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A Chinese 'Scholar's objects' scroll painting, L 136 - W 59 cm

A Chinese Mountainous landscapes' scroll painting, L 110 - W 41,5 cm

A Chinese 'Cat on tree' scroll painting, L 93,5 - W 48,5 cm

A Chinese 'Lotus pond' scroll painting, L 137 - W 53 cm

A Chinese 'Scholar' scroll painting, L 114,5 - W 59,5 cm

A Chinese 'Cats' scroll painting, L 68,5 - W 45 cm

A South East Asian Scroll Painting depicting two rows of figures and various demons under formal borders, 85cm by 219cm; together with a roll of eight Chinese watercolours (9)

TENG-HIOK CHIU (1903-1972) 'Rowing Boat, Polperro Harbour' signed and dated 1930 lower right, oil on panel, 31cm x 23cmPainter Teng Hiok Chiu was born into a notable family of tea merchants in Amoy on the Gulangyu Island outside of Xiamen, China, in 1903. In 1920 he moved to the USA to attend Harvard University for a semester, focusing on art history, architecture, and archaeology. The following year he enrolled at the Museum School of Fine Arts, Boston, training under the portrait painter Irwin D. Hoffman.In 1923, Teng set sailed for Europe, enrolling briefly at the École des Beaux-Arts in Paris, then moving to the University of London in 1924. From 1925–30 he studied painting under the tutelage of Sir George Clausen, Sir Walter Russell and Charles Sims at the Royal Academy Schools, winning every medal, prize and scholarship for which he competed; in 1929 he earned the distinction of being the first foreign artist to be awarded the Turner Gold Medal and the Royal Academy Scholarship for Landscape Painting. Demonstrating an early command over the western oil paint medium, Chiu focused on exploring western modernist concepts and became a master of still-life compositions, developing skillful techniques of naturalistic oil painting.In 1929 he held his first solo show in London at the Claridge Gallery. Her Majesty Queen Mary honoured the show with a visit, and the paintings sold out the next day. This exhibition was followed by a second held at the Fine Art Society in 1930.Art critics praised his subtle sense of colour and his ‘suave, transparent, clean handling of the oil medium' (The Observer 1930, p. 14).From 1927–30 Chiu’s oil paintings of landscapes and figures were included in exhibitions of the Royal Society of British Artists and other institutions; between 1927 and 1938, he exhibited at the Annual Exhibition of the Royal Academy of Arts six times.Chiu, who had not been exposed to the tradition and history of Chinese painting before he left China in 1920 (Ying-Ling Huang 2019, p. 384), reached the apogee of his artistic career in 1930, working in the British Museum with his mentor Laurence Binyon, the renowned orientalist scholar and Keeper of Oriental Prints and Drawings. Together, they analysed many significant works of Chinese calligraphy and painting. From then onwards, Chiu blended eastern and western aesthetic ideas and philosophies to produce works which addressed both western technique and Chinese sensibilities, such as adopting the concept of multi-point perspective and the technique of directing the viewers' gaze, both typical of Chinese landscape painting.Between 1925 and 1930, Chiu travelled throughout the British Isles, spending his summers painting in Cornwall (particularly around Polperro), East Anglia, the Lake District and Scotland.In 1930 Chiu began almost a decade of world travel, which took him to Bali, Java, Beijing, Shanghai, Indochina, Siam (now Thailand), Cambodia and various European countries.In 1935 he painted a notable portrait of Madame Chiang Kai-shek (Madame Chiang), First Lady of the Republic of China, the wife of Generalissimo and President Chiang Kai-shek. In 1936 Chiu held a solo show at the Fine Art Society which included the new subject-matter of Chinese landscape in Nanjing and important architecture and monuments in Peking (Beijing). Binyon, who wrote the preface to the exhibition catalogue, noted that Chiu ‘has developed an eclectic style, in which it seems to me that through all the mastered technique of Western oil-painting the original Chinese element becomes more apparent than in the pictures shown six years ago […] Mr. Chiu, […] like so many Oriental painters who practice the Western style, found it a heavy and unpleasing means of expression: he has subdued it to a lightness of handling and felicities of colour natural to his gift’ (Binyon 1936, n.p.).

A Victorian Wedgwood polychrome enamelled cabinet plate, decorated after the painting by Thomas Allen, Greek Pipe player and Dancing Girl, 26cm diameter, c.1890; jasper plate and trinket dishes; set of four Aynsley coffee cans and saucers, with silver cup holders, Birmingham 1913, 2.7ozt, ; Royal Doulton figure Karen Hn 2388, Chinese jar and cover etc

A mixed group of mid 20th century Chinese scrolls depicting various scenes to include a pair of birds in a tree and other similar floral examples, unframed art works, an ink painting together with framed Oriental silks and pictures and a pair of watercoloursLocation: LWB

A set of four Chinese porcelain reticulated plates, Qianlong (1736-1795), each circular plate decorate in the famille rose palette depicting peacocks perched on branches and rocky outcrops, within a spear head border, largest 28cm diameter and smallest 21.5cm diameter (4) (at fault) Condition report; Largest example with rivet repair to the reticulated rim. All with chips and losses to the rims and reticulated borders, varying from glaze grazes to more significant chips. Some over painting and further restoration can be seen to the reticulated borders. Surface scratching and wear can be seen to the centre of each plate. Pitting also apparent throughout. 

A GOOD CHINESE PAINTING ON PAPER, depicting an immortal and tiger, inscribed and with gilt seal mark to lower left, framed and glazed, image 65cm x 44cm, together with another gilt painting of a landscape scene, inscribed and with two seals, (2).

A pair of 19th century Chinese vases. With under glazed blue and enamel decoration, depicting figures and vases, four character mark to base, H15cm, AF Condition Report: One with a large chip to the rim. Some rubbing and possible re-painting to the decoration. No obvious cracks and repairs. Signs of general wear including scratches.

AN 18TH CENTURY QIANLONG CHINESE EXPORT PORCELAIN GRISAILLE DECORATED PLATE depicting from the etching based on the painting 'Les Oies de Frère Philippe' by Nicholas Lancret.22.5cm diameterIn good undamaged condition, no chips cracks or restoration - slight rubbing to the gilding - no major scratches.

A 19TH CENTURY BLUE AND WHITE CHINESE PORCELAIN VASE decorated with floral sprays and geometric designs - signed six character mark beneath (A.F.).40cm high The neck has been broken and stapled around the neck, there are no signs of over painting under UV light, no other hairlines to the body, or cracks to the rims.

A Chinese reverse painting on glass of a boy and a carp, 52 x 37.5cm

Henri Cartier-Bresson (1908-2004) was a French photographer and pioneer of modern photojournalism. He is widely considered one of the greatest photographers of the 20th century. Cartier-Bresson's work helped define the genre of street photography, characterized by capturing spontaneous and candid moments of everyday life. Born in Chanteloup-en-Brie, France, Cartier-Bresson developed a passion for photography in his early years. He received his first camera at the age of 14 and began taking photographs while traveling. In the 1930s, he studied painting and became exposed to the Surrealist movement, which influenced his photographic style. In 1947, Cartier-Bresson co-founded the renowned Magnum Photos agency along with Robert Capa, David Seymour, George Rodger, and William Vandivert. Magnum Photos became one of the most influential photo agencies, providing photographers with the freedom to document events and stories across the world. Cartier-Bresson's photography focused on capturing decisive moments, emphasizing composition, geometry, and timing. He often worked with a small Leica camera, which allowed him to be inconspicuous while photographing his subjects. Throughout his career, Cartier-Bresson traveled extensively and documented significant historical events, including the Spanish Civil War, the liberation of Paris in World War II, the partition of India, and the Chinese Revolution. His photographs became iconic representations of these events and demonstrated his ability to capture the essence of a scene or person. Apart from his photojournalistic work, Cartier-Bresson also pursued personal projects and produced numerous portraits of artists, writers, and intellectuals. He published several books featuring his photography, including "The Decisive Moment," which remains one of his most influential works. Henri Cartier-Bresson's legacy continues to inspire photographers around the world, and his contributions to the field of photography have had a lasting impact. His ability to capture the fleeting and decisive moments of life helped shape the art of visual storytelling and street photography. Measures 9.26 x 8.26 Printed Circa 1950's >Verso is blank.Mounted to archival quality paper.

Ornate Framed Oil Painting of an Elegant Chinese Woman in a pose, 29cm x 19cm

A group of Chinese collectables to include miniature tea set, painting set, seal, ink stamps ..etc. all within gift boxes.

A Chinese scroll painting depicting a Female Figure Beneath Prunus Blossom, framed and glazed. 57.5 x 145 cm overall.

A pair of Chinese painting on pith paper depicting flowers, each 10.5 by 15cms, framed & glazed (2).

AN ARCHAIC CEREMONIAL JADE BLADE, YUE, NEOLITHIC PERIOD TO SHANG DYNASTYPublished:Henry Trubner and Tsugio Mikami, Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, no. 108.Roger Keverne Ltd., Winter Exhibition, London, 2004, no. 86.China, c. 3500-1500 BC. The slender slab tapers toward the back where there is a small hole drilled from one side. One long edge and the cutting edge are beveled, and now slightly worn. A longitudinal rib made by the saw runs along one face. The translucent stone is a deep olive-green tone.Provenance: Idemitsu Museum, Tokyo, Japan, prior to 1989. Roger Keverne, London, United Kingdom, 2004. Private English collection, acquired from the above. The Idemitsu Museum of Arts was opened in 1966 as an exhibition hall for the private collection of Idemitsu Sazo. Idemitsu Sazo (1885-1981) was a Japanese businessman, founder of Idemitsu Kosan, a petroleum company, and an important art collector. He acquired his first work of art at the age of 20, which was a painting of the Chinese monk Putai by Sengai Gibon. In later years, his collection grew, culminating in a large number of Chinese ceramics, paintings, jades, and other works of art. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020.Condition: Excellent condition, commensurate with age. Ancient wear, minor signs of weathering and erosion, tiny nibbles. Minute chips to edges, one at the top has been smoothened probably millennia ago. The jade with natural fissures, some of which may have developed into small hairline cracks.Weight: 68.1 g Dimensions: Length 16.7 cm Literature comparison:Compare a related jade blade in The Hubei Provincial Institute of Cultural Relics and Archaeology, The Panlongcheng Site: Report of Archaeological Excavation from 1963-1994, pl. CXVII, fig. 6. Compare a related jade blade illustrated in Liu and Capon's book Masks of Mystery: Ancient Chinese Bronzes from Sanxingdui, no. 36, p. 104. Compare a related jade blade excavated by the Institute of Archaeology, CASS, illustrated in Tomb of Lady Hao at Yinxu in Anyang, pl. 20, fig, 1. Compare a closely related jade blade, 19.5 cm long, dated to the Neolithic period, in the collection of the Harvard Art Museums, accession number 1943.50.113, illustrated in Ancient Chinese Jades from the Greenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, no. 1, pp. 4-5. Compare a related jade blade illustrated ibid., no. 202, pp. 159.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 27 November 2019, lot 2717 Price: HKD 81,250 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A dark green jade axe, Neolithic period, circa 3500 BC Expert remark: Compare the closely related form and color as well as the similar wear. Note the larger size (28.8 cm).Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2015, lot 545 Price: USD 16,250 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: A mottled, blackish-green opaque jade axe, late Neolithic period, 3rd-early 2nd millennium BC Expert remark: Compare the related form. Note the darker color and the larger size (23.8 cm).

A Dutch Delft large blue and white vase Of octagonal section and balaster form, decorated in Chinese taste, with panels of flowering arabesques and birds.Marked with AL monogram of Jacobus Halder Adriaensz and the De Grieksche A. factory (1765-1768)Height 48.3cm, maximum width 37cm.This impressive vase has obvious damage to the rim and a few small areas of missing glaze, but only two areas of old restoration. The base has over-painting for what must be a crack but there is no sign of this extending into the body

Full title: A rare Chinese blue and white 'Bleu de Hue' tea plate for the royal doctor in the Hue Palace, 御醫正記 seal mark, mid-19th C.Description:Dia.: 15 cm This type of small tea plate was only made by special order, in a very small number, for the office of the royal doctor within the Vietnamese Royal Palace of Hue, in the middle of the 19th C. The base bears a mark in zhuanshu script: 御醫正記, which translates to 'Made as commissioned by the royal doctor' or 'Ngá»± y chín ký'. Provenance: - The collection of Thomas Ulbrich, Studio Tho, Hanoi-Berlin. Ref.: Published in: DO SU KY KIEU THOI NGUYEN by Dr. Tran Duc Anh Son (2016), page 210: 'The turtle is the third of the tứ linh (four supernatural creatures) and symbol of longevity, energy and endurance. It is the first of all the creatures that have shells. The carapace on the back of the turtle symbolizes the heavens (the vaulted upper part) and the earth (the flat part below). The turtle appears in various art forms of the Nguyá»…n period, but its image is rarely seen on the porcelain of this period. In the collection of Thomas Ulbrich, there is a tea-saucer marked 御醫正記 (Made as commissioned by the Royal Doctor) in the form of zhuanshu script, with a painting depicting a fairy turtle offering the Luoshu (雒書: rolled letter) in a bookcase to King Wenwang with a poem in Han script.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

A 20tt century framed Chinese painting of flora and butterflies, signed and mounted in a gold painted bamboo style frame together with an A Travis watercolour of a Derbyshire house by a stream, signed and dated '82Location: RWM

A COMPLETE SET OF FOUR FAMILLE ROSE 'EIGHT IMMORTALS' PLAQUES, BY WANG QI (1884-1937)China, Republic period, circa 1930. Exquisitely painted in bright enamels, each plaque depicting two of the Eight Immortals wearing fine robes and holding their attributes, with two seals of the artist. (4)Expert's note: The quality of this set is remarkable. The artwork is exquisitely detailed in vivid and confident brushstrokes, very much unlike the countless copies in circulation today. The enamels are exceptionally well fired, with crisp and elegant colors, blended to an overall near-perfect harmony, as found only in a small number of works from the Wang Qi studio. Equally noteworthy is the quality of the hardwood frames, including their fittings and backings, all exhibiting clear signs of age, original to the set and executed to the highest standards, a level of craftsmanship absent in later pieces.Inscriptions: Each plaque with two seals: the first, lower right, 'Wang Qi' and 'Liandan jishi'; the second, lower right, one reading 'Wang Qi'; the third, lower left, 'Xiaoyao' and 'Wang Qi huayin'; and the fourth, lower right, one reading 'Wang Qi'.Provenance: North American trade. By repute acquired from a local estate.Condition: Excellent condition with some old wear and firing irregularities. Little rubbing and flaking to enamels. One plaque with a phosphorescent firing flaw in the upper left corner. The frames with expected traces of use, minor splits and a natural patina.Dimensions: Panel size ca. 55 x 17 cm (each), Size incl. frame ca. 59 x 21 cm (each) The first plaque depicts Li Tieguai leaning on his iron crutch, carrying two gourds on his back, one releasing fumes, standing next to He Xiangu holding a long leafy blossoming lotus stem, under the full moon.The second plaque with Zhongli Quan holding his fan and Lu Dongbin with his sword sheathed to his back, below a flying crane.The third plaque shows Han Xiangsi, with his flute suspending a jade pendant, conversing with Cao Guojiu looking up towards his castanets in the air above.The fourth plaque with the elderly Zhang Guo holding his bamboo rod and standing beside Lan Caihe carrying his basket filled with flowers and lingzhi, below an iron-red bat.The Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Most of them are said to have been born in the Tang or Song Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. Stories of these immortals were first recorded by the Ming dynasty poet Wu Yuantai. Their status as folk icons makes them well-known in popular culture.Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based on famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years, Wang increasingly developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work.His earlier works were characterized by the gongbi style, which employed fine outlines for human figures. However, his style evolved over time, transitioning into a more free style. Wang Qi's artistic journey led him to Jingdezhen in 1901, where he learned porcelain painting and portrait painting from Deng Bishan and Qian Hui An. His talent was recognized when he received the "Supernatural Technique" plate as a gift from the Fuliang County Magistrate in 1916, which significantly boosted his reputation. In 1916, Wang Qi traveled to Shanghai with Wang Dafan to attend the Shanghai Paintings Exhibition, where he encountered the Eight Strange Masters of Yangzhou. Among them, he was particularly impressed by the painting style of Huang Shen, who excelled in painting people, landscapes, and flowers and birds. Wang Qi's background in portrait painting, sculpture, and painting portraits on porcelain, combined with his exposure to Western painting techniques, elevated his porcelain paintings to a new level of artistic accomplishment.Literature comparison: A set of plaques, also painted with the Eight Immortals but in a different arrangement of pairs, is preserved in the China Ceramic Museum, Jingdezhen, albeit unpublished. The Muwentang Collection has a group of famille-rose plaques of different figural subjects painted in a related style by Wang Qi, attributed to the period between 1912-1925, published in Simon Kwan, Minguo ciqi (Chinese Porcelain of the Republic Period), Hong Kong, 2008, pls. 12-19. 王琦款一組四件粉彩八仙掛屏中國，民國，約1930年。木框為套裝原創。(4) 款識：王琦，煉丹濟世；王琦；逍遙，王琦畫印；王琦。 來源：北美古玩交易，據説購於當地舊藏。 品相：狀況良好，有磨損，琺琅輕微摩擦和剝落。一塊掛屏左上角有燒製缺陷。框架有使用痕跡、輕微裂痕和自然包漿。 尺寸：掛屏分別為55 x 17 厘米，總約59 x 21 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A POLYCHROME STUCCO FRESCO FRAGMENT DEPICTING A CELESTIAL MAIDEN, YUAN TO MING DYNASTYChina, 13th-16th century. Finely painted in polychrome pigments with details picked out in gesso relief. Depicting a celestial maiden standing in front of a daybed decorated with floral and scroll designs, holding a sheng in front of her, dressed in flowing robes and billowing scarves of red, pale blue, ochre, and white, the head gently tilted downward, her face painted with delicate features, the hair tied into a high chignon with a fine ornament.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. M.8.3. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history.Condition: Good condition, commensurate with age. Old wear and expected age cracks, minor losses and touch-ups. The frame with some wear, nicks, and scratches. Presenting very well overall.Dimensions: Image size 82.1 x 45.4 cm. Size incl. frame 90 x 53.8 cm With a wood frame.The style of the present fresco is inspired by the late Tang dynasty temple painting style. This is evident in the treatment of the roundness of the 'melon-seed'-shaped faces and the swirling scarves, giving a dynamism to the work, which was popular amongst builders and decorators of Buddhist temples of the time and continued throughout the Song, Yuan and Ming dynasties.The sheng is a Chinese mouth-blown polyphonic reed instrument consisting of vertical pipes. It is one of the oldest Chinese instruments, with images of the instrument dating back to 1100 BC. Some examples of the instrument are dated as far back as the Han dynasty. It is one of the main instruments in kunqu and some other forms of Chinese opera. Ancient instruments like the sheng with gourd wind chambers, varying numbers of pipes, or with bamboo or metal reeds have been discovered in archaeological finds at the tomb of the Marquis Yi of Zeng (c. 433 BC) in present-day Hubei province, and the Han tombs at Mawangdui (c. 2nd century BC) in Hunan province.Auction result comparison: Type: RelatedAuction: Sotheby's New York, 11 September 2019, lot 816Price: USD 37,500 or approx. EUR 40,500 converted and adjusted for inflation at the time of writingDescription: A polychrome stucco fresco fragment, Yuan / Ming dynastyExpert remark: Compare the related figural motif and size (77.5 x 45.5 cm) 元至明灰泥彩繪神女壁畫中國，十三至十六世紀。彩繪神女，細節以石膏浮雕呈現。描繪一位仙女站在花卉紋床榻前，手持笙，身著飄逸的長袍，紅、淡藍、赭色、白色的絲巾飄揚，頭微微下低，精緻的五官，頭髮紮成高髻，飾有精美的髮飾。 來源：吳權博士收藏；吳蓮伯美術館，館藏編號M.8.3。 品相：狀況良好，有磨損和年代裂縫、輕微缺損和修補。外框有一些磨損、刻痕和劃痕。 尺寸：畫面82.1 x 45.4 厘米，含框90 x 53.8 厘米 木框。拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月11日，lot 816 價格：USD 37,500（相當於今日EUR 40,500） 描述：元 / 明灰泥彩繪天女圖壁畫殘部 專家評論：比較相近的人物主題和尺寸 (77.5 x 45.5 釐米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A THANGKA DEPICTING VAJRAPANI AND CONSORT, 17TH-18TH CENTURY OR EARLIERTibetan-Chinese. Distemper and gold on cloth. Finely painted as a blue-skinned Vajrapani trampling on two figures over a lotus base, wielding a vajra in his raised right hand and a ghanta in his lowered left, wearing a tiger-skin belt, a serpent garland of severed heads, and billowing scarves. His body adorned with gold and snake jewelry, his consort wielding a skull cup, similarly adorned and wearing a beaded apron, all backed by a colorful mandorla below the dark-blue foliate background.Provenance: From a French private collection. Condition: Minor tears to edges, otherwise in good condition commensurate with age. Some old wear, a few small losses, minor creasing, rubbing, stains and soiling. Some chips and stains to the frame. Four small tape patches to edges on the back. Dimensions: Image size 46 x 41 cm, Size incl. frame 86 x 64 cm Matted and framed behind glass.Literature comparison:Compare a related Tibetan thangka depicting Vajrapani with consort, dated to the 15th century, in the Rubin Museum of Art, accession number P.1994.7.1, illustrated on Himalayan Art Resources, item no. 11.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 25 April 2020, lot 384 Price: EUR 37,920 or approx. EUR 44,000 adjusted for inflation at the time of writing Description: A thangka of Chaturmukha Mahakala, Tibetan-Chinese, 17th-18th century or earlierExpert remark: Compare the related manner of painting. Note that this lot comes from the same collection as the present lot. Also note the size (72 x 62 cm). 十七至十八世紀或更早唐卡金剛手菩薩及明妃漢藏，布面膠彩描金。金剛手菩薩通體青黑，一面雙臂，右手持金剛杵高舉，左手于胸前結怒斥印，擁抱明妃。赤發上冲，身披藍綾，下穿虎皮裙，三目圓睜，身如烈火。金剛手雙腿以右蜷左展之勢，站立于蓮花日輪之上。 來源：法國私人收藏。 品相：邊緣有小撕裂，狀況良好與年代相符。一些磨損、一些小缺損、輕微摺痕、摩擦、污漬。框架上有一些磕損和污漬。背面邊緣有四個小膠帶補丁。 尺寸：畫面46 x 41 厘米, 含框86 x 64 厘米 玻璃裝框。文獻比較： 比較一件相近的十五世紀西藏金剛手菩薩與明妃唐卡，收藏於Rubin藝術博物館，館藏編號P.1994.7.1，見Himalayan Art Resources，編號11。 拍賣結果比較： 形制：相近 拍賣：Galerie Zacke，維也納，2020年4月25日，lot 384 價格：EUR 37,920（相當於今日EUR 44,000） 描述：四首大黑天唐卡，漢藏，十七至十八世紀或更早 專家評論：比較相近的繪畫風格。請注意此唐卡和本拍品出處相同。請注意尺寸 (72 x 62 釐米)。

A CANTON ENAMEL 'EUROPEAN SUBJECT' BOX AND COVER DEPICTING SUSANNA AND THE ELDERS, QIANLONG PERIODExpert's note: The choice of two biblical scenes of seduction to be shown on the same object is unusual for canton enamel. The stories of Susanna and the Elders as well as Joseph and Potiphar's wife deal with the same subject: a lust-filled pursuer, Potiphar's wife and the Elders, and an unwilling victim, Joseph and Susanna. Both stories end with the subsequent redemption of the victims. In one story Susanna's reputation is restored and the Elders are punished, and in the other Joseph is made second to the Pharaoh. Both tales were a frequent subject in 18th century European painting, but Susanna and the Elders was by far the more frequently visited subject.China, 1736-1795. Of rectangular form, brightly enameled to the exterior of the cover with a scene of Susanna and the Elders, and to the interior with Joseph and Potiphar's wife. The side panels are similarly decorated with landscape scenes with reoccurring figures wearing pink, blue, and yellow garments. The base with a puce-enameled depiction of a European town.Provenance: From a Portuguese private collection. The interior with three old collector's labels, '64,' '30E,' and 'No. 179.' Condition: Condition commensurate with age, showing expected old wear and manufacturing irregularities, minor losses with associated old repairs, fine cracks, and light scratches. The colors still crisp and fresh, thus displaying remarkably well.Weight: 145.6 g Dimensions: Width 7.3 cm According to the Book of Daniel, two Babylonian elders spied on Susanna while she was bathing in a garden. The two elders threatened Susanna by falsely claiming that she met a young man alone in the garden. Susanna was arrested and then saved by Daniel who questioned the elders and prevented the death of the innocent Susanna.Literature comparison: A related snuff box is illustrated by Spink & Son, The Minor Arts of China II, London, 1985, pl. 163. See also a box exhibited by John Sparks Ltd. and illustrated by Michael Gillingham, Chinese painted enamels: an exhibition held in the Department of Eastern Art, Ashmolean Museum Oxford, 1978, p. 22, no. 15.Auction result comparison: Type: Closely related Auction: Bonhams London, 27 February 2013, lot 421 Price: GBP 5,625 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A Canton enamel 'European subject' box and cover, 18th century Expert remark: Compare the closely related form and European subject motifs. Note the size (7.3 cm).Auction result comparison: Type: Related Auction: Christie's New York, 18 January 2017, lot 392 Price: USD 12,500 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing Description: A painted enamel European subject snuff box, Qianlong period Expert remark: Compare the related form and manner of painting with similar facial features. Note the size (7.6 cm). 乾隆廣州琺瑯《蘇珊娜和長老》蓋盒中國，1736-1795 年。 矩形形狀，封面外部有明亮的琺瑯，描繪了意大利巴洛克藝術家阿爾泰米西婭·真蒂萊斯基於1610年創作的一幅繪畫作品《蘇珊娜和長老》，該幅繪畫展示了兩名男子偷窺蘇珊娜洗澡。盒內繪有約瑟夫和波提乏的妻子。 盒子側面四壁同樣裝飾有歐洲風景，同一個人物在不同的場景裏穿著同樣的顔色如粉色、藍色和黃色的衣服。底座上深褐色琺瑯繪有歐洲小鎮的圖案。 來源：葡萄牙私人收藏，盒内有三個舊收藏標籤“64"、“30E"和“179“。品相：狀況良好，有磨損和製造不規則、輕微損失和相應的修補、細裂紋和輕微劃痕。顏色仍然清晰。 重量：145.6克 尺寸：寬 7.3 厘米文獻比較： 一件相近的鼻煙盒，見 Spink & Son，《The Minor Arts of China II》，倫敦，1985年，圖163。一件盒，見John Sparks Ltd.和Michael Gillingham，《Chinese painted enamels: an exhibition held in the Department of Eastern Art》，阿什莫林博物館，1978年，頁22，編號15。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦翰斯，2013年2月27日，lot 421 價格：GBP 5,625（相當於今日EUR 10,000） 描述：十八世紀歐洲人廣東琺瑯彩蓋盒 專家評論：比較非常相近的外形和歐洲人主題。請注意尺寸(7.3厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2017年1月18日，lot 392 價格：USD 12,500（相當於今日EUR 14,000） 描述：乾隆時期歐洲人琺瑯彩鼻煙盒 專家評論：比較相近的外形和繪畫風格，以相似的臉部表情。請注意尺寸(7.6厘米)。

A RARE SPINACH-GREEN JADE FIGURE OF A TIGER, SECOND HALF OF THE QIANLONG PERIODChina, c. 1760-1795. Carved from a large boulder, the tiger rests in a recumbent pose with its legs tucked beneath its body and its tail curling to the side. The body is neatly incised with thin stripes, and its face is well detailed with large round eyes, thick arched brows, and thin whiskers. The tiger bares its sharp teeth in a fierce snarl, wrinkling its face, and laying its ears back. The prominent, menacing claws are another distinct feature, clearly identifying the animal as the biggest and most dangerous of all felines, also known as 'Man Eater' in some cultures.The superbly polished stone of an even and remarkably pure deep spinach-green tone with few minute dark flecks and icy veins. Possibly Khotan jade.Provenance: French trade. Condition: Superb condition with minimal wear. The stone with few natural fissures, some of which may have developed into small hairline cracks.Weight: 1,488.3 g Dimensions: Length 15.3 cm Prior to the Qianlong period, jade carvings in China were largely confined to small-sized items such as scholar's objects, pendants, plaques, and palm-sized vessels, due to the rarity of quality jade. Most jade quarries were a great distance from the capital and were outside the jurisdiction of the early Qing empire until the 1750s. In the middle of Qianlong's reign in 1759, the emperor expanded his rule into the Xinjiang territory while quelling the Dzungar Khanate and the Altishahr Khojas rebellions, making a large supply of jade material from the region available to the empire.After 1760, when the Kingdom of Yutian (modern-day Xinjiang province) was brought under Chinese influence, the fine raw jade boulders from that area were readily available to Chinese carvers. The region known as Khotan, now in Xinjiang province, is particularly famous for its fine nephrite jade. With these materials, and the encouragement of the emperor, the jade lapidaries of the second half Qianlong period were able to produce remarkable feats of carving. Large jade animal carvings represent some of the finest jade products of the early Qing dynasty, leading to the heights of achievement associated with the reign of the Qianlong emperor. Animals including tigers, horses, and elephants were popular, as were mythical beasts such as the qilin or the Buddhist lion.Tigers have been of great importance in Chinese culture since the earliest surviving records of Chinese history, with the character 虎 appearing on Shang-era oracle bones. In ancient China, the Siberian and Bengal tigers were common in the northeast and southwest respectively, and tigers figure prominently in Chinese myth, astrology, poetry, painting, and other fields. Most prominently, the tiger has long been regarded as a major symbol of masculine yang energy and the king of the animals.Literature comparison:Compare a related large spinach-green jade Buddhistic lion, 19.8 cm wide, date to the Qianlong period, formerly in the collections of R.C. Bruce, the 3rd Baron Alington of Crichel, and the Hon. Mrs Mary Anna Marten OBE, illustrated by S.C.Nott in Chinese Jade Throughout the Ages, Rutland, Vermont, 1973, pl. LXIII. Auction result comparison: Type: Related Auction: Woolley & Wallis, 17 November 2010, lot 342 Price: GBP 440,000 or approx. EUR 888,000 converted and adjusted for inflation at the time of writing Description: An extremely rare Chinese Imperial gilded spinach-green jade Buddhist lion dog, Qianlong period Expert remark: Compare the related color with a similar albeit slightly more uneven green tone, and compare the related manner of carving. Note the size (20 cm).Auction result comparison: Type: Related Auction: Woolley & Wallis, 20 May 2009, lot 388 Price: GBP 3,400,000 or approx. EUR 7,120,000 converted and adjusted for inflation at the time of writing Description: The Pelham Water Buffalo, Qianlong period Expert remark: Compare the closely related even tone of spinach green, and the related manner of carving. Note the size (20.8 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2013, lot 1962 Price: HKD 275,000 or approx. EUR 41,000 converted and adjusted for inflation at the time of writing Description: A pair of carved spinach-green jade rams Expert remark: Compare the related color and manner of carving. Note the size (17.5 cm) and that the lot comprises a pair. 乾隆時期後半葉菠菜綠玉虎中國，約1760-1795年。 老虎由一整塊玉石雕刻而成，呈臥姿，雙腿收在身體下方，尾巴捲曲到一側。玉虎大眼圓睜，濃眉，細須，齜牙咧嘴，似乎在發出咆哮，耳朵向後仰。表面拋光精美，呈均勻且非常純淨的深菠菜綠色調，帶有一些微小的黑色斑點和冰冷的内沁。可能是和田玉。 來源：法國古玩交易。 品相：狀況極佳，極少磨損。玉石有輕微天然裂隙，有的可能已發展成細小的裂紋。 重量：1,488.3 克 尺寸：長 15.3 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A LIU QING 'KINGFISHER AND LOTUS' BAMBOO WRISTREST BY XU YAN, CHINA, DATED 1944Expert's note: The highly intricate technique of liu qing demands an exceptional level of skill, leaving absolutely no margin for error as the artist delicately carves away the negative space of the yellow-green skin to unveil the desired scene amongst the darker and more fibrous inner layer. The stunning result creates an effect of traditional Chinese brush and ink painting.Exquisitely carved on the convex side in the liu qing technique, partially reserving the bamboo skin, to depict a resting kingfisher beside a pond with a large lotus blossom as well as furled leaves, lily pads, and two fish.Inscriptions: Left, signed and dated 'Xu Yan in the Spring of 1944', and titled 'Lotus Pond Pleasure'. Two seals of the artist. Lower right, one seal of the artist.Provenance: Chicago trade.Condition: Good condition with minor old wear, expected age cracks, few tiny losses.Weight: 193.4 gDimensions: Length 32.2 cm Wristrests have been used for centuries in Chinese calligraphy and painting, and they continue to be valued by artists who practice these traditional art forms. They serve as practical tools allowing the artist to make delicate brushstrokes or intricate calligraphy, also alleviating fatigue by providing a comfortable position and reducing strain on the muscles and tendons of the hand and wrist.The pairing of a kingfisher and lotus has been a popular theme in Chinese art and literature for centuries. The kingfisher, revered for its vibrant and iridescent feathers, is seen as an auspicious symbol of prosperity and believed to possess protective qualities against evil spirits and misfortune. The lotus, with its ability to emerge from murky waters and blossom into a beautiful flower, is seen as a metaphor for resilience and strength in the face of adversity.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 26 May 2013, lot 11 Price: HKD 100,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A finely carved bamboo 'bird and lotus' wristrest, signed Xu Subai (1909-1975) Expert remark: Compare the closely related wrist rest form, bird and lotus subject, and liu qing technique. Note the smaller size (27 cm). 竹雕《荷塘清趣》臂擱，許炎款淺浮雕採用留青技法，部分保留竹皮，刻畫在池塘邊站在荷葉莖上的翠鳥，荷花盛開，荷葉捲曲，水中兩條小魚在戲耍。留青工藝極精，能於薄薄的青筠中區分出多個層次，表現物象的透視關係。雜以淺浮雕，多種技法的配合。 款識：荷塘清趣，甲申三月許炎刻。 來源：芝加哥古玩交易。 品相：狀況良好，有輕微磨損，有老化裂紋與微小缺損。 重量：193.4 克 尺寸：長 32.2 厘米拍賣結果比較： 形制：非常相近 拍賣：香港邦翰斯，2013年5月26日，lot 11 價格：HKD 100,000（相當於今日EUR 15,000） 描述：留青柳葉荷塘情趣臂擱 專家評論：比較非常相近的外形，蓮和鳥紋，以及留青技巧。請注意尺寸較小(27厘米)。

AN OFFICIAL SCHOOL ROCK CRYSTAL 'GOLDFISH' SNUFF BOTTLE, INSIDE-PAINTED BY YE ZHONGSAN (1875-1945), DATED 1926Expert's note: This author has never before seen such a successful combination of Official School carving with inside painting. Note how the lapidary ingeniously incorporated the moss-green and honey-caramel inclusions in the carving of the algae and fish, respectively.China, the bottle ca. 1750-1850, the painting dated 1926. The crystal body very well hollowed, of rounded rectangular form, rising from a short oval foot to a cylindrical neck with a flat lip. The yellow and green inclusions carved skillfully and in remarkably high relief to one side with goldfish and seaweed, respectively, the reverse carved in low relief with a figure standing below a towering rock with some bamboo. The translucent stone painted to the interior with catfish and goldfish swimming amid aquatic plants.Inscriptions: Top left, signed and dated 'Ye Zhongsan in the Year of Bingyin [corresponding to 1926]'.Provenance: French trade, formerly with Bob Hall, London, United Kingdom. Robert 'Bob' Hall is one of the leading dealers of Chinese Snuff Bottles. He has played a vital role in the formation of many of the world's great collections, including the Mary and George Bloch Collection. His wide knowledge of the subject has enabled him to produce numerous publications and articles, such as his series Chinese Snuff Bottles I to XVI (1987-2011).Condition: The bottle with minor old wear, minuscule nibbles here and there, and expected natural inclusions, flaws and fissures, some of which may have developed into hairline cracks over time. The backside with a small blemish to the center, probably also a result of natural cracks which have expanded over centuries of usage. Please do thoroughly inspect all images available at www.zacke.at to see the condition details of this fine bottle.Stopper: Stained organic materialWeight: 98.2 gDimensions: Height including stopper 80 mm. Diameter neck 22 mm and mouth 8 mm.Ye Zhongsan, from about 1904 onwards, began to take advantage of what we may presume to have been a weakening market for old snuff bottles in the wake of the gradually dying interest in snuff in favor of smoking cigarettes and the political turmoil that attended the aftermath of the Boxer Rebellion of 1899-1901 and the collapse of the Qing dynasty, which would follow in 1911. We suddenly see a reasonable number of old agate and crystal bottles where the natural color shades in the material are imaginatively used as the basis for ink-play paintings. It is quite remarkable that it took until the turn of the century for any inside-painting artists to realize the potential in using such materials that were, after all, readily available and, it would seem, crying out for such treatment. It was Ye Zhongsan's use from the early years of the last century onwards that defined this particular branch of the art, and it remained his prerogative throughout his career, being adopted only occasionally by other artists, including Zhou Leyuan. This again seems strange, since once the idea was established, we might have expected other artists to respond more enthusiastically to it. But of course such initial enthusiasm may well have been impeded by the increased challenge of integrating one's personal artwork into an already existing natural and carved environment.Auction result comparison:Type: Closely related Auction: Sotheby's Paris, 22 June 2017, lot 164 Price: EUR 7,250 or approx. EUR 8,500 adjusted for inflation at the time of writing Description: A rock crystal snuff bottleExpert remark: Compare the closely related combination of carved rock crystal with inside painting by Ye Zhongsan. 水晶内畫金魚鼻煙壺，葉仲三款，1926年中國，鼻煙壺或爲 1750-1850年，内畫成於1926年。掏膛良好，圓柱躰頸部，橢圓形圈足。内畫描繪水草間嬉戲的金魚。外壁一面淺浮雕金魚海藻，另一面一個漁夫撐船於山岩下而過。石料具有獨特的天然內含物，猶如黑色水藻，藝術家將其精心融入到他描繪的水下場景。 款識：丙寅仲秋葉仲三作 來源：法國古玩貿易，之前為英國倫敦Bob Hall。Robert 'Bob' Hall是中國鼻煙壺的主要經銷商之一。他在世界上許多重要收藏的形成過程中發揮了至關重要的作用，其中包括Mary and George Bloch收藏。他十分瞭解鼻煙壺並撰寫了大量文章，例如他的系列《中國鼻煙壺 I 至 XVI》（1987-2011年）。 品相：瓶子有輕微磨損，大面積微小的磕損，天然內沁、瑕疵和裂縫，其中一些可能隨著時間的推移發展成裂紋。背面中央有一個小瑕疵。詳情見 www.zacke.at 上提供的所有圖片，以了解此瓶的詳細信息。 壺蓋：有機材料染色 重量：98.2 克 尺寸：含蓋高80 毫米，頸部直徑22 毫米及壺口直徑8 毫米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2017年6月22日，lot 164 價格：EUR 7,250（相當於今日EUR 8,500） 描述：1911年葉仲三水晶內畫游魚圖鼻煙壺 專家評論：比較非常相近的水晶雕刻與葉仲三內畫。

AN INSIDE-PAINTED SMOKEY CRYSTAL SNUFF BOTTLE BY YE BENGQI, CHINA, 1920-1940Of flattened form, the rounded rectangular body supported on a thick foot and surmounted by a short cylindrical neck. Delicately painted in a crisp color palette with a bird about to land on a lychee branch to one side and a long-tailed bird resting and singing on a peach bough to the other.Inscriptions: To one side, signed 'Ye Bengqi'. One seal.Provenance: Collection of Maria and Johannes Nickl, thence by descent in the same family. The base with an old collector's label, '5'. Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna's tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel ('Roll of Honor') of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today.Condition: Very good condition with minor wear and expected manufacturing irregularities, two tiny nibbles to the edge of the foot.Stopper: Jadeite Weight: 53.8 g Dimensions: Height including stopper 66 mm, Diameter neck 18 mm and mouth 6 mm Ye Bengqi was the son of the famous snuff bottle painter Ye Zhongsan (1875-1945) and the artist who revitalized the Beijing school of painting in the late 1950s. After World War 2, Ye Bengqi took on Wang Xisan (born 1938) as his student.Literature comparison: For another stylistically similar bottle signed Ye Zhongsan, see Lilla S. Perry, Chinese Snuff Bottles, The Adventures and Studies of a Collector, 1960, pp. 135-37, no. 131.Auction result comparison: Type: Related Auction: Christie's New York, 12 September 2018, lot 618 Price: USD 5,250 or approx. EUR 5,900 adjusted for inflation at the time of writing Description: An inside painted crystal snuff bottle, attributed to Ye Benqi, 1920-1940Expert remark: Compare the related style of painting and color palette. Note that this bottle is signed Ye Zhongsan but attributed to Ye Benqi. 1920-1940年葉蓁祺款內畫煙晶鼻煙壺扁平瓶，平口，圓柱形頸，削肩，橢圓形圈足。內畫，一面為飛向荔枝樹枝頭的小鳥，另一面則是一隻在桃樹枝上停留的喜鵲。 款識：葉菶祺作 來源：Maria 與Johannes Nickl收藏，在同一家族保存至今。底部有藏家舊標簽，上可見 '5'。Maria 與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。隨附一份於1996年10月30日由 Zacke藝廊出局的原始賬單複印件，收件人為Nickls，當時價格為 ATS 7,000 （根據通貨膨脹約為EUR 900）。Maria (1926-2022年) 與 Johannes Nickl (d. 2020) 住在奧地利維也納，是亞洲、佛教和埃及藝術品的熱心收藏家。他們在維也納的亞洲藝術貿易中非常活躍，並在 1980 年代和 90 年代收集了大部分藏品，經常從 Zacke 藝廊和後來的 Asboth藝廊購買。這對夫婦也是著名的博物館贊助人，他們的名字至今仍出現在維也納藝術史博物館（維也納美術博物館）埃及和近東藏品的 榮譽榜上。 品相：狀況極好，有輕微磨損和製造不規則性，足部邊緣有兩個小磕損。 壺蓋：翡翠 重量：53.8 克 尺寸：含壺蓋高66 毫米，頸部直徑18 毫米，壺口直徑 6 毫米 文獻比較： 一件風格相同的葉仲三鼻煙壺，見Lilla S. Perry，《Chinese Snuff Bottles，The Adventures and Studies of a Collector》，1960年，頁135-37，編號131。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2018年9月12日，lot 618 價格：USD 5,250（相當於今日EUR 5,900） 描述：1920-1940年葉仲三仿葉菶祺內畫鼻煙壺 專家評論：比較相近的內畫風格和顏色。請注意此壺雖是葉仲三簽名，但是是仿葉菶祺

A LARGE FAMILLE ROSE 'COWHERD AND WEAVER MAIDEN' SNUFF BOTTLE, IMPERIAL, JINGDEZHEN KILNS, DAOGUANG FOUR-CHARCTER MARK AND OF THE PERIODExpert's note: Remarkable attention to detail has been paid to the scene depicted on this bottle. The robes of Niulang for example are masterfully enameled with floral medallions showing incredibly fine detail. The magpies carry Zhinu and her attendant on brightly colored clouds, which confirms that this is the scene in the famous story where the two lovers eventually re-unite.China, 1821-1850. Masterfully painted in crisp polychrome enamels, gilt and iron red on a white ground with a continuous scene from the tale of the cowherd and the weaver maiden. The work shows Niulang wearing finely enameled and gilt robes atop his ox riding towards two maidens, Zhinu and her attendant, who are being carried down by magpies on brightly colored clouds. The compressed body is further decorated with a gilt band above the tall foot and another along the ring of the circular mouth.Provenance: German trade. By repute acquired from a private estate. Condition: Superb condition with expected wear from handling, some minor firing irregularities, and rubbing to the gilt.Weight: 132.3 g Dimensions: Height 9 cm. Diameter of the neck 19 mm and mouth 9 mm. The base with an iron red four-character mark Daoguang nian zhi and of the period.The story of the cowherd and the weaver maiden is a Chinese folk romance which originated from worship of celestial phenomena. It became very popular during the Daoguang period and tells of a young cowherd named Niulang (literally 'the cowherd,' representative of the star Altair) who came across seven celestial sisters bathing in a lake. Encouraged by his mischievous ox, Niulang stole the women's clothes and hid, watching for them to come out of the water. The sisters elected the youngest and most beautiful sister Zhinu (literally 'the weaver girl,' representative of the star Vega) to retrieve their garments. Zhinu agrees to retrieve them but realized she had been espied. Knowing Niulang had seen her nakedness, Zhinu decided to marry the cowherd after he proposed, enamored with her beauty. Both fell deeply in love and had two children. However, after the Goddess of Heaven discovered that Zhinu had married a mere mortal, she became outraged. The Goddess ordered Zhinu to return to heaven, and in an alternative version the Goddess forces Zhinu back to her former duty of weaving colorful clouds which she had neglected to do while living on earth. Heartbroken from the loss of Zhinu, Niulang's ox instructed Niulang to put him to death and don his hide, which would enable Niulang to go up to Heaven and find his wife. In grief Niulang did as instructed, sneaking into heaven with the help of his ox's hide. His act enraged the goddess who created a river in the sky to separate the two lovers, thus creating a divide between Altair and Vega. However, once a year the magpies would take pity on the two lovers and carry them in the sky to see each other. Auction result comparison: Type: Related Auction: Christies New York, 17 Sept 2008, lot 21 Price: USD 13,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: An Enameled Porcelain Snuff Bottle, Imperial, Jingdezhen Kilns, Daoguang Four-Character Seal Mark (1821-1850) Expert remark: Compare the technique of enameling, quality of painting, molding of the ware, mark and style. Note the smaller size (5.8 cm). 道光款及年代粉彩《牛郎織女》鼻煙壺，御用景德鎮窯中國，1821-1850年。圓柱體頸部，溜肩，鼓腹，圈足。白地琺瑯彩、鎏金和礬紅釉通景描繪牛郎織女相識的場景。牛郎正站在牛旁邊，向兩位神女拱手；另一面，織女們站在五彩祥雲上，四周喜鵲飛舞。圈足内有礬紅色四字款“道光年製"。 來源：德國古玩交易，據説來自一個私人莊園。品相：品相極好，磨損、一些輕微的燒製不規則，以及鎏金磨損。 重量：132.3 克 尺寸：高9 厘米，頸部直徑19 毫米及壺口直徑9 毫米 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2008年9月17日，lot 21 價格：USD 13,750（相當於今日EUR 16,500） 描述：道光款及年代景德鎮御用琺瑯鼻煙壺 專家評論：比較琺瑯技巧、繪畫材質、模型、款識和風格。請注意尺寸較小(5.8 厘米)。

A 'LADY AND PAGODA' REVERSE GLASS PAINTING, CHINA, 18TH CENTURYDepicting a smiling woman in a neatly gilt and ornate salmon-pink robe, posing in a scenic landscape with a pagoda and a sailboat lazily cruising the river. In the foreground with craggy rocks and towering trees, all painted in intricate detail.Provenance: Dutch trade, by repute acquired from a local private estate.Condition: Very good condition with minor wear, few light scratches, minor stains, and rubbing to the colors. The wood frame with wear, few nicks, and shallow scratches. The colors quite crisp, and thus displaying remarkably well.Dimensions: Size 23.3 x 20.6 cm including the frame, image size 19.2 x 17.1 cm With an old European wood frame. (2)Auction result comparison:Type: Closely relatedAuction: Christie's London, 22 July 2020, lot 47Price: GBP 52,000 or approx. EUR 77,500 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese reverse glass paintings, probably 18th centuryExpert remark: Note the larger size (48 x 40 cm) and that this lot contains two paintings. 十八世紀玻璃畫貴婦肖像描繪了一位裝扮華美的貴婦，身披杏粉色綢緞外袍，背景風景如畫，假山茂林；遠處有一座寶塔和一艘在河上航行的帆船。 來源：荷蘭古玩交易，據說是從當地私人莊園獲得的。 品相：狀況極好，有輕微磨損、輕微劃痕、輕微污漬和顏色磨損。木框架有磨損，少量刻痕和淺劃痕，顏色非常清晰。 尺寸：總23.3 x 20.6 厘米，畫面 19.2 x 17.1 厘米 歐洲老木框 (2) 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2020年7月22日，lot 47 價格：GBP 52,000（相當於今日EUR 77,500） 描述：或為十八世紀一對玻璃畫貴婦肖像 專家評論：請注意尺寸較大 (48 x 40 厘米) ，此為一對。

A GESSO AND STUCCO FRESCO DEPICTING TWO CELESTIAL MAIDENS, YUAN TO MING DYNASTYChina, 13th-16th century. The rectangular panel fragment finely painted in polychrome pigments with details gilded and picked out in neatly applied gesso relief. The celestial maidens both with serene expressions, adorned in flowing robes and elaborate headdresses.Provenance: Belgian trade.Condition: Excellent condition, commensurate with age. Old wear, soiling, flaking and losses to gilt and gesso. The pigments are remarkably well preserved with only minor fading and minimal losses.Dimensions: Image size 77 x 47 cm, Size incl. frame 84 x 54 cm With an old Chinese wood frame and brass hook for suspension. (2)The present stucco fresco was inspired by earlier depictions of Buddhist deities, like the ones seen in the Mogao grottoes at Dunhuang. Ming painters of Buddhist subjects sought to mimic the style of the Tang dynasty artist Wu Daozi, considered a master of Buddhist mural paintings. Examples of Ming paintings executed in the tradition of Wu are discussed in 'Latter Days of the Law: Images of Chinese Buddhism 850-1850' by Helen Foresman, Spencer Museum of Art, Kansas, 1995, pages 55 and 446. Followers also studied and adhered to Wu's Eight Classes of Supernatural Beings (Tian Long Ba Bu Zhen Ji), whose classification included 'celestial beings, musical demigods, and mythical bird-gods'.Literature comparison: Compare the sculpture and murals in Cave 57 of the Mogao grottos at Dunhuang, illustrated in Roderick Whitfield et. al., Cave Temples of Mogao, Art and History on the Silk Road, Los Angeles, 2000, p. 37, as well as the murals of bodhisattva in caves 172 and 199, illustrated in Chang Shuhong, The Art Treasures of Dunhuang, Hong Kong and New York, 1981, paying close attention to the garments and ornamentation of the figures.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 20 March 2019, lot 693 Price: USD 18,750 or approx. EUR 20,000 converted and adjusted for inflation at the time of writing Description: A polychrome stucco fresco fragment, Yuan/Ming dynasty Expert remark: Compare the closely related technique with similar elaborate headdresses gilded and picked out in gesso relief and the manner of painting with similar serene expressions and flowing robes. Note the near-identical size (77 x 55 cm).Auction result comparison: Type: Related Auction: Sotheby's New York, 23 September 2020, lot 608 Price: USD 12,600 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A polychrome stucco fresco fragment, Ming dynasty Expert remark: Compare the closely related technique with similar elaborate headdresses gilded and picked out in gesso relief and the manner of painting with similar serene expressions and flowing robes. Note the smaller size (66 x 41.5 cm) and that this fresco was probably trimmed in the 20th century. 元至明彩繪灰泥《神女》壁畫中國，十三至十六世紀。彩繪兩位神女，手持儀仗，神情安詳，身著飄逸的長袍，頭戴精緻的發飾，背景是祥雲。多色顏料繪製，局部描金。來源：比利時古玩交易。 品相：品相極佳，有磨損、髒污、剝落以及鍍金和石膏的缺損。彩繪保存得非常好，只有輕微的褪色和缺損。 尺寸：畫面77 x 47 厘米, 總84 x 54 厘米 中國木框和用於懸掛的黃銅鉤。 (2)文獻比較： 比較敦煌莫高窟第57窟的雕塑和​​壁畫，見Roderick Whitfield編，《Cave Temples of Mogao，Art and History on the Silk Road》，洛杉磯，2000年，頁37。以及另一件敦煌莫高窟第172窟和199窟，見Chang Shuhong，《The Art Treasures of Dunhuang》，香港和紐約，1981年，非常相近的人物的服裝和裝飾。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月20日，lot 693 價格：USD 18,750（相當於今日EUR 20,000） 描述：元 / 明灰泥彩繪天女圖壁畫殘部 專家評論：比較非常相近的技術，以及相似的精緻的頭飾，鍍金並以石膏浮雕、繪畫風格，以及相似的平靜的表情和飄逸的長袍。請注意幾乎相同的尺寸(77 x 55 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2020年9月23日，lot 608 價格：USD 12,600（相當於今日EUR 13,500） 描述：明灰泥彩繪天女圖壁畫殘部 專家評論：比較非常相近的技術，以及相似的精緻的頭飾，鍍金並以石膏浮雕、繪畫風格，以及相似的平靜的表情和飄逸的長袍。請注意尺寸較小(66 x 41.5 厘米) ，以及這壁畫可能在二十世紀被修復過。

A BLUE AND WHITE 'DRAGON' STEM CUP, SECOND HALF OF THE MING DYNASTYChina, 16th-17th century. Delicately potted, the cup stands on a long stem with a bow string just below the cup. The stem is decorated in cobalt blue with geometric designs, painted in thin brush strokes. The cup is painted with a stylized dragon and bi-disk, the interior with a central stylized flaming pearl.Provenance: From the estate of a notable Hong Kong family, who brought a substantial collection of ceramics, porcelains, and other Chinese works of art with them when they immigrated to Canada in the 1950s. Thence by descent within the family to the last owner. Condition: Very good condition, commensurate with age, with minor wear. Some firing irregularities, minimal pitting, and part of the recessed base with light orange inclusions from overfiring.Weight: 57.8 g Dimensions: Height 7.4 cm, Diameter 6.7 cm Literature comparison:Compare a related blue and white stem cup with a similar form, 8.3 cm high, dated to the first half of the 14th century, in the Metropolitan Museum of Art, accession number 1986.97.1. Compare a closely related stem cup with a similar style of decoration, 6.2 cm high, dated to the early 17th century with an apocryphal Chenghua mark, in the British Museum, registration number 1943,0215.14 published by Jessica Harrison-Hall in Catalogue of Late Yuan Ming Ceramics in the British Museum, London, 2001.Auction result comparison: Type: Related Auction: Christie's New York, 29 March 2023, lot 97 Price: USD 6,300 or approx. EUR 5,700 converted at the time of writing Description: A blue and white 'Shou' stem cup, Ming dynasty, 17th century Expert remark: Note the similar bow string around the stem and the related decorations. Note the size (14.7 cm).Auction result comparison: Type: Related Auction: Christie's 16 October 2001, lot 127 Price: USD 25,850 or approx. EUR 41.000 converted and adjusted for inflation at the time of writing Description: An early Anhua-decorated blue and white stem cup, late 14th century Expert remark: Note the related motif and cup form. Note the size (9.5 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 9 November 2016, lot 331 Estimate: GBP 5,000 or approx. EUR 8,500 converted and adjusted for inflation at the time of writing Description: A blue and white stem cup, Ming dynasty, 15th/16th century Expert remark: Note the related painting style and cup form. 明代下半葉青花龍紋高足杯中國，十六至十七世紀。杯口微撇，下承中空竹節狀手柄。器型高雅。杯心繪雲紋火珠，杯壁繪螭龍，杯足以蕉葉紋為飾。青花發色純正，紋飾靈動。 來源：香港一個著名家族的遺產，該家族在二十世紀五十年代移居加拿大時，隨身攜帶了大量陶器、瓷器和其他中國藝術品。從那時起，藏品在同一家族一直傳承到如今的最後一位主人。 品相：狀況極好，有輕微磨損，小凹坑，凹陷底座的一部分因過度燒製而帶有淺橙色夾雜物。 重量：57.8 克 尺寸：高7.4 厘米，直徑 6.7 厘米 文獻比較： 比較一件相近的十四世紀上半葉青花杯，高8.3 厘米，收藏於大都會藝術博物館，館藏編號1986.97.1。比較一件非常相近的十七世紀早期成化款青花杯，高6.2 厘米，收藏於大英博物館，館藏編號1943,0215.14，出版於Jessica Harrison-Hall，《Catalogue of Late Yuan Ming Ceramics》， 收藏於大英博物館，倫敦，2001年。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2023年3月29日，lot 97 價格：USD 6,300（相當於今日EUR 5,700） 描述：中國明十七世紀青花壽字紋高足盃 專家評論：請注意相似的的弓弦和相近的裝飾。請注意尺寸(14.7 厘米)。 拍賣結果比較： 形制：相近 拍賣：佳士得，2001年10月16日，lot 127 價格：USD 25,850（相當於今日EUR 41.000） 描述：十四世紀末期青花杯 專家評論：請注意相近主題和杯的外形。請注意尺寸(9.5 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，9 11月 2016年，lot 331 估價：GBP 5,000 EUR 8,500 （相當於今日） 描述：明十五/十六世紀青花獅戲繡球紋高足盃 專家評論：請注意相近的彩繪風格和杯的外形。

A MONUMENTAL BLUE AND WHITE 'KRAAK' CHARGER, WANLI PERIODChina, 1572-1620. The rounded sides supported on a short foot and rising to a flared and barbed rim. Boldly painted in shades of cobalt blue with a central star-shaped panel enclosing a qilin in an animated striding pose with the head turned backward amid rockwork, plantain leaves, swirling clouds, and pines, surrounded by alternating floral designs and brocade patterns. The broad rim is decorated with radiating panels enclosing auspicious treasures and floral sprays separated by further brocade patterns and geometric designs. The exterior with stylized flaming pearls within lappets.Provenance: From an old private collection in Berlin, Germany. Condition: Old wear and firing irregularities, including pitting, glaze recesses, and kiln grit. A small hairline to the rim and a minute chip to the foot. The rim with some fritting inherent to manufacturing. Overall in very good condition, commensurate with age and size, and displaying exceptionally well.Weight: 3,655 g Dimensions: Diameter 50.8 cm Auction result comparison: Type: Closely related Auction: Christie's Amsterdam, 1 April 2009, lot 214 Price: EUR 11,250 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A Chinese late Ming blue and white 'kraak porcelain' charger, circa 1595-1610 Expert remark: Compare the closely related form and decoration, with a related central motif albeit depicting a tiger. Note the smaller size (46.9 cm).Auction result comparison: Type: Closely related Auction: Christie's London, 17 May 2013, lot 1373 Price: GBP 10,625 or approx. EUR 19,000 converted and adjusted for inflation at the time of writing Description: A very large blue and white kraak porcelain charger, Wanli period Expert remark: Compare the closely related decoration and manner of painting with similar panels enclosing precious objects alternating with floral sprays. Note the similar size (52.7 cm). 萬曆時期青花克拉克瓷大盤中國，1572-1620年。克拉克瓷盤敞口外翻，淺弧腹，圈足。盤心繪奔跑中的麒麟，周圍是岩石、芭蕉葉、漩渦雲和松樹。盤內壁可見如意形開光，開光裡有花卉紋與雜寶紋相間。開光之間珍珠紋相隔。紋飾清晰流暢，青花髮色純正，胎體輕薄，製作頗精。 來源：德國柏林私人舊藏。 品相：磨損和燒製不規則，包括麻點、釉面凹陷和窯砂。邊緣處有一條細小的冲線，腳部有一處微小的缺口。邊緣有一些磨損。重量：3,655 克 尺寸：直徑 50.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：阿姆斯特丹佳士得，2009年4月1日，lot 214 價格：EUR 11,250（相當於今日EUR 15,500） 描述：約1595-1610年明晚期青花克拉克瓷大盤 專家評論：比較非常相近的外形和裝飾，相近的主題 ，但中間有一虎紋。請注意尺寸較小 (46.9 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2013年5月17日，lot 1373 價格：GBP 10,625（相當於今日EUR 19,000） 描述：萬曆時期青花克拉克瓷大盤 專家評論：比較非常相近的裝飾、繪畫風格，與花卉交替出現。請注意相似的 尺寸 (52.7 厘米)。

AN INSIDE-PAINTED GLASS 'FISH AND INSECTS' SNUFF BOTTLE, BY ZHOU LEYUAN, CHINA, DATED 1890Expert's note: According to Hugh Moss, “Zhou Leyuan began to paint this subject of fish and insects with a grassy rock bank quite early in his career, but most of the subject date from 1891 and 1892, the last two full years of production when it obviously became a popular part of his repertoire. Although Zhou repeated subjects, he never repeated compositions, every single bottle being re-thought as a work of art, unlike most of his contemporary artists who were largely decorative and repeated both subjects and compositions frequently. This is the form the subject generally takes in these later years, with the grassy bank wrapped around the bottle, but this is an early version of the classic subject."Of flattened form, the rounded rectangular body supported on a rimmed oval foot, rising to a slightly flared cylindrical neck with a flat lip. Powerfully painted bold rocks next to a meandering stream with some celestial eye goldfish and a catfish, and buzzing dragonflies and beetles above.Inscription: To one side, signed 'Zhou Leyuan' and dated 'In the first Autumn month of 1890'. One red seal, 'Yuanyin'.Provenance: Hugh Moss Ltd., Hong Kong, November 1997. Collection of Dr. Elsa R. Graser, Baltimore, USA, acquired from the above. Collection of Cynthia G. Locke, inherited from the above and thence by descent. The base with an old collector's label, '3445'. A copy of the original invoice from Hugh Moss Ltd., Hong Kong, dated 8 November 1997, stating a purchase price of USD 5,000 or approx. EUR 8,800 (converted and adjusted for inflation at the time of writing), accompanies this lot. Also with a copy of a letter written and signed by Hugh Moss, addressed to Elsa Graser, dated 10 November 1997, noting that Zhou Leyuan is Moss's favorite inside painting artist and in his opinion “incredibly better than most of the others." Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and the foremost authority on Chinese snuff bottles. Elsa R. Graser was a teacher of Latin and English and one of the first women on the faculty of the Baltimore Polytechnic Institute. An avid collector of snuff bottles, she served as editor of the Journal of the International Chinese Snuff Bottle Society. Her daughter Cynthia Graser Locke (1923-2019) also collected snuff bottles and lived in Duxbury, Massachusetts.Condition: Very good condition with minor wear and slight fading of colors and seal.Stopper: Aquamarine, neatly carved in 'Beijing' style in the shape of an official's hat, complete with integral finial and collar Weight: 32.8 g Dimensions: Height including stopper 68 mm. Diameter neck 15 mm and mouth 6 mm. Zhou Leyuan is the founder of the popular Beijing school of painting. His career spanned the period from 1881 to 1893. Every single artist of the first phase of the school owed a considerable debt to Zhou, and most began their careers by copying his style and signing his name. Some even devoted most of their careers to producing copies of his work. Hugh Moss has described Zhou Leyuan as “the single most important artist in the entire field of inside-painted snuff bottles".Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 28 November 2011, lot 4Price: HKD 100,000 or approx. EUR 16,500 adjusted for inflation at the time of writing Description: An inside-painted glass 'Shen Zhou inspired' snuff bottle, Zhou Leyuan, the Studio of Thirty-six Memorials, probably Beijing, dated 1891Expert remark: Compare the closely related composition, form, and size (6.89 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 25 May 2011, lot 121Price: HKD 84,000 or approx. EUR 14,000 adjusted for inflation at the time of writing Description: An inside-painted glass 'goldfish' snuff bottle, Zhou Leyuan, dated 1890Expert remark: Compare the closely related composition, form, and size (6.2 cm). 1890年周樂元款內畫《蜻蜓與魚》料器鼻煙壺由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

AN INSIDE-PAINTED GLASS 'CAT' SNUFF BOTTLE, BY WANG XISAN, CHINA, DATED 1959Expert's note: Between 1958 and 1962, Wang Xisan often used a simplified form of the character 'Xi' in his signature. From 1963 onwards, he used the traditional form of this character. The artist's early works are exceedingly rare. For more snuff bottles painted by Wang Xisan from 1959 to 1962, signed with a simplified 'Xi' character, see Wang Ziyong, 60 Years of Wang Xisan's Art Life, Hebei Fine Arts Publishing House, pages 14-15 and 21-23.The flattened globular body raised on a short oval foot and surmounted by a cylindrical neck with flat lip, the shoulders well carved with lion masks suspending mock ring handles in high relief. Masterfully painted to one side with a cat in a rocky landscape amid blooming narcissus. The other side with a prancing cat chasing two butterflies.Inscriptions: To one side, signed 'Wang Xisan' and dated 'jihai nian zhongdong' (mid-winter of 1959). One red seal.Provenance: From a private collection in San Diego, California, USA.Condition: Very good condition with only minor wear, expected manufacturing irregularities, and few minuscule nicks.Stopper: Finely carved coral with chilong decoration, most likely matching Weight: 62.9 g Dimensions: Height including stopper 66 mm. Diameter neck 15 mm and mouth 8 mm. Born in 1938, Wang Xisan (Wang Ruicheng) was the star pupil of Ye Bengqi, the son of Ye Zhongsan, the artist who revitalized the Beijing school of painting in the late 1950s. Ye Bengqi took up the art of enameling again in the early 1960s to teach Wang Xisan, and with earlier Wang Xisan bottles, it is sometimes difficult to distinguish them from his teacher's, or, in some cases, from earlier Qianlong examples. For a discussion on the artist Wang Xisan see H. Moss, V. Graham and K.B. Tsang, A Treasury of Chinese Snuff Bottles, the Mary and George Bloch Collection, Vol. 6, Part 1, Hong Kong, 2008, pp. 273-275. The authors note: “As an artistic genius, Wang rapidly became one of the finest of all enamellers, both artistically and technically, that China has ever produced".Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 March 2018, lot 8000Price: USD 25,000 or approx. EUR 28,000 adjusted for inflation at the time of writing Description: An inside painted crystal snuff bottle, Wang Xisan, 1972Expert remark: Compare the closely related subject and form. Note that this bottle is a later version of the present lot and that it is made from crystal. Also note the similar stopper. 1959年王習三款玻璃內畫《貓》鼻煙壺扁平壺，平唇，圓柱形頸部，削肩，肩部獅面啣環輔首，腹下收斂，橢圓形圈足。壺內一面內畫一隻貓在盛開的水仙花旁休憩； 另一面有一隻在追逐兩隻蝴蝶的貓，刻畫得生動活潑。專家注釋： 1958年至1962年間，王習三的簽名中經常使用簡化的“習"字。 從1963年起，他一直使用繁體字。這位元藝術家的早期作品極為罕見。更多王習三1959年至1962年使用簡體字“習"字的鼻煙壺，參見王自勇《王習三內畫情緣60年》，河北美術出版社，第14-15頁和第21-23頁。 款識：己亥年仲冬，京都王習三；紅印一枚 來源：美國加州聖地亞哥私人收藏。 品相：狀況極好，只有輕微磨損、製造不規則以及一些微小的刻痕。 壺蓋：珊瑚雕螭龍紋，應爲原配 重量：62.9 克 尺寸：含壺蓋高 66 毫米，頸部直徑15 毫米，以及壺口直徑 8 毫米。 王習三，原名王瑞成，生於1938年，是五十年代後期振興京畫的葉仲三之子葉菶祺的得意門生。二十世紀六十年代初期，葉菶祺再次學習琺瑯工藝，並教授王習三，有時很難將他倆的作品與早期的乾隆時期鼻煙壺區分開來。有關藝術家王習三的討論，請參閱 H. Moss、V. Graham 和 K.B. Zeng《中國鼻煙壺珍寶，瑪麗和喬治布洛赫收藏》，第6卷 ，第 1 部分，香港，2008 年，第 273-275 頁。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2018年3月19日，lot 8000 價格：USD 25,000（相當於今日EUR 28,000） 描述：1972年王習三内畫水晶「狸奴」鼻煙壺 專家評論：比較非常相近的主題和外形。請注意此鼻煙壺較現拍品晚，但是是由水晶製成。請注意壺蓋相似。

A 'QIANJIANG CAI' ENAMELED 'LUSH FORESTS AND HIGH BAMBOO' PLAQUE, BY JIN PINQING (1862-1908)Expert's note: Qianjiang cai or 'pastel palette' enamels reflected the late Qing potter's increasing inability to produce the more technically demanding vibrant colors of the earlier High Qing or the later Republic period. To borrow a modern aphorism however, the determined late Qing artisans turned this 'bug' into a 'feature' - notably the dreamlike faintness of these colors became popular with the melancholy intelligentsia of the time and led to masterworks by the best, with Cheng Men (1833-1908) and Jin Pinqing (1862-1908), the painter of the present lot, being the most renowned.The rectangular plaque painted in orange, green, and blue tones with thinly applied enamels depicting a forest landscape with hills and mountains, bamboo groves and pine trees in the foreground. Two scholars sit conversing in a field while a third approaches them on foot, two houses with a tranquil river running beside it which disappears into the mountains. The plaque with a lengthy dedication written by Wang Fengchi (1824-1898), a scholar and official who was friends with Jin Pinqing and often collaborated with him on porcelain paintings.Inscriptions: Top center, titled 'Lush Forests and High Bamboo', signed 'written by Jin Pinqing', two seals. Top left, inscribed 'Some time ago in the Yijin Studio in the capital, I saw an ink painting by the master Wang Jian from Taicang with a lush forest. The landscape was quite unique. The [present] painting was painted for me by Pinqing in the style of porcelain paintings from Zhushan. The paintings complement each other. The ink style is so gentle and mild like a breath of air. The [original] painting was done in the Spring of the Year of Dingchou [corresponding to 1877] in the third year of the Guangxu era. I am very touched, thus I wrote this dedication. Wang Fenchi.'Provenance: Boston trade. Acquired from a private estate.Condition: Good condition with minor wear and firing irregularities, some of the enamels slightly faded and with minor rubbing and minimal losses, and light surface scratches. Weight: 2,651 gDimensions: Image size 26.3 x 40.7 cm. Size incl. frame 34.1 x 48.6 cm. With an associated gilt wood frame. (2)Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Auction result comparison: Type: RelatedAuction: Christie's London, 16 May 2014, lot 1254Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A large circular famille rose 'landscape' plaque, late 19th/20th century, dated Bingzi year, corresponding to 1874Expert remark: Note the size (47.6 cm diameter).Auction result comparison: Type: RelatedAuction: Bonhams San Francisco, 11 December 2015, lot 2291Price: USD 21,250 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A qianjiangcai enameled plaque, dated by inscription to 1894Expert remark: Note the size (55.2 cm). 金品卿(1862-1908) 淺絳彩《茂林脩竹》瓷板瓷板由王鳳池（1824-1898）所題，他是一位學者兼官員，與金品卿是好友，經常合作創作瓷畫。畫面筆力瀟灑，設色清麗。 款識: 品卿金誥寫；前在京都詒晉齋，見太倉王遠照先生有《茂林修竹》墨綃一幅，覺蘭亭風景皆入筆妙。此黟山品卿居士以珠山瓷笺寫寄吾宗。逢卿刺史，以補映帶者。覺筆墨間亦含惠風和暢之致。是幅成於光緒三年丁丑暮春之初，愚見而動幽情，書此訂再暢敘。王鳳池。來源：波士頓貿易，購自私人莊園。 品相：狀況良好，有輕微磨損和燒製不規則，一些琺瑯輕微褪色，有輕微摩擦、缺損，以及輕微的表面劃痕。 重量：2,651 克 尺寸：畫面26.3 x 40.7 厘米，總 34.1 x 48.6 厘米. 配有金漆木框。 (2)由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A FAMILLE ROSE AND GILT-DECORATED 'GUAN YU AND ZHANG FEI' PLAQUE, LATE QING DYNASTY TO REPUBLIC PERIODChina, 1850-1949. Exquisitely painted in remarkably fine detail with gilt and bright enamels to depict Guan Yu twirling his long beard seated on a tiger skin throne beside a standing Zhang Fei dressed in voluminous robes holding a golden staff, both looking toward a snarling dragon emerging from swirling clouds.Provenance: French trade.Condition: Very good condition with minor wear and firing irregularities, as well as small nicks and light scratches. The enamels are crisp and well preserved. The wood frame with wear, nicks and age cracks, as well as a nice patina overall.Weight: 1,993 gDimensions: Panel size 38.5 cm x 25.5 cm With a nice wood frame, most likely of the period. (2)Zhang Fei and Guan Yu were among the earliest to join the warlord Liu Bei, who later became the founding emperor of Shu Han, one of the Three Kingdoms of China. They shared a brotherly relationship with their lord and accompanied him on most of his early exploits. The three are important characters in the 14th-century historical novel Romance of the Three Kingdoms (Sanguo Yanyi), one of the Four Great Classical Novels of Chinese literature and arguably the most widely read historical novel in late imperial and modern China.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 14 September 2019, lot 1561Estimate: USD 4,000 or approx. EUR 4,400 converted and adjusted for inflation at the time of writingDescription: A famille-rose 'Li Tieguai' plaque, Republic periodExpert remark: Compare the related famille rose enamels and manner of painting. Note the closely related size (38 x 25 cm). 清末民初粉彩鎏金關羽張飛人物瓷板中國，1850-1949年。鎏金和明亮的琺瑯彩繪關羽坐在虎皮寶座上，捻著長須，旁邊是穿著寬大袍子的張飛，手持金刀。兩人擡頭望向雲中出現的飛龍。人物細節精美，表情刻畫生動。 來源：法國古玩交易。 品相：狀況極好，有輕微磨損、製造不規則、小刻痕和劃痕。釉質緊緻，保存完好。木框有磨損、刻痕和老化裂紋，整體包漿漂亮。 重量：1,993 克 尺寸：掛屏38.5 x 25.5 厘米 配精緻木架，可能為同時期。 (2) 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2019年9月14日，lot 1561 估價：USD 4,000（相當於今日EUR 4,400） 描述：民國粉彩李鐵拐及韓湘子圖瓷板 專家評論：比較相近的粉彩琺瑯和繪畫風格。請注意非常相近尺寸(38 x 25 厘米)。

AN INSCRIBED OVERLAY GLASS 'CAT AND BUTTERFLY' SNUFF BOTTLE, BY WANG SU, YANGZHOU SCHOOL, CHINA, 1820-1840Inscriptions: To the front, upper right, 'Xiaomou' (Little Prunus). The flattened bottle of rounded rectangular form, superbly carved through the outer olive-brown layer to the translucent milky-white body to one side with a cat seated on a pierced craggy rock beside flowering chrysanthemum, the feline looking up at two butterflies fluttering above. The other side is similarly decorated with sprays of bamboo springing from rockwork. Both sides are separated by sprigs of grass on the shoulders. The front is carved with a three-character inscription. Provenance: Robert Kleiner & Co. Ltd., London, United Kingdom, 2010. A private collection in the United Kingdom, acquired from the above. A copy of the original invoice from Robert Kleiner & Co. Ltd., dated 30 June 2010, confirming the signature of Wang Su and dating above, and stating the purchase price for the present lot of GBP 5,000 or approx. EUR 10,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Robert Kleiner (1948-2014) was an important expert of Chinese snuff bottles, beginning his long career at Sotheby's in London. Along with Hugh Moss and Bob Hall, he became a key advisor to the Mary and George Bloch collection, and it was Robert who wrote and produced the very first catalog of their bottles.The base lacquered with two old collector's inscriptions, '137' and 'JBO'. Condition: Superb condition with minimal surface wear, light scratches, and manufacturing irregularities.Stopper: Glass in imitation of coralWeight: 39.5 gDimensions: Height incl. stopper 75 mm, Diameter neck 14 mm and mouth 6 mm Wang Su (1794-1877) was a prominent literatus and painter from the Yangzhou area. Very few snuff bottles are actually signed by the artist, who preferred to use the seal 'Xiaomei' ('Little Prunus'), which he always used on his paintings as well. On one documentary bottle in a Hong Kong collection, both names appear together: 'Xiaomei, Wang Su' (see JICSBS, Spring 2001, page 23, fig. 26). Wang Su was also an accomplished seal carver. He seems to have lived his life in Yangzhou, was a professional painter who achieved a level of fame early in life, and probably was able to commission snuff bottles with his name on them. The earliest dated Xiaomei-signed bottle was made in 1821 (JICSBS Spring 2011, page 23, fig. 29), when he was in his late twenties and beginning to be known locally. He became more widely known and acknowledged as an artist only later in his career.Cats and butterflies are symbols of longevity. The cat (mao) is a homonym for 'seventy', while the butterfly (die) shares the same sound as 'eighty'. Together, they form a rebus for maodie. This term implies that one would live to be seventy or eighty - considered high age in ancient China.Literature comparison: Wang Su's name appears on a small group of bottles from the Li Junting School, including one in the Bloch Collection, illustrated Hugh Moss, Victor Graham, and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, Vol. 5, Glass, no. 1046. Compare another snuff bottle by Wang Su, illustrated in Robert Kleiner, Previous Playthings: Important Chinese Snuff Bottles From the Mack Collection, 2000, no. 34. Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 25 May 2011, lot 63 Price: HKD 120,000 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing Description: An inscribed olive-brown glass overlay 'hunter and fisherman' snuff bottle, Sun Shihua, probably Yangzhou, 1807-1867 Expert remark: Compare the closely related form, color with similar olive-brown overlay on milky-white ground, and manner of carving. Note the size (68 mm) and the different inscription. Update 25.9.2023: The design on the present bottle is likely based on a subject found in a Qing Huapu - a painting manual - from the second half of the 19th century in which Wang Su's works appears . The painter Wang Su himself was, however, not the carver who made the present lot, as once believed.1820-1840年王素涅白地套料耄耋鼻煙壺扁平壺，溜肩，修長，涅白地套橄欖棕色料，精美地雕刻著一隻貓，坐在盛開的菊花旁邊的假山上，貓抬頭看著上面飛舞的兩隻蝴蝶。另一面也裝飾著竹子和山石。款識：小某作 來源：英國倫敦Robert Kleiner & Co. Ltd.，2010 年；英國私人收藏，購自上述藝廊。隨附Robert Kleiner & Co. Ltd. 於 2010 年 6 月 30 日開具的原始發票副本，確認拍品出自王素，並註明的購買價格為 5,500 英鎊或約 10,000 歐元（在撰寫本文時已根據通貨膨脹進行換算和調整）。 品相：狀況極佳，表面磨損、輕微劃痕和製造不規則。 壺蓋：仿珊瑚料器 重量：39.5 克 尺寸：總高75 毫米，頸部直徑14 毫米，壺口 6 毫米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A PAINTED POTTERY 'MYTHICAL BEAST' STAND, EASTERN HAN DYNASTYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 12 July 2018, based on sample number C118j1, sets the firing date of two samples taken between 1400 and 2200 years ago. A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.China, 25-220 AD. Crisply modeled as a crouching winged mythical beast, with large eyes, upturned snout, pricked ears, and a short mane extending to the rectangular socket in the back, painted in red, yellow, blue, and black with feather markings and details on a cream-colored ground. The creature, made from two different types of clay, stands on four large three-clawed feet.Provenance: From a private collection in the Cotswolds, United Kingdom.Condition: Good condition, commensurate with age. Extensive wear with signs of weathering and erosion, flaking to pigments, surface scratches, minor losses including the lower section of the tail, small chips, a few structural cracks, encrustations, drilled holes from sample-taking, all exactly as expected from ancient Han dynasty excavations of this size. Presenting remarkably well.Weight: 5.9 kg Dimensions: Length 42.5 cm Literature comparison:Compare a similar figure excavated from an Eastern Han tomb at Xianyang, Shaanxi, illustrated in Zhongguo Meishu Quanji, Diaosu Bian 2, Qin Han Diaosu (The Great Treasury of Chinese Fine Arts, Sculpture, Qin and Han), Beijing, 1985, volume 2, page 48, pl. 129. Compare a similar pair included in the exhibition, Visions of Man in Chinese Art, Kaikodo, 17 March - 19 April 1997, no. 32. Auction result comparison: Type: Closely related Auction: Christie's New York, 16 September 1999, lot 265 Price: USD 25,300 or approx. EUR 43,000 converted and adjusted for inflation at the time of writing Description: An unusual painted gray pottery mythical beast stand, Eastern Han dynasty Expert remark: Compare the closely related modeling and manner of painting. Note the related size (43.2 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 March 2011, lot 1304Price: USD 25,000 or approx. EUR 31,500 converted and adjusted for inflation at the time of writingDescription: An unusual painted gray pottery mythical beast-form stand, Eastern Han dynastyExpert remark: Compare the closely related modeling and manner of painting. Note the related size (40.7 cm). 東漢彩繪神獸俑中國，西元 25-220 年。 造型簡潔，神獸成蹲伏狀，有翼、大眼，上翹的口鼻，立耳，短鬃毛延伸至背部，紅色、黃色、藍色和黑色彩繪。由兩種不同類型的粘土製成。 科學鑒定報告: 牛津認證公司於 2018年 年 7 月 12 日出具的一份熱釋光分析報告，基於編號為 C118j1 的樣本，確定了兩個樣本的製作日期為 1400 至 2200 年前。隨附一份由Doreen Stoneham 簽署的牛津認證報告副本。 來源：英國科茨沃爾德的私人收藏。品相：狀態良好，大面積磨損，有風化和侵蝕的跡象，顏料剝落，表面劃痕，包括尾部下段在內的輕微損失，小碎片，一些結構裂縫，結殼，取樣鑽孔。重量：5.9 公斤 尺寸：長 42.5 厘米 文獻比較: 比較一件相似的陶俑出土於陝西咸陽東漢墓，見《中國美術全集‧雕塑編2‧秦漢雕塑》，北京，1985年，卷 2，頁48，圖129。比較一件相似的一對陶俑，展覽於《Visions of Man in Chinese Art》，Kaikodo，1997年3月17日 - 4月19日，編號32。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，1999年9月16日，lot 265 價格：USD 25,300（相當今日EU R 43,000） 描述：東漢彩繪灰陶神獸俑 專家註釋：比較非常相近的模型和繪畫風格。請注意相近尺寸 (43.2 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24日，lot 1304 價格：USD 25,000（相當今日EUR 31,500） 描述：東漢彩繪灰陶神獸俑 專家註釋：比較非常相近的模型和繪畫風格。請注意相近尺寸 (40.7 厘米)。

A COMPLETE SET OF ANTHROPOMORPHIC ZODIAC FIGURES, PAINTED POTTERY, TANG DYNASTYExpert's note: It is rare to find a complete set of twelve zodiac animals. The present set is also unusual for the crispness of its modeling, especially the inspired sculpturing of the heads, with each face showing a unique expression and character. Special care was given to the ox, tiger, and monkey sculptures who are the only figures robed in red, black, and yellow, possibly suggesting a personal connection between the original owners and these years.China, 618-907. Each modeled as a human figure standing ramrod straight with hands clasped beneath the long sleeves of court robes belted below the waist, falling in crisp folds and fanning out in a circle over the tips of their shoes. The robes in shades of red, yellow, cream, and brown. The heads finely modeled comprising the complete group of twelve animals of the Zodiac: the rat, ox, tiger, rabbit, dragon, snake, horse, ram, monkey, rooster, dog, and pig. (12)Provenance: From a private collection in Sussex, United Kingdom, assembled during the 1990s, and thence by descent.Condition: Excellent condition overall, commensurate with age. Wear, weathering and erosion, the original pigments partially faded. Minor chips, cracks, and losses. Soil encrustations. Possibly with small old repairs here and there, as expected from ancient potteries aged more than a millennia.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 19 April 2021, based on sample number C121c56, sets the firing date of two samples taken between 900 and 1500 years ago. A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.Weight: 14.9 kg Dimensions: Height 31 cm (the tallest) Zodiac figures first appeared during the Han dynasty as artisans began casting representations of the animals in bronze as offerings. Form the Northern Wei dynasty (386-534 AD) onwards, the zodiacal animals began to be anthropomorphized, such as in the present lot, and often functioned as grave goods. The heads of each of these figures were molded separately from the bodies and were attached before firing. The hollow interior can be seen from the base, which was necessary to access when attaching the heads to the bodies. Remnants of the sculptors fingerprints are preserved in the interior of many of these figures.Literature comparison:Compare a closely related complete set of twelve zodiac animals, each 30.5 cm high, dated to the 8th century, in the Metropolitan Museum of Art, accession number 2000.662.7a-l. A related complete set of twelve pottery Zodiac figures, Tang dynasty, unearthed in the suburbs of Xi'an, Shaanxi Province in 1955 and currently in the Museum of Chinese History, Beijing, was included in the exhibition China. 5000 Years: Innovation and Transformation in the Arts, The Guggenheim Museum, New York, 1998, cat. no. 108. A related complete set of twelve zodiac animals, excavated in 1950 at Ba Qiao, Shaanxi Province, and currently in the Shaanxi Beiling Museum, was included in the exhibition Gilded Dragons, The British Museum, London, 1999, no. 63. Compare a related set of five zodiac animals, 25.4 cm high, dated to the Tang dynasty, in the Minneapolis Institute of Art, accession numbers 50.46.197-50.46.201.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 January 2019, lot 69 Price: USD 35,000 or approx. EUR 38,000 converted and adjusted for inflation at the time of writing Description: A set of six Chinese large painted red pottery zodiac figures, Tang dynasty Expert remark: Compare the closely related modeling and manner of painting. Note the size (54.2 cm) and that this lot is an incomplete set of only six figures, as opposed to the present lot which is a complete set of twelve. 唐代彩繪十二生肖陶俑中國, 618-907年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A PAIR OF MONUMENTAL GILT AND RED LACQUERED WOOD FIGURES OF BUDDHIST LIONS, LATE QING DYNASTYChina, 19th century. Both modeled standing in mirror image, the female with a pup clambering at her feet and the male with a pierced brocade ball, and each with a ball in their mouths. The fierce lions with deeply incised curly manes, mouths agape revealing sharp teeth, and a collar around the neck suspending bells. The rectangular stepped base carved with openworked dragons and petal lappets. (2)Provenance: From the private collection of Lu Xiaguang, and thence by descent. Lu Xiaguang (1906-1994) was a Chinese painter who became a protege of Xu Beihong in 1929 and learned oil painting in the Western style. On Xu's advice, he studied painting at the Ecole des Beaux-Arts in Paris and the Royal Academy of Belgium, after which he returned to Paris. He copied famous paintings from various schools in the Louvre, studied with great concentration, and collected paintings, art objects, and antiques. In 1984, he established the Lu Xiaguang Studio in Paris, which contributed to the cultural exchange between China and France. In 1993, Lu Xiaguang donated his life's work and his art collection of cultural relics, calligraphy, and painting to the People's Republic of China. His works and collection are permanently displayed in the Zhejiang Provincial Museum in Hangzhou. Condition: Good condition with old wear, expected age cracks, flaking and abrasions to lacquer, nicks, scratches, chips and losses. Minor old repairs. Fine, naturally grown patina overall - displaying exceptionally well.Dimensions: Height 145 cm and 148.5 cm Buddhist lion statues are an architectural decoration in front of an entrance to a temple, palace, business, tombs, and home. They are always found as a pair; one male with a ball under his right paw and one female with a cub under her left paw. These guardian lions are thought to protect the building from harmful spiritual influences and harmful people that might be a threat. The male lion guards the exterior of the building, while the female is in charge of the building's interior. The cub represents the continuity of protection.Lions are not native to China, and although live animals were brought to the Chinese court by foreign embassies since at least the Han dynasty (206 BC - AD 220), they were always exotic rarities. In India, the lion is intimately associated with Buddhism, considered a symbol of strength and protector of the Dharma, the Buddhist law, and with the growing popularity of the Buddhist religion during the Tang dynasty (618-907), pairs of lion figures were increasingly placed in front of Buddhist temple gates as guardian animals.The Yongle Emperor's international diplomacy efforts brought China once more in direct contact with foreign lands, their animals, plants and other exotica in the early Ming dynasty. The court welcomed foreign embassies and the Muslim seafarer and diplomat, Court Eunuch Zheng He (c. 1371-1435), embarked on seven extensive maritime expeditions to ports throughout Asia and as far as Africa, which continued into the Xuande reign. At this time, lions were apparently so little known in China that Ma Huan (c. 1380-1460), Zheng He's Muslim interpreter who accompanied him on three voyages, left us a contemporary account describing them in detail: “The lion has a body which resembles a tiger's in shape; it is a dark-yellow color, without stripes; it has a large head and a broad mouth; the tail tapers to a point, which has a lot of hair, black and long, like a tassel; the noise of its roar is like thunder. All the beasts, when they see it, fall down and dare not rise; it is indeed the king among the beasts" (J.V.G. Mills, ed., Ma Huan, Ying-yai Sheng-lan. The Overall Survey of the Ocean's Shores [1433], Hakluyt Society, London, 1970, reprint Bangkok 1997, p. 158-159).Although lions were among the exotic animals that had been brought to China already by some Timurid embassies, and on occasion were received as tribute by Zheng He's delegation, they were rare and desirable enough to be specially purchased on these voyages and be brought back to the court: during the sixth expedition in the Yongle reign, for example, when in 1421 the ships stopped in Aden (ibid., p. 50 and 159), and during the seventh voyage in the Xuande reign, when in 1431 a division of the fleet went to Mecca, where it had, among other things, brought porcelain items as gifts (ibid., p. 51 and 178). 清末一對紅漆描金太獅中國，十九世紀。母獅左前爪抬高摟著著一隻小幼崽，雄性右脚罩著一個花球。獅子火焰狀捲毛，嘴裏還叼著一個小球，雕刻手法細緻，神態生動可愛。(2) 來源：呂霞光私人收藏，傳承至今。呂霞光（1906-1994），中國畫家，1929年師從徐悲鴻，學習西洋油畫。在徐的建議下，他先後在巴黎美術學院和比利時皇家學院學習繪畫，之後返回巴黎。他在盧浮宮臨摹各流派的名畫，潛心研究，收藏繪畫、藝術品、古董。1984年在巴黎成立呂霞光工作室，為中法文化交流做出了貢獻。1993年，呂霞光將其畢生心血收藏的文物、字畫捐贈給中國。他的作品和收藏陳列於杭州浙江省博物館。 品相：狀況良好，有磨損、老化裂紋、剝落和漆面磨損、刻痕、劃痕和缺口，有小修。整體包漿細膩。 尺寸：分別高145 厘米與148.5厘米

A CHINESE PAINTING OF A MACAQUEInk on paper with red seal 24cm by 30cm, and a photographic reproduction of a Siamese cat after Guo Dawei (1919-2003), 64cm by 35.5cm, both framed and glazed (2)Macaque- some tears, holes and repairs to the paper.Siamese cat- extensive `foxing' to the paper. Some crease marks

Patience E Bishop -(1891-1927) An early 20th century still life watercolour painting in gilt frame with notation verso and date. To depict a table setting featuring 18th century Chinese porcelain bowl to centre with fuchsia's within and carnations atop a book with volumes of leather bound books behind. Signed to the corner by the artist. Measures 39cm x 84cm.

A selection of three 19th century Chinese paintings on rice paper. Each painting depicting children playing. Each set within double sided glazed frames. Each measures approx. 38cm x 47cm. 

After Vladimir Tretchikoff - The Chinese Girl - Boots - A mid 20th Century retro vintage print of the painting also known as 'The Green Lady' originally painted in Cape Town, the picture set within its original off-white wooden frame. Measures 61cm x 51cm

A large extensive collection of forty 20th century trinket / pill boxes and lidded containers. Various materials to include ceramic, wood, paper mache, marble, leather, glass and reed / grass. To include a Zulu herb container, Wood examples to include a hinged oak money box in the form of a treasure chest, Navajo native Indian Sand painting lidded box, Canadian maple wood hand carved revolving lid container, New Zealand mamaku wood lidded pot by Ponga Craft, a Chinese aluminium lined with carved exterior tea caddy and scoop, a Rocky Mountain lbox with 24k gold encased Aspen leaf to lid. Marble Examples to include a Rapa-Nui carved lidded pill container - Easter islands, Floral inlaid example from Subhash Emporium - India, Clay Layer example by Varve - South Africa. Ceramic examples from Mount Etna Ash rolled - Italy, Art Deco Paradise fine bone china pill box in a Clarice Cliff manner and a William Morris Willow Bough example - both from the Museum Collections Ltd, Gold, Silver and Silk embroidery example. Paper mache examples to include some original black lacquered box by BIMI. A resin pot by Ellyke Kalozdi - Bogota. Hand painted, inlaid and carved examples. Measures Largest 19cm x 13cm x 4cm. Smallest 3.5cm x 3.5cm x 3cm.

(Maritime Interest) three framed works and others, to include: F. E. Turner - Ship at sea in full sail, watercolour, bodycolour and pencil on paper, 46 x 23.5 cm, signed; After Henry Pether (fl.1828-1865) - 'The Thames and Greenwich Hospital by Moonlight', print by Larkfield Printing Co., published by National Maritime Museum, 54.5 x 36.5 cm; After Canaletto - Venice: The Bacino di San Marco from San Giorgio Maggiore, framed print; Lawson (20th century) - Naive style watercolour study of a bull, signed lower left, 18 x 29.5 cm (unframed); reproduction print of a Chinese painting of lingzhi fungus; and another print in colours (6)

Chinese fine brush kingfisher painting on pith, 57 cm square, and oval heavy wooden framed mirror

A 19th century Chinese blue and white vase, of cylindrical form, decorated with a dragon and bamboo, 45cm highCollection of dirt and dust with residue staining. Pitting and various kiln faults. Roughness to the base. An area of re-painting and possible restoration on the rim.

A 19th century Chinese blue and white bottle vase, 45cm highCollection of dust, dirt and staining. Kiln faults and pitting to the glaze. A large area of re-painting and possible restoration - see images

A Chinese printed scroll of a Ming Dynasty painting entitled 'Spring Festival on the River', boxed and with introductory paperwork, and a Chinese scroll ink painting of a landscape (2) Condition Report:Available upon request

A Chinese silk panel, depicting a pair of Kylin on a blue ground surrounded by bats and flowers, 75 x 33cm, a sleeve panel depicting ladies amongst pavilions, 54 x 23cm, and a Chinese ink calligraphy painting, 73 x 42cm (3) Condition Report:Available upon request

A Chinese watercolour scroll painting, depicting blossom trees with text inscription, panel 128cm x 62cm

A Chinese fan leaf painting, 19th century, painted with a sage playing an instrument while a boy sleeps beside him in a mountainous landscape with waterfall, inscribed and with red seal mark, approximately 53cm wide, remounted***CONDITION REPORT***There are a number of small old worm losses to the surface of the paper of the fan scattered all over, some staining in places, later remounted, otherwise reasonable condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Chinese painting on silk of a scholar recumbent on a daybed, 19th century, the figure holding a leaf in his right hand, a dog seated before him with a vase on a root wood table, image 26 x 23cm, in a huali wood frame, 48 x 42cm***CONDITION REPORT***The painting on silk has some slight staining and scuffs to the background. It has been re-mounted with silk border and a new card mount, now in a vintage huali wood frame.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.