈✳烉≽䈑炻ᶱ嵛慵慷烉 425.5 ⃳ ⯢⮠烉檀 7.3 ⍀䰛炻⮔ 13 ⍀䰛 ⑩䚠烉㤝⤥炻⊭㻧伶渿炻㚱庽⽖㒎  Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,64

57 A BRONZE TRIPOD CENSER, XUANDE MARK, 17TH CENTURY The bronze patinated to a light golden-brown color China, 17th century The compressed globular body rising from three splayed feet to a short neck with a wide everted lipped rim, the underside cast with an apocryphal six-character Xuande mark within a rectangle. Shape: Censer Weight: 2099 grams Dimensions: 22 cm diameter Condition: Excellent condition with wear, verdigris and patina as expected on a bronze of this age Provenance: American private collection. Auction result comparison: IMPORTANT CHINESE ART. Sotheby’s, 12 SEPTEMBER 2018, NEW YORK, lot 296. (for a similar censer) ⋩ᶫᶾ䲨⭋⽟㫦曺戭ᶱ嵛䆸㶢慹墸刚⊭㻧 ᷕ⚳炻⋩ᶫᶾ䲨忈✳烉楁䆸慵慷烉 2099 ⃳ ⯢⮠烉䚜⼹22 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻⤪枸㛇⎗夳冯⸜ẋ䚠䫎䘬䢐㎵ˣ戭䵈冯⊭㻧 Ἦ㸸烉伶⚳䥩Ṣ㓞啷. EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

58 A LARGE BRONZE ‘ARROW’ VASE, TOUHU, MING DYNASTY Massively cast and incised hexagonal bronze vessel with original dark, almost black 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 divided by four vertical ﬂanges. The various reserves with wave, diaper and leiwen patterns. Vases such as the present lot were designed for the ancient Chinese game of touhu ㈽⢢, or ‘arrow-throwing’, which would form part of the entertainment at banquets and is mentioned in early classical texts such as the Chunqiu Zuo Zhuan attributed to Zuoqiu Ming (c.556-451 BC). Contestants would aim feathered arrows at the various cylinders applied to the vase, with higher points awarded for the less accessible openings. The loser was made to drink wine, leading to increased inebriation and diminished throwing accuracy. Whereas many examples exist of this form of vase, in porcelain and cloisonné as well as bronze, the present lot appears to be one of the earlier versions of the subject, still following strict formal guidelines, with the three main targets elegantly spaced around the neck angled to invite the shooting of an arrow. However, the mouths of the lions each offer two more, yet much smaller and therefore highly valued targets, opening an option for any losing player to turn around the game with one last, desperate shot. Shape: Arrow vase Weight: 7.9 kilograms Dimensions: Height 58 cm. Condition: Superb condition with only minor wear Provenance: Austrian private collection. Literature comparison: For a related example, see Chinesische Kunstgeschichte von Oskar Münsterberg, Esslingen, 1910, p.136. Also compare with another related arrow vase, but with only two target ‘ears’ either side of the mouth but cast with scaly dragons, illustrated by P.K. Hu, Later Chinese Bronzes: The Saint Louis Art Museum and Robert E. Kresko Collection, Saint Louis, 2008, no.5. Auction result comparison: FINE CHINESE ART. Bonham’s, 16 May 2013, LONDON, lot 99. (for a similar vase, depicting the eight immortals, but smaller) FINE CHINESE ART. Bonham’s, 9 Nov 2017, LONDON, lot 171. (for an arrow vase of similar size, but likely later, with two Buddhist sitting on the shoulders) 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.

59 A LARGE BRONZE FIGURE OF A YOUTHFUL DAOIST DEITY, MING DYNASTY Cast bronze with incised detail work. Good patina China, Ming dynasty (1368-1644) Seated on a chair with an aperture at the lower front and two more at the back, we see a daoist deity with youthful facial features. He is dressed in a long robe and wears ornate shoes. His hair is artfully done up in a chignon and the fat earlobes, heavy lidded down cast eyes as well as the well meaning smile all add further to the overall spiritual appearance of this Ming bronze. Shape: Figural Weight: approx. 4,300 grams Dimensions: Height 38.5 cm Condition: Good condition with old wear and evident patina, traces of use as expected on a bronze of this age, attribute missing Provenance: American private collection Auction result comparison: For a related Ming Dynasty bronze of the Daoist warrior deity Zhenwu of similar size see Christie’s, Chinese Ceramics, Works of Art and Textiles, London, South Kensington, lot 710. 㖶ẋ⣏✳⸜庽忻㔁䤆Ṣ⁷ 曺撄撠忈炻䳘䭨ℍ⽖, ⊭㻧伶渿 ᷕ⚳炻㖶ẋ炷1368-1644炸忈✳烉Ṣ䈑慵慷烉䲬 4,300 ⃳ ⯢⮠烉檀 38.5 ⍀䰛 ⑩䚠烉列⤥炻冲䢐㎵冯㖶栗䘬⊭㻧/戭䵈, 㚱⸜ẋ␴ἧ䓐䕽嶉炻㱽☐怢⣙ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

60 A RARE AND IMPORTANT GILT AND POLYCHROMED ZITAN FIGURE OF MAHAKALA, 16th – 17th CENTURY Zitan with gold lacquer and polychrome hand painting Tibeto-Chinese, 16th – 17th century Seated in lalitasana atop a human corps the wrathful deity is shown in his four-armed version. His main hands hold a kapala and a curved knife, a 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 hand painted with special focus on the three eyes. An ornate aureole is framing the sculpture and bears Tibetan script ‘Om Ah Hum‘ script as well as remnants of an old seal on the backside. The present work is carved entirely from zitan, a hardwood from India that was exported to China in the late Ming and early Qing dynasties. While zitan is a general term which includes numerous species of wood, it is commonly agreed that it belongs to the genus Pterocarpus. A purplish-black, ﬁne-grained hardwood, zitan was considered the most prized hardwood by the Chinese. The density of the wood makes this material especially suitable for ﬁne and intricate carving. Due to its slowgrowing nature, zitan often was only available in small quantities, and by the Qianlong period (1736-1795), its use was controlled by the emperor himself. Only few works of sculpture in zitan are known, although the precious nature of the wood meant it would have been an appropriate material for an object of worship. Shape: Figural Weight: 111 grams Dimensions: Height 28 cm Condition: good condition with appealing authentic patina, gilding and paint work very well preserved, material loss as seen in the images Provenance: Hungarian private collection

Auction results comparison: For a closely related polychromed Zitan ﬁgure of SIMHANADA MANJUGHOSHA see Christie’s, Indian, Himalayan and Southeast Asian Works of Art, New York, 12 September 2018, lot 324. 份夳䘬慵天挷慹䳓㨨⣏湹⣑⁷炻⋩ℕ军⋩ᶫᶾ䲨䳓㨨炻慹㺮炻ㇳ丒ᶲ⼑㻊啷炻⋩ℕ军⋩ᶫᶾ䲨嬟㱽䤆⣏湹⣑ẍẹ改⛸⦧Ḷ⯠Ṣᷳᶲ炻⚃兪晬⢗ˤṾᶨㇳ㊧叿ᶨ᷒▶⶜㉱䠿 ␴ᶨ㈲⻶↨炻⎛ㇳ㊩∵ˤ⣏湹⣑柕㇜柕橐ⅈ炻ᷕ⣖䚌巆叿ᶨ㡅䛤掉噯ẍ⍲䍵屜䘬䎈⮞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 ⁷⢾㟮炻ẍ⍲冲⌘䪈䘬怢ἁˤ 忈⁷⬴ℐ㗗䓐Ἦ冒⌘⹎䘬䳓㨨㛐晽⇣侴ㆸ炻䳓㨨⛐㖶㛓㶭⇅↢⎋⇘ᷕ⚳ˤ晾䃞䳓㨨㗗ᶨᾳ⊭㊔姙⣂㛐㛸䧖栆䘬忂䓐埻婆炻ỮṢᾹ㘖念娵䁢⬫Ⱄ㕤䳓㨨 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 ⇞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 塓Ṣ㇨䞍ˤ 忈✳烉Ṣ䈑忈⁷ 慵慷烉111 ⃳ ⯢⮠烉檀 28 ⍀䰛 ⑩䚠烉䉨㱩列⤥炻⊭㻧䛇⮎炻挷慹␴⼑丒悐↮ᾅ⬀列⤥炻⯨悐㛸㕁㎵⣙ˤ⤪⚾ ㇨夳ˤ Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷㉵岋䳸㝄㭼庫烉ᶨẞ䚠Ụ䘬䳓㨨⣂⼑䵈㔯㬲⁷夳Christie’s, Indian, Himalayan and Southeast Asian Works of Art, New York, 12 September 2018, lot 324. EstimateġỘ₡ġġEUR 2.000,Starting priceġ崟㉵₡ġġEUR 1.000,-

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⸽⹏ ᷕ⚳炻⃫ẋ(1279-1368) 忈✳烉Ṣ䈑忈⁷ 慵慷烉䲬480 ⃳ (ᶵ⏓⸽⹏) ⯢⮠烉䶪檀 38 ⍀䰛炻ᶵ⏓⸽⹏ 36 ⍀䰛 ⑩䚠烉⸜ẋ䕽嶉㖶栗炻䞛儷⟿Ⰼ␴⼑丒⯨悐䢐㎵炻ㇳ␴側悐䟜㎵↎⶚ᾖ⽑ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

62 A SMALL TIBETO CHINESE GILT BRONZE BUDDHA AMITABHA, 17th – 18th CENTURY Cast and chased fire gilt bronze, remnants of cold paint, sealed off base with a copper plate Tibet / China, 17th – 18th century Seated in dhyanasana on a double-lotus pedestal with a pearl bordure, this delightful git bronze depicts Buddha Amitabha holding a bowl in his lap with both hands. He is dressed in a neatly incised monk’s robe and has a high chignon. A well-meaning smile is playing around his lips and his eyes are cast down. Amitabha Buddha presides over the West and embodies Buddhahood’s 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 major Mahayana subdivision. Pure Land advances an array of heavenly realms and teaches methods by which one may be reborn in one of these paradises. The cult of Amitabha in China can be traced back to at least 2nd century CE, when the Sukhavativyuha Sutra was first translated into Chinese. Shape: Figural Weight: 112 grams Dimensions: Height 6.8 cm Condition: good condition with small nicks here and there, bowl and bottom seal plate are later additions Provenance: Hungarian private collection Auction results comparison: For a related Ming Dynasty miniature gilt Buddha (measuring 12.5 cm in height) see Sotheby’s, ARTS D’ASIE, 12 DECEMBER 2017, PARIS, lot 25. ⮷✳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⌘䪈大啷 / ᷕ⚳炻 ⋩ᶫ军⋩ℓᶾ䲨忈✳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,-

63 A GOLD LACQUERED TERRACOTTA FIGURE OF BUDDHA AMITAYUS, QING DYNASTY Terracotta with gold lacquer and hand painted details China, Qing Dynasty (1644-1912) This highly unusual gold lacquered terracotta sculpture shows Buddha Amitayus seated in dhyanasana atop a double-lotus pedestal. The Buddha of inﬁnite life is holding the vessel of amrita in his lap and is framed by celestial bands. He is adorned with various foliate jewelry and the hair pulled into a high chignon, behind the foliate crown. The underside shows old paper labels with mentioning of Biyun Temple and Xiangshan Mountain near Beijing. Shape: Figural Weight: 537 grams Dimensions: Height 14.5 cm, width 10.5 cm Condition: good condition with appealing patina and some chips as well as hairlines and material loss to lacquer coating Provenance: Hungarian private collection 㶭ẋ慹㺮䲭昞旧⻴旨ἃ⛸咖⁷ 䲭昞炻慹㺮炻䳘䭨ㇳ丒 ᷕ⚳炻㶭ẋ 忈✳烉Ṣ䈑慵慷烉537 ⃳ ⯢⮠烉檀 14.5 ⍀䰛炻⮔ 10.5 ⍀䰛 ⑩䚠烉䉨㱩列⤥炻⊭㻧⺽Ṣ㲐䚖炻ᶨṃ⮷塪⎋炻慹㺮⟿Ⰼ㚱檖䴚䉨塪䷓␴⯨悐㛸㕁仢⣙ Ἦ㸸烉 ⊰䈁⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

64 A LARGE GILT REPOUSSÉ FIGURE OF TARA, DOLLONOR, 18th – 19 th 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 Bodhisattva, sharing the near identical facial features see Christies, Himalayan, Indian and South East Asian Art, New York, 15 March 2017, lot 220. ⣏✳挷慹戭晽掐慹⹎㭵⁷炻⋩ℓ军⋩ḅᶾ䲨挷慹戭炻晽慹炻⯨悐湹刚戭䵈 ᷕ⚳/呁⎌炻⣂昮媦䇦炻㶭ẋ炻⋩ℓ军⋩ḅᶾ䲨忈✳烉Ṣ䈑忈✳ 慵慷烉1,607 ⃳ ⯢⮠烉檀 42 ⍀䰛, 㚨⮔䁢24 ⍀䰛 ⑩䚠烉⍇⥳䉨㱩列⤥炻㚱ṃ⽖⸜ẋ冯ἧ䓐䕽嶉炻⮩⸽戭䇯冯㱽☐怢⣙ Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

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,-

66 A FINE GILT BRONZE FIGURE OF MANJUSHRI, 18th CENTURY Gilt copper bronze alloy, cast and chased, remnants of cold paint China, 18th century The bodhisattva sits in dhyanasana on a double-lotus base, holding aloft the remaining handle of his khadga sword in his raised right hand and his left hand shows the vitarka mudra. He is clad in a voluminous dhoti and adorned with sashes and jewelry. The face is serene in expression and surmounted by a foliate tiara in front of the braided chignon. The base is sealed with its original bronze plate incised with a double vajra. Shape: Figural Weight: 1,067.5 grams Dimensions: height 18.5 cm Condition: very good condition with appealing patina and minor abrasions to gilding, sword blade lost Provenance: Hungarian private collection Auction result comparison: for a comparable example, slightly smaller but with near identical facial features see Sotheby’s, ARTS D’ASIE, 23 JUNE 2016, PARIS, lot 160.

⋩ℓᶾ乒挷慹撄㔯㬲⛸博⁷ 挷慹戭炻揬忈炻⅟丒怢ἁ ᷕ⚳炻⋩ℓᶾ䲨㔯㬲厑啑ẍ⅍゛⺷⛸㕤暁Ⰼ咖⹏ᷳᶲ炻Ṿ冱崟䘬⎛ㇳ檀冱 ⮞∵炻ⶎㇳ㊩䘰ὅ⌘ˤ幓叿⮔⣏堋堵炻梦㚱儘ⷞ␴椾梦炻朊悐堐ね⸛朄⬱娛炻檖檣⇵㚱叱䉨柕梦ˤ⸽⹏㚱⍇墅戭䇯⮩⸽炻ᶲ㚱暁慹∃㜝 ˤ 忈✳烉Ṣ䈑忈⁷ 慵慷烉1,067.5 ⃳ ⯢⮠烉檀 18.5 ⍀䰛 ⑩䚠烉䉨㱩㤝⤥炻⊭㻧伶渿炻挷慹悐ỵ㚱庽⽖䢐㎵炻∵↫ 怢⣙ˤ Ἦ㸸烉⊰䈁⇑䥩Ṣ㓞啷㉵岋䳸㝄㭼庫烉ᶨẞ䦵⮷Ữ⋩↮㍍役䘬忈⁷夳Sotheby’s, ARTS D’ASIE, 23 JUNE 2016, PARIS, lot 160. EstimateġỘ₡ġġEUR 3.000,Starting priceġ崟㉵₡ġġEUR 1.500,-

67 AN 18th CENTURY GILT-BRONZE FIGURE OF GUANYIN Gilt copper bronze alloy, cast and chased China, 18th century The deity seated in rajalilasana on a rectangular stepped base decorated with incised ﬂoral patterns. Guanyin is holding a kalasha and a jewel and is framed by celestial bands. Her voluminous lower garment is tied at the waist and she wears precious jewelry with a seated ﬁgure of Amitabha in the crown band. She has her head slightly inclined and her facial expression is mild and well meaning. The underside of the base is sealed with a copper plate incised with a double vajra. Shape: Figural Weight: 1,234 grams Dimensions: Height 18.2 cm, width 11 cm Condition: very good condition with appealing patina and only minor abrasions to gilding Provenance: Austrian private collection

Literature comparison: The tradition in China of casting bronze ﬁgures of Avalokiteshvara in this posture dates back to at least the early Ming, as evinced by a well-known example in the British Museum (see Beguin, Dieux et Démons de l’Himalaya, Paris, 1977, p.194, no.207). A similar Qing-dynasty example is published in the same volume (no.211). Auction result comparison: for a near identical example see Sotheby’s, IMPORTANT CHINESE ART, 16 MARCH 2016, NEW YORK, lot 375. ⋩ℓᶾ䲨挷慹戭奨枛⛸⁷ 挷慹戭炻揬忈 ᷕ⚳炻⋩ℓᶾ䲨慵慷烉 1,234 ⃳ ⯢⮠烉檀 18.2 ⍀䰛 ⮔ 11 ⍀䰛 ⑩䚠烉㤝⤥炻㚱⊭㻧炻挷慹㚱庽⽖䢐㎵ Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 2.000,Starting priceġ崟㉵₡ġġEUR 1.000,-

68 A LARGE WEN STONE SCHOLAR’S ROCK, LATE QING DYNASTY Two summit mountain with main valley and lake beneath China, 19th – earlier 20th century This scholar’s rock has a dramatic sense of movement created by the tension between the two summits and the craggy layers of rockwork separating them as well as the small lake lying beneath a vertically seceding scarp on the frontside. The silhouette expands from this lake upwards to the main summit, with the second, slightly smaller summit hidden behind. The deeply wrinkled and scarred skin has a lustrous patina and protruding reddish veins typical of the best examples of Wen stone. Fitted hardwood base with stepped edge, carved with a key fret border and several layers of stylized bamboo. (2) Shape: Scholar’s rock Weight: 22 kilograms Dimensions: Length ca. 47 cm Condition: Good condition with extensive old patina, this rock likely having been exposed to weather conditions for at least several decades Provenance: American private collection. Auction result comparison: The Flacks Family Collection: A Very Personal Selection. Christies, New York, 16 September 2016, lot 1142. (for a wen stone, where the mineral shows a very similar patina, likely also coming from weather exposure) 㘂㶭⣏✳㔯Ṣ岆䞛 ℑ⹏ⰙⲘ炻Ⱉ察⍲㷾㱲 ᷕ⚥炻⋩ḅᶾ䲨军Ḵ⋩ᶾ乒㖑㛇忈✳烉㔯Ṣ䞛慵慷烉22 ℔㕌 ⯢⮠烉攧乎 47 ⍀䰛 ⑩䚠烉⑩䚠列⤥炻⊭㳮ↅ慵㵎㲥炻忁 ⟲岆䞛䚳ᶲ⍣⶚⛐冒䃞㯋῁ᷕ伖㓦Ḯ ⸦⋩⸜Ḯ 㜍㸸烉伶⚥䥩Ṣ㓞啷. EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

69 A LARGE THREE-PART BRONZE CENSER, MING DYNASTY The massive bronze with rich patina and incised openwork décor, partially in high relief China, 17th century 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. The lid with similar décor executed in a reticulated manner, with a large Buddhist lion sitting on top and serving as the handle. The matching base shows the same pattern of vines, leaves and blossoms, also reticulated. Tang Zhenwan studio seal mark to base. (3) Shape: Censer Weight: 5.5 kilograms Dimensions: 38 cm diameter Condition: Some smaller losses, one minor crack to lid, signiﬁcant wear and traces of use, some surface scratches

Provenance: Austrian private collection. ġ Auction result comparison: Art d’Asie. Christies, Paris, 9 June 2015, lot 57. (compare with the elephant heads on another reticulated bronze censer from the same period and with the same size) 㖶ẋ⣏✳曺戭䤆䌠楁䆸曺戭炻⊭㻧ↅ慵炻掌䨢炻⯨悐㶙㴖晽 ᷕ⚳炻⋩ᶫᶾ䲨忈✳烉楁䆸慵慷烉5.5 ℔㕌 ⯢⮠烉䚜⼹ 38 ⍀䰛 ⑩䚠烉⮷仢⣙炻味ᶲ庽⽖塪䷓炻栗叿䘬䢐㎵␴ἧ䓐䕽嶉炻堐朊㚱∫䕽 Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

70 A MON-DVARAVATI STUCCO HEAD OF BUDDHA, 8TH / 9TH CENTURY Stucco with slip decoration, with modern base Thailand, Mon-Dvaravati period, 8th – 9th century This expressive Buddha head displays pure Mon Dvaravati style with heavylidded down cast eyes, arching brows and a full smile. The urna is rendered in high relief as are the spiked curls. The Dvaravati period lasted from around the 6th to the 11th century. Dvaravati refers to a culture, an art style, and a disparate conglomerate of principalities. Dvaravati itself was heavily inﬂuenced by Indian culture and played an important role in introducing Buddhism and particularly Buddhist art to the region. Stucco motifs on the religious monuments include garudas, makaras, and Nagas. Additionally, groups of musicians have been portrayed with their instruments, prisoners, females with their attendants, soldiers indicative of social life. Votive tablets have also been found, also molds for tin amulets, pottery, terracotta trays, and a bronze chandelier, earring, bells and cymbals. Shape: Head with ﬂattened back Dimensions: total height 25.5 cm, height without the base is 18 cm Weight: 2,603 grams (with the base) Condition: Age-related good condition with encrustation, cracks and material loss as seen on the pictures Provenance: Collection of an American gentleman, Philadelphia Auction results comparison: For two related Mon-Dvaravati stucco heads see Sotheby’s, COLLECTION DE MR GEORGES HALPHEN, Paris, 20 November 2003, lot 402 or Bonhams, INDIAN, HIMALAYAN AND SOUTHEAST ASIAN, 19 Mär 2012, NEW YORK, lot 1134. 旨伭以⛘䌳⚳⬇㕷䞛䀘䰱⇟ἃ柕⁷炻ℓ 军ḅᶾ䲨䞛䀘䰱⇟炻䎦ẋ⸽⹏ 㲘⚳炻旨伭以⛘䌳⚳⬇㕷㗪㛇炻ℓ军ḅ ᶾ䲨忈✳烉柕⁷炻側朊㇩⸛ ⯢⮠烉䶪檀 25.5 ⍀䰛, ᶵ⏓⸽⹏檀18 ⍀ 䰛慵慷烉2,603 ⃳炷⏓⸽⹏炸 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 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

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,-

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 Works of Art, New York, 13 September 2017, lot 329 (for a very similar frieze with 70.5 cm in height). 㲊伭䌳㛅湹䞛㭿㸧⤜晽⟹ 湹刚⋫㝂ⱑⶏ⥁晽⇣⍲↯√炻⊭㻧列⤥ ⌘⹎㜙⊿⛘⋨炻⋩Ḵᶾ䲨忈✳烉晽⟹ ⯢⮠烉䶪檀63 ⍀䰛炷⊭㊔⚻抸⼊➢悐炸炻㚨⮔↎ 28 ⍀䰛慵慷烉䲬12.6 ℔㕌 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⊰䈁⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 2.000,Starting priceġ崟㉵₡ġġEUR 1.000,-

73 A SILVER AND COPPER INLAID JAIN BRASS SHRINE WITH MAHAVIRA, 15th – 16th CENTURY Brass with copper and silver inlays India, 15th – 16th century Mahavira is seated in lotus posture on a throne supported by two addorsed lions, surrounded by further Tirthankara and attendants, the pierced and arched throneback with elephants ﬂanking a round canopy. The altar is ﬁnely executed in openwork and inlaid with silver at the eyes of MAravira and few other places it is also inscribed on the reverse. Shape: Sculptural shrine Weight: 641 grams Dimensions: Height 15 cm, width 10 cm Condition: good condition with appealing patina and some dents as well as casting imperfections – mainly to bottom rim Provenance: from a German private collection Auction result comparison: Christie’s, Indian and Southeast Asian Art, New York, 27 March 2003, lot 58 (for a related silver inlaid brass shrine, somewhat larger and dating to 1606). ⌘⹎侮恋㔁湫戭搚戨⣏晬⮲侭ἃ漽炻⋩Ḽ军⋩ℕᶾ䲨湫戭炻拗戭拗戨 ⌘⹎炻⋩Ḽ军⋩ℕᶾ䲨忈✳烉忈⁷ἃ漽慵慷烉641 ⃳ ⯢⮠烉檀 15 ⍀䰛炻⮔ 10 ⍀䰛 ⑩䚠烉列⤥炻㚱戭䵈炻ᷣ天⛐怲䶋悐↮㚱ᶨṃ↡星␴揬忈仢星 Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

74 AN INDIAN BRASS FIGURE OF NANDI, 15th CENTURY Brass India, Himachal Pradesh, 15th century Nandi is reclining on a rectangular platform with one foreleg lifted, wearing beaded jewelry and cowbells around the neck. Nandi, the bull vahana of the Hindu god Shiva is identiﬁed as the god’s vehicle since the Kushan dynasty (circa 1st century CE). Most Shaivite temples have the ﬁgure of a humped white bull reclining on a raised platform and facing the entrance door of the shrine so that he may perpetually gaze on the god. Shape: Figural Weight: 1,199.5 grams Dimensions: Height 15 cm, length 12.5 cm Condition: good condition with appealing patina and some dents as well as casting imperfections – mainly to bottom rim and one horn Provenance: ex Doris Wiener Gallery New York, 1975 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). ⌘⹎⋿徒湫戭⁷炻⋩Ḽᶾ䲨湫戭 ⌘⹎炻╄樔´⮼恎炻⋩Ḽᶾ䲨忈✳烉 Ṣ䈑忈✳ 慵慷烉 1,199.5 ⃳ ⯢⮠烉檀 15 ⍀䰛炻攟12.5 ⍀䰛 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,-

76 A GANDHARA SCHIST FRIEZE OF THE FIRST SERMON OF BUDDHA, 2nd – 3rd CENTURY Grey schist, with modern metal base Ancient region of Gandhara, 2nd – 3rd century This masterful Schist frieze is a narrative relief of the life of Buddha, representing his first sermon. Held by an atlas-like figure is the triple chakra, flanked by adorant figures.

75 A FINE BRONZE FIGURE OF BUDDHA SHAKYAMUNI, LAOS / NORTHERN THAILAND, 17th – 18th CENTURY Massively cast bronze with appealing dark patina Laos or Norther Thailand – 17th – 18th century Seated in vajrasana, the right hand in bhumisparsa mudra, the left in avakasha mudra, clad in an elegant yet simple uttarasangha covering the left shoulder. The heavy-lidded eyes are cast down and the full lips show a serene smile. At the base is a neatly incised bordure with geometrical ﬂowers. The history and religion of northern Thailand and Laos are very intertwined. The founder of the Thai Lan Na kingdom, King Mangrai, took Vientiane under his rule in the 13th century. Half a century later, the Thai exile, Fa Ngum, broke away and established the Lao kingdom Lan Xang Hom Khao. He is credited with bringing the Sinhalese Buddhism adopted in Northern Thailand at that time to Laos. Similarly, Lao Buddhist sculpture borrowed heavily from northern Thai styles produced at centers of production like Chiang Mai. Within this context, it is not surprising that the present lot shows stylistic features common to both cultures. Shape: Figural Weight: approx. 2,7 kilograms Dimensions: Height 28 cm Condition: excellent condition with appealing authentic patina Provenance: Austrian private collection 曺戭慳徎䈇⯤⛸⁷炻侩㑦/㲘⚳⊿悐炻⋩ᶫ军⋩ℓᶾ䲨曺戭揬忈炻湹刚⊭㻧侩㑦ㆾ㲘⚳⊿悐炻⋩ᶫ军⋩ℓᶾ䲨忈✳烉Ṣ䈑忈✳ 慵慷烉䲬 2,7 ℔㕌 ⯢⮠烉檀 28 ⍀䰛 ⑩䚠烉㤝⤥炻⊭㻧䛇⮎ Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

The Buddha’s first teaching was called the Dhammacakkappavattana Sutta, which means the Turning of the Wheel of Truth. It was given on the full-moon day of July, called Asalha. This discourse was given to the five ascetics who were his former companions, at the Deer Park in Isipatana (now called Sarnath), near Benares, India. Many devas and brahmas (angels and gods) were present to listen to the discourse. The Buddha then taught the five ascetics the Four Noble Truths. They are: the truth of suffering, its cause, its end, and the way to its end. Everything in this world is full of suffering, and the cause of suffering is craving. The end of suffering is nirvana. The way to the end of suffering is via the Noble Eightfold Path. The Buddha said that he was enlightened only after he understood these Four Noble Truths. The kingdom of Gandhara lasted from 530 BC to 1021 AD, when its last king was murdered by his own troops. It stretched across parts of present-day Afghanistan and Pakistan. Gandhara is noted for its distinctive style in Buddhist art, which developed out of a merger of Greek, Syrian, Persian and Indian artistic influence. Gandharan style flourished and achieved its peak during the Kushan period, from the 1st

to the 5th century. In the ﬁrst century AD, Gandhara was the birthplace of some of the earliest Buddhist images. Shape: Frieze with high relief ﬁgures Dimensions: 26.5 cm (height of sculpture alone), 27.5 cm (maximum width), 32 cm (height with base) Weight: approx. 9.6 kilograms (with the base) Provenance: accompanied by a scanned note by Josette Schulmann, Paris, 1973, acquired at Cabinet Portier, Paris, French private collection 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 Literature comparison: A closely comparable frieze is listed as plate 202 in W. Zwalf, A Catalogue of the Gandhara Sculpture in the British Museum – Vol II. Description is on page 184 in Vol I. Auction result comparison: Christie’s, The Scholar’s Vision: The Pal Family Collection New York, 20 March 2008, lot 329 (for a very similar frieze). ‍旨伭䇯ⱑ晽ἃ旨䫔ᶨ㫉嫃忻炻 Ḵ军ᶱᶾ䲨䀘䇯ⱑ炻䎦ẋ慹Ⱄ⸽⹏ ⎌‍旨伭⛘⋨炻Ḵ军ᶱᶾ䲨忈✳烉 ⷞ䉨墅梦炻㶙㴖晽 ⯢⮠烉檀26.5 ⍀䰛炷晽⟹炸炻㚨⮔↎27.5 ⍀䰛炻䷥檀 32 ⍀䰛慵慷烉䶪慵䲬 9.6 ℔㕌 Ἦ㸸烉旬ⷞJosette Schulmann䘬㲐慳㌫㍷ẞ炻⶜湶 1973炻岤㕤㱽⚳⶜湶Cabinet Portier炻㱽⚳ 䥩Ṣ㓞啷 ⑩䚠烉䟜㎵↎⎗⛐䵚䴉㍸ὃ䘬䄏䇯䚳⇘ˤ㔜橼ᾅ⬀列⤥炻冯⸜ ẋ䚠䫎ˤ EstimateġỘ₡ġġEUR 2.000,Starting priceġ崟㉵₡ġġEUR 1.000,-

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,-

78 AN INDIAN COPPER BRONZE ALLOY FIGURE OF VISHNU, 18th – 19 th CENTURY Cast and chased copper and bronze alloy Southern India, 18th – 19th century

79 A BRONZE FIGURE OF TARA STANDING IN TRIBHANGA, TIBET, 19 th CENTURY Cast and chased bronze, sealed off base with a copper plate Tibet, 19th century

Standing in samapada on a double lotus pedestal atop a square base, the four-armed Vishnu shows the hand gestures of vitarka mudra. One of his main attributes, the conch can be seen in his right lower hand and the other, the chakra is at the back of his head. The ﬁgure is adorned with jewelry characteristic of south Indian bronzes and wears a tall mitered headdress. A small, kneeling Garuda ﬁgure is applied to the front of the pedestal.

This bronze depicts Tara in a standing posture, wearing a long dhoti and adorned with jewelry as well as a foliate crown. At her shoulders are lotus ﬂowers, lotus ﬂowers are incised to her gown and a stylized lotus petal border is at the pedestal. Both her hands are held in vitarka mudra and her benevolent facial expression is enhanced by the cast down eyes. On the backside of the pedestal is Tibetan script and the base is sealed with a copper plate incised with a double vajra.

Shape: Figural Weight: 640 grams Dimensions: Height 17.3 cm Condition: good condition with losses to attributes and extensive patina Provenance: Austrian private collection

Shape: Figural Weight: 568 grams Dimensions: Height 17 cm Condition: good condition with ﬁne patina and some nicks and dents to base rim Provenance: Austrian private collection

⋩ℓ军⋩ḅᶾ䲨戭⎰慹㭿㽽⤜⁷ 戭⎰慹揬忈 ⋿⌘⹎炻 ⋩ℓ军⋩ḅᶾ䲨

⋩ḅᶾ䲨大啷戭⹎㭵ᶱ⯰⺷䩳⁷ 曺戭撠忈炻ẍ戭䇯⮩⸽炻㚱⌘䪈大啷炻⋩ḅᶾ䲨

忈✳烉Ṣ䈑慵慷烉640 ⃳ ⯢⮠烉檀 17.3 ⍀䰛 ⑩䚠烉列⤥炻ᾳ⇍㱽☐怢⣙炻⊭㻧ↅ慵 Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷

忈✳烉Ṣ䈑忈⁷ 慵慷烉568 ⃳ ⯢⮠烉檀 17 ⍀䰛 ⑩䚠烉列⤥炻⊭㻧䳘兑炻㚱ṃ仢⎋炻⸽悐怲䶋㚱↡䕽 Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷

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

80 A TURQUOISE INLAID GILT BRONZE FIGURE OF A GREEN TARA, TIBET, 17th – 18th CENTURY Cast and chased bronze with lacquer gilding, remnants of cold paint and inlaid turquoise cabochons Tibet, 17th – 18th century Syamatara or Green Tara seated in lalitasana on a double lotus base with her pendant foot resting on a lotus blossom and her hands in varada and vitarka mudra. The deity is dressed in a dhoti secured at the waist and anklets, necklaces and armlets, the hair painted blue under a foliate crown. Shape: Figural Weight: 222 grams Dimensions: Height 10.8 cm Condition: good condition with wear to gilding and some turquoise inlays as well as the base seal missing Provenance: American private collection Auction results comparison: For a closely related bronze of exact same height see Lempertz, Tibetan-Nepalese Art, 18.06.2017, Brussels, lot 1010. 大啷戭挷慹搚䵈㜦䞛䵈⹎㭵炻⋩ᶫ军⋩ℓᶾ䲨曺戭撠忈炻挷慹炻ᶲ㺮炻⅟丒炻搚⳴䵈㜦䞛大啷炻⋩ᶫ军⋩ℓᶾ䲨忈✳烉Ṣ䈑慵慷烉222 ⃳ ⯢⮠烉檀 10.8 ⍀䰛 ⑩䚠烉列⤥炻挷慹⯨悐䢐㎵炻ᶨṃ䵈㜦䞛⍲⸽⹏᷇⣙ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

81 A LINED AND CABOCHON INSET RITUAL KAPALA SKULL CAP, 19 th CENTURY Bone, silver-plate copper, coral and rock crystal cabochons Tibet, 19th century The ritual skull is framed by a silver-plate copper rim and bears lining of the same material at the interior. To the front and back is a semi-sphere onset, holding three large cabochons each. A central coral is framed by two rock crystals. Shape: Skull cap Dimensions: 18,5 cm (length) 14,5 cm (width) 7,5 cm (height) Weight: 372 grams Condition: Very good condition with age-related signs of wear and small nicks. Impressive patina. One rock crystal cabochon missing Provenance: Austrian private collection ⋩ḅᶾ䲨⮞䞛搚⳴㱽☐▶⶜㉱䠿柕橐炻戨⊭戭炻䍲䐂炻㯜㘞䞛大啷炻 ⋩ḅᶾ䲨忈✳烉柕橐䠿 ⯢⮠烉攟 18,5 ⍀䰛炻⮔14,5 ⍀䰛炻檀7,5 ⍀䰛慵慷烉372 ⃳ ⑩䚠烉朆ⷠ⤥炻冯⸜ẋ䚠䫎䘬䢐㎵␴⮷䡽䡘炻⊭㻧ↅ慵炻 ᶨ⟲㯜㘞䞛᷇⣙ Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 400,Starting priceġ崟㉵₡ġġEUR 200,-

82 A NEPALESE BRONZE FIGURE OF BUDDHA AMITAYUS, 16th – 17th CENTURY Copper bronze alloy, black patination and remnant of gilding Nepal, 16th – 17th century

83 A FINE BRONZE FIGURE OF VAJRASATTVA, TIBET, 16th - 17th CENTURY Cast and chased bronze Tibet, 16th / 17th century

This two-part sculpture shows Buddha Amitayus seated in dhyanasana atop a high double-lotus pedestal. The Buddha of inﬁnite life is holding the vessel of amrita in his lap and is framed by celestial bands. He is adorned with various foliate jewelry and the hair pulled into a high chignon, behind the foliate crown.

Seated in dhyanasana on a double-lotus pedestal, this delightful bronze depicts Vajrasattva holding the vajra before his chest and the ghanta at his waist. The tall chignon, petal-shaped crown ribbons, the folds of the dhoti and ornate jewelry all crafted with much attention for detail as is the crisp face with well-meaning expression. The hands are in varada mudra and vitarka mudra, the base is not sealed.

Shape: Figural Weight: 477 grams Dimensions: Height 14.5 cm, width 8.5 cm Condition: good condition with appealing patina and some dents as well as casting imperfections – mainly to bottom rim Provenance: From the estate of an American gentleman who traveled extensively in Asia while working for the State Department in the 1950s and 1960s. Part of his collection was auctioned off at Christie’s in New York City in 2010 and 2011

His name meaning ‘Vajra Being’, Vajrasattva is the Adi Buddha ascribed agency. He is frequently invoked for puriﬁcation rituals and as a bodhisattva. The Nyingma also treat him as a yidam. In certain instances, Vajrasattva is considered a sixth Presiding Buddha, representing their ethereal unity.

Auction result comparison: for two related Amitayus bronzes from Nepal see Christie’s, Art d’Asie, Paris, 20 June 2017, lot 161 or Christie’s, The Doris Wiener Collection, New York, 20 March 2012, lot 113.

Shape: Figural Weight: 274 grams Dimensions: Height 11 cm Condition: good condition with expressive patina and some notches and dents to base rim Provenance: American private collection

⯤㱲䇦旧⻴旨ἃ曺戭⁷炻⋩ℕ军⋩ᶫᶾ䲨戭冯曺戭⎰慹炻湹刚⟿Ⰼ冯挷慹㭀检 ⯤㱲䇦炻 ⋩ℕ军⋩ᶫᶾ䲨

大啷䱦伶曺戭慹∃啑➝炻⋩ℕ军⋩ᶫᶾ䲨曺戭揬忈大啷炻⋩ℕ军⋩ᶫᶾ䲨

忈✳烉Ṣ䈑忈✳ 慵慷烉477 ⃳ ⯢⮠烉檀 14.5 ⍀䰛炻⮔ 8.5 ⍀䰛 ⑩䚠烉列⤥炻㚱⊭㻧炻ᷣ天⛐怲䶋悐↮㚱ᶨṃ↡星␴揬忈仢星 Ἦ㸸烉Ἦ冒ᶨỵ伶⚳䳛⢓䘬怢䓊ˤᶲᶾ䲨Ḽ⋩军ℕ⋩⸜ẋ炻⛐Ṿ䁢伶⚳⚳⊁昊 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

忈✳烉Ṣ䈑慵慷烉274 ⃳ ⯢⮠烉檀 11 ⍀䰛 ⑩䚠烉列⤥炻⊭㻧ↅ慵炻㚱ṃ↡星冯仢⎋ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

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

84 A TRANSITIONAL WUCAI BALUSTER ‘LADY AND BOYS’ VASE, 17TH CENTURY White glazed porcelain with underglaze blue decoration. Multi-colored enamels in Wucai palette over the glaze, nice carved wooden base China, mid-17th century The body of broad baluster shape with ﬂared neck and tapered foot. Finely painted with a continuous scene of an elegantly attired lady watching over small boys at play in a grand garden setting, A large Daihu rock is partly covered in clouds, a motif that is vividly painted in iron-red stretching along one vertical area of the vase. A thin dotted border at the shoulder, below a waisted neck painted with peony sprays issuing from blue rockwork. A double circle is running along the base part and on the bottom is a small glazed area in the center of the otherwise unglazed material. This vase comes together with a pretty carved wooden base showing ruyi shapes. Shape: Broad baluster shape Dimensions: 16.8 cm Weight: 873 grams (without the base) Condition: Very good condition with minor signs of age and wear Provenance: from the estate of an America gentleman who worked in China for the UN shortly after WW2 ⋩ᶫᶾ䲨Ḽ⼑⫘㇗⚾仸䘥慱䒟炻曺剙慱ᶳ⼑炻Ḽ⼑刚䚌ᷕ䘬⣂䧖慱ᶲ⼑炻㛐晽⸽⹏ ᷕ⚳炻⋩ᶫᶾ䲨ᷕ㛇忈✳烉仸 ⯢⮠烉16.8 ⍀䰛慵慷烉873 ⃳ (ᶵ⏓⸽⹏) ⑩䚠烉㤝⤥炻⎒㚱庽⽖⸜ẋ冯ἧ䓐䕽嶉 Ἦ㸸烉Ἦ冒ᶨỵ伶⚳䳛⢓怢䓊炻Ṿ㚦⛐㇘⼴䁢倗⎰⚳⛐ᷕ⚳ⶍ ἄ忶ġ EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

85 A VERY LARGE AND MASSIVE FAMILLE VERTE PORCELAIN BASIN, KANGXI Painted in deep green, aubergine, blue and pale yellow enamels as well as iron red and black above the glaze, the charger sturdily potted with a deep well and raised, convex rim China, late 17th – early 18th century The well with a magnificent flower arrangement in a basket, the handle painted in blue with a neatly drawn bow in iron red on top. The rim showing a black dotted green border with four oval medallions, each containing one of the Eight Buddhist Treasures. Shape: Oval basin Weight: 2636 grams Dimensions: Height 45 cm. Condition: One chip to rim restored (measuring 1.5 x 3 cm), some fritting to rim (typical for these wares), minor wear and manufacturing flaws; still remarkably good condition for its age; Provenance: American private collection. Auction result comparison: Collected in America: Chinese Ceramics from The Metropolitan Museum of Art. Christies, New York, 15 September 2016, lot 886. (for a related basin, a bit smaller in size) ⹟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 ᷕ⚳炻⋩ᶫᶾ䲨㘂㛇军⋩ℓᶾ䲨⇅ 忈✳烉㨊⚻ 慵慷烉2636 ⃳ ⯢⮠烉檀 45 ⍀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㎵炻墥ἄ仢星烊䚠⮵⸜ẋ侴妨ᾅ⬀䉨㱩䚠⮵列⤥ Ἦ㸸烉伶⚳䥩Ṣ㓞啷. EstimateġỘ₡ġġEUR 400,Starting priceġ崟㉵₡ġġEUR 200,-

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 Auction result comparison: IMPORTANT CHINESE ART. Sotheby’s, 12 SEPTEMBER 2018, NEW YORK, lot 353. (for one example of a rouleau vase with a similar border) IMPORTANT CHINESE ART. Sotheby’s, 12 SEPTEMBER 2018, NEW YORK, lot 347. (for one example of a pair of vases similarly painted with a scrolling band of flowering lotus borne on an undulating, leafing stem) ⹟䅁䠔⼑⤪シ咖剙䲳⮯幵仸偶橼䳘兑炻䠔⼑ẍ⍲揝䲭慱炻䒞ℭˣ⸽嵛 ⍲㱧ℭᶲ慱 ᷕ⚳炻⹟䅁(1662-1722) 忈✳烉⮯幵仸慵慷烉䷥慵3080 ⃳ ⯢⮠烉䶪檀 35 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻㱧ℭṃ⽖ᾖ慱炻ᶨṃ攳䇯炻悥䫎⎰⹟䅁⸜攻㬌栆☐䈑䘬ね㱩 Ἦ㸸烉剅≈⒍ᶨỵ㖶㗇Ṣ䈑㓞啷ġ EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

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 in tight curls above bulging eyes. The ormolu mountings cast in massive, fire gilt bronze. (2) Shape: Figural Weight: ca. 1770 grams each Dimensions: Height 33 cm each. Condition: Very good condition with only one of the thumbs minimally restored, and one small touch up to one shoulder of each figure. Provenance: The estate of Lili Israel, New York. Literature comparison: Compare with a related figure of a ‘Nubian slave girl’ holding a cornucopia and standing on a leaf-shaped plinth in the collection of S.E. Kennedy, Esq., illustrated by E. Gorer and J.F. Blacker, Chinese Porcelain and Hardstones, vol. I, London, 1911, pl. 74 and later sold at Christies London, 21 June 1916, Lot 80, and color frontispiece. It was again illustrated by G. Reitlinger, The Economics of Taste, London, vol. II, p. 328. A clock flanked by a pair of related blackamoor figures was included in the exhibition, Chinesische Kunst, Berlin, 1929, Catalogue, no. 1012. Compare also with two blackamoor figures from the Collection of Mr. and Mrs. David Rockefeller, sold at Christies New York, 23 March 1995, lot 367. Auction result comparison: Asian Export Art. Christies, London, 16 November 1999, lot 300. (compare with a related blackamoor figure) FINE CHINESE CERAMICS AND WORKS OF ART. Sotheby’s, 9 NOVEMBER 2011, LONDON, lot 533. (for a pair of similarly modelled figures, but with famille verte enamels, and extensive restoration)

ᶨ⮵⹟䅁䍵䦨⡐⛘䳈ᶱ⼑⢾⚳Ṣ䈑晽⟹ 昞䒟Ṣ䈑⁷⡐⛘ᶲ㚱䵈ˣ湫ˣ䳓⍲ᶨṃ揝䲭慱 ᷕ⚳炻⹟䅁炷1662-1722炸炻⋩ℓ军⋩ḅᶾ䲨搚挷慹戭⸽⹏ Ṣ䈑ᶨㇳ㓦⛐儘悐炻⎎ᶨ晣ㇳ冱崟⛐傠⇵炻幓䨧䵈刚堋柀䘬湹刚⢾⣿炻儘ⷞ㬋朊墅梦㚱圜圞䳸炻㶢湫刚楔壚炻ᶲ㚱㔜滲䘬咖剙䲳ˤ共悐Ụ᷶䔍ⷞ 䪹シ炻◜⶜⻝攳炻⎗夳曚↢䘬冴柕炻䚱㮃䵲䵛⛐ ↠↢䘬䛤䜃ᶲ㕡ˤ 挷慹戭⸽⹏㤝䇚⍂慵ˤ 忈✳烉Ṣ䈑慵慷烉㭷ẞ䲬1770 ⃳ ⯢⮠烉㭷ẞ檀 33 ⍀䰛 ⑩䚠烉䉨㱩㤝Ἓ炻⎒㚱ᶨᾳ⮷㉯㊯⣏䘬ᾖ⽑炻㭷 ᾳṢ⁷ᶨᾳ偑儨⮷⟲㼌刚 Ἦ㸸烉䲸䲬Lili Israel怢䓊㔯䌣㭼庫烉ᶨᾳ䚠Ụ䘬⛐S.E. Kennedy㓞啷ᷕ 䘬⾺㭼⬱⤛⤜⁷ㇳ㊩寸塽ᷳ奺炻䪁䩳⛐ᶨᾳ 叱⼊➢⹏炻⎗夳E. Gorer 冯J.F. Blacker㇨䶐⮓ 䘬˪Chinese Porcelain and Hardstones˫ vol. I, London, 1911, pl. 74 ẍ⍲ᷳ⼴⛐ Christies London, 21 June 1916, Lot 80㇨㉵岋䘬ˤ ℵ 夳G. Reitlinger˪The Economics of Taste˫ London, vol. II, p. 328. ᶨ⮵䪁⛐㗪揀ℑ“䘬湹Ṣ⁷⎗夳Ḷ⯽奥䚖抬˪Chinesische Kunst˫ 炻Berlin, 1929, Catalogue, no. 1012. ⎎⢾ℑᾳ 湹Ṣ⁷⎗夳ḶMr. and Mrs. David Rockefeller㓞啷炻Ḷ Christies New York, 23 March 1995, lot 367㉵岋ˤ EstimateġỘ₡ġġEUR 3.000,Starting priceġ崟㉵₡ġġEUR1.500,-

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) A humorous depiction of Hanshan leaning on a tree stub and reading a book, which serves as the vessel’s lid. A sleeping pig is lying in front of the famous poet. Hanshan (literally: “Cold Mountain”) is a legendary ﬁgure associated 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 and died, or whether he actually existed. In the Chinese Buddhist tradition, Hanshan and his sidekick Shide are honored as emanations of the bodhisattvas Manjusri and Samantabhadra, respectively. Little is known of his work, since he was a recluse living in a remote region and his poems were written on rocks in the mountains he called home. Of the 600 poems he is thought to have written at some point before his death, 313 were collected and have survived. The present depiction possibly refers to a poem by Hanshan, where he comments on the relationship of man and pig. Very nice carved wood stand, possibly Zitan (good reddish color and some crabs claw marks). (2) Shape: Figural Weight: 158.7 Dimensions: Length 10 cm. Condition: Excellent Provenance: American private collection.

89 A FAMILLE-VERTE BISCUIT ‘MONKEY’ WINE POT, QING DYNASTY, KANGXI PERIOD Biscuit porcelain with three-color glaze in manganese yellow, dark brown and intense green. China, Kangxi period (1662-1722) The rare wine pot modelled in the form of a seated monkey holding a peach, with a cub sitting on its lap, the hat of the monkey serving as the lid, depicted with large rounded brown-glazed eyes and rounded nose and ears, its fur neatly incised and covered in a thin wash of manganese yellow, the spout glazed in in green, brown and yellow, the left arm of the monkey serving as the handle. Shape: Monkey with cub Weight: 535 grams Dimensions: Height 17.8 cm (including lid) Condition: Very good condition with some wear, very minor manufacturing ﬂaws, some minuscule nibbles and one tiny chip at the lip, all not visible when the lid is in place Provenance: American private collection. Auction result comparison: FINE CHINESE CERAMICS AND WORKS OF ART. Sotheby’s, 09 NOVEMBER 2011, LONDON, lot 540. (for a related winepot)

⭄冰⭺Ⱉ⮷⢢ Ṣ䈑忈✳䘬⮷⢢炻晽⟹䳘䶣炻⯨悐湹㺮⼑丒 ᷕ⚳炻㶭ẋ (1644-1912) 忈✳烉Ṣ䈑慵慷烉158.7 ⃳ ⯢⮠烉攟 10 ⍀䰛 ⑩䚠烉⃒䥨 Ἦ㸸烉伶⚳䥩Ṣ㓞啷.ġ

⹟䅁䠔⼑䳈䅺偶暁䋜惺⢢ 䳈䅺偶䒟⢢炻湫慱䇚ᷣ炻㶙墸刚⍲䵈刚慱 ᷕ⚳炻⹟䅁炷1662-1722炸忈✳烉㭵䋜冯⸤䋜慵慷烉 535 ⃳ ⯢⮠烉䶪檀 17.8 ⍀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 嗽⮷攳⎋炻味ᶲ味⫸⯙䚳ᶵ夳Very Ἦ㸸烉伶⚳䥩Ṣ㓞啷.

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

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

90 A RARE OCTAGONAL FAMILLE VERTE ‘CHILONG’ BISCUIT JARDINIÉRE, KANGXI Sturdily potted with a sprawling lip, modelled with a lobed rim and four ruyi shaped feet China, Kangxi period (1668-1722) The outer walls neatly painted in famille verte enamels with a circumferential scroll of sinuous Chilong amid sprays of lotus enhanced in iron-red above the glaze. The upper side of the rim with a blossom- and diaper-border containing swastika and various sorts of blossoms. The ruyi feet are molded with their outlines in high relief. The inside and the based are glazed in white. Several spur marks to base. Old box with inscription. Matching old stand made of reticulated bentwood. (3) Shape: Octagonal basin Weight: 746.9 grams Dimensions: Diameter 19.3 cm Condition: The basin in perfect condition with some wear as expected of a piece of this age, the wooden base with some breakages and old repairs. Provenance: From a lady’s estate in Honolulu, Hawaii. Her father purchased this vase in Hong Kong prior to 1970. (by repute) ⹟䅁份夳ℓ奺䠔⼑坕漵䲳䳈偶剙䙮 ⍂偶炻㔆⎋炻⸽嵛ᶳ⚃ᾳ⤪シ⼊嵛 ᷕ⚳炻⹟䅁炷1668-1722炸忈✳烉ℓ奺䙮慵慷烉746.9 ⃳ ⯢⮠烉䚜⼹ 19.3 ⍀䰛 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 Ἦ㸸烉ᶨỵἮ冒⢷⦩⣟䀓⤜欗欗䘬屜⨎怢䓊炻⤡䘬䇞奒Ḷ1970⸜ ⇵⛐楁㷗岤⼿㬌䙮 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

EIGHT HORSES OF MU WANG LOTS 91 AND 92

91 A BLUE AND WHITE ‘EIGHT HORSES OF MU WANG’ PORCELAIN TABLE SCREEN, KANGXI The sturdily potted and cloverleaf-shaped plaque delicately painted in intense cobalt blue under the glaze and set in a carved openwork hongmu table screen The plaque Kangxi period (1662-1722), the screen Qing dynasty This distinguished Kangxi painting shows the legendary Eight Horses of Mu Wang, the ﬁfth sovereign of the Western Zhou dynasty (c.1100771 BC), which were renowned for their speed and perseverance. They are traditionally believed to have been used by King Mu on his mythical journey to visit Xi Wang Mu, the Queen Mother of the West, and on his expeditions to subdue barbarian tribes. A popular decorative motif in Chinese art, the horses each bore a distinguishing name, and their unique dispositions are perhaps suggested here on this charming and very rare molded jardinière in which they appear in various dramatic poses. Shape: Table screen, two parts (screen and stand)

Weight: 5.3 kilograms Dimensions: 59.5 x 60 x 21 cm (the screen) 35 x 26 cm (the plaque) Condition: The plaque in perfect condition. The screen with minor losses, cracks and extensive traces of use. Remainders of old black cement. Provenance: American private collection. ⹟䅁曺剙Ⱦ䧮䌳ℓ榧ȿ㍺⯷ ⍂偶炻⎞䇯䉞䒟㜧炻曺剙桄刚Ṗᷥ炻乊㛐仈㝅㟮⸽⹏ 䒟㜧烉⹟䅁(1662-1722) ⢾㟮烉㶭ẋ 忈✳烉㍺⯷炻ℑ悐↮炷㍺⯷冯⸽⹏炸慵慷烉5.3 ℔㕌 ⯢⮠烉㍺⯷59.5 x 60 x 21 ⍀䰛炻 35 x 26 ⍀䰛 (䒟㜧) ⑩䚠烉䒟㜧⬴伶炻㍺㟮㚱ṃ⽖㎵⢆ˣ∫䕽冯ἧ䓐䕽嶉烊⯙湹㯜㲍检䔁 Ἦ㸸烉伶⚳䥩Ṣ㓞啷.ġ EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

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. 㶭ẋᶨ䳬䳈偶湫慱Ⱦ䧮䌳ℓ榧ȿ䒟楔䳘䭨姕妰䱦⽫炻⪴湫慱⛯⊨ ᷕ⚳炻㶭ẋ炻⋩ḅᶾ䲨忈✳烉≽䈑忈✳ 慵慷烉196 ⃳ (ᶨ⋡楔) ⯢⮠烉攟17 ⍀䰛 (⁭ᶨ⋡楔) ⑩䚠烉㭷⋡楔䘬俛㛝ˣ⯦⶜␴僂悐㕟塪↎⛯⶚䴻忶⮰㤕ᾖ⽑烊㰺㚱ảỽ⟿Ⰼ烊昌Ḯ㕟塪↎㚱ᾖ墄ᷳ⢾℞Ṿ悐ỵ㰺㚱塓㚧㎃忶烊㇨ẍ忁ṃ楔99%悥怬㗗⍇⥳ 䉨ン Ἦ㸸烉Ἦ冒 Nelson T Johnson㓞啷炻Ṿ㚦㗗1935军1941⸜伶⚳楸ᷕ厗㮹⚳⣏ ἧ炻冒㬌ᶨ䚜ᾅ⬀⛐㓞啷ᷕ EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

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,-

94 A LARGE IMARI PORCELAIN PLATE, 18 TH CENTURY Painted in underglaze blue as well as iron red and gold above the glaze China, 18th century The center and border delicately painted to depict orchids, peonies and chrysanthemum with their leaves and tendrils. The backside with ﬂowers painted in iron red. Shape: Plate Weight: 1516 grams Dimensions: 38 cm diameter Condition: Attractive condition with few manufacturing ﬂaws, minor fritting to foot, old wear and one hairline (6cm) Provenance: Austrian private collection. ⋩ℓᶾ䲨⣏✳Ẳ叔慴䈉ᷡ卲剙䚌曺剙慱ᶳ⼑炻慱ᶲ䞦䲭⼑␴慹⼑ ᷕ⚳炻 ⋩ℓᶾ䲨忈✳烉䚌慵慷烉1516 ⃳ ⯢⮠烉䚜⼹38 ⍀䰛 ⑩䚠烉ᾅ⬀列⤥炻ᶨṃ墥ἄ仢星炻嵛怲ᾖ 慱炻侩䢐㎵炻ᶨ㡅檖䴚塪䷓ (6⍀䰛) Ἦ㸸烉 ⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

100

95 A CHINESE FAMILLE ROSE AND CAFE-AU-LAIT GROUND FIVE-PIECE GARNITURE, 18th CENTURY Comprising three lidded baluster vases and covers and two beaker vases, each decorated with flowers within leaf-shaped panels China, Yongzheng/Qianlong period, 18th century Neatly painted in polychrome enamels to depict various flowers such chrysanthemum, cherry blossoms, lotus, amid leaves and tendrils, butterflies and peacocks, all set between two horizontal diaper borders. All five with double circle marks painted in underglaze blue on the base. (5) Shape: Beaker and lidded baluster vases Weight: ca. 820 grams (the beaker vases) ca. 740 grams (the lidded baluster vases) Dimensions: Height 25 cm (the beaker vases) 26.5 cm (the lidded baluster vases) Condition: Superb condition, only one lid with a minor chip on the inside Provenance: Austrian private collection. Auction result comparison: Interiors. Christies, London, 14 September 2016, lot 66. (for a similar garniture) ᶨ䳬Ḽẞ⋩ℓᶾ䲨䳓慹慱⛘攳⃱剙沍岆䒞 ᶱᾳ⮯幵仸炻ℑᾳ剙如炻㭷ᶨᾳ悥攳⃱梦剙沍䲳 ᷕ⚳炻晵㬋/Ḧ昮⸜攻炻⋩ℓᶾ䲨忈✳烉剙如冯⮯幵仸慵慷烉䲬 820 ⃳ (剙如) ca. 740 ⃳ (⮯幵仸) ⯢⮠烉檀 25 ⍀䰛 (剙如) 26.5 ⍀䰛 (⮯幵仸) ⑩䚠烉ᾅ⬀㤝⤥炻⁭㚱ᶨ嗽ℭ㱧㚱䳘⽖塪⎋ Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷. EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

101

102

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 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.

Doris Duke (1912 – 1993)

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 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 ㉵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

The Doris Duke estate, previously the home of the Yongzheng Sacriﬁcial Blue Conical Bowl

㉵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,-

103

97 A FLAMBÉ-GLAZED LOBED DISH, QING DYNASTY Sturdily potted and decorated in a streaked red, cream and lavender glaze, the base entirely covered with an opaque brown glaze and with a broad unglazed foot rim China, 18th – earlier 19th century The iridescent glaze with a very pleasant, unctuous feeling. The weight feels rather heavy, giving the dish a comforting overall appeal. Shape: The lip of the lobed dish divided into six segments, each with double and triple vertical lines on the backside, partially extending to the front Weight: 1172 grams Dimensions: Diameter 23.8 cm. Condition: Very good condition with some wear and minor surface scratches Provenance: American private collection.

104

Auction result comparison: CHINESE CERAMICS AND WORKS OF ART. Christies, London, 19 June 2003, lot 241. (for a ruyi-shaped washer with a similar glaze) 㶭ẋ寯寮乊ℕ䒋攳⎋䚌 ⍂偶炻ᶵ⎴柼刚䘬䲭慱⇘啵䳓刚炻⸽嵛ᶵ德㖶墸刚慱炻 ⚰嵛曚偶 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨⇅ 忈✳烉ℕ䒋攳⎋炻㭷䒋⛐䚌⢾⡩㚱ℑ忻ㆾᶱ忻✪䚜䵓㡅 ⇘⸽嵛炻悐↮⺞Ỡ⇘⇵朊慵慷烉 1172 ⃳ ⯢⮠烉䚜⼹ 23.8 ⍀䰛. ⑩䚠烉䉨㱩㤝⤥炻㚱ṃ䢐㎵炻堐朊㚱ṃ∫䕽 Ἦ㸸烉伶⚳䥩Ṣ㓞啷. ġ EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

98 A COPPER-RED-GLAZED DISH, QIANLONG MARK AND PERIOD The base with a six-character seal mark in underglaze blue China, Qianlong period, 1736-1795 The shallow rounded sides set over a straight foot, with unglazed foot rim, white sprawling lip, covered overall in a muted cranberry-red glaze. Shape: Dish Weight: 269.5 grams Dimensions: 18.2 cm diameter Condition: Good condition with minuscule chip and glaze ﬂake to rim, associated tiny and short hairline Provenance: From the estate of Albert T Quon in Beverly Hills, California. Auction result comparison: ASIAN ART. Sotheby’s, 24 MARCH 2018, NEW YORK, lot 1755. (for a similar dish, but slightly smaller and in restored condition) Ḧ昮慱塷䲭䡇炻㫦冯⸜ẋ ⸽悐曺剙ℕ⫿㫦 ᷕ⚳炻Ḧ昮炷1736-1795炸忈✳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,-

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99 A PAIR OF YELLOW GLAZED PORCELAIN BOWLS, QING DYNASTY, ex DORIS DUKE ESTATE The superbly potted monochrome bowls with very thin, stepped lips, raised foot rims and a slightly sprawling shapeġ China, Qing Dynasty (1644-1912) The outside of each vessel is entirely covered by a bright imperial yellow while the inside shows a deep turquoise glaze. The bases are unglazed. (2) Shape: Bowls Weight: 283.3 and 290.5 grams Dimensions: 16.2 cm each Condition: One with a tiny chip to rim and associated hairline, the other in perfect condition, both with minor manufacturing ﬂaws and old wear and some kiln grit as customary for porcelain of this period Provenance: Property from the estate of Doris Duke (November 22, 1912 – October 28, 1993). Old Christies Label “1108” to bottom. 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 ᷕ⚳炻㶭ẋġ(1644-1912) 忈✳烉䠿ġ 慵慷烉283.3 冯ġ290.5 ⃳ġ ⯢⮠烉㭷ᾳ16.2 ⍀䰛ġġ ⑩䚠烉ᶨᾳ怲䶋㚱ᶨᾳ䳘⽖⮷⎋␴檖䴚䳘䷓炻⎎ᶨᾳ䉨㱩⬴ 伶烊ℑᾳ悥㚱庽⽖墥ἄ仢星炻侩䢐㎵炻冯℞⸜ẋ䚠䫎ġ Ἦ㸸烉Doris Duke (1912⸜11㚰22㖍ġ– 1993⸜10㚰28㖍)怢䓊炻 ⸽悐⎗夳Ἓ⢓⼿冲㧁䯥“1108” EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

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100 A YELLOW GLAZED MONOCHROME BALUSTER VASE, 18 TH CENTURY The evenly potted miniature vessel with a ﬁnely applied glaze China, 18th century The intense and unctuous lemonyellow glaze shows very ﬁne overall crazing, the inner of the vessel and the base glazed as well, the baluster shaped vase with a recessed base and a raised bare foot rim, the elongated neck with a sprawling lip. Shape: Baluster Weight: 49.2 grams Dimensions: Height 10 cm. Condition: Perfect condition

Provenance: American private collection. Acquired from Coleman Auction Galleries Inc., New York, New York, January 4, 1938. Thence by descent. ⋩ℓᶾ䲨湫慱䳘柠䒞 ⛯⊨偶橼炻⽖✳䒞炻慱朊䳘兑 ᷕ⚳炻⋩ℓᶾ䲨忈✳烉䳘柠䒞慵慷烉 49.2 ⃳ ⯢⮠烉檀 10 ⍀䰛 ⑩䚠烉⬴伶 Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻1938⸜1㚰4㖍岤 Ḷ䲸䲬Coleman Auction Galleries炻ᷳ ⼴ᶨ䚜ᾅ⬀Ḷ℞㓞啷ˤ EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

101 A YELLOW GLAZED MONOCHROME BOTTLE VASE, QING DYNASTY The sturdily potted miniature vessel with a thick, unctuous glaze China, 18th – 19th century

originated in the course of the manufacturing process and typical for these wares; minor chipping to wooden base; Provenance: American private collection.

The light and translucent lemonyellow glaze shows very ﬁne overall crazing, the inner of the neck and the base partially glazed as well, the bottle shaped vessel with a recessed base and a raised, broad foot rim, the elongated cylindric neck with a thin lip. Nice old wooden base with openwork carving and good patina. (2)

㶭ẋ湫慱㞛叱䒞偶橼⍂炻⽖✳䒞炻湫慱寸儜㖶㼌 ᷕ⚳炻⋩ℓ军⋩ḅᶾ䲨忈✳烉䒞慵慷烉 55.7 ⃳ ⯢⮠烉檀 9 ⍀䰛. ⑩䚠烉列⤥炻⸽嵛怲㱧㚱ṃ慱朊攳䇯炻䫎⎰㬌栆╖刚慱䒟䘬墥ἄ䦳⸷烊㛐⸽ ⹏㚱ṃ䡽䡘  Ἦ㸸烉伶⚳䥩Ṣ㓞啷

Shape: Bottle Weight: 55.7 grams Dimensions: Height 9 cm. Condition: Good condition with some glaze ﬂakes to foot rim,

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

100

102 A TURQUOISE GLAZED MEIPING, 18TH CENTURY A neatly potted porcelain vase entirely covered by a deep and intense turquoise glaze China, Qianlong period (1736-1795) The elegant Meiping with a tapered, unglazed base rising to high rounded shoulders and a short, sprawling neck with a stepped rim, the inner side of the lip with an incised double circle, covered with a translucent and extremely ﬁnely crackled turquoise glaze. Good wooden base. (2) Shape: Meiping Weight: 286 grams Dimensions: Height 15.3 cm Condition: Very good condition with minor fritting to inner foot and few tiny glaze ﬂakes to lip, one with an associated short hairline Provenance: American private collection, acquired from Rains Galleries, New York, December 9, 1936, and thence by descent; remainders of old labels to bottom of wooden base;

Literature comparison: A related turquoiseglazed vase of Meiping form, dated to the Kangxi period, but incised with dragons and ﬂoral sprays, is illustrated in Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, pl.A565. Auction result comparison: Chinese Art. Christies, London, 7 November 2008, lot 439. (compare with another 18th century turquoise glazed Meiping, larger in size) ⋩ℓᶾ䲨㜦䵈慱㠭䒞偶橼⛯⊨炻䵈㜦䞛慱 ᷕ⚳炻Ḧ昮 (1736-1795) 忈✳烉㠭䒞慵慷烉286 ⃳ ⯢⮠烉檀 15.3 ⍀䰛 ⑩䚠烉㤝⤥炻嵛ℭ䦵㚱曚偶炻⒯㱧庽⽖慱朊攳䇯⍲㤝䞕檖䴚䳘䷓ Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻岤㕤1936⸜12㚰9㖍䲸䲬Rains Galleries炻ᷳ⼴ᶨ䚜ᾅ⬀⛐㓞啷塷军 Ṳ烊㛐⹏⸽悐冲㧁䯥 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

101

107

103 A PAIR OF CLAIR-DE-LUNE-GLAZED DISHES, YONGZHENG MARKS AND PERIOD Both dishes neatly potted and covered with an almost ﬂawless, unctuous glaze China, Yongzheng six-character marks in underglaze blue within a double circle and of the period Each with shallow rounded sides rising to a slightly everted rim from a 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 white. The well suffused with few minute white specks. Shape: Dishes Weight: 182.9 and 182.5 grams Dimensions: 17.3 cm and 17.5 cm diameter Condition: Perfect condition with very minor wear Provenance: From a private collection built in Shanghai from the 1930s to the 1950s and in Hong Kong and Taiwan from the 1950s to the 1960s. Thence by descent.

108

Literature comparison: A pair of dishes of this size with Yongzheng marks in a rectangular reserve and covered with what is described as a pale cobalt-blue glaze from the Percival David Foundation is included in the Illustrated Catalogue of Ming and Ch’ing Monochrome, London, 1973, Section 6, nos. B560 and 561. Two similarly marked dishes of the same size, with a lavender blue glaze, were included in the O.C.S. exhibition, Monochrome Porcelain, London, 1948, nos. 39 and 136. Auction result comparison: Fine Chinese Ceramics and Works of Art. 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 within a square reserve) Chinese Monochrome Porcelain. Christies, London, 7 June 2004, lot 273. (compare with a pair of claire-de-lune yongzheng dishes, with a slightly darker blue glaze, the marks each within a double circle) IMPORTANT CHINESE ART. Sotheby’s, 12 SEPTEMBER 2018, NEW YORK, lot 128. (compare with a single claire-de-lune yongzheng dish, with a slightly darker blue glaze, the mark within a double 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 561ˤℑẞ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,-

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

105 A BOTTLE SHAPE MINIATURE CORAL GLAZE PORCELAIN VASE, 18th – 19 th CENTURY Porcelain with monochrome glaze China, 18th – 19th century

This vase shows a classical rouleau shape with a short neck and has a ﬁnely speckled coral glaze. The bottom, neck rim and the inside are glazed in white.

This little bottle vase has a long neck and a ﬁne even monochrome coral red glaze. The bottom is also glazed in coral red whilst the neck rim and the inside are glazed in white.

Shape: Rouleau form Weight: 236 grams Dimensions: 12.5 cm height Condition: excellent condition with minimal wear to foot and neck rim, glaze hairlines to interior and few tiny glaze imperfections Provenance: from an American private collection

Shape: Bottle form Weight: 97.4 grams Dimensions: 13.7 cm height Condition: excellent condition with minimal wear to foot and neck rim and few tiny glaze imperfections Provenance: from an American private collection

⋩ℓ军⋩ḅᶾ䲨⽖✳䍲䐂䲭䒞 ⍂偶炻╖刚慱䒟 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨忈✳烉䒞慵慷烉236 ⃳ ⯢⮠烉檀 12.5 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻⸽嵛冯柠悐怲䶋㚱庽⽖䢐㎵炻塷朊㚱䘤䴚䵓塪 ䷓炻庽⽖㕥慱仢星 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

110

⋩ℓ军⋩ḅᶾ䲨⽖✳䍲䐂䲭䒟䒞 ╖刚䒟 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨忈✳烉䒞慵慷烉97.4 ⃳ ⯢⮠烉13.7 ⍀䰛檀 ⑩䚠烉ᾅ⬀㤝⤥炻嵛㱧庽⽖䢐㎵炻ᶨ溆㕥慱仢星 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

106 A LARGE BLUE AND WHITE FLORAL PLATE, KANGXI The massively potted plate with cobalt blue painting under the glaze China, Kangxi period (1662-1722) Nicely painted with various flowers springing from craggy layered rockwork, surrounded by flying butterflies, the border with multiple segments each with depiction of chrysanthemum, peonies, lotus, cherry blossoms and other flowers and plants. The backside with a neatly incised wave pattern leading towards the raised foot rim, the recessed base with a mark painted in cobalt blue inside a double circle. Shape: Plate Weight: 1845 grams Dimensions: 36 cm diameter Condition: Old fritting to rim as customary with these wares, minor wear and some small manufacturing flaws, overall beautiful condition with no cracks or restoration whatsoever 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,-

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107 A VERY RARE ZUN SHAPE KANGXI BLUE AND WHITE VASE WITH SHOU CHARACTERS 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,-

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108 A LARGE BLUE AND WHITE ‘IMMORTALS’ BALUSTER JAR AND COVER, 18th – early 19 th 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 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

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109 A LARGE CARVED LAPIS LAZULI ‘PARROTS AND PEACHES’ GROUP, LATE QING DYNASTY Lapis lazuli, carved wooden base China, late Qing Dynasty This well carved Lapis Lazuli sculpture depicts a ‘love birds’ parrot couple on a jagged and cleft rock formation, crafted in openwork. The birds are facing 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,-

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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 ⯢⮠烉䶪檀 28.5 ⍀䰛炻㚨⮔↎13 ⍀䰛炷⸽ ⹏炸慵慷烉 816 ⃳ ⑩䚠烉⯨悐⎗夳塪䷓ᾖ⽑䕽嶉⍲↺䕽 Ἦ㸸烉䔊䇦⶜悪䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

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111 XU XINZHOU (1853-1925), NARRATIVE SOAPSTONE BITONG BRUSHPOT Soapstone China, late Qing Dynasty This ﬁnely carved soapstone Bitong brush pot shows the artist signature of Xu Yinzhou – artist name Xingzhou (1853-1925) who was a student of the famous painter Wu Changshuo. He lived in the Wu county of the Jiangsu province. The inscription on the brush pot reads ‘Xu Xinzhou from the Wu School, on a spring day in March in the year …’ The exterior of the vessel is masterly carved with a traveling group of men, many riding on Bactrian camels. They are surrounded by a magniﬁcent landscape with pine trees, mountains, footbridges, pavilions and judging from their facial expressions all appear to be extremely excited about their adventurous journey. Shape: Cylindrical shape Dimensions: 12 cm (height), 12 cm (diameter) Weight: 1,347 grams Condition: very good condition with minor traces of age and use, very tiny nicks along the natural veins in the material Provenance: Austrian private collection Auction results comparison: For a large 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,-

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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) Shape: Figural Weight: 3.7 kilograms without base Dimensions: 36 cm height including base Condition: Good condition with extensive patina, one tiny chip, some natural veins to mineral Provenance: American private collection. Old collector label ‘AC 504A’ to base of statue and ‘AC504B’ to wooden base. Literature comparison: For similar figures dated to the 18th century, see Christie’s New York, 30th May 1991, lot 44, and Christie’s London 15th June 1999, lot 134. Auction result comparison: FINE CHINESE CERAMICS & WORKS OF ART. Sotheby’s, 16 - 17 SEPTEMBER 2014, NEW YORK, lot 654. (for a similar statue of Shoulao) 㶭ẋ䘪䞛晽⢥侩炻⋩ḅᶾ䲨䰛湫刚炻堐朊⃱㹹炻湹刚䲭刚倴䎮 ᷕ⚥炻⋩ḅᶾ乒忈✳烉Ṣ䈑慵慷烉3.7 ℔㕌炷ᶵ⏓⸽⹏炸 ⯢⮠烉檀36 ⍀䰛炷⏓⸽⹏炸 ⑩䚠烉⑩䚠列⤥炻⊭㳮ↅ慵㵎㲥炻ᶨ㜉⮷塪仅炻ᶨṃ⣑䃞倴䎮乡嶗㜍㸸烉伶⚥䥩Ṣ㓞啷炻⸽⹏ᶲ㚱侩啷⭞㞯䬦“AC 504A” ⍲㛐⹏ᶲ“AC504B” EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

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113 AN 18th CENTURY CARNELIAN AGATE BELT BUCKLE ‘CAT WITH BUTTERFLY’ The stone is of high polished quality with banded areas surrounding the carnelian at the center China, 18th century. This 18th century belt hook is carved from Carnelian Agate, a rare and highly soughtafter material that was mainly in fashion in 18th century Qing Dynasty China. Carved 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,-

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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⋩ℕᶾ䲨忈✳烉晽⟹ ⯢⮠烉攟 5.2 ⍀䰛慵慷烉 35.4 ⃳ ⑩䚠烉㤝⤥炻䌱䞛ℭ⣑䃞䳘⽖仢星 Ἦ㸸烉 ⍇Robert Kleiner㓞啷炻伶⚳䥩Ṣ伶埻棐㓞啷 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

119

AN 18 TH CENTURY JADE LOG RAFT CARVING LOT 116

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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,-

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116 A RARE 18th CENTURY PALE CELADON JADE CARVING OF ZHANG QIAN ON A LOG RAFT The stone of even pale celadon hue with spare russet highlights China, 18th century This masterly carved jade group shows the Han Dynasty statesman Zhang Qian, seated inside a large hollowed log with a tree-form stern. He is accompanied by a young servant who is in charge of the oar and a crane is also depicted, resting inside the log. The carving is of very ﬁne quality best visible in the russet highlighted leafage of the tree or the knot-holes covering the entire vessel. Zhang Qian was a Han dynasty imperial envoy and traveler. The subject of Zhang Qian in his log boat was a popular theme during the Ming and early Qing periods, and is most often seen in rhinoceros horn carvings, such as the three examples illustrated in The Complete Collection of Treasures of the Palace Museum - 44 Bamboo, Wood, and Rhinoceros Horn Carvings, Hong Kong 1999, nos. 118-20. Rhinoceros horn examples are in numerous public and private collections, several of which are illustrated by T. Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, nos. 70-4. The representations of Zhang Qian, as well as the log raft, vary in these carvings.

Shape: Figural shape Dimensions: 10,5 cm (length), 9 cm (height) Weight: 68.5 grams Condition: very good condition with some miniscule natural ﬂaws in the mineral Provenance: American private Museum collection Auction results comparison: For two raft-form jades with Zhang Qian and of the same period see Christie’s, Fine Chinese Ceramics and Works of Art Part I, 13 - 14 September 2012, New York, lot 1024 or Christie’s, Fine Chinese Ceramics, Paintings and Works of Art, New York, Park Avenue, 22 March 1999, lot 29. ⋩ℓᶾ䲨份夳曺䘥䌱晽⻝槓曺䘥刚⣦暄墸刚㰩㔹 ᷕ⚳炻 ⋩ℓᶾ䲨忈✳烉Ṣ䈑✳忈 ⯢⮠烉攟10,5 ⍀䰛炻檀9 ⍀䰛慵慷烉 68.5 ⃳ 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 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

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.

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117 A CELADON AND RUSSET JADE SCROLL WEIGHT WITH SCHOLAR AND PUPIL, 18 TH – 19 th CENTURY The stone is of an even celadon hue with russet highlights China, 18th – 19th century The arched top is carved in high relief with a scholar and his pupil amidst a mesmerizing landscape. Pine trees and bamboos are flanking 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 and paperweights, as well as being works of art in their own right. Shape: Rounded rectangular shape Dimensions: Length 23.2 cm Weight: 335 grams Condition: excellent condition Provenance: American private Museum collection Auction results comparison: Christie’s, Fine Chinese Ceramics And Works Of Art, New York, 19 March 2008, lot 427. (for a white Jade scroll weight dating to the same period and of near identical shape and size) 曺䌱墸㔹䈏䪍㊯嶗捖䳁炻⋩ℓ军⋩ḅᶾ䲨曺刚䌱炻墸刚倴䎮 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨忈✳烉攟㕡幘炻堐朊⚻⻏⼊ ⯢⮠烉攟 23.2 ⍀䰛慵慷烉335 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉伶⚳䥩Ṣ伶埻棐㓞啷 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

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118 A CELADON JADE BRUSH REST WITH CONFRONTING DRAGONS AND MOUNTAINS The stone is of an even celadon hue China, Qing Dynasty (1644 – 1912) Carved in the form of a mountain with several peaks with waves crashing against the rock formation at the lower end. The show side bears the detailed portrayal of two confronting dragons of which the scaled tails are also visible between the mountain peaks on the backside. 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 and paperweights, as well as being works of art in their own right. Shape: Sculptural Dimensions: Length 12 cm Weight: 176.7 grams Condition: excellent condition Provenance: American private Museum collection Literature comparison: a slightly larger carving of this theme, in the Palace Museum, Beijing, is 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: Sotheby’s, SATURDAY AT SOTHEBY’S: CHINESE ART, Hong Kong, 21 March 2015, lot 692. (for a comparable example, of the same size and dating) 曺䌱漵様佌Ⱉ䫮㒙炻㶭ẋ 䌱䞛⏰䎦⛯⊨曺刚 ᷕ⚳炻㶭ẋ 忈✳烉晽⟹ ⯢⮠烉攟 12 ⍀䰛慵慷烉176.7 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉伶⚳䥩Ṣ伶埻棐㓞啷 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

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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,-

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

128

129

120 A CELADON AND RUSSET JADE ‘CHILONG’ LIBATION CUP, 17th CENTURY The stone shows celadon, grey and russet hues China, 17th century The cup of irregular form and with two knobs at the upper rim features an archaistic cloud pattern incised on the exterior. The upper rim shows an intricate meander boarder and on the pure russet side an incised chilong is depicted. Another, ﬁgural, chilong with a celadon hue is climbing towards the rim and his celadon color tail is visible as well, adding to the plasticity of the sculpture. Shape: libation cup shape Dimensions: length is 8.5 cm, height is 6 cm Weight: 226 grams Condition: very good condition with some small natural ﬂaws in the mineral Provenance: American private Museum collection Auction results comparison: Christie’s, Fine Chinese Ceramics and Works of Art, London, 9 November 2010, lot 179 (for a celadon and russet jade libation cup of the same period and comparable size) 曺䌱晽坕漵䙫炻⋩ᶫᶾ䲨曺刚炻䀘墸刚㰩㔹 ᷕ⚳炻 ⋩ᶫᶾ䲨忈✳烉䙫 ⯢⮠烉攟8.5 ⍀䰛, 檀 6 ⍀䰛慵慷烉226 ⃳ 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

121 AN 18th CENTURY CELADON AND RUSSET JADE CARVING OF A CAPARISONED ELEPHANT The stone is of a celadon hue with grey mottling as well as russet skin in places China, 18th century The elephant is standing sturdily foursquare, detailed with a pair of ﬂoppy ears above a long curling trunk between sharp tusks. The symbolist animal is caparisoned with a saddle draped over with a tasseled tapestry incised to both sides with the imagery of the moon above waves and at the top we see the Yin and Yang symbol ﬂanked by two bats. The elephant is an auspicious symbol which is used in numerous rebuses to convey peace, prosperity and good fortune. Shape: Sculptural Dimensions: length is 8 cm, height is 5.2 cm Weight: 272 grams Condition: excellent condition Provenance: Ex Collection Robert Kleiner, American private Museum collection

Literature comparison: compare to another nephrite carved elephant with children and ruyi, from the collection of the Beijing Palace Museum, illustrated in Jadeware (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, pl. 97. Auction results comparison: QING DYNASTY JADES FROM A HONG KONG COLLECTION, Sotheby’s, Hong Kong , 1 June 2017, lot 52 (for a comparable, Russet and Celadon example). For a white Jade elephant in near identical pose and of the same size see Christie’s, Important Chinese Ceramics and Works of Art, Hong Kong , 28 November 2012, lot 2179. ⋩ℓᶾ䲨曺䌱䩳尉曺䌱ⷞ䙖炻䀘墸刚倴䎮 ᷕ⚳炻 ⋩ℓᶾ䲨忈✳烉晽⟹ ⯢⮠烉攟8 ⍀䰛, 檀 5.2 ⍀䰛慵慷烉 272 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉 ⍇Robert Kleiner㓞啷炻伶⚳䥩 Ṣ伶埻棐㓞啷 EstimateġỘ₡ġġEUR 2.000,Starting priceġ崟㉵₡ġġEUR 1.000,-

131

122 A LARGE TWIN DRAGON CARP JADE VASE, 18th / 19 th CENTURY The stone is of an even celadon hue with milky white inclusions, very smooth surface polish China, 18th to 19th centuries The vase is carved as a pair of ferocious dragon-carps rising from swirling turbulent waves, and modelled with mouth open, teeth bared, and the tails elegantly curled. Its beards, manes and scales are detailed with ﬁnely incised lines. The subject-matter is that of the carp reaching the upper courses of the Yellow River and leaping up the rapids at Dragon Gate where it transforms into a dragon. This feat is compared to success in the state examinations and the transformation from carp to dragon symbolizing promotion to the position of ofﬁcial. This was a popular subject on carved jades for its drama and auspicious representations. Shape: Sculptural Dimensions: width is 17 cm, height is 12.5 cm Weight: 1,060 grams Condition: excellent condition Provenance: American private Museum collection Literature comparison: a white jade twin carp vase which compares well to the present example is illustrated by S. Nott, Chinese Jade Throughout the Ages, London, 1936, pl. XCII. Auction results comparison: Sotheby’s, IMPORTANT CHINESE WORKS OF ART, New York, 17-18 March 2015, lot 325 (for a celadon dragon carp vase of similar size). For a yellow jade dragon carp vase, smaller in size see Christie’s, Important Chinese Ceramics and Works of Art, Hong Kong, 30 May 2012, lot 4212. ⣏✳曺䌱晽欂帵漵攨䲳䒞炻⋩ℓ军⋩ḅᶾ䲨曺刚䌱炻⯨悐ḛ䘥刚㰩㔹炻堐朊⃱㼌 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨忈✳烉晽⟹ ⯢⮠烉⮔17 ⍀䰛, 檀 12.5 ⍀䰛慵慷烉1,060 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉伶⚳䥩Ṣ伶埻棐㓞啷 EstimateġỘ₡ġġEUR 3.000,Starting priceġ崟㉵₡ġġEUR 1.500,-

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123 A LARGE 18th CENTURY WHITE AND RUSSET JADE LOTUS LEAF BRUSH WASHER WITH FROG The stone is of a creamy white hue with sparse grey mottling as well as russet skin in places China, 18th century 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 arrangement with further stems that bear smaller lotus ﬂowers and grasses, which extend around the sides and up towards the rim as well. Inside the undulated vessel we see a frog in an attentive posture and with bulging eyes. Shape: Sculptural Dimensions: length is 14.5 cm, height is 4 cm Weight: 495.6 grams Condition: very good condition with some miniscule natural ﬂaws in the mineral Provenance: American private Museum collection Auction results comparison: Christie’s, Fine Chinese Ceramics and Works of 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, 11 November 2015, lot 50 (for a comparable Lotus washer with a crab and frog). ⋩ℓᶾ䲨⣏✳䘥䌱ⷞ䙖咖叱曺嚁䫮㲿䘥䌱䀘刚倴䎮炻⯨悐䔁墸刚䙖 ᷕ⚳炻 ⋩ℓᶾ䲨忈✳烉晽⟹ ⯢⮠烉攟14.5 ⍀䰛, 檀 4 ⍀䰛慵慷烉495.6 ⃳ 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 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

133

124 AN ARCHAISTIC KHOTAN-GREEN JADE CONG, QIANLONG PERIOD The stone of a translucent quality and an even dark green hue with ochre and russet inclusions China, Qianlong period (1736-1795) This archaistic cong is carved from Khotan-green jade and is masterly carved with two expressive Taotie masks in the classical style of the Liangzhu culture. Furthermore, the hexagonal ritual object shows a meander border incised to both rims. This cong dates to the Qianlong period and belongs to the precious group of archaistic jade objects that were so high in fashion at the period as the Emperor Qianlong was one of the few historical emperors obsessed with jades. And it was during this jade-obsessed Emperor’s reign that Chinese jade art reached an unprecedented peak. Qianlong-era jades can therefore be divided into jades in period styles (shizuo yu) and archaistic jades (fanggu yu). 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

134

Auction results comparison: For Qianlong mark and period Khotan-green jades see Sotheby’s, WATER, PINE AND STONE RETREAT COLLECTION – QIANLONG, 08 OCTOBER 2009, HONG KONG, lot 1832 (for a jue cup) or Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, 05 NOVEMBER 2008, LONDON, lot 60 (for a small phoenix jar). Ḧ昮ầ⎌␴䓘⡐䌱䏖 ⋲德㖶䞛炻⡐䵈刚倴䎮炻崕䞛刚⍲墸刚㰩 ᷕ⚥炻Ḧ昮炷1736-1795炸忈✳烉㕡䏖⼊ ⯢⮠烉檀8 ⍀䰛炻䚜⼹ 9.5 ⍀䰛慵慷烉386.5 ⃳ ⑩䚠烉Ề䥨炻䒞㱧↎ṃ⽖⮷䡽䡘㜍㸸烉伶⚥䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

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,-

135

136

126 AN IMPERIAL ZITAN ‘DRAGON’ TRAY WITH JADE INSET, QIANLONG PERIOD Zitan wood and spinach green jade China, Qianlong period (1736-1795) This masterly carved Zitan wood tray is of rectangular form with rounded corners, supported on short bracket feet. The wide borders are carved in relief depicting ﬁve winged auspicious bats and three ornamental shapes formed by ruyi, all connected by a neatly carved fabric string. The central image on the interior is that of two Imperial, ﬁve-clawed, dragons 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 as its use was for serving a bowl or cup. Shape: tray shape Dimensions: 32.5 x 24 cm, 3 cm height Weight: 1,043 grams Condition: excellent condition Provenance: from the collection of the Heritage Museum of Asian Art, Chicago, Illinois (label on the backside in place) Auction results comparison: For a Zitan ‘dragon’ box of comparable quality see Sotheby’s, PORTABLE TREASURES – THE DR S.Y. YIP COLLECTION, 05 APRIL 2017, HONG KONG, lot 3505. For a small jade inset Zitan table screen of the Qianlong period see Sotheby’s, IMPORTANT CHINESE ART, 05 APRIL 2017, HONG KONG, lot 3634.

Ḧ昮⸜⽉⇞䳓㨨⳴䌱漵䲳㈀䚌䳓㨨炻䡏䌱 ᷕ⚥炻Ḧ昮炷1736 – 1795炸忁ẞ晽⇣䱦伶䘬䳓㨨㛐㈀䚌䁢䞑⼊炻⚻奺炻䞕嵛ˤ ⮔敲䘬怲㟮ᶲ⚃奺⍲ ᶨ怲ᷕ攻⎗夳⎱䤍圁圈㴖晽炻℞Ṿᶱ怲㟮ᷕ⣖⤪シ㴖晽ᶲ炻㴖晽䓙ᶨ㡅㴖晽䴚䵓䲳ᷚ倗ˤ ㈀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 㜗ˤ 忈✳烉㈀䚌 ⯢⮠烉32.5 x 24 ⍀䰛, 檀3 ⍀䰛慵慷烉 1,043 ⃳ ⑩䚠烉Ề䥨㜍㸸烉Ἦ冒剅≈⒍Ṇ㳚伶埻棐棐啷怢䔁炻Ẳ⇑媦㕗炷側朊⎗夳㧁䯥炸㉵岋䳸㝄㭼庫烉䚠Ụ䳓㨨漵䲳䙺⎗夳 Sotheby’s, PORTABLE TREASURES – THE DR S.Y. YIP COLLECTION, 05 APRIL 2017, HONG KONG, lot 3505ˤᶨẞḦ昮⸜⮷✳䳓㨨搚䌱㍺⯷⎗夳Sotheby’s, IMPORTANT CHINESE ART, 05 APRIL 2017, HONG KONG, lot 3634. EstimateġỘ₡ġġEUR 5.000,Starting priceġ崟㉵₡ġġEUR 2.500,-

137

127 A LARGE MUGHAL STYLE SPINACH JADE CHRYSANTHEMUM BOWL, QING DYNASTY The stone is of a mottled green and grey color scheme with sparse ochre hued inclusions China, Qing Dynasty Carved on the interior as four rows of chrysanthemum flower petals radiating from an open flower heart. The design is continued on the exterior and on the concave flower shaped foot. The present bowl, of Chinese craftsmanship, appears to have drawn from and blended design elements from the area then called ‘Hindustan’. Once the popularity and market for Mughal jades had become apparent in the Qianlong period, Chinese artisans began copying and incorporating Mughal patterns into their own creations. Several of the Chinese artworks with blended Chinese and Islamic motifs made their way into the Qing palace as tribute from the Mughal empire, creating confusion in the court. The Qianlong emperor assumed they were legitimate Mughal creations and accused the foreign artisans of ‘stealing Chinese styles’. Shape: Floral bowl shape Dimensions: diameter is 17.8 cm, height is 6 cm Weight: 435 grams Condition: excellent condition Provenance: estate of Stephen Stempler – a distinguished New York interior designer and art collector. He was also a board member of the Foundation for Art and Preservation in Embassies for many years and worked on numerous embassies around the world. Some of his more noted clientele included the former President Richard M. Nixon or Edgar M. Bronfman, former chairman of Seagram’s. Auction results comparison: Christie’s, The Decorative Arts Sale, Amsterdam, 26 - 27 March 2013, lot 325 (for a slightly smaller spinach jade chrysanthemum dish) or Sotheby’s, IMPORTANT CHINESE ART, 15 MARCH 2017, NEW YORK, lot 756 (for a Qianlong period jade bowl with very similar design to interior and base)

138

⣏✳ㆆ⃨⃺桐㟤䡏䌱卲剙䠿炻㶭ẋ 䌱䞛⏰䀘䵈㔹楩刚炻䲭墸刚㰩㔹 ᷕ⚳炻㶭ẋ 忈✳烉剙䠿⼊ ⯢⮠烉䚜⼹ 17.8 ⍀䰛, 檀 6 ⍀䰛慵慷烉435 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉Stephen Stempler 怢䓊ˤStephen Stempler 㚦䁢䲸䲬⭌ℭ墅㼊姕妰ⷓ⍲喅埻㓞啷⭞ˤṾḇ㚦⣂⸜㑼ả⣂ᾳ⣏ἧ棐喅埻⍲ᾅ嬟➢慹㚫吋ḳ㚫天借炻⇵䷥䴙⯤ ⃳㢖⍲Seagram ⇵ᷣⷕEdgar M. Bronfman 悥㚦㗗Ṿ䘬⭊㇞ˤ EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

128 AN EXCEPTIONAL MUGHAL-STYLE WHITE JADE EWER AND COVER, JIAQING PERIOD The stone is of a pure white color and a translucent quality China, Jiaqing period (1796 – 1820) 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 adorned with a ruyi form and counterbalanced by the tapered spout. The foot rim is a perfect accentuated circle. This ewer is related in form and ﬁneness of carving as well as the quality of the white stone to others of Qianlong and Jiaqing date. During the Qianlong and Jiaqing periods ‘Hindustan’ jades were highly in fashion and Muslim jade carvers were sent to work in the Imperial Palace workshops in order to copy Mughal jades. The present lot is polished to a high degree, a technique learned from the Mughal jade workers, and therefore appears to be part of the Mughal-style jade receptacles made for the Chinese market. Shape: lidded miniature tea pot shape Dimensions: length is 9 cm, height is 4.8 cm Weight: 127.5 grams Condition: excellent condition Provenance: from an American private collection Auction results comparison: For a larger white jade ewer and cover, dating to the 18th century and sharing the level of quality as in the present piece see Christie’s, Fine Chinese Ceramics, Paintings and Works of Art, New York, 21 March 2000, lot 136. ㆆ⃨⃺桐㟤䘥䌱味⢢炻▱ㄞ⸜ 䲼䘥刚炻⋲德㖶 ᷕ⚳炻▱ㄞ炷1796 – 1820炸忈✳烉勞⢢⼊ ⯢⮠烉攟9 ⍀䰛, 檀 4.8 ⍀䰛慵慷烉127.5 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

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 natural veins in the mineral, along those tiny notches here and there Provenance: from an American private collection Auction results comparison: For a comparable jade Gu, yet signiﬁcantly smaller, see Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, 04 NOVEMBER 2009, LONDON, lot 133. ⣏✳䌱晽ầ⎌㕡如䒞炻⋩ᶫ军⋩ℓ㬚ᶾ䲨曺刚䌱炻㼌䘥刚墸刚倴䎮⍲䲳嶗 ᷕ⚥炻⋩ᶫ军⋩ℓᶾ乒忈✳烉㕡如 ⯢⮠烉檀8 ⍀䰛炻㚨⭥⢬ 9.5 ⍀䰛慵慷烉1,966 ⃳ ⑩䚠烉朆ⷠ⤥炻⣑䃞倴䎮炻⯨悐⎗夳⮷䡽䡘  㜍㸸烉伶⚥䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

140

130 AN 18th CENTURY CELADON JADE PHOENIX SHAPE POLE FINIAL The stone is of an even celadon hue, very fine surface polish China, 18th century This 18th century pole finial is carved in the shape of a majestic phoenix with its long tail feathers and its feet tucked underneath its belly. A vertical drilling marks this piece as a staff or pole finial. From the Song to Ming periods, bird-shaped jade staff finials were made 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 one end with the figure of a dove. The dove was chosen as the ideal gift for elderly persons because it is known for its ability to swallow and digest anything without choking, and of course, the gift implied that the recipient would perform likewise. Shape: Figural shape Dimensions: length is 8 cm, height is 4.5 cm Weight: 113.5 grams Condition: very good condition with tiny nicks to one temple Provenance: from an American private collection Auction results comparison: Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART 08 APRIL 2014, HONG KONG, lot 3145 (for a white jade ‘bird’ finial, dating to the Ming Dynasty) ⋩ℓᶾ䲨曺䌱沛↘㛾椾曺刚䌱炻堐朊㉃⃱䳘䶣 ᷕ⚳炻 ⋩ℓᶾ䲨忈✳烉沍⼊ ⯢⮠烉攟8 ⍀䰛, 檀 4.5 ⍀䰛慵慷烉113.5 ⃳ ⑩䚠烉㤝⤥炻⯨悐㚱⮷䡽䕽 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

131 A LARGE ARCHAISTIC JADE VASE WITH PHOENIXES, 1900s The stone is of a celadon and pale cream color scheme with translucent and near opaque areas China, around 1900 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 exterior is caved in high relief with depictions of phoenixes amidst ﬂowers. Shape: Archaistic vase shape Dimensions: height is 25.8 cm, maximum width is 14.5 cm Weight: 1,551 grams Condition: besides one tiny nick to upper rim very good condition, lid 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,-

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132 AN 18th CENTURY WHITE JADE ‘MELON’ PENDANT White color jade of an even tone, smooth surface polish China, 18th century The stone is carved and pierced in the shape of two melons born on gnarled 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 string. Shape: Figural shape with reticulation Dimensions: height is 7.2 cm Weight: 32.3 grams Condition: excellent condition with ﬁne hand patina Provenance: American Private collection, acquired in Chicago prior to 1970 Literature comparison: Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, London, 15 May 2013, lot 295. (for another white jade pendant, of comparable size and dating) ⋩ℓᶾ䲨䘥䌱䒄䒆䵧⺞㊪ẞ 䘥䌱炻堐朊⃱㽌㝼␴ ᷕ⚳炻 ⋩ℓᶾ䲨忈✳烉掌晽 ⯢⮠烉檀 7.2 ⍀䰛慵慷烉32.3 ⃳ ⑩䚠烉㤝⤥炻㈲䍑⊭㻧䳘兑 Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻1970⸜⇵⛐剅≈⒍岤⼿ EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

133 A PALE CELADON JADE OPENWORK PLAQUE, MING DYNASTY The stone of an even pale celadon jade hue, gilt mounting and pin (later additions) China, 16th – 17th century in the Ming 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 an even near white color with opaque inclusions here and there. Shape: oval Dimensions: 7 x 4.5 cm Weight: 26.5 grams Condition: very good condition with small notches to backside Provenance: from a German private collection Auction results comparison: Sotheby’s, IMPORTANT CHINESE ART, 13 SEPTEMBER 2017, NEW YORK, lot 219 (for a comparable plaque) 㖶ẋ曺䘥䌱掌晽ἑ梦曺䘥䌱炻挷慹搚⳴⍲⇍憅炷⼴Ἦ≈ᶲ炸 ᷕ⚥炻㖶ẋ⋩ℕ军⋩ᶫᶾ䲨忈✳烉㨊⚻⼊ ⯢⮠烉7 x 4.5 ⍀䰛慵慷烉26.5 ⃳ ⑩䚠烉朆ⷠ⤥炻側朊㚱⮷仢⎋ 㜍㸸烉⽟⚥䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

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134 A GIA CERTIFIED EMERALD-GREEN JADEITE BROOCH, QING DYNASTY The stone of intense emerald-green color (untreated), 14 carat gold mounting and pin China, the jade dates to the late Qing Dynasty, the mounting is later This emerald green jadeite plaque is finely carved in openwork with 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 the hallmark 14K. The enclosed GIA certificate states that the Jadeite is of natural color and not treated. Shape: Gourd shape Dimensions: 8 cm height, width is 9.5 cm Weight: 5.8 grams Condition: excellent condition Provenance: from the collection of an American lady – acquired before the 1970s Auction results comparison: For an emerald green jade plaque of similar size and color see Christie’s, Fine Chinese Ceramics and Works of Art, New York, 16 September 2016, lot 1295. 㶭ẋ侉侈⤪シ拊⸋䲳傠憅炻GIA揺⭂嫱㚠 ⣑䃞䣾㭵䵈刚侉侈炷朆Ṣⶍ炸炻14K湫慹搚⳴⍲憅㈋ ᷕ⚥炻侉侈䁢㘂㶭炻慹岒悐↮䁢⼴Ἦ搚⳴ 忈✳烉䒄⼊ ⯢⮠烉檀8 ⍀䰛炻⮔ 9.5 ⍀䰛慵慷烉5.8 ⃳ 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,-

135 A YELLOW AND RUSSET JADE PENDANT WITH GUANYIN, QING DYNASTY Yellow color jade with sparse russet inclusions, modern 14 carat gold hinge (marked 585) China, Qing Dynasty The pendant is of rather large size and is neatly incised to both sides. Depicted is the mother goddess Guanyin in a flowing robe and framed by celestial bands. Shape: Flattened, figural shape with reticulation Dimensions: height (including gold hinge) is 9.5 cm Weight: 35.9 grams Condition: very good condition with some miniscule natural flaws in the mineral Provenance: Austrian private collection

湫墸䌱奨枛㊪ẞ炻㶭ẋ 湫刚䌱炻ⷞ䙖炻墸刚㰩㔹炻䎦ẋ14K湫慹搚⳴炷585⌘姀炸 ᷕ⚳炻㶭ẋ

忈✳烉掌晽㇩⸛Ṣ䈑忈✳ ⯢⮠烉檀炷⊭㊔搚慹悐ỵ炸9.5 ⍀䰛慵慷烉 35.9 ⃳ ⑩䚠烉㤝⤥炻䌱䞛ℭ㚱ṃ⽖⣑䃞仢星 Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

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,-

137 A CELADON JADE BOWL, QING DYNASTY Celadon color jade with dark green and russet veins China, Qing Dynasty The simplistic bowl shows a ﬂared rim and a circular indented underside. The material is near translucent, revealing appealing dark green and russet veins when held against the light. Shape: Bowl Dimensions: diameter is 12 cm, height is 5 cm Weight: 205.3 grams Condition: very good condition with some miniscule natural ﬂaws in the mineral Provenance: Austrian private collection 曺䌱䠿炻㶭ẋ 曺刚䌱炻㶙䵈⍲墸刚倴䎮 ᷕ⚳炻㶭ẋ 忈✳烉䠿 ⯢⮠烉䚜⼹ 12 ⍀䰛炻檀 5 ⍀䰛慵慷烉205.3 ⃳ ⑩䚠烉㤝⤥炻䦵㚱䌱䞛⣑䃞仢星 Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

144

138 A PALE GREEN AND LAVENDER COVERED VASE WITH CHILONG, LATE QING DYNASTY The stone is of an appealing light green and lavender color scheme China, late Qing Dynasty The slightly ﬂattened baluster body rising from a short spreading foot to a broad shoulder with masterly carved, reticulated horned dragon ring handle masks. The lid shows another pair of ring handle masks, yet in the shape of lingzhi. The dragon motif is continued on the lid in shape of a coiled chilong in openwork. Shape: slightly ﬂattened baluster shape Dimensions: length is 13.5 cm, height is 13 cm Weight: 461 grams Condition: excellent condition Provenance: from an American private collection Auction results comparison: Sotheby’s, ST GEORGE STREET SALE: CHINESE ART 10 NOVEMBER 2017, LONDON, lot 301 (for a jadeite ‘chilong’ baluster vase with the same color scheme) 䵈ᷕ桬䳓坕漵暁俛䒞炻㶭ẋ㘂㛇㶢䵈ᷕ桬䳓倴䎮 ᷕ⚳炻㶭ẋ㘂㛇忈✳烉暁俛味䒞 ⯢⮠烉攟13.5 ⍀䰛, 檀 13 ⍀䰛慵慷烉 461 ⃳ ⑩䚠烉㤝⤥ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

145

139 AN ENAMELED SILVER AND JADE HAND MIRROR, LATE QING DYNASTY Silver, enamel and pale celadon jade China, late Qing Dynasty A Ruyi scepter shaped mirror in a silver frame, enameled with butterflies and floral motifs. The reverse of the mirror is a pierced jade plaque of pale celadon hue with a flower. The handle is also inlaid with jade on the reverse. The mirror has a filigree silver ruyi border, and the sides of the handle have incised lotus designs. At the lower end of the handle the mark ‘Silver’ is stamped.

140 A TIBETO CHINESE JADEITE AND SILVER PORTABLE PRAYER WHEEL, LATE QING DYNASTY Silver, jadeite, tourmaline, turquoise and other semiprecious stones Tibeto-Chinese, late Qing Dynasty This portable prayer wheel is a handsome ensemble of jadeite and silver inlaid with more jadeite, turquoise, and tourmalines as well as other semi-precious stones. The wheel spins with a 12-sided attachment. Just as the Buddha symbolically turned the wheel of the Law when he preached his ﬁrst sermon and taught the way to enlightenment at Sarnath, India, so pious Tibetan Buddhists literally rotate a wheel to earn the merit that will enhance the likelihood of enlightenment. The Tibetan prayer wheel, however, is not an ordinary wheel but a cylindrical metal drum that rotates around an axis. There are two such wheels, those that are immovable and placed inside or outside a shrine and those that are carried by hand, like the present example. It is not an uncommon sight

146

Shape: Ruyi scepter shape Dimensions: length is 21 cm, diameter of the mirror is 8 cm Weight: 145 grams Condition: very good condition with minor nicks and very little material loss to ﬁligree silver mounting Provenance: from an American private collection Auction results comparison: Sotheby’s, SATURDAY AT SOTHEBY’S: ASIAN ART, 16 SEPTEMBER 2017, NEW YORK, lot 1048 (for another enameled silver and jade hand mirror of larger size)

戨偶䏢䎭搚䌱ⷞ憶㝬ㇳ掉炻㶭ẋ㘂㛇戨炻䏢䎭炻曺刚䌱 ᷕ⚳炻㶭ẋ㘂㛇忈✳烉⤪シ➟㝬⼊ ⯢⮠烉攟21 ⍀䰛炻掉䚜⼹8 ⍀䰛慵慷烉 145 ⃳ ⑩䚠烉ᾅ⬀㤝⤥炻㚱䳘⮷∫䕽炻搚戨↎ 㚱ṃ⽖㛸㕁㎵⣙ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

to see a Tibetan constantly rotating the hand wheel and chanting a mantra as he or she walks, in the same way the pious Catholics use their rosaries.

㻊啷侉侈搚戨廱䴻䫺炻㶭ẋ㘂㛇戨炻侉侈炻暣㯋䞛炻䵈㜦䞛⍲℞Ṿ䣎䞛㻊啷炻㶭ẋ㘂㛇

Shape: Prayer wheel shape Dimensions: length is 19 cm Weight: 182 grams Condition: very good condition with minor nicks to ﬁligree silver mounting Provenance: Estate of June Montague Ficklen of Greenville, North

忈✳烉廱䴻䫺 ⯢⮠烉攟19 ⍀䰛慵慷烉182 ⃳ ⑩䚠烉㤝⤥炻戨㟮↎㚱⸦嗽⇣䕽 Ἦ㸸烉 ⊿⌉伭Ἦ䲵ⶆ㟤㜿⦩June Montague Ficklen 怢䓊ˤ Mrs. Ficklen 㚦䁢⊭㊔⊿⌉伭Ἦ䲵ⶆ伶埻棐 ⍲㟤㜿⦩伶埻棐䫱⸦ỵ棐攟ⶍἄˤ⤡ 䴻ⷠ㉥䨢冯℞ᶰ⣓ 䑘䎫㕭埴炻⸞⛐ 䎈⮞㕡朊㚱叿䈡⇍䘬⑩␛ˤ

Carolina. Mrs. Ficklen served on several boards of directors including the North Carolina Art Museum or the Greenville Art Museum. Mrs. Ficklen Still found time to travel the globe with her husband and was known for her reﬁned taste in jewelry. Literature comparison: For a closely related portable prayer wheel see Pilgrimage and Buddhist Art, Asia Society, New York, 2010. Acc. Nr. 57.2285 - John and Berthe Ford, Baltimore; given to Walters Art Museum, 2002.

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

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. Shape: Round shape with figural handle shaft Dimensions: length is 16.2 cm, diameter of the mirror is 12.2 cm Weight: 218 grams Condition: very good condition with minor nicks and very little material loss to some stone insets Provenance: from an American private collection Auction results comparison: Christie’s, A Passion for Asian Art, 28 October - 11 November 2014, lot 98 (for a white jade embellished silver hand mirror with a very similar hardstone inset repousse mounting) ⳴䌱挷慹戨㟮㈲掉炻㶭ẋ㘂㛇戨炻侉侈炻暣㯋䞛⍲℞Ṿ⮛䞛搚⳴炻䌱䇴 ᷕ⚳炻㶭ẋ㘂㛇忈✳烉⚻⼊炻晽⇣ㇳ㝬 ⯢⮠烉攟16.2 ⍀䰛炻掉⫸䚜⼹12.2 ⍀䰛慵慷烉218 ⃳ ⑩䚠烉㤝⤥炻䳘⮷⇣䕽炻⯨悐搚⳴⮛䞛᷇⣙ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

147

142 AN IMPRESSIVE ARCHAISTIC JADEITE GUANG VESSEL WITH COVER Mint green jadeite with white and russet inclusions, openwork boxwood pedestal China, 20th century This very large jade vessel with cover is carved in the shape of an archaic bronze GUANG, a ritual wine pouring vessel of the Shang Dynasty. The vessel is decorated in relief with taotie masks and gui dragons and has elaborate dragon handles on opposite sides, one with a suspended ring handle. The curved, slanted cover decorated with a chilong and further Shang bronze motifs. Shape: Guang shape Dimensions: 29.5 cm (total height with base), width of vessel is 31 cm, height of vessel is 25 cm Weight: approx. 5,090 grams (excluding wooden base) Condition: excellent condition and shows only minimal signs of age-related wear; the pedestal likewise Provenance: acquired 1989 at Sotheby’s Hongkong – see (low resolution) scan; European private collection 侉侈晽ầ⎌味妍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➢⹏ ᷕ⚥炻Ḵ⋩ᶾ乒忈✳烉妍⼊ ⯢⮠烉 29.5 ⍀䰛炷䷥檀炻⏓⸽⹏炸炻☐⮔31 ⍀䰛炻☐檀 25 ⍀䰛慵慷烉䲬5,090 ⃳炷ᶵ⏓⸽⹏炸 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

143 A LARGE ARCHAISTIC JADEITE ‘DRAGON’ VESSEL WITH COVER Mint green jadeite with apple-green, spinach and russet inclusions, openwork boxwood pedestal China, 20th century This lidded jadeite vessel, reminiscent of archaic bronzes, has a thick wall with a dragon motif in high relief on one side and a four-character mark ‘Er Long Xi Zhu’ (= two dragons playing with the pearl) on the other. The accentuated foot features three linghzi masks with suspended ring handles and shows a stylized Ruyi bordure. The shoulder is ﬂanked by reticulated dragon handles and the cover is crowned by a coiled dragon and has a total of six more dangling rings. Shape: archaistic lidded vessel Dimensions: 27 cm (total height with base), width of vessel is 25 cm, height of vessel is 21.5 cm Weight: 3,540 grams (excluding wooden base) Condition: excellent condition and shows only minimal signs of age-related wear; the pedestal likewise Provenance: acquired 1989 at Sotheby’s Hongkong – see (low resolution) scan; European private collection ⣏✳ầ⎌侉侈晽漵䲳味䒞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➢⹏ ᷕ⚥炻Ḵ⋩ᶾ乒忈✳烉ầ⎌味䒞 ⯢⮠烉 27 ⍀䰛炷䷥檀炻⏓⸽⹏炸炻䒞⮔ 25 ⍀䰛炻䒞檀21.5 ⍀䰛慵慷烉 3,540 ⃳ 炷ᶵ⏓⸽⹏炸 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,-

149

A XUANTONG MARK AND PERIOD DRAGON DISH LOT 163

150

151

144 A CORAL GLAZE PORCELAIN WATER COUPE, LATE QING OR REPUBLIC PERIOD Porcelain with monochrome glaze, carved wooden pedestal China, late Qing Dynasty – early Republic Period – 1900-1930s

145 A HU SHAPE MINIATURE CLAIRE DE LUNE PORCELAIN VASE, LATE QING OR REPUBLIC PERIOD Porcelain with monochrome glaze, wooden base China, late Qing Dynasty – early Republic Period – 1900-1930s

This monochrome glazed water coup shows an intense coral red hue and a shiny luster. It has a perfect round shape with the shoulder reaching down into the neck. The bottom and inside are glazed in white. It comes complete with a nicely carved and reticulated pedestal.

This little vase shows an archaistic Hu shape with stylized dragon handles and a Claire de Lune monochrome glaze. On the underside is an apocryphal mark of the Yongzheng period. It comes complete with a base that bears the collector’s number on the underside.

Shape: Round form Weight: 137.8 grams (without the base) Dimensions: 6 cm height (without the base), diameter is 9 cm Condition: excellent condition with minimal wear to foot rim, one glaze imperfection there as well Provenance: from an American private collection 䍲䐂䲭䒟㯜䙪炻㘂㶭ㆾ㮹⚳ ╖刚慱䒟炻㛐晽⸽⹏ ᷕ⚳炻㘂㶭军㮹⚳⇅⸜炷1900-1930ⶎ⎛炸忈✳烉⚻⼊慵慷烉137.8 ⃳ (ᶵ⏓⸽⹏) ⯢⮠烉檀6 ⍀䰛 (ᶵ⏓⸽⹏)炻䚜⼹ 9 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻嵛㱧庽⽖䢐㎵炻ᶨ溆㕥慱仢星 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

Shape: Hu form Weight: 73.7 grams (without the base) Dimensions: 8 cm height (without the base) Condition: excellent condition with minimal wear to foot rim Provenance: From the estate of Albert T Quon, Beverly Hills. Mr. Quon was born in China and came to the US as a teenager. He graduated from USC in 1928 and established a successful import/export business in both China and the US. He was the ﬁrst Chinese American to purchase property in Beverly Hills. He also became the ﬁrst Asian to serve on the Board of the Los Angeles Chamber of Commerce. He donated millions of dollars to his Alma mater, USC. There is a statue of him on USC campus and a classroom was named after him. ⽖✳⣑曺刚⍴俛⢞炻㘂㶭ㆾ㮹⚥ ⋽刚䒟炻㛐⸽⹏ ᷕ⚳炻㘂㶭军㮹⚥⇅⸜炷1900-1930炸忈✳烉⢞ 慵慷烉73.7 ⃳ (ᶵ⏓⸽⹏) ⯢⮠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

146 A PAIR OF CORAL GLAZED MONOCHROME JARS WITH COVERS, DAOGUANG China, Daoguang six-character marks in running script painted in iron red to the base and of the period Sturdily potted with an evenly applied rich coral glaze, the covers with thick cylindric knobs. (2) Shape: Jars with covers Weight: 223.7 grams and 239.4 grams Dimensions: 9cm diameter each Condition: Minor chipping to lips. Old wear and some surface scratches. The bases both with old collector’s inscriptions. Provenance: From the estate of H. Leo Gould, author of the book Ma-Jung: The Ancient Game of China, 1922. (old label) 忻⃱ᶨ⮵䍲䐂䲭味仸 ᷕ⚳炻忻⃱⸜攻炻⸽悐䞦䲭⼑慱忻⃱ℕ⫿㫦忈✳烉味仸慵慷烉223.7 ⃳ 冯 239.4 ⃳ ⯢⮠烉㭷ẞ䚜⼹ 9⍀䰛 ⑩䚠烉⒯㱧庽⽖䠶塪烊侩䢐㎵炻堐朊㚱ṃ∫䕽烊⸽悐㚱侩啷⭞㲐慳 Ἦ㸸烉H. Leo Gould怢䓊炻H. Leo Gould㗗˪湣⮯˫䘬ἄ侭 - Mahjong: The Ancient Game of China炻 1922. (侩㧁䯥) EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

153

147 A DARK BLUE MONOCHROME GLAZED DRUMSHAPE 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, 19 th 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 well as dragons in high relief and decorative ruyi and leaf patterns round off the archaic design. The thick layer of turquoise glaze is reaching into the interior, the underside left unglazed and with an apocryphal Qianlong six character reign mark. Shape: Curved, rectangular shape with figural masks Weight: 1,025.5 grams Dimensions: 21.5 cm height Condition: excellent condition with few tiny glaze chips to lion masks Provenance: from an American private collection, acquired in the Hong Kong trade in 1979 – a certificate from the Hong Kong Art Craft Merchant Association stating that this piece was more than 100 years old (in 1979) is accompanying this lot ⋩ḅᶾ䲨㜦䵈慱䳈䅺䒟䒞㧉⡻䳈䅺䒟炻╖刚慱 ᷕ⚳炻⋩ḅᶾ䲨忈✳烉⻶㚚炻攟㕡橼炻暁俛慵慷烉1,025.5 ⃳ ⯢⮠烉21.5 ⍀䰛檀 ⑩䚠烉ᾅ⬀㤝⤥炻⎒㚱⛐䋭朊俛慱朊㚱⮷䡽䡘 Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻1979⸜⛐楁㷗岤⼿ – 旬ⷞ䔞⸜楁㷗喅埻⑩⓮㚫↢℟䘬嫱㚠婔㖶㬌ẞ䔞㗪军⮹崭忶100⸜㬟⎚ EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

154

149 A FAMILLE ROSE FIGURE OF BUDAI WITH ‘ZHU MAOSHENG’ MARK Porcelain with polychrome enamels China, earlier 20th century 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 amid the folds of his outer robe painted in famille rose enamels. The underside bears the impressed JIANGXI JINGZHEN ZHU MAOJI ZAO mark. Shape: Figural Weight: 2,096 grams Dimensions: 26.5 cm height Condition: excellent condition with minimal signs of age and abrasions Provenance: from a German private collection Auction result comparison: for near identical Budai ﬁgurines see Christie’s, Interiors - Including Asian Works of Art, London, South Kensington, 9 September 2015, lot 559 or Bonhams, ASIAN DECORATIVE ARTS, 18 Dez 2013, SAN FRANCISCO, Lot 6412. Ⱦ㛙努姀忈ȿ㫦䰱⼑ⶫ堳␴⯂ 䰱⼑昞䒟 ᷕ⚳炻 Ḵ⋩ᶾ䲨⇅ 忈✳烉Ṣ䈑忈✳ 慵慷烉2,096 ⃳ ⯢⮠烉檀 26.5 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻㨇庽⽖⸜ẋ䕽嶉冯㒎  Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

155

150 A POLYCHROME AND GILT PORCELAIN FIGURE OF A PEKING OPERA DANCER Porcelain with polychrome enamels and gold color China, late Qing Dynasty (1644-1912)

151 A FAMILLE ROSE FIGURE OF A MANCHU MAN WIT OPIUM PIPE, LATE 19 th CENTURY Porcelain with polychrome enamels China, late 19th century

The man in a vividly moved posture and dressed in an Imperial robe with dragon cartouches and a dense array of flowers and Buddhist symbols. Most certainly he is impersonating an immortal or god such as Guandi also visible at the reddish hue in his face. Inside the figure is an unidentified impressed manufacturer’s mark.

The man dressed in typical Manchu attire and wearing his hair in a neatly modelled long queue. His garment adorned with butterﬂies, ﬂowers and bats. The most interesting feature is certainly the opium pipe in his right hand.

Shape: Figural Weight: 824,4 grams Dimensions: 24.5 cm height of the ﬁgurine Condition: restoration to both feet and right sided hem of the robe, minor material loss to headdress Provenance: from an American private collection Auction result comparison: for a related porcelain group with Peking opera singers see Bonhams, ASIAN WORKS OF ART, 21 Dez 2011, SAN FRANCISCO, Lot 8814. 㘂㶭䰱⼑Ṕ∯Ṣ䈑⁷ 䰱⼑昞䒟炻慹⼑ ᷕ⚳炻㘂㶭 (1644-1912) 忈✳烉Ṣ䈑忈✳ 慵慷烉 824,4 ⃳ ⯢⮠烉檀24.5 ⍀䰛 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 400,Starting priceġ崟㉵₡ġġEUR 200,-

156

Shape: Figural Weight: 1,096.6 grams Dimensions: 27 cm height of the ﬁgurine Condition: some losses to pipe, left hand and knob on cap – otherwise good condition Provenance: from an American private collection ⋩ḅᶾ䲨㘂㛇䰱⼑㖙䂇Ṣ䈑䩳⁷ 昞䒟䰱⼑ ᷕ⚳炻⋩ḅᶾ䲨㘂㛇忈✳烉Ṣ䈑忈✳ 慵慷烉1,096.6 ⃳ ⯢⮠烉檀 27 ⍀䰛 ⑩䚠烉㖙䂇ᶲ㚱ṃ㎵⢆炻ⶎㇳㇳ㊯悐↮仢⣙炻℞Ṿ悐↮列⤥ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 400,Starting priceġ崟㉵₡ġġEUR 200,-

152 A FAMILLE ROSE FIGURE OF A LUOHAN, LATE 19 th CENTURY Porcelain with polychrome enamels, comes with a fitted box China, late 19th century The pious man with folded hands, seated on a magnificent stepped back chair with a green colored cover. His robe and the other textiles are painted in fine detail with a dense array of flowers, butterflies, dragons and various Buddhist symbols. The figure comes complete in its fitted box. Shape: Figural Weight: 2,350 grams Dimensions: 26.5 cm height of the figurine Condition: excellent condition with minimal signs of age and firing faults to underside Provenance: from a British private collection Auction result comparison: for a near identical Luohan figurine see Sotheby’s, FINE CHINESE WORKS OF ART, 13 NOVEMBER 2003, OLYMPIA, Lot 480 (in a group of two). ⋩ḅᶾ䲨㘂㛇䰱⼑伭㻊⁷ 䰱⼑昞䒟炻惵㚱䙺⫸ ᷕ⚳炻⋩ḅᶾ䲨㘂㛇忈✳烉Ṣ䈑忈✳ 慵慷烉2,350 ⃳ ⯢⮠烉檀26.5 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻庽⽖⸜ẋ䕽嶉炻⸽悐㚱䅺墥仢星 Ἦ㸸烉劙⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

157

158

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 a contemplative expression carrying his gnarly crutch to which his famous gilt double gourd is attached. His various garments are all neatly decorated with fine gold painting depicting multiple floral motifs amid leaves and tendrils and geometric patterns. His face is a true masterpiece, where the artist has paid attention to every detail, such as the typical beard, the messy hair held together by a blue band, the ears each with a small hole and the open mouth revealing two rows of teeth. The chest is naked as is the right arm with which the immortal is attempting to scratch his back. Li Tieguai is a Chinese mythological figure and one of the Eight Immortals in the Daoist pantheon. He is sometimes described as irascible and illtempered, but also benevolent to the poor, sick and the needy, whose suffering he alleviates with special medicine from his gourd. He is often portrayed as an ugly old man with scraggy beard and messy hair held by a 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 Yuan dynasty (1279–1368) and was originally named “Li Yuan”. However, in folklore, he is depicted as Laozi’s apprentice, hence he should have lived in the sixth century BC. Zeng Longsheng was a Republic period Jingdezhen artist who specialized in figural works. A complete set of the eighteen Luohan by Zeng Longsheng, donated by Sir Kenneth Ping-fan Fung, is in the collection of the University Museum and Art Gallery, University of Hong Kong. Zeng’s work was influenced by one of the greatest painters of his time, Qi Baishi. This can clearly be seen when their works are directly compared, such as the present statue with Qi Baishi’s portrait of Li Tieguai. Shape: Figural Weight: 1642 grams Dimensions: Height 35 cm Condition: Superb condition, with only one small loss to top of hairband Provenance: From the estate of Albert T Quon, Beverly Hills. Mr. Quon was born in China and came to the US as a teenager. He graduated from USC in 1928 and established a successful import/export business in both China and the US. He was the first Chinese American to purchase property in Beverly Hills. He also became the first Asian to serve on the Board of the Los Angeles Chamber of Commerce. He donated millions of dollars to his Alma mater, USC. There is a statue of him on USC campus and a classroom was named after him. Auction result comparison: ASIAN ART. Sotheby’s, 15 SEPTEMBER 2018, NEW YORK, lot 1487. (compare with a portrait of Rahula by Zheng Longsheng) Art d’Asie. Christies, Paris, 10 December 2014, lot 292. (compare with a portrait of general Yue Fei by Zheng Longsheng)

ġ ġ ġ ġ ġ ġ ġ ġ ġ ġ ġ ġ ġ ġ ġ 㚦漵㖯䒟晽懬㉸㛶昞䒟忈⁷堋㚵塷㚱Ⱦ㚦漵㖯忈㫦ȿ ᷕ⚳炻㮹⚳军⺢⚳⇅㛇懬㉸㛶㗗ℓẁṢ䈑ᷕ䘬ᶨỵẁṢ炻㔜橼刚⼑㷚㝻䱦䶣炻㉸㛾䰿䌟炻ᶲ朊㊪叿 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 ᶲ悥㚱ᶨᾳ⮷⫼炻◜⶜⻝攳曚↢ℑ㌺䈁滺烊傠悐冯⎛兪墠曚炻⎛ㇳỤ᷶⛐側悐㐻䘊䘊ˤ 㚦漵㖯㗗㮹⚳军⺢⚳⇅㛇㘗⽟捖䘬晽⟹⎵⭞ˤṾ䘬ᶨ䳬⬴㔜䘬ℓẁṢ䈑昞䒟晽⟹塓Sir Kenneth Ping-fan Fung 楖䥱剔䇝⢓㋸岰䴎楁㷗⣏⬠伶埻棐ˤ㚦漵㖯䘬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 忈✳烉Ṣ䈑晽⟹ 慵慷烉1642 ⃳ ⯢⮠烉檀 35 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻⁭⛐䘤ⷞᶲ㚱⮷䡽 ˤ Ἦ㸸烉≈⇑䤷⯤Ṇⶆ㭼⇑⣓ⰙAlbert T Quon怢䓊ˤQuon⃰䓇䓇㕤ᷕ⚳炻曺⸜ 㗪ẋ⍣Ḯ伶⚳1928⸜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 ㉵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 December 2014, lot 292. (㚦漵㖯㫦䒟晽ⱛ梃) EstimateġỘ₡ġġEUR 6.000,Starting priceġ崟㉵₡ġġEUR 3.000,159

154 A FAMILLE ROSE ‘SANDUO’ BOWL, MARK AND PERIOD OF GUANGXU The thinly potted and translucent bowl neatly painted in polychrome enamels China, Guangxu period (1875-1908) The enameled bowl with leafy fruiting sprays of pomegranate, persimmon and lychee, forming the sanduo, issuing from the foot and extending across the exterior and over the rim onto the interior, the base with the iron-red six-character reign mark. Shape: Bowl Weight: 140.5 grams Dimensions: 13.3 cm diameter Condition: Perfect Provenance: American private collection. Auction result comparison: CHINESE ART INCLUDING SELECTED WORKS OF ART FROM THE T.Y. CHAO FAMILY COLLECTION. Sotheby’s, 30 NOVEMBER 2017 - 01 DECEMBER 2017, HONG KONG, lot 641. (compare with a related pair of ‘sanduo’ bowls, mark and period of Guangxu) 䰱⼑忶㝅ᶱ⣂䲳䙴炻⃱䵺㫦冯⸜ẋġ 唬偶炻⋲德㖶䙴炻⣂刚䰱⼑ ᷕ⚳炻 ⃱䵺 (1875-1908) 忈✳烉䙴慵慷烉140.5 ⃳ ⯢⮠烉䚜⼹13.3 ⍀䰛 ⑩䚠烉⬴伶 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

160

155 A FINELY ENAMELED ‘BIRDS AND FLOWERS’ BOWL, REPUBLIC PERIOD Subtly potted with translucent walls, recessed base with stepped foot rim, Qianlong seal mark China, late 19th - early 20th century Three round medallions each depicting peonies, chrysanthemum and lotus, along with a quail, a sparrow and a pair of ducks respectively. The rim decorated with two extremely ﬁne borders, one with two rows of diapers, the other with ruyi. The background is black with a neatly painted swastika pattern. The foot is surrounded by an archaistic border. The six-character seal mark is painted in iron red within a square reserve. Shape: The form in the manner of an alms bowl Weight: 206.6 grams Dimensions: 13.3 cm diameter Condition: Perfect condition Provenance: From the estate of Albert T Quon, Beverly Hills. Mr. Quon was born in China and came to the US as a teenager. He graduated from USC in 1928 and established a successful import/export business in both China and the US. He was the ﬁrst Chinese American to purchase property in Beverly Hills.

He also became the ﬁrst Asian to serve on the Board of the Los Angeles Chamber of Commerce. He donated millions of dollars to his Alma mater, USC. There is a statue of him on USC campus and a classroom was named after him. Auction result comparison: ASIAN DECORATIVE WORKS OF ART. Bonham’s, 27 June 2018, lot 810. (compare with a related republic bowl) 㮹⚳䏢䎭⼑攳⃱剙沍⮷䙪唬偶炻⋲德㖶⡩炻⸽嵛昶㡗⺷炻Ḧ昮㫦 ᷕ⚳炻⋩ḅᶾ䲨㘂㛇军Ḵ⋩ᶾ䲨⇅ 忈✳烉䙪慵慷烉206.6 ⃳ ⯢⮠烉䚜⼹13.3 ⍀䰛 ⑩䚠烉⬴伶 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 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

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 Each deep bowl vibrantly enameled in Qianlong Imperial style with various ﬂoral sprays amid their leaves and tendrils, including orchid, peony, prunus, chrysanthemum and magnolia, all reserved on a bright yellow ground, as well as three round medallions with various landscape scenes in summer, fall and winter. The foot rim with a neatly painted key fret border. The base and the inside enameled with a bright turquoise glaze. The seal marks painted in iron red. (2) Shape: Bowl Weight: 284 grams and 269 grams Dimensions: 16.8 cm diameter each Condition: Excellent condition with only minimal wear, gilding to rims slightly rubbed off, one foot with a minimal nibble Provenance: American private collection 㮹⚳ᶨ⮵湫⛘攳⃱Ⱉ㯜䙴ġ 䳘䒟炻唬⡩炻怲䶋䦵⢾㐯炻⚰嵛炻拵慹炻⸽悐Ḧ昮㫦 ᷕ⚳炻⋩ḅᶾ䲨㘂㛇军Ḵ⋩ᶾ䲨⇅ 忈✳烉䙴慵慷烉↮⇍䇚284 ⃳冯 269 ⃳ ⯢⮠烉㭷ẞ䚜⼹ 16.8 ⍀䰛 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 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

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157 AN OPENWORK BLUE AND WHITE ‘LANDSCAPE’ EXPORT PORCELAIN PLATE, QING DYNASTY Delicately painted in cobalt blue under the glaze, the rim with a café-au-lait glaze China, 18th – 19th century Depiction of a Chinese School river landscape with trees, a boat, a pavilion and a pagoda, several smaller buildings and two discussing scholars in the center. The well surrounded by a fragile openwork border. The rim with neatly painted diaper border on both sides. Shape: Plate Weight: 765 grams Dimensions: 27.8 cm. Condition: Superb condition with no breakage to openwork whatsoever, one almost invisible hairline to rim, about 1 cm long, which looks like a firing flaw; tiny manufacturing flaws to the glaze; Provenance: American private collection. 㶭ẋ⢾扟曺剙掌䨢攳⃱Ⱉ㯜䚌曺剙慱ᶳ⼑㍷丒䱦䶣炻怲䶋㶢墸刚慱 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨忈✳烉䚌慵慷烉765 ⃳ ⯢⮠烉27.8 ⍀䰛. ⑩䚠烉ᾅ⬀䉨㱩姀嘇炻掌䨢悐ỵ㰺㚱㕟塪炻怲㱧↎⣏䲬㚱ᶨ⍀䰛攟䘬⍲ᶵ⎗夳䘬檖䴚䳘䷓炻⎛朊㚱庽⽖墥ἄ仢星ˤ Ἦ㸸烉伶⚳䥩Ṣ㓞啷ġ EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

158 A QIANJIANG SCHOOL ‘SHOULAO’ PORCELAIN VASE, LATE QING DYNASTY The sturdily potted hexagonal vase painted in vivid enamels, with two lion dog openwork handles on the shoulders China, early 20th centuryġ ġ Depiction of Shoulao resting together with an attendant under a gnarly plum tree with ﬁnely painted details. Inscription in black 20-character running script to backside. As typical for these wares, there is an inscription executed in black 20-character running script to the backside. It bears the date “Yisi” which is equivalent to 1905. Furthermore there are characters for luck and longevity as well as some writing about how reading and poetry are important for running a family.

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Shape: Hexagonal form with sprawling lip and recessed base Weight: 706.5 grams Dimensions: 22 cm Condition: Excellent condition with only two minute chips to the tail of one of the openwork lion dog handles and some minor wear Provenance: German private collection. Found by the previous owners in 2015 in a 200-year old half-timbered house in east Germany, which the bought at a foreclosure auction. 㘂㶭㶢䴛⼑⢥侩ℕ奺䒞ġ ⍂偶炻ℕ奺炻㶢䴛⼑炻暁偑ᶲ⎬㚱ᶨ晣䋭 ⫸䉿⼊俛ġ ġ ᷕ⚳炻Ḵ⋩ᶾ䲨⇅ ġ 忈✳烉ℕ奺炻⒯㱧⢾㐯炻⸽嵛ℭ↡ġ 慵慷烉706.5 ⃳ġ ⯢⮠烉22 ⍀䰛ġ ⑩䚠烉ᾅ⬀㤝⤥炻ᶨ晣䋭⫸䉿䘬⯦⶜ᶲ㚱 ℑ忻⮷攳⎋炻ᶨṃ䢐㎵ġ Ἦ㸸烉⽟⚳䥩Ṣ㓞啷烊⇵ᷣṢḶ2015⸜⛐ ⽟⚗㜙悐ᶨ⹏⚈䇚㉝㉤侴塓㉵岋䘬200 ⸜侩䘬⋲㛐䳸㥳㇧⫸塷㈦⇘ˤ EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

159 A BLUE AND WHITE ‘YELLOW EMPEROR AND BAI ZE’ PORCELAIN VASE, QING DYNASTY The sturdily potted vessel with delicate painting in cobalt blue under the glaze China, 19th century, Qianlong seal mark painted in underglaze blue on the base Expressive yet detailed depiction of the Yellow Emperor Huangdi who has just met the talking beast Bai Ze that taught him the knowledge of all supernatural creatures. He is accompanied by two Daoist scholars who are resting under a gnarly wutong tree springing from a craggy rock. Several bats are flying above. The Yellow Emperor, also known as the Yellow God, or simply by his Chinese name Huangdi, is a deity in Chinese religion, one of the legendary Chinese sovereigns and culture heroes included among the mytho-historical Three Sovereigns and Five Emperors and cosmological Five Forms of the Highest Deity. First calculated by Jesuit missionaries on the basis of Chinese chronicles and later accepted by the twentieth-century promoters of a universal calendar starting with the Yellow Emperor, Huangdi’s traditional reign dates are 2697–2597 or 2698–2598 BC. Huangdi’s cult became prominent in the late Warring States and early Han period, when he was portrayed as the originator of the centralized state, as a cosmic ruler, and as a patron of esoteric arts. A large number of texts – such as the Huangdi Neijing, a medical classic, and the Huangdi Sijing, a group of political treatises – were thus attributed to him. Having waned in influence during most of the imperial period, in the early twentieth century Huangdi became a rallying figure for Han Chinese attempts to overthrow the rule of the Qing dynasty, which they considered foreign because its emperors were Manchus. To this day the Yellow Emperor remains a powerful nationalist symbol. 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 Yellow Emperor while he was on patrol in the east and visited the mythical East sea. During this encounter, the creature dictated to Huangdi a guide to the forms and habits of all 11,520 types of supernatural creatures in the world, and how to overcome each of their their hauntings and attacks. The emperor had this information written down in a book called the Bai Ze Tu. The book no longer exists, but many fragments of it survive in other ancient texts. Shape: Baluster vase Weight: 3.5 kilo Dimensions: 38.6 cm. Condition: Two small chips to rim, one with associated hairline of 2 cm. Some minor firing flaws. Otherwise excellent condition. Provenance: American private collection. 㶭ẋ曺剙ȿ湫ⷅ冯䘥㽌ȿ䒟䒞曺剙慱ᶳ⼑炻⍂偶䒞 ᷕ⚳炻 ⋩ḅᶾ䲨炻䒞⸽曺剙Ḧ昮㫦忈✳烉䒞慵慷烉3.5 ℔㕌 ⯢⮠烉38.6 ⍀䰛. ⑩䚠烉怲㱧ℑ㡅⮷攳⎋炻ᶨ㡅⤪檖䴚攟2⍀䰛炻ᶨṃ 墥ἄ仢星炻℞Ṿᾅ⬀䉨㱩㤝⤥ Ἦ㸸烉伶⚳䥩Ṣ㓞啷. EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

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160 A BLUE AND WHITE ‘CRANE, PEACOCK AND DEER’ CIRCULAR PORCELAIN PLAQUE, QING DYNASTY The sturdily potted plaque painted in cobalt blue under the glaze China, 18th – 19th century Atmospheric depiction of a pair of deer, a crane and a peacock in a rocky landscape with a gnarly wutong tree in the center. The peacock feathers show very ﬁne detail, among other areas, and superior painting skill. Shape: Flat circular Weight: 861 grams Dimensions: 27.7 cm. Condition: Excellent condition with some wear and minimal fritting to edge, as customary with this type of plaque Provenance: American private collection. Auction result comparison: CHINESE ART. Sotheby’s, 31 MAY 2018 - 01 JUNE 2018, HONG KONG, lot 523. (compare with another blue and white plaque from the same period, but with a landscape motif) 㶭ẋ曺剙ẁ浜⫼晨㠭剙渧昞䒟㊪䚌 ⍂偶炻曺剙慱ᶳ⼑ ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨忈✳烉㇩⚻⼊慵慷烉 861 ⃳ ⯢⮠烉 27.7 ⍀䰛 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. EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

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161 A BLUE AND WHITE ‘DRAGON’ PORCELAIN DISH, DAOGUANG DAOGUANG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD China, 1821-1850 The interior vividly painted with a central double circle medallion enclosing a five-clawed dragon striding in pursuit of the flaming pearl amidst scrolling clouds, the exterior similarly decorated with two fierce sinuous dragons amongst cloud scrolls. Shape: Dish Weight: 225.6 grams Dimensions: Diameter 16.5 cm. Condition: Perfect condition Provenance: American private collection. Literature comparison: A very similar dish, Daoguang mark and of the period is illustrated by P.Lam, Imperial Porcelain of the Late Qing From the Kwan Collection, Hong Kong, 1983, p.48, no.14. Auction result comparison: ASIAN ART. Sotheby’s, 18 MARCH 2017, NEW YORK, lot 1001. (for a similar dish) FINE CHINESE ART. Bonham’s, London, 14 May 2015, lot 223. (for another similar dish) 忻⃱曺剙漵䲳䡇忻⃱ℕ⫿曺剙㫦 ᷕ⚳炻忻⃱ 炷1821-1850炸忈✳烉䡇慵慷烉 225.6 ⃳ ⯢⮠烉䚜⼹ 16.5 ⍀䰛 ⑩䚠烉⬴伶 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 1500,Starting priceġ崟㉵₡ġġEUR 750,-

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162 A YELLOW-GROUND GREEN-ENAMELLED ‘DRAGON’ DISH, MARK AND PERIOD OF GUANGXU Sturdily potted, incised and painted in green enamel against a yellow ground, raised foot rim China, Guangxu period (1875-1908) The interior decorated below the lobed rim with two five-clawed dragons each in pursuit of a flaming pearl, surrounding a five-clawed dragon and flaming pearl amidst flowers within a double circle, the exterior with floral sprays. Six-character mark painted in running script in underglaze blue to the base. Wooden stand. (2) Shape: Lobed dish Weight: 105.4 grams Dimensions: 13.2 cm diameter 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 a teenager. He graduated from USC in 1928 and established a successful import/export business in both China and the US. He was the first Chinese American to purchase property in Beverly Hills. He also became the first Asian to serve on the Board of the Los Angeles Chamber of Commerce. He donated millions of dollars to his Alma mater, USC. There is a statue of him on USC campus and a classroom was named after him. Auction result comparison: CHINESE ART INCLUDING SELECTED WORKS OF ART FROM THE T.Y. CHAO FAMILY COLLECTION. Sotheby’s, 30 NOVEMBER 2017 - 01 DECEMBER 2017, HONG KONG, lot 623. (compare with a related pair of Guangxu dragon dishes) ⃱䵺湫⛘䵈慱漵䲳剙⎋䚌 ⍂偶炻湫⛘䵈慱炻⚰嵛炻⃱䵺㫦冯⸜ẋ ᷕ⚳炻⃱䵺 (1875-1908) 忈✳烉剙⎋䚌慵慷烉105.4 ⃳ ⯢⮠烉13.2 ⍀䰛䚜⼹ ⑩䚠烉ᾅ⬀㤝⤥炻⁭㚱⮷䢐㎵ 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 600,Starting priceġ崟㉵₡ġġEUR 300,-

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163 AN IRON-RED-DECORATED ‘DRAGON’ DISH, XUANTONG MARK AND PERIOD Sturdily potted with a raised foot rim and painted in iron-red above the glaze as well as white enamels in relief China, Xuantong six-character mark in underglaze blue and of the period (1908-1911) 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 in white enamel, all amongst flame scrolls and ruyi-shaped clouds. The reverse is decorated with a circumferential band of lotus flowers with their leaves and tendrils in iron-red. Shape: Dish Weight: 506 grams Dimensions: 22 cm diameter Condition: Excellent condition with only one tiny chip to rim (well visible on the images) Provenance: From the estate of Frederick C. McMillen, a US government and UN official in China after the second world war. Auction result comparison: Fine Chinese Ceramics & Works of Art. Christies, London, 7 November 2017, lot 217. (compare with a related dish) ⭋䴙䞦䲭⼑暁漵㇚䎈䡇炻⭋䴙㫦冯⸜ẋ ⚰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✳烉䡇慵慷烉506 ⃳ ⯢⮠烉䚜⼹22 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻䡇㱧ᶲ㚱⮷䡽䡘 炷䄏䇯ᶲ⎗夳炸 Ἦ㸸烉Frederick C. McMillen怢䓊炻Ḵ㇘⼴伶⚳㓧⹄⍲倗⎰⚳㳦怋ᷕ⚳ EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

167

164 AN INCISED AND GILT ‘DRAGON’ PORCELAIN MEIPING, LATE QING DYNASTY Sturdily potted, covered with a robin’s egg glaze, the relief-work with extensive gilding China, late 19th – early 20th century The two main sides with a lobed reserve depicting two sinuous Chilong amid clouds in high relief against a curled waves background. The shoulders with two Buddhist lion masks. The main reserves each surrounded by four ﬂying bats in high relief, the neck with two lotus blossoms and their tendrils. The background with incised hibiscus, bamboo and cherry blossoms, the lip with a key fret border. The base with an incised Qianlong seal mark. Old custom-made tin box with inscription. Well-carved matching hardwood base with ruyi in high relief. (3) Shape: Meiping Weight: 1921 grams Dimensions: Height 31 cm (without base) Condition: Excellent condition with only minor wear and some minute fritting to base Provenance: From a lady’s estate in Honolulu, Hawaii. Her father purchased this vase in Hong Kong prior to 1970. (by repute) 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,-

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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 (18751908). 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 executed in green, yellow and ironred enamels. The round neck and base rims each show a meander border and at the shoulder are clouds. Shape: Cong form Weight: 2,336 grams Dimensions: 24.5 cm height Condition: very good condition with minor traces of wear and age – mainly to the foot rim Provenance: from an American private collection Auction result comparison: for a related blue-glazed elephant mask Cong vase of the Guangxu period see Bonhams, FINE CHINESE ART, 11 Nov 2010, LONDON, NEW BOND STREET, Lot 403. ⃱䵺䠔⼑漵䲳暁俛䏖䒞䠔⼑昞䒟 ᷕ⚳炻⃱䵺炷1875-1908炸忈✳烉䏖⼊慵慷烉2,336 ⃳ ⯢⮠烉檀 24.5 ⍀䰛 ⑩䚠烉㤝⤥炻ᷣ天⛐⚰嵛悐ỵ㚱庽⽖⸜ ẋ䕽嶉冯䢐㎵ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

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166 A PAIR OF ENAMELED ‘BUTTERFLY’ PLATES, LATE QING DYNASTY The sturdily plates painted in vivid polychrome enamels on a light turquoise ground China, 19th – earlier 20th century, square hallmark painted in underglaze blue to the base Delicately painted with numerous butterflies of various sizes amid chrysanthemum, peonies, lichee and pomegranates surrounded by their leaves and tendrils. Both with old appliances for wall suspension. Shape: Plates Weight: 760 grams approximately each Dimensions: 25.5 cm each Condition: Very good condition with one microscopic glaze flake to rim, some wear and surface scratches, and little loss of enamel to one butterfly and flower Provenance: German private collection. Acquired in China around 1930 and thence by descent. ᶨ⮵㘂㶭圜圞剙⋱䲳䚌䵈㜦䞛刚⸽慱炻⣂刚䏢䎭慱 ᷕ⚳炻⋩ḅ军Ḵ⋩ᶾ䲨⇅炻⸽悐曺剙 ➪㫦忈✳烉䚌慵慷烉㭷ẞ䲬760 ⃳ ⯢⮠烉㭷ẞ 25.5 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻怲䶋嗽⁭㚱ᶨ㡅㤝䳘⽖慱朊攳塪炻ᶨṃ䢐㎵炻堐朊⇖䕽炻圜圞␴剙⋱ᶲ㚱ṃ⼑慱㎵⣙ Ἦ㸸烉⽟⚳䥩Ṣ㓞啷炻䲬⛐1930⸜岤㕤ᷕ⚳炻ᷳ⼴ᶨ䚜⛐㓞啷ᷕ EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

167 AN UNUSUAL TEADUST BOWL, QING DYNASTY Sturdily potted with a sprawling lip and a massive, raised foot rim, entirely covered with a rich teadust glaze China, Qing dynasty Incised four-character Xuande mark in a black, square reserve to base. The thick and bubble-suffused glaze with a smooth appearance, thinning towards the lip and neatly ending just above the foot rim. Old box with inscription. Fitted hardwood stand with ﬁve ruyi-shaped feet. (3) Shape: Bowl Weight: 564.5 grams Dimensions: Diameter 20.6 cm Condition: Excellent condition with some manufacturing ﬂaws and minute kiln grit to well

170

Provenance: From a lady’s estate in Honolulu, Hawaii. Her father purchased this vase in Hong Kong prior to 1970. (by repute) 㶭ẋ勞叱㛓慱䠿 ⍂偶炻㐯⒯炻⍂⚰嵛炻偶橼㕥ᶨⰌ寸儜㖶㼌勞叱㛓慱 ᷕ⚳炻㶭ẋ 忈✳烉䠿慵慷烉 564.5 ⃳ ⯢⮠烉䚜⼬20.6 ⍀䰛 ⑩䚠烉ᾅ⬀㤝⤥炻庽⽖墥忈仢星炻偶橼䳘兑 Ἦ㸸烉ᶨỵἮ冒⢷⦩⣟䀓⤜欗欗䘬屜⨎怢䓊炻⤡䘬䇞奒Ḷ1970⸜⇵⛐楁㷗岤⼿㬌䠿 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

168 A ‘DRAGON’ PORCELAIN CHARGER, LATE QING DYNASTY The massively potted plate painted in polychrome enamels on yellow ground China, 19th – to earlier 20th century Zestfully painted to depict two five-clawed dragons amid numerous clouds and flames chasing the flaming magic pearl. The backside with a six-character Qianlong mark painted in iron red, as well as remainders of an old collector’s label and an old appliance for wall suspension. Shape: Dish Weight: 1609 grams Dimensions: 34.5 cm. Condition: Perfect condition with only minor manufacturing flaws Provenance: German private collection. Acquired in China around 1930 and thence by descent. 㘂㶭暁漵㇚䎈䚌偶橼⍂慵炻湫⛘⣂⼑慱 ᷕ⚳炻⋩ḅ军Ḵ⋩ᶾ䲨⇅ 忈✳烉䚌慵慷烉1609 ⃳ ⯢⮠烉34.5 ⍀䰛 ⑩䚠烉⬴伶炻⁭庽⽖墥ἄ仢星 Ἦ㸸烉⽟⚳䥩Ṣ㓞啷炻ᶲᶾ䲨ᶱ⋩⸜ẋ岤㕤ᷕ ⚳炻ᷳ⼴ᶨ䚜ᾅ⬀⛐㓞啷ᷕ EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

169 A LARGE LILING ‘MONTAIN LANDSCAPE’ PORCELAIN PLATE, MODERN Sturdily potted and painted in polychrome enamels above the glaze, with a gilded rim China, date year of Xinwei Artist signature QUN LI 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. Auction result comparison: ASIAN ART. Bonham’s, 14 May 2018, LONDON, lot 151. (compare with a pair of bowls with youxiacai (Liling Qun li) seal mark) Ḵ⋩ᶾ䲨⣏✳Ⱦ㣲㞛㧡ᶳ㚱⸥⯭ȿ䰱⼑䚌䰱⼑炻攳⃱炻怲䶋拵慹 ᷕ⚳ 忈✳烉䚌慵慷烉1848 ⃳ ⯢⮠烉䚜⼹ 35.5 ⍀䰛 ⑩䚠烉⬴伶 Ἦ㸸烉⽟⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

171

170 A MOTTLED GREEN JADEITE SNUFF BOTTLE, 1785-1880 The apple-green stone mottled with icy-white and spinach-green inclusions, very good hand-polish China, 1780-1880 The color combination of the present material is an unusual one, but the traditional shape, fine hollowing and good surfacepolish indicate an earlier example. Jadeite comes from a remote part of Burma and first attracted the attention, and then the passion of the Qianlong emperor, although regular supplies of the stone had to await the normalization of previously bellicose relations between China and Burma in 1784. In the latter part of the Qianlong reign, snuff bottles were regularly made of jadeite for, and at the Court, and its ongoing popularity may be seen in a series of porcelain bottles and other wares with glazes imitating jadeite during the Daoguang period (Moss, Graham and Tsang, The Art of the Chinese Snuff Bottle. The J & J Collection, no. 251). Shape: Bulbous heart shape Hollowing: Very good, the weight of only 45,9 grams excluding stopper is extremely low Mouth, neck and lip: Short cylindric neck, flat top, cylindric wide mouth Base: Flat oval base Stopper: Rose quarz with black platelet and good old spoon Height of the bottle with stopper: 5.9 cm. Width of the mouth: 7 mm. Width of the neck: 16 mm. Weight: 50 grams Condition: Perfect condition with only one microscopic nibble to lip 172

Provenance: American private collection, old museum inventory number to base Literature comparison: The Palace glassworks also made bottles that simulated jadeite in both color and weight (see one example, formerly in the Meriem Collection and sold at Christies, New York, 19 September 2007, lot 699). Auction result comparison: Fine Chinese Ceramics and Works of Art Part I and Part II Including Property from the Arthur M. Sackler Collections. Christies, New York, 24 March 2011, lot 1590. The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part I. Christies, New York, 16 September 2015, lot 253. (both for bottles made from similar jade dating from the same period) 侉侈⃱䳈滣䂇⢢炻1785-1880 侉侈ⷞ㶙㶢侈䵈刚⅘䘥倴䎮㡅䲳炻䱦ⶍㇻ䢐㉃⃱ ᷕ⚳炻 1780-1880 ⢢✳烉溻⚻⽫⼊㌷元烉夷㔜炻ᶵ⊭⏓⢢味慵⁭ 45,9 ⃳炻㤝庽 ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⸛朊 ⢢⎋炻⮔⎋ ⸽嵛烉㨊⚻⼊⸛⚰嵛 ⢢味烉䰱㘞⚻味炻湹㈀炻侩㛻 ⢢檀炷⏓⢢味炸烉5.9 ⍀䰛 ⎋⼹烉 7 㮓䰛 ⢢柠⮔烉 16 㮓䰛慵慷烉 50 ⃳ ⑩䚠烉 ⬴伶炻堡㚱⒯悐䦵㚱庽⽖䡘㎵ Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻⸽悐⎗夳 ⌂䈑棐㓞啷侩㧁䯥 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

171 A PLAIN WHITE AND RUSSET JADE SNUFF BOTTLE, 1750-1850 Nephrite of ochre-white color with hues of russet, excellent surface polish China, 1750-1850 The superbly hollowed bottle of classic form, with two separate clouds of russet slightly flattened by the carver. The backside is of pure and even color. Overall a simple yet striking bottle. Shape: Rounded, slightly bulbous square shape Hollowing: Excellent, the weight of the bottle alone is only 59.3 grams! Mouth, neck and lip: Broad and short cylindric neck, flat top and small mouth Base: Raised oval foot rim and large oval base Stopper: Glass in imitation of coral on a gilt bronze platelet, with a very nice old spoon elegantly carved of stag antler Height of the bottle with stopper: 7.1 cm. Width of the mouth: 19 mm. Width of the neck: 6 mm. Weight: 72.2 grams Condition: Absolutely perfect condition, one natural fissure to the mineral Provenance: American private collection Auction result comparison: A Collecting Legacy: Fine Chinese Jade Carvings and Works of Art from the Lizzadro Collection. Christies, New York, 21 March 2013, lot 895. (for a similar bottle, the russet being mottled instead of concentrated in two clouds) Part II of the same sale, 19 September 2013, lot 1230. (for a pebble bottle, also with two separated, flattened russet clouds) 䘥䌱ⷞ䙖滣䂇⢢炻1750-1850 䘥䌱ⷞ㰩刚炻堐朊䱦ⶍ㉃⃱ ᷕ⚳炻 1750-1850 ⢢✳烉 ῷ⚻䎫⼊䘬㕡⼊㌷元烉㤝⤥炻ᶵ⏓味⢢⁭慵59.3 ⃳! ⢢⎋ˣ柠冯⒯悐烉 ⮔侴䞕䚜柠炻⸛朊⢢⎋炻⮷⎋ ⸽嵛烉㨊⚻⼊⚰嵛炻⸽悐㨊⚻ ⢢味烉 ầ䍲䐂䍣䐫味炻戭㈀䇯炻朆ⷠ䱦伶䘬晽ㆸ渧奺䘬侩㛻 ⢢檀炷⏓⢢味炸烉 7.1 ⍀䰛 ⎋⼹烉 19 㮓䰛 ⢢柠⮔烉 6 㮓䰛慵慷烉 72.2 ⃳ ⑩䚠烉䳽⮵⬴伶, 䣎䞛倴䎮ℭ㚱ᶨ⣑䃞塪䲳 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

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⒯ ⸽嵛烉㨊⚻檀⚰嵛 ⢢味烉䵈刚㜙昝䞛 ⢢檀炷⏓⢢味炸烉7.1 ⍀䰛 ⎋⼹烉7 㮓䰛 ⢢柠⮔烉21 㮓䰛慵慷烉101 ⃳ ⑩䚠烉㤝⤥炻ᶨṃ⸜ẋ䕽嶉 Ἦ㸸烉劙⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

173

173 A CELADON AND RUSSET JADE SNUFF BOTTLE, 18TH CENTURY The stone of rich celadon color with one deep russet cloud on the front side and several associated shades and veins, good surface polish China, 18th century An elegant and appealing bottle that seduces the seasoned jade collector with its strictly formal design enhancing the natural beauty of the mineral. Shape: Bulbous oval shape Hollowing: Very good Mouth, neck and lip: Elongated cylindric neck with slanted inner and outer lips, slightly convex top and very small mouth Base: Oval, almost rectangular base with broad, raised foot rim Stopper: Porcelain in imitation of turquoise with metal mounting Height of the bottle with stopper: 6.2 cm. Width of the mouth: 6 mm. Width of the neck: 18 mm. Weight: 78 grams Condition: Perfect, with some natural ﬁssures to the mineral Provenance: American private collection 曺䌱ⷞ䙖滣䂇⢢炻⋩ℓᶾ䲨曺刚䌱炻㬋朊⸦㡅刚㽌ᶵ⎴䲭刚倴䎮炻堐朊㉃⃱列⤥ ᷕ⚳炻ġ⋩ℓᶾ䲨 ⢢✳烉㨊⚻⼊㌷元烉㤝⤥ ⢢⎋ˣ柠冯⒯悐烉䚜柠⺞Ỡ炻㐯⒯炻⎋㤝⮷ ⸽嵛烉㨊⚻炻役᷶㕡⼊⸽炻檀⚰嵛 ⢢味烉ġầ䵈㜦䞛昞䒟味炻慹Ⱄ㟮 ⢢檀炷⏓⢢味炸烉ġ6,2ġ⍀䰛 ⎋⼹烉6ġ㮓䰛 ⢢柠⮔烉18ġ㮓䰛慵慷烉78ġ⃳ ⑩䚠烉⬴伶炻ↈ忻⣑䃞塪䷓ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

174

174 A PALE CELADON ‘WRAPPED’ JADE SNUFF BOTTLE, 18th – 19 th CENTURY Very pure nephrite of even color, with hardly any inclusions at all China, 18th- 19th century The body of the vessel is partially wrapped with a brocade cloth, leaving one shoulder naked. The wrapping cloth with a repeating petal diaper motif carved and incised in light relief. The shoulders with lion mask rings carved in high relief, with one mask covered by the brocade cloth. Shape: Sweeping rectangular form with rounded shoulders, slightly bulbous Hollowing: Very good Mouth, neck and lip: Short sprawling neck with slanted lip and tiny mouth Base: Oval convex base Stopper: Imperial Beijing style stopper carved out of one single piece of mother of pearl, old spoon Height of the bottle with stopper: 6.8 cm. Width of the mouth: 6 mm. Width of the neck: 16 mm. Weight: 47.2 grams Condition: Perfect condition Provenance: UK private collection Auction result comparison: CHINESE WORKS OF ART AND PAINTINGS. Bonham’s, 19 March 2018, NEW YORK, lot 8025. (for a celadon jade bottle with a similar motif) 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 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨 ⢢✳烉攟⼊⚻偑炻㌷元烉㤝⤥ ⢢⎋ˣ柠冯⒯悐烉䞕柠炻㐯⒯炻⮷⎋ ⸽嵛烉㨊⚻檀⚰嵛 ⢢味烉⊿Ṕ⽉墥桐㟤⢢味炻⭀ⷥ枪䎈⼊炻侩㛻 ⢢檀炷⏓⢢味炸烉 6.8 ⍀䰛 ⎋⼹烉6 㮓䰛 ⢢柠⮔烉16 㮓䰛慵慷烉47.2 ⃳ ⑩䚠烉⬴伶 Ἦ㸸烉劙⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

175

176

175 AN INSCRIBED WHITE JADE ‘BOY AND BAT’ SNUFF BOTTLE, 18 TH CENTURY Absolutely flawless, pure white jade (nephrite) with carving in light relief, incised, well-polished China, 18th century The superb carving comes in very thin relief and depicts a playful dancing 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 good, natural patina. Highly detailed, powerful lion mask ring handles to the side, skillfully carved in high relief. Overall the strictly formal execution of shape, handles, hollowing, foot and neck, along with the magnificent quality of the carving and incising of the poem, indicate an Imperial provenance. Bottles that show both a depiction and a poem are generally considered to be extremely rare, much rarer that their counterparts that show only the poems. Poem translation: Fortune rises up and falls down, The hall is filled with fortune; Fortune flies and floats, Fortune falls from the sky; The golden boy has fingers like jade and a face so soft, He raises his head and longs for good news. Zizhou

inscribed jade bottles, see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, Vol. I, Hong Kong, 1995, pp. 266-69, no. 109. Auction result comparison: A comparable bottle from The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part IV was sold at Christie’s New York, 15 March 2017, lot 318. 䘥䌱圈䪍滣䂇⢢炻⋩ℓᶾ䲨㻼䘥䃉䏽䘬䘥䌱炻晽⇣䱦䶣炻堐朊⃱㼌 ᷕ⚳炻 ⋩ℓᶾ䲨晽⇣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 ⶏ⥁㶙㴖晽ˤ ䷥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婔㖶忁㚦䴻㗗ᶨẞ⽉䓐滣䂇⢢ˤ 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 娑烉䤷⋯䤷句䤷㺧➪ 䤷梃䤷佼䤷⣑旵慹䪍䌱㊯柷⃺朊価椾䚤Ἦ䤍䤷枛 ⫸ᶹ

Shape: Flattened heart shape Hollowing: Outstanding Mouth, neck and lip: Short cylindric neck with convex top and deep, symmetric inner cylinder, small mouth Base: Oval base with thin, ﬂattened foot rim Design, marks, school: Most likely Imperial workshops, Beijing Stopper: Red coral cabochon with pearl knob, black platelet and good, old spoon Height of the bottle with stopper: 8.2 cm. Width of the mouth: 8 mm. Width of the neck: 18 mm. Weight: 104.4 grams Condition: Perfect. The material does not even show any natural ﬂaws. 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.

⢢✳烉㇩⸛⽫⼊㌷元烉 ᶵ⎴↉枧 ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻枪悐↠↢炻㶙ᶼ⮵䧙䘬ℭ⚻㞙炻⮷⎋ ⸽嵛烉㨊⚻⼊⸽炻⚰嵛举䳘㇩⸛ 忈✳ˣ句㫦⍲㳩㳦烉㤝⁷⽉墥⑩炻⊿Ṕ ⢢味烉䲭䍲䐂⍲䍵䎈㕳憽炻湹刚㈀䇯炻侩㛻ᾅ⬀⤥ ⢢檀炷⏓⢢味炸烉 8.2 ⍀䰛 ⎋⼹烉 8 㮓䰛 ⢢柠⮔烉 18 㮓䰛慵慷烉 104.4 ⃳ ⑩䚠烉 ⬴伶炻㮓䃉⣑䃞仢星 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 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 ⎗夳Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, Vol. I, Hong Kong, 1995, pp. 266-69, no. 109. ㉵岋䳸㝄㭼庫烉The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part IV ḶChristie’s New York, 15 March 2017, lot 318.

Literature comparison: A yellow jade bottle incised with a Qianlong Imperial poem on either side, and a further discussion of imperially

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

177

176 A PALE CELADON ‘CHILONG’ JADE SNUFF BOTTLE, QING DYNASTY The nephrite of pure and even pale celadon tone, carved in high relief, with a good hand-polish China, 18th-19th century The rectangular-shaped bottle carved with two sinuous chilong in slightly raised reserves with rounded edges. The sides with powerful lion mask ring handles in high relief. Shape: Rectangular Hollowing: Very good Mouth, neck and lip: Cylindric, slightly sprawling neck, convex top and small mouth Base: Oval base with signiﬁcantly raised foot rim Stopper: Matching yellow jade stopper on a malachite platelet with a very nice, old spoon Height of the bottle with stopper: 7 cm. Width of the mouth: 6 mm. Width of the neck: 20 mm. Weight: 89 grams Condition: Excellent, with only a few natural ﬁssures 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. Auction result comparison: CHINESE WORKS OF ART, Bonham’s, 14 March 2016, NEW YORK, lot 8020. (for a bottle from the same group) 曺䘥䌱坕漵滣䂇⢢炻㶭ẋ 曺䘥䌱䲼Ⅸ炻晽⇣䱦伶炻堐朊㉃⃱㝼␴ ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨 ⢢✳烉攟㕡幘㌷元烉㤝⤥ ⢢⎋ˣ柠冯⒯悐烉⮔⣏⚻㞙⼊柠悐炻枪悐↠崟炻⮷⎋ ⸽嵛烉㨊⚻⼊⸽炻檀⚰嵛 ⢢味烉湫䌱味炻⫼晨䞛㈀䇯炻䱦䶣䘬侩㛻 ⢢檀炷⏓⢢味炸烉 7 ⍀䰛 ⎋⼹烉 6 㮓䰛 ⢢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

177 A RARE ‘LIU HAI’ JADE SNUFF BOTTLE, QING DYNASTY Yellow jade with a cinnabar inclusion and some lighter veins, carved and incised in high relief, very good manual polish with almost ‘oily’ surface China, 18th – 19th Century Liu Hai is shown standing on top of the three-legged toad with the string of cash in his raised right hand. The back side with several lingzhi springing from rockwork and a flying bat. Shape: Bulbous sweeping shape Hollowing: Superb Mouth, neck and lip: Short sweeping neck with slanted lip, flat top, very small mouth Base: Oval convex base with flat foot rim Stopper: Coral cabochon with old metal mounting and spoon, organic platelet Height of the bottle with stopper: 7.4 cm. Width of the mouth: 5 mm. Width of the neck: 19 mm. Weight: 61.4 grams Condition: Excellent with some old wear, as expected on a bottle of this age Provenance: American private collection 份夳䌱晽∱㴟滣䂇⢢炻㶭ẋ 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 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨 ⢢✳烉䎫䉨炻ᶳ㔪㌷元烉檀崭 ⢢⎋ˣ柠冯⒯悐烉柠悐䞕ᶼ⮔⣏炻㐯⒯炻⸛朊⢢⎋炻⎋㤝⮷ ⸽嵛烉㨊⚻↠↢炻⸛⚰嵛 ⢢味烉䍲䐂炻慹Ⱄ㟮炻⮷㛻炻㚱㨇㛸㕁㈀䇯 ⢢檀炷⏓⢢味炸烉7.4 ⍀䰛 ⎋⼹烉5 㮓䰛 ⢢柠⮔烉19 㮓䰛慵慷烉61.4 ⃳ ⑩䚠烉㤝℞⃒䥨炻䦵㚱⸜ẋ䕽嶉 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

179

178 A HUMORISTIC ‘LIU HAI’ SHADOW AGATE SNUFF BOTTLE, OFFICIAL SCHOOL, 1750-1850 The agate of very light and even cream color, with barely any inclusions, a darker layer carved in high relief, neatly incised detail work, good polish China, 1750-1850 Here comes a humoristic variation of the subject with Liu Hai using his string of cash as a skipping rope while the three-legged toad is attentively watching the scene. Shape: Bulbous square shape with rounded shoulders Hollowing: Very good, with the interior proﬁle precisely following the exterior shape Mouth, neck and lip: Short, broad and cylindric neck with curved top and small mouth Base: Oval recessed base with raised and rounded oval foot rim Design, marks, school: Ofﬁcial school Stopper: Coral on green platelet, good spoon Height of the bottle with stopper: 6.9 cm. Width of the mouth: 6 mm. 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ảỽ⣦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 ⢢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

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 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 ᷕ⚳炻1750-1850 ⢢✳烉⚻䎫⼊㌷元烉ᶵ⎴↉枧炻晐⢢幓⼊䉨ㆸ⼊ ⢢⎋ˣ柠冯⒯悐烉䞕⮔柠炻⢢⎋⻶㚚炻⎋㤝⮷炻㐯⒯ ⸽嵛烉㇩㨊⚻⼊忈✳ˣ句㫦⍲㳩㳦烉⭀㕡ⶍ⛲ ⢢味烉ⷞ䉨䐒䐁炻湹刚㈀䇯炻侩㛻ᾅ⬀列⤥ ⢢檀炷⏓⢢味炸烉 6.9 ⍀䰛 ⎋⼹烉6 㮓䰛 ⢢柠⮔烉21 㮓䰛慵慷烉71.9 ⃳ ⑩䚠烉⬴伶 Ἦ㸸烉≈㊧⣏䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

The bottle seen against the light

181

182

The bottle seen against the light

180 A SUPERBLY CARVED ‘MONKEY AND HORSES’ CAMEO AGATE SNUFF BOTTLE, QING DYNASTY Attributed to the ‘Stevens Deer Master’, Official School China, 1740-1840 Depiction of two horses resting under a pine tree, in which a lurking monkey is hidden. Executed in very high relief with incredibly fine incising work. The translucent mineral of even, almost flawless honey-brown color with a completely opaque layer of light ochre carved through. The backside with few white speckles and clouds of cinnabarred. Excellent surface polish. This bottle relates to a group of chalcedony bottles classified by Hugh Moss as Group B (see H. Moss, Chinese Snuff Bottles of the Silica or Quartz Group and Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, Vol. 2, Quartz, no. 326, where a small subgroup of spectacularly well-carved agate bottles has been identified and the name “The Stevens Deer Master” was coined for the carver). This bottle is one of the few examples known, displaying inspired use of the stone’s markings and impeccable carving and polishing. Shape: Bulbous square form with rounded shoulders Hollowing: Excellent Mouth, neck and lip: Short cylindric neck with convex top and slanted lip, small mouth Base: Oval base with raised foot rim Design, marks, school: Official school Stopper: Red Jasper, black platelet, minuscule old spoon neatly carved of organic material Height of the bottle with stopper: 7.8 cm. Width of the mouth: 7 mm. Width of the neck: 27 mm. Weight: 103.5 grams Condition: Absolutely perfect Provenance: From a Beverly Hills, California, private estate

Literature comparison: A related cameo agate bottle of similar coloring, but carved with mythical felines (xiezhai) playing with brocade balls, is illustrated in Snuff Bottles in the Collection of the National Palace Museum, p.231, no. 320. Another agate bottle attributed to the Stevens Deer Master, carved with a Buddhist lion with a brocade ball beneath a bird perched in a prunus branch, is illustrated by D. Low, More Treasures from The Sanctum of Enlightened Respect, p. 244, no. 227. Three other bottles attributed to his hand in the collection of Mary and George Bloch and are illustrated by Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, Vol. 1, Quartz, pp. 392-99, nos. 326-28, the last of which is carved from green moss agate with a relief design carved from a layer of beige crystal. Auction result comparison: Important Chinese Snuff Bottles From The J&J Collection, Part IV. Christies, New York, 22 March 2007, lot 33. (for a bottle from the same artist) 囄䱾䐒䐁䱦晽楔ᶲ⮩ὗ滣䂇⢢炻㶭ẋ ⭀㕡ⶍ⛲ ᷕ⚳炻 1740-1840 ⢢✳烉㕡⼊⚻偑㌷元烉⃒䥨 ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⢢⎋堐朊↠↢炻㕄 ⒯炻⮷⎋ ⸽嵛烉㨊⚻檀⚰嵛忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ ⢢味烉䲭䡏䞛炻湹㈀䇯炻㚱㨇㛸㕁侩㛻ᶲ⎗夳⽖ ᶵ嵛忻䘬䡽䡘  ⢢檀炷⏓⢢味炸烉 7.8 ⍀䰛 ⎋⼹烉 7 㮓䰛 ⢢柠⮔烉 27 㮓䰛慵慷烉 103.5 ⃳ ⑩䚠烉 ⬴伶 Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

183

181 A CAMEO AGATE ‘MONKEY ON HORSEBACK’ SNUFF BOTTLE, OFFICIAL SCHOOL, QING DYNASTY The stone of transparent honey-brown color with relief in more opaque, darker brown that has an upper layer of speckling of a different tone partially cut through, good manual surface polish China, 18th – 19th century Humoristic depiction of a monkey riding a horse and chasing several butterflies. Very fine detail work incised. Shape: Flattened square form with rounded shoulders Hollowing: Excellent Mouth, neck and lip: Elongated cylindric neck with convex top and slanted lip Base: Rectangular base with raised foot rim and rounded corners Design, marks, school: Official school Stopper: Glass imitating ochre agate, blue platelet, good old spoon neatly carved of organic material Height of the bottle with stopper: 7.8 cm. Width of the mouth: 8 mm. Width of the neck: 24 mm. Weight: 103.5 grams Condition: Excellent Provenance: From a Beverly Hills, California, private estate, old collector number to base Auction result comparison: SNUFF BOTTLES FROM THE MARY & GEORGE BLOCH COLLECTION: PART VIII. Sotheby’s, 26 MAY 2014, HONG KONG, lot 1104. (for a similar bottle) ⭀⭞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⤥ ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨 ⢢✳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

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 number to base Literature comparison: For a discussion of the Official School of hard-stone carving, see H. Moss, V. Graham, K. B. Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 2, Quartz, no. 258, and nos. 301-306 which are all from the same school and decorated with horses 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 Collection, p. 180, no. 122. Auction result comparison: J & J COLLECTION OF SNUFF BOTTLES, PART III. Christies, New York, 29 March 2006, lot 10. (for another inscribed cameo agate ‘horse’ snuff bottle) ⭀⭞ⶍ⛲䐒䐁ⶏ晽楔ᶲ⮩ὗ滣䂇⢢炻㶭ẋ ⋲德㖶ḛ曺刚炻囄墸刚ⷞ䙖↎㶙㴖晽炻堐朊㉃⃱列⤥ ᷕ⚳炻 1760-1830 ⢢✳烉㇩⸛㕡⼊炻⚻偑㌷元烉⃒䥨 ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⢢⎋堐朊↠↢炻㕄⒯ ⸽嵛烉㕡⸽檀⚰嵛炻⚻奺忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ ⢢味烉䵈刚崕䞛刚䌱炻㛐㈀䇯炻㜇ⷞ⼊㚱㨇㛸㕁⮷㛻 ⢢檀炷⏓⢢味炸烉 7.5 ⍀䰛 ⎋⼹烉 8 㮓䰛 ⢢柠⮔烉23 㮓䰛慵慷烉 111.5 ⃳ 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,-

185

183 AN UNUSUAL ‘RESTING SCHOLAR’ SHADOW AGATE SNUFF BOTTLE, 19TH CENTURY The agate of light brown color with the back showing a darker tone, the center with a copper-colored layer, carved and incised in high relief China, 19th century Depiction of a sage resting under a pine tree surrounded by serrated 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 waves on the lower end serving as a silent yet dominating framework. 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

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⒯ ⸽嵛烉㨊⚻ℭ↡嵛忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ ⢢味烉䍲䐂枪炻䵈刚㚱㨇㛸㕁⊭⳴炻侩㛻朆ⷠ⤥ ⢢檀炷⏓⢢味炸烉7 ⍀䰛 ⎋⼹烉7 㮓䰛 ⢢柠⮔烉20 㮓䰛慵慷烉61.4 ⃳ ⑩䚠烉⃒䥨 Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

187

The bottle seen against the light

188

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 consisting of natural inclusions in the stone, whereas the fish themselves are partially carved and partially consisting of natural inclusions. This bottle is part of a small sub-group of the Official school that represents the height of both chalcedony carving and ink-play agate in the snuff-bottle field and, therefore, in the whole of Chinese history, since the snuff bottle was both the last imperial fling and the epitome of so many art forms. This carver may have had his own workshop, but he also appears to have worked for the court and possibly at the palace workshops or some other imperial facility. The palace workshops were often staffed with artists co-opted from private workshops around the country and the honor of working for the emperor was rarely turned down. He was dubbed the Cameo Ink-play Master by Moss, Graham and Tsang because all of his recognizable works are cameos to some extent, and yet he also managed to combine his varied relief work using different colors in the material with some of the most imaginative and masterly ink-play works in the entire medium. Yet no other work by him executed solely in the reverse intaglio technique is known to this date. This bottle bears all the master’s hall marks. It is superbly made and hollowed 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 material which sets it apart and identifies it as one of his creations. The transparent agate has striations running through it which the artist has aligned vertically 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 several darker and lighter ‘ink drops’, perfectly interpreted as a pond with all its natural details. It is a masterly ink-play agate and, like many of the finest, perfectly integrates minor yet clever editing of the colored areas, in this case the fish eyes, the contours of the tails and some of the blossoms surrounding the fish. It also has another common feature of this master’s works: a high gloss finish. Intriguingly, when one compares the plain areas of this bottle with many others of the Official school, there seems to be no difference in polish, and yet a high gloss 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, finishing and polishing of the carved details inside the bottle that gives the feeling of an even higher gloss than normally. The Cameo Ink-play Master preferred no particular shape, allowing his ink-play as much freedom as possible. Where there is decoration, he lets the form follow the dictates of the markings in the stone. Here the shape is probably prompted by the vertical banding on the edges to the narrow sides, positioned slightly off-center to balance the depiction at the front, which required a fairly large bottle with a continuous, even contour and no foot rim to avoid any visual conflict with the powerful vertical and diagonal banding as well as the many larger and smaller ink drops. Shape: Bulbous round form Hollowing: Superb Mouth, neck and lip: Short, slightly waisted neck with convex top, extremely small mouth and slanted lip Base: Oval recessed base with slanted foot rim Stopper: Large coral cabochon with a Russian 1912 50 Kopeck (half Ruble) coin as collar and associated silvered metal spoon Height of the bottle with stopper: 8 cm. Width of the mouth: 6 mm. Width of the neck: 25 mm. Weight: 66.3 grams without stopper (very light for a bottle of this size, due to extreme hollowing) and 94.4 grams with the stopper (the stopper alone weighs about half of the bottle!) Condition: 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.

Literature comparison: For other examples by this master, see Moss, Graham, Tsang, Treasury 2, nos. 320–325 and for the one from the Prince Ding Collection, Treasury 2, no. 362, where it is grouped with other bottles bearing the prince’s hall name. There was another sold in China (China Guardian, Beijing, 21 October 1996, lot 1932) and a more obvious example from the J & J Collection is illustrated in Moss, Graham, and Tsang 1993, no. 156. Others are illustrated in Moss 1971, nos. 145, 147 (the J&J fish) and 148, and in Sotheby’s, New York, 22 September 1995, lot 150. It now seems possible that the green relief chalcedony, no. 211 in Moss, Graham, and Tsang 1993 (better illustrated in color in Stevens 1976, no. 520) may be from the hand of this master whose works are linked as much by technique and genius as by any predictable style. No. 521 in the same publication may also be by him. One more example, definitely by the master and decorated with a five-clawed dragon which, from the mid-Qing period implies an imperial product, remains as yet unpublished (Hugh Moss personal records). The bottle with the five-clawed dragon also has a distinct flat upper neck rim of typical palace style. This is a very unusual feature on any Official school bottle and may indicate that the Cameo Inkplay Master worked, for at least part of his career, at the palace workshops. 㤝䦨㚱慹欂䛤⍵晽⇣䐒䐁滣䂇⢢炻1750-1850 ㆾ䇚䐒䐁⡐㇗⣏ⷓ㇨⇞炻⭀⭞ⶍ⛲ ᷕ⚳炻1750-1850 忁ẞ滣䂇⢢㗗䚖⇵㇨䞍⬀ᶾⓗᶨᶨẞ⍵晽䐒䐁ἄ⑩炻⌛⬴ℐ⢢ℭ晽⇣㈨埻ˤ㎃⎍ 娙婔炻⢢⢾⃱䳈炻⬴ℐ㰺㚱ảỽ晽⇣ˤ 忁墉䘬⍵晽ℭ⇣㈨埻㸸冒⎌伭楔⮞䞛晽⇣炻⚈℞⸛㹹ὧ㕤㈨ⷓ晽⇣炻᷎ᶼ㖻㕤⮎ 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⍵晽⽭枰⬴ℐ忂忶◜悐炻忁忚ᶨ㬍⡆≈Ḯ墯暄⿏ˤ ⛐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 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㡅慹欂⛐㰈⠀ᷕ㷠㯜炻㯜勱唑㻦炻⬫Ᾱ悐↮晽⇣侴↢炻悐↮㗗⚈䇚⣑䃞倴䎮⯽䣢ˤ ⢢✳烉 ⚻⼊㌷元烉㨇⬴㔜 ⢢⎋ˣ柠冯⒯悐烉䞕柠炻⽖⽖価崟炻⢢⎋⸛朊炻㤝⮷⎋炻㐯⒯ ⸽嵛烉㨊⚻⼊↡星炻⚰嵛 ⢢味烉 ⣏䍲䐂炻㈀䇯䁢Ὤ伭㕗 1912䘬 50 䥹ἑ⃳⸋炷⋲ᾳ䚏ⶫ炸炻拵戨㛻⢢檀炷⏓⢢味炸烉8 ⍀䰛 ⎋⼹烉 6 㮓䰛 ⢢柠⮔烉 25 㮓䰛慵慷烉 66.3 ⃳ ᶵ⏓味炷⮵㕤ᶨẞ忁ᾳ⯢⮠䘬滣䂇⢢Ἦ婔㗗朆ⷠ庽䘬炻婔㖶⬫㌷元朆ⷠ㤝䶣炸␴ 94.4 ⃳ ⏓味炷味䘬慵慷⯙⶚䴻㗗⢢䘬ᶨ⋲炸 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 ⚳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 㔯䌣㭼庫烉忁ỵ⣏ⷓ䘬⎎ᶨᾳ䚠Ụἄ⑩⎗夳 Moss, Graham, Tsang, Treasury 2, nos. 320–325 ẍ⍲Ἦ冒the Prince Ding Collection, Treasury 2, no. 362, 冯℞Ṿ滣䂇⢢䳬ㆸᶨ䳬㱧䓐奒䌳➪⎵炻炷⛐ᷕ⚳▱⽟㉵岋㉵↢炻1996⸜10㚰21㖍炻 lot 1932) ẍ⍲⎎ᶨẞἮ冒 J & J Collection㚜≈㖶栗䘬ἳ⫸䘣抬ḶMoss, Graham, and Tsang 1993, no. 156ˤ⎎⢾⎗⍫侫Moss 1971, nos. 145, 147 (the J&J fish) 冯 148 炻⍲Sotheby’s, New York, 22 September 1995, lot 150ˤ怬㚱䵈刚㴖晽䌱橻炻䚖抬嘇 211炻 Moss, Graham ␴Tsang 1993 (Stevens 1976, no. 520柼刚㚜䇚忤䛇) ⎗ 傥㗗↢冒忁ỵ⣏ⷓᷳㇳ炻⽆㈨ⶏẍ⍲⣑ㇵἮ䚳ˤ⎴ᶨ㛔㚠ᷕ䘬No. 521 ḇ⎗傥㗗 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 ↢䇰 (Hugh Moss ᾳṢ姀抬). Ḽ䇒漵滣䂇⢢䘬柠悐ḇ⎴㧋㚱叿⽉䓐桐㟤䘬⸛✎怲䶋ˤ忁冯⭀⭞ⶍ⛲↢䓊䘬滣䂇⢢ᶵ⎴炻堐㖶㗗㝸ỵ⡐㇗⣏ⷓ㇨↢炻军⮹㗗Ṿ⛐䘯 ⭞ⶍ⛲ⶍἄ㛇攻ˤ EstimateġỘ₡ġġEUR 4.000,Starting priceġ崟㉵₡ġġEUR 2.000,-

189

186 A ‘BAMBOO SHOOT’ CHALCEDONY SNUFF BOTTLE, QING DYNASTY Translucent chalcedony of even honey-brown color China, 1760-1880 The almost completely plain bottle incised with a minuscule bamboo shoot and carved with two lion mask ring handles in high relief on each shoulder. Old wooden stand with nice openwork carving. Shape: Flattened square form with rounded shoulders Hollowing: Excellent Mouth, neck and lip: Short cylindric neck with convex top and slanted lip Base: Oval base with raised foot rim Stopper: Glass in imitation of coral, green platelet, pearl knob, spoon Height of the bottle with stopper: 6.7 cm. Width of the mouth: 7 mm. Width of the neck: 20 mm. Weight: 41.2 grams Condition: Excellent, with two minuscule nibbles to inner lip; the wooden stand with remainders of old glue and missing sections to openwork carving on backside; Provenance: From a Beverly Hills, California, private estate, old collector number to base 䌱橻ⶏ晽䪡叱䲳滣䂇⢢炻㶭ẋ ᶵ德㖶䌱橻炻囄墸刚 ᷕ⚳炻 1760-1880 ⢢✳烉㇩⸛㕡⼊炻⚻偑㌷元烉⃒䥨 ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⢢⎋堐朊↠↢炻㕄⒯ ⸽嵛烉㨊⚻⸽檀⚰嵛 ⢢味烉ầ䍲䐂䍣䐫炻䵈刚㈀䇯炻䍵䎈枪炻ⷞ㛻 ⢢檀炷⏓⢢味炸烉 6.7 ⍀䰛 ⎋⼹烉7 㮓䰛 ⢢柠⮔烉20 㮓䰛慵慷烉41.2 ⃳ 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⯨悐㚱怢⣙ Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕炻⸽悐⎗夳㓞啷⭞侩㧁䯥 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

190

187 A CHALCEDOY ‘BAT, LINGZHI AND PINE’ SNUFF BOTTLE, QING DYNASTY Suzhou, School of Zhiting, the stone of superb honey-brown color with some darker inclusions, well-polished surface China, Qing Dynasty, 18th / 19th Century This is another masterly carving of the Zhiting School applied to certain standard pictorial elements. There are low relief groups of serrated-edge rocks, ledges with roughly vertically carved rockwork sides, and others with horizontally serrated rocky sides. The pine trees of this school are epitomised here with two trees, one on the frontside high up next to the bat, the other on the backside springing from rocks. Both are composed around darker markings in the material used as formalized pine-needle-clusters, and the balance between the darker foliage and the network of trunk and branches carved from the ground color as usual is characteristically inspired. Given the use of the natural markings in the stone as the foliage, it would be difficult to imagine a more satisfying composition of branches and trunk. The carving is completed with a flying bat and several minuscule lingzhi springing from the rockwork. The hollowing here is well done in that there is a perfectly controlled, 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 example is also typical. Along with thinly hollowed bottles, a protruding foot rim was very much the exception with the School of Zhiting. As a rule, they were simply flattened and oval in shape. Shape: Flattened oval shape Hollowing: as described above Mouth, neck and lip: Cylindric neck, flat top, slanted lips and larger mouth Base: Flat oval Design, marks, school: Suzhou, School of Zhiting Stopper: Old coral cabochon with stepped, gilt and incised bronze mounting and good, old spoon Height of the bottle with stopper: 6.2 cm. Width of the mouth: 7 mm. Width of the neck: 14 mm. Weight: 44 grams Condition: Excellent with very tiny nibbles to lip and foot Provenance: From a Beverly Hills, California, private estate 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,-

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, and the hollowing going well below the shoulders Mouth, neck and lip: Short cylindric and sprawling neck with convex top and slanted lip, small mouth Base: Oval base with raised foot rim Design, marks, school: Official school Stopper: Agate cabochon, spoon Height of the bottle with stopper: 6.7 cm. Width of the mouth: 6 mm. Width of the neck: 16 mm. Weight: 49.5 grams Condition: Very good with only microscopic nibbles at the inner lip Provenance: From a Beverly Hills, California, private estate

Detail of the red-tailed hawk on bottle

A red-tailed hawk in ﬂight

192

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⥁⇑䓐㛙䲭刚倴䎮⡆⻢䔓朊曰≽ ᷕ⚳炻 1740-1840 ⢢✳烉㇩⸛㕡⼊炻⚻偑㌷元烉晐⼊侴ἄ炻偑ᶳ悐䨢⽫ ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⢢⎋堐朊↠↢炻㕄⒯炻⮷⎋ ⸽嵛烉㨊⚻檀⚰嵛忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ ⢢味烉䐒䐁炻⮷㛻 ⢢檀炷⏓⢢味炸烉 6.7 ⍀䰛 ⎋⼹烉 6 㮓䰛 ⢢柠⮔烉 16 㮓䰛慵慷烉 49.5 ⃳ ⑩䚠烉ℭ⒯㱧㤝⽖⮷䡽䡘↎ Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕 EstimateġỘ₡ġġEUR 1.500,Starting priceġ崟㉵₡ġġEUR 750,-

189 A CHALCEDONY ‘HAWK AND POEM’ SNUFF BOTTLE, QING DYNASTY The mineral of milky-caramel tone with hues of ochre and a russet layer carved in high relief, good surface polish China, 1750-1850 Carved and neatly incised to depict a hawk perched on a pine tree and a round medallion with a rhyme from the ‘Spring’ poem by Weng Sen, a poet from the Yuan period, written in 14 character running script. The poem: Birds and branches are friends, poems are written from falling blossoms and rain. The meaning: If you are a happy person, you can be in a good mood, regardless of the situation you are in. Shape: Bulbous 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: Coral with stepped bronze mounting, good old spoon Height of the bottle with stopper: 8.5 cm. Width of the mouth: 8 mm. Width of the neck: 26 mm. Weight: 134,8 grams Condition: Excellent Provenance: From a Beverly Hills, California, private estate 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⤥ ᷕ⚳炻 1750-1850 ⢢✳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,-

193

190 A CHALCEDONY ‘CAT AND BUTTERFLY’ SNUFF BOTTLE, QING DYNASTY The translucent chalcedony of a chestnut-brown tone with banded darker inclusions, an ochre layer in the mineral carved in high relief, good surface polish China, 1750-1850 Humorous depiction of a cat chasing a bat, with serrated ‘suzhou’ style rockwork in the background, the details to fur, face and paws of the cat neatly incised, rendering an overall vivid scene. Shape: Bulbous square form with rounded shoulders Hollowing: Excellent Mouth, neck and lip: Short cylindric neck with convex top and slanted lips, small mouth Base: Oval base with raised foot rim Design, marks, school: Ofﬁcial school Stopper: Chalcedony on black platelet with good old spoon Height of the bottle with stopper: 6.8 cm. Width of the mouth: 7 mm. Width of the neck: 22 mm. Weight: 84,5 grams 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

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. Auction result comparison: Important Chinese Snuff Bottles from The J&J Collection, Part IV. Christies, New York|22 March 2007, lot 87. (for a very similar bottle) ⼙⫸䐒䐁ⶏ晽斄ⷅ滣䂇⢢炻⭀㕡ⶍ⛲, 1760-1840 囄墸刚炻㶙刚倴䎮悐ỵⶏ晽炻堐朊㉃⃱↢刚 ᷕ⚳炻 1760-1840 ⢢✳烉㕡⼊㇩⸛炻⚻偑㌷元烉⃒䥨 ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⢢⎋堐朊↠↢炻㕄⒯ ⸽嵛烉㕡⸽炻檀⚰嵛炻⚻奺忈✳ˣ句㫦⍲㳩㳦烉 ⭀⭞ⶍ⛲ ⢢味烉䵈刚噯䲳䞛炻湹刚㈀䇯炻侩㛻列⤥ ⢢檀炷⏓⢢味炸烉6.7 ⍀䰛 ⎋⼹烉8 㮓䰛 ⢢柠⮔烉21 㮓䰛慵慷烉66.2 ⃳ ⑩䚠烉⃒䥨炻⒯悐ℑ嗽⽖ᶵ嵛忻⮷䡽䡘 Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕炻⸽悐⎗夳㓞啷⭞侩㧁䯥 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

195

192 AN OVERLAY GLASS ‘POCKET-WATCH’ SNUFF BOTTLE, QIANLONG / JIAQING PERIOD Transparent glass with ﬂowing hues of bright carmine red, translucent olive-green overlay China, 1770-1830 This particular copy of a European watch is rather unique in the snuff-bottle world. It may be surprising, given imperial interest in European watches and clocks from the Kangxi period onwards, that there are not more imperial snuff bottles of this design from the earlier eighteenth century, but as a general rule, snuff bottles copying watches were made only from the late-Qianlong period onwards, becoming particularly popular during the nineteenth century. Perhaps with the court awash with the real thing, there was little incentive to create exact copies of them on snuff bottles. The unusual palette of bright carmine red and olive-green gives the decoration a distinctly European appearance. The numbers shown on the dial are roman and range from I – XII, while the hands show three o’clock precisely on both sides. The shoulders are decorated with neatly carved archaistic lion masks. While it is a remote possibility that the present bottle might have been a direct response from the imperial glassworks to a particular European watch, intended to be presented to the court at some point, it could also very well have been a simple yet clever novelty object for a private audience. Shape: Rounded globular hear shape Hollowing: Standard Mouth, neck and lip: Wide mouth, convex top, slanted lip Base: Oval raised foot rim Design, marks, school: Possibly imperial glassworks Beijing Stopper: Hardstone stopper with spoon Height of the bottle with stopper: 4.8 cm. Width of the mouth: 7 mm. Width of the neck: 15 mm. Weight: 28.9 grams Condition: One minuscule nibble to the right ear of one of the lion masks, otherwise absolutely perfect condition Provenance: Hungarian private collection Literature comparison: It might simplify matters to separate this bottle from production destined for imperial uses, however an imperial connection cannot completely be ruled out. A small series of watchform bottles produced in the late Qianlong period and bearing reign marks proves an imperial interest in the design. A splendid example from the Robert and Molly Hsieh Collection is illustrated in The Blair Bequest: Chinese Snuff Bottles from the Princeton University Art Museum, Michael Hughes, Baltimore: International Chinese Snuff Bottle Society, 2002, no. 282; compare also with another example sold at Sotheby’s New York, 23 March 2004, lot 95. Auction result comparison: SNUFF BOTTLES FROM THE MARY AND GEORGE BLOCH COLLECTION: PART X. Sotheby’s, 1 JUNE 2015, HONG KONG, lot 113. (for an enameled pocket watch bottle) The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part III. Christies, New York, 14 September 2016, lot 410. (for a porcelain pocket watch bottle) IMPORTANT CHINESE SNUFF BOTTLES FROM THE J & J COLLECTION. Christies, New York, 30 March 2005, lot 45. (for a gold and silver inlaid copper pocket watch bottle) ⣿㕁㆟拞䲳滣䂇⢢炻Ḧ昮/▱ㄞ⸜ 德㖶傕傪䲭⛘⣿㧬㪾䵈㕁☐ ᷕ⚳炻 1770-1830 ⢢✳烉䎫䉨⽫⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉⮔⎋炻⸛朊⢢⎋炻㐯⒯ ⸽嵛烉㨊⚻⚰嵛忈✳ˣ句㫦⍲㳩㳦烉ㆾ䇚⊿Ṕ⽉墥㕁☐ ⢢味烉䠔䞛炻⮷㛻 ⢢檀炷⏓⢢味炸烉 4.8 ⍀䰛 ⎋⼹烉 7 㮓䰛 ⢢柠⮔烉 15 㮓䰛慵慷烉 28.9 ⃳ ⑩䚠烉䋭椾ᶨ⎛俛㚱庽⽖䡽䡘炻℞Ṿ悐↮ᾅ⬀㤝⤥ Ἦ㸸烉 ⊰䈁⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

196

193 A RARE CARVED BLUE â&#x20AC;&#x2DC;COINâ&#x20AC;&#x2122; GLASS SNUFF BOTTLE, 1796-1830 Translucent aquamarine blue glass, carved and neatly incised in deep and high relief China, Jiaqing to earlier Daoguang period, 1796-1830 Deeply and skillfully carved on the two main sides with the obverse and reverse of a Mexican eight-real coin bearing the head of Charles IIII of Spain ENCIRCLED BY THE LEGEND #!2/,53s))) SIC s$%)s'2!4)!s AND THE REVERSE with the Spanish coat of arms, again in good detail, and the continued legend ()30!.s%4 ).$ 2%8s-/s 2s&s- 4HE shoulders, base and neck neatly incised with key fret borders. The earliest possible date for this example, for obvious reasons, is 1796, but it is highly unlikely that a coin fresh from the mint would ďŹ nd its way into a Chinese lapidary workshop in China in the same year, hence the dating 17961830. The inscription incorrectly reads â&#x20AC;&#x2DC;CAROLUS IIIâ&#x20AC;&#x2122; instead of â&#x20AC;&#x2DC;CAROLUS IIIIâ&#x20AC;&#x2122;, which is either the result of an incorrectly minted coin having been the model for this bottle, or of a carver who simply didnâ&#x20AC;&#x2122;t pick up the increase in numbering. The latter seems possible, because in 1796 a signiďŹ cant number of â&#x20AC;&#x2DC;CAROLUS IIIâ&#x20AC;&#x2122; bottles had already been produced, and since the two emperors have a strong resemblance, a carver accustomed to inscribing the â&#x20AC;&#x153;CAROLUS IIIâ&#x20AC;? legend to earlier bottles may not have noticed the change. Either way, this bottle belongs to a series depicting the Spanish silver dollar which, along with its gold counterpart, was standard international currency in global trading during the 19th century. Such bottles are usually of rock crystal but are also found in other types of quartz, and nephrite, and very rarely, in glass. This excellent example exhibits a faithful reproduction of the original coin, including all the text, which would have meant nothing to a Chinese lapidary and was frequently reduced to mirror images, a pastiche, or meaningless squiggles. The â&#x20AC;&#x2DC;Mâ&#x20AC;&#x2122; with the distinctive small circle over it indicates production at the Mexican mint. The arrangement of the obverse and reverse of the coin on different sides of the bottle perfectly suits the Chinese taste for panels of decoration. The minuscule yet clearly visible milled edge of the coin on the present bottle creates the panel frame and certainly posed a signiďŹ cant challenge to the carver. Milled edges on coinage were introduced at a time when coins were made of precious metal, to prevent the clipping of small amounts of valuable material from the edges of coins. For a deeper discussion on these coins, see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, vol. 2, Quartz, no. 238, where it is noted: Of the known early coin bottles, almost all of them reproduce coins minted in Mexico during the reign of Charles III (1760-1788) or his son Charles IV (1788-1808). The earliest date noted so far on one of these coin bottles is 1780 and the latest 1801, with many examples for the years 1789-1798, which coincides almost exactly with the period when commerce

between China and the United States intensiďŹ ed, the ďŹ rst American trading vessel having arrived in Guangzhou in 1785. After the American War of Independence, the United States accepted the eight-real coins as their ofďŹ cial currency. It was not until 1785 that a new American-style silver dollar was approved by congress, but no coins were struck until 1794. American traders to China would have been using mostly Mexican dollars in the early trading years and were almost certainly the main impetus behind this new type of snuff bottle. Shape: Flattened round shape Hollowing: Standard Mouth, neck and lip: Short cylindric neck, ďŹ&#x201A;at top, slanted lip, wide mouth Base: Small oval and convex base Stopper: Rose quartz on black platelet with good old spoon Height of the bottle with stopper: 6.3 cm. Width of the mouth: 8 mm. Width of the neck: 18 mm. Weight: 74.7 grams Condition: Absolutely perfect condition Provenance: Hungarian private collection Literature comparison: For further information on the coins copied and the group in general, see Moss, Graham, and Tsang 1993, page 633, a glass overlay bottle, and Moss 1971, pp. 75 -- 78, and for another example in crystal of similar form see Stevens 1976, no. 459. In the same publication, no. 467 is a crystal bottle with a copy of a Maria Theresa thaler of 1765, a coin that was less frequently copied onto snuff bottles. Another Maria Theresa thaler, in aragonite, is illustrated by Lawrence 1996, no. 31. A crystal example of the Charles III coin without the lobed body is illustrated in Jutheau 1980, p. 111, no. 7, as is another, but copying a Charles IV coin of 1789 is Sin, Hui, and Kwong 1996, no. 215, and there is an example in orange quartz or quartzite, which is an alternative but rarer variant to the crystal examples, in Geng and Zhao 1992, no. 328.

The obverse of a 1796 Mexican eight-real coin bearing the head of Charles IIII of Spain.

Auction result comparison: J & J COLLECTION OF SNUFF BOTTLES, PART III. Christies, New York, 29 March 2006, lot 68. (for a glass overlay bottle with the portrait of Charles the IV) äť˝ĺ¤łĺ&#x2022;ľă&#x2022; ă´&#x2013;ć&#x2122;˝ĺ¤§ă&#x2022;Ąä &#x201D;â¸&#x2039;ć&#x;&#x2022;â ˇä˛łćťŁä&#x201A;&#x2021; â˘˘ç&#x201A;ť1796-1830 â&#x2039;˛ĺžˇă&#x2013;śĺ&#x2022;ľă&#x2022; ä?Łä?Ťç&#x201A;ťăś&#x2122;ă´&#x2013;ć&#x2122;˝ áˇ&#x2022;â&#x161;łç&#x201A;ťâ&#x2013;ąă&#x201E;&#x17E;-ĺżťâ&#x192;ąă&#x2013;&#x2018;ă&#x203A;&#x2021;ç&#x201A;ť1796-1830 â˘˘â&#x153;łç&#x192;&#x2030; ă&#x2021;Šâ¸&#x203A;â&#x201E;&#x201C;ä&#x2019;&#x2039;â&#x161;ťâź&#x160; ă&#x152;ˇĺ&#x2026;&#x192;ç&#x192;&#x2030; ĺ¤ˇă&#x201D;&#x153; â˘˘â&#x17D;&#x2039;ËŁć&#x; ĺ&#x2020;Żâ&#x2019;Żć&#x201A;?ç&#x192;&#x2030;ä&#x17E;&#x2022;ä&#x161;&#x153;ć&#x; ç&#x201A;ťâ¸&#x203A;ć&#x153;&#x160;â˘˘â&#x17D;&#x2039;ç&#x201A;ť âŽ&#x201D;â&#x17D;&#x2039; â¸˝ĺľ&#x203A;ç&#x192;&#x2030; ă¨&#x160;â&#x161;ťâź&#x160;âŽˇâ¸&#x203A;â¸˝ â˘˘ĺ&#x2018;łç&#x192;&#x2030; ä°ąă&#x2DC;&#x17E;ç&#x201A;ťćššĺ&#x2C6;&#x161;ă&#x2C6;&#x20AC;ä&#x2021;Żç&#x201A;ťâź°â¤Ľä&#x2DC;ŹäžŠă&#x203A;ť â˘˘ćŞ&#x20AC;ç&#x201A;ˇâ?&#x201C;â˘˘ĺ&#x2018;łç&#x201A;¸ç&#x192;&#x2030; 6.3 â?&#x20AC;ä°&#x203A; â&#x17D;&#x2039;âźšç&#x192;&#x2030; 8 ăŽ&#x201C;ä°&#x203A; â˘˘ć&#x; âŽ&#x201D;ç&#x192;&#x2030; 18 ăŽ&#x201C;ä°&#x203A; ć&#x2026;ľć&#x2026;ˇç&#x192;&#x2030; 74.7 â&#x192;ł â&#x2018;Šä&#x161; ç&#x192;&#x2030; âŹ´äźś áźŽă¸¸ç&#x192;&#x2030; â&#x160;°ä&#x2C6; â&#x2021;&#x2018;äĽŠáš˘ă&#x201C;&#x17E;ĺ&#x2022;ˇ

The reverse of a Mexican eight-real coin bearing the Spanish coat of arms.

EstimateÄĄáť&#x2DC;â&#x201A;ĄÄĄÄĄEUR 1.000,Starting priceÄĄĺ´&#x;ă&#x2030;ľâ&#x201A;ĄÄĄÄĄEUR 500,-

197

194 A SANDWICHED PINK GLASS SNUFF BOTTLE, ATTRIBUTED TO THE PALACE WORKSHOPS, 1730-1800 Blown transparent and bubblesuffused glass with a multitude of pink and milky-white hues, well-polished surface China, Beijing, 1730-1800 A lovely bottle where the various color shades and the multitude of air bubbles of all sizes altogether create a vivid pattern rarely seen as exciting in pink bottles of this period. Shape: Flattened pear shape Hollowing: Standard, the slight differences between the inner and outer shape are typical for early blown bottles Mouth, neck and lip: Neck succinct to body, with slanted inner and outer lips Base: Oval base with raised foot rim Design, marks, school: Attributed to the Imperial Glassworks Beijing Stopper: Lapis cabochon on cinnabar platelet, old carved antler spoon Height of the bottle with stopper: 5.5 cm. Width of the mouth: 6 mm.

198

Width of the neck: 9 mm. Weight: 29.2 grams Condition: Perfect condition with only minimal wear, some open bubbles Provenance: From a Beverly Hills, California, private estate, old collector’s label 䘥⣦䰱䲭䍣䐫滣䂇⢢炻ㆾ䁢⽉䓐ⶍ ⛲⇞炻1730-1800 ḛ䘥刚⣦䰱䲭刚德㖶㲉㲉䍣䐫炻堐朊⃱㹹 ᷕ⚳炻⊿Ṕ炻1730-1800 ⢢✳烉㇩⸛㡐⼊㌷元烉夷㔜炻ℭ⢾⼊橼䘬䳘⽖ⶖ⇍ 㗗℠✳㖑㛇⏡⇞䍣䐫䘬㧁⽿ ⢢⎋ˣ柠冯⒯悐烉柠悐䵲層⢢幘炻㐯⒯ ⸽嵛烉㨊⚻⸽檀⚰嵛忈✳ˣ句㫦⍲㳩㳦烉ㅱ䇚⊿Ṕ⽉墥㕁☐ ⢢味烉曺慹䞛炻㛙䲭㈀䇯炻渧奺⼊⮷㛻 ⢢檀炷⏓⢢味炸烉 5.5 ⍀䰛 ⎋⼹烉6 㮓䰛 ⢢柠⮔烉9 㮓䰛慵慷烉29.2 ⃳ ⑩䚠烉⬴伶炻㤝䳘⽖䢐㎵炻ᶨṃ㯋㲉攳⎋ Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ 䓊㤕炻⎗夳啷⭞㓞啷㧁䯥 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

195 A SANDWICHED STRAWBERRYPINK GLASS SNUFF BOTTLE, QING DYNASTY Attributed to the Imperial Beijing glassworks China, 1740-1840 Of ﬂattened disc form with a slightly sprawling neck and a very large mouth typical for 18th century imperial glass bottles, the completely opaque glass shading from an outer layer of milky strawberry color to a darker-toned underlayer visible at the lip. Sandwiched glass bottles are characterized by simple shapes usually blown into a mold, where distinctive colors and textures were created by fusing a layer of brightly colored or distinctively marked glass between two plainer colors, the upper one of which must be transparent to some extent. This strawberry-pink color was probably derived from ruby-red glass made at the court from the early 18th century onwards but mixed with other colors. Ruby-red, and sandwiched pink glass were both popular a court, but this particular color is extremely rare. Shape: Flattened disc form Hollowing: Standard Mouth, neck and lip: Slightly sprawling neck and very large mouth Base: Oval with raised foot rim Design, marks, school: Attributed to the Imperial Beijing glassworks Stopper: Nicely cast and silvered bronze stopper with a ﬂoral motif and good old spoon

Height of the bottle with stopper: 6.8 cm. Width of the mouth: 10 mm. Width of the neck: 18 mm. Weight: 61 grams Condition: Very good condition with some wear and few tiny nibbles to outer lip Provenance: American private collection, old number ‘50’ on spoon Auction result comparison: The Meriem Collection Important Chinese Snuff Bottles. Christies, New York, 19 September 2007, lot 685. (for another sandwiched strawberrypink glass snuff bottle) 䍓䲭刚㕁⃱䳈滣䂇⢢炻㶭ẋ ㆾ䇚⊿Ṕ⽉䓐㕁☐ⶍ⛲⇞ ᷕ⚳炻 1740-1840 ⢢✳烉㇩⸛⚻⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉柠悐漸⣏炻⣏⎋ ⸽嵛烉㨊⚻檀⚰嵛忈✳ˣ句㫦⍲㳩㳦烉 ㆾ䇚⊿Ṕ⽉䓐㕁 ☐ⶍ⛲⇞ ⢢味烉拵戨剙䲳戭味炻侩㛻列⤥ ⢢檀炷⏓⢢味炸烉 6.8 ⍀䰛 ⎋⼹烉 10 㮓䰛 ⢢柠⮔烉 18 㮓䰛慵慷烉 61 ⃳ ⑩䚠烉朆ⷠ⤥炻㚱ṃ⽖䢐㎵炻⒯悐⢾㱧㚱ṃ姙䡽䡘 Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻⮷㛻ᶲ㚱Ⱦ50ȿ 㧁嬀 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

196 A MILKY WHITE AND PINK SANDWICHED GLASS SNUFF BOTTLE, 1720-1830 Attributed to the Imperial glassworks, Beijing China, 1720-1830 The compressed bottle with its ﬂat narrow sides is accented with dark pink splashes sandwiched between two layers of translucent, bubblesuffused milky white glass. With sandwiched pink and white glass, the color comes from powdered ruby glass added between two layers of glass, the outer of which has to be either transparent, or at least semi-transparent. Sandwiched glass bottles were a popular staple at the Court during the eighteenth century, where similar sandwiched pink glass was also carved as a series of lotus-petal bottles, such as the example in the J & J Collection, illustrated by Moss et. al., The Art of the Chinese Snuff Bottle, vol. 2, no. 358, and the bottle from the Exstein Collection sold at Christies, 21 March 2002, lot 44. For further discussion on sandwiched glass and its association with the mass production of snuff bottles to be distributed by the Court as gifts for various festivals and birthdays each year, see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles, vol. 5, Glass, nos. 722-35, where no. 726 is of similar material to the present example. This color of sandwiched glass was extremely popular on a range of plain and carved wares for the Court. This example is probably an Imperial bottle, but such plain wares may also have been made privately at the same time, inhibiting a ﬁrm attribution.

Shape: Flattened round shape Hollowing: Standard Mouth, neck and lip: Sprawling lip with ﬂat top an slanted lip Base: Oval convex base Design, marks, school: Attributed to the Imperial glassworks, Beijing Stopper: Miniature coral carving of a Buddhist lion on a black platelet Height of the bottle with stopper: 5.8 cm. Width of the mouth: 15 mm. Width of the neck: 5 mm. Weight: 30.8 grams Condition: Perfect condition, on microscopic manufacturing ﬂaw to base Provenance: American private collection Auction result comparison: The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part VI. Christies, New York, 12 September 2018, lot 668. J & J COLLECTION OF SNUFF BOTTLES, PART III. Christies, New York, 29 March 2006, lot 79. (both for similar bottles) 䘥⣦䰱䲭䍣䐫滣䂇⢢炻1720-1830 ㅱ䁢⽉墥⑩炻⊿Ṕ ᷕ⚳炻 1720-1830 ⢢✳烉㇩⸛⚻⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉⢢⒯⺞Ỡ炻⸛朊⢢ ⎋炻㐯⒯ ⸽嵛烉㨊⚻↠⸽ 忈✳ˣ句㫦⍲㳩㳦烉ㅱ䇚⽉墥㕁☐炻 ⊿Ṕ ⢢味烉䍲䐂⽖晽ἃ䋭炻湹刚㈀䇯 ⢢檀炷⏓⢢味炸烉 5.8 ⍀䰛 ⎋⼹烉 15 㮓䰛 ⢢柠⮔烉 5 㮓䰛慵慷烉 30.8 ⃳ ⑩䚠烉 ⬴伶炻⢢⸽䳘⽖墥ἄ仢星 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

197 A PLAIN RUBY-PINK GLASS SNUFF BOTTLE, 1740-1800 The translucent pink glass around the neck gradually fading into a transparent, bubble-suffused ruby-red body, smooth surface polish China, 1740-1800 This bottle is a plain example from a range of glass bottles in which we find the standard ruby color mixed with colorless glass to the point at which it becomes a pale ruby-pink with a high degree of transparency. Glass of this nature is found most often in a series of octagonal bottles decorated with Buddhist emblems and, usually, fish. These can be confidently designated Imperial, dated to the eighteenth century, and attributed to the Imperial glassworks. Shape: Flattened round shape Hollowing: Standard Mouth, neck and lip: Cylindric neck with very wide mouth Base: Oval base with neatly raised Design, marks, school: Imperial glassworks, Beijing Stopper: Green glass stopper Height of the bottle with stopper: 7.1 cm. Width of the mouth: 9 mm. Width of the neck: 16 mm. Weight: 46.4 grams Condition: Perfect Provenance: American private collection Auction result comparison: J & J COLLECTION OF SNUFF BOTTLES, PART III. Christies, New York, 29 March 2006, lot 63. (compare with a carved version of this type of glass bottles) ⮞䞛䲭㕁䳈䍣䐫滣䂇⢢炻1740-1800 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㉃ ⃱㝼␴ ᷕ⚳炻 1740-1800 ⢢✳烉㇩⸛⚻⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉䚜柠炻⮔⎋ ⸽嵛烉㨊⚻⼊⸽炻檀⚰嵛忈✳ˣ句㫦⍲㳩㳦烉⊿Ṕ⽉墥㕁☐ ⢢味烉䵈䍣䐫 ⢢檀炷⏓⢢味炸烉 7.1 ⍀䰛 ⎋⼹烉 9 㮓䰛 ⢢柠⮔烉 16 㮓䰛慵慷烉 46.4 ⃳ ⑩䚠烉 ⬴伶 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,199

200

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,-

201

199 AN EMERALD-GREEN GLASS SNUFF BOTTLE, QING DYNASTY Transparent glass of rich green color with very few minuscule bubbles China, 18th – 19th century One single feature of this bottle suggests an Imperial connection: The emerald-green glass is almost completely free from internal air bubbles or other ﬂaws, making it one of the purest monochrome glass bottles. Close examination with a powerful magnifying glass reveals but a few scattered, minute air bubbles that are hardly visible the naked eye. Shape: Rectangular with rounded shoulders Hollowing: Standard, the inner contours well matching the outer shape Mouth, neck and lip: Cylindric neck, convex top, small mouth Base: Proportionally quite large, oval base with broad raised foot rim Stopper: Transparent glass cabochon with old spoon Height of the bottle with stopper: 5.8 cm. Width of the mouth: 5 mm. Width of the neck: 13 mm. Weight: 28.3 grams Condition: Good condition with few tiny nibbles to lip and one microscopic nibble to foot Provenance: From a Beverly Hills, California, private estate (old collector’s label to base) Auction result comparison: CHINESE ART. Sotheby’s, 01 JUNE 2017 - 02 JUNE 2017, HONG KONG, lot 503. (for a related bottle) SNUFF BOTTLES FROM THE MARY & GEORGE BLOCH COLLECTION: PART IX. Sotheby’s, 24 NOVEMBER 2014, HONG KONG, lot 109. (for a related bottle, with an Imperial mark) ⮞䞛䵈㕁⃱䳈滣䂇⢢炻㶭ẋ 德㖶⮞䞛䵈㕁䍣䐫炻䳘⽖㯋㲉 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨 ⢢✳烉攟⼊⚻偑㌷元烉夷㔜炻晐⢢幓⼊䉨ㆸ⼊ ⢢⎋ˣ柠冯⒯悐烉䚜柠炻⢢⎋↠↢炻⮷⎋ ⸽嵛烉㭼ἳ䚠⮵庫⣏炻㨊⚻⸽嵛炻檀⚰嵛 ⢢味烉德㖶䍣䐫炻侩㛻 ⢢檀炷⏓⢢味炸烉 5.8 ⍀䰛 ⎋⼹烉5 㮓䰛 ⢢柠⮔烉13 㮓䰛慵慷烉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

200 A LIME-GREEN GLASS SNUFF BOTTLE, QING DYNASTY Transparent glass of slightly iridescent luster and intense lime-green color, only very few microscopic bubbles, well-polished surface China, 18th – 19th century The distinctive pale color seems to have been a Qianlong innovation, although it may have its origins in the color of a small Yongzheng-marked cup from the Hope Danby Collection (S. Marchant & Son. 1999, no. 1). The color is related to a group of imperial bottles carved from solid blocks of glass, which mostly come in beryl-green or aquamarine-blue and seem to have been inspired by those two semi-precious stones. The present bottle, while a triﬂe more yellow than the solid-block group, is from the same general range of colors. Since the solid-block carvings appear to be from the mid-Qing, this may also be ascribed to that period. The glassblower has matched his inner bubble very carefully to the outer form, compromising only at the shoulders close to the neck, where the bubble, to remain natural, must be constricted by the narrow neck. Shape: Bulbous round form Hollowing: Standard, well-matching the overall shape Mouth, neck and lip: Short cylindric neck with small mouth and slanted lip Base: Flat oval base Stopper: Mottled green jade with organic platelet and silver spoon

Height of the bottle with stopper: 5.9 cm. Width of the mouth: 6 mm. Width of the neck: 17 mm. Weight: 59.7 gramsġ Condition: Perfect condition with only minimal wear Provenance: From a Beverly Hills, California, private estate Literature comparison: The Hope Danby Collection, S. Marchant & Son. 1999, no. 1. Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 5, Hong Kong, 2002, no. 697. Auction result comparison: SNUFF BOTTLES FROM THE MARY AND GEORGE BLOCH COLLECTION: PART X. Sotheby’s, 01 JUNE 2015, HONG KONG, lot 41. (for a similar bottle) 㶢曺㩠㕁⃱䳈滣䂇⢢炻㶭ẋ 德㖶曺㩠刚䔍ⷞ嘡⼑⃱㽌䍣䐫炻㤝⮹ 㯋㲉炻堐朊⃱㹹 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨 ⢢✳烉⚻䎫⼊㌷元烉夷㔜炻晐⢢幓⼊䉨ㆸ⼊ ⢢⎋ˣ柠冯⒯悐烉䞕柠炻⮷⎋炻㐯⒯ ⸽嵛烉㨊⚻⸽ ⢢味烉㔹楩䵈䌱炻㚱㨇㛸㕁㈀䇯炻戨㛻 ⢢檀炷⏓⢢味炸烉5,9 ⍀䰛 ⎋⼹烉ġ6 㮓䰛 ⢢柠⮔烉17 㮓䰛慵慷烉ġ59,7 ⃳ ⑩䚠烉⬴伶炻堡㚱ṃ⽖䢐㎵ Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

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 collector’s label to base) Literature comparison: Zhao Ruzheng in Jian Bian Bi Yan Hu illustrates a very similar yellow glass flattened rounded bottle, p. 35, no. 19. Compare the two glass bottles in the Palace Museum, Beijing, of similar yellow color, but of different shapes, illustrated in The Complete Collection of the Palace Museum - Snuff Bottles, vol. 47, Hong Kong, 2003, pp. 67-8, nos. 105-6. Auction result comparison: SNUFF BOTTLES FROM THE MARY AND GEORGE BLOCH COLLECTION: PART VI. Sotheby’s, 27 MAY 2013, HONG KONG, lot 157. (for a similar bottle) IMPORTANT CHINESE SNUFF BOTTLES FROM THE J&J COLLECTION. Christies, Hong Kong, 25 April 2004, lot 803. (for a similar bottle) ⪴湫㕁⃱䳈滣䂇⢢炻ㆾ⽉墥炻㶭ẋ ⋲德㖶炻⸦᷶⬴伶䘬噳湫䏍䍨刚 ᷕ⚳炻 1727-1800 ⢢✳烉㇩⸛㨊⚻⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉䞕柠炻⢢⎋㤝⣏炻℠✳䘬⋩ℓᶾ䲨⽉墥滣䂇⢢ ⸽嵛烉㨊⚻⸽炻檀⚰嵛炻↯√㔜滲忈✳ˣ句㫦⍲㳩㳦烉ㆾ䇚⊿Ṕ⽉墥ⶍ⛲ ⢢味烉䘥侉侈桬䵈炻晽⇣䱦䶣䘬⢢㛻 ⢢檀炷⏓⢢味炸烉6.8 ⍀䰛 ⎋⼹烉9 㮓䰛 ⢢柠⮔烉14 㮓䰛慵慷烉45.1 ⑩䚠烉⬴伶炻㤝℞䳘⽖⸜ẋ䕽嶉 Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕炻⎗夳啷⭞㓞啷㧁䯥 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

203

204

202 A MILKY-WHITE GLASS SNUFF BOTTLE, QING DYNASTY Opaque white glass with excellent surface polish China, 18th – 19th century

203 A PLAIN CARAMEL GLASS SNUFF BOTTLE, 1760-1860 Opaque caramel glass of elegant shape and with a well-polished surface China, 1760-1860

The body of the bottle is blown, while a lapidary has cut the concave foot, detailed mouth and lip, and polished the exterior. Unusually for a blown bottle, there are no air bubbles detectable here, even with a strong light and magnifying glass. It is a piece of glass as pure and ﬂawless as one can possibly imagine.

This type of bottle typically dates from the last quarter of the 18th century to the ﬁrst quarter of the 19th century and seems to have been originally designed to be either decorated in Guyue Xuan enamels or embellished with carved overlay. This small yet strikingly elegant example, however, was left undecorated and would certainly have rendered a fantastic workpiece for skilled enamel artists of the 20th century such as Ye Bengqi.

Shape: Flat rectangular form with rounded shoulders Hollowing: Standard Mouth, neck and lip: Cylindric broad neck with slanted inner and outer lips and small mouth, quite deep inner cylinder Base: Oval base with raised foot rim Stopper: Agate cabochon on black platelet with good old carved spoon Height of the bottle with stopper: 7.6 cm. Width of the mouth: 6 mm. Width of the neck: 18 mm. Weight: 45.9 grams Condition: Perfect condition with only minimal wear Provenance: From a Beverly Hills, California, private estate

Shape: Sprawling cylinder shape Hollowing: Standard Mouth, neck and lip: Short sprawling neck with convex top, small mouth and slanted lip Base: Recessed round base with thin raised foot rim Stopper: Beijing school glass stopper imitating coral Height of the bottle with stopper: 6.2 cm. Width of the mouth: 5 mm. Width of the neck: 13 mm. Weight: 23.3 grams Condition: Perfect Provenance: American private collection

Auction result comparison: SNUFF BOTTLES FROM THE MARY AND GEORGE BLOCH COLLECTION: PART X. Sotheby’s, 01 JUNE 2015, HONG KONG, lot 115. (for a related bottle)

Auction result comparison: Fine Chinese Ceramics and Works of Art Part I. Christies, New York, 13 - 14 September 2012, lot 1152. (compare with a Guyue Xuan bottle of similar size, shape and color)

㴭䘥䍣䐫⃱䳈滣䂇⢢炻㶭ẋ 㴭䘥䍣䐫炻堐朊䱦ⶍ㉃⃱ ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨 ⢢✳烉攟㇩⼊炻⚻偑㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉⮔䚜柠炻㐯⒯炻⮷⎋炻⚻䫺ℭ㤝㶙 ⸽嵛烉㨊⚻⸽炻檀⚰嵛 ⢢味烉䐒䐁炻湹刚㈀䇯炻⮷㛻晽⇣䳘䶣 ⢢檀炷⏓⢢味炸烉 7.6 ⍀䰛 ⎋⼹烉6 㮓䰛 ⢢柠⮔烉18 㮓䰛慵慷烉45.9 ⃳ ⑩䚠烉⬴伶炻朆ⷠ䳘⽖䘬䢐㎵ Ἦ㸸烉≈⇑䤷⯤Ṇ㭼ἃ⇑Ⱉ䥩Ṣ䓊㤕

䃎䱾刚䳈䍣䐫滣䂇⢢炻1760-1860 ᶵ德㖶䃎䱾刚䍣䐫炻⼊⺷檀晭炻堐朊䱦ⶍ㉃⃱ ᷕ⚳炻 1760-1860 ⢢✳烉㔜橼䁢⮯幵仸⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉䞕⮔柠炻⸛朊⢢⎋炻⮷⎋炻㐯⒯ ⸽嵛烉⚻⼊↡⸽炻⚰嵛⢾㐯 ⢢味烉ầ䍲䐂⊿Ṕ䍣䐫味 ⢢檀炷⏓⢢味炸烉 6.2 ⍀䰛 ⎋⼹烉5 㮓䰛 ⢢柠⮔烉13 㮓䰛慵慷烉23.3 ⃳ ⑩䚠烉⬴伶 Ἦ㸸烉伶⚳䥩Ṣ㓞啷

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

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

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 midcentury, 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 Base: Oval with raised and slanted foot rim Stopper: Stained coral on a green platelet made from organic material Height of the bottle with stopper: 7.2 cm. Width of the mouth: 4 mm. Width of the neck: 16 mm. Weight: 62.8 grams Condition: Perfect Provenance: American private collection Auction result comparison: FINE ASIAN WORKS OF ART, JUNE 21, 2006, Bonham’s, SAN FRANCISCO, lot 3114. (compare with a related bottle, dated to the 19th century) 湫䍣䐫ầ⎌滣䂇⢢炻㶭ẋᷕ㛇 ㅱ䇚⽉墥㕁☐炻⊿Ṕ ᷕ⚳炻 ⋩ℓᶾ䲨军⋩ḅᶾ䲨⇅ ⢢✳烉㇩⸛㨊⚻⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉䞕⮔柠炻㐯⒯炻⮷⎋ ⸽嵛烉㨊⚻⼊⚰嵛⢾㐯 ⢢味烉㝻刚䍲䐂炻䵈刚㚱㨇㛸㕁㈀䇯 ⢢檀炷⏓⢢味炸烉7.2 ⍀䰛 ⎋⼹烉4 㮓䰛 ⢢柠⮔烉16 㮓䰛慵慷烉62.8 ⑩䚠烉⬴伶 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

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. Weight:41.3 grams Condition: Absolutely perfect; some small air bubbles 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. 㴭䘥⛘⣿䲭啵暁刚㕁坕漵拊⸋䲳滣䂇⢢ 㴭䘥⛘㕁⣿䰱曆刚⍲⮞䞛啵暁刚㕁炻㶙㴖晽 ᷕ⚳炻 1780-1860 ⢢✳烉㨊⚻㇩⸛⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉⮔柠炻⮷⎋炻⸛朊⢢⎋炻㐯⒯ ⸽嵛烉 ⮔⣏䘬㇩⸛㨊⚻⼊⸛嵛炻啵㕁央味炻⛐⸽悐␐⚵ⱑ䞛ᷕ曚↢ 忈✳ˣ句㫦⍲㳩㳦烉ㆾ䇚⽉墥⑩炻⊿Ṕ ⢢味烉噳䘥䞛ㆺ朊 ⢢檀炷⏓⢢味炸烉 7.1 ⍀䰛 ⎋⼹烉 5 㮓䰛 ⢢柠⮔烉 14 㮓䰛慵慷烉41.3 ⃳ ⑩䚠烉䳽⮵⬴伶⑩䚠炻㕁ℭ⎗夳ᶨṃ⮷㯋㲉 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 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

206

206. A BLUE OVERLAY ‘ARCHAISTIC CHILONG’ GLASS SNUFF BOTTLE, 18 TH CENTURY Opaque sky-blue overlay on opaque white ground, carved in high relief and incised China, 18th century

207 A YANGZHOU SCHOOL ‘FIVE BATS’ GLASS OVERLAY SNUFF BOTTLE, 19TH CENTURY Cinnabar-red overlay on opaque turquoise-blue glass, carved in light relief, with neatly incised details China, Yangzhou, 19th century

A rather unusual, early bottle, with an archaistic circumferential design depicting two chilong on each side, surrounded by various key fret borders.

Both sides show ﬁve bats surrounding the shou sign in the center. A 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 faultless on the outside, ‘bleeds’ into the foot inside. The composition is well balanced and powerful, with conﬁdent use of a strong contrast in colors.

Shape: Flattened pear shape Hollowing: Standard Mouth, neck and lip: Cylindric, slightly sprawling neck, with very large mouth Base: Oval with raised foot rim Stopper: Honey colored agate with black platelet and good, old spoon Height of the bottle with stopper: 7.5 cm. Width of the mouth: 6 mm. Width of the neck: 10 mm. Weight: 30.8 grams Condition: Very good with some microscopic nibbling to lip, possibly from manufacturing Provenance: Sotheby Parke Bernet, New York, April 1975, by repute, thereafter American private collection 㴭䘥⛘⣿⣑啵㕁坕漵滣䂇⢢炻⋩ℓᶾ䲨㴭䘥⛘⣿ᶵ德㖶⣑啵刚㕁䍣䐫炻㶙㴖晽炻䳘䭨ℍ⽖ ᷕ⚳炻 ⋩ℓᶾ䲨 ⢢✳烉㇩⸛㡐⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉䚜䫺⮔柠炻⢢⎋㤝⣏ ⸽嵛烉㨊⚻⼊⚰嵛 ⢢味烉囄刚䐒䐁炻湹刚㈀䇯炻侩㛻ᾅ⬀列⤥ ⢢檀炷⏓⢢味炸烉 7.5 ⍀䰛 ⎋⼹烉 6 㮓䰛 ⢢柠⮔烉 10 㮓䰛慵慷烉 30.8 ⃳ ⑩䚠烉㤝⤥炻⒯悐㚱䳘⽖䡽㎵炻⎗傥㗗墥ἄ仢星 Ἦ㸸烉喯⭴㭼Parke Bernet炻䲸䲬炻1975⸜4㚰炻ᷳ⼴伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

Shape: Flattened oval Hollowing: Standard Mouth, neck and lip: Slightly sprawling, elongated neck with slanted lip and very large mouth Base: Oval with raised thin foot rim Stopper: Agate cabochon on black platelet Height of the bottle with stopper: 6.6 cm. Width of the mouth: 7 mm. Width of the neck: 12 mm. Weight: 25.6 cm Condition: Perfect Provenance: American private collection Auction result comparison: SNUFF BOTTLES FROM THE MARY AND GEORGE BLOCH COLLECTION Part V. Bonham’s, 27 May 2012, Hong Kong, lot 59. (compare with a bottle from the same group, showing a ‘Zhong Kui’ motif) ㎂ⶆḼ䤷⣿㕁䍣䐫滣䂇⢢炻⋩ḅᶾ䲨䵈㜦䞛啵刚⛘⣿㛙䲭㕁炻䳘䭨ℍ⽖ ᷕ⚳炻㎂ⶆ炻⋩ḅᶾ䲨 ⢢✳烉㇩⸛㨊⚻⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉柠悐䳘攟⢾㐯炻㐯⒯炻⮔⎋ ⸽嵛烉㨊⚻⼊㶢⚰嵛 ⢢味烉䐒䐁味炻湹刚㈀䇯 ⢢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,-

207

208 A VERY RARE RED AND BLUE OVERLAY ‘FLASHED’ YELLOW GLASS SNUFF BOTTLE, 1770-1830 Sapphire-blue, lemon-yellow and cinnabar-red overlays carved in high relief on a yellow flashed ground, with neatly incised detail work China, 1770-1830 The circumferential design shows pomegranates, finger citrus, peaches surrounded by their leafy stems, with two large bats on the shoulders. The mouth is very large, pointing towards an eighteenth-century bottle. The various glass filaments in the back ground, the furiously dispersed glass bubbles, the foot rim being formed of leaves and branches, which are part of the design, further strengthen this dating approach. This bottle is a very rare example of Chinese flashed glass, where a thin layer of color is added to the colorless glass, giving the impression that the entire ground is yellow. This rarely-used technique was usually confined to monochrome wares, nearly always of ruby-red color. In the present example, the flashing didn’t succeed completely, leaving numerous glass filaments in the background. It is extremely rare to find it as the ground for a cameo overlay carving, and its combination with this rare multicolor overlay appears to be almost unique. Shape: Flattened oval shape Hollowing: Standard Mouth, neck and lip: Short cylindric neck succinct to body, very large mouth, slanted lip Base: Foot rim consisting of carved stems and leaves in high relief Stopper: Beijing style stopper carved of red glass in imitation of coral (minimal chips) Height of the bottle with stopper: 6.8 cm. Width of the mouth: 9 mm. Width of the neck: 14 mm. Weight: 53.4 grams Condition: Very good condition with possibly some minuscule nibbling, but hard to say whether these are original to the bottle or not Provenance: American private collection Literature comparison: See Christie’s, Hong Kong, 1 November 1994, lot 1215 for an example of a ‘flashed’ reddish-pink glass snuff bottle. Auction result comparison: The Meriem Collection Important Chinese Snuff Bottles. Christies, New York, 19 September 2007, lot 646. (for another ‘flashed’ glass overlay snuff bottle) 朆ⷠ份夳䘬檖䴚䲳湫⛘⣿䲭啵㕁滣䂇⢢炻1770-1830 湫⛘䍣䐫ᶲ⣿⮞䞛啵炻㩠㩔湫⍲㛙䲭䍣䐫炻䳘䭨䱦䶣 ᷕ⚳炻 1770-1830 ⢢✳烉㇩⸛㨊⚻⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⺞Ỡ军⢢橼炻⎋㤝⣏炻㐯⒯ ⸽嵛烉 ⸽嵛⣿㴖晽⌟叱䲳 ⢢味烉 ⊿Ṕ桐㟤ầ䍲䐂䲭䍣䐫炷䳘⮷䡽㎵炸 ⢢檀炷⏓⢢味炸烉 6.8 ⍀䰛 ⎋⼹烉 9 㮓䰛 ⢢柠⮔烉 14 㮓䰛慵慷烉 53.4 ⃳ ⑩䚠烉㤝⤥炻㚱⸦嗽⽖ᶵ嵛忻䘬䡽㎵炻⼰暋婔㗗⏎㗗㬌⢢⍇ⷞ Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

208

209 A THREE-COLOR OVERLAY ‘PEONY AND LOTUS’ GLASS SNUFF BOTTLE, 1760-1810 Transparent glass with transparent overlays, carved in high relief China, 1760-1810 Of compressed ovoid form with flat, slightly convex lip and recessed foot surrounded by a sapphire-blue foot rim, both sides carved with a peony blossom in reddish-pink, above lotus flowers with their stems and leaves in pale green, carved in almost incredible fine detail, both through and within the overlay, all against the bubble-suffused ground. This bottle is part of a group of late Qianlong bottles with heavily bubbled grounds, and bright, multi-colored overlays. Certain groups of these mid-Qing glass bottles have been attributed to the Xin or Le family of glass carvers. They are mentioned by nineteenth-century snuff connoisseur Zhao Zhiqian in his Yonglu xianjie where he writes that these families were famous during the Qianlong period. The Xin family overlays according to Zhao Zhiqian, “are the most cleanly done, and, as their colors are made out of crushed gems, the luster dazzles the eye”. The Le family overlays, on the other hand, “have a lotus powder ground as white as frozen snow. The way the colors are arranged is also quite extraordinary, with red, purple, sky-blue, and kingfisher-blue alternating one with the other in a natural fashion.” Shape: Compressed ovoid form Hollowing: Standard Mouth, neck and lip: Neck succinct o body, with very wide mouth and slanted lip Base: Oval with raised foot rim Design, marks, school: Possibly Ye or Xin family of glass carvers Stopper: Very nice old stopper made of bronze, coral and pearl, no spoon Height of the bottle with stopper: 7.1 cm. Width of the mouth: 8 mm. Width of the neck: 11 mm. Weight: 42.5 Condition: Perfect condition, with possibly some microscopic nibbling due to open bubbles or manufacturing flaws Provenance: American private collection Auction result comparison: The Meriem Collection Important Chinese Snuff Bottles. Christies, New York, 19 September 2007, lot 638. (for a similar bottle) 䈉ᷡ咖剙暒⛘ᶱ刚⣿㕁䍣䐫滣䂇⢢炻1760-1810 德㖶䍣䐫炻德㖶⣿㕁炻㶙㴖晽 ᷕ⚳炻1760-1810 ⢢✳烉⡻䷖⌝⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉柠悐䯉㻼炻⮔⎋炻㐯⒯ ⸽嵛烉㨊⚻⼊⚰嵛忈✳ˣ句㫦⍲㳩㳦烉⎗傥䁢叱㮷ㆾ彃㮷㕁☐滣䂇⢢⭞㕷 ⢢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 7.1 ⍀䰛 ⎋⼹烉8 㮓䰛 ⢢柠⮔烉11 㮓䰛慵慷烉42.5 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 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

209

210 AN INSIDE-PAINTED ‘BOYS AT PLAY’ SNUFF BOTTLE, SIGNED YE ZHONGSAN, BEIJING Rock crystal, of almost ﬂawless clarity China, Beijing, dated Spring of Yichou year, 1925 Signed by Ye Zhongsan (1865 - 1945), one of the most proliﬁc snuff bottle painters of the era, the skillfully executed work shows a continuous scene of boys playing ‘Blindman’s Buff‘ in a garden with a large tree in the center, surrounded by other boys playing all sorts of games, all neatly painted with an almost incredible attention to detail in various and vivid colors. Inscription (translated): In the spring of the year yichou (1925), done by Ye Zhongsan Seal: Zhongsan Shape: Flattened rectangular form with broad shoulders Hollowing: Excellent Mouth, neck and lip: Short cylindric neck, with small mouth and well-formed inside neck cylinder Base: Oval shape with broad raised foot rim Stopper: Carved coral in the shape of a Chilong head on a gilt metal platelet, no spoon Height of the bottle with stopper: 6.8 cm Width of the mouth: 7 mm Width of the neck: 16 mm Weight: 38.3 grams Condition: Excellent, with one minuscule chip to lip, hardly visible to the naked eye Provenance: American private collection Literature comparison: Bob C. Stevens, The Collector‘s Book of Snuff Bottles, page 253. (for a short essay on the artist) The Apricot Grove Studio, the Ye Family of Snuff Bottle Artists, Part 1. Hugh M Moss, The Journal of the International Chinese Snuff Bottle Society v. 14, no. 1, Spring 1982, pp. 1-8. (for a detailed account of the snuff bottles painted by the Ye family) The Meriem Collection of Important Chinese Snuff Bottles. Christie’s, September 19th, 2007, New York, lot 648. (for an almost identical bottle). Auction result comparison: The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part I. Christies, New York, 16 September 2015, lot 326. (for a very similar bottle) 㯜㘞ℭ䔓⫘㇗⚾滣䂇⢢炻叱ẚᶱ㫦炻⊿Ṕ 㯜㘞炻⸦᷶䲼Ⅸ䃉㘯 ᷕ⚳炻 ⊿Ṕ炻句㫦ḁᶹ⸜炻1925 ⢢✳烉㇩攟⼊炻⮔偑㌷元烉㤝⤥ ⢢⎋ˣ柠冯⒯悐烉䞕䚜柠炻⮷⎋炻柠ℭㆸ✳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 A CLOISONNÉ ‘CRICKET’ SNUFF BOTTLE, QING DYNASTY Massive metal body with silvered foot and neck, the multicolored cloisonné on ‘imperial’ blue ground with copper wires China, 18th – earlier 19th century Each side with a yellow ground square vignette depicting a cricket and cabbage on one side and butterfly and peonies on the reverse, surrounded by neatly executed lotus scrolling, all on an intense blue ground, above a lappet band at the base and below a ruyi band around the collar. It is impossible to confirm with certainty whether neck and base 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 design of the bottle, including the cloisonné enamels, to absolute perfection. Shape: Square shape with rounded shoulders Hollowing: Standard Mouth, neck and lip: Cylindric neck with small mouth Base: Oval base with raised foot rim Stopper: Good old mother of pearl stopper with stepped silver mounting Height of the bottle with stopper: 7 cm. Width of the mouth: 6 mm. Width of the neck: 15 mm. Weight: 83.3 grams Condition: Superb condition with wear as expected on an old bottle and numerous small air bubbles Provenance: American private collection Literature comparison: IMPORTANT CHINESE SNUFF BOTTLES FROM THE J&J COLLECTION. Christies, Hong Kong, 25 April 2004, lot 812. (compare the execution of the lotus with this bottle) 㘗㲘啵䘥厄坰坰滣䂇⢢炻㶭ẋ ⍂慵慹Ⱄ偶炻嵛悐冯柠悐拵戨炻䘯⭞啵⛘㌸䴚⣂⼑䏢䎭 ᷕ⚳炻 ⋩ℓᶾ䲨军⋩ḅᶾ䲨㖑㛇 ⢢✳烉㕡⼊⚻偑㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉䚜䫺柠炻⮷⎋ ⸽嵛烉㨊⚻⸽炻檀⚰嵛 ⢢味烉戨⳴居㭵 ⢢檀炷⏓⢢味炸烉7 ⍀䰛 ⎋⼹烉ġ6 㮓䰛 ⢢柠⮔烉15 㮓䰛慵慷烉83.3 ⃳ ⑩䚠烉ᶵ⎴↉枧炻⸜ẋ䕽嶉炻䏢䎭堐朊ṃ⽖⮷㯋㲉 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

211

212 A SMALL CORAL SNUFF BOTTLE, LATER QING DYNASTY Coral of good and even color, with only few white inclusions, good polish, carving in high relief, incised detail work China, late Qing to earlier Republic period, ca. 1880-1930 Depiction of several ﬂowers amid their leaves and tendrils above a wavy background, framed by a lappet border at the lower end and a neatly incised ruyi border around the collar. Two lugs at the shoulders for suspension on a necklace. One side with the Chinese character for longevity. Shape: Bulbous cylindric shape Hollowing: Little Mouth, neck and lip: Sprawling neck with slanted lip and wide mouth Base: Flat oval base Stopper: Matching coral stopper, no spoon Height of the bottle with stopper: 5 cm. Width of the mouth: 5 mm. Width of the neck: 10 mm. Weight: 29.5 grams Condition: Perfect Provenance: Austrian private collection 䍲䐂⤪シ䲳㟫剙⮷滣䂇⢢炻㶭ẋ㘂㛇䍲䐂柼刚⛯⊨炻堡㚱⮹慷䘥刚倴䎮炻㉃⃱列⤥炻㶙㴖晽炻䳘䭨䱦䶣 ᷕ⚳炻㶭ẋ㘂㛇军㮹⚳⇅㛇炻䲬1880-1930 ⢢✳烉䎫䉨⚻䫺㌷元烉⮷ ⢢⎋ˣ柠冯⒯悐烉敲柠炻㐯⒯炻⮔⎋ ⸽嵛烉㨊⚻⸽ ⢢味烉⋡惵䍲䐂味炻䃉㛻 ⢢檀炷⏓⢢味炸烉 5 ⍀䰛 ⎋⼹烉5 㮓䰛 ⢢柠⮔烉10 㮓䰛慵慷烉29.5 ⃳ ⑩䚠烉⬴伶 Ἦ㸸烉⤏⛘⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

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213 AN EMBELLISHED ‘POMEGRANATE’ CORAL SNUFF BOTTLE, 19TH CENTURY Coral with neatly incised inlays made from turquoise, carnelian and tiger’s eye. The bottle: China, 19th century, possibly even a bit earlier. The embellishment: Japan, late 19th – early 20th century. Of heart form with flat top and recessed foot surrounded by an oval foot rim, the embellishments carved in crisp relief with two pomegranates and one blossom growing from a gnarly stem, surrounded by a few smaller leaves. Coral is a symbol of longevity, due to its resemblance to a tree that seems to last forever. It was also a symbol of the first rank as civil officers of the first rank wore coral buttons on their hats. Coral was highly valued at court and was considered to be the third most valuable gem. In the catalogue of the Exhibition of Qing Dynasty Costume Accessories, page 31, the order of value is given as pearl, ruby, coral, sapphire, lapis lazuli, quartz, shell etc. Coral was also the material used for the emperor’s court necklace when worshipping at the Altar of the Sun, matched by a coral belt. Coral snuff bottles were produced for the Court throughout the early to mid-Qing period, and apart from the Palace workshops, we are told in Masterpieces of Snuff Bottles in the Palace Museum, page 29, that the records reveal that snuff bottles made of gems and gemstones (which included coral) were mostly produced at Imperial lapidary workshops in Suzhou and Yangzhou by order of the Emperor. The rarity of genuine early and midQing coral snuff bottles is presumably due to the fact that only the occasional branch was large

enough to make even a small snuff bottle. Several of the earliest known coral bottles were made in segments joined together, or when made from flawed material (which was all that was available), requiring either patches of coral inlaid to fill flaws, or wax inlays. Shape: Heart Hollowing: Very good Mouth, neck and lip: Flat top with tiny mouth Base: Oval with raised foot rim Stopper: Green glass in imitation of nephrite Height of the bottle with stopper: 5.9 cm. Width of the mouth: 5 mm. Width of the neck: 19 mm. Weight: 58.7 grams Condition: Excellent. Remainders of old glue near the inlays. Some natural imperfections to the material and microscopic nibbling two rims. Provenance: Hungarian private collection 䍲䐂䞛㥜搚⳴滣䂇⢢炻⋩ḅᶾ䲨䍲䐂搚⳴↯√㔜滲䘬䵈㜦䞛ˣ䲭䌱橻 ⍲嗶䛤䞛 ⢢烉ᷕ⚳炻 ⋩ḅᶾ䲨炻⎗傥㚜㖑ṃ 搚⳴烉㖍㛔炻⋩ḅᶾ䲨㘂㛇军Ḵ⋩ ᶾ䲨㖑㛇 ⢢✳烉⽫⼊㌷元烉朆ⷠ䱦䳘 ⢢⎋ˣ柠冯⒯悐烉⸛朊⢢⎋炻⮷⎋ ⸽嵛烉㨊⚻⼊⚰嵛 ⢢味烉 ầ䌱䍣䐫味 ⢢檀炷⏓⢢味炸烉 5.9 ⍀䰛 ⎋⼹烉 5 㮓䰛 ⢢柠⮔烉 19 㮓䰛慵慷烉 58.7 ⃳ ⑩䚠烉㤝Ἓ炻搚⳴䈑旬役⎗夳先䉨检䔁炻ᶨṃ⣑䃞㛸㕁仢星⍲ℑ嗽㨇⽖⮷䡽䡘 Ἦ㸸烉 ⊰䈁⇑䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

214 A FINE ENAMEL ON COPPER ‘PEONY’ SNUFF BOTTLE, 18 TH 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 rankidentifying 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 Condition: Excellent condition with some old wear 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. Literature comparison: For the shape, the style and the color combination of this bottle, compare with Bob C. Stevens, the Collector’s Book of Chinese Snuff Bottles, lot 1028. Also compare this bottle with Moss, Graham, Tsang, Treasury, Volume 6, Part 1, lot 1065, a very early enamel on copper bottle, dated 1705-1718. 戭偶䏢䎭䈉ᷡ滣䂇⢢炻⋩ℓᶾ䲨⺋ⶆ炻ㆾ䇚⽉墥⑩ ᷕ⚳炻 1705-1800 ⢢✳烉㇩⚻⼊㌷元烉夷㔜炻戭偶 ⢢⎋ˣ柠冯⒯悐烉䞕柠炻⒯悐曚↢戭偶炻⢢ℭᶲ䘥刚䏢䎭 ⸽嵛烉㨊⚻⸽悐ᶲ䘥刚䏢䎭⼑炻⚰嵛↎曚↢戭偶 ⢢味烉 ⢢味ㅱ䇚⍇墅⢢味炻℞⸽⹏⼊䉨䁢⭖⺟⭀ⷥ炻⸞㚱⑩䳂㧁⽿䘬枪䎈ˤ戭偶 ⢾曚炻⹏Ḷ湹刚㈀䇯ᷳᶲ炻⮷㛻ᾅ⬀列⤥ ⢢檀炷⏓⢢味炸烉5.7 ⍀䰛 ⎋⼹烉6 㮓䰛 ⢢柠⮔烉13 㮓䰛慵慷烉30.6 ⃳ ⑩䚠烉㤝⤥炻ṃ⽖⸜ẋ嶉尉 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 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

213

215 AN EARLY MALACHITE ‘WAVES’ SNUFF BOTTLE, 1750-1850 Plain malachite with a superb manual surface polish China, 1750-1850 This is one of the few early malachite bottles that have appeared on the 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 hand-polish, an excellent hollowing and a well-balanced shape to name just a few. The design of this bottle ‘only’ serves two purposes, and these in a nearly ideal manner: The consumption of snuff and the display of the natural beauty of the mineral. Malachite snuff bottles are rare, considering how readily available the material must have been. It is likely that its softness and brittleness may have depleted an originally larger body of examples, as with other fragile stones. On top of that it may also be that it was simply not used so often for carving bottles, which may be the reason why the stone was not mentioned by Zhao Zhiqian in the 1860s (The Journal of the International Snuff Bottle Society, Autumn 1991). Malachite is a hydrated copper carbonate occurring typically in the oxidation zone of copper deposits where it is associated with other ores of copper and is the product of their alteration. It is a soft stone, about 4 on the Mohs scale, and easily scratched with a steel blade. Of widespread occurrence, it is found as a rule wherever copper appears, such as in Guangdong, Hubei, Jiangxi, Inner Mongolia, Gansu, Tibet, and Yunnan, where there are extensive deposits. Some of these areas became major producers of malachite only in recent times, such as Yangchun in Guangdong for example, where mining only began in 1966. But in any case, the odd piece was certainly picked up in some of these areas and presented to the court long before systematic production began. Malachite actually is even found at the sites of Shang dynasty copper works and was also ground up and used in as a pigment for architectural painting and other applications. Shape: Rounded and flattened rectangular shape Hollowing: Excellent Mouth, neck and lip: Short cylindric neck, convex top, slanted lip, small mouth Base: Oval raised and rounded foot rim Design, marks, school: Possibly imperial, see literature comparison Stopper: Coral stopper with good original platelet and spoon Height of the bottle with stopper: 6.3 cm. Width of the mouth: 6 mm. Width of the neck: 17 mm. Weight: 85,8 grams Condition: Excellent original condition with minor natural flaws to the mineral and some wear as expected on a bottle of this age Provenance: American private collection Literature comparison: Early malachite bottles are rare, and considerably harder to find than, for instance, early turquoise bottles. Bob C. Stevens, The Collectors Book of Chinese Snuff Bottles, 1976, illustrates only two (nos. 629 and 669) while including ten early turquoise bottles. For other examples of this rare group, see Friedman 1990, no. 59; Lawrence 1996, no. 34; Sotheby’s, London, 24 April 1989, lot 432, and Chinese Snuff Bottles No. 1, p. 19, middle left. Auction result comparison: SNUFF BOTTLES FROM THE MARY AND GEORGE BLOCH COLLECTION, Part I. Bonham’s, Hong Kong, 28 May 2010, lot 86. ⫼晨䞛㲊㴒䲳滣䂇⢢炻1750-1850 ⫼晨䞛炻堐朊㉃⃱㤝⤥ ᷕ⚳炻 1750-1850 ⢢✳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

216 A RARE ‘NANTIMITOLO’ AMETHYST SNUFF BOTTLE, MASTER OF THE ROCKS, QING DYNASTY Transparent amethyst of light purple color, streaked with white shades of crystal, carved and incised in high relief China, 18th – 19th century The seated figure is shown with his right hand raised above his head holding a pearl and a fierce dragon amid swirling clouds above him. These attributes identify him as Nantimitolo, known in Chinese as the ‘Dragon Subduing Luohan’, luohan being the Chinese transliteration of the Sanskrit word arhat. An arhat is a perfected being, a disciple of Buddha who has attained enlightenment, but chooses to remain engaged in the world, postponing nirvana, in order to aid all sentient beings. The arhat achieves enlightenment through instruction rather than through insight and meditation, and as a result, ranks just below the bodhisattva. In this figure of Nantimitolo, the expressive face with protruding chin, large eyes and prominent nose, so unlike Chinese physiognomy, points to his foreign origins. The facial expression on the present figure has parallels in iron figures dating from the Song dynasty such as in the guardian from Jinci Temple in Taiyuan, Shanxi illustrated in A. Paludan, Chinese Sculpture: A Great Tradition, Chicago, 2006, p. 388, fig. 258. The backside of the bottle carved with further clouds and an incised deer. Shape: Bulbous rectangular shape Hollowing: Excellent Mouth, neck and lip: Cylindric neck with convex top, slated lip and small mouth Base: Oval with raised foot rim Design, marks, school: Master of the Rocks School Stopper: Tourmaline cabochon with old metal mounting and spoon Height of the bottle with stopper: 8 cm. Width of the mouth: 7 mm. Width of the neck: 19 mm. Weight: 95.5 grams Condition: Excellent condition with one tiny nibble to lip and some minuscule natural flaws Provenance: American private collection Auction result comparison: SNUFF BOTTLES FROM THE MARY AND GEORGE BLOCH COLLECTION: PART VI. Sotheby’s, 27 MAY 2013, HONG KONG, lot 204. (for a Suzhou jade bottle with the same subject) 份夳䳓㘞晽ㄞ⍳⮲侭滣䂇⢢炻䞛栆㳦⣏ⷓ, 㶭ẋ 德㖶䳓㘞柼刚Ṗ渿炻⎗夳䘥刚倴䎮䲳炻㶙㴖晽 ᷕ⚳炻 ⋩ℓ军⋩ḅᶾ䲨 ⢢✳烉攟䎫⼊㌷元烉㤝⤥ ⢢⎋ˣ柠冯⒯悐烉䚜柠炻↠枪炻㜧ⱑ⒯炻⮷⎋ ⸽嵛烉㨊⚻⼊⚰嵛忈✳ˣ句㫦⍲㳩㳦烉‹↢䞛栆㳦 ⢢味烉侩慹Ⱄ⊭暣㯋䞛ㆺ朊炻⮷㛻 ⢢檀炷⏓⢢味炸烉8 ⍀䰛 ⎋⼹烉7 㮓䰛 ⢢柠⮔烉19 㮓䰛慵慷烉95.5 ⃳ ⑩䚠烉㤝⤥炻⁭⛐⒯悐㚱ᶨ↎䳘⽖䡽㎵炻ᶨṃ冒䃞仢星 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

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⚻偑㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉㉱攟䚜柠炻⢢⎋⸛㔜炻⣏⎋ ⸽嵛烉㨊⚻檀⚰嵛炻㛒ᶲ慱 ⢢味烉喳㝄䵈侉侈炻䵈刚㈀䇯炻侩㛻列⤥ ⢢檀炷⏓⢢味炸烉10 ⍀䰛 ⎋⼹烉10 㮓䰛 ⢢柠⮔烉24 㮓䰛慵慷烉 145 ⃳ ⑩䚠烉 ⸽嵛⮷塪⎋炻柠悐㚱䳘䷓炻䔓朊ᶲ㚱庽⽖䢐㎵ Ἦ㸸烉伶⚳䥩Ṣ㓞啷炻⸽悐⎗夳㓞啷⭞侩㧁䯥 EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

216

218 A FAMILLE-ROSE PORCELAIN PEACH-FORM SNUFF BOTTLE, QING DYNASTY, 19TH CENTURY Molded and carved porcelain painted in polychrome enamels China, 19th century Naturalistically formed and carved to depict a peach with its leaves executed in reticulated manner, delicately painted with polychrome enamels. Most likely Jingdezhen. Ceramics were produced in many parts of China, of course, and there were other main centers of production; but most are welldocumented and distinctively different in their paste and usually in their range of glazes and enamels, as well. The two raw materials required for the finest porcelain were conveniently located in different deposits near Jingdezhen, which was the reason for its establishment as China’s main porcelain metropolis since long before the Qing dynasty. According to Rose Kerr, there were some three hundred kilns operating at Jingdezhen during the Daoguang period, and they produced the vast majority of the high-fired whitepaste, fine-quality porcelain we see today. A bottle like the present one, although not typical of the broader range of Jingdezhen wares, is still likely to have been made there. It is surprising that the peach shape does not occur far more often in porcelain snuff bottles. It was popular enough in other materials 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.

Shape: Peach Hollowing: Standard Mouth, neck and lip: Small cylindric neck with wide mouth Base: None Design, marks, school: Jingdezehn kilns Height of the bottle with stopper: 7.3 cm. Width of the mouth: 6 mm. Width of the neck: 9 mm. Condition: Perfect, the glaze with minimal wear Provenance: American private collection Literature comparison: Snuff Bottles from the Mary & George Bloch Collection: Part VIII. Sotheby’s, Hong Kong, May 26th, 2014, lot 1145. (for an almost identical bottle) 䰱⼑⢥㟫⼊滣䂇⢢炻㶭ẋ, ⋩ḅᶾ䲨䰱⼑炻⟹⼊ ᷕ⚳炻⋩ḅᶾ䲨 ⢢✳烉㟫⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉⮷䚜柠炻⮔⎋ ⸽嵛烉䃉忈✳ˣ句㫦⍲㳩㳦烉㘗⽟捖 ⢢檀炷⏓⢢味炸烉7.3 ⍀䰛 ⎋⼹烉6 㮓䰛 ⢢柠⮔烉9 㮓䰛 ⑩䚠烉⬴伶炻⎛朊㚱庽⽖壒刚 Ἦ㸸烉伶⚳䥩Ṣ㓞啷 EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

219 A BLUE AND WHITE PORCELAIN SNUFF BOTTLE, QING DYNASTY Porcelain, painted in cobalt-blue and iron-red under a transparent glaze China, 19th century Delicately painted to depict a warrior and noblemen under a blooming cherry tree in a garden setting. The foot painted with a cobalt-blue double circle. Shape: Cylindric Hollowing: Standard Mouth, neck and lip: Cylindric sprawling neck with large mouth, the inner of neck glazed Base: Round base with raised foot rim Height of the bottle with stopper: 7 cm. Width of the mouth: 8 mm. Width of the neck: 15 mm. Weight: 44,5 cm Condition: One chip to inner foot rim, almost not visible from the outside, some minuscule fritting to lip, otherwise excellent Provenance: United Kingdom private collection, old collector’s label to bottom 曺剙慱塷䲭滣䂇⢢炻㶭ẋ 昞䒟炻曺剙慱塷䲭 ᷕ⚳炻 ⋩ḅᶾ䲨 ⢢✳烉 ⚻㞙⼊㌷元烉夷㔜 ⢢⎋ˣ柠冯⒯悐烉䚜柠⎹ᶲ徸㻠⢾㐯炻⣏⎋炻柠ℭᶲ慱 ⸽嵛烉 ⚻⼊ℭ↡炻檀⚰嵛 ⢢檀炷⏓⢢味炸烉 7 ⍀䰛 ⎋⼹烉 8 㮓䰛 ⢢柠⮔烉 15 㮓䰛慵慷烉 44,5 cm ⑩䚠烉 ⚰嵛ℭ塷㚱ᶨ↎⮷䡽㎵炻⽆⢾悐ᶵ⎗夳烊⒯悐⮷㐢怲炻℞Ṿ悐ỵᾅ ⬀㤝⤥ Ἦ㸸烉劙⚳䥩Ṣ㓞啷炻⢢⸽⎗夳啷⭞㓞啷侩㧁䯥 EstimateġỘ₡ġġEUR 200,Starting priceġ崟㉵₡ġġEUR 100.-

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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,-

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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 172173 & 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,-

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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,-

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223 AN IMPORTANT GILT AND POLYCHROMED WOOD FIGURE OF AIZEN MYO-O, MUROMACHI PERIOD (1333-1573) Gilt and polychrome pigments on wood, metal and glass Japan, Muromachi period (1333-1573), possibly earlier The wrathful deity is carved in wood with polychrome pigments, predominantly in red and is gilded in some areas. Aizen Myo-o is depicted here characteristically with six arms, the lower arms holding a five-pronged vajra, the diamond which cuts through an illusion, and a ritual bell, which calls one to awareness. The other hands are holding a bow and arrow and an unopened lotus flower, which represents the power of subjugation. His headdress is ornate and made of metal with several glass beads hanging from it, with a snarling shishi on top, colored in blue and green pigments. He is seated in lotus position on top of a lotus pedestal on a multi-stepped base with a ribbon tied around it. The folds of his garments are expressive and colored in great detail with a brocade pattern. A large mandorla with an intricately painted pattern, which surrounds the deity is attached to the base. His facial expression is ferocious as he opens his mouth, baring his teeth and his hair is wild and flaming, representing rage, lust and passion.

Aizen Myo-o, also known as Ragaraja, is one of the five wisdom kings, sometimes referred to as the ‘god of love’ and is worshipped for translating worldly lust and desire into spiritual awaking. Shape: Figural Dimensions: Height 48 cm Condition: Very good and original condition, considering the age. The entire figure has been examined under blacklight and has remained unrestored, which is extremely rare considering that most of these figures are restored and painted over. Expected wear, surface cracks and chips. Provenance: Austrian private collection Literature comparison: A similar figure, especially when looking at the manner of the shishi in the crown and the color of the red pigments, is in the National Museum of Tokyo and is dated to the Kamakura period (13th century) Auction result comparison: Compare to a very similar figure, though restored, which sold at Bonhams, Fine Japanese and Korean Art, London, 15. March 2017, lot 6158 EstimateġỘ₡ġġEUR 5.000,Starting priceġ崟㉵₡ġġEUR 2.500,-

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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,-

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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,-

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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 Dimensions: Height 12.2 cm Condition: Excellent condition with minor, expected wear Provenance: Austrian private collection EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

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228 A RARE AND FINE INLAID CLOISONNE ENAMEL GOLD LACQUERED TRAY Wood, lacquer and cloisonné enamel Japan, late 19th century, Meiji period (1868-1912) 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,-

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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, age cracks and minor chipping. Provenance: Viennese private collection EstimateġỘ₡ġġEUR 500,Starting priceġ崟㉵₡ġġEUR 250,-

230 A LARGE LACQUERED SAGEMONO FOR CALLIGRAPHY EQUIPMENT Lacquered wood Japan, Meiji period (1868-1912) Arranged in two long tubes, one of them for holding a paintbrush and the other presumably holding a scroll, as there is a protective layer of paper on the inside. The outside is finely lacquered on a beautiful shimmering roironuri ground with gold takamaki-e ferns and cherry blossoms. Nashiji flakes are spread out around the composition and there is some hirame flakes inside the gnarly trunk of the sakura tree. Two metal fittings, one on the cover, so that it can function as sagemono (hanging thing).

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Shape: Double tube shape with cover Dimensions: Length 42.2 cm Condition: Generally, in good condition, with expected wear and peeling to lacquer, with some minor cracks. Part of the bottom section of one tube is missing Provenance: Viennese private collection EstimateġỘ₡ġġEUR 300,Starting priceġ崟㉵₡ġġEUR 150,-

231 A FINE LACQUERED RYOSHIBAKO (DOCUMENTS BOX) WITH SAKURA TREE, CRANES AND MINOGAME Lacquered wood and leather Japan, 19th century The large rectangular box with inrobuta (flushfitting) 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 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

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232 A PAIR OF IMARI PORCELAIN GINGER JARS WITH LIDS Imari porcelain Japan, 1900s, Meiji period (1868-1912) Painted in the traditional imari color palette of blue and iron red with gold, with two large reserves depicting Chinese boys, one with a pet tortoise on a leash, beneath cherry blossoms, pine trees and sparrows. Between the reserves are dense leaves and vines in red, blue and gold. The lids with a similar decoration. Shape: Ginger jars with lids Dimensions: Height 26.5 cm (each) Condition: Generally, in good condition, the painting slightly worn in some areas. The base ring of one jar chipped. Provenance: German private collection EstimateġỘ₡ġġEUR 400,Starting priceġ崟㉵₡ġġEUR 200,-

233 A HIRADO PORCELAIN VASE WITH CICADA Porcelain Japan, late 19 th 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,-

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234 AN AMUSING HIRADO STYLE BLUE AND WHITE PORCELAIN VESSEL WITH AN ESCAPING TORTOISE Porcelain Japan, mid-19th centuy, Edo period (1615-1868) The vessel glazed in deep blue on the outside and with a blueish-white on the inside. The inside is finely painted with blue cherry blossoms, and a figural tortoise is peeking out over the rim, its head turned to the left. The vessel is likely depicting a bronze censer, and the little tortoise that has escaped from the inside has tipped the censer over with its weight, creating a dent that keeps the vessel in place. The patterns of the shell are finely modelled, and the tortoise has a slightly confused and mischievous expression. Shape: Censer-shaped vase with a flaring rim Dimensions: Height 18.6 cm, 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,-

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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 incense. The top with a lid in a similarly open-worked basket weave design. Shape: Globular Incense burner with lid on a square base with curved feet Dimensions: Height 23.3 cm Condition: Remarkably in mint condition Provenance: American private collection Auction result comparison: A very similar slightly larger incense burner was sold at Christie’s, Masterful Exuberance, Artistic Craftsmanship of Imperial Japan: The Property of a Lady, London, 18 May 2012, lot 145 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

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236 A LARGE AND FINE SETO-WARE BLUE AND WHITE PORCELAIN VASE BY KATO KICHIBEI Porcelain with blue and white painting Japan, Meiji period (1868-1912) The large vase depicting various birds in very fine blue and white painting. The bottom section is arranged in two separate rows with cranes in flight between dense clouds. The mid-section with a dense and impressive pine tree with a large falcon, bearing a grim expression, perched on a branch. Not far from him is an owl seated on another 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,-

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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 (18681912) 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,-

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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,-

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239 A FINE SATSUMA PLATE BY KINKOZAN WITH BLOSSOMS, BIRDS AND BUTTERFLIES 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 rectangular and square panel with finely painted depictions. The long rectangular reserve with a small bird sitting below a blossoming tree and watching a spray of water flowing out of a fountain. The other square reserve with a butterfly above a dense bush of flowers. The rim gilt with a geometrical and floral pattern and the outside of plain cobalt-blue color. Signed with an impressed seal KINKOZAN zo. Shape: Plate with a circular foot Dimensions: Diameter 22.5 cm Condition: Mint condition Provenance: American private collection EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

240 A FINE SATSUMA PLATE BY KINKOZAN DECORATED WITH A SNIPE AMONGST BLOSSOMS Satsuma ceramic Japan, late 19th – early 20th century, Meiji period (1868-1912) The plate is decorated with dense gold floral enamels on a cobaltblue ground with a fan shaped panel decorated with a snipe amongst dense bushels of grasses and flowers. The rim gilt with a geometrical and floral pattern and the outside of plain cobaltblue color. Signed in gold on the underside KINKOZAN zo. Shape: Plate with a circular foot Dimensions: Diameter 22.3 cm Condition: Mint condition Provenance: American private collection EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

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241 A MARVELLOUS SATSUMA PLATE BY KINKOZAN DEPICTING DOVES WITH CHERRY BLOSSOMS 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 a large heart-shaped reserve depicting doves underneath cherry blossoms. The five doves are depicted all with different postures and color of plumage, next to a deep blue puddle and sakura trees with the beautiful pink and white cherry blossoms hanging over the doves. 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 22.2 cm Condition: Mint condition Provenance: American private collection EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

242 A FINE SATSUMA PLATE BY KINKOZAN DEPICTING BLOSSOMS, BUTTERFLIES AND SPARROW 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 two fan-shaped reserves with finely painted depictions. The upper reserve with a suzume (sparrow) in flight above a lake with dense bushels of various aquatic plants. The lower reserve with peonies and butterflies. 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 EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

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243 A JAPANESE SATSUMA BOWL WITH A NOH ACTOR Satsuma ceramic Japan, late 19th century, Meiji period (1868-1912) The inside of the bowl completely covered in hundreds of small gilt 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 famous Noh play Okina, in which three characters perform ritual dances with a fan and a bell tree. The rim of the bowl is decorated with geometrical motifs, as well as the outside of the bowl, which is further ornately decorated with scrolling vines. Shape: Footed bowl with outward ﬂaring rim Dimensions: Height 5.5 cm, Diameter 15 cm Condition: Good condition, some rubbing to the enamel Provenance: American private collection – old collection number ‘AC227’ on the base EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

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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 inbetween them. The center with a serene depiction of a daily-life scene of people walking through a pass to a temple, beautiful pink cherry blossoms hanging over them, the details gilt and giving the surface a shimmering effect. The underside with the signature in a gilt square reserve reading SENZAN. Shape: Rectangular tray with lobed edges Dimensions: 18.5 x 11.5 cm Condition: Excellent condition Provenance: American private collection EstimateġỘ₡ġġEUR 1.000,Starting priceġ崟㉵₡ġġEUR 500,-

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245 A FINE SATSUMA OKIMONO FIGURE OF A WOOD CUTTER CHEWING TOBACCO Satsuma ceramic Japan, late 19th century, Meiji period (1868-1912) The old man is taking a break, sitting on a bundle of logs, his hatchet in one hand and the other hand holding chew tobacco. He has a humorous expression and his mouth is wide open, showing rows of missing teeth, a consequence of his habit. His clothes are ornately decorated with gilt enamels with ﬂoral and scrolling tendril patterns. Shape: Figural Dimensions: Height 15.5 cm Condition: Very good condition; only the end of the hatchet has been re-attached Provenance: American private collection EstimateġỘ₡ġġEUR 400,Starting priceġ崟㉵₡ġġEUR 200,-

246 A SATSUMA OKIMONO FIGURE OF FUKUROKUJU WITH CRANE Satsuma ceramic Japan, late 19th century, Meiji period (1868-1912) The lucky deity Fukurokuju is depicted here seated on a plinth with his companion the red-crested crane, a symbol of longevity, seated next to him, one hand of the deity caressing the animal. The other hand is holding a fan, with a hossu on top. His robes are ornately decorated with scrolling vines, geometrical patterns and clovers and he is wearing a Taoist cap. Impressed seal reading Oimatu Sanjin. When examining the facial features, one immediately notices the detailed facial expression of the lucky god, which is modelled precisely, as if it was a portrait. It has been suggested that a man from Oimatsu-chyo has ordered this ﬁgure to look like Makuzu Kozan, who was an important Japanese ceramicist. (see literature comparison) Shape: Figural Dimensions: Height 12.5 cm Condition: Mint condition Provenance: American private collection Literature comparison: See an entry into the Kozan weblog, related to the aforementioned suggestion, that a man from Oimatsu-chyo has ordered this ﬁgure to look like Makuzu Kozan EstimateġỘ₡ġġEUR 400,Starting priceġ崟㉵₡ġġEUR 200,-

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247 AN EXCELLENT DEEP SATSUMA BOWL DEPICTING KANNON AND TWO ONI ATTRIBUTED TO THE KINKOZAN WORKSHOP Satsuma ceramic Japan, late 19th century, Meiji period (1868-1912) The deep bowl is elaborately decorated on the inside with the goddess Kannon, her robes flowing and covered beautifully with gilt enamels and floral patterns. She has split the earth below her feet, revealing a river to ward off the evil spirits in the form of two oni, their robes equally ornately decorated. The outside of the bowl with a fine and elaborate pattern on the rim and a brocade pattern on the lower part of the bowl. Louis Lawrence, who has published several books on satsuma, has attributed this piece to the Kinkozan workshop (see literature). Shape: Deep bowl with a circular, slightly raised foot Dimensions: Height 7.6 cm, Diameter 17.6 cm Condition: Mint condition Provenance: American private collection Literature comparison: Compare to a vase executed 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,-

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248 A RARE SATSUMA ‘MILLEFLEUR’ BOWL BY KOZAN Satsuma ceramic Japan, late 19th century, Meiji period (1868-1912) The outside of the bowl decorated with many flowers amongst grasses with gilt details, the gilt rim with a geometrical pattern. The inside is decorated elaborately with the very popular ‘millefleur’ décor – meaning ‘thousands of flowers’ – in the form of many petals in red, blue and gold. The underside with the signature in a gold square reserve reading dai Nihon Kozan zo (great Japan made by Kozan) above the Shimazu clan mon. Shape: Footed tea bowl Dimensions: Height 5.5 cm, Diameter 12.2 cm Condition: Very good condition, very minor wear to enamels Provenance: American private collection Auction result comparison: A comparable model, unsigned, was sold at Bonhams, Fine Japanese and Korean Art, New York, 12 September 2018, lot 1233 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,-

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250 A LARGE AND FINE SATSUMA TEAPOT BY MATSUMOTO HOZAN Satsuma ceramic Japan, late 19th- early 20th century, Meiji period (1868-1912) The large teapot with three feet, a spout and bamboo handle ornately decorated with alternating reserves in-between fine gilt borders with geometrical and brocade patterns. One reserve with a depiction of samurai warriors, their clothes with gilt details, opposite a reserve with a depiction of court ladies with children. The remaining reserves, as well as the lid, filled with fine floral motifs. The tapered midsection is decorated with a gilt band filled with scrolling vines and floral motifs and the underside plain with dense craquelure and signature in a gilt square reserve reading MATSUMOTO HOZAN underneath the shimazu mon. Shape: Teapot with a tapered midsection with three feet, spout, handle and lid with a small knob. Dimensions: Height 19 cm (with handle), width 20 cm 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,-

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251 A SUMI-E DEPICTING GIBBONS BY KANO EISHIN YASUNOBU (1614-1685) Ink on paper Japan, 17th century The sumi-e (ink wash painting) depicts three animated gibbons, with their characteristically long arms, pointing and grasping at a waterfall which draws their attention. A leafy stalk of bamboo is seen to the right of the monkeys. Signed Hogan Eishin hitsu with seal.

Shape: Rectangular painting in frame Dimensions: 48 x 34 (painting) Condition: The painting in good condition with only minor white spots Provenance: American private collection Auction result comparison: Another painting of Gibbons by Kano Yasunobu was sold at Christie’s, Japanese and Korean Art, New York, March 24 2010, lot 615 EstimateġỘ₡ġġEUR 1.200,Starting priceġ崟㉵₡ġġEUR 600,-

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252 A KAKEJIKU OF MONKEYS BY MORI SOSEN (1747-1821) Ink and color on silk Japan, late 18th – early 19th century Depicted is a mother monkey with her two young picking fleas. The mother is caressing one of the younger monkeys and is looking towards the left, her facial expression beautifully naturalistic. The younger ones are looking at fleas between their fingers and are visually absorbed by this. The background with little speckles of ink and gold flakes to create a three-dimensional effect, further highlighting the image of the monkeys. Signed Sosen utsuishi, sealed Mori Shusho and Sosen. Mori Sosen was the founder of the Mori school was active in Osaka at the end of the Edo period and was famous for his paintings of monkeys, his designs were copied for some of the very best satsuma and lacquer works. His brush strokes and style are unmistakable, and he was said to have painted from sketches he made in real life, which explains the incredible sense of naturalism conveyed by his paintings. 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,-

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253 A FOUR PANEL STANDING SCREEN WITH BAMBOO Wood, ink and color on paper, brass ﬁttings Japan, 19th century or earlier The wood screen with a depiction of leafy stalks of bamboo on paper across four panels. Incised brass ﬁttings on the edges. Shape: Rectangular four-panel standing screen Dimensions: 183 x 91. 5 (total) Condition: The edges of the wood frame with minor damages. The painting with many spots of white paint, some soiling, minor tears, overall fair condition Provenance: Viennese private collection EstimateġỘ₡ġġEUR 400,Starting priceġ崟㉵₡ġġEUR 200,-

254 A PAINTING WITH A MANTIS ON A FRUITING BRANCH OF POMEGRANATE Ink and colors on paper. Japan, 19th century The painting executed with vivid brushstrokes depicting a mantis on a branch of ripe pomegranate, the bottom section of the branch with dense, dark green leaves. Signed in sosho with a seal.

Shape: Rectangular painting in frame Dimensions: 35 x 25 cm (painting) Condition: Good condition Provenance: Viennese private collection EstimateġỘ₡ġġEUR 200,Starting priceġ崟㉵₡ġġEUR 100,-

246

255. A KANO SCHOOL FOUR PANEL STANDING SCREEN WITH BIRDS AND PINE TREE Wood, gold and silver paper, ink and colors, patinated copper fittings Japan, 19th century or earlier The four-panel standing screen made of wood. Painted on gold is a depiction of red crested cranes with a stream in the middle, one of the cranes drinking from a little pond in the left. There is pheasant next to rose mallow flowers and a couple of songbirds perched on a rock beneath a blossoming cherry tree. Patinated copper fittings with incised decorations on the edges and the backside with geometrical patterns. Shape: Rectangular four-panel standing screen Dimensions: 122 x 47 (image) 173.5 x 109 cm (total) Condition: The wood frame with damages on the edges and the backside with tears. The silver frame within the wood frame with some soiling and losses. The image with losses to painting, soiling and tears Provenance: Viennese private collection EstimateġỘ₡ġġEUR 600,Starting priceġ崟㉵₡ġġEUR 300,-

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256 AN UNUSUAL AND RARE PAINTING OF FUDO MYO-O (ACALA) Colors and ink on paper, silk mounting Japan, 17th-18th century, Edo period (1615-1868) Fudo-myo, also known as Acala, is depicted here on top of a dragon amidst billowing flames and turbulent waters. He is holding a straight vajra sword and a serpent scepter in his hands and is wearing ornate jewelry, a serpent crown and is surrounded by shining 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.

248

Shape: Formerly a Kakejiku mounted in a frame Dimensions: 62 x 42 cm (painting) Condition: The painting with some soiling, creases, losses and surface degradation Provenance: American private collection EstimateġỘ₡ġġEUR 800,Starting priceġ崟㉵₡ġġEUR 400,-

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