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French school; 19th century.Oil on canvas.Signed E. Delacroix.Presents X-ray and GSS analysis.Measurements: 65.5 x 81.5 cm; 81 x 98 cm (frame).In a sumptuous and delicate way the author of this work wraps the body of a naked young woman in rich fabrics. The woman, who adopts a languid, carefree pose, is oblivious to the viewer and absorbed in her own intimacy. This is a totally romantic attitude, the impossible attracts and fascinates the imagination, turning the image of the woman into a symbol of sensuality. It is the representation of an impossible because the romantics would never be able to find what they dreamed of, as they were realities that did not exist. It should also be noted that, within the subject matter of this nude, the author was inspired by the depictions of odalisques, which became widely popular. This recourse to Orientalism should be understood as one of the currents that fuelled European art in the 19th century, coinciding with the triumph of the capitalist bourgeoisie and the imperialist countries, especially England and France. Within the Romantic rejection of time itself, a fantastic and free flight in time and space developed, towards antiquity and towards an Orient that stretched from Spain to Russia, passing through North Africa and even reaching Japan. If Chinese art dominated the 18th century and Japanese art dazzled the Impressionists, the Middle East will be the new discovery. Starting with Ingres' beautiful and unattainable odalisques, with their pale skin and elegant gestures that always make one think of a captive Christian princess, never an Arab woman, the various schools of painting developed a whole new iconography that sought to recreate in a fantastic way - since nothing was known about the Orient - a world forbidden to Westerners and full of attractions. Painters such as the French painters Bouguereau and Giraud recreated exotic scenes in minute detail, seeking to serve as a window onto the unknown through an almost photographic reproduction that lends verisimilitude to the narratives and stimulates the imagination of the European spectator. The oriental protagonists are almost always beautiful, elegant women, who embody the yearning for the unattainable. Romantic exoticism is thus the quintessence of modern nostalgia; it is the constant pursuit of something impossible to attain, something that does not exist or has been transformed. Thus, although paintings like this one may appear realistic at first glance, they remain first and foremost Romantic, emblematic of an era and a way of thinking that ushered in the modern age.Both the aesthetic and thematic treatment of the work indicate that this is a painter in contact with the currents of both Romanticism and Neoclassicism. In short, the characteristics of this work bring together various trends that developed in France in the early 19th century, making the country, and in particular the city of Paris, one of the most important cultural centres of the period.

A 20th century Chinese silk scroll in wooden case painted with a mountainous landscape, thee Chinese embroidered panels, a Japanese woven picture of a goosee an Indian gilt thread embroidered stole, a folder of Japanese paperwork silhouettes, box of Chin Loong candles, Chinese Art Vol. 1-4 Harry Gardner and Margaret Medley with slides and boxed viewer (qty)Condition report: Scroll with one pommel loose but retained, heavy discoloration to the decoration, some wear, and loss to the silk surround, pine case in good order, candles in good order, but the box tired, embroidered pieces with some wear and fading, viewer and slide in good condition

A RARE GILT-DECORATED CELADON JADE FIGURE OF BUDDHA AMITABHA, QING DYNASTYChina, 1644-1912. Boldly carved seated in dhyanasana with his hands lowered in dhyana mudra, the loose-fitting robes cascading in voluminous folds draped over his left shoulder, picked out in gilt, and decorated with blossoms and diapered designs. The serene face with heavy-lidded eyes below gently arched eyebrows, a prominent nose, and full lips forming a benevolent smile, flanked by large elongated earlobes. The translucent stone is of a celadon tone with cloudy white inclusions.Provenance: From an English private collection, acquired no later than the 1960s. Thence by descent.Condition: Good condition with minor old wear and few small nicks. The back of the head with a bruise and associated loss, not visible from the front. Rubbing to gilt.Weight: 1,131 g Dimensions: Height 16.8 cmBuddhism flourished during the Qing dynasty, and was encouraged by the devotion of the Kangxi, Yongzheng and Qianlong emperors and their successors. As a result of its popularity, the production of Buddhist statuary, ritual objects, vessels and other implements became widespread, and a variety of materials was employed in their manufacture.Literature comparison: For a related jade figure of Buddha with gilt decoration to his face, see Compendium of Collections in the Palace Museum, Jade, vol. 8, p. 271, no. 235. Compare a related jade figure of Buddha illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware II, 2008, p. 207, no. 171. Compare a celadon jade gilt-lacquered figure of Guanyin at Christie's London, 19 June 2001, lot 204, sold for GBP 14,100. Note that the Christie's Guanyin was sold 20 years ago and thus the result does not adequately reflect the current value of this lot.Auction result comparison: Compare a related jade figure of Buddha, dated 18th-19th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 23 March 2012, lot 1803, sold for USD 242,500. Compare a related celadon jade figure of Buddha, dated 18th century, at Sotheby's London, 7 November 2012, lot 231, sold for GBP 70,850. Compare a related white jade figure of Amitayus, dated to the Qianlong period, at Christie's New York in Fine Chinese Ceramics and Works of Art on 26 March 2010, lot 1112, sold for USD 134,500. Compare a related pale green jade figure of Amitayus, dated 17th-18th century, at Bonhams London in Fine Chinese Art on 13 May 2021, lot 27, sold for GBP 97,750. 清代罕見鎏金青玉阿彌陀佛像中國，1644-1912年。佛陀坐禪，雙手施禪定印；長袍寬鬆，披於左肩，右肩裸露，衣沿覆蓋右腳踝，胸前衣褶優雅垂墜，鎏金，並飾有花卉圖案。面部表情安詳，厚重的眼瞼在微微拱起的眉毛下，突出的鼻子，豐滿的嘴唇形成仁慈的微笑，兩側是長長的耳垂。半透明的玉料呈青色調，帶有混濁的白色絮狀物。來源：英國私人收藏，購於1960年代前，保存至今。品相：狀況良好，有輕微舊磨損和少量小劃痕。 頭部後部有擦傷和相關缺損，從正面看不到，摩擦至鎏金。重量：1,131 克尺寸：高16.8 釐米拍賣結果比較：比較一件相近玉雕佛像，十八至十九世紀，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2012年3月23日 lot 1803, 售價USD 242,500。比較一件相近的青玉雕佛像，十八世紀，見倫敦蘇富比2012年11月7日 lot 231, 售價GBP 70,850。比較一件相近的乾隆時期白玉阿彌陀佛像，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2010年3月26日 lot 1112, 售價USD 134,500。比較一件青綠色玉雕阿彌陀佛像，十七至十八世紀見倫敦邦翰思Fine Chinese Art 2021年5月13日 lot 27, 售價GBP 97,750。

A BLUE GLASS BOTTLE VASE, 18TH CENTURYChina. The globular body rising from a slightly splayed foot to a tall cylindrical neck, the opaque cobalt-blue glass suffused with paler swirls.Provenance: The Ann and Gordon Getty Collection, no. 1994-182 (according to label on base). Spink and Son, London, 1994. The Plesch Collection of Ancient Glass, no. Gu-30A, acquired from the above. Sotheby's New York, Important Chinese Art, 21 March 2018, lot 662, sold for USD 16,250. An institutional collection in Illinois, USA, acquired from the above. Peter and Traudi Plesch were both refugees from Nazi persecution. Peter had left Germany with his father, who was the medical doctor of Albert Einstein, who once gently commented on the practical difficulties of young Peter's ingenious design for a perpetual motion machine. Peter Plesch had already formed a fine collection when he met Traudi. One influence had been his maternal great uncle, Fritz von Gans, who had left his antiquities collection to the Royal Prussian Museum, Berlin. However, on their honeymoon in Israel, Traudi fell for the lure of ancient Chinese glass which inspired a new joint adventure, the one criterion for a purchase being that she and Peter should both want the object, although not necessarily with the same passion. Thus their collection was formed slowly and wisely over four decades, later expanding into jades and ancient bronzes, reflecting their desire to have beautiful, but also academically meaningful pieces.Condition: Very good condition with minor wear and manufacturing irregularities. The foot and mouth with small nicks, mostly inherent to the manufacture of this piece, see detail images on www.zacke.at.Weight: 1,939 gDimensions: Height 29.5 cmAuction result comparison: Compare a closely related opaque blue glass bottle vase, though with a Qianlong mark, at Christie's Hong Kong in The Imperial Sale & Important Chinese Ceramics and Works of Art on 3 June 2015, lot 3263, sold for HKD 500,000.十八世紀藍料長頸瓶中國。直口，長頸，鼓腹，造型秀巧，不透明的鈷藍色玻璃泛著淺色的漩渦紋理。 來源：Ann 及 Gordon Getty 收藏，編號 1994-182 (根據底部標籤)。倫敦Spink and Son藝廊，1994年。Plesch玻璃藝術品收藏，編號 Gu-30A，購於上述藝廊。紐約蘇富比 Important Chinese Art 2018年3月21日 lot 662, 售價USD 16,250。美國伊利諾伊州一個研究機構收藏，購於蘇富比。Peter 與Traudi Plesch 兩人都是遭受納粹迫害的難民。Peter與他的父親一起離開了德國，他的父親是阿爾伯特·愛因斯坦的醫生，愛因斯坦曾經溫和地和年輕的Peter討論如何設計永動機的實際困難。 Peter Plesch 在遇到 Traudi 時已經擁有了一個很好的收藏。他的外叔祖弗里茨·馮·甘斯 (Fritz von Gans) 曾給Peter極大的影響，他將自己的文物收藏留給了柏林皇家普魯士博物館。然而，在以色列度蜜月時，Traudi 被中國古代琉璃的魅力所吸引，因此激發了一次新收藏冒險。他們購買藏品的的一個標準是她和彼得必須都想要這件物品，但并不一定要有相同的熱情。因此，他們的藏品在四十年來被緩慢卻明智地構建著，後來擴展到玉器和古代青銅器，這反映了他們願意擁有美麗但同時也具有學術意義的藏品。 品相：狀況極好，有輕微磨損和製造瑕疵。 唇部和足部有小刻痕，應爲製作瑕疵，細圖見 www.zacke.at。 重量：1,939 克 尺寸：高29.5 厘米 拍賣結果比較：比較一件相近的乾隆款藍料瓶，見香港佳士得The Imperial Sale & Important Chinese Ceramics and Works of Art 2015年6月3日 lot 3263, 售價HKD 500,000。

A TERRACOTTA RELIEF OF NANDI, GUPTA PERIODIndia, Uttar Pradesh, 6th century. Finely and heavily potted, the recumbent holy bull with the legs tucked in and head raised looking toward the upper corner, a neatly incised column capped with a fierce tiger head to the right.Provenance: The James and Marilynn Alsdorf Collection, Chicago, USA. Christie's New York, 21 September 2007, lot 232. An English private collection, acquired from the above. Over four decades, James and Marilynn Alsdorf assembled a remarkable collection with some of the biggest names of modern art, including Rene Magritte, Frida Kahlo, Joan Miro, and Jean Dubuffet, as well as a significant number of highly important Chinese works of art. Married in 1952, James and Marilynn built a life centered on art, philanthropy and family. “My grandparents were the picture of elegance, and they had impeccable taste, but to their family they were known for their warmth, wit, and humor,” recalls Bridget Alsdorf, the couple's granddaughter.Published: Pratapaditya Pal, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection, 1997, Chicago, p. 260, cat. 350.Exhibited: The Art Institute of Chicago, 2 August to 26 October 1997, A Collecting Odyssey: Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection.Condition: Very good condition, commensurate with age. Extensive wear, some losses, small chips and nicks, minor bruises, structural cracks, encrustations.Weight: 8.4 kgDimensions: Length 35 cm

A YELLOW AND RUSSET JADE ZODIAC FIGURE OF A MONKEY, LATE QING TO REPUBLICChina, 19th to first half of 20th century, or possibly earlier. Well carved as a seated monkey wearing a loose-fitting monastic robe and holding a rosary in both hands, its face neatly detailed with incised wrinkles to the forehead. The translucent stone of a pale yellow tone with a nuance of green and several russet veins and cloudy inclusions.Provenance: Collection particuliere française.Condition: Excellent condition with minor old wear and possibly microscopic nicks. The stone with natural fissures, some of which may have developed into small hairline cracks over time. The jade with a fine, unctuous feel overall which indicates extensive handling over a long period of time.Weight: 77.9 g Dimensions: Height 5.9 cmAstrology was an important part of life in traditional China. Marriages, the opening of a business, relocation, travel, and burial were just some of the activities dictated by the astrological signs of those involved. Despite the importance of astrology in Chinese culture, representations of the twelve zodiac animals are surprisingly rare, especially in jade. The monkey is the ninth zodiac sign and represents shen, the ninth of the earthly branches.Literature comparison: Compare a set of twelve jade zodiac figures, dated 18th-19th century, in the collection of the Metropolitan Museum of Art, accession number 02.18.730a–l. For another complete set of twelve from the 18th century, see Jadeware (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, pl. 111. Another set of twelve from the later Qing dynasty is illustrated in A Romance with Jade from the De An Tang Collection, Hong Kong, 2005, pl. 76. 清末民初黃玉雕猴中國，十九世紀至二十世紀上半葉，或更早。猴子身穿寬鬆的僧袍，雙手捧著念珠，面部前額的皺紋清晰可見。淺黃色調的半透明玉料，帶有細微的綠色和幾條赤褐色的脈絡和絮狀物。 來源：法國收藏。 品相：狀況極佳，有輕微的舊磨損和可能的細微刻痕。天然紋理玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。玉石整體細膩瑩潤。重量：77.9 克 尺寸：高5.9 厘米

A MAGNIFICENT AND RARE CARVED CIZHOU 'FLORAL' BOTTLE VASE, SONG DYNASTYChina, 960-1279. The flaring sides rising from a flat foot with recessed base to a rounded shoulder with waisted neck and everted lip. The upper body is finely carved with a broad band of flowerheads and leafy branches. Covered in a white slip, thinning at the edges to reveal the brown body and stopping in a slightly uneven line above the foot, the rim and recessed base left unglazed, revealing the buff ware.Provenance: Property from a North German private collection, in the family since the 1970s and thence by descent. Old Inventory label '50/0219'. Old collector's label bearing an inscription in brown ink.Condition: Good condition with minor wear and firing flaws. Extensive wear to the slip below the floral band. Some minuscule frits.Weight: 1,740 g Dimensions: Height 35 cmThe mannered diction of the floral band that comprises the main decoration on the current vase was undoubtedly influenced by earlier metalwork. It is a distinct style that appears to have found particular favor in the early part of the Northern Song dynasty. A fragment of another vessel decorated in a similar style was exhibited in Kiln Sites of Ancient China - Recent Finds of Pottery and Porcelain, Oriental Ceramic Society, London, 1980, p. 155, no. 389. This fragment had been found in 1962 at a kiln site at Quhezhen, Dengfengxian, Henan province.Related flower heads with narrow and sharply cut petals also appear on early Northern Song ceramics from kilns which were patronized by the court. They can be seen, for example, on the shoulder of a Ding ware vase excavated in 1969 from the so-called 'underground palace' of a pagoda at the Jingzhongyuan Temple at Dingzhou, Hebei province, illustrated in Treasures from the Underground Palaces - Excavated Treasures from Northern Song Pagodas, Dingzhou, Hebei Province, China, Idemitsu Museum of Arts, Japan, 1997, no. 88. Along with other treasures, this Ding vase was sealed into the base of the pagoda when it was built in AD 995.Literature comparison: A large Cizhou vase decorated with a related stylized floral scroll is in the collection of the Freer Gallery of Art, illustrated by G. Hasebe in Sekai toji zenshu - 12 - Song, Tokyo, 1977, pp. 110-11, no. 109. Compare also an ewer with a related decorative band in the Tokyo National Museum, illustrated in Song Ceramics, Tokyo, 1999, p. 126, no. 8. A related floral scroll also appears on a Yaozhou celadon ewer in the collection of the Asian Art Museum in San Francisco, illustrated by G. Hasebe in Sekai toji zenshu - 12 - Song, Tokyo, 1977, pl. 187.Auction result comparison: Compare a cizhou ewer, 23.5 cm high, carved with a related floral band, dated to the Northern Song dynasty, at Christie's London in Fine Chinese Ceramics and Works of Art on 5 November 2013, lot 398, sold for GBP 380,500. Compare a cizhou baluster vase, 39.6 cm high, carved with a related floral band, dated to the Northern Song dynasty, at Christie's New York in Fine Chinese Ceramics & Works of Art on 19 March 2009, lot 508, sold for USD 194,500. 宋代罕見磁州窯花卉紋梅瓶中國。960-1279年。口細而頸短，豐肩，下收、圈足的立式。瓶至胸部，施白色化妝土，淺雕花卉卷葉紋，邊緣變薄，肩部以下至足部有略微不均勻的線條。邊緣和凹陷的底部露淺黃色胎。 來源：德國北部私人收藏，從上世紀七十年代起在同一家族保存至今。老標籤“50/0219“，用棕色墨水所寫。品相：狀況良好，有輕微磨損和燒製瑕疵。下方大面積磨損，一些微小的熔塊。重量：1,740 克 尺寸：高35 厘米 拍賣結果比較: 比較一件北宋磁州窯罐，高23.5 厘米，相似花卉紋帶，見倫敦佳士得Fine Chinese Ceramics and Works of Art 2013年11月5日 lot 398, 售價GBP 380,500；比較一件北宋磁州窯賞瓶，高39.6 厘米，相似花卉紋，見紐約佳士得Fine Chinese Ceramics & Works of Art 2009年3月19日 lot 508, 售價USD 194,500。

A POLYCHROME-PAINTED WOOD FIGURE OF GUANYIN, MING DYNASTYChina, 1368-1644. Seated in dhyanasana, her right hand in varada mudra, her left in vitarka mudra, wearing loose robes open at the chest to reveal an elaborate necklace, the face with a benevolent expression beneath the hair piled up into a high chignon behind a foliate tiara enclosing a small Amithaba Buddha.Provenance: From the collection of Godfried Wauters, who has been active in the Belgian trade for over 40 years. He has built a substantial art collection including Chinese and Buddhist sculptures, significantly expanding on the collection already built by his late father Gustaaf Wauters (1905-1992).Condition: Condition commensurate with age. Extensive wear to pigments, old repairs and touchups, age cracks, losses, minor chips and scratches.Weight: 10.3 kgDimensions: Height 76 cmAuction result comparison: Compare a related figure of Guanyin, 115 cm high, dated 16th-17th century, at Bonhams London in Fine Chinese Art on 12 May 2016, lot 236, sold for GBP 20,000. 明代彩繪木雕觀音坐像中國，1368-1644年。觀音結跏趺坐，右手施與愿印，左手安慰印。菩薩面相飽滿、神色安詳，雙唇微啟，意態閒適自在。雙目輕闔垂視，其髮髻工整，梳高髻，中央有一尊化佛像。來源：Godfried Wauters收藏, 他在比利時古玩市場活躍了 40 多年。他建立了包括中國和佛教雕塑在內的大型藝術收藏，大大擴展了他已故父親Gustaaf Wauters（1905-1992）已經建立的收藏品。品相：狀況與年齡相稱，顏料廣泛磨損、修補、老化裂縫、缺損、輕微的碎屑和劃痕。 重量：10.3 公斤 尺寸：高76 厘米 拍賣結果比較：比較一件相近的觀音像，高115 厘米，十六至十七世紀，見倫敦邦翰思Fine Chinese Art 2016年5月12日 lot 236, 售價GBP 20,000。

A LARGE AND FINELY CAST RITUAL BRONZE WINE VESSEL, POU, SHANG DYNASTYChina, 12th-11th century BC. The compressed globular body rising from a tall splayed foot to a short tapering neck surmounted by a wide flaring mouth. The central band crisply cast with three taotie patterns each centered by a narrow flange, below a band of confronting kuilong divided by three imposing bovine masks cast in high relief. The foot with two pierced apertures above a band of kuilong, all against a leiwen ground.Provenance: Sotheby's New York, 7 December 1983, lot 49. A private collection in New York, USA, acquired from the above. Christie's New York, 4 June 1992, lot 179. Canadian private collection, acquired from the above. Sotheby's New York, 20 March 2002, lot 18. A noted collector, acquired from the above.Condition: Excellent condition, commensurate with age and presenting extraordinary well with >90% of the intricate design still sharp and crisp, something that is exceedingly rare on the present group of vessels. Minor nicks, dents and surface scratches. Encrustations. A faint short crack to the base. Minor areas of corrosion with associated losses and old fills as well as a single restoration to foot rim, circa 5x5 cm, all precisely visible on the X-ray images provided (are available upon request). Superb dark-green patina overall, naturally grown over millennia.Weight: 6.0 kgDimensions: Diameter 33 cm, Height 26 cmDistinguished by its large size and dignified form, the present pou is a magnificent example of bronze vessels created in the second half of the Shang dynasty (c. 1600-1046 BC). Inspired by ceramic prototypes from the Neolithic era, vessels of this type appeared in the Shang bronze casting repertory around the end of the Erligang phase (c. 1500-1300 BC). They were used as food and wine containers for ritual purposes, before disappearing by the beginning of the Western Zhou dynasty (c. 1046-771BC).Literature comparison: A closely related pou, 26 cm high, with similar cast decoration and similar large bovine masks cast in relief on the shoulder is illustrated by Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington D.C., 1987, page 334, no. 57. Also illustrated, page 337, fig. 57.3, is another closely related pou, 26.5 cm high, in the Musee Cernuschi, Paris. Another closely related pou, 26.2 cm high, is illustrated in Shang Ritual Bronzes, National Palace Museum Collection, Taipei, 1998, pages 388-389, no. 65.Auction result comparison: Compare a closely related pou, 27.9 cm high, also dated 12th-11th century BC, at Christie's New York, in Fine Chinese Ceramics and Works of Art, on 24 March 2011, lot 1239, sold for USD 1,022,500. Compare another closely related pou, 33.1 cm diameter, dated to the late Shang dynasty, with cast repair, at Sotheby's New York, in Important Chinese Art on 21 September 2021, lot 34, sold for USD 252,000.商代大型饕餮紋青銅瓿中國，公元前十二至十一世紀。饕餮紋青銅瓿，圓腹，斂口，圈足上有三個方形孔，流行於商早期至商晚期前段，為古代盛酒器。中央清晰可見三個饕餮紋，饕餮一對炯炯有神、不怒自威的巨目；其下方是夔龍紋；整器以雷紋為地。 來源：紐約蘇富比 1983年12月7日 lot 49；紐約私人收藏，購於上述拍賣；紐約佳士得 1992年6月 4日 lot 179；加拿大私人收藏，購於上述拍賣；紐約蘇富比 2002年3月20日 lot 18；一位知名收藏家，購於上述拍賣。 品相：品相極佳，與年齡相稱，呈現出非凡的品質，其紋飾仍然清晰明快，這在目前的青銅酒器中極為罕見。輕微的劃痕、凹痕和結殼，底部有些微短裂縫。 局部受腐蝕區域帶有相關損失和舊填充物，腳緣處有修復，大約 5x5 厘米。請參考 X光圖像（請聯繫我們團隊）。整體上包漿良好。 重量：6.0 公斤 尺寸：直徑33 厘米，高26 厘米 本瓿以體型大、造型莊重而著稱，是商代下半葉（公元前 約1600-1046 年）青銅器皿的典範。受新石器時代陶瓷原型的啟發，這種器皿出現在二里崗期末期（約公元前 1500-1300 年），用作祭祀禮器，消失於西周初年（約公元前 1046-771 年）。 文獻比較: 一件相近的瓿，高 26 厘米，相似的紋飾，見Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington D.C., 1987, 第 334頁，圖 57；也可見第337頁，圖 57.3, 另一件瓿，高 26.5 厘米，巴黎Museé Cernuschi美術館；以及第三件瓿，高26.2 厘米，見臺北故宮博物院商代Shang Ritual Bronzes, 1998, 第388-389頁, 圖65。 拍賣結果比較：比較一件相近的瓿, 高27.9 厘米，公元前十二至十一世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 2011年3月24 日 lot 1239, 售價USD 1,022,500；比較另一件相似瓿，直徑33.1 厘米，商代末期，有修補，見紐約蘇富比 Important Chinese Art 2021年9月21日 lot 34, 售價USD 252,000。

A RARE AND IMPORTANT GUAN-TYPE 'ARCHAISTIC' VASE, FANG HU, YONGZHENG MARK AND PERIODChina, 1723-1735. The high-shouldered body with curved sides supported on a splayed foot, rising to a waisted neck and lipped rim, flanked by a pair of expressive chilong masks with elegantly curved horns, bulging eyes, and fangs, suspending mock rings. Covered overall in a thick pale-gray glaze suffused with a dense yet subtle crackle and attractively pooling in the recesses. The deeply countersunk base with a finely painted underglaze-blue six-character seal mark da Qing Yongzheng nianzhi and of the period.Provenance: From an English private collection.Condition: Excellent condition with only minor old wear and firing irregularities, including pitting, dark spots, and few glaze recesses. Extremely rare in this pristine state of preservation. The glaze with a subtle, unctuous feel overall.Weight: 4,655 gDimensions: Height 33.2 cmLiterature comparison: For an example of the Han-dynasty model for this vase, see Christie's Paris, 9 June 2016, lot 232.Auction result comparison: A near-identical vase, but with evident damage and repair as well as significant misfirings, was sold at Christie's Paris on 7 June 2011, lot 194, for EUR 28,600 (at the time a solid result, given the condition of this example). Compare a closely related guan-type fang hu, also with a Yongzheng mark and of the period, of near-identical form but slightly larger size (43.8 cm) and with ruyi-scepter loop handles, at Sotheby's Hong Kong in Fine Chinese Ceramics and Works Of Art on 9 April 2006, lot 1614, sold for HKD 1,440,000.雍正款及年代仿官釉螭龍啣環輔首方壺 中國，1723-1735年。侈口，短頸，碩腹。頸部螭龍啣環輔首。通體施仿官釉，開片細密。足緣施醬色護胎汁。底足內青花六字款“大清雍正年製”。 來源：英國私人收藏 品相：品相極佳，只有輕微的舊時磨損和燒製不規則現象，包括點蝕、黑點和少量釉面凹陷。 在這種原始保存狀態下極為罕見。釉面整體勻潤。 重量：4,655 克 尺寸：高 33.2 厘米 文獻比較：一件漢代方壺，見巴黎佳士得，2016年6月9 日 lot 232。 拍賣結果比較：一件幾乎一模一樣的方壺，但損壞比較嚴重並燒製瑕疵，有修補，售於巴黎佳士得2011年6月 7日 lot 194, 售價EUR 28,600 (考慮到此拍品的品相，這個價格是很正常的)；比較一件官釉方壺，雍正款及年代，尺寸稍大 (43.8 釐米)，如意雙耳，見香港蘇富比 Fine Chinese Ceramics and Works Of Art 2006年4月9日 lot 1614, 售價HKD 1,440,000；比較一件仿官釉相近獸首啣環輔首，雍正款及年代，見香港蘇富比 Monochrome II 2020年10月9日 lot 34, 售價HKD 4,032,000。

A BRONZE 'ARCHAISTIC' SQUARE VESSEL, WANLI MARK AND PERIODChina, 1573-1619. The body supported on a spreading foot and rising to a long neck applied with two tubular handles reminiscent of arrow vases (touhu) and flaring toward the galleried rim. The body is cast to each side in low relief with a taotie mask against a key-fret ground, divided by flanges to the corners. The base cast with four-character mark Wanli nianzhi within a countersunk square reserve and of the period.Provenance: The Mee-Din and Robert W. Moore Collection. Robert W. Moore is a famed California collector of Chinese and Korean art, whose passion began in the 1950s when he served in the US Army and was stationed in Korea. After his return to the United States, he began collecting Korean and later also Chinese works of art, and over the following decades became a very knowledgeable, discerning, and influential collector.Condition: Good condition with old wear and minor casting flaws, including minor losses. Few minuscule nicks, occasional light scratches, small dents. Fine, naturally grown, golden-brown patina.Weight: 2,724 gDimensions: Height 29.5 cmThe neck similarly cast in high relief with taotie and flanges above pendent stiff leaves with taotie masks against a key-fret ground, above bands of spiral bosses in high relief. The foot with stylized taotie masks formed by scrolling designs.With a later Japanese bronze lining for floral arrangements and with a Japanese wood storage box. (2)Auction result comparison: Compare a closely related fang gu vase, dated 15th-16th century, of related form and with similar designs, also with Japanese bronze lining and Japanese wood storage box, at Christie's Hong Kong in Leisurely Delights on 29 May 2019, lot 2952, sold for HKD 112,500.萬曆款及年代青銅仿古方觚中國，1573-1619年。近似於方柱形，口、足外撇，頸部兩側圓柱形雙耳，如投壺一般；中部呈方形，四面雷紋地飾獸面紋。底座可見“萬歷年製”四字。 來源：Mee-Din 與Robert W. Moore 中國收藏。Robert W. Moore是加州著名的中國和韓國藝術收藏家，他的收藏熱情始於 1950 年代。當時他在美國軍隊服役並駐紮在韓國。回到美國後，他開始收藏韓國和中國的藝術品，在之後幾十年裡，他成為了一位知識淵博、眼光敏銳、影響深遠的收藏家。 品相：狀況良好，有舊磨損和輕微鑄造瑕疵，輕微缺損。 少量細小的刻痕、劃痕和小凹痕。自然生長且細膩的金棕色包漿。 重量：2,724 克 尺寸：高 29.5 厘米 日本青銅襯墊，雕花木盒 (2) 拍賣結果比較：比較一件十五至十六世紀相似形狀和紋飾的方觚，也有一個相似的日本銅墊和木盒，見香港佳士得Leisurely Delights 2019年5月 29日 lot 2952, 售價HKD 112,500。

A LARGE FAMILLE VERTE 'PRUNUS AND BAMBOO' DISH, KANGXI PERIODChina, 1662-1722. The deep rounded sides supported on a channel foot. Finely painted in bright enamels of green, red, aubergine, turquoise, and black tones to the interior with a gnarled and blossoming prunus tree with bamboo and craggy rockwork, all below a butterfly in flight, enclosed by an iron-red single-line border, below a band of floral sprays and grapevines framed by two underglaze-blue double-line borders, and to the exterior with three evenly spaced peony sprays. The foot left unglazed, revealing the reddish-buff biscuit body.Provenance: Koller, Zurich, 15 March 2008, lot 432. A private collector, acquired from the above.Condition: Good condition with minor wear and firing irregularities, including small glaze recesses and dark spots, as well as expected fritting to rim and foot.Weight: 1,980 gDimensions: Diameter 36.3 cmAuction result comparison: Compare a related famille verte charger, also dated to the Kangxi period, at Sotheby's Amsterdam, in Chinese and Japanese Ceramics and Works of Art, on 2 May 2005, lot 81, sold for EUR 6,600 (EUR 8,500 in today's currency after inflation). Note that the Sotheby's charger was sold 16 years ago and thus the result may not adequately reflect the current value of this lot. 康熙時期大型硬彩桃竹紋盤中國，1662-1722年。敞口，深圓腹，圈足。盤內以綠色、紅色、茄紫和黑色調的明亮琺瑯精細繪製，開光描繪盛開的桃花，樹下竹叢和岩石，上方蝴蝶飛舞。外面加鐵紅色單線邊框。盤沿卷葉花卉紋。圈足露胎。 來源：蘇黎世Koller 2008年3月15日 lot 432；私人收藏家購於上述拍賣。 品相：狀況良好，有輕微磨損和燒製瑕疵，包括小的釉面凹陷和黑點，以及邊緣和足部的熔渣。重量：1,980 克 尺寸：直徑36.3 厘米 拍賣結果比較: 比較一件相近的康熙時期硬彩盤，見阿姆斯特丹蘇富比Chinese and Japanese Ceramics and Works of Art 2005年5月2 日 lot 81, 售價EUR 6,600 (相當於現在的EUR 8,500 )。請注意，蘇富比這件拍品是於16年前售出的，因此結果可能無法充分反映該拍品的當前價值。

A HU WENMING PARCEL-GILT TRIPOD CENSER, MING DYNASTYChina, 17th century. The cast copper vessel is of cylindrical form, supported on three beast-headed feet, with an incurved flat rim. The exterior is neatly decorated with chased and incised cranes in various postures amid swirling clouds, all in gilt relief against a punched scroll ground, between narrow bands of diapered design. The base with a signature reading Yunjian Hu Wenming zhi ('Made by Hu Wenming of Yunjian').Provenance: Collection of Ake Virgin, thence by descent. A copy of a handwritten note by Ake Virgin, analyzing the signature on the present censer and comparing it to another by Hu Wenming, accompanies this lot. Ake Virgin (1891-1978) was a Swedish civil engineer who took a keen interest in Chinese art, especially early bronzes, building a fine collection between the 1940s and 1970s. He was an active member of the Friends of the Museum of Far Eastern Antiquities in Stockholm. Ake Virgin had numerous discussions with and took advice from notable Swedish academics such as Professor Bernhard Karlgren and Orvar Karlbeck.Condition: Very good condition with old wear and minor casting irregularities, small nicks, light dents and scratches. Remnants of old varnish.Weight: 554.7 gDimensions: Diameter 10.1 cm, Height 9.4 cmAuction result comparison: Compare a closely related but slightly larger (diameter 13.3 cm) censer by Hu Wenming at Sotheby's Hong Kong in Water, Pine And Stone Retreat Collection: Later Bronzes on 07 April 2014, lot 246, sold for HKD 375,000; and another of near-identical size (diameter 10.2 cm) and with the same mark, in the same auction, lot 236, sold for HKD 350,000. 明代胡文明款銅鎏金三足爐 中國，十七世紀。銅爐圓柱形，三獸首足。爐壁中部祥雲紋地，鎏金雕刻飛翔仙鶴與如意祥雲，姿態豐富。爐底篆書“雲間胡文明製”。 來源： Ake Virgin收藏, 保存至今。隨附一份Ake Virgin 手寫注釋副本，將此爐款識與另一件胡文明款進行比較。Ake Virgin (1891-1978) 是一位瑞典土木工程師，對中國藝術、尤其是對早期青銅器有著濃厚的興趣。他在1940 至 1970 年代間構建了自己的收藏。他是斯德哥爾摩東亞美術館舘友協會非常活躍的成員。 Ake Virgin 與著名的瑞典學者（如 Bernhard Karlgren 教授和 Orvar Karlbeck）進行了多次討論並聽取了他們的建議。 品相：品相極好，舊時磨損，以及輕微的鑄造不規則、小刻痕、輕微凹痕和劃痕。舊漆餘留。 重量：554.7 克 尺寸：直徑10.1 厘米, 高9.4 厘米 拍賣結果比較：比較一件相近但稍大 (直徑13.3 厘米) 的胡文明銅爐，見香港蘇富比Water, Pine And Stone Retreat Collection: Later Bronzes，2014年4月7日lot 246, 售價HKD 375,000；另一件相近尺寸 (直徑10.2 厘米) 同款香爐見同一拍場lot 236, 售價HKD 350,000。

'THE ASIAN GOLDEN EAGLE', LATE MING TO EARLY QING DYNASTYChina, 17th century. Ink and watercolors on silk. Finely painted with a majestic Asian golden eagle perched on a gnarled prunus branch below two smaller birds, amid grape clusters borne on leafy vines, peonies, lotus, bamboo, and rockwork.Provenance: From the collection of Rear Admiral Emory Day Stanley, and thence by descent within the same family. Rear Admiral Emory Day Stanley, Sr. (1881-1968) was a commanding officer of the U.S. Navy who served in the Pacific, Atlantic, and Mediterranean. He was a member of the American Legion.Condition: Good condition, commensurate with age. Old wear, some soiling, few small tears, creases and minuscule losses, minor old touchups.Dimensions: Image size 120 x 56 cm, Size incl. frame 144 x 65 cmWith a silk brocade frame and mounted to an old hardwood stretcher with paper backing.Aquila chrysaetos daphanea, also known as the Asian golden eagle, Himalayan golden eagle or berkut, distributed to Manchuria and central China and along the Himalayas from northern Pakistan to Bhutan. This subspecies is the largest of all, with one female having had an authenticated wingspan of 2.81 meters, although she was a captive specimen. The forehead and crown are dark while the feathers of the nape and top-neck are rich brown-red.Auction result comparison: Compare a related anonymous silk painting of an eagle, dated to the Qing dynasty, at Bonhams San Francisco in Chinese, Indian, Himalayan and Southeast Asian Art and Paintings on 28 June 2016, lot 8244, sold for USD 15,000 and another dated to the late Ming dynasty at Bonhams Hong Kong in Fine Chinese Paintings on 31 May 2015, lot 101, sold for HKD 125,000.明末清初水墨《鷹石圖》 中國，十七世紀。絹本水墨設色。精美地描繪了一隻休憩的老鷹，周圍枝繁葉茂，葡萄藤、牡丹、竹子和岩石環繞，還有兩隻鳥停留在旁邊的樹枝上。 來源：Rear Admiral Emory Day Stanley收藏，在同一家族保存至今。Rear Admiral Emory Day Stanley, Sr. (1881-1968) 曾是美國海軍的指揮官，在太平洋、大西洋和地中海區服役。 他是美國軍團的成員。 品相：品相良好，與年齡相稱。 舊磨損，有些污跡，局部小撕裂，摺痕和微小的缺損，輕微的舊時修飾。 尺寸：畫面120 x 56 厘米，總144 x 65 厘米 錦緞裝裱。 拍賣結果比較：比較一件相近的清代絹本《鷹圖》，見舊金山邦翰思Chinese, Indian, Himalayan and Southeast Asian Art and Paintings 2016年6月28日 lot 8244, 售價USD 15,000 ；另一件明末《鷹圖》見香港邦翰思Fine Chinese Paintings 2015年5月31日 lot 101, 售價HKD 125,000。

AN UNUSUAL 'ARCHAISTIC' BRONZE CENSER, 17TH-18TH CENTURY OR EARLIERChina. Of bombe form, supported on a short spreading foot, with an everted rim, the waisted neck set with a distinct pair of lion-head handles and a narrow band enclosing four archaistic birds on a leiwen ground, the foot with a leiwen band. The base is finely cast with a six-character mark da Ming Xuande nianzhi.Provenance: Collection of Ake Virgin, thence by descent. The base with an old paper label, 'Ming Hsuean-Te 1426-1435', and inscribed '79.'. Ake Virgin (1891-1978) was a Swedish civil engineer who took a keen interest in Chinese art, especially early bronzes, building a fine collection between the 1940s and 1970s. He was an active member of the Friends of the Museum of Far Eastern Antiquities in Stockholm. Ake Virgin had numerous discussions with and took advice from notable Swedish academics such as Professor Bernhard Karlgren and Orvar Karlbeck.Condition: Very good condition with minor wear and casting flaws, few minuscule nicks and light scratches, fine dark patina.Expert's note: As Ake Virgin wrote on the paper label located on the base of this lot, it is indeed possible that this censer dates to 'Ming Hsuean-Te 1426-1435'. The small vessel is of such detailed yet elegant appearance, the bands are so neatly incised and closely executed after their archaic models, that there is a (very) distant chance that this belongs to a small group of 15th century pieces, after which the many later incense burners were made.Weight: 394.4 gDimensions: Diameter 11 cm (at the widest points) 十七至十八世紀或更早仿古鳥紋銅香爐 中國。爐呈簋式，撇口，束頸，鼓腹下收，承外撇圈足。頸部雲雷紋地飾鳥紋，兩側對稱置雙獅首為耳，足部雲雷紋。地足六字款“大明宣德年製“。 來源：Ake Virgin收藏, 保存至今。底部可見舊時紙標籤“Ming Hsuean-Te 1426-1435” 與“79”字樣。Ake Virgin (1891-1978) 是一位瑞典土木工程師，對中國藝術、尤其是對早期青銅器有著濃厚的興趣。他在1940 至 1970 年代間構建了自己的收藏。他是斯德哥爾摩東亞美術館舘友協會非常活躍的成員。 Ake Virgin 與著名的瑞典學者（如 Bernhard Karlgren 教授和 Orvar Karlbeck）進行了多次討論並聽取了他們的建議。 品相：狀況極好，有輕微磨損和鑄造瑕疵，有微小的刻痕和輕微的劃痕，細膩的深色包漿。 重量：394.4 克 尺寸：直徑11 厘米 (最寬處)

A BLACK-GLAZED RIBBED JAR, NORTHERN SONG TO JIN DYNASTYChina, 960-1234. Of ovoid form, rising to a short neck with lipped rim. The body with a series of evenly-spaced raised vertical lines of white slip, with a similar cross design below each of the two strap handles at the shoulder. Covered overall in a black glaze, thinning to cream at the raised ribs, and ending in a line well above the foot, exposing the buff-colored body.Provenance: Collection of Lim Kee Chin, thence by descent within the same family. Lim Kee Chin was Singapore's trade commissioner to Hong Kong in the 1960s under Yusof Ishak (1910-1970), the first President of Singapore.Condition: Excellent condition with minor old wear, ancient traces of use and shallow surface scratches, and firing flaws.Weight: 1,873 gDimensions: Height 16.5 cm, Width 21.5 cm (at the widest points)Auction result comparison: Compare a closely related jar, also dated Northern Song to Jin dynasty, at Sotheby's New York in Important Chinese Art on 17 March 2021, lot 125, sold for USD 25,200, and another of slightly smaller size (13.5 cm high) and dated to the Jin dynasty at Christie's New York in The Collection of Peggy and David Rockefeller: Travel and Americana on 10 May 2018, lot 968 (sold for USD 18,750).北宋至金代黑釉瀝綫紋雙係罐 中國，960-1234年。小直口、鼓腹、圈足，施黑釉，腹部均等距離的垂直凸起的瀝線，線條纖細，凸線紋部分呈金黃色。底足部露胎。 來源：Lim Kee Chin收藏，在同一家族保存至今。Lim Kee Chin 在上世紀六十年代曾擔任新加坡駐香港貿易代表，當時尤索夫·伊薩 (1910-1970) 為新加坡總統。 品相：狀況極佳，有輕微的舊磨損、古老的使用痕跡和淺表面劃痕，以及燒製瑕疵。 重量：1,873 克 尺寸：高16.5 厘米, 寬21.5 厘米 (最寬處) 拍賣結果：比較一件北宋至金代的雙係罐，見紐約蘇富比Important Chinese Art 2021年3月17日 lot 125, 售價USD 25,200；另一件尺寸稍小的金代罐 (高13.5 厘米) ，見紐約佳士得The Collection of Peggy and David Rockefeller: Travel and Americana 2018年5月10日 lot 968 (售價USD 18,750)。

A WHITE JADE 'SQUIRRELS AND GRAPES' PENDANT, 18TH CENTURYChina. Finely carved and pierced to depict two squirrels clambering on a cluster of grapes borne on a gnarled stem, the large leaves with superbly carved jagged edges and neatly incised veins. The translucent stone of a white tone with cloudy and faint russet inclusions. Superb manually applied polish.Provenance: From a private collection in New York City, New York, USA.Condition: Excellent condition with minor old wear. The stone with few natural fissures, some of which may have developed into microscopic hairline cracks over time.Weight: 38.6 gDimensions: Length 6.5 cmOld suspension cord with strings of sweetwater pearls and red glass beads in imitation of coral, dating to the late Qing dynasty or Republic period.Auction result comparison: Compare a related white jade carving depicting a squirrel clinging onto a cluster of grapes, dated 18th-19th century, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 17 September 2013, lot 100, sold for USD 37,500; and another dated to the Qing dynasty at Sotheby's Hong Kong in Chinese Art on 28 November 2019, lot 610, sold for HKD 87,500. 十八世紀“松鼠葡萄”白玉掛件 中國。兩隻松鼠爬上一串葡萄，松鼠生動活潑，葡萄晶瑩潤澤，莖葉雕刻精美。玉料潤白含内沁，精湛的手工拋光。 來源：美國紐約私人收藏。 品相：狀況極好，有輕微磨損。玉料有輕微天然紋理，隨著時間的推移，其中一些裂縫可能會發展成微小的裂縫。 重量：38.6 克 尺寸：長 6.5 厘米 老吊繩，串著淡水珍珠和仿珊瑚的紅色玻璃珠，可追溯到晚清或民國時期。 拍賣結果比較：比較一件相近的十八至十九世紀松鼠葡萄白玉擺件，見紐約蘇富比Fine Chinese Ceramics & Works of Art 2013年9月17日 lot 100, 售價USD 37,500; 另一件清代拍品見香港蘇富比Chinese Art 2019年11月 28日 lot 610, 售價HKD 87,500。

A LIMESTONE BUDDHIST TRIAD STELE OF GUANYIN, NORTHERN WEI TO TANG DYNASTYChina, 386-907. The stele of ogee arch form. Finely carved in high relief with Guanyin seated in dhyanasana, one hand holding part of her garment and the other resting on her left knee, the serene face with heavy-lidded eyes and full lips, the hair arranged in a high chignon, backed by a florally incised halo.Provenance: The Roger Moss Collection. A copy of an inspection certificate from J & H Surveying Co. Ltd. for a large shipment of Roger Moss' collections and personal effects from Hong Kong to England in 2003, listing the present lot as “338 northern wei stele decorated”, accompanies this lot. C. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Good overall condition fully commensurate with age. The top section of the halo (ca. 4.5 x 9 cm) lost and with an old replacement. Extensive wear, some losses and nicks, structural fissures and minor cracks. The stone with a smooth, unctuous surface and fine patina.Weight: 5.9 kgDimensions: Size 30 x 20 x 7.8 cmGuanyin is flanked by two attendants, each standing on a lotus base and holding a scroll in both hands, also backed by halos. The top with a seated Buddha Amitabha flanked by two chilong.Auction result comparison: Compare a related but much larger (68 cm high) Buddhist triad stele dated to the Tang dynasty at Sotheby's New York, in Images of Enlightenment, Devotional Works of Art and Paintings on 17 September 2014, lot 421, sold for USD 317,000. 北魏至唐朝石灰石雕三聖造像碑 中國，386-907年。此尊龕式造像碑，裝飾精美。中央雕觀音結跏趺坐，一隻手扶著衣袍，其左手置於左膝上。面容安詳，兩眼微微下垂，嘴唇豐滿，髮髻高聳，身後有光背。 來源：Roger Moss收藏。隨拍品附J & H Surveying Co. Ltd.的檢驗證書副本。J & H Surveying Co. Ltd.於2003年將Roger Moss的收藏品和個人物品從香港運往英國，並將本拍品列為 "338 northern wei stele decorated （338號北魏石碑裝飾）"。C. Roger Moss, OBE (1936-2020) 成長於約克郡，一生都在收藏藝術，以收藏唐代及更早時期的中國雕塑而聞名。協和式飛機推出時，他是英國航空公司的財務總監，然後成為香港地鐵的首席財務官。 在此期間，他還擔任過東方陶瓷學會會長。 品相：良好的整體狀況與年齡完全相稱。光背的頂部（約 4.5 x 9 厘米）缺損且帶有舊的修補。 廣泛的磨損、一些缺失和刻痕、結構裂縫和小磕片。石碑表面光滑油潤，帶有精細的包漿。 重量：5.9 公斤 尺寸：30 x 20 x 7.8 厘米 拍賣結果比較：一件相近的但更大型 (高68 厘米) 的唐代三聖石碑，見紐約蘇富比Images of Enlightenment, Devotional Works of Art and Paintings 2014年9月17日 lot 421, 售價USD 317,000。

A FAMILLE VERTE 'LADIES' SLEEVE VASE, QING DYNASTYChina, 1644-1912. The slightly flaring sides rising to a short waisted neck and everted rim, the tall body finely painted in bright enamels with two ladies, one holding an ingot and the other a flower basket, both dressed in long flowing robes, and two young boys, one holding a paintbrush and the other a ruyi scepter. The base left unglazed, revealing the buff ware.Provenance: From an English private collection. Condition: Excellent condition with only minor old wear and some firing flaws.Weight: 670.3 gDimensions: Height 23.8 cmAuction result comparison: Compare a related famille verte rouleau vase, dated to the Kangxi period, at Sotheby's New York in Fine Chinese Ceramics and Works of Art on 11 September 2012, lot 69, sold for USD 27,500. Compare a related famille verte dish, dated to the Kangxi period, similarly painted with a lady and boy, at Christie's London in Fine Chinese Ceramics and Works of Art on 10 May 2011, lot 327, sold for GBP 32,450 (part-lot, together with another famille verte dish and described as a pair).清代硬彩人物象腿瓶中國，1644-1912年。瓶敞口外撇，短頸，溜肩，直腹下收，圈足。明亮的琺琅釉描繪了婦人兒童嬉戲圖：一位婦人手中拿著元寶，另一位拿著花籃，都穿著飄逸的長袍；還有兩個小傢伙，一個拿著畫筆，另一個拿著如意權杖。底足露胎。 來源：英國私人收藏。 品相：狀況極佳，只有輕微的磨損和一些燒製瑕疵。 重量：670.3 克 尺寸：高23.8 厘米 拍賣結果比較：比較一件康熙硬彩棒槌瓶，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2012年9月11日 lot 69, 售價USD 27,500。比較一件康熙硬彩嬰戲圖盤，見倫敦佳士得 Fine Chinese Ceramics and Works of Art 2011年5月10日 lot 327, 售價GBP 32,450 （此拍號中的部分，與另一個硬彩盤為一對)。

A LARGE BLUE AND WHITE 'HUNTING SCENE' DISH, KANGXI PERIODChina, 1662-1722. The shallow rounded sides rising from a short tapered foot to a wide flaring rim. Finely painted to the interior with equestrian hunters brandishing spears, swords, and a bow and arrow, amid craggy rockwork and two white hares, encircled by a diaper border and a band of alternating birds and floral sprays between lines.Provenance: From a private collection in London, United Kingdom.Condition: The rim with extensive frits, some with associated old repairs, and a small hairline (only visible under strong blue light), the foot with some fritting as well.Weight: 1,580 gDimensions: Diameter 36.3 cmThe rim with rectangular reserves divided by diaper borders and enclosing birds and flowers, encircled by another diaper border. The exterior rim with evenly spaced floral sprays. The base with a parasol mark in a shaped reserve within a double circle.During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus marks and double circles. The mark found on the present lot, in the form of a parasol, an important Buddhist symbol, appears to be very rare but is clearly part of the same group.Auction result comparison: Compare a related blue and white dish with a hunting scene, with a Chenghua mark and also dated to the Kangxi period, at Christie's Amsterdam in Chinese Ceramics and Works of Art on 3 May 2005, lot 182, sold for EUR 9,600. Compare also a related blue and white brushpot painted with a hunting scene, with a Xuande mark and also dated to the Kangxi period, at Christie's New York in Important Chinese Ceramics and Works of Art on 24 September 2021, lot 802, sold for USD 125,000. 康熙時期青花開光《狩獵圖》大盤中國，1662-1722年。折沿，淺腹，圈足。盤内中央開光描繪馬上狩獵圖，獵人揮舞著長矛、劍和弓箭，追趕著兩隻野兔。四周開光描繪花鳥卷葉紋。來源：英國私人收藏。 品相：邊緣有大量熔塊，有一些相關舊時修復，還有一條細小的裂紋（僅在強藍光下可見），足部也有一些熔塊。 重量：1,580 克 尺寸：直徑36.3 厘米 拍賣結果比較: 比較一件相近的成化款康熙時期青花《狩獵圖》大盤，見阿姆斯特丹佳士得Chinese Ceramics and Works of Art 2005年5月3日 lot 182, 售價EUR 9,600；另一件宣德款康熙時期的青花《狩獵圖》筆筒，見紐約佳士得Important Chinese Ceramics and Works of Art 2021年9月 24 日lot 802, 售價USD 125,000。

'MAPLE TREE AND BIRD', BY XIE ZHILIU (1910-1997)China. Ink and watercolors on paper. Finely painted with a white-crested long-tailed bird perched on a gnarled maple branch bearing red, worm-eaten leaves and dense buds, the bird's head turned to one side. With a silk brocade frame and mounted as a hanging scroll.Inscriptions: Upper right, signed 'Xie Zhiliu' and dated April of the Guiwei year (corresponding to 1943), with two seals, 'Xie zhi' and 'Zhiliu'.Provenance: From an English private collection.Condition: Very good condition with minor wear, soiling, foxing, and creasing, the watercolors lightly smudged in some areas.Dimensions: Image size 64 x 35 cm, Size incl. mounting 203 x 48.5 cmXie Zhiliu (1910-1997) was a leading traditional painter, calligrapher, and art connoisseur of modern China. He was a noted member of the Shanghai School. Xie and his wife Chen Peiqiu are one of the most famous couples in Chinese art. Xie began learning to paint at the age of nine, and received an education according to the Chinese artistic tradition, which is a combination of drawing directly from life and copying the paintings of old masters. At the age of 19, he began to emulate the style of Ming dynasty master Chen Hongshou. In the 1930s, Xie Zhiliu befriended the famous painter Zhang Daqian. In 1942 Xie went to Dunhuang with Zhang to study the art of the Mogao Caves. After returning he published several books including 'Records of Dunhuang Art' and 'Compilation of Dunhuang Cave Art'. In 1943, Xie was hired as an art professor by the National Central University (now Nanjing University), then exiled in Chongqing during the Second Sino-Japanese War. He held personal exhibitions in many Chinese cities including Chengdu, Chongqing, Kunming, Xi'an, and Shanghai. After the founding of the People's Republic of China in 1949, he worked on cultural relic preservation, and served as a consultant for the Shanghai Museum.Auction result comparison: Compare a closely related painting by Xie Zhiliu at Bonhams Hong Kong in Fine Chinese Paintings on 1 June 2021, lot 850, sold for HKD 114,750. 謝稚柳（1910-1997）《翠羽清秋圖》中國。紙本設色立軸。黑嘴白頭翁倚立於枝頭，神色靈動而又機警，貼近自然。秋葉的凋零，盡顯簡約之美。款識：翠羽釵梁欹鬢橫，粉痕凝夜動幽情。鏡台銀帶都無色，試上瓊樓有月明。癸未四月為挺秋先生法家雅教，謝稚柳稚榆林窟下。鈴印：謝稚，稚柳 來源：英國私人收藏。品相：狀況極好，有輕微磨損、汙漬和摺痕。尺寸：畫面64 x 35 厘米，總203 x 48.5 厘米 拍賣結果比較：比較一件謝稚柳畫作，見香港邦翰思Fine Chinese Paintings 2021年6月1日 lot 850, 售價HKD 114,750。

A GREEN AND BROWN JADE FISH-FORM PENDANT, SHANG TO WESTERN ZHOU DYNASTYChina, 13th-10th century BC. Of flattened form, finely carved as a fish with a leafy sprig in the mouth, the dorsal fin openworked and further pierced for suspension, with a second suspension hole to the lower body. The large round eyes are deeply incised, the body with further triangle decorations. The translucent stone of an olive-green tone with extensive patches of russet-brown and black specks.Provenance: Virginia Frizzell, San Francisco, 18 April 1973. Mohawk Gallery, New Jersey, acquired from the above. A private collector in New York, USA, acquired via the above. Thence by descent. The reverse with three old labels, '52', '3368', and 'CB 147'. A copy of the original invoice from Virginia Frizzell, dated 18 April 1973, listing the present lot as '#52 Fish', and naming Mohawk Gallery as the customer, accompanies this lot. A copy of the private collector's personal handwritten notes, stating the collection number 52, the material nephrite, the date of purchase of 18 April 1973, the reference number of the GIA report no. 669550, and with two old kodak photographs of the present lot, accompanies this lot.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, few minuscule nicks. Natural inclusions, imperfections and minuscule fissures. With a smooth, unctuous feel overall and a fine, naturally grown patina.Scientific Analysis Report: A signed and stamped report from the Gemological Institute of America (GIA) for Mohawk Gallery, no. 669550, dated 2 May 1973, confirms that the present lot is nephrite jade and describes the piece as “semi-translucent variegated green and brown carved fish measuring approx. 61/4 x 2x1/4 inches”. A copy of this report accompanies this lot.Weight: 85.6 gDimensions: Length 15.8 cmAuction result comparison: Compare a related jade fish pendant, dated Shang dynasty or later, also of flattened form and with similar eyes, the jade however calcified, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 28 May 2019, lot 101, sold for HKD 275,625, a pair of related fish-form pendants dated to the Western Zhou dynasty, also of flattened form and with similar eyes, at Christie's Hong Kong in Chinese Archaic Jades from the Yangdetang Collection on 29 November 2017, lot 2739, sold for HKD 437,500, and another fish-form pendant dated to the Western Zhou dynasty, of a similar brownish-green jade, at Christie's New York in Important Chinese Ceramics and Works of Art on 13 September 2019, lot 816, sold for USD 25,000.商至西周魚形佩中國，公元前十三至十世紀。佩身扁平，魚形，翹嘴，嘴裡啣著一枝樹枝，邊緣薄削，背鰭鏤空穿孔用以懸掛，魚肚有第二個懸掛孔。魚眼大而圓，魚身表面有三角紋裝飾。青綠色調的半透明玉料，帶有大量的赤褐色和黑色斑點。 來源：舊金山Virginia Frizzell藝廊，1973年4月18日。新澤西Mohawk Gallery藝廊，購於上述藝廊；紐約私人收藏，購於上述藝廊，保存至今。背面有三個老標籤，分別注明 '52', '3368', 與 'CB 147'。隨附原始Virginia Frizzell發票 ，時間爲1973年4月18日，此拍品為 '#52 Fish'，而Mohawk Gallery 是顧客的發票複印件。隨附私人藏家手寫注釋複印件，注明收藏編號爲 52，材料為和田玉，購於1973年4月18日，GIA 報告編號爲 669550, 並此拍品的兩張柯達照片。 品相：狀況極佳，與年齡相稱。廣泛磨損、風化和侵蝕的跡象，少量微小的刻痕。天然内沁、瑕疵和微小裂縫。整體光滑潤澤。 科學檢測報告：美國GIA研究所為 Mohawk Gallery所做的檢測，編號 669550，1973年5月2日，確認此拍品為和田玉，並描述為 “semi-translucent variegated green and brown carved fish measuring approx. 61/4 x 2x1/4 inches”（半透明綠褐色魚形佩件，61/4 x 2x1/4 英寸）。隨附此報告複印件。 重量：85.6 克 尺寸：長 15.8 厘米 拍賣結果比較：比較一件相似的商代或更晚的魚形玉件，相似形狀和眼部刻畫，見香港邦翰思Fine Chinese Ceramics and Works of Art 2019年5月28日 lot 101, 售價HKD 275,625；一對西周扁平的魚形玉佩件，見香港佳士得Chinese Archaic Jades from the Yangdetang Collection 2017年11月29日 lot 2739, 售價HKD 437,500；另一件西周綠褐色魚腥玉佩件見紐約佳士得Important Chinese Ceramics and Works of Art 2019年9月13日 lot 816, 售價USD 25,000。

AN IMPERIAL-YELLOW GLAZED BOWL, YONGZHENG MARK AND PERIODChina, 1723-1735. Superbly potted with deep rounded sides, bearing noticeable horizontal pottery marks all along, rising from a tall straight foot to a gently everted, extremely thin rim, with the glaze distinctively thinning at the tip, revealing the white ware. The foot with a remarkably fine polish to the rim. The white-glazed recessed base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi within a double circle and of the period.Provenance: From a German private collection, assembled over a longer period prior to 2007.Condition: Excellent condition with old minor wear and firing irregularities. Good, unctuous feel overall.Weight: 73.6 gDimensions: Diameter 10.4 cmLiterature comparison: A pair of Yongzheng-marked, lemon-yellow-glazed bowls of this shape, 11.1 cm diameter, is illustrated in Selected Ceramics from the Collection of Mr. & Mrs. J. M. Hu, Shanghai Museum, 1989, p. 89, no. 54.Auction result comparison: Compare a related lemon-yellow enameled bowl, 11.7 cm diameter, also with a Yongzheng mark and of the period, at Christie's New York in Fine Chinese Ceramics and Works of Art on 20 September 2005, lot 282, sold for USD 72,000. 雍正款及年代御製嬌黃釉碗中國，1723-1735年。敞口，弧壁，圈足，碗形周正。口沿極薄，邊沿明顯變薄，露出白胎。足部邊緣光滑。胎體細膩，內外壁滿施黃釉，釉層均勻雅緻，色澤嬌豔。圈足内白釉地青花雙圈六字“大清雍正年製”款。 來源：德國私人收藏，購於2007年前。 品相：狀況極佳，輕微磨損和燒製瑕疵。 整體感覺光滑細潤。重量：73.6 克 尺寸：直徑 10.4 厘米 文獻比較：一對雍正款杏黃色釉的同形狀的碗，直徑11.1 厘米, 可見Selected Ceramics from the Collection of Mr. & Mrs. J. M. Hu, 上海博物館，1989年，第 89頁, 圖 54。 拍賣結果比較：比較一件相近黃色琺琅碗，直徑11.7 厘米, 雍正款與年代，見紐約佳士得Fine Chinese Ceramics and Works of Art 2005年9月20日 lot 282, 售價USD 72,000。

A SANDSTONE TORSO OF UMA, ANGKOR WAT PERIOD, BAPHUON STYLEKhmer Empire, 11th century. Standing in samabhanga, her young unadorned body with prominent breasts and her belly beautifully rounded, wearing a long, pleated sarong tied at the front, the long central fold elegantly culminating in a 'fishtail' shape at the hem, held together at the hips with a patterned belt fastened at the front with a knot.Provenance: From a private estate in Cleveland, Ohio, USA, by repute acquired from Spink & Son, London.Condition: Good condition, commensurate with age. Expected weathering, wear, losses, minor nicks, few structural cracks. Some signs of erosion. Fine, naturally grown patina overall.Weight: 15.4 kg (incl. stand)Dimensions: Height 58 cm (excl. stand) and 66 cm (incl. stand)This piece exemplifies the style of Baphuon female figures with the frontal stance, the ovoid skirt wide at the hips and narrowing around the knees, the sarong in an elevated position at the back and curving down to below the navel and the elegant central pleat. According to Boisselier the highly decorative style of Banteay Srei inspired the development of Baphuon period sculpture, a manner which became more embellished with decorative elements as it reached a zenith during the Angkor Wat period a century later, see Helen Ibbitson Jessup and Thierry Zephir, editors, Sculpture of Angkor and Ancient Cambodia - Millennium of Glory, Washington 1997, page 255.The modeling of the torso, the curled end of the sarong above the belt, and the long central fold certainly recall Banteay Srei sculpture, see Emma C. Bunker and Douglas Latchford, Adoration and Glory, The Golden Age of Khmer Art, Chicago, 2004, page 175, fig. 8.6.Mounted to an associated metal stand. (2)Auction result comparison: Compare a closely related torso of Uma, 66 cm high, in these rooms, in Fine Chinese Art, Buddhism and Hinduism on 16 October 2021, lot 560, sold for EUR 13,904.

A CARVED CINNABAR LACQUER 'SCHOLARS' BRUSH AND COVER, LATE MING DYNASTYChina, 17th century. Of cylindrical form, well carved with a continuous scene of scholars amid rockwork under towering pine trees and a small pavilion with two figures inside, the cover similarly carved with a pagoda and pavilions nestled in mountains below swirling clouds, all against a floral diaper ground. The brush and cover are each carved with a key-fret band above the base and overlapping lotus petals toward the top.Provenance: UK market, by repute from an old English estate.Condition: Good condition with old wear, natural age cracks, few small losses, possibly minuscule old fills.Weight: 64.5 g Dimensions: Length 26 cmAuction result comparison: Compare a near-identical brush and cover, 25.4 cm long, also dated to the 17th century, at Sotheby's New York in Important Chinese Art on 13 September 2016, lot 347, sold for USD 7,500.明代末期剔紅文人場景毛筆中國，十七世紀。毛筆帶蓋，圓柱體，錦地剔紅雕刻松下岩石和亭子，亭中有兩位文人；筆蓋上雕刻了一座寶塔和一座座依山而建的亭台樓閣。上下邊沿都有雷紋，頂部有重疊的蓮花花瓣。 來源：英國古玩市場，據説來自英國私人收藏。 品相：狀況良好，舊時磨損，自然老化裂縫，有少量小缺損，是很細微的舊時填充物。 重量：64.5克 尺寸：長26厘米 拍賣結果比較：比較一件十七世紀幾乎一模一樣的毛筆，帶蓋長 25.4 厘米，見紐約蘇富比Important Chinese Art 2016年9月13日 lot 347, 售價USD 7,500。

A RARE YELLOW JADE 'RUYI' VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Of flattened form and rectangular section, the ruyi-shaped body supported on a thick spreading foot and rising to a waisted neck flanked by two distinct elephant handles suspending mock rings. Superbly carved with two lotus sprays on each side, one within the ruyi-shaped apron and the other to the neck against a finely incised wan ground, with a band of ruyi-heads below the mouth and archaistic comma-spirals above the foot. The translucent stone of an intense and pure yellow tone. The recessed base incised with a four-character mark Qianlong nianzhi and of the period.Provenance: Formerly the property of a gentleman in Paris.Condition: Very good condition with minor wear, small nicks to exposed areas, occasional light scratches, the foot possibly smoothened.Weight: 182.5 g Dimensions: Height 10.6 cmWith a carved and fitted hardwood stand, Qing Dynasty, possibly 18th century. (2)Among nephrite jades of ink-black, spinach-green, celadon, yellow, and white tones, it is the yellow jades that were considered as the most rare. As early as 1388, it is recorded in the Gegu yaolun (The Essential Criteria of Antiquities), that the best yellow jade should be stones with the “colour of the chestnut kernel, known also as pure [literally 'sweet'] yellow, are the most valuable. The smoky yellow is the next in quality”, see Sir Percival David, Chinese Connoisseurship, London, 1971, p. 120.The varying yellow tones are subtle and difficult to differentiate. Yang Boda distinguished them in Zhongguo Yuqi Quanji, Vol. 6, Hebei, 1991. The yellow jades of chestnut tone are particularly precious and valuable, such as the archaistic baluster vase in the Palace Museum Collection, decorated with taotie masks between cicada motifs, ibid. p. 591, no. 204. The other categories of yellow are known as 'corn kernel', ibid. p. 588, no. 190 (a pear-shaped archaistic vase), 'sweet pear', p. 544, no. 41 (a jade rhyton), 'interior with light celadon shimmer', ibid. p. 598, no. 235 (a recumbent elephant supporting a vase on its back), and 'autumn mallow', ibid. p. 600, no. 241 (a cylindrical covered vase).Literature comparison: The ruyi-shaped body as seen on the present vase is extremely rare. For a celadon-glazed vase and cover, with a Qianlong mark and of the period, with a similar ruyi-shaped body and apron, see Sotheby's Hong Kong, 3 October 2018, lot 3602.Auction result comparison: Compare a related yellow jade vase and cover, 12.5 cm high, also with a Qianlong four-character reign mark, at Christie's Hong Kong in The Imperial Sale on 31 May 2010, lot 2121, sold for HKD 2,660,000. Compare a related 'autumn mallow' yellow jade baluster vase, 14.6 cm high, dated to the Qianlong period, at Christie's London in Fine Chinese Ceramics and Works of Art on 15 May 2007, lot 374, sold for GBP 52,800.乾隆款及年代罕見黃玉如意瓶中國，1736-1795年。瓶身扁平，長頸，象首啣環輔耳，如意形腹部，底足外撇並內凹。淺浮雕，唇沿處飾如意紋，頸部萬字元地上纏枝蓮紋，腹部中央飾蓮紋，邊沿處雲紋。柔和淡雅的的黃色的半透明玉料。底足內刻“乾隆年製”四字。 來源：巴黎一位紳士收藏。 品相：狀況極好，有輕微磨損，局部有小劃痕和輕微刻痕，底部光滑。 重量：182.5 克 尺寸：高10.6厘米清代硬木底座，可能為十八世紀。 在玉的不同成色中， 如白、青、碧、黃、黑等，黃玉被認為是最稀有且珍貴的。 早在1388年，《格古要論》中就有記載”黃玉如粟者為貴，謂之甘黃“ ，而煙熏黃是之後一等，見 Sir Percival David, Chinese Connoisseurship, 倫敦，1971年，第120頁。 不同的黃色色調微妙且難以區分。 楊伯達在《中國玉器全集》第六冊（河北，1991年）中對他們進行了區分：栗色黃玉尤為珍貴，如故宮收藏的仿古賞瓶，蟬紋間饕餮紋飾，第591頁，圖204；其他類別的黃色被稱為“玉米粒”，第588頁，圖190（一個梨形的古花瓶），“糖黃玉”，第 544頁，圖 4；“內部帶有淺青瓷微光”，第 598頁，圖235（太平有象）和“秋葵”，第600頁，圖 241（圓柱形蓋瓶）。 文獻比較：此拍品的如意形腹部極爲少見。相似形制可參考一件乾隆款及年代青釉蓋瓶，見香港蘇富比2018年10月3日 lot 3602。 拍賣結果比較：比較一件黃玉蓋瓶，高12.5 釐米，同樣有乾隆四字款，見香港佳士得The Imperial Sale 2010年5月31日 lot 2121, 售價HKD 2,660,000；比較一件乾隆時期黃玉秋葵賞瓶，高14.6 釐米，見倫敦佳士得 Fine Chinese Ceramics and Works of Art 2007年5月15日 lot 374, 售價GBP 52,800。

A RED OVERLAY 'PHOENIX' GLASS BOTTLE VASE, QING DYNASTYChina, 18th-19th century. The globular Beijing glass body supported on a spreading foot and rising to a long cylindrical neck. Deeply carved through the outer translucent ruby-red layer with two shaped medallions, enclosing a phoenix perched on a rock amid bamboo, lingzhi, and flowering camellia to one side and prunus and bamboo to the other, all against a transparent white 'snowflake' ground.Provenance: English private collection. Bonhams London, 11 May 2009, lot 78, bought-in at an estimate of GBP 12,000-15,000. A private collector in London, United Kingdom, acquired from the above in an after-sale transaction.Condition: Excellent condition with minor wear and manufacturing flaws, including open air bubbles and striations. Few microscopic nicks, some possibly smoothened over time.Weight: 1,279 gDimensions: Height 27.2 cmLiterature comparison: Compare a related jar and cover illustrated in Elegance and Radiance: Grandeur in Qing Glass/The Andrew K.F. Lee Collection by Hui and Lam, Hong Kong, 2000, no. 110. Compare a related 18th-century bottle vase, cataloged as “red on crushed ice ground” illustrated in the Royal Academy Exhibition Catalogue, London, 1935-1936, no. 2757.Auction result comparison: Compare a related red overlay snowflake glass bottle vase carved with lotus scroll, also dated 18th-19th century, at Christie's New York in Chinese Art from the Art Institute of Chicago on 12 September 2019, lot 773, sold for USD 11,250. 清代雪花地套紅料開光花鳥紋長頸瓶 中國，十八至十九世紀。長頸，鼓腹，圈足。雪花地套紅寶石色料，開光浮雕，一側是竹、靈芝、花鳥紋，另一側是梅竹紋。來源：英國私人收藏，倫敦邦翰思2009年5月11日 lot 78, 估價GBP 12,000-15,000；倫敦私人收藏，購於上述拍賣的後期銷售。 品相：狀況極佳，有輕微磨損和製造瑕疵，包括開放的氣泡和條紋。少量微小刻痕，有些可能會隨著時間的推移而變得平滑。 重量：1,279 克 尺寸：高 27.2 厘米 拍賣結果比較：比較一件十八世紀至十九世紀雪花地套紅料蓮紋瓶，見紐約佳士得Chinese Art from the Art Institute of Chicago 2019年9月12日 lot 773, 售價USD 11,250。

'PORTRAIT OF A SECOND-RANK OFFICIAL', QING DYNASTYChina, 18th-19th century. Ink, watercolors, and gilt on paper. The finely painted half-portrait depicting an elderly official of the second rank, as evidenced by the coral finial on his hat and the golden pheasant on his rank badge. His wealth and prestige are further evidenced by his long tourmaline necklace and tiger-skin seat cover. His face is realistically painted with well-detailed features, such as deep wrinkles, short eyebrows, a hooked nose, intense eyes, and a long, thin beard.Provenance: From an old Austrian private collection. The backside of the frame with a manual inscription “R. Wytek Privat” and a date “2.5.96”. Condition: Very good condition with minor soiling, browning and foxing. Matted and framed behind glass.Dimensions: Image size 19.7 x 19.7 cm, Size incl. frame 40 x 39.5 cmLiterature comparison: Compare a related full-body portrait of Lirongbao, the father-in-law of Emperor Qianlong, painted posthumously during the 18th or 19th century and now in the collection of the Arthur M. Sackler Gallery of the National Museum of Asian Art, Smithsonian Institute, accession number S1991.130.Auction result comparison: Compare a related full-body portrait of a second-rank civil official, also dated 18th-19th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 17 September 2010, lot 1060, sold for USD 74,500.清代二品官員肖像畫 中國，十八至十九世紀。紙本水墨設色。肖像畫描繪了一位二品文官，帽子上的珊瑚飾邊和官服補子上的金雉就是證明。 他的碧璽朝珠和虎皮椅套進一步證明了他的財富和聲望。 他的臉被描繪得非常逼真，細節如深皺紋、短眉毛、鷹鉤鼻、目光和鬍鬚。 來源：奧地利私人老收藏。背面可見手寫注明 “R. Wytek Privat” 以及日期 “2.5.96”。 品相：狀況極好，有輕微污漬、褐變，玻璃面裝裱。 尺寸：畫面19.7 x 19.7 厘米，總 40 x 39.5 厘米 拍賣結果比較：比較一件相近的十八至十九世紀二品官員全身肖像畫，見紐約佳士得Fine Chinese Ceramics and Works of Art 2010年9月17日lot 1060, 售價USD 74,500。

A ROBIN'S EGG GLAZED 'LANTERN' VASE, ZUN, QIANLONG TO JIAQING PERIODChina, 1736-1820. The body tapers slightly towards the foot and is flanked by a pair of prominently molded handles in the shape of inverted vases below the high shoulder and slightly waisted neck. The vase is covered overall with an opaque turquoise glaze densely mottled in bright and dark blue that also covers the recessed base entirely.Provenance: From a private collection in Hampshire, United Kingdom, by repute acquired in the 1960s.Condition: Excellent condition with minor wear and minimal firing irregularities. Weight: 1,097 gDimensions: Height 22.5 cmVases of this lantern shape, all applied with unusual mock handles of inverted vase shape, originated in the Yongzheng period, when they were made with Guan and Ge-type glazes, such as the two Yongzheng examples in the Palace Museum, Beijing, illustrated by Geng Baochang (ed.), Gugong Bowuyuan cang Qingdai yuyao ciqi (Porcelains from the Qing dynasty Imperial kilns in the Palace Museum collection), Beijing, 2005, pls. 174 and 206. However, during the Qianlong period, the shape became more popular as a vehicle for the robin's egg-blue glaze.The 'Robin's egg' glaze represents a significant technical innovation of the Yongzheng period (1723-35) attributable to Tang Ying (1682-1756), the greatest porcelain superintendent in Chinese history. The Yongzheng Emperor, who initiated many revivals of earlier ceramic techniques, was particularly enamored with the variegated Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. In order to have the glazes recreated or imitated, Tang Ying sent his trusted assistant from the imperial kilns in Jingdezhen, Jiangxi province, on study trips to the Jun region in Henan province to learn from the local potters and even went as far as having ceramic raw materials mined in the Jun area transported over thousands of kilometers to Jingdezhen. Among the many types of glazes derived from those efforts are mottled purple ones such as the flambe variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed lu Jun or Oven Jun, i.e., a Jun glaze fired in low-temperature ovens instead of high-temperature kilns (see Jingdezhen Institute of Ceramic Archaeology et al, The Cultures of Porcelain Superintendents and Jingdezhen, conference volume, Nanchang, 2011). The 'robin's egg' glaze is mentioned on a stele in Jingdezhen, inscribed by Tang Ying, as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the Imperial court. Its color is described as intermediate between the glazes of the Shiwan kilns of Foshan, Guangdong, and those used by the Yixing kilns in Jiangsu for their zisha tea pots, but having a better and more beautiful flow.According to scientific research conducted by the Victoria & Albert Museum and Oxford University, 'robin's egg' glazes are high-lead, low-temperature enamel-type compositions fired in oxidation and are colored largely with copper and opacified with lead arsenate to achieve their extraordinary beautiful effect. See Nigel Wood, Rose Kerr et al, 'An evaluation of the composition and production processes of Chinese “robin's egg” glazes', International Symposium on Ancient Ceramics, Shanghai, 2002, pp. 337-353.Literature comparison: Compare a closely related robin's egg glazed zun, with a Jiaqing mark and of the period, illustrated in The Complete Collection of Treasures of the Palace Museum 37 Monochrome Porcelain, Hong Kong, 1999, p. 211, no. 190.Auction result comparison: Compare a closely related robin's egg glaze lantern vase, with a Qianlong mark and of the period, at Christie's New York in The Studio of the Clear Garden: Chinese Ceramics and Works of Art on 22 March 2018, lot 606, sold for USD 137,500.乾隆至嘉慶時期爐鈞釉燈籠紋尊中國，1736-1820年。釉質呈藍綠小片斑狀，腹部兩側對稱燈籠紋浮雕，圈足。 來源：英國漢普郡私人收藏，據説購於上世紀六十年代。 品相：狀況極佳，輕微磨損，輕微燒製瑕疵。 重量：1,097 克 尺寸：高 22.5 厘米 拍賣結果比較：比較一件相近爐鈞釉燈籠紋尊，乾隆款及年代，見紐約佳士得The Studio of the Clear Garden: Chinese Ceramics and Works of Art 2018年3月22日 lot 606, 售價USD 137,500。

A CELADON JADE 'BOYS' WASHER, QING DYNASTYChina, 18th-19th century. Amusingly carved as a large open lotus leaf with a fish at one side being caught on a line by a crouching boy, another boy at the other end holding on to the plant stalk. The translucent stone of an even celadon tone with few cloudy white inclusions and grayish hues.Provenance: British private collection. Bonhams, 5 November 2009, lot 272, sold for GBP 3,600. German private collection, acquired from the above.Condition: Excellent condition with minor old wear and traces of use.Weight: 182.0 gDimensions: Length 15.5 cmAuction result comparison: Compare a related celadon jade washer, also with boys and lotus, at Sotheby's London in Chinese Art on 18 May 2018, lot 222, sold for GBP 12,500. 清代青玉雕童子戲蓮筆洗 中國，十八至十九世紀。青玉雕刻成一片巨大的荷葉，一側有一個蹲伏狀的童子釣到一條魚，另一端的是一個童子抓住荷葉莖。 青色調的半透明玉石，幾乎沒有白色絮狀物以及灰色調。 來源： 英國私人收藏。邦翰思2009年11月 5日 lot 272, 售價GBP 3,600. 德國私人收藏，購於上述收藏。 品相：品相極好，輕微磨損和使用痕跡。 重量：182.0 克 尺寸：長 15.5 厘米 拍賣結果比較：一件相近的青玉筆洗，同樣為童子戲蓮，倫敦蘇富比 Chinese Art 2018年5月18日 lot 222, 售價GBP 12,500。

A RARE AND LARGE TIXI LACQUER BOWL, YUAN DYNASTYChina, 1279-1368. The deep rounded sides rising from a short foot to an everted rim. Deeply carved through multiple layers of black and red lacquer with a characteristic sword-pommel (guri) pattern to the exterior, the recessed base similarly carved with a scroll design.Provenance: The Mee-Din and Robert W. Moore Collection. Robert W. Moore is a famed California collector of Chinese and Korean art, whose passion began in the 1950s when he served in the US Army and was stationed in Korea. After his return to the United States, he began collecting Korean and later also Chinese works of art, and over the following decades became a very knowledgeable, discerning, and influential collector.Condition: One small section of the lacquer (approx. 1.5 x 1 cm) is an old replacement. The bowl otherwise in superb, original condition, with old wear, age cracks, and small losses as expected. The pewter lining with extensive wear, traces of use, small dents, few minuscule nicks, and light scratches, as well as a fine, naturally grown patina. Weight: 238.6 g Dimensions: Diameter 13.6 cmExpert's note: While the guri pattern executed in tixi technique as found on the present lot is relatively common in lacquer bowls from the Song to Ming dynasties, the scroll decoration to the recessed base appears to be extremely rare, with – to the knowledge of this author – no comparable examples recorded in public collections.Auction result comparison: Compare a closely related bowl, also dated to the Yuan dynasty, at Sotheby's London in Important Chinese Art on 16 May 2018, lot 35, bought-in at an estimate of GBP 20,000-30,000.元代罕見剔犀雲紋碗中國，1279-1368年。直口、弧腹、臥足內凹。外壁漆層為褐色與朱色交替重疊，漆色呈褐色帶紅，雕刻成雲頭如意紋圖案，刀口斷面磨得圓潤光滑。漆碗內鑲的銀裏，銀裏的口沿反轉後嵌入漆碗口沿中，銀裏邊與漆碗口黏合得相當緊密，融為一體。 來源：Mee-Din 與Robert W. Moore 中國收藏。Robert W. Moore是加州著名的中國和韓國藝術收藏家，他的收藏熱情始於 1950 年代。當時他在美國軍隊服役並駐紮在韓國。回到美國後，他開始收藏韓國和中國的藝術品，在之後幾十年裡，他成為了一位知識淵博、眼光敏銳、影響深遠的收藏家。 品相：局部約 1.5 x 1 厘米是舊時修補，其他方面原始狀態極好，舊時磨損、老化的裂縫和小缺損。 錫合金有大量磨損、使用痕跡、小凹痕、極少的細小刻痕和輕微劃痕，以及自然生長的包漿。 重量：238.6 克 尺寸：直徑 13.6 厘米 專家注釋：本拍品中剔犀如意紋，在宋明漆碗中較為常見，而其中的捲紋飾則極為罕見，據筆者所知，目前善無公共收藏中有此例記錄。 拍賣結果比較：比較一件同樣為元代的剔犀碗，見倫敦蘇富比Important Chinese Art 2018年5月16日 lot 35, 估價 GBP 20,000-30,000。

A PAIR OF CAFE-AU-LAIT-GROUND FAMILLE VERTE 'ANTIQUE TREASURES' BOWLS, KANGXI PERIODChina, 1662-1722. Each bowl is well potted with deep rounded sides rising from a slightly tapered foot to a gently everted rim, the exterior neatly painted in bright enamels with antique treasures, scholar's objects, and auspicious symbols against an evenly toned cafe-au-lait ground, the white-glazed interior with a floral spray.Provenance: Woolley & Wallis, 14 November 2012, lot 305. A private collector, acquired from the above.Condition: Good condition. One bowl with a smoothened chip to the foot, associated minuscule loss and semicircular hairline. The second bowl with a shallow chip to the rim and minuscule old fill. Both with minor wear, little rubbing to enamels, manufacturing irregularities, minimal fritting to foot rims.Weight: 237.9 g and 225.4 gDimensions: Diameter 15.2 cm and 15.1 cmThe white-glazed recessed bases each with an underglaze-blue stylized seal mark within a double circle. (2)Auction result comparison: Compare a related cafe-au-lait ground famille verte bowl, with a Xuande mark and also dated to the Kangxi period, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 17 September 2013, lot 319, sold for USD 13,750. 康熙時期一對淡黃醬色釉地博古紋碗 中國，1662-1722年。口微外撇，圓腹，圈足；表面淡黃醬色釉地，精美琺琅博古紋。碗內施白釉，繪製紅蓮一朵。來源：2012年Woolley & Wallis 2012年11月14日 lot 305；私人藏家購於上述藝廊。 品相：狀況良好。 一個碗足部有光滑的切痕，微小的缺損和半圓形的細裂紋；第二個碗邊緣有淺磕損和微小的舊時填補。兩者都有輕微磨損，釉面些微摩擦，製造瑕疵，足部邊緣小熔結。 重量：分別為237.9 克與225.4 克 尺寸：直徑15.2 釐米與 15.1 釐米 圈足內青花雙圈款。(2) 拍賣結果比較：比較一件宣德款康熙時期的醬色釉硬彩碗，見紐約蘇富比Fine Chinese Ceramics & Works of Art 2013年9月17日 lot 319, 售價USD 13,750。

A JADE 'CATFISH' WASHER, 17TH TO 18TH CENTURYChina. Of oval shape with slightly flaring sides supported on a short yet distinct foot, the interior finely carved in high relief with a catfish, the algae in its mouth forming a stylized wan symbol. The exterior with two slightly raised bands incised with diagonal lines. The finely polished, translucent stone is of a grayish-cream tone with dark-brown veins and inclusions.Provenance: The Ezekiel Collection, no. H/131 (old collector's label to base). Purchased by Victor Ezekiel on 13 December 1963. A handwritten and typed note by Victor Ezekiel, stating the collection no. H/131 and the purchase date of 13 December 1963 and describing the piece as 'A pale brownish green jade dish […] with a Catfish with food in its mouth, and stand. […] Probably Ming or earlier', accompanies this lot. The Ezekiel Collection was formed by Marcus Ezekiel (1854-1927) and his son Victor (1905-1976), two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century, and important early members of the Oriental Ceramic Society. In 1975 Rose Kerr, then a young associate curator at the Victoria and Albert Museum, came to David Ezekiel, Victor's son, to select loans for the prestigious Oriental Ceramic Society exhibition "Chinese Jade Throughout the Ages”. Seventeen pieces were selected, the present lot possibly among them, and David Ezekiel was able to take his ailing father, in a wheelchair, to see the exhibition.Condition: Very good condition with minor old wear and nibbling to the rim as well as a microscopic bruise to one end of the algae sprig. With a fine, unctuous feel overall.Weight: 65.4 gDimensions: Length 8.4 cmThe catfish (nian yu) provides a rebus suggesting 'year after year' while the word for fish in Chinese (yu) provides a homonym for 'abundance'. Fish is traditionally eaten on Chinese New Year and during the festival there is a phrase called 'nian nian you yu', which translates as 'every year you have abundance'.Catfish (silurus) eat algae. When depicted in Chinese jade, they are sometimes mistaken for monkfish (lophius), a predator which does not eat algae.Auction result comparison: Compare a related white jade washer with a catfish amid waves, dated 18th-19th century, at Sotheby's London in Fine Chinese Ceramics And Works Of Art on 5 November 2014, lot 286, sold for GBP 12,500, and another with two fish and two boys, dated 18th century, at Sotheby's Hong Kong in Important Chinese Works Of Art on 7 April 2015, lot 3744, sold for HKD 125,000, and a related pale celadon jade bowl with two catfish, dated to the 19th century, of larger size (13.4 cm wide), at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 1 June 2011, lot 3848, sold for HKD 1,340,000. 十七至十八世紀鮎魚紋玉筆洗中國。橢圓形，口外敞，圈足極淺，筆洗内底部巧妙高浮雕鮎魚，魚嘴裡的叼的水藻成卍符號。筆洗外壁有兩條略微凸起的細帶，上面刻有對角線。玉料表面光滑，呈半透明狀，帶有深棕色的紋理和內沁。 來源：Ezekiel收藏，收藏編號H/131（見收藏標籤）。Victor Ezekiel於1963年12月13日購置。隨附一份收藏由Victor Ezekiel 購買時做的注釋的副本，他描述此拍品為“A pale brownish green jade dish […] with a Catfish with food in its mouth, and stand. […] Probably Ming or earlier “ （青綠色玉盤，鮎魚紋，明或更早）。Ezekiel收藏由Marcus Ezekiel (1854-1927) 和他的兒子 Victor (1905-1976) 創立，他們曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。1975年，時任Victoria and Albert Museum美術館年輕副館長的Rose Kerr來找Victor的兒子David Ezekiel，為知名的東方陶瓷協會展覽 "中國歷代玉器 "挑選借展品。共有17件收藏品被選中，本拍品可能是其中之一，David Ezekiel還曾與患病且坐在輪椅上的父親去看展覽。 品相：狀況極好，有輕微的磨損，水藻的一端有輕微的損傷。 整體潤澤光滑。 重量：65.4 克 尺寸：長 8.4 厘米 拍賣結果比較：比較一件十八至十九世紀的鮎魚紋玉筆洗，見倫敦蘇富比Fine Chinese Ceramics And Works Of Art 2014年11月5 日 lot 286, 售價GBP 12,500；另一件十八世紀雙童雙魚紋筆洗，見香港蘇富比Important Chinese Works Of Art 2015年4月7日 lot 3744, 售價HKD 125,000；一件十九世紀青白玉雕雙魚碗，尺寸稍大 (寬13.4厘米), 見香港佳士得Important Chinese Ceramics and Works of Art 2011年6月1日 lot 3848, 售價HKD 1,340,000。

A MASSIVE LONGQUAN CELADON 'LOTUS' DISH, MING DYNASTYChina, 15th century. The shallow rounded sides rising from a short tapering foot to a broad everted rim. Boldly carved in the center with a large lotus spray, encircled by a band of lotus scroll below a wave band to the rim. Covered in a glaze of rich olive-green tone, the underside base with an unglazed circle burnt orange in the firing.Provenance: From the private collection of a European family, acquired circa 1900 and thence by descent.Condition: Excellent condition with some old wear and firing flaws, such as glaze recesses and dark spots, as well as occasional light scratches.Weight: 6.5 kgDimensions: Diameter 47.5 cmLiterature comparison: Compare a related Longquan dish, of closely related form, related size (48.6 cm), with similar lotus decoration to the present lot, and also dated to the 15th century, illustrated by Mei-fen Tsai, Green–Longquan Celadon of the Ming Dynasty, National Palace Museum, Taipei, 2009, p. 82, no. 35. A very similarly carved, slightly larger bracket-lobed dish dated to the late 14th-early 15th century, is illustrated by Regina Krahl and John Ayers, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. I, London, 1986, p. 314, no. 291.Auction result comparison: Compare a related Longquan charger (49.5 cm diameter) with lotus decoration, dated to the early 15th century, at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 30 November 2011, lot 3012, sold for HKD 1,940,000.明代龍泉窯青釉暗刻蓮紋盤中國，十五世紀。此盤形制較大，敞口，小折沿，淺腹，圈足。裡外遍施青釉。盤壁暗刻花卉紋，中央蓮花紋。胎體厚重，頗具質感，盤形規整。底足露胎燒成橘色。 來源：歐洲家族收藏。購於1900年前後，保存至今 品相：狀況極佳，有一些舊時磨損和燒製瑕疵，例如釉面凹陷和黑點，以及局部輕微劃痕。 重量：6.5 公斤 尺寸：直徑47.5 厘米 拍賣結果比較：比較一件相似的十五世紀初龍泉窯蓮紋大盆 (直徑49.5 厘米) ，見香港佳士得Important Chinese Ceramics and Works of Art 2011年11月30日 lot 3012, 售價HKD 1,940,000。

A MAGNIFICENT AND RARE GILT-BRONZE FIGURE OF BUDDHA, TANG DYNASTYChina, 618-907. Superbly cast seated in dhyanasana with his right hand raised in shuni mudra and the left resting on his knee, his robe falling in crisply incised, draped folds in front. The serene face with heavy-lidded almond-shaped eyes below gently arched eyebrows, a broad nose, and full lips, flanked by long pendulous earlobes. The head surmounted by a domed ushnisha. The figure has two attachment tabs (tang), one projecting from the back of the head, the other located at the upper backside of the interior. Provenance: United Kingdom trade, by repute from an old private estate. Condition: Excellent condition, commensurate with age and overall as expected for a gilt bronze from this well-documented group. Old wear, minor casting flaws, few small losses and dents, occasional scratches. Flaking and microscopic warts to gilt in some areas. Some verdigris here and there, ancient corrosion. Old traces of soldering to the tang at the back of the head. The second tang mostly lost. Remnants of old varnish. Despite the wear and corrosion, the gilding still presents quite well overall. The inside of the statue contains deteriorated remnants of fabric, which may at some point have contained an ancient sutra scroll.Weight: 254.8 g (excl. stand)Dimensions: Height 12.4 cm (excl. stand)Gilt-bronzes of the Teaching Buddha, with his right hand raised in variants of vitarka mudra, and the left resting on the knee, became extremely popular from the turn of the eighth century, the delicately draped base demonstrating the classic style of the period.Literature comparison: See a closely related figure in comparable style in the National Palace Museum, Taipei, illustrated in The Crucible of Compassion and Wisdom: Special Exhibition Catalogue of the Buddhist Bronzes from the Nitta Group Collection at the National Palace Museum, Taipei, 1987, p. 173, no 76. Two similar gilt-bronze figures in the collection of the Shanghai Museum are illustrated in S. Matsubara, Chugoku bukkyo chokokushi ron (The Path of Chinese Buddhist Sculpture), vol. 3, Tang, Five Dynasties, Sung and Taoism Sculpture, Tokyo, 1995, pl. 720 A and B. Compare a closely related gilt bronze of Buddha flanked by two bodhisattvas and attendants in the collection of the Asian Art Museum of San Francisco, object number B60B1038. Compare a related but slightly larger gilt bronze figure of Buddha (18 cm high), also with a draped base and dated to the Tang dynasty, at Christie's New York in Fine Chinese Ceramics and Works of Art on 23 March 2012, lot 1765.Auction result comparison: Compare a closely related gilt bronze figure of Buddha (14.6 cm high), also with two attachment tabs, draped base, and dated to the Tang dynasty, at Christie's Hong Kong in Contemplating The Divine – Fine Buddhist Art on 30 May 2018, lot 2856, sold for HKD 2,375,000. Compare a closely related but smaller gilt bronze figure of Buddha (8 cm high), also with attachment tabs projecting from the back, draped base, and dated to the Tang dynasty, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part IV on 20 March 2015, lot 759, sold for USD 161,000. 唐代罕見銅鎏金佛陀坐像中國， 618-907年。佛陀結跏趺坐，右手施耐心之印，左手放在膝蓋上，天衣袒右肩，褶皺清晰流暢。面容安詳，眼睛微微下垂，眉毛微微拱起，寬鼻，豐滿的嘴唇，兩側是長長的耳垂。頭頂上呈螺髻。兩處附接片（柄腳），一個從頭部後部突出，另一個位於內部的上方。 來源：英國拍賣市場，據説購於私人老收藏。 品相：品相極佳，與年齡相稱，整體上符合這一時期鎏金銅造像的預期。舊磨損、輕微鑄造瑕疵、少量小缺損和凹痕、局部劃痕。局部鎏金磨損，到處都是綠色鏽斑。 頭後部的柄腳上有舊的焊接痕跡，內部柄腳有大部分缺損。舊漆的殘留。儘管有磨損和腐蝕，但整體上鎏金仍然良好。雕像的內部有織物殘餘物，可能在之前密封了古老的經卷。 重量: 254.8 克 (不含底座) 尺寸：高 12.4 厘米 (不含底座)拍賣結果比較：比較一件相似的鎏金銅佛陀 (高14.6 厘米), 同樣有兩個附接片，唐代, 見香港佳士得Contemplating The Divine – Fine Buddhist Art 2018年5月30日 lot 2856, 售價HKD 2,375,000；比較一件相似的但稍小的鎏金銅佛陀 (高8 厘米)，背部同樣有兩個附接片，唐代，見紐約佳士得The Collection of Robert Hatfield Ellsworth Part IV 2015年3月 20日 lot 759, 售價USD 161,000。

'PLUM BLOSSOMS AND BAMBOO LEAVES', BY WANG YAOQING (1881-1954)China, first half of the 20th century. Ink and watercolor on segmented paper. The upper fan-shaped painting shows calligraphy. The lower painting depicts branches of a plum tree covered in red blossoms, bamboo leaves on the left. Calligraphy and seal mark on the left side. Laid down on paper with protective cover.Inscriptions: Upper image: The text describes a scene in autumn, gifted to Mr. Youting. Lower image (translated): 'To Mr. Youting'. Signed 'Wang Yaoqing'. One seal: 'Yaoqing'.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The upper painting with some minor material loss at the margin, a few tears, and abrasions, especially along the folds, touch-ups. The lower painting with some abrasions along the folds, minor material loss, and a tear on the right side.Dimensions: Upper image size 46 x 20, lower image size 46 x 20.3 cm, paper cover 63.5 x 65 cmWang Yaoqing (1881-1954) was one of the most famous actors of the Peking Opera in the early 20th century. He was known for playing various female roles in the Peking Opera. In the early 1930s, Wang Yaoqing taught at the Chinese Opera Specialized School. Later, he became the principal of the Chinese Opera School and trained many talented actors, for example, Mei Lanfang, Cheng Yanqiu, Xun Huisheng, and Shang Xiaoyun. He is also a renowned Chinese painter, known for his paintings of plums, chrysanthemums, lotus flowers, turtles, and shrimps.Auction result comparison: Compare a similar painting, depicting a tree branch with blossoms, also from Wang Yaoqing, with the title 'Ink Prunus (墨梅),' at Xiling Yinshe Auction in Chinese Painting and Calligraphy on 25 June 2016, lot 992, sold for RMB 140,000 (ca. EUR 19,400). 王瑤卿 (1881-1954) 《秋山色》與《梅竹圖》 中國，二十世紀上半葉。紙本設色。分別爲《秋山色》七言小律與《梅竹圖》。 款識: 七言小律一面為“佑廷先生正”；《梅竹圖》一面為“佑廷先生正之”及“王瑤卿”；朱印“瑤卿”。 王瑤卿，清末民國京劇旦角演員、戲曲教育家。 來源：Jan Wirgin (1932-2020) 教授收藏。Jan Wirgin先生曾在斯德哥爾摩大學學習古典漢語和藝術史。之後，他進入斯德哥爾摩東方博物館，先是擔任策展人，然後在 1981 年至 1998 年間擔任博物館館長。此外，他在擔任東方博物館公報的編輯期間，發表了大量文章。其中，最著名的是《中國藝術史》（1972）一書，至今仍是瑞典中國藝術史學生最重要的書籍之一。 品相：書法面邊緣處有一些輕微缺損和撕裂，有水跡和修補。繪畫面有些磨損，材料輕微缺損，右側有撕裂。 尺寸：分別爲46 x 20 厘米 與 46 x 20.3 厘米，總 63.5 x 65 厘米 紙本裝裱，有保護層。 拍賣結果：比較一張王瑤卿的《墨梅》，見西泠印社 Chinese Painting and Calligraphy 2016年6月25日 lot 992, 售價RMB 140,000。

A LONQUAN CELADON-GLAZED RETICULATED TRIPOD CENSER, LATE MING TO EARLY QING DYNASTYChina, 17th-18th century. Of cylindrical form, supported on three short feet, the sides with an intricate design of pierced foliate scroll and three evenly spaced flowerheads aligned with the feet. Covered in a rich sea-green glaze thinning at the edges and pooling in the recesses. The well, base, and feet mostly left unglazed, the ivory-white ware burnt to orange along the edges of the glaze.Provenance: The Parry Collection of Chinese Art, London, and thence by descent. The Parry Collection was an important English private collection of Imperial enamel, lacquer, porcelain, and jades, started by Edward Arthur Parry (1879-1946), a barrister by trade, and his wife Angela Parry (nee Scully, 1879-1977) from as early as 1919. Six objects in the Collection were showcased at the International Exhibition of Chinese Art, for which only the world's finest pieces were chosen. The collection has passed down three generations of the Parry family, with many of the pieces having been acquired from the famous London dealers Spink and Bluett's.Condition: Excellent condition with minor old wear, shallow surface scratches, and firing flaws, such as glaze recesses, kiln grit, and firing cracks.Weight: 352.5 gDimensions: Diameter 10.7 cmAuction result comparison: Compare a related Longquan celadon warming bowl, with similar reticulated floral decoration and sea-green glaze, 21.3 cm diameter, dated to the Ming dynasty, at Christie's New York in Fine Chinese Ceramics and Works of Art on 17 March 2017, lot 1171, sold for USD 6,250.明末清初龍泉青釉鏤空筒式三足爐 中國，十七至十八世紀。爐口沿較寬，直壁，足下承三個雲頭形足。器身鏤空雕刻纏枝花卉紋。通體施梅子青釉。爐内底、外底和三足露胎。 來源：倫敦Parry 中國藝術收藏，自此保存至今。Parry收藏是英國重要的御製琺瑯器、漆器、瓷器和玉器私人收藏。1919年，貿易法大律師Edward Arthur Parry（1879-1946) 和他的妻子Angela Parry（原姓 Scully，1879-1977) 開創了這個收藏。該收藏中的六件作品在國際中國藝術展覽會上展出，這個展覽會只選擇了世界上最好的藝術品。該收藏已經在Parry家族傳承了三代人，其中許多藏品都是從著名的倫敦經銷商 Spink & Bluett's 那裡購得。 品相：狀況極佳，有輕微的舊時磨損、表面淺劃痕和燒製瑕疵，如釉面凹陷、窯砂和燒製裂紋。 重量：352.5 克 尺寸：直徑 10.7 厘米 拍賣結果比較：比較一件相近的明代龍泉青瓷花卉紋孔明碗（直徑21.3 厘米），見紐約佳士得Fine Chinese Ceramics and Works of Art 2017年3月17日 lot 1171, 售價USD 6,250。

A LONGQUAN CELADON TRIPOD CENSER, SOUTHERN SONG DYNASTYChina, 1127-1279. The compressed globular body molded with a raised rib at the shoulder connecting to three raised flanges running vertically from the shoulder to each conical foot. The straight neck supporting a flattened everted mouth rim, covered overall with a rich bluish sea-green glaze, thinning slightly over the rim and raised decoration and pooling at the recesses.Provenance: Old French private collection and thence by descent within the same family to the present owner.Condition: Excellent condition with minor wear and firing irregularities, such as dark spots and few pits. General shallow surface scratches.Weight: 320.3 gDimensions: Diameter 10.5 cm, Height 8.2 cmThis shape, inspired by ancient bronze li, was produced during the Southern Song through the Yuan period for the domestic as well as the export market. The thick, translucent glaze is typical of this type of Southern Song Longquan ware, as is the lack of any decoration other than the flanges.Literature comparison: Several Longquan celadon censers of the same shape are published, including several in renowned museum collections. Examples in the Tokyo National Museum and Percival David Foundation, London, are published in Oriental Ceramics, The World's Great Collections, Tokyo, 1982, vol. 1, no. 97, and vol. 6, no. 37, respectively. Others include the example by J. Ayers, The Baur Collection: Chinese Ceramics, vol. I, Geneva, 1972, no. A99; and the National Palace Museum, Taiwan, included in the Illustrated Catalogue of Sung Dynasty Porcelain, Taipei, 1974, no. 12. A larger example (19.7 cm. diam.), found in 1991 in Jinyu village of Nanqiong, Suining city, Sichuan province, is illustrated in Longquan Celadon: The Sichuan Museum Collection, Macau, 1998, pp. 210-11, no. 83.Auction result comparison: Compare a closely related but larger (15 cm diameter) Longquan tripod censer, also dated to the Southern Song dynasty, at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 29 November 2017, lot 2992, sold for HKD 1,000,000, and another of slightly smaller size (12.9 cm) at Sotheby's London in Fine Chinese Ceramics & Works of Art on 6 November 2013, lot 231, sold for GBP 116,500. 南宋龍泉三足爐 中國，1127-1279年。 爐呈鬲形，下承三乳足，上飾凸棱，隱露胎色，形成出筋效果。爐身施海綠色釉，玲瓏端秀。來源：法國私人老收藏，同一家族保存至今直至現任藏家。 品相：狀況極佳，有輕微磨損和燒製不規則現象，例如黑點和少量凹坑。 表面淺划痕。 重量：320.3 克 尺寸：直徑10.5 厘米, 高8.2 厘米 拍賣結果比較：一件相近的但稍大 (直徑15 厘米) 的龍泉三足爐，同樣為南宋，于香港佳士得Important Chinese Ceramics and Works of Art 2017年11月29日 lot 2992, 售價HKD 1,000,000, 另一件 (12.9 厘米) 于倫敦蘇富比 Fine Chinese Ceramics & Works of Art 2013年11月6日 lot 231, 售價GBP 116,500。

A YELLOW AND RUSSET JADE FIGURE OF A CHICKEN, EARLY QING DYNASTYChina, 17th-18th century. The perched bird with neatly incised wings, plumage, tail feathers, comb, and wattle, carrying a lingzhi sprig in its gently curved beak. The translucent stone of an even yellow tone with russet shadings and veins as well as cloudy white inclusions.Provenance: From an old British private collection. Condition: Excellent condition with minor wear and few minuscule nicks.Weight: 75.7 g Dimensions: Length 6 cmAuction result comparison: Compare a closely related yellow and russet jade lion, also dated to the early Qing dynasty and of a very similar even yellow tone, at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 30 May 2018, lot 3137, sold for HKD 300,000. Compare also a related yellow jade mythical beast, dated 18th-19th century, at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 30 May 2012, lot 4297, sold for HKD 980,000. 清初黃玉帶皮巧雕母鷄中國，十七至十八世紀。玉雕母鷄的翅膀及其羽毛、尾羽等雕刻精細，微微彎曲的喙中叼著一根靈芝。整體顔色均勻，半透明玉料，帶有赤褐色陰影和内沁以及白色絮狀物。 來源：英國私人收藏。 品相：狀況極佳，輕微磨損和磕損。 重量：75.7 克 尺寸：長 6 厘米 拍賣結果比較：一件清初黃玉帶皮玉獅，見香港佳士得Important Chinese Ceramics and Works of Art 2018年5月30日 lot 3137, 售價HKD 300,000。 一件十八至十九世紀黃玉神獸，見香港佳士得 Important Chinese Ceramics and Works of Art 2012年5月30日 lot 4297, 售價HKD 980,000。

A TWO-PIECE MINIATURE BRONZE STEAMER, XIAN, EASTERN HAN TO THREE KINGDOMS PERIODChina, 26-265 AD or slightly later. The bowl with deep rounded sides rising from a separately cast short spreading foot to an everted rim. The cover with a raised central panel surmounted by a separately cast flared 'rim', indicating its use as both a cover for the steamer and as a serving or cooking plate. (2)Provenance: Arthur M. Sackler, New York. Arthur Mitchell Sackler (1913-1987) was one of America's foremost art collectors, who amassed the largest Chinese art collection in the world. His name lives on in many art-related projects: the Sackler Wing that houses the Temple of Dendur at the Metropolitan Museum of Art, the Arthur M. Sackler Gallery at Princeton University, and the Arthur M. Sackler Museum at Harvard University. At the Smithsonian Institute, the Arthur M. Sackler Gallery is a museum for Asian and Near Eastern Art. In China, the Arthur M. Sackler Museum of Art and Archaeology teaches museology to students in Beijing. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, small losses to the foot of the bowl. Fine, naturally grown patina, with extensive malachite and few azurite encrustations.Weight: 379.2 g (the bowl) and 320.4 g (the cover)Dimensions: Height 11.5 cm (the bowl and cover), Diameter 17.5 cm (the cover)Literature comparison: Compare a closely related two-piece miniature steamer from the Avery Brundage Collection, also dated Eastern Han dynasty to Three Kingdoms period and of closely related size, in the collection of the Asian Art Museum of San Francisco, object number B65B48.a-.b. 東漢至三國時代小銅甗 中國，26-265 年或更早。深壁圓碗，口外翻。一個獨立的圓盤，既可以用作蒸籠的蓋子，也可以用作盤子。 來源：紐約Arthur M. Sackler收藏。Arthur Mitchell Sackler (1913-1987) 曾是美國最重要的藝術收藏家之一，擁有世界上最大的中國藝術收藏。他的名字曾出現在眾多與藝術相關的項目中：美國大都會藝術博物館Dendur神廟所在的Sackler展館、普林斯頓大學的Arthur Mitchell Sackler展館和哈佛大學的Arthur Mitchell Sackler博物館。 在史密森學會，Arthur Mitchell Sackler展館是亞洲和近東藝術博物館。 在中國北京，學生們在Arthur Mitchell Sackler藝術與考古博物館學習博物館學。品相：品相良好，與其年齡相符，大面積磨損，風化和侵蝕跡象，碗底小缺損。細膩且自然生長的包漿，帶有大量孔雀石綠色的結殼。 重量：379.2 克 (碗)，320.4 克 (蓋) 尺寸：縂高11.5 厘米，蓋直徑17.5 厘米

'BIRD AND BAMBOO', BY ZHAO SHAO'ANG (1905-1998)China. Ink and watercolors on paper. Finely painted with a long-tailed, blue-crested bird with its beak wide open, perched on a thin bamboo stalk amid leaves and further stalks of varying thickness. Executed in bold and vivid brushstrokes with expressive splashes of warm colors. With a silk brocade frame.Inscriptions: Lower left, inscribed and signed 'Shao'ang', two seals of the artist. Dated to the Yimao year (corresponding to 1975).Provenance: From a noted private collection. Condition: Very good condition with minor wear, minimal soiling, and very little creasing to edges.Dimensions: Image size 92 x 51 cm, Size incl. frame 119 x 67 cmZhao Shao'ang (1905-1998) is considered one of the Four Great Masters of the Lingnan School. In the late 19th century, scholars in China broke through entrenched conservative thought schools and began to create and promote new styles of art. This not only cultivated ideological progress within social elites but also gave birth to the eclectic fusion of the Han Chinese and Western styles, as advocated by the Lingnan School, which today is considered – along with the Beijing and Shanghai schools – as one of the three pillars of modern Chinese painting.Auction result comparison: Compare a related painting by Zhao Shao'Ang with a kingfisher at a lotus pond, dated 1969, at Sotheby's Hong Kong in Fine Chinese Paintings on 3 October 2016, lot 1234, sold for HKD 750,000.趙少昂（1905-1998）《竹鳥圖》中國。紙本設色。一隻長尾藍冠鳥，棲息於細竹上，張開小嘴，似乎在唱歌。筆觸生動，極富表現力。絲綢錦框。 款識：乙卯春三月，少昂於蟬焉室 來源：知名私人收藏。 品相：狀況極好，輕微磨損，少量汙漬，邊緣輕微摺痕。 尺寸：畫面92 x 51 厘米，總119 x 67 厘米 拍賣結果比較：比較趙少昂1969年的《翠鳥圖》，見香港蘇富比Fine Chinese Paintings on 3 October 2016, lot 1234, 售價HKD 750,000。

A WUCAI 'IMMORTALS' DISH, WANLI MARK AND PERIODChina, 1573-1619. Delicately potted with shallow rounded sides rising from a tapered foot to a flared rim, intricately painted to the interior with a central medallion enclosing Shoulao and two other immortals standing beside gnarled pine trees in a garden landscape with colorful clouds, the cavetto with a foliate meander bearing lingzhi heads supporting stylized Shou characters, painted to the exterior with eight floral sprays between a band of swirls and a double-line border. The recessed base with an underglaze-blue six-character mark da Ming Wanli nianzhi within a double circle and of the period.Provenance: From an important private collection in southern Germany, assembled between 1950 and 1987. Thence by descent.Condition: Very good condition with minor wear and firing flaws, including dark spots and pitting, two tiny chips to the rim with old kintsugi repair.Weight: 131.7 gDimensions: Diameter 14.2 cmExpert's note: This finely enameled piece belongs to a distinct group of porcelain dishes painted in either underglaze blue or wucai enamels with Daoist immortals and a scroll of lingzhi supporting Shou characters on the rim.Literature comparison: Compare a closely related bowl illustrated in Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, vol. 38, Hong Kong, 1999, no. 43.Auction result comparison: Compare a closely related wucai dish, 12.3 cm diameter, also with a Wanli mark and of the period and depicting Shoulao, at Sotheby's Hong Kong in The Pilkington Collection of Chinese Art on 5 April 2016, lot 47, sold for HKD 1,125,000. Compare a related wucai bowl, 17 cm diameter, also with a Wanli mark and of the period and depicting Shoulao, at Christie's Hong Kong in The Pavilion Sale on 4 October 2018, lot 44, sold for HKD 1,125,000. 萬曆款與年代五彩開光仙人福壽盤中國，1573-1619年。侈口，圓腹淺盤，圈足。盤内紋飾精美，中央開光可見壽老和另外兩個神仙在五彩祥雲的圍繞中，旁邊可見松樹、靈芝與瑞獸。盤沿上壽字紋、雲紋以及花卉紋。圈足内青色雙圈六字“大明萬曆年製”。 來源：一個重要的南德私人收藏，購於1950年至1987年，保存至今。 品相：狀況極好，有輕微磨損和燒製瑕疵，包括黑點和點蝕，邊沿上有兩個小磕損，經過金繼技術修復。 重量：131.7 克 尺寸：直徑 14.2 厘米 專家注釋：這件仙人福壽盤，製作精美，青花五彩琺琅釉繪製仙人、靈芝、卷葉紋以及壽字。文獻比較：比較一件相近的碗，見Porcelains in Polychrome and Contrasting Colors, The Complete Collection of Treasures of the Palace Museum, 第38冊，香港，1999年，圖 43。 拍賣結果比較：比較一件相近的五彩盤，直徑12.3 厘米，同樣有萬曆款和壽老紋飾，見香港蘇富比The Pilkington Collection of Chinese Art 2016年4月5日 lot 47, 售價HKD 1,125,000； 比較一件相近五彩碗，直徑17厘米，同樣有萬曆款與年代以及壽老紋飾，見香港佳士得The Pavilion Sale 2018年10月4日 lot 44, 售價HKD 1,125,000。

A PAIR OF REVERSE-DECORATED CORAL-GROUND 'PEONY AND LOTUS' BOWLS, QIANLONG SEAL MARKS AND OF THE PERIODChina, 1736-1795. Each delicately and thinly potted, with deep rounded and translucent sides rising from a short, slightly spreading foot to an everted rim. Delicately reverse-decorated in a rich iron-red enamel with a row of peony heads, alternating with smaller lotus above a row of lotus blossoms, all borne on interlocked foliate scrolls reserved in white against the opaque coral ground, the interior left undecorated. The recessed white bases with underglaze-blue six-character seal marks da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in New York, USA.Condition: Superb condition with only minor old wear and minimal firing flaws, such as dark spots and minuscule irregularities in the red enamel along the foot. The glaze with a magnificent, unctuous feel overall. In such pristine condition, the present bowls must be considered exceedingly rare.Weight: 139.2 g and 139.5 gDimensions: Diameter 12.9 cm and 13 cmThis exquisite pair of bowls is notable for the meticulously executed floral scroll, which creates a sharp and pleasing contrast against the iron-red ground. While iron red was already used to decorate Cizhou wares in the Jin dynasty (1115-1234), and was adopted at Jingdezhen during the Yuan dynasty, it was only in the 18th century, when all enamels were scrutinized as to their unique properties, that its decorative potential was fully realized. Iron red, which adheres in a thin, opaque layer, allows for razor-sharp lines, which could not be achieved with other enamels that are thicker and glassier. This property makes 'negative' reverse designs most successful, giving them a delicacy which can only rarely be seen on 'positive' paintings above a white ground. The reverse effect, combined with the unique translucency of the pottery, creates a stunning appearance once sunbeams shine through the bowls.Porcelain wares decorated with 'negative' reverse designs on an iron-red ground are the product of the creative genius of Tang Ying (1682-1756), Superintendent of the Imperial kilns during the Yongzheng and early Qianlong periods. A bondservant of the Plain White Banner, who had served at the court from the age of 16, Tang is credited with the introduction of novel techniques and designs at the kilns. Luxuriant floral scrolls against an iron-red ground first appeared on Yongzheng mark and period boxes, but with additional butterflies, such as one in the Palace Museum, Beijing, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, plate 70, and another from the Sir Percival David collection and now in the British Museum, London, published in Margaret Medley, Illustrated Catalogue of Ming Polychrome Wares, London, 1978, plate 163. During the Qianlong period, this reverse-decorated floral design was modified to be used on the outside of bowls, yet without butterflies.Fitted box. (2)Literature comparison: A related bowl with Qianlong mark, in the Percival David Foundation, is illustrated in Oriental Ceramics, The World's Great Collections, vol. 6, Tokyo, 1982, pl. 94. Three related bowls, also with Qianlong marks, in the Ohlmer Collection, Roemer Museum, Hildesheim, are illustrated by U. Wiesner, Chinesisches Porzellan, Mainz am Rhein, 1981, no. 130-2. See S. Marchant and Son, Nineteenth Century Mark and Period Porcelain, London, 7-28 June, 1992, no. 28, for a pair of Qianlong mark and period bowls of identical decoration and size.Auction result comparison: Compare a pair of near-identical bowls (12.8 cm diameter), also with Qianlong seal marks and of the period, of identical form and decoration, at Sotheby's Hong Kong in Marchant – Fifty Qing Imperial Porcelains on 10 July 2020, lot 3131, sold for HKD 1,750,000 (for a pair). Compare a near-identical bowl (12.7 cm diameter), also with Qianlong seal mark and of the period, of identical form and decoration, at Christie's New York in Marchant: Nine Decades in Chinese Art on 14 September 2017, lot 747, sold for USD 93,750. Compare a near-identical bowl (12.7 cm diameter), also with Qianlong seal mark and of the period, of identical form and decoration, at Christie's New York in Fine Chinese Ceramics & Works of Art Part I on 18 March 2016, lot 1625, sold for USD 81,250.乾隆款及年代一對珊瑚紅彩留白纏枝花卉圖碗中國，1736-1795年。撇口、深腹、圈足。內壁光素施白釉，外壁珊瑚紅地留白裝飾，纏枝花卉佈局繁密，花紋留白處以珊瑚紅線條勾勒花莖，描繪細緻，格調秀雅。圈足内青花六字款“大清乾隆年製”。 來源：美國紐約私人收藏。 品相：狀況極佳，只有輕微的磨損和燒製瑕疵，例如黑斑和足部紅色琺瑯中的微小不規則性。釉面整體具有華麗晶瑩。如此品相，極爲珍貴。 重量：分別為139.2 克與139.5 克 尺寸：直徑分別爲 12.9 厘米 與13 厘米這對碗釉色精美，珊瑚紅在金代（1115-1234）已被用於磁州窯器，元代景德鎮也採用了珊瑚紅紅，但直到十八世紀，單色釉的獨特性才被重視並得到充分發展。珊瑚紅在釉上可以產生獨特的效果，在陽光的照耀下，會產生令人驚嘆的效果。 此種珊瑚紅地留白技法始創於清雍正時期，是督陶官唐英（1682-1756）為皇室燒製的專用器。先在白釉上以紅彩勾繪紋飾輪廓，在輪廓外滿填紅彩，形成紅白相應的色彩構圖，是清代獨特的瓷藝品種。此種紋樣創燒自雍正御窯，較之常見的官窯品種更為稀少，彌足珍貴。相應館藏作品請參考北京故宮博物院藏清雍正紅彩地白花蝶蓋盒（參見《故宮珍藏康雍幹瓷器圖錄》，紫禁城出版社、兩木出版社，1989年，頁241，圖70）。另可見倫敦大英博物館Sir Percival David 收藏，見 Margaret Medley, Ming Polychrome Wares, 倫敦1978年，圖163。到了乾隆年代，此紋飾用於碗外壁，並且沒有了蝴蝶。 配套的盒子。(2) 文獻比較：一件相近的同樣有乾隆款的碗，收藏於Percival David Foundation基金會，見Oriental Ceramics, The World's Great Collections, 第6冊，東京 1982年，圖 94。另外三件有乾隆款的碗，收藏於德國 Hildesheim Roemer Museum美術館Ohlmer Collection收藏，見U. Wiesner, Chinesisches Porzellan, Mainz am Rhein, 1981年，圖130-2。見S. Marchant and Son, Nineteenth Century Mark and Period Porcelain, 倫敦，1992年6月7-28日，圖 28, 一對乾隆款及年代的碗，相同紋飾與尺寸。 拍賣結果比較：比較一對幾乎一模一樣的碗 (直徑12.8 厘米)，乾隆款及年代，相同形狀與紋飾，見香港蘇富比Marchant – Fifty Qing Imperial Porcelains 2020年7月10日 lot 3131, 售價HKD 1,750,000 (一對)；比較一件幾乎一模一樣的碗(直徑12.7 厘米)，乾隆款及年代，相同形狀與紋飾，見紐約佳士得Marchant: Nine Decades in Chinese Art 2017年9月14日 lot 747, 售價USD 93,750；比較一件幾乎一樣的碗 (直徑12.7 厘米)，乾隆款及年代，相同形狀與紋飾，見紐約佳士得Fine Chinese Ceramics & Works of Art Part I 2016年3月18日 lot 1625, 售價USD 81,250。

A BLUE AND WHITE 'EIGHT HORSES OF MU WANG' BOWL, KANGXI PERIODChina, 1662-1722. Thinly potted with deep conical sides rising from a tapered foot to an everted iron-washed rim. Finely painted in cobalt blue with the Eight Horses of Muwang frolicking or grazing amid a rocky landscape with pine, willow, and prunus, with seven horses around the exterior and the eighth enclosed within a double circle at the center of the interior. The base with a six-character mark da Ming Jiajing nianzhi within a double circle.Provenance: Butterfield & Butterfield, San Francisco, USA, Fine Asian Works of Art, 19 May 1995, lot 590. A private collector in California, acquired from the above.Condition: Excellent condition with only minor wear and firing flaws.Weight: 286.3 gDimensions: Diameter 16.7 cmWith a silk storage box. (2) The charming scene represents the Eight Horses of King Mu Wang, who reigned during the Zhou dynasty in the 10th Century BC, and these Eight Horses were his favorite chargers which pulled the Emperor's chariot as he progressed about his realm to visit the Goddess Hsi Wang Mu.The present lot belongs to a small yet well recorded group of blue and white bowls, all painted with the eight horses of Mu Wang, and bearing six-character marks da Ming Jiajing nianzhi within a double circle. Note that it has most recently been suggested by some scholars that these bowls might rather date to the Jiajing period (1521-1567) instead of the Kangxi period (1662-1722).Literature comparison: For a pair of dishes with similar iron-painted rims and Jiajing marks, dated to the early Qing dynasty, see Yeo and Martin, Chinese Blue & White Ceramics, Arts Orientalis, Singapore, 1978, p. 248 and pl. 160, nos. 296 and 297. Another bowl of similar form, horse decoration, and Jiajing mark, dated to the later Transitional period is published in Richard Kilburn, Transitional Wares and Their Forerunners, Oriental Ceramic Society of Hong Kong, 1981, p. 148, no. 97. 康熙 “穆王八駿”青花碗 中國，1662-1722年。此碗敞口外撇，碗沿鐵鏽色，斜弧腹，圈足。外壁青花繪八駿圖，駿馬形態各異，畫法精細，青花層次鮮明，濃淡相宜。碗心青花繪滾地馬，給人以疏朗清閒的感覺，情趣鮮明。圈足内雙圈六字款“大明嘉靖年製”。 來源：美國舊金山Butterfield & Butterfield藝廊，1995年5月19日Fine Asian Works of Art， lot 590。一位加利福尼亞私人藏家購於上述拍賣。 品相：狀況極佳，只有輕微的磨損和燒製瑕疵。 重量：286.3 克 尺寸：直徑16.7 厘米 錦盒。(2) 八駿之說始於公元前十世紀的周穆王時期。傳穆王以此八駿駕車，可日行萬里，使之馭以見西王母。現拍品屬少卻有記錄的一組青花碗中的一只，均繪穆王八匹馬，雙圈內“大明嘉靖年製”六字。 請注意，近期有一些學者認爲這些碗可能是來自嘉靖時期（1521-1567）而不是康熙時期（1662-1722）。 文獻比較：一對相似的汎紅色口沿並同有嘉靖款的清代早期的盤子，見 Yeo and Martin, Chinese Blue & White Ceramics, Arts Orientalis, Singapore, 1978, 第248頁圖160, nos. 296 and 297；另一只相近形狀的駿馬圖碗，嘉靖款，過渡期後期，曾出版於Richard Kilburn, Transitional Wares and Their Forerunners, Oriental Ceramic Society of Hong Kong, 1981, 第 148頁, no. 97。

A RED LACQUER 'LANDSCAPE' BOX AND COVER, YUAN TO MING DYNASTYChina, 14th-16th century. Of circular form with slightly rounded sides, the cover carved in high relief with two figures inside large buildings amid towering trees and rockwork, a third figure walking towards the buildings along a bridge below a small hut on a promontory, all against wave and diaper grounds to convey the water and sky. The sides of the box and cover each with a T-pattern band. The base and interiors lacquered black.Provenance: The Mee-Din and Robert W. Moore Collection. Robert W. Moore is a famed California collector of Chinese and Korean art, whose passion began in the 1950s when he served in the US Army and was stationed in Korea. After his return to the United States, he began collecting Korean and later also Chinese works of art, and over the following decades became a knowledgeable, discerning, and influential collector.Condition: Overall good condition with old wear, age cracks, few small nicks and light scratches, minor losses here and there.Weight: 174.5 gDimensions: Diameter 8.3 cmWith a wood storage box, the cover with a Japanese inscription. (2)Expert's note: Recent research into the dating of carved lacquer has put forward the suggestion that boxes of this type with double key-fret decoration on the rim and landscape scenes with relatively large figures or rock formations on the cover can be dated as early as the Yuan dynasty (1279-1368). The strongest argument in favor of this early dating is the relatively recent discovery of a similar, somewhat larger box in a group of tombs near Shanghai that belonged to the Ren family, of which the latest was datable to 1351 and the earliest to 1338.Literature comparison: Compare a related box and cover, dated Yuan to early Ming dynasty and with a similar double key-fret border, illustrated by Ben Janssens, The Scholar's Desk, 6-19 November 2011, London, p. 30-31, no. 14 (price on request according to pricelist). For a related box and cover, See James C.Y. Watt and Barbara Brennan Ford, East Asian Lacquer, The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York, 1991, p. 107, no. 42. Another related box and cover, carved with key-fret bands to the sides, dated to the late Ming dynasty, is illustrated in Gugong Bowuyuan Cang Wenwu Zhenpin Quanji 45: Yuan Ming Qiqi (The Complete Collection of the Treasures of the Palace Museum 45: Lacquer Wares of the Yuan and Ming Dynasties), p. 243, no. 191.Auction result comparison: Compare a red lacquer box and cover, of closely related form and with similar bands to the sides, dated to the Ming dynasty, 15th-16th century, at Christie's New York in Important Chinese Ceramics and Works of Art on 13 September 2019, lot 919, sold for USD 43,750. 元明時期剔紅《亭臺人物》蓋盒中國，十四至十六世紀。圓盒，蓋子上錦地高浮雕山林之間、水波之上的亭臺人物場景，其中第三個人物正在過橋。盒子側面飾有回紋。底部和內部漆成黑色。 來源：Mee-Din 與Robert W. Moore 收藏。Robert W. Moore是加州著名的中國和韓國藝術收藏家，他的收藏熱情始於 1950 年代。當時他在美國軍隊服役並駐紮在韓國。回到美國後，他開始收藏韓國和中國的藝術品，在之後幾十年裡，他成為了一位知識淵博、眼光敏銳、影響深遠的收藏家。 品相：整體狀況良好，有舊磨損、老化裂縫、少量小劃痕，局部有輕微缺損。重量：174.5 克 尺寸：直徑8.3 釐米木盒，上有日文注釋。(2) 專家注釋：根據近年對雕漆年代的研究，此類盒沿上的格紋，以及封蓋上人物或岩層較大的山水圖，最早可追溯到元代（1279-1368）。支持這種早期年代測定的最有力論據是最近在上海附近的元代任氏家族墓葬中發現了一個類似的、稍大的盒子，其中最晚的可追溯到 1351 年，最早可追溯到 1338 年。 拍賣結果比較：比較一件十五至十六世紀明代剔紅蓋盒，相似紋飾，見紐約佳士得Important Chinese Ceramics and Works of Art 2019年9月13日 lot 919, 售價USD 43,750。

A MONUMENTAL BLUE AND WHITE 'LANDSCAPE' CHARGER, KANGXI PERIODChina, 1662-1722. Massively potted with shallow rounded sides rising from a short tapered foot to a broad everted rim. Superbly painted in rich tones of intense cobalt-blue with a vast mountainous lakeside landscape with towering trees, houses and pavilions, a pagoda, fishermen, and other figures, all enclosed by a double line border, the rim similarly painted within a continuous band enclosed by a further double line border. The recessed base left unglazed. Provenance: US trade, by repute acquired from a New York private collection.Condition: Superb condition with minor wear and firing irregularities, including some kiln grit and a small firing crack to the rim, remnants of old varnish around the foot. A charger of such large size in this pristine condition must be considered exceedingly rare.Weight: 8.6 kgDimensions: Diameter 55.3 cmAuction result comparison: Compare a blue and white fish basin, 60.5 cm diameter, similarly painted with a monumental lakeside landscape, at Christie's Hong Kong, in Important Chinese Ceramics and Works of Art, on 28 November 2012, lot 2236, sold for HKD 1,100,000.康熙時期青花開光山水盤中國，1662-1722年。折沿，厚胎，質堅密，青花髮色深沉，盤中圓型開光繪製山水樓閣，林間小屋與人物，水上小舟及漁夫。筆觸準確，描繪細膩。底部露胎。 來源：美國古玩市場，據説購於紐約私人收藏。 品相：狀況極佳，有輕微磨損和燒製瑕疵，包括一些窯砂和邊緣的缺損，足部周圍有舊清漆殘留物。在這種原始狀態下，如此大尺寸的青花盤極爲罕見。 重量：8.6 公斤 尺寸：直徑55.3 厘米 拍賣結果比較: 比較一件青花魚盤，直徑 60.5 厘米，描繪湖邊山水景觀，見香港佳士得Important Chinese Ceramics and Works of Art 2012年11月28日 lot 2236, 售價HKD 1,100,000。

A BRONZE SHALLOW TRIPOD VESSEL, DING, EARLY SPRING AND AUTUMN PERIODChina, late 8th to early 7th century BC. The rounded bowl supported on three cabriole legs, two upright loop handles rising from the everted rim above. The exterior of the body cast with two bands of dense and sharp archaic scroll.Provenance: From a noted private collection in New York City, USA, and thence by descent within the same family.Condition: Excellent condition, commensurate with age. Extensive wear, casting flaws, visible parting lines, few minuscule nicks and dents, minor losses. With a fine, naturally grown patina and extensive malachite encrustation.Weight: 1,465 gDimensions: Width 19.3 cm (at the widest points)Literature comparison: A closely related ding is illustrated by Jenny So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, 1995, pp. 102-3, no. 6, where it is dated Eastern Zhou, early Spring and Autumn period, late 8th-early 7th century BC. Compare a ding, of closely related shallow form and with similar tight interlace, also dated 8th-7th century BC, in the collection of the British Museum, museum number 1982,0621.1.Auction result comparison: Compare a related ding, also dated early Spring and Autumn period, at Christie's New York in Fine Chinese Ceramics and Works of Art on 23 March 2012, lot 1531, sold for USD 30,000, and another at Sotheby's New York in Important Chinese Art on 12 September 2018, lot 190, sold for USD 20,000. A near-identical bronze ding, from the same provenance as the present lot, was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 16 October 2021, lot 329, for EUR 8,848.春秋初年青銅三足鼎 中國，公元前八至七世紀。此鼎球形深腹，雙立耳，下承三蹄足，穩重有力，造型渾厚；其整體紋飾粗獷，腹部飾竊曲紋。 來源：美國紐約知名私人收藏，一直保存在同一家族。 品相：狀況極佳，與年齡相符。 廣泛磨損、鑄造瑕疵、可見的分型線，有微小的刻痕和凹痕，輕微的缺損。細膩的自然生長的包漿和孔雀石綠結殼。 重量：1,465 克 尺寸：寬19.3 厘米 (最寬處) 拍賣結果：比較一件相近的同樣為春秋初期的鼎，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2012年3月23日 lot 1531, 售價USD 30,000；另一件見紐約蘇富比 Important Chinese Art 2018年9月12日lot 190, 售價USD 20,000。一件幾乎一模一樣的青銅鼎，來自同一收藏，2021年10月16日在本藝廊 Fine Chinese Art, Buddhism and Hinduism 拍賣，lot 329, 售價 EUR 8,848。

A BRONZE TRIPOD CENSER, SONG YUE LUE MARK, 17TH-18TH CENTURYChina. The censer has a compressed body raised on three conical supports, and a pair of 'bridge'-shaped handles that rise in a graceful curve from the rim. The base crisply cast with a recessed square panel enclosing a three-character mark.Inscriptions: To base, 'Song Yue Lue' (Companion of Pine and Moon).Provenance: Christie's South Kensington, 10 September 1987 (according to collector's notes). Collection of John Burke da Silva, acquired from the above and thence by descent within the same family. A handwritten note by the collector, describing the present lot and recording its purchase from Christie's, accompanies this lot. John Burke da Silva CMG (1918-2003) joined the Foreign Office after the war. The job took him to many parts of the world. His love of Chinese porcelain stemmed from a posting to the Embassy in Rome in 1954, where he happened to stay in a rented flat that housed a large collection of Chinese and Japanese works of art. He studied the subject learning from books and visiting museums, eventually joining the Oriental Ceramics Society in 1960, and serving on their Council and as Honorary Treasurer until 1994.Condition: Very good condition with old wear and some casting flaws, few small nicks and dents, occasional light scratches. Fine, naturally grown patina with areas of dark and malachite encrustation.Weight: 1,177 gDimensions: Diameter 13.7 cm (at the widest points)Auction result comparison: Compare a related bronze censer, 23.5 cm wide, with the same mark and also dated 17th-18th century, at Bonhams London in Fine Chinese Art on 8 November 2018, lot 267, sold for GBP 13,750. Compare a closely related bronze censer, 23.2 cm wide, but with an apocryphal Xuande mark and dated to the 18th century, of near-identical form, at Christie's New York in Fine Chinese Ceramics and Works of Art on 22 March 2013, lot 1284, sold for USD 13,750.十七至十八世紀“松月侶“款青銅橋耳三足爐中國。橋耳流暢，乳足圓碩，爐身豐滿，比例協調，線條爽朗。底鑄”松月侶“ 三字篆書款。. 來源：南肯辛頓佳士得，1987年9月10日 (根據藏家備註)。John Burke da Silva收藏，購於上述收藏并保存在同一家族至今。隨附藏家來源備註。John Burke da Silva CMG (1918-2003) 戰後加入外交部，從而可以環游世界。 他對中國瓷器的熱愛源於 1954 年在羅馬大使館任職時期，當時他碰巧住在一間租來的公寓裡，樓裡面收藏了大量中國和日本的藝術品。他通過書本學習並參觀博物館，最終於 1960 年加入東方陶瓷學會，在其理事會任職並擔任名譽司庫直至 1994 年。 品相：狀況極好，有舊磨損和一些鑄造瑕疵，少量小劃痕和凹痕，局部有輕微劃痕。自然生長的細膩的包漿，帶有深色和孔雀石綠結殼。 重量：1,177 克 尺寸：直徑13.7 厘米 (最寬處) 拍賣結果比較: 比較一件相近的青銅爐，寬 23.5厘米，同一款識，十七至十八世紀，見倫敦邦翰思 Fine Chinese Art 2018年11月8日 lot 267, 售價GBP 13,750 ；比較一件相近的青銅爐，寬 23.2厘米，但有宣德款，十八世紀，相似外形，見紐約佳士得Fine Chinese Ceramics and Works of Art 2013年3月 22日 lot 1284, 售價USD 13,750。

A PAINTED WOOD AND GESSO FIGURE OF A LUOHAN, MING DYNASTYChina, 1368-1644. Powerfully carved, seated in a calm posture atop a rockwork base, his right hand clenched into a fist at the chest and the left resting on his knee, wearing loose-fitting robes draped over his left shoulder, revealing his emaciated ribcage, and decorated with raised floral designs in gesso. The serene face with heavy-lidded eyes, deep wrinkles, the mouth slightly open.Provenance: Theodor Bohlken, Berlin, 1931. Georg L. Hartl, Bernried. A private collection in Salzburg, acquired from the above. Theodor Bohlken (1851-1954) was a noted dealer of Chinese works of art during the first half of the 20th century. While he sold tea on the ground level of his large store, the three floors above displayed Buddhist sculpture ranging from the Wei to the Ming dynasty, Chinese ceramics from the Han to the late Qing period, and Japanese works of art. The clientele consisted of mostly private collectors who visited Berlin on business. Objects with a Bohlken provenance are found in the Museum of East Asian Art in Cologne and in the Museum of Asian Art in Berlin.Published: Weltkunst, 15 February 1931, volume 5, no. 7, page 8 (together with two other luohans from a group of eight, all dated to the Song dynasty).Condition: Overall good condition, commensurate with age, displaying remarkably well. Extensive wear, weathering, erosion, age cracks, losses, minor chips and old repairs. Various layers of lacquer from different periods, mostly flaked and worn off. With a fine, naturally grown patina and a good, unctuous feel overall, testimony of extensive handling over the centuries.Weight: 6.1 kg Dimensions: Height 57.7 cmAuction result comparison: Compare a closely related polychrome wood figure of a seated luohan, 54 cm high, also dated to the Ming dynasty, at Sotheby's New York in Informing The Eye Of The Collector: Chinese Ceramics And Works Of Art From J.T. Tai & Co. on 22 March 2011, lot 268, sold for USD 47,500. 明代彩繪木雕石膏羅漢坐像中國，1368-1644年。精雕細刻，羅漢以從容的姿態坐在石座上，右手攥在胸前，左手搭在膝上，左肩披著寬鬆的天衣，袒右肩，露出嶙峋身體，石膏浮雕花卉紋。沉靜的臉龐，眼皮微垂，皺紋很深，嘴巴微微張開。 來源：柏林Theodor Bohlken收藏，1931年。德國Bernried 的Georg L. Hartl收藏，薩爾斯堡的私人收藏，購於上述收藏。Theodor Bohlken (1851-1954) 曾是 20 世紀上半葉著名的中國藝術品經銷商。他在他店裏的一層賣茶葉，上面三層陳列著從魏到明的佛教雕塑，從漢代到晚清的中國陶瓷，還有日本的藝術品。客戶主要是出差到柏林的私人收藏家。在科隆的東亞藝術博物館和柏林的亞洲藝術博物館中都有來自 Bohlken 的物品。 出版: Weltkunst（世界藝術）, 1931年2月15日，第5冊, 圖 7, 第 8頁 (與另外兩件來自宋代的羅漢像，一共為八羅漢)。品相：整體狀況良好，與年齡相稱。 廣泛磨損、風化、侵蝕、老化裂縫、缺損、小碎屑和舊維修。不同時期的各種漆層，大多剝落和磨損。包漿自然細膩。 重量：6.1 公斤 尺寸：高57.7 厘米 拍賣結果比較：比較一件相近的彩繪木雕羅漢坐像，高 54 厘米，明代，見紐約蘇富比 Informing The Eye Of The Collector: Chinese Ceramics And Works Of Art From J.T. Tai & Co. 2011年3月22日 lot 268, 售價USD 47,500。

A LARGE BRONZE FIGURE OF BUDDHA SHAKYAMUNI, AYUTTHAYA KINGDOMThailand, 17th-18th century. Seated in maravijaya with the right hand lowered in bhumisparsa mudra and the left resting in his lap, wearing a sanghati draped over his left shoulder. His serene face with downcast eyes, arched brows, and full lips, flanked by long pendulous earlobes. The hair arranged in tight curls with a high ushnisha.Provenance: From the collection of Godfried Wauters, who has been active in the Belgian trade for over 40 years. He has built a substantial art collection including Chinese and Buddhist sculptures, significantly expanding on the collection already built by his late father Gustaaf Wauters (1905-1992).Condition: Good condition with some old wear and casting flaws, losses, minor nicks and dents. Remnants of ancient varnish, pigment, and gilt, the base and one leg possibly with minor old repair.Dimensions: Height 84 cmAuction result comparison: Compare a related bronze figure, 88 cm high, dated 16th-17th century, at Christie's Paris on 12 June 2012, lot 321, sold for EUR 46,600.

A BLUE AND WHITE 'DRAGON' VASE, KANGXI PERIODChina, 1662-1722. Sturdily yet elegantly potted, the slender ovoid body rising from a short foot with a concave base to a waisted neck with a lipped rim. Finely painted around the exterior in rich tones of cobalt blue with two large, ferocious dragons, each two-horned and five-clawed, sinuously writhing and surrounded by flames, and with neatly rendered scales. The foot and base left unglazed.Provenance: British market, by repute from an old English estate.Condition: Good condition with minor wear and firing irregularities, including dark spots and pitting. The lip with some glaze fritting and small glaze recesses.Weight: 935.9 gDimensions: Height 24.3 cmThe five-clawed dragon continued as an imperial symbol during the Qing dynasty, and its use was even more severely restricted than in the Ming. The rendition of the dragon on the present lot is characteristic of that in the Kangxi period, which is exemplified by a fierce and powerful deameanor giving an impression of authority and majesty, with finely detailed painting of the head and scales. This is a considerable development from the more freely drawn and often more simplified versions of the late Ming dynasty. The full-faced representation of the dragon already existed in Ming times, and became popular in the Qing, but it is from the Kangxi period onwards, as evident from the present lot, that the dragon was imbued with a greater sense of vitality and martial spirit.Literature comparison: A closely related vase, with a Kangxi mark and of the period, is illustrated in Elias, A Dealer's Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi, New York 2013, p. 345, fig. 423. Another closely related example is in the collection of the Shanghai Museum, exhibited in Sovereign Splendour: Imperial Porcelain From Shanghai at the Gemeentemuseum Den Haag, 2011, and illustrated by T.M. Eliëns (ed.), Keizerlijk porselein uit het Shanghai Museum, Zwolle/The Hague 2011. Compare also a vase from the Palace Museum in Beijing, illustrated in Kangxi Yongzheng Qianlong, Hong Kong 1989, p. 23, pl. 6 and another from the Wang Xing Lou Collection, illustrated in Imperial Perfection, The Palace Porcelain of Three Chinese Emperors, Hong Kong 2004, no. 1. For a pair of related vases with Chenghua marks, see Ming and Qing Porcelain from the Collection of the T. Y. Chao Family Foundation, Hong Kong Museum of Art, 1978, cat. no. 85, sold at Sotheby's London, 18 November 1986, lot 83.Auction result comparison: Compare a closely related vase, with a Kangxi mark and of the period, at Christie's Hong Kong in Imperial Chinese Ceramics from the Robert Chang Collection – Jade Shears and Shimmering Feathers on 28 November 2006, lot 1317, sold for HKD 22,520,000. Compare a closely related vase, marked only with a double circle and dated to the Kangxi period, at Bonhams Sydney in Important Asian Art on 22 May 2019, lot 30, sold for AUD 42,700 (approx. EUR 27,000). Note that the Bonhams vase has severe condition issues, including a damaged and repaired neck, and thus the auction result does not adequately reflect the value of the present lot.康熙時期青花龍紋瓶中國，1662-1722年。青花龍紋瓶，瓶口微撇，短頸，圓肩，肩以下漸收，圈足。瓶身青花繪兩條五爪立龍，張牙舞爪，龍身捲曲，威武兇猛，四周火焰圍繞。圈足內露胎。來源：英國古玩市場，據説來自英國私人收藏。 品相：狀況良好，有輕微磨損和燒製瑕疵，包括黑點和點蝕。 唇部有一些釉點和小釉凹槽。 重量：935.9 克 尺寸：高 24.3 釐米 五爪龍在清代是皇室的象徵，其使用的限制比明代還要嚴格。 本拍品的龍紋具有康熙時期的特點，氣勢兇猛，威風凜凜，頭部和鱗片刻畫細緻。 這是明朝後期更自由繪製且通常更簡化的版本一個很大的發展。龍的全臉形像在明代已經存在，在清代開始流行，但從康熙時期開始，按照此拍品的形制，龍被賦予了更大的生命力、戰鬥力和精神。 文獻比較：一個相近的康熙款及年代的青花龍紋瓶，見 Elias, A Dealer's Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi，紐約，2013年, 第345頁，圖423。另一件見2011年上海博物館於海牙市立美術館展覽：Sovereign Splendour: Imperial Porcelain From Shanghai；圖見T.M. Eliëns (ed.), Keizerlijk porselein uit het Shanghai Museum, 兹沃勒/海牙，2011年。比較一件北京故宮博物院藏品，見《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，第23頁，圖6。 比較另一件《清代康雍乾官窯瓷器〈望星樓藏瓷〉》，香港2004年，編號1。一對成化款龍紋見Ming and Qing Porcelain from the Collection of the T. Y. Chao Family Foundation, 香港藝術館, 1978年，圖錄編號85, 售於倫敦蘇富比,1986年11月 18日。 拍賣結果比較：比較一件康熙款及年代的龍紋瓶，見香港佳士得Imperial Chinese Ceramics from the Robert Chang Collection – Jade Shears and Shimmering Feathers 2006年11月28日 lot 1317, 售價HKD 22,520,000；比較一件康熙時期雙圈款龍紋瓶，見悉尼邦翰思Important Asian Art 2019年5月 22日 lot 30, 售價AUD 42,700 (大約EUR 27,000)。請注意邦翰思的這件龍紋瓶品相有問題，有破損和修復，因此，拍賣結果並不能充分反映現拍品的價值。

A BRONZE RITUAL WINE CUP, ZHI, LATE SHANG TO EARLY WESTERN ZHOUChina, 11th century BC. The broad pear-shaped body supported on a spreading foot and rising to an everted rim, finely decorated around the waisted neck with a narrow band of archaic scroll between two line borders and around the foot with similar scroll and geometric designs as well as four bosses.Inscriptions: To the interior, 'Fu' (Father).Provenance: Armin Lemp, Zuerich, Switzerland 1961. The Plesch Collection, no. Bv12 (label to base), acquired from the above. Peter and Traudi Plesch were both refugees from Nazi persecution. Peter had left Germany with his father, who was the medical doctor of Albert Einstein, who once gently commented on the practical difficulties of young Peter's ingenious design for a perpetual motion machine. Peter Plesch had already formed a fine collection when he met Traudi. One influence had been his maternal great uncle, Fritz von Gans, who had left his antiquities collection to the Royal Prussian Museum, Berlin. However, on their honeymoon in Israel, Traudi fell for the lure of ancient Chinese glass which inspired a new joint adventure, the one criterion for a purchase being that she and Peter should both want the object, although not necessarily with the same passion. Thus their collection was formed slowly and wisely over four decades, later expanding into jades and ancient bronzes, reflecting their desire to have beautiful, but also academically meaningful pieces.Condition: Superb condition, commensurate with age, and absolutely original with no repairs or touchups whatsoever. Extensive wear, signs of weathering and erosion. Fine, naturally grown patina with extensive malachite and cuprite encrustation.Weight: 481.6 gDimensions: Height 11.2 cmLiterature comparison: Compare a closely related bronze zhi, dated to the early Western Zhou, c. 1050-1100 BC, in the collection of the Arthur M. Sacker Gallery in the National Museum of Asian Art, Smithsonian Institute, accession number S2012.9.585.Auction result comparison: Compare a closely related bronze zhi, also dated late Shang to early Western Zhou, of closely related size (11.4 cm high), only the upper body of slightly different design, at Christie's New York in Fine Chinese Ceramics and Works of Art on 14 September 2018, lot 1103, sold for USD 37,500. 商末至西周初年青銅觶 中國，公元前十一世紀。圓腹，侈口，圈足。頸部與足部飾雲雷紋。 銘文: 器内可見“父”字樣。 來源：1961年瑞士蘇黎世Armin Lemp收藏。Plesch 收藏，no. Bv12 (見底部標籤)，購於上述收藏。Peter 與Traudi Plesch 兩人都是遭受納粹迫害的難民。Peter與他的父親一起離開了德國，他的父親是阿爾伯特·愛因斯坦的醫生，愛因斯坦曾經溫和地和年輕的Peter討論如何設計永動機的實際困難。 Peter Plesch 在遇到 Traudi 時已經擁有了一個很好的收藏。他的外叔祖弗里茨·馮·甘斯 (Fritz von Gans) 曾給Peter極大的影響，他將自己的文物收藏留給了柏林皇家普魯士博物館。然而，在以色列度蜜月時，Traudi 被中國古代琉璃的魅力所吸引，因此激發了一次新收藏冒險。他們購買藏品的一個標準是，她和彼得必須都想要這件物品，但並不一定要有相同的熱情。因此，他們的藏品在四十年來被緩慢卻明智地構建著，後來擴展到玉器和古代青銅器，這反映了他們願意擁有美麗但同時也具有學術意義的藏品。 品相：狀況極佳，與年齡相稱，絕對原始，沒有任何修補或修飾。廣泛磨損、風化和侵蝕。細膩且為自然生長的包漿，帶有大量綠色紅色結殼。 重量：481.6 克 尺寸：高11.2 厘米拍賣結果比較：比較一件相近青銅觶，同樣為商末至西周初年，相近尺寸 (高11.4 厘米)，僅在青銅器上半部有不同紋飾，見紐約佳士得Fine Chinese Ceramics and Works of Art，2018年9月14日 lot 1103, 售價USD 37,500。

A MAGNIFICENT GILT BRONZE FIGURE OF BUDDHA, SUKHOTHAIThailand, 15th-16th century. Seated in dhyanasana with the hands lowered in dhyana mudra, wearing a sanghati draped over his left shoulder, the serene face with heavy-lidded downcast eyes below elegantly arched eyebrows, the hair arranged in tight curls with a high ushnisha surmounted by a removable flame.Provenance: Belgian private collection, by repute acquired before 1980. From the collection of Godfried Wauters, acquired from the above. Wauters has been active in the Belgian trade for over 40 years. He has built a substantial art collection including Chinese and Buddhist sculptures, significantly expanding on the collection already built by his late father Gustaaf Wauters (1905-1992).Condition: Good condition with some wear, particularly to gilt on the reverse, and casting flaws, some dents and nicks, light scratches. The gilt possibly renewed at some point in time, very long ago.Dimensions: Height 77 cm (incl. flame) and 66 cm (excl. flame)Auction result comparison: Compare with a Seated Buddha, Thailand, Ayutthaya Period, 16th/17th century, height 97 cm, at Sotheby's, in Worlds within Worlds, Works from the Collection of Peter Petrou, 21 September 2021, lot 63, sold for GBP 75,600. Compare with a gilt copper alloy figure of Buddha, Thailand, Ayutthaya period, 16th century, height 87 cm, at Bonham's in Indian, Himalayan & Southeast Asian Art, 23 Sep 2021, New York, lot 1214, sold for USD 137,812.

A RARE JUN DEEP BOWL, SONG TO JIN DYNASTYChina, 960-1234. The deep rounded sides rising from a thick, spreading foot to a slightly incurved rim. Covered overall with a crackle-suffused green-tinged pale-blue glaze decorated with vivid purple splashes, thinning at the rim, and attractively pooling in an uneven line above the foot, revealing the reddish-brown ware. Provenance: G. Nakajima Antiques & Curios, Kyoto, 6 December 2008. A noted private collector in London, United Kingdom, acquired from the above. A copy of a certificate of authenticity from G. Nakajima Antiques & Curios, signed by G. Nakajima, dated 6 December 2008, dating the present bowl to the Yuan dynasty, accompanies this lot.Condition: Excellent condition with minor old wear and firing flaws, including open air bubbles, kiln grit, glaze recesses, and firing cracks.Weight: 466.5 gDimensions: Diameter 13.5 cmWith a Japanese wood storage box. (2)Auction result comparison: Compare a related Jun deep bowl, dated 12th-13th century, at Christie's Hong Kong in The Classic Age of Chinese Ceramics – The Linyushanren Collection, Part I on 2 December 2015, lot 2809, sold for HKD 187,500. Compare a Jun green-glazed bowl, of closely related form and also dated Song to Jin dynasty, but slightly smaller size (10.5 cm diameter), at Sotheby's London in Fine Chinese Ceramics and Works of Art on 5 November 2008, lot 550, sold for GBP 34,850.宋金時期鈞窯紫斑墩式碗中國，960-1234年。斂圓口，深弧壁，平底矮圈足。施釉為青灰色釉，釉面有自然開片紋路，碗外壁有一塊紫斑。口沿處深藍褐色釉。施釉至足，足底緣與內壁無釉處，皆露土色胎體。 來源：日本京都G. Nakajima Antiques & Curios藝廊，2008年12月6日。倫敦知名私人收藏家購於上述藝廊。隨附一份藝廊持有人G. Nakajima 簽署的證書，上面注明此碗為元代。 品相：狀況極佳，有輕微的磨損和燒製瑕疵，包括開放式氣泡、窯砂、釉面凹陷和燒製裂紋。 重量：466.5 克 尺寸：直徑13.5 厘米 日本木盒。(2) 拍賣結果比較：比較一件十二至十三世紀的鈞窯碗，見香港佳士得The Classic Age of Chinese Ceramics – The Linyushanren Collection, Part I 2015年12月2日 lot 2809, 售價HKD 187,500。比較一件相近的宋金時期青綠釉墩式碗，尺寸較小 (直徑10.5 厘米)， 見倫敦蘇富比Fine Chinese Ceramics and Works of Art 2008年11月 5日 lot 550, 售價GBP 34,850。

A PAIR OF RARE FORM TIXI LACQUER TALL CUPS, MING DYNASTYChina, 16th-17th century. The deep rounded sides rising from a short straight foot to an everted rim, the exterior deeply carved with a ruyi-cloud scroll exposing the multiple alternating layers of black and red, the interior and base with silvered-metal lining. (2)Inscriptions: Punched to silvered-metal lining on base, 'Mei' (beautiful).Provenance: From a Swedish private collection. Condition: Good condition with old wear, age cracks, few minor nicks and minuscule losses, the metal linings with minor tears, small dents, and light scratches.Weight: 113.0 g and 104.6 gDimensions: Height 8.5 cm and 8.4 cmExpert's note: Although the form appears simple, the present tall cups are considerably larger than the more common standard cups, and no other examples of tall tixi lacquer cups such as the present lot appear to have been recorded in private or public collections, thus making the present cups very rare.Literature comparison: A similarly decorated but smaller bowl with a straight rim was formerly in the collection of Sir Harry Garner, illustrated in Chinese and Associated Lacquer from the Garner Collection, 1973, no. 11, pl. 5b. The Garner bowl is fitted with a silver lining and dated to the 15th-16th century.Auction result comparison: For other examples of tixi lacquer vessels of rare forms, see a stem cup dated 16th-17th century at Sotheby's London in Chinese Art on 18 May 2018, lot 318, sold for GBP 10,000, and a zhadou dated 15th-16th century at Bonhams London in Fine Chinese Art on 12 November 2015, lot 187, sold for GBP 20,000.明代一對罕見剔犀如意雲紋杯 中國，十六至十七世紀。杯口外撇，圈足。杯身堆漆肥厚，黑紅相間，對稱剔雕勾雲如意紋。内壁鑲嵌鎏銀内膽。 款識: 圈足内 ”美”字款 來源：瑞典私人收藏。 品相：品相良好，舊時磨損，老化裂紋，輕微的劃痕和微小的缺損，金屬内膽有輕微撕裂、小凹痕和輕微的劃痕。 重量：113.0 克與104.6 克 尺寸：高8.5 厘米 與 8.4 厘米 專家注釋：雖然形式看似簡單，但這組剔犀杯比常見的標準杯要大得多，而且似乎沒有記錄在私人或公共收藏中，因此更顯得這組杯子非常稀少。 拍賣結果比較：另一件罕見剔犀高脚杯，十六至十七世紀，見倫敦蘇富比Chinese Art 2018年5月18日 lot 318, 售價GBP 10,000 ；一件十五至十六世紀渣斗見倫敦邦翰思Fine Chinese Art 2015年11月12日 lot 187, 售價GBP 20,000。

A LIMESTONE TORSO OF BUDDHA, NORTHERN QI DYNASTYChina, 550-577. Finely carved standing with the right hand raised and the left arm lowered along the side of the body, wearing a diaphanous robe delicately carved with drapes falling fluently following the contours of the body.Provenance: From the Roger Moss Collection. Roger Moss, OBE (1936-2020) grew up in Yorkshire and was a lifelong collector of art, best known for his collection of Chinese sculpture dating to the Tang dynasty and earlier. He was a Finance Director at British Airways when the Concorde was launched, then became the CFO of MTR in Hong Kong. During this time he also served as the president of the Oriental Ceramic Society.Condition: Good condition, commensurate with age. Extensive wear, losses, signs of weathering and erosion, nicks and scratches, few structural cracks, encrustations.Dimensions: Height 71 cm (excl. stand) and 78.5 cm (incl. stand)Mounted on an associated stand. (2)Expert's note: The sensitivity of carving, the soft garments closely clinging to the body, the crisp treatment of the gracefully draped folds clearly relate this figure to the Northern Qi period.Literature comparison: Compare a closely related example illustrated in The Art of Contemplation, Religious Sculpture from Private Collection, National Palace Museum, Taipei 1997, pl. 27. See also the two figures of similar sizes illustrated in Ancient Chinese Sculpture II, Kaohsiung Museum of Fine Arts, Taiwan 2000, pl. 20 and 21.Auction result comparison: Compare a closely related limestone torso of Buddha, 101 cm high, also dated to the Northern Qi dynasty, at Christie's London, 12 September 2007, lot 164, sold for GBP 24,500. 北齊石灰石立佛殘件中國，550-577年。立佛右臂舉起，左臂低垂，低開領的通肩袈裟，袈裟顯得輕薄而貼身，順著身體結構起伏，雙腿輪廓隱約可見。 來源：Roger Moss收藏。C. Roger Moss, OBE (1936-2020) 成長於約克郡，一生都在收藏藝術，以收藏唐代及更早時期的中國雕塑而聞名。協和式飛機推出時，他是英國航空公司的財務總監，然後成為香港地鐵的首席財務官。在此期間，他還擔任過東方陶瓷學會會長。品相：狀況良好，與年齡相稱。廣泛的磨損、缺損、風化和侵蝕，有刻痕和劃痕，少量結構裂縫、結殼。尺寸：高71 厘米（不含底座），總78.5 厘米 安裝在支架上。(2) 專家注釋：這種“薄衣貼體”的造像風格，展現了印度笈多藝術在中國的流傳影響，是北齊造像的一大特色。文獻比較: 比較一件相近的造像可見The Art of Contemplation, Religious Sculpture from Private Collection, 臺北故宮博物院，臺北1997, 圖 27；兩外兩件造像，相近尺寸，來自Ching-Ya T'ang 與 Shih-yu Shan-fang收藏，見Ancient Chinese Sculpture II, 高雄市立美術館, 台灣2000, 圖20 與21。 拍賣結果比較：比較一件相近的北齊石灰石佛陀身軀，高101 厘米，見倫敦佳士得2007年9月12日 lot 164, 售價GBP 24,500。

A PALE CELADON JADE 'DRAGON AND PHOENIX' ORNAMENT, WESTERN ZHOUChina, c. 1100-771 BC. Of slightly tapering shape, carved on both sides with a phoenix perched on top of a coiling dragon, the contours and details rendered with double-line grooves. The translucent stone is of a pale celadon tone with patches of cream-white tone and dark veins.Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its Mayor in 1867 and for two consecutive terms in 1883 and 1884.Condition: Fine overall condition, commensurate with age. Few tiny nicks, distinct signs of weathering and erosion, with the surface showing a silky matt surface as a result of long-time burial. The stone with natural fissures. Microscopic remnants of ancient pigment.Weight: 34.3 gDimensions: Length 9.6 cmThe present ornament displays an elegant combination of two zoomorphic elements, depicting a phoenix perched on top of a coiling dragon, the contours rendered in double-line grooves, a style characteristic of the Western Zhou period.Literature comparison: A similar example depicting the same motif but of slightly different shape, is in the National Palace Museum Collection (acquisition no. gouyu 611), illustrated in Art in Quest of Heaven and Truth, Chinese Jades through the Ages, Taipei, 2012, pl. 5-4-6. Another example depicting similar motifs was excavated in Rujiazhuang, its line drawing illustrated in Teng Shu-p'ing, Collectors' Exhibition of Archaic Chinese Jades, National Palace Museum, Taipei, 1999, p. 35, pl. 30:5. A rectangular plaque depicting similar motifs is in the Palace Museum Collection, illustrated in Zhongguo yuqi quanji 2- Shang & Western Zhou, Shijiazhuang, 1993, pl. 242.Auction result comparison: Compare a near-identical ornament, also dated to the Western Zhou Dynasty, at Christie's Hong Kong, in Chinese Archaic Jades from the Yangdetang Collection on 29 November 2017, lot 2743, sold for HKD 2,375,000.西周青白玉龍鳳紋柄形器 中國，公元前1100-771 年。半透明青白玉質，帶有白色絮狀物和深色紋理。器作近梯形的片狀柄形器，厚薄不勻。器之二面均琢龍鳳紋，輪廓與細節以雙線槽呈現。 來源：David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。 他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867 年擔任市長，1883 年和 1884 年連任。 品相：整體狀況良好，與年齡相稱。有少量微小的刻痕、風化和明顯的侵蝕跡象。由於長期埋在地下，表面啞光，非常光滑。具有天然紋理的玉料，古時色素殘餘。 重量：34.3 克 尺寸：長9.6 厘米 拍賣結果比較：比較一件幾乎一模一樣的柄形器，同樣為西周時期，見香港佳士得 Chinese Archaic Jades from the Yangdetang Collection 2017年11月29日 lot 2743, 售價HKD 2,375,000。

A SUPERB PALE CELADON JADE 'MAGNOLIA' VASE, 18TH CENTURYChina. Finely carved as a tall magnolia blossom, the layered petals forming the sides of the vase, borne on an openworked gnarled stem bearing smaller blossoms and buds. The superbly polished, translucent stone is of an almost flawless celadon tone with only few milky inclusions and russet veins. Provenance: The Ezekiel Collection, no. K/32 (old collector's label to one side). Purchased by Victor Ezekiel on 29 November 1957. A copy of a typed and handwritten note by Victor Ezekiel, stating the collection no. K/32 and purchase date of 29 November 1957 and describing the piece as “A pale jade vase, carved as a floral spray with large and small flowers, 5in., Ch'ien Lung, with a stand and case”, accompanies this lot. The Ezekiel Collection was formed by Marcus Ezekiel (1854-1927) and his son Victor (1905-1976), two leading figures in the formative years of Chinese art collecting in London in the 20th century, and important early members of the Oriental Ceramic Society. In 1975 Rose Kerr, then a young associate curator at the Victoria and Albert Museum, came to David Ezekiel, Victor's son, to select loans for the prestigious Oriental Ceramic Society exhibition "Chinese Jade Throughout the Ages”. David was, like his father, generous with loans to the Society's exhibitions, particularly “The World in monochromes” in 2009 (with his grandfather's legendary blanc de chine magnolia cup gracing the back cover of the catalog) and “China Without Dragons” in 2016.Condition: Superb condition, commensurate with age. Minor wear, few microscopic nicks, the stone with natural fissures, some of which may have developed into microscopic hairline cracks over time.Weight: 207.5 g (excl. base)Dimensions: Height 11.8 cm (excl. base) and 14.5 cm (incl. base)With a finely carved, openworked, and fitted hardwood base supported on four ruyi-form feet, dating to the Qing dynasty. (2)The white magnolia, or yulan in Chinese, is an emblem of purity and a pictorial pun to represent the Chinese word for jade, yu. Literature comparison: Compare a related white jade cup in the form of a magnolia blossom in the Royal Ontario Museum, Toronto, illustrated in The T.T. Tsui Galleries of Chinese Art, Hong Kong, 1996, cat. no. 115.Auction result comparison: Compare a closely related pale celadon jade (described as white jade) vase in the form of a magnolia flower, also dated to the 18th century, at Sotheby's New York in The Concordia House Collection: Fine Chinese Jades And Important Works Of Art From A Midwestern Family on 19 March 2007, lot 36, sold for USD 102,000.十八世紀青白玉雕玉蘭花插中國。花插主體為一朵初放的玉蘭花，花瓣層疊，富有層次感，花口做花插，玉蘭花四周雕有幾朵大小不一的花蕾花苞。底部透雕成的枝杈盤結，整體色澤由底部的青向上漸次變白，色澤瑩潤清新。花插整體造型惟妙惟肖，寓意“玉樹臨風”。來源：Ezekiel 收藏，編號 K/32 (花插一面可見標籤 )。Victor Ezekiel 購於1957年11月29日。隨附一份Victor Ezekiel 打字並手寫注釋的檔副本，上面可見他的購買日期和收藏編號，並將此器描述爲 “青白玉花插，雕刻成花狀及大小不一的花蕾，5英寸，乾隆，帶底座和盒子。Ezekiel 收藏由Marcus Ezekiel (1854-1927) 和他的兒子 Victor (1905-1976) 創立，他們曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。1975年，時任Victoria and Albert Museum美術館年輕副館長的Rose Kerr來找Victor的兒子David Ezekiel，為知名的東方陶瓷協會展覽 "中國歷代玉器 "挑選借展品。David和他的父親一樣，慷慨地為協會的展覽提供資助，特別是 2009 年的“The World in monochromes”（目錄封底是他祖父的傳奇白玉蘭杯）和 2016 年的“China Without Dragons” 。品相：狀況極佳，與其年齡相稱。 輕微磨損，輕微小刻痕。有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成微小的髮絲線裂縫。重量：207.5 克 (不含底座)尺寸：高 11.8 釐米 (不含底座)，總14.5 釐米 清代透雕硬木四足底座。 (2)白玉蘭，是純潔的象徵，與玉正好相對應。 文獻比較：一件相似的白玉雕玉蘭杯，見多倫多Royal Ontario Museum, The T.T. Tsui Galleries of Chinese Art, 香港，1996, 目錄圖片號 115。拍賣結果比較：比較一件相似的青白玉 (描述爲白玉) 玉蘭花玉瓶，同樣為十八世紀，見紐約蘇富比The Concordia House Collection: Fine Chinese Jades And Important Works Of Art From A Midwestern Family 2007年3月19日 lot 36, 售價USD 102,000。

A BUDDHIST VOTIVE PAINTING DEPICTING AVALOKITESHVARA, POSSIBLY IMPERIALChina, 17th-18th century. Ink and watercolors on silk. Superbly painted, seated in dhyanasana atop a lotus pedestal borne on a thick stem issuing buds and blossoms, flanked by two guardian attendants standing on swirling clouds with hands clasped in front. His many hands hold various attributes, running the full gamut of Buddhist iconography, and issuing from his ten heads (in place of the eleventh) is an image of Buddha Amitabha seated on a lotus throne supported on clouds, flanked by two celestial figures.Provenance: UK market, by repute from an old English estate.Condition: Very good condition with minor wear, soiling, creasing, few minuscule tears and losses. Laid down on paper.Dimensions: 153 x 75.2 cmThe present image is a symbolic representation placed on a wall during Buddhist rituals. From the Buddhist perspective, paintings and calligraphy belong to Silpakarma-vidya, one of the five types of knowledge and wisdom. Over time monks and laymen painted and practiced calligraphy and Buddhist-themed works became more sophisticated during the Song and Yuan dynasties. By the middle of the Ming Dynasty, votive paintings, such as the present example, were used within private chapels and side pavilions of major temple monasteries.The Qing dynasty witnessed a revitalization of the cultural contacts between Tibet and imperial China, and the Manchu ruling class officially patronized Tibetan-style Buddhism in the capital of Beijing. This period also witnessed an explosion in the production of Buddhist art, particularly during the reign of the Qianlong Emperor (r. 1735-1796).Literature comparison: Compare two related Imperial Buddhist votive paintings, showing a similar treatment of the clouds, one at Christie's Hong Kong, 26 April 2004, lot 999, and the other at Christie's Hong Kong, 26 May 2021, lot 858.Auction result comparison: Compare a silk painting of Cundi, dated to the 17th century, at Christie's Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 26 May 2021, lot 860, sold for HKD 275,000. Compare a silk painting depicting the Water-Moon Guanyin at Christie's Hong Kong in Fine Classical Chinese Paintings and Calligraphy on 28 November 2005, lot 1056, sold for HKD 384,000. 或爲御製《千手寳相觀音圖》中國，十七至十八世紀。立軸，絹本水墨設色。圖繪千手寶相觀音坐於蓮座上，中間雙手合十，其他各手分別持小斧、蓮花、寶劍、弓箭等各種法寶；頭上祥雲朵朵飄蕩，雲中托出小佛一尊。左右兩側分別站著一位天神。來源：英國古玩市場，據説來自英國私人老收藏。品相：狀況極好，有輕微磨損、汙漬、摺痕，少量撕裂和缺損。紙本裝裱。尺寸：153 x 75.2厘米拍賣結果比較：比較一件十七世紀絹本設色的准提菩薩，見香港佳士得Fine Chinese Classical Paintings and Calligraphy，2021年5月26日 lot 860, 售價HKD 275,000。比較一件絹本設色水月觀音，見香港佳士得Fine Classical Chinese Paintings and Calligraphy，2005年11月 28日lot 1056, 售價HKD 384,000。

A FAMILLE VERTE FIGURE OF A CRANE AND 'LINGZHI', QING DYNASTYChina, 1644-1912. Well modeled as a red-crowned crane perched on a pierced rockwork base with numerous lingzhi, its raised right foot resting on a fungus. Finely painted in bright enamels of green, yellow, aubergine, red, blue, and black, the crane's body decorated with floral sprays.Provenance: From a private collection in Boston, Massachusetts, USA.Condition: The neck and beak with old repairs, otherwise in good condition with minor wear and firing flaws.Weight: 934.1 gDimensions: Height 30.5 cmAuction result comparison: Compare a related famille rose crane, dated 18th century, probably Qianlong period, at Christie's New York in Chinese Export Art Featuring the Tibor Collection, Part II on 23 January 2020, lot 60, sold for USD 17,500. 清代五彩丹頂鶴立像 中國，1644-1912年。丹頂鶴棲息在岩石上，幾朵靈芝分佈在石上，抬起的右腳在一朵蘑菇上。鶴身施綠、黃、茄紫、藍和黑色等五色釉，精美花卉紋。 來源：美國馬賽諸塞州波斯頓私人收藏。 品相：頸部和喙部有舊時修復，其他狀況良好，有輕微磨損和燒製瑕疵。 重量：934.1 克 尺寸：高30.5 厘米 拍賣結果：比較一件相近的可能爲乾隆時期的十八世紀粉彩仙鶴，見紐約佳士得Chinese Export Art Featuring the Tibor Collection, Part II 2020年1月 23日 lot 60, 售價USD 17,500。