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Click here to subscribeLi Yimang (Chinese, 1903-1990). Hanging calligraphy scroll painting, ink on paper. Marked with two red artist's seals along the lower left.Huaxin; height: 31 3/4 in x width: 17 in. Overall; height: 60 1/2 in x width: 20 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Pseudo-Roestraten, Attrib. (c.1700)Still life with carpet, porcelain, books and "memento more"Oil on canvas192x217 cm Still-live with rug, books and “memento mori”This painting, which we are presenting for sale at auction, features a composition that includes various objects dispersed on a table covered by a rug.In paintings, rugs are depicted to emphasise settings in which a significant episode is taking place. As an example, it is on a rug that Christian Saints are often portrayed and, it is also on rugs that some of the most relevant iconographic scenes, such as the Annunciation, unfold.From the 17th century onwards, rugs do also appear represented in secular contexts, within which they reflect concepts of opulence, exoticism, luxury, wealth, and social status. Although their early enjoyment was solely warranted to society’s most powerful and wealthiest, such as royalty and aristocracy, as the bourgeoisie’s economic power developed, oriental rugs did become conspicuous features in merchants and wealthy bourgeois portraits.In the late 17th and early 18th centuries, the relevance of rugs depictions in paintings diminishes considerably, simultaneously with the decreasing focus on the representation of details.Regarding the lot herein described, we highlight the presence of a rug covered table, over which is arranged a composition with various objects symbolizing a memento mori - Latin expression literally meaning “remember you must die” – that alludes to the levelling effect of death on earthly luxuries.The books, the papers, the writing implements, and the eyeglasses dispersed on the table are, in this context, a reference to studying, knowledge, and business. But they also emerge as an allegory to human effort interrupted by the exhaustion of life’s hourglass. The ceramic vase, in a reference to wine, symbolizes love, passion, seduction, and romantic conquests. Finally, the teapot, and the various Chinese porcelain objects resting on the table, reflect both the relaxing tea drinking activity, as well as the social status that such objects embody.They are all, nonetheless, objects discarded in the implacable passing of time, assuming as such the role of allusions to transience, to the void of riches and possessions, and to the cessation and emptiness of earthly life.Lastly a harp, visible in the background, an angelical instrument that symbolizes harmony and God’s praise, and which can be assumed as a link between heaven and earth, as if its strings become the figurative steps of a staircase that leads to eternal life.The vanitas meaning is equally reinforced by the skull and the hourglass resting over the books in the foreground.Tiago Franco RodriguesLiterature: Willigen, Adriaan van der (1926-2001); Meijer, Fred G.“A dictionary of Dutch and Flemish still-life painters working in oils : 1525-1725”, 2003, p.227.
LARGE CHINESE FAMILLE ROSE VASE MID 20TH CENTURY, CIRCA 1950-59 the body decorated with scholars inspecting a scroll painting to one side and with women and children in garden to the other, the neck with further labels of figures in garden setting, the foot with landscape panels, all against alternating green and red grounds profusely detailed with lotus sprays and scrolls, printed four character Qianlong mark to base58.5cm high
CAROLINE WALKER (B. 1982)Cats 2005 signed with the artist's initials; signed and titled on the overlapoil on canvas 91.2 by 91.2 cm. 35 7/8 by 35 7/8 in. This work was executed in 2005. Footnotes:ProvenanceThe ScotlandArt.com Gallery, GlasgowAcquired directly from the above by the present owner in 2006Caroline Walker's paintings of interiors and women in everyday domestic scenes draw upon the timeless tradition of portraying women at work, a subject matter which has been explored in masterpieces such as The Milkmaid by Johannes Vermeer, The Cradle by Berthe Morisot and Bar at the Folies-Bergère by Édouard Manet. The intricate compositions and layers of symbolism found in Walker's paintings are a testament to the depth and sophistication with which the artist approaches the genre. The present works strike a delicate balance between complex portraiture and narrative form, as the cinematic and often suspenseful unfurling of the tableaux lend a gravitas and realism to the paintings. Her scenographic compositions that highlight the subjecthood of women's work and the unobserved moments of privation distinguishes Caroline Walker as one of the foremost Contemporary painters on the market today. Much of Walker's oeuvre reflects an interest in the themes of the private versus public, indoor versus outdoor, often portraying women alone and isolated within the confines of a private space. The architecture, furnishings and decorative objects found in her works not only add narrative context but also serve to visually delineate the space. The converging of the planes of perspective along with the high contrast in light and dark borrows from the techniques of masterpieces from the Western canon, such as The Night Watch by the Dutch Golden Age painter Rembrandt van Rijn and Nighthawks by Edward Hopper. This variety in tints, tones and shades create a filmic atmosphere and renders the scene with a subdued sense of drama and layered meanings. In Cats, the spectator becomes a voyeur, glimpsing the interior, quiet spaces of the female sitter who avoids our gaze. The ordinary bedroom scene contemporises the popular nineteenth and early twentieth century European painting subject matter of the boudoir. Semi-dressed and with her back to the viewer, a young woman brushes her hair whilst the soft light filters in from the window. The domestic ephemera under Walker's brush become symbolic mementos of the subject and offer a juxtaposition of multiple narratives alongside the constrictive nature underlying domesticity. As the sitter's facial expressions are concealed, the loose stockings on the bed, the uplifting springtime outfit and the careful curation of the subject's environment are the only signifiers of the subject's feelings and psychological mood.In A Taste of the Orient, there is a similar dichotomy between the objectification of the subject versus the anthropomorphising of the objects. The title of the painting references both the interior design of the room and Orientalist art from the nineteenth century. The subject, seemingly unaware of the audience and dimly lit, sits in stillness. The amalgamation of the large Chinese ceramic vase, Persian carpet, damask wallpaper, large stone fireplace and a pin-up image of a lady in a qipao or cheongsam dress suggests the worldliness and materialistic comfort of the room's inhabitant. However, the high level of detail accorded to the objects and the small size of the sitter suggest unrealized aspirations, and remarks on and criticises the often decorative and objectifying nature of portraits of women. Walker's works deal with the blurred boundaries between the public and the private and the often invisible nature of domestic life. Her highly technical approach to painting which includes cutaway views of the interiors and the expert handling of subtle changes in light, opacity, and textures, imparts a participatory feeling to the audience. Caroline Walker has had solo exhibitions at Kettle's Yard, Cambridge; the Midlands Art Centre, Birmingham and KM21, The Hague. Her works are in several international collections, including the KM21 Kunstmuseum, The Hague, The UK Government Art Collection, National Museum Wales, and the Pérez Art Museum Miami.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
TAO WEIHONG (CHINESE 1940-) THREE INK PAINTINGS, 20TH-21ST CENTURY 二十至二十一世紀 陶為浤 李白、朱熹、陸游詩意圖 紙本設色 鏡框 （共三幅）款識：江寒早啼猿/松暝已吐月/月色何悠悠/清猿响啾啾/李太白詩/吳門陶為浤畫於上海鈐印：雲氣山、吳門陶、為浤、楚煙湘月款識：江空秋月明/夜久寒露滴/扁舟何處歸/吟嘯永佳夕/朱熹詩意/吳門陶為浤畫於上海鈐印：雲氣山、吳門陶氏、為浤書畫、月秀如水⺀[水]如天款識：梅瘦有情橫淡水/雲輕無力護清霜/陸放翁句/吳門陶為浤畫於上海櫻花草堂鈐印：雲氣山、吳門陶、為浤、月滿花香 ink and colour on paper, one inscribed with poem by Li Bai (701-762), signed 'Wumen Tao Weihong Huayu Shanghai' (Wu School Tao Weihong painted in Shanghai), red seal 'Yun Qi Shan', 'Wu Men Tao', 'Wei Hong' upper left, 'Chu Yan Xiang Yue' lower right; one inscribed with poem by Zhu Xi (1130-1200), signed 'Wumen Tao Weihong Huayu Shanghai' (Wu School Tao Weihong painted in Shanghai), red seal 'Yun Qi Shan', 'Wu Men Tao Shi', 'Wei Hong Shu Hua' upper left, 'Yue Xiu Ru Shui Shui Ru Tian' lower right; the other inscribed with a phrase by Lu You (1125-1201), signed 'Wumen Tao Weihong Huayu Shanghai Yinghuacao Tang' (Wu School Tao Weihong painted in the Hall of Primrose, Shanghai), red seal 'Yun Qi Shan' upper right, 'Wu Men Tao', 'Wei Hong' upper left, 'Yue Man Hua Xiang' lower right, all framedDimensions:66cm x 36cm; 65.5cm x 41cm; 64.5cm x 40cmProvenance:Provenance: Private Scottish collection, acquired in the 1990s at Yu Yuan Gardens Gallery (豫園) in Shanghai, with a brochure obtained from the gallery about Tao Weihong's painting exhibition. The cover of the brochure with a calligraphy 'Tao Wei Hong Hua Zhan' (Exhibition of Tao Weihong), signed by a Chinese visual artist Qian Juntao (1907-1998), dated to the year of Yi Hai, corresponding to 1997.Note: Note: Tao Weihong (1940-) is the son and inheritance of Tao Lengyue (陶冷月1895-1985), is known for his individual mode of expression combining Eastern and Western techniques. Tao Lengyue, also known as Professor Cold Moon, established the Lengyue (Cold Moon) School, a branch of the Shanghai School (海上畫派), a style of Chinese art present in the late 19th century and centred in Shanghai.
A Chinese export gilt-decorated black lacquer wine table, c.1840, the canted rectangular top above a turned stem decorated with figures amid pavilions and trees, on three downswept legs decorated with dragons, on three hairy paw feet, 38 x 31.5cm, height 69cm***CONDITION REPORT***The top has flaking to the lacquer and splits to the beading around the edge with some later replacement strips and some later nails holding the mouldings in position. The stem has some flaking and over painting at the base and the legs have some flaking and losses to the decoration on the edges, otherwise in reasonable condition. Tripod base 43cm at its widestPLEASE 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.
Zhou Luyun (Irene Chou), Chinese b.1924, a large ink and colour abstract painting on paper, Image 181cm x 96cm, silk brocade borders, frame 226 cm x 113.5cm***CONDITION REPORT***Some undulation to the paper but the image looks good, the brocade borders with some damp patches at the bottom and lower right not affecting the image.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.
FOUR FRAMED WORKS: Edna de Maurice - 'Tetbury in The Cotswolds', 1984, pen and watercolour, signed lower right, labelled verso, 22.5 x 25 cm; Chinese painting of birds and flowers, oil and gold paint on canvas; Felix Bracquemond - etching, titled and signed below; limited edition etching of Venice, indistinctly signed and numbered (28/99) in pencil below (4)
A PAIR OF LARGE PAINTED POTTERY SQUARE VASES AND COVERS, FANGHU, HAN DYNASTYChina, 202 BC to 220 AD. Each with a facetted pear-shaped body supported on a tall foot and rising to a gently waisted neck with everted rim surmounted by a faceted cover. Each vase is applied at the shoulders with two impressive taotie masks suspending loose rings. Exquisitely painted to each side of the body with two swirling designs in pale green and lavender, below pendent stiff leaves in red and white alternating with hooked designs in pale green at the neck, framed by horizontal bands, the covers similarly painted. (4)Provenance: Collection of Joseph Rondina. Joseph Rondina (1927-2022) was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Good condition, commensurate with age. Old repairs and minor touchups as generally expected from Han dynasty excavations. Wear, flaking, losses and fading to pigment, small nicks, minor chips, light scratches, encrustations. One of the four loose rings broken and restored.Weight: 8,124 g and 8,352 gDimensions: Height 51.5 cm and 50.2 cmExpert's note: Expressive polychrome designs on ancient archaic wares from China, such as those on the present lot, are said to have inspired the Art Deco movement in Europe. A good example for this theory may be the advertising design work of noted architect Henry van der Welde (1863 Antwerp - 1957 Zurich).Bronze and lacquer ritual Fanghu vessels were expensive commodities that only the privileged class could afford, but in the Han dynasty, ceramic funerary wares that simulated these luxurious objects became a more affordable means of outfitting one's tomb, as a finished ceramic piece required far less fuel and specialized labor than its bronze or lacquer prototype. Fired at relatively low temperatures, earthenware vessels are not fully vitrified and are slightly porous, making them less than ideal as containers for daily use, but suitable as burial items. Only very few colored compounds can withstand kiln temperatures without alteration. In order to replicate the multiple bright colors and dynamic designs of painted lacquers, durable mineral pigments were applied to earthenware vessels after firing, hence the term 'cold-painted.'Literature comparison: Compare a related painted pottery fanghu and cover, painted with taotie masks, 55.1 cm high, dated to the Western Han dynasty, in the Harvard Art Museums (acquired from J.J. Lally & Co.), object number 1990.85. Compare a related pair of painted pottery fanghu and covers, dated to the Western Han dynasty, in the Musee Cernuschi, Paris, object number MC 9915. Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2015, lot 782 Price: USD 21,250 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A large painted grey pottery faceted pear-shaped jar and cover, Fanghu, China, Western Han dynasty Expert remark: Compare the related form and manner of painting. Note the size (56 cm).漢代一對大型彩繪陶方壺中國，公元前202 年至公元220年。壺口部與足底皆為方形，四角攢尖方蓋，壺身兩側各有一活環鋪耳。通體飾以黑、紅彩為主色調的圖案，頸繪蟬紋，腹部繪流雲紋，並以條帶紋相間。 來源：Joseph Rondina收藏。Joseph Rondina (1927-2022年)出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。 第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：品相良好，小修整，磨損、顏料褪色、小劃痕、小缺口、結殼。一個活環曾被修復過。 重量：分別爲8,124 克與8,352克 尺寸：高51.5 厘米 and 50.2 厘米
'RED AND WHITE COTTON ROSES', A PAIR OF SILK PAINTINGS AFTER LI DI (C. 1100-AFTER 1197)China, 19th century. Ink and watercolors on silk, with Japanese silk brocade frames and mounted as hanging scrolls. Each finely painted with two hibiscus blossoms borne on leafy stems, one depicting the flowers in the morning when they are white and the other showing them later in the day, as they gradually turn first pink and finally crimson red.Inscriptions: To each painting, upper left, inscribed 'Painted by Li Di in the Year of Dingsi in the Qingyuan era' (corresponding to 1197). Each scroll with a Japanese seal reading 'Divine Class, Copy by Shimbi Shoin'.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. The wood storage box with two old labels from the Shimbi Shoin, Tokyo, another inscribed '2/16/-', and a fourth with an illegible inscription. Shimbi Shoin was a Japanese publisher, active between ca. 1899 and 1938, noted as the premier venue for art reproductions that were highly acclaimed for their superior quality and technical excellence. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa. Condition: Good condition with minor wear, some creasing, small tears and losses.Dimensions: Image size 24.3 x 25.2 cm (each), Size incl. mounting 126.5 x 39 cm (each)With an old wood storage box. (3)Hibiscus mutabilis, also known as the cotton rose, is a plant long cultivated for its showy flowers. Floral color change occurs in H. mutabilis when flowers are white in the morning, turning pink during noon, and red in the evening of the same day. In Japan, they are also known as 'drunk cotton roses' (suifuyo) due to this color change from white to red, as depicted on these two hanging scrolls. Li Di (c. 1100 - after 1197) was a Chinese imperial court painter in the Song Dynasty. He was born in Heyang (present-day Meng County in Henan Province) and was noted for painting flowers, birds, bamboo, and animals in motion. Di was a member of the Academy of Worthies (Jixianyuan). Evidence that he was active as a painter during the latter half of the twelfth century is provided by the dates he wrote on some of his works and also from the career of his son, Li Demao (active late twelfth - early thirteenth centuries), who, not surprisingly, also became a painter in the Imperial Painting Academy.Literature comparison:The original pair of hanging scrolls depicting cotton roses by Li Di is in the Tokyo National Museum, object number TA-137.李迪(約1100-1197年後) 風格《紅白芙蓉圖》中國，約十九世紀，絹本水墨設色，日本裝幀，掛軸。色彩富麗，暈染採用沒骨畫的技巧，過渡自然，表現出芙蓉花瓣形態及色彩細微的變化特徵。色彩細膩而透明。 款識：慶元丁巳嵗李迪畫；收藏印：神品 審美書院複製 來源：Felix Tikotin收藏，在同一家族保存至今。木盒上有兩個東京審美書院的舊標籤，另一個上有 '2/16/-'字樣，第四個標籤上有款。審美書院是日本出版商，活躍於 1899 年和 1938 年間，因其藝術複製品卓越的品質和卓越的技術而備受讚譽。Felix Tikotin (1893-1986) 是一位建築師、藝術收藏家，也是中東第一家日本藝術博物館的創始人。他出生在德國格洛高的一個猶太家庭，他的祖先隨拿破崙從俄羅斯一個名叫提科欽的小鎮返回。他在德勒斯登長大，第一次世界大戰後前往日本旅行，並立即愛上了它的文化。1927 年 4 月，他在柏林開設了自己的第一家藝廊。二戰時，整個家庭在大屠殺中倖存下來。1950 年代，Tikotin 慢慢恢復了他作為日本藝術品經銷商的活動。他非常成功，在歐洲和美國各地舉辦展覽。當他在 1956 年第一次訪問以色列時，他決定把他的大部分收藏都捐贈給以色列。1960 年，Tikotin 日本藝術博物館在海法開放。 品相：狀況良好，有輕微磨損、一些摺痕、小撕裂和缺損。 尺寸：畫面分別為24.3 x 25.2 厘米，總126.5 x 39 厘米 (每幅) 木盒 (3)
A MASSIVE COPPER-RED AND UNDERGLAZE-BLUE 'HUNDRED BOYS' JARDINIERE, DATED 1779 OR 1839Inscriptions: To the base, inscribed in black ink “Commissioned by […] Mu in the summer of the Year of Jihai”, this date corresponding to 1779 or 1839.China. Heavily potted, the exterior finely decorated with a festive scene depicting numerous boys in a fenced garden outside a small building amid trees, plantain leaves, rockwork, and swirling clouds, carrying lanterns and toy bats attached to sticks, others moving a large elephant-form cart on four wheels with a tall vase containing a gnarled branch on its back, with further boys playing percussive instruments, one boy blowing into a horn, with distant mountains in the background.Provenance: English trade. Condition: Excellent condition with old wear, traces of use and shallow surface scratches overall. Some firing irregularities such as distinct glaze recesses along the foot, which have darkened over time, and dark spots.Weight: 19.7 kg Dimensions: Diameter 59 cmThe present lot is filled with auspicious imagery. The 'hundred boys' motif symbolizes the Chinese perpetual wish for many sons, while the image of an elephant with a vase on its back (taiping youxiang, or 'when there is peace, there are signs') represents a good harvest and peacetime. According to Terese Tse Batholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, page 63, the 'hundred boys' theme has its origins in the Western Zhou dynasty when King Wen of the Zhou adopted one son in addition to his ninety-nine sons to complete the number of one hundred.Auction result comparison: Type: Related Auction: Sotheby's London, 9 November 2016, lot 247 Price: GBP 35,000 or approx. EUR 50,500 converted and adjusted for inflation at the time of writingDescription: A copper-red and underglaze-blue 'landscape' jardiniere, Qing dynasty, 18th century Expert remark: Compare the copper-red and underglaze-blue painting. Note the similar size (57 cm). Also note the different form and subject, and possibly slightly earlier date.1779年或1839年青花紅彩《百子圖》花盆中國。厚胎，外壁青花紅彩描繪節日場景，野外，許多男孩敲鑼打鼓，提著燈籠，騎著竹馬；另一群童子則推著一輛大象形的四輪車，大象背上放著一個高大的花瓶。小童們歡天喜地，興高采烈。 款識：花盆底墨水寫“王？沐置於己亥夏” 來源：英國古玩交易。 品相：整體品相極佳，有磨損、使用痕跡和表面淺劃痕，一些燒製不規則，例如明顯的釉料凹陷，已隨著時間的推移變暗，以及黑點。 重量：19.7 公斤 尺寸：直徑 59 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2016年11月9日，lot 247 價格：GBP 35,000（相當於今日EUR 50,500） 描述：清十八世紀青花釉裏紅山水紋缸 專家評論：比較鐵紅色和青花釉畫。請注意相似的尺寸(57 厘米)。請注意不同的外形和主題，以及可能年代較早。
'BUTTERFLIES, FLOWERS, SCEPTER, AND VASE', BY LU XIAOMAN (1903-1965), CHEN XIAOCUI (1907-1968), XIE YUEMEI (1906-1998), AND PAN JINGSHU (1892-1940)China, 1930s. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Exquisitely painted with an Imperial lime-green-ground famille rose vase with dragon handles, probably Jiaqing, holding a bouquet with peony, hibiscus, and red bamboo, as well as leaves, scrolling vines, and fruit, surrounded by fluttering butterflies, all above a tasseled cloisonne ruyi scepter with floral and dragon decoration as well as a gilt-bronze head.Inscriptions: Upper right, signed and inscribed 'Lu Xiaoman painted the butterfies' and with a poem by the Song-dynasty poet Lu You on butterflies; two seals of the artist, 'Xiaoman' and 'Lu Mei'. Center left, signed and inscribed 'Xiaocui painted the branches in Shanghai'; one seal of the artist, 'Xiaocui'. Lower left, signed and inscribed 'Xie Yuemei painted the ruyi [scepter]'; two seals of the artist, 'Xie Yuemei yin' and 'Juanruo'. Lower right, signed and inscribed 'Jingshu painted this vase in the style of the Yuan dynasty'; two seals of the artist, 'Pan' and 'Jingshu zhi yin'.Provenance: Dutch trade. By repute from an old private estate. Condition: Good condition with minor wear, creasing, and foxing.Dimensions: Image size 137 x 44 cm, Size incl. mounting 240 x 59 cmThe present painting is a collaboration between four female painters, all of whom were active in Shanghai during the 1930s. At least three of them - Pan Jingshu being the possible exception - were associated with the Chinese Women's Calligraphy and Painting Society (Zhongguo nuzi shuhua hui) which was founded and held its first exhibition in 1934. By 1937, the group had enrolled more than 150 artists. These four, like those of the Women's Society as a whole, are tied together by their art, their gender, and their city of residence, but not by other more obvious social factors. They came from different native places and did not necessarily move in the same social circles. They did not work in the same painting styles, share the same teachers, or specialize in the same subjects. As a group, they came together for two mutual goals: To promote women artists and the practice of traditional painting.Lu Xiaoman (1903-1965), born in Shanghai, was a celebrated painter, writer, singer, and actor, and studied under painters such as Liu Haisu, Chen Banding, and He Tianjian. As an artist, she specialized in flowers, birds, and light ink landscapes on long Chinese scrolls. She was also known to write poetry, prose, and fiction, but her writings were never published. Nevertheless, her appreciation for poetry inspired her to create a series of ink paintings in honor of the Tang poet Du Fu. Lu Xiaoman was also a singer and debuted on stage after receiving training in the renowned Peking Opera. In the 1950s and 1960s, she worked as a paid artist at the Shanghai Academy of Chinese Painting.Chen Xiaocui (1907-1968) was a Chinese painter and co-founder of the Women's Calligraphy and Painting Society. Daughter of a famous and popular writer, Chen Diexian, she was educated at a traditional academy in Hangzhou, but moved with her father and two brothers to Shanghai around 1920. Like her brothers, she became known at an early age for her published literary works, including poetry and at least fifty translations of foreign fiction. She studied painting with the conservative master Feng Chaoran (1894-1968), an artistic lineage that is reflected clearly in her work.Xie Yuemei (1906-1998), sobriquet Juanruo, was a Chinese painter who lived and worked in Shanghai. She was the sister of the leading traditional painter Xie Zhiliu (1910-1997), a noted member of the Shanghai School. Although she was largely self-taught, only receiving some guidance in her early years from Zhang Hongwei (1878-1970), she became very popular and influential in her time. Pan Jingshu (1892-1940) was a Chinese painter and the wife of the noted Suzhou painter Wu Hufan (1894-1968). Pan descended from a wealthy family of scholars and officials, and was educated at home in the classics and the arts of poetry, calligraphy, and painting. She married Wu in 1915, and together they named their residence Meijing Shuwu (Plum View Studio).The poem inscribed upper right on the painting was originally written by Lu You (1125-1210), a Chinese historian and poet of the Southern Song dynasty. It can be translated as follows:The blossoms in the garden are fragrant,The butterflies are dancing,One dwells by the window only because of you,Regardless of what color you have, if dark or bright yellow.Auction result comparison: Type: Related Auction: Sotheby's New York, 18 March 2008, lot 67 Estimate: USD 120,000 or approx. EUR 151,000 converted and adjusted for inflation at the time of writing Description: Chinese School, Lotus Blossoms in a Blue and White Dragon VaseExpert remark: Note that this painting shows several seals of the Empress Dowager Cixi, and that according to an inscription on the painting it was presented to her. The Empress was an avid art collector and painter, who herself also painted several related works depicting flowers in an antique vase, which quite possibly served as inspiration for the present lot.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 May 2005, lot 1216 Price: HKD 288,000 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: Empress Dowager Cixi (1835-1908), FlowersExpert remark: The Empress Dowager Cixi was an avid art collector and painter, who painted several works depicting flowers in an antique vase which quite possibly served as inspiration for the present lot, as the Empress and her paintings would have clearly appealed to the feminist and traditional sensibilities of the Chinese Women's Calligraphy and Painting Society's members.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 25 April 2004, lot 86Price: HKD 1,518,400 or approx. EUR 276,000 converted and adjusted for inflation at the time of writing Description: A still-life hanging scroll by Giuseppe Castiglione, Yongzheng period (dated 1725)Expert remark: This painting of flowers in an antique Jun-type vase clearly inspired later works by the Empress Dowager Cixi and others (see previous auction result comparisons), as well as the present lot.陸小曼、陳小翠、謝月眉與潘靜淑合作《花蝶如意瓶》中國，上世紀三十年代，紙本水墨設色，挂軸。
A SUPERB FAMILLE ROSE 'KINGFISHER AND LOTUS' PLAQUE, CHINA, STUDIO OF CHENG YITING (1895-1948)Superbly and delicately enameled with two kingfishers perched on a rock below a large wilting lotus leaf amid further leaves, a bud, and two blossoms, a stream in the background. With a lengthy inscription as well as the artist's signature and seal.Inscriptions: Upper left, signed 'Zhushan Cheng Yiting, painted in Peigu-Zhai' and inscribed 'In the Spring in the style of Nansha Laoren [Jiang Tingxi, 1669-1732]'. Two seals of the artist, 'Yiting' and 'Cheng yin'. Provenance: Bonhams Knightsbridge, 3 November 2014, lot 478 (described as “After Cheng Yiting”, and together with another plaque), sold for GBP 3,125 or approx. EUR 4,400 (converted and adjusted for inflation at the time of writing). A Swedish private collector, acquired from the above, and thence by descent. Condition: Very good condition with minor wear and firing irregularities, few light scratches. The hardwood frame with expected age cracks, nicks and losses, and traces of use.Dimensions: Size 62 x 31 cm (excl. frame)With a fine hardwood frame and brass fitting from the period. (2)This masterfully painted plaque represents a new style pursued by porcelain artists upon the fall of the Qing dynasty. With imperial orders discontinued, craftsmen in the porcelain center of Jingdezhen were released from the constraints of the court and eagerly sought to develop new markets. In 1928, eight of the leading artists formed a group called Yueman hui (Full Moon Society), because they met to exchange ideas during the full moon. This group later became known as Zhushan Bayou (Eight friends of Zhushan), comprised of Cheng Yiting, Wang Qi, Deng Bishan, Wang Dafan, Wang Yeting, He Xuren, Bi Botao, Xu Zhongnan, and Tian Hexian.Cheng Yiting (1895-1948), a native of Leping, Jiangxi province, began learning to paint on porcelain at the age of sixteen at the Jiangxi Ceramics School in Poyang. In 1925 he moved from Jiujiang to Jingdezhen and set up his own business before traveling to Shanghai in 1931 to study under the Zhe School artist, Cheng Zhang (1869-1938). It was during this period that his skills greatly improved and developed the exquisite bird and flower painting style for which he is most famous.Jiang Tingxi (1669-1732) was a noted Chinese painter, and an editor of the 5020-volume encyclopedia Gujin Tushu Jicheng (Complete Collection of Ancient and Modern Writings and Charts), which was published in 1726 and had been compiled by Jiang and Chen Menglei during the reigns of the Kangxi and Yongzheng Emperors. As an official painter and grand secretary to the imperial court, Jiang used a wide variety of artistic styles and focused particularly on paintings of birds and flowers. He was also proficient in calligraphy and his works influenced several later painters. Apart from cultural activity, as a holder of the jinshi degree, Jiang performed important duties in the Qing government's Office of Military Finance, on par with Zhang Tingyu (headed by Yinxiang, the Yongzheng Emperor's brother). He was born in Changshu, Jiangsu. Besides the name Yangsun, he was also known by the pseudonym Nansha.Literature comparison: For an overview of the artists' plaques depicting birds amongst lotus and chrysanthemum, see those from the Muwentang Collection published in Simon Kwan, Chinese Porcelain of the Republic Period, Hong Kong, 2008, nos. 44, 45, 47, 49, and 50. Compare also two related plaques which were included in the exhibition Brush and Clay. Chinese Porcelain of the Early 20th Century, Hong Kong Museum of Art, Hong Kong, 1990, cat. nos. 47 and 48.Auction result comparison: Type: Closely related Auction: Heritage Auctions, New York, 19 March 2019, lot 78195 Price: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writing Description: A Chinese Enameled Porcelain Plaque, 20th century, seal reading “Cheng Yiting” Expert remark: Compare the closely related subject, style, enamels and manner of painting, most notably the similarly wilted leaves. Note the much smaller size (36.8 x 23.9 cm).Auction result comparison: Type: Related Auction: Bonhams London, 8 November 2012, lot 350 Price: GBP 79,250 or approx. EUR 116,250 converted and adjusted for inflation at the time of writing Description: A famille rose rectangular plaque, Republic period, signed and sealed Cheng Yiting Expert remark: Compare the related style, enamels and manner of painting with similar wilted leaves. Note the smaller size (39.5 x 26.7 cm).程意亭(1895-1948) 粉彩《翠鳥荷花》瓷板畫長條形邊框，框體雕飾花卉紋，畫心繪盛開的荷花、荷葉、翠鳥。粉紅的荷花、碧綠的荷葉下，一對翠鳥立於石上。一翠鳥聚精會神的凝視著水面，一翠鳥回首觀望，被他物所吸引。 款識：不妨翠鳥偷窺，為種荷花葉數莖。春仲撫南沙老人大意，翥山程意亭寫於佩古齋；鈴印：意亭，程印 來源：騎士橋邦翰思2014年11月 3日 lot 478 (描述爲程意亭風格，與其他幾件瓷板一起)，售價 GBP 3,125 或相當於 EUR 4,400 (根據通貨膨脹率)；瑞典私人收藏，購於上述拍賣，保存至今。 品相：狀況極好，有輕微磨損和燒製瑕疵，輕微劃痕。硬木框有年代裂縫、刻痕和缺損，有使用痕跡。 尺寸：62 x 31 厘米 (不含框) 同期硬木框與銅扣。(2)
A COMPLETE SET OF TWELVE PAINTED POTTERY 'ZODIAC ANIMALS', SONG TO YUAN DYNASTYChina, 960-1368. Comprising the twelve zodiac animals of the Chinese horoscope, each modeled recumbent with raised head, detailed with fur, plumage, and scales, and accentuated with black, white, and red pigments. (12)The Chinese zodiac, or Sheng Xiao, is a repeating 12-year cycle of animal signs and their ascribed attributes based on the lunar calendar. In order, the zodiac animals are the rat, ox, tiger, rabbit, dragon, snake, horse, goat, monkey, rooster, dog, and pig.Provenance: J.J. Lally & Co, New York, USA. The personal collection of David Drabkin, acquired from the above. A label from J.J. Lally & Co. to the underside of the snake, inscribed 'Set RE 743 JC,YYY'. Each figure with an old label inscribed with the previous owner's name, 'Drabkin', the name of the respective animal, and an inventory number, 'L.1990.68.1' through 'L.1990.68.12'. David Drabkin (born 1942) is an American lawyer who formed his art collection while residing in many parts of Asia, including Japan, China, and Thailand. His keen interest in Asian art led him to build close relationships with many fellow art collectors, gallery owners, art historians, and art dealers, such as J.J. Lally and Professor Richard Barnhart. Drabkin assembled his collection over decades, spanning major dynasties and across a wide range of media, including primarily Chinese works of art, Chinese paintings, and Japanese art. Condition: Good condition, commensurate with age, with extensive wear, small chips, few nicks here and there, light scratches, and encrustations. Possibly very minor old repairs.Weight: ca. 5.2 kg (total) Dimensions: 16.5 cm (longest), 12.5 cm (tallest)Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 14 September 2019, lot 1678Price: USD 20,000 or approx. EUR 21,000 converted and adjusted for inflation at the time of writingDescription: A set of twelve painted pottery 'zodiac animal' figures, Song/Yuan dynastyExpert remark: Compare the closely related subject, pottery, cold painting, poses, furs, and sizes (18.5 cm the longest)宋至元十二生肖彩繪陶俑中國，960-1368年。中國十二生肖動物以仰臥的姿勢展現，飾有毛皮、羽毛和鱗片，並以黑色、白色和紅色顏料强調細節(12) 來源：美國紐約J.J. Lally & Co藝廊；David Drabkin私人收藏，購於上述藝廊。蛇俑的底部有J.J. Lally & Co. 的標籤，可見 'Set RE 743 JC,YYY'字樣。每個動物都有一個寫著'Drabkin'標籤、動物的名稱和收藏編號 ，從'L.1990.68.1'至'L.1990.68.12'。David Drabkin (born 1942) 是一位美國律師，他在亞洲許多地方（包括日本、中國和泰國）居住時積累了自己的藝術收藏。他對亞洲藝術的濃厚興趣使他與許多藝術收藏家、畫廊老闆、藝術史學家和藝術經銷商建立了密切的關係，例如 J.J. Lally 和 Richard Barnhart 教授。Drabkin 數十年來的收藏，涵蓋主要朝代和材料，主要包括中國藝術品、中國繪畫和日本藝術。 品相：狀況良好，有大量磨損、小缺口、刻痕、輕微劃痕和結殼。可能是非常小的修復。 重量：約5.2 公斤 (總) 尺寸：16.5 厘米 (最長處)，12.5 厘米 (最高處) 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比， 2019年9月14日，lot 1678 價格：USD 20,000（相當於今日EUR 21,000） 描述：宋 / 元陶加彩生肖俑一套十二件 專家評論：比較非常相近的主題、冷色系彩繪、姿勢、毛髮和尺寸 (最長的為18.5 厘米)。
A BLUE AND WHITE 'EIGHT HORSES OF MU WANG' BOWL, KANGXI PERIODChina, 1662-1722. Of conical form, supported on a straight foot and rising to an everted rim protected by a copper band, which is original to the piece. The widely flared sides painted to the exterior with seven lively horses in a continuous grass field landscape with mountains in the background. The interior with a medallion showing the eighth horse, resting between two craggy rocks with its abdomen facing upwards.Provenance: From a private collection in London, United Kingdom. Condition: Very good condition with only minor wear, few firing irregularities, and light scratches.Weight: 299 g Dimensions: Diameter 17.5 cmThe recessed base with an apocryphal six-character mark da Ming Jiajing nianzhi within a double circle.The charming scene represents the Eight Horses of King Mu Wang, who reigned during the Zhou dynasty in the 10th Century BC, and these Eight Horses were his favorite chargers which pulled the Emperor's chariot as he progressed about his realm to visit the Goddess Hsi Wang Mu.Expert's note: The present lot belongs to a small yet well-recorded group of blue and white bowls, all painted with the Eight Horses of Mu Wang, and bearing six-character marks da Ming Jiajing nianzhi within a double circle. Note that it has most recently been suggested by some scholars that these bowls might rather date to the Jiajing period (1521-1567) instead of the Kangxi period (1662-1722).Literature comparison:For a pair of dishes with similar iron-painted rims and Jiajing marks, dated to the early Qing dynasty, see Yeo and Martin, Chinese Blue & White Ceramics, Arts Orientalis, Singapore, 1978, p. 248 and pl. 160, nos. 296 and 297. Another bowl of similar form, horse decoration, and Jiajing mark, dated to the later Transitional period is published in Richard Kilburn, Transitional Wares and Their Forerunners, Oriental Ceramic Society of Hong Kong, 1981, p. 148, no. 97.Auction result comparison: Type: Closely relatedAuction: Galerie Zacke, Vienna, 11 March 2022, lot 489 Price: EUR 8,848 Description: A blue and white 'eight horses of Mu Wang' bowl, Kangxi periodExpert remark: Compare the closely related form, motif, manner of painting, and Jiajing mark. Note the size (16.7 cm).康熙時期青花《穆王八駿》碗中國，1662-1722年。碗敞口，微外撇，斜腹，圈足，口沿施醬色釉。碗外壁青花描繪群山為景，七匹馬或是嬉戲，或是休憩，或是奔跑。碗内開光青花繪製第八匹馬。 來源：英國倫敦私人收藏。 品相：狀況極好，只有輕微磨損、燒製不規則和輕微劃痕。 重量：299 克 尺寸：直徑17.5 厘米 圈足内青花雙圈僞“大明嘉靖年製”款。 專家注釋：這類青花碗產量雖小，但記錄詳實，均繪《穆王八駿圖》，雙圈內書“大明嘉靖年製”六字款。最近一些學者提出這些碗可能是嘉靖時期（1521-1567）而非康熙時期（1662-1722）。 文獻比較： 一對清代初期嘉靖款相似瓷盤，見Yeo和Martin，《Chinese Blue & White Ceramics，Arts Orientalis》，新加坡，1978年，頁248和圖160，編號296和297。另一件相似外形的過渡時期嘉靖款馬圖碗，出版於Richard Kilburn，《Transitional Wares and Their Forerunners》，香港陶瓷學會，1981年，頁148，編號97。 拍賣結果比較： 形制：非常相近 拍賣：維也納Galerie Zacke，11 3月 2022年，lot 489 價格：EUR 8,848 描述：康熙 “穆王八駿”青花碗 專家評論：比較非常相近的外形、畫風和嘉靖款。請注意尺寸(16.7 厘米)。
'BEAUTY IN A GARDEN, WEARING A TIAN-TSUI TIARA', ZHENG MUKANG (1901-1982), DATED 1941China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Depicting a lady strolling in a garden, framed by a prunus tree and rockwork issuing bamboo, dressed in fine robes tied at the waist and adorned with a blue, flowing scarf. Her hair tied in a high coiffure, wearing a kingfisher feather (Tian-Tsui) tiara.Inscriptions: Top left, dated 'Three days before the winter solstice in the Year of Xingsi' (corresponding to 1941), signed 'Mukang Zheng Shixuan'. Two seals 'Zheng Mukang yin' and 'Mukang Shuhua'. Provenance: From a European private collection. Condition: Good condition with some wear, creasing, and little staining.Dimensions: Image size 66.7 x 42.5 cm, Size incl. mounting 171.5 x 56.5 cmZheng Mukang (1901-1982) was a Chinese painter born in Chaoyang, Guangdong Province. He was an apprentice to several notable artists before becoming a teacher of Chinese Painting at the Shanghai Art School. He is well-known for his gongbi (meticulous) style renditions of Chinese beauties.Tian-Tsui is a style of Chinese art featuring kingfisher feathers. For 2,000 years, the Chinese have been using the iridescent blue feathers of kingfisher birds as an inlay for fine art objects and adornment, from hairpins, headdresses, and fans to panels and screens. Kingfisher feathers are painstakingly cut and glued onto gilt silver. The effect is like cloisonne, but no enamel was able to rival the electric blue color. Blue is the traditional favorite color in China. Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 29 May 2018, lot 1466Price: HKD 75,000 or approx. EUR 9,700 converted and adjusted for inflation at the time of writingDescription: Zheng Mukang (1901-1982), Lady ReadingExpert remark: Compare the related motif, also wearing a Tian-Tsui tiara, the composition, and fine brushwork. Note the size (98 x 42.8 cm).Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 10 December 2012, lot 5323Price: USD 12,500 or approx. EUR 15,000 converted and adjusted for inflation at the time of writingDescription: Zheng Mukang (1901-1982), Beauty Under a WillowExpert remark: Compare the related motif, also wearing a Tian-Tsui tiara, the composition, and size (68 x 35.6 cm).鄭慕康(1901-1982)《紅衣仕女圖》1941年中國，紙本水墨設色，掛軸。一位美人在花園中漫步，身側有一棵桃樹與假山綠竹。她穿著精美的長裙，梳高髻，佩戴點翠髮飾。 款識：辛巳冬至前三日寫，慕康鄭師玄；鈴印：鄭慕康印，慕康書畫 來源：歐洲私人收藏。 品相：狀況良好，有一些磨損、摺痕和少量污漬。 尺寸：畫面66.7 x 42.5 厘米，總171.5 x 56.5 厘米 鄭慕康(1901-1982) 廣東潮陽人，學畫師從馮超然。精工筆人物，擅作仕女肖像。曾任上海美專國畫教師、上海中國畫院畫師，海上名畫家之一。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2018年5月29日，lot 1466 價格：HKD 75,000（相當於今日EUR 9,700） 描述：鄭慕康《庭院閑讀》 專家評論：比較相近的主題、也佩戴點翠髮飾、構圖和精細的筆觸。請注意尺寸(98 x 42.8 厘米)。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年12月10日，lot 5323 價格：USD 12,500（相當於今日EUR 15,000） 描述：鄭慕康《柳下美人》 專家評論：比較相近比較相近的主題、也佩戴點翠髮飾、構圖和尺寸 (68 x 35.6 厘米)。
'LANDSCAPE', BY PU RU (1896-1963)China. Ink and watercolors on paper. Depicting an autumnal scene with pavilions nestled between pine trees and rocks above a river, the background with mountains picked out in blue and salmon.Inscriptions: Top right, signed 'Pu Ru', and inscribed 'In the mountains are thickly overgrown trees, many pines, the fog rises. One climbs into a gazebo to drink alone. The frost shields the moon. One hears the heavenly rooster singing.' Two seals of the artist, 'Xinshe' and 'Pu Ru zhi yin'.Provenance: British trade. Condition: Very good condition with minor wear, little foxing, and soiling. The frame with a few nicks, minor losses, and splits.Dimensions: Size incl. frame 56.7 x 47.8 cm, Image size 39.5 x 31 cmFramed behind glass. (2)Pu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 16 December 2014, lot 8399Price: USD 11,250 or approx. EUR 13,500 converted and adjusted for inflation at the time of writingDescription: Pu Ru (1896-1963), LandscapeExpert remark: Compare the related motif and manner of painting. Note the size (127.5 x 47.5cm).Auction result comparison:Type: RelatedAuction: Sotheby's New York, 13 September 2018, lot 587Price: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writingDescription: Pu Ru 1896-1963, landscape with pavilion Expert remark: Compare the related motif and manner of painting. Note the size (92.7 x 33 cm).溥儒(1896-1963)款《亂峰積翠》中國，紙本設色。秋日山景，蜿蜒層層山間亭台樓閣聳立。 款識：亂峰積翠白，低松際，浮煙與岸齊幽，人登樓，獨醉飲，曉霜遮月聼天雞雲。心畲。鈴印：心畲，溥儒之印 來源：英國古玩交易。 品相：狀況極好，有輕微磨損、輕微起皺和污漬。框架有一些缺口、輕微缺損和裂縫。 尺寸：總56.7 x 47.8 厘米，畫面39.5 x 31 厘米 玻璃裝框。(2) 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2014年12月16日，lot 8399 價格：USD 11,250（相當於今日EUR 13,500） 描述：溥儒《山水》 專家評論：比較相近的主題和繪畫風格。請注意尺寸(127.5 x 47.5厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2018年9月13日，lot 587 價格：USD 20,000（相當於今日EUR 22,000） 描述：溥儒《極目溪山》 專家評論：比較相近的主題和繪畫風格。請注意尺寸(92.7 x 33 厘米)。
'SCHOLARS ON A BOAT', BY FU BAOSHI (1904-1965), DATED 1962Ink and watercolors on paper, laid down on paper. Superbly painted in the artist's characteristic style, mostly eschewing outlines in his dappling of the brush and ink washes while still meticulously rendering each element with distinctive purpose. Depicting two scholars seated in a boat, two fishing baskets at their side, floating along a calm stream below thick clouds, the riverbank with leafy and barren trees.Inscriptions: Upper right, 'View in the country, painted by Baoshi in Nanjing in May of the Year of Renyin (corresponding to 1962)'.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate.Condition: Some wear and minor soiling, losses, creasing. The paper with areas of minor corrugation. The mounting with creasing and small tears to edges.Dimensions: Image size 32.4 x 34 cm, Size incl. mounting 40 x 52 cmFu Baoshi (1904-1965) was a Chinese painter from Xinyu, Jiangxi Province. Credited with revolutionizing Chinese ink painting, Fu is perhaps the most original figure painter and landscapist of China's modern period, and one of the most important artists of the 20th century overall. In 1933, Fu went to Japan to study the History of Oriental Art at the Tokyo School of Fine Arts. After returning to China, he taught in the Art Department of Central University (today Nanjing University). At this time, Fu developed a new style, smoothly incorporating foreign ideas and techniques, and began creating boldly individualistic yet sometimes strongly nationalistic work. He also sought to revive early schools of realist depiction that made greater use of color and ink wash. His most important and acclaimed works of landscape painting employed skillful use of inking methods, such as washing, rubbing or dotting, creating a distinct style that encompasses a sheerly enormous range of varieties, but all within strict traditional rules. His detailed paintings of miniature figures remain unmatched to this day, due to his remarkably delicate and thus inimitable brushstrokes.Auction result comparison:Type: Related Auction: Christie's Hong Kong, 1 December 2020, lot 1065 Price: HKD 8,650,000 or approx. EUR 1,051,000 converted and adjusted for inflation at the time of writing Description: Fu Baoshi (1904-1965), Returning Boat Expert remark: Note the much larger size (61.2 x 49.7 cm)Auction result comparison: Type: Related Auction: Christie's Hong Kong, 27 May 2014, lot 1608 Price: HKD 3,640,000 or approx. EUR 521,000 converted and adjusted for inflation at the time of writing Description: Fu Baoshi (1904-1965), Scholar Resting on a Boat Expert remark: Note the larger size (53 x 49.2 cm).傅抱石款《郊外所見》，1962年紙本水墨設色。兩位文人坐在船上垂釣，興致正濃，身後有漁簍，順著平靜的溪流漂浮著。河岸上綠樹成蔭。意境蕭疏。構圖不求滿密，乾淨利索，取得了形簡意賅的藝術效果。 款識：郊外所見，抱石記于南京壬寅五月；鈴印：抱石之作 來源：英國伯克郡，據説購於私人舊藏。 品相：有一些磨損和輕微污漬、缺損、摺痕，紙面局部有較小波紋區域，裝幀邊緣有摺痕和小撕裂。 尺寸：畫面32.4 x 34 厘米，總40 x 52 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2020年12月1日，lot 1065 價格：HKD 8,650,000（相當於今日EUR 1,051,000） 描述：傅抱石《風雨同舟》 專家評論：請注意尺寸大很多(61.2 x 49.7 厘米) 。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2014年5月27日，lot 1608 價格：HKD 3,640,000（相當於今日EUR 521,000） 描述：傅抱石《文人棲於舟》 專家評論：請注意尺寸 (53 x 49.2 厘米)較大。
'HUNDRED BIRDS WORSHIP THE PHOENIX', BY SHEN QUAN (1682-1760), DATED 1750China. Ink and watercolors on silk, with a silk brocade frame and mounted as a hanging scroll. Depicting a pair of phoenixes perched on a rock issuing peony, surrounded by a pair of cranes below them raising their heads, two pairs of mandarin ducks swimming in a river, and swallows flying above the water surface, with bamboo and other auspicious flowers.Inscriptions: Upper left, signed 'Shen Quan', and dated 'In the Winter of the Year of Gengwu, Qianlong era' (corresponding to 1750); two seals of the artist, 'Wuxing Shen Quan' and 'Nanping shi'. Lower left, three seals, 'Zhengyi shuwu zhencang tushu' and 'Runzhou Da Chongguang Jianding yin', the third illegible.Provenance: Belgian trade. Condition: Commensurate with age and displaying remarkably well. With some old wear, browning, minor foxing and soiling, creasing, tiny tears, and small losses here and there with associated touch-ups.Dimensions: Image size 139 x 88.5 cm, Size incl. mounting 278 x 105.3 cmThe painting shows two important collector's seals in the lower left corner. The first seal, 'Zhengyi shuwu zhencang tushu', belongs to Yixin (1833-1898), better known as Prince Gong, who was an imperial prince of the Aisin Goro clan and an important statesman of the Manchu-led Qing dynasty. He was a regent of the empire from 1861 to 1865 and wielded great influence at other times as well. The second seal, 'Runzhou Da Chongguang Jianding yin', is associated with Da Chongguang (1623-1692), a political figure, calligrapher, and painter in the early Qing dynasty, and most likely came into the hands of Prince Gong via descent.Shen Quan (ca. 1682-1760) was active during the Qing dynasty and painted in the Ming academic style. Shen was very influential in Japan, inspiring an entire school of painting, the Nanping School, which flourished in Nagasaki during the Edo period and was named after the artist's courtesy name.Paintings and embroideries with phoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants, is a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace. This large and impressive inlaid panel is an outstanding example and possibly of imperial origin.Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 26 May 2021, lot 875Price: HKD 187,500 or approx. EUR 22,500 converted and adjusted for inflation at the time of writingDescription: Shen Quan (1682-1760), PhoenixExpert remark: Compare the related motif, colors, and fine brushwork. Note the much smaller size (98 x 46.5 cm).沈銓(1682-1760)款《百鳥朝鳳》，1750年中國，絹本水墨設色，掛軸。描繪一對鳳凰棲息在岩石上，牡丹綻放，下方一對仙鶴昂首挺立，鴛鴦在水中遊弋，燕子在空中飛翔，並可見各類吉祥之花。 款識：乾隆庚午冬仲南蘋沈銓寫；鈴印：吳興沈銓，南蘋氏：珍藏印：正誼書屋珍藏圖書，潤州笪重光鑒定印 來源：比利時古玩交易。 品相：品相良好，有一些磨損、褐變、輕微的汙漬和摺痕、微小的撕裂，以及隨處可見的小缺損以及相關的小修補。 尺寸：畫面139 x 88.5 釐米, 總 278 x 105.3 釐米拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2021年5月26日，lot 875 價格：HKD 187,500（相當於今日EUR 22,500） 描述：清沈銓《鸞鳳呈祥》，設色絹本立軸，一七四六年作 專家評論：比較相近的主題、顏色和精細的筆觸。請注意尺寸較小(98 x 46.5毫米)。
A LUDUAN-FORM BRONZE CENSER, MING DYNASTYChina, 1368-1644. Finely cast standing foursquare, the chest of the hollow body with a long strip of scaling, the sides with swirls and stylized ruyi-heads, flanking a short tail. The hinged cover rendered in the form of a single-horned head with bulging eyes, scrolling mane, and funnel-shaped ears, the mouth wide open revealing tongue and teeth.Provenance: Galerie Gross, Wiesbaden, Germany, 12 December 1980. An old German private collection, according to the family acquired from the above, and thence by descent. Condition: Very good condition with expected old wear and casting irregularities. The hinge original and remarkably well-preserved, thus functioning properly. A few minuscule nicks and small dents. Naturally grown, rich and very dark patina overall.Weight: 4,612 g Dimensions: Height 30 cm (excl. base, incl. pegs) and 33.5 cm (incl. base)With an old wood base. (2)The throne of the Emperor of China in the Hall of Supreme Harmony in the Forbidden City in Beijing has two incense burners shaped as luduan, the legendary auspicious creatures who can travel 18,000 li (9,000 km) in a single day and speak all world languages. A legend says that a luduan once appeared to Genghis Khan and convinced him to abandon his efforts to conquer India.Luduan are mythical creatures with strong lion bodies, a single horn and the paws of a bear. They are believed to have the ability to foretell the future, give life to the good, and kill the evil. According to legend, they were originally known as 'jiaoduan', and their name changed to 'luduan' because the character for 'lu' matched their appearance better. Known as guardians of enlightened rulers, luduan were said to appear in areas where a wise and virtuous leader was present.The auspicious nature of luduan was particularly appropriate for the purpose of these censers. Cast with hinged or removable heads, they were made for burning incense and smoke would emerge from the beast's mouth, animating and empowering the sculpture. As Chuimei Ho and Bennet Bronson note in their discussion of a pair of Qianlong cloisonne enamel examples from the Palace Museum, Beijing, included in the exhibition 'Splendors of China's Forbidden City, The Glorious Reign of Emperor Qianlong' by The Field Museum, Chicago, 2004, these burners were traditionally valued at the Imperial Court, as with their open mouths and smoke billowing forth, they were a reminder to the emperor that he should always be receptive to honest advice (see page 37).The origin of incense burners of this form is difficult to determine. An example attributed to the Song dynasty was recovered from the Ming dynasty tomb of the scholar-official Zhang Shupei (1552-1615) in Tonglian, Sichuan (Wenwu, 1989, no. 7, pp 45-46, figs 14-16). Mythical beast incense burners, however, became a popular model only from the Xuande period onwards. A censer in the form of a mythological animal was included in the painting 'Enjoying Antiquities' by Du Jin (ca. 1467-1505), where two scholars are depicted scrutinizing a selection of antiquities (illustrated in Through the Prism of the Past, Antiquarian Trends in Chinese Art of the 16th to 18th Century, National Palace Museum, Taipei, 2003, catalog no. I-44). A drawing of a similar beast is also published in the Shizu zhai jian pu (Ten Bamboo Studio Catalogue of Letter Paper Designs), a woodblock printed book of stationery papers from 1645, compiled by Hu Zhengyan and illustrated in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, volume 1, Hong Kong, 1978, page 179, figure 15. Its popularity continued well into the Kangxi reign, when censers of this form were made in a variety of media, including porcelain, cloisonne enamel, and bronze.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 4 April 2017, lot 60 Price: HKD 350,000 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A Rare Bronze Luduan-Form Censer, Yuan-Ming Dynasty (1279-1644)Expert remark: Note the similar size (35.2 cm) Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 3 June 2015, lot 2870 Price: HKD 275,000 or approx. EUR 40,500 converted and adjusted for inflation at the time of writing Description: A Bronze Luduan-Form Censer and Cover, Late Ming Dynasty, 17th CenturyExpert remark: Note the smaller size (23 cm)明代甪端銅香薰中國，1368-1644年。銅香薰，作獨角甪端形象，昂首傲立，蹲伏狀。雙目圓瞪，發須如火焰紋，前胸配以纓絡鈴鐺，身體兩側有如意狀紋飾，頭部與身體相分開。腹部中空，設計巧妙。體態飽滿圓潤。 來源：德國威斯巴登Galerie Gross藝廊，1980年12月12日；一個德國私人收藏，在同一家族保存至今。 品相：狀況極好，有磨損和鑄造不規則現象。原始鉸鏈且保存完好，因此可以正常使用。一些微小的刻痕和小凹痕。自然包漿細膩。 重量：4,612 克 尺寸：高 30 厘米 (不含底座，含釘子)，33.5 厘米 (不含底座) 木底座。(2)
'GRAPES', BY QI LIANGCHI (1921-2003)China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Boldly painted with vivid brushstrokes, depicting hanging branches with large leaves and bunches of grapes.Inscriptions: Upper left, signed 'Qi Liangchi', dated 'in the Year of Ren[…]', and inscribed 'for brother Rongtang'.Provenance: The Oliver Impey Collection of Modern Paintings. Acquired at PS & N in October 1966. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie's in Hong Kong in the late 2000s. Condition: Very good condition with minor wear, little soiling, minuscule tears to edges, minor creasing.Dimensions: 68,5 x 33 image size, and 203 x 49,5 total sizeQi Liangchi (1921-2003), born in Xiangtan, Hunan, became a well-known painter in the style of Zichang. He was the fourth child of the famous Qi Baishi. At the age of ten, he studied traditional Chinese painting techniques under the guidance of his father. At twenty-four, he graduated from the Fine Arts Department of Beijing Furen University, and then engaged in art education. Later, following Zhou Enlai's entrustment, he resigned from teaching to serve the elderly Baishi and study the Qi School of painting. After Baishi's death, he taught at the National Peiping Art College. Auction result comparison:Type: RelatedAuction: Beijing Hanhai Art Auction Co. Beijing, 7 December 2012, lot 337Price: CNY 103,500 or approx. EUR 18,000 converted and adjusted for inflation at the time of writingDescription: Qi Liangchi (1921-2003), Grape and butterflyExpert remark: Compare the related motif and technique with similar brushstrokes. Note the size (130 x 66 cm).齊良遲(1921-2003)《葡萄》中國，紙本水墨設色，掛軸。流暢的構圖和清麗的設色，不加任何渲染，葡萄憑空而來，藤纏蔓繞，果實累累，葡萄的闊葉以兩三筆簡練寫出，明暗墨色變化多端。 款識：榮唐師兄法正壬年三月齊良遲；鈴印：齊良遲 來源： Oliver Impey 現代繪畫收藏，於1966年10月購於PS & N。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長（1997-2000），牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。他曾就讀於牛津大學，在倫敦蘇富比工作期間完成了論文。在蘇富比，他的鑑賞力和非凡的知識得以發展，以及他對藝術貿易的深入瞭解和對交易的警惕眼光。1967 年，他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡，Impey 孜孜不倦地收購精美物品，極大地擴大了博物館的藏品。他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者，他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品，其中許多作品於2000年後期香港佳士得拍賣會上售出。 品相：狀況極好，有輕微磨損、少量汙漬、邊緣有輕微撕裂和摺痕。 尺寸：畫面68,5 x 33 釐米, 總 203 x 49,5 釐米
A 'QIANJIANG CAI' ENAMELED 'SEVEN MONKEYS' PLAQUE, STUDIO OF PAN TAOYU (1887-1926)China, Jingdezhen. The rectangular plaque painted in green and blue tones with seven monkeys frolicking, each with a comical and mischievous expression, a pair with a young seated below a tree playing the flute and pointing upwards, a young monkey playing with a lamp at the tree top, and two monkeys perched on a branch holding a stick trying to reach out to another monkey hanging on a tendril.Inscriptions: Center left, inscribed 'Guanyin fenghou' (a wish for a speedy promotion), one seal of the artist, 'Gu huan' (ancient joy).Provenance: From the private collection of a doctor, Connecticut, USA. Condition: Very good condition with some old wear and little rubbing. The frame with few small nicks and scratches.Weight: 3,340 g Dimensions: Image size 40.8 x 25.3 cm, Size incl. mounting 47.8 x 32.3 cmIn a hardwood frame with metal mount, both from the period. (2)Gu huan (ancient joy) is the studio name that belongs to Pan Taoyu (1887-1926), a porcelain master from Jingdezhen. The emergence of the market for fine decorative art porcelains was an important development and brought a fresh and vibrant energy to porcelain making in China during the Republic period. Pan Taoyu was one of the most important pioneers and masters of porcelain painters in the early 20th century. With his superb ability to depict delicate fine shadings, Pan achieved excellence in painting a wide range of objects on porcelain, including figures, landscapes, and bird-and-flowers motifs. Among Pan Taoyu's students are Wang Yeting, Liu Yucen and Cheng Yiting, all important members of the celebrated 'Eight Friends of Zhushan' group who were among the best fencai masters of the Republic period. Pan Taoyu died young, and very few of his personal works survived.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.Monkeys are a popular motif in Chinese art. Shown together with the inscription, they symbolize the wish for immediate success or a speedy promotion of young candidates.Literature comparison: Examples of Pan Taoyu's personal porcelain paintings are illustrated by Simon Kwan, Chinese Porcelain of the Republic Period, The Muwen Tang Collection Series, Hong Kong, 2008, p. 68-73, and on the cover. Auction result comparison:Type: RelatedAuction: Bonhams London, 10 November 2011, lot 569Price: GBP 361,250 or approx. EUR 641,000 converted and adjusted for inflation at the time of writingDescription: A rare pair of enameled fan-shaped plaques, circa 1900-1920, signed by Pan Taoyu (circa 1887-1926)Expert remark: Note that the lot comprises two fan-shaped plaques and that these are personal (not studio) works by the master. Note also the much larger size (54 cm). 潘匋宇(1887-1926)淺絳彩《卦印封侯》瓷板中國，景德鎮。長方，此橫幅作品以一角構圖，繪樹上樹下幾隻靈猴或是掛於樹間，或是在樹下戲耍。樹上有一隻手正努力把一個印掛在樹上。畫法細膩，樹枝凹凸斑駁處著意用粉彩渲染，色澤由暗漸明，可見是經過層層暈染方成，極富立體感。以靈猴裝飾瓷器，明清時較為少見，但從晚清民國的瓷器鳥獸畫來看，藉著吉祥“封侯”之寓意，在作品中繪以雅趣。 款識：卦印封候；鈴印：古歡 來源：美國康涅狄格州醫生私人收藏。 品相：狀況極好，有一些磨損和少量磨損。木框上有一些小劃痕。 重量：3,340 克 尺寸：畫面40.8 x 25.3 釐米，總47.8 x 32.3 釐米 硬木框金屬架，應爲來自同期。
A BRONZE FIGURE OF A STANDING BUDDHA, POST-GUPTA PERIOD, INDIA, C. 7TH CENTURYFinely cast standing in contrapposto on an integral lotus-petal base upon a square plinth, the right arm extended to the earth, the open palm exaggerated, the left hand grasping the hem of the robe.Provenance: Steven Finkelman, The Buddha Gallery, California, USA, 2014. Michael Phillips, acquired from the above. Steven Finkelman is a retired social work service director with over 30 years of experience in collecting and selling Buddhist and Hindu sculpture. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age. Wear, minor dents, small nicks, light scratches, casting flaws, signs of weathering and erosion, losses.Weight: 189.7 g Dimensions: Height 11 cmThe present lot is characteristic of Indian art from the post-Gupta period. This small type of portable figure is thought to be one of the earliest kinds of Buddhist images to have been produced by local craftsmen, reflecting the spread of Buddhism throughout India and the rest of Asia after the 3rd century. We see this type of figure replicated in regional styles all the way out to Myanmar. It was even reported by the Chinese scholar Xuanzang (602-664), who traveled to India in the 7th century, that the monks of India had small icons of Buddha in their quarters that they venerated with chanting, ritual bathing, and small offerings of incense and food. He identified these as a small group of metal standing Buddha figures. The Ajanta Caves are approximately thirty Buddhist cave monuments dating from the second century BC to about 480 AD in the Aurangabad district of Maharashtra state in India. Textual records suggest that these caves served as a monsoon retreat for monks, as well as a resting site for merchants and pilgrims in ancient India. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive works that present emotions through gesture, pose and form. They are universally regarded as masterpieces of Buddhist religious art. The caves were built in two phases, the first starting around the second century BC and the second occurring from 400 to 650 AD. They constitute ancient monasteries (Chaityas) and worship-halls (Viharas) of different Buddhist traditions carved into a 75-meter (246 ft) wall of rock. The caves also present paintings depicting the past lives and rebirths of the Buddha, pictorial tales from Aryasura's Jatakamala, and rock-cut sculptures of Buddhist deities. The patron and bronze founder of the present lot were clearly intimately familiar with the Ajanta site. In cave 4 for example, see a standing Buddha closely related to the present lot.Literature comparison: Compare a related carved relief of a standing Buddha in Cave 19 at the Ajanta complex, taken by Henry Cousens around 1880, from the Archaeological Survey of India Collections. See Sarita Khettry, 'Portable' Images (Buddhist) from Gandhara, Proceedings of the Indian History Congress, vol. 72, 2011, pp. 204-11. Compare also a related pillar painting in Cave 10. Compare a closely related figure, 11 cm high, dated 7th-8th century, at Galerie Hioco, June 24, 2019.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
SEVEN 'SILK PRODUCTION' PAINTINGS, AFTER JIAO BINGZHEN (FL. 1689-1726), QING DYNASTYChina, 18th-19th century. Ink and watercolors on paper. Each skillfully painted to illustrate a different stage of silk production, including the preparation and inspection of twig frames and trays for the silkworms and mulberry leaves, as well as the loading and weighing of baskets filled with silkworm cocoons and the soaking of such cocoons in order to free the silk. Provenance: English trade. Condition: Good condition with minor wear, soiling, and creasing.Dimensions: Image size 25.5 x 25 cm (each)Each painting is matted and framed. (14)Didactic images of silk and rice production first appeared in Chinese culture around 1145 with the Southern Song dynasty court painter Lou Shou (1090-1162). Accompanied by poetic inscriptions describing the individual steps of production, these imperially sponsored images demonstrated the Emperor's interest in fostering sound agricultural and sericulture practices for these key economic engines and sources of food and clothing for the nation, as well as government revenue through taxation.In the seventeenth century, the Kangxi Emperor commissioned the court artist Jiao Bingzhen (fl. 1689-1726) to create a new edition of the Gengzhi tu, which was published as woodblock printed albums in 1696. As a result of the book's wide distribution, the imagery from the 1696 edition soon began appearing in a variety of media, on porcelain vases, lacquer screens, fine embroidery, and paintings, as seen in the present lot.Literature comparison: An album of woodblock prints, with 46 illustrations on the cultivation of grain and silk, commissioned by the Kangxi Emperor, dated 1696, is in the British Museum, registration number 1949,0709,0.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 27 January 2014, lot 397 Price: USD 7,500 or approx. EUR 8,600 converted and adjusted for inflation at the time of writing Description: A set of six Chinese silk production pictures, 19th century Expert remark: Note the similar sizes (23.7 x 24.1 cm) and that the lot comprises six album leaves, each with two pictures, four of which are framed.Auction result comparison: Type: Closely related Auction: Christie's London, 14 May 2019, lot 178 Price: GBP 11,250 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing Description: Formerly attributed to Jiao Bingzhen (fl. 1689-1726), Sericulture Expert remark: Note the size (30.4 x 26.6 cm) and that the lot comprises an album of 24 leaves, twelve of which are closely related paintings, the other twelve with calligraphy reproducing the text of the Kangxi Emperor's poems inscribed on Jiao Bingzhen's original paintings.清代《蠶織圖》中國，十八至十九世紀，紙本設色。描繪中國南方蠶織戶養蠶、下蠶、繅絲生產的過程。 來源：英國古玩交易。 品相：狀況良好，有輕微磨損、污漬和摺痕。 尺寸：畫面分別為25.5 x 25 厘米 裝框。(14)文獻比較： 一組1696 年康熙皇帝委託製作的版畫畫冊，共 46 幅有關種植糧食和絲綢的插圖，收藏於大英博物館，館藏編號 1949,0709,0.1。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年1月27日，lot 397 價格：USD 7,500（相當於今日EUR 8,600） 描述：十九世紀一組六幅《製絲綢過程》 專家評論：請注意相似的尺寸 (23.7 x 24.1釐米)，以及此為六幅畫。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2019年5月14日，lot 178 價格：GBP 11,250（相當於今日EUR 14,500） 描述：焦秉貞款（fl. 1689-1726）《蠶業》 專家評論：請注意尺寸(30.4 x 26.6釐米) 。這是一本24頁的畫冊，其中十二幅是密切相關的繪畫，另外十二幅是複製康熙皇帝在焦秉貞原畫上題寫的詩文。
AN IMPERIAL FAMILLE ROSE 'BOYS AT PLAY' PORCELAIN SNUFF BOTTLE, DAOGUANG MARK AND PERIODChina, Jingdezhen kilns, 1821-1850. Of flattened globular form, rising from an oval foot ring, surmounted by a cylindrical neck, finely enameled, and picked out in gilt and iron-red. Each side depicting a scene with eight boys playing, some boys holding twigs, flowers, a scepter, brush, and Buddhist emblems on poles, and each dressed in fine robes with ornamental designs. The recessed base with an iron-red four-character mark Daoguang nianzhi and of the period.Provenance: From an Austrian private collection, assembled prior to 1990. Condition: Very good condition with minor wear, mostly to the iron-red and gilt, few small nicks, and minuscule chips to the foot. The stopper with minor nibbling.Stopper: CarnelianWeight: 39.2 gDimensions: Height including stopper 66 mm. Diameter neck 17 mm and mouth 7 mm.The number eight is believed to be one of the luckiest numbers in China since it is associated with wealth. 'Eight' in Chinese is pronounced 'ba' and sounds similar to 'fa' as in 'facai', meaning 'well-off' or 'becoming rich in a short time'. The subject of boys or children was very popular in decorative arts of the Ming and Qing dynasties. Together with the number eight the motif of boys may represent a wish for an abundance of offspring and wealth.Auction result comparison:Type: RelatedAuction: Sotheby's London, 18 May 2018, lot 388Price: GBP 2,375 or approx. EUR 3,500 converted and adjusted for inflation at the time of writingDescription: A famille-rose enameled porcelain snuff bottle, Daoguang seal mark and period (1821-1850)Expert remark: Compare the closely related form and motif. Note the missing gilt accents, the lower quality of the painting, and the slightly smaller size (55 mm).道光款及年代粉彩嬰戲圖鼻煙壺中國，景德鎮，1821-1850年。直頸，扁平圓形壺身，橢圓形圈足。精美的琺瑯，描金和礬紅彩勾勒。每面描繪八個男孩玩耍的場景，一些男孩手持樹枝、鮮花、毛筆和佛徽；童子們都穿著精美衣袍。圈足内礬紅彩“道光年製”四字款。 來源：奧地利私人收藏，建立於1990年前。 品相：狀況極好，有輕微磨損，主要是礬紅彩和鎏金，輕微小刻痕，足部有微小缺口，壺蓋有輕微磕損。 壺蓋：紅玉髓 重量：39.2 克 尺寸：含壺蓋高66 毫米. 頸部直徑17 毫米，壺口直徑 7 毫米 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2018年5月18日，lot 388 價格：GBP 2,375（相當於今日EUR 3,500） 描述：清道光粉彩百子圖鼻煙壺 《道光年製》款 專家評論：比較非常相近的外形和主題。請注意沒有鎏金，且繪畫品質較低，以及尺寸較小 (55 毫米)。
A SILK PAINTING OF XIWANGMU AND OTHER FEMALE DEITIES, QING DYNASTYChina, 1644-1912. Ink and watercolors on silk. Finely painted with Xiwangmu dressed in a white robe, embellished with floral garlands, Guanyin clad in a light blue cowl, the other female deities each holding a different attribute, a red pearl, a dragon, two cats, and a red cup. The lower register with Zhongli Quan grasping his fan, surrounded by a goddess carrying a basket filled with lingzhi, and Magu. The figures framed by dense rockwork and trees.Provenance: Christie's Paris, 9 June 2015, lot 100. A noted French private collection, acquired from the above. The reverse inscribed twice in French 'The eight divinities, T.B', and in Chinese 'Gold' and '8060 Gold'. The back with an inventory number, '52', and a label from Christie's. Condition: Commensurate with age, with some creasing, losses, soiling, and touchups. The frame with small nicks, flakes to the lacquer, and minor scratches.Dimensions: Image size 131.2 x 53 cm, Size incl. mounting 150 x 70.5 cmFramed behind glass. (2)This painting depicts a scene from the peach festival, which is a popular Daoist subject associated with the birthday celebration of Xiwangmu, who has the sole authority to grant the Peaches of Eternal Life and bestow celebrants of the festival with great fortune. According to legend, the festival is held at the Jade Palace in the Kunlun Mountains in the Western Paradise and only takes place every 3000 years.清代絹本《西王母圖》中國，1644-1912年，絹本水墨設色。西王母身著白袍，飾以花環；觀音頭戴淡藍色頭巾，其他女仙各持不同法器。畫面下方可見漢鍾離手持扇子，旁邊還有一位提著裝滿靈芝籃子的女神以及麻姑。周圍雲霧繚繞，樹木茂密。 來源：巴黎佳士得2015年6月9日lot 100；法國知名私人收藏，購於上述拍賣。法文書寫“八仙”，中文寫著“金”與 “8060金”。背面有收藏編號 '52'與佳士得標籤。 品相：與年齡相稱，有一些摺痕、缺損、污漬和修飾。木框有小劃痕、漆面剝落和輕微劃痕。 尺寸：畫面131.2 x 53 厘米，總150 x 70.5 厘米 玻璃裝框(2) 此畫描繪的是蟠桃盛會場景片段。蟠桃盛會是西王母慶生的流行題材。西王母有權賜予長生桃，賜福於人。相傳，這個節日在西方天堂崑崙山的玉皇宮舉行，每三千年才舉行一次。
'MOUNTAIN WATERFALL', BY QIAN SONGYAN (1899-1985), DATED 1959China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Painted in shades of blue and light pink, depicting a waterfall in the mountains, with pine trees and two travelers admiring the monumental scene.Inscriptions: To the upper right, inscribed 'Spring reigns in the mountains, farmers and workers are in united front', dated '1959', signed 'by Qian Songyan'. Two seals, 'Qian' and 'Songyan'. To the reverse, inscribed 'Qian Songyan, Mountain water landscape' Provenance: A noted private collector, acquired in China between 1980 and 1990. The current owner lived in Xi'an, China, during the 1980s and 1990s. There he became friends with Zhao Wenfa, who at that time was a professor of Chinese arts at the Xi'an Art Academy. Zhao Wenfa advised him on Chinese painting and eventually inspired him to start his own collection. Condition: Very good condition with minor wear, little creasing, and minor soiling.Dimensions: Image size 135.5 x 69 cm, Size incl. mounting 185 x 79.2 cmQian Songyan (1899-1985) was born in Jiangsu province, China. He learned painting at an early age from his father. Qian graduated in 1923 from the Jiangsu Provincial College and taught art at academies in Suzhou and Wuxi after 1949. His work was exhibited both within China and abroad. Qian was also the executive director of the Association of Chinese Artists and the President of the Jiangsu Academy of Chinese Painting. He is closely associated with the 'New Nanjing Style' and often depicted monumental natural scenes such as waterfalls and mountains.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 16 September 2014, lot 83Price: USD 22,500 or approx. EUR 27,000 converted and adjusted for inflation at the time of writingDescription: Qian Songyan (1899-1985), Autumn mountainsExpert remark: Compare the closely related motif. Note the smaller size (61 x 36.2 cm).錢松喦1959年《古塞新天萬里春》中國，紙本水墨設色，掛軸。峰巒曡嶂，青松遍野，瀑布直流，游人步於山間。 款識：古塞新天萬里春，工農戰線頻。一九五九年錢松喦作。 來源：知名私人收藏家，1980年至1990年間購於中國，藏家當時生活在西安。他與西安美術學院教授趙文發成爲好友 。趙文發在中國畫方面向他提供建議，並最終啟發他開始了自己的收藏。品相：狀況極好，有輕微磨損、摺痕和污漬。 尺寸：畫面135.5 x 69 厘米，總185 x 79.2 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2014年9月16日，lot 83 價格：USD 22,500（相當於今日EUR 27,000） 描述：錢松喦《秋山清趣》 專家評論：比較非常相近主題。請注意尺寸較小(61 x 36.2 厘米)。
'ROSE', BY FANG ZHAOLIN (1914-2006)Expert's note: This work dates from the time when Fang Zhaolin studied at Oxford University in the United Kingdom. The artist entered Oxford University in 1956 to conduct research on Odes of the Chu Kingdom for two years and left for the United States in 1958.China. Ink and watercolors on paper. Finely painted with a blossoming pink rose above a smaller bud, both borne on a leafy thorned stem.Inscriptions: Upper left, signed 'Zhaolin in Oxford'Provenance: English trade. Condition: Excellent condition with minor wear.Dimensions: Image size 38 x 28 cmMatted and framed. (2)Fang Zhaolin (1914-2006) was born in Wuxi, Jiangsu province in east China. She studied Chinese painting with several masters including Qian Songyan, the Lingnan School master, Zhao Shao'ang (1905-1998), and later with one of the most celebrated Chinese artists, Zhang Daqian (1899-1983). In her forties, she completed her university training in Hong Kong and then at Oxford. From the 1950s to the 1970s, Fang lived and traveled in Europe and America where she became knowledgeable about trends in modern Western painting. Her enduring passion was, however, the traditional Chinese style, rooted in national history and culture. The landscapes and the still lifes she painted were always depictions of home. She was fascinated by the simplicity of Han mural paintings and developed a distinctive style of her own in both figure paintings and in her landscapes which, from the 1970s, often combine calligraphic lines and forms to illustrate mountains and rocks instead of using the traditional method of ink strokes. Well into her 80s, Fang Zhaolin continued to rise early and paint for six to eight hours each day. Staying busy, she says, is the secret to long life. “If you are engaged and occupied with your work, you don't bother worrying about small problems. You don't dwell on things or let them bother you.”方召麐《玫瑰圖》中國，紙本水墨設色。設色清雅，一朵盛開的粉紅色玫瑰，花色嬌嫩。 專家註釋：此畫為方召麐就讀英國牛津大學時期所作。她曾於1956年在牛津進行兩年楚詩研究，1958年赴美。 款識：窗明几净病愈后，見玫瑰盛開寫此以遣興，召麐于牛津 ；鈴印：方召麐 來源：英國古玩交易。 品相：狀況極佳，輕微磨損。 尺寸：畫面38 x 28 厘米 裝裱成鏡片。 (2)
'NEW YEAR'S FISH', BY LI KUCHAN (1899-1983)China. Ink on paper. Depicting an underwater scene with a catfish and another fish, well painted in the artist's characteristic bold and spontaneous style.Inscriptions: Upper left, inscribed 'Good fortune for the year', one seal, 'Li Ying zhi yin'. Provenance: British trade. Condition: Good condition with minor wear, a central crease, minor creasing to the edges, little soiling, and foxing. Dimensions: Size 63.8 x 44.8 cmLi Kuchan (1899-1983) was a renowned Chinese painter, calligrapher, and art educator who specialized in free-stroke brush paintings. Li was born in Gaotang, Shandong, into a poor family and had to take up hard labor in order to pay for art school in Beijing. In 1923, he began to study under Qi Baishi (1864-1957) and was considered his best student. Later, Li began to work as an art teacher, and taught at the Central Academy of Fine Arts from 1950 until his death in 1983. He specialized in bird-and-flower paintings using the free and spontaneous 'xieyi' style (freehand brushwork used in traditional Chinese painting).The fish is closely linked to Chinese New Year traditions. The word for fish, 'yu', is a homophone for the Chinese word wish and abundance, thus they often represent the wish for abundance in the New Year. It is also used to symbolize richness, plenty, surplus, luck, prosperity, and happiness.Auction result comparison:Type: Closely relatedAuction: Bonhams New York, 12 September 2012, lot 2078Price: USD 4,750 or approx. EUR 6,000 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1899-1983) FishExpert remark: Compare the closely related motif, vivid brushstroke, and size (62.2 x 39.4 cm)李苦禪 (1899-1983) 款《長年大利圖》中國，紙本水墨。描繪了一條鯰魚和一條鱖魚水中嬉戲場景，藝術家特有的大寫意風格。 款識：長年大利，禪；鈴印：李英之印 來源：英國古玩交易。 品相：品相良好，有輕微磨損，中央有摺痕，邊緣有輕微摺痕，輕微污漬和起皺。 尺寸：63.8 x 44.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2012年9月12日，lot 2078 價格：USD 4,750（相當於今日EUR 6,000） 描述：李苦禪《連年有餘圖》水墨紙本 專家評論：比較非常相近的主題、鮮活的筆觸和尺寸(62.2 x 39.4 厘米)。
A FINE FAMILLE ROSE PLAQUE DEPICTING WANG ZHAOJUN, QING DYNASTYChina, 1644-1912. Exquisitely painted in bright enamels with Wang Zhaojun in a cold winter landscape with gnarled barren branches, bamboo leaves, craggy rockwork, and towering mountains partly obscured in the fog, shrouding herself in her voluminous robes, a youthful attendant walking behind her and carrying her silk-covered pipa, both with well-detailed, expressive faces of reddened complexion.Provenance: English trade, previously in an English private estate. Condition: Very good condition with some wear and expected firing irregularities, minor fritting to edges, and a small chip to one corner.Dimensions: Size 50.5 x 32.5 cmWang Qian, commonly known by her courtesy name Wang Zhaojun, was known as one of the Four Beauties of ancient China. Born in Baoping Village, Zigui County (in current Hubei Province) in the Western Han dynasty (206 BC-8 AD), she was sent by Emperor Yuan to marry Chanyu Huhanye of the Xiongnu Empire in order to establish friendly relations with the Han dynasty through marriage. The present plaque depicts Wang's journey north across the steppe.Wang Zhaojun was endowed with dazzling beauty and an extremely intelligent mind. She was adept in playing the pipa and was also a master of the ancient 'Four Arts of the Chinese Scholar' - the guqin, weiqi, calligraphy, and Chinese painting. Although Zhaojun was a concubine in the harem of Emperor Yuan (Han Yuandi, reigned 48-32 BC), he had never noticed her. One reason was that she refused to bribe a painter, Mao Yanshou, so his painting of her did not do her justice. As a result, when a Central Asian nomad prince named Huhanye came looking for a bride, the Emperor volunteered her (by another account she was so desperate that she volunteered herself). She then had to spend the rest of her life in the barren lands of Central Asia. When her husband died, she was married to her stepson, as custom dictated. She requested permission from Han Emperor Cheng to return home, but he refused.A set of tombs near the Inner Mongolian capital, Hohhot, is said to include the grave of Wang Zhaojun. The grave is mentioned as early as the Tang dynasty, by which time stories of Wang Zhaojun had become very popular. There are a number of poems about her. Most of them are sad, dwelling on her desire to return home. Typical is this poem by Li Bai, which at the end mentions her grave:The moon above the Han palace and land of Qin, Sheds a flood of silvery light, bidding Mingfei ("the radiant lady") farewell. She sets out on the road of the Jewel Gate, a road she will not travel back. The moon above the Han palace rises from the eastern seas, But the radiant lady wed in the west will return nevermore. On the Mongolian mountains flowers are made of the long winter's snow, The moth-eyebrowed one, broken-hearted, lies buried in the desert sand. Living she lacked the gold, and so her portrait was distorted, Dying she leaves a green mound, which moves all the world to pity. (taken from Yang Gang, Zhongguo ming sheng shi ci da ci dian, 2001, page 161)清代粉彩王昭君瓷板畫中國，1644-1912年。粉彩描繪王昭君出塞圖，枯枝竹葉，怪石嶙峋，巍峨群山半掩於霧中；王昭君身披寬大紅色斗篷，丫鬟抱著她的琵琶。瓷片髮色沉著，畫面生動。 來源：英國古玩交易，來自英國私人舊藏。 品相：狀況極好，有一些磨損和燒製瑕疵，邊緣有輕微磨損，一個角有小缺口。 尺寸：50.5 x 32.5 厘米 內蒙古首都呼和浩特附近的一個墓葬群，據說包括王昭君的墳墓。早在唐代，王昭君的故事就已廣為流傳。有很多關於她的詩，訴說著她想回家的願望。最典型的是李白的這首詩，最後提到了她的墳墓：漢家秦地月，流影照明妃。一上玉關道，天涯去不歸。漢月還從東海出，明妃西嫁無來日。燕支長寒雪作花，蛾眉憔悴沒胡沙。生乏黃金枉圖畫，死留青塚使人嗟。（摘取自楊剛，《中國名勝詩詞大辭典》，浙江大學出版社，2001年，頁161）
'BIRD AND BAMBOO', BY FANG ZHAOLIN (1914-2006)China, c. 1950-1970. Ink and watercolors on paper. Depicting a black bird perched on a branch, to its right with hanging bamboo leaves, finely painted in splashy ink washes alongside gestural brushwork, characteristic for the artist.Inscriptions: Lower right, signed 'Zhaolin', one seal 'Fang shi'.Provenance: French trade, previously in an old British private collection. Condition: Presenting very well with some wear, little creasing, foxing, stains, and watermarks. Adhered to cardboard at two corners, backed by an old wooden board. The latter with some wear. Dimensions: Size incl. backing 62.6 x 52 cm, Image size 58 x 43.9 cm Fang Zhaolin (1914-2006) was born in Wuxi, Jiangsu province in east China. She studied Chinese painting with several masters including Qian Songyan, the Lingnan School master, Zhao Shao'ang (1905-1998), and later with one of the most celebrated Chinese artists, Zhang Daqian (1899-1983). In her forties, she completed her university training in Hong Kong and then Oxford. From the 1950s to the 1970s, Fang lived and traveled in Europe and America where she became knowledgeable about trends in modern Western painting. Her enduring passion was, however, the traditional Chinese style, rooted in national history and culture. The landscapes and the still lifes she painted were always depictions of home. She was fascinated by the simplicity of Han mural paintings and developed a distinctive style of her own in both figure paintings and in her landscapes which, from the 1970s, often combine calligraphic lines and forms to illustrate mountains and rocks instead of using the traditional method of ink strokes.Auction result comparison:Type: RelatedAuction: Bonhams London, 23 September 2015, lot 145Price: GBP 4,375 or approx. EUR 6,700 converted and adjusted for inflation at the time of writingDescription: Fang Zhaoling (sic) (1914-2006), Eight birds perched on bambooExpert remark: Compare the related motif, composition, brushwork, and size (60 x 45.5 cm)方召麐(1914-2006年)《鳥》中國，約作於1950 - 1970年間，紙本水墨設色。一隻黑鳥站在樹枝上，右側竹枝搖曳，筆觸灑脫清新。 款識：召麐；鈴印：方氏。 來源：法國古玩交易，來自一個英國私人老收藏。 品相：品相良好，有一些磨損、小摺痕、起皺、污漬和水印。兩個角黏在硬紙板上，背面是一塊木板，有磨損。 尺寸：總62.6 x 52 厘米，畫面58 x 43.9 厘米 方召麐(1914-2006年)出生於中國江蘇省無錫市，曾跟隨多位國畫大師學習書畫，如嶺南派錢松喦、大師趙少昂以及張大千。四十多歲時，她先後在香港和牛津就讀。五十年代至七十年代，方在歐美遊歷旅居，了解西方現代繪畫潮流。然而，她深愛民族歷史和文化與傳統中國風格。她畫的風景和靜物經常是對家的描繪。她著迷於漢族壁畫的簡潔，並在人物畫和山水畫中形成了自己獨特的風格，從 20 世紀 70 年代開始，她經常結合書法線條和形式來描繪山石，而不是使用傳統的繪畫方法。她的作品保留老師的風格，作品色彩濃烈，用筆豪放。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，23 9月 2015年，lot 145 價格：GBP 4,375 EUR 6,700 （相當於今日） 描述：方召麐(1914-2006年)《八鳥棲於竹上》 專家評論：比較相近的主題、構圖、筆法和尺寸(60 x 45.5 厘米)。
'THE EIGHT IMMORTALS', BY FAN ZENG (BORN 1938), DATED 1995China. Ink and watercolors on cloth. Boldly painted with vigorous brushstrokes to depict the Eight Immortals (baxian), with Zhang Guolao smiling as he sits on his donkey, next to a standing Li Tieguai carrying his iron crutch with the double gourd at the top. Two further immortals are seated together, one playing with his beard, while another sleeps blissfully on a craggy rock, behind a female immortal looking into the distance, and two standing immortals examining a rock.Inscriptions: To the top, 'Painting of the Baxian. According to legend, the Eight Immortals crossed the ocean. Later it was said that everybody used their talents or skills to achieve a common goal. In the Year of Yihai corresponding to 1995, in Shiguzhai in Jinling (Nanjing).' Two seals of the artist: 'Qingmao lueesi' and 'Wo jian qingshan duo wumei'.Provenance: From a private collection in Germany, by repute acquired directly from the artist in China, and thence by descent. According to the previous owner's son, the present work was painted in front of him for his father, who lived in China at the time. The owner made this testimonial during a German television show, the video is accessible here: https://www.zdf.de/show/bares-fuer-rares/bares-fuer-rares-vom-11-november-2022-100.html (the sequence starts at minute 18:30).Condition: Generally in fine condition with some wear, soiling, some water stains, the edges with small holes from wall mounting.Dimensions: Image size 184 x 76 cm, Total size 224 x 88.5 cmThe Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Popular during the Tang and Shang dynasties, the Eight Immortals were said to live on a group of five islands in the Bohai Sea. Their stories were first recorded by the Ming dynasty poet Wu Yuantai. Their status as fabled folk icons makes them well-known in popular culture.Fan Zeng (b. 1938) is a contemporary master of traditional Chinese painting, best known for his skillfully executed figural works. Born in Jiangsu, he studied history, literature, painting, and calligraphy, before enrolling at Nankai University. In 1957, he attended the Central Academy of Fine Arts, where he studied painting under Wu Zuoren, Li Keran, Jiang Zhaohe, and Li Kuchan. In addition, he has received numerous awards in design and painting. From 1962, Fan worked at the National Museum of Chinese History. In the late 1970s, he taught at the Central Academy of Arts and Design. In the 1980s, Fan founded the Oriental Art Department at Nankai University and became the dean of the department in 1993. At the age of 63, he was elected as the head of the Nankai University Museum of Antiquities and graduate advisor in both the Fine Arts and Literature departments. His works fuse elements of landscape, flower-and-bird, and figure painting, as well as forms of poetry and calligraphy. His paintings of ancient figures are famous for their simple yet vivid style and vigorous brushstrokes. He held solo exhibitions in Japan throughout the 1980s and participated in various exhibitions in Asia. In 1984, a permanent museum was built in Japan to house his works.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 6 October 2019, lot 2775 Price: HKD 7,375,000 or approx. EUR 941,000 converted and adjusted for inflation at the time of writing Description: Fan Zeng, Eight ImmortalsExpert remark: Note that this lot comprises a set of four hanging scrolls painted on paper, the largest 143.2 x 95.1 cm范曾（1938- ）《八仙圖》，1995年中國，布面水墨設色。以中國八仙的傳說為主體人物而創作的，筆勢豪放雄健，張果老笑瞇瞇地騎在驢背，身旁站著李鐵拐，手執雙葫蘆鐵拐杖。身側兩位仙人，一個玩著他的鬍子，而另一個幸福地躺在一塊崎嶇的岩石上。人物構圖嚴謹，筆墨灑脫，痛快淋漓。 款識：八仙圖，傳説□有八仙渡海，慶壽後□，多以八仙過海，喻各顯神通，盡其智慮以成大業，乙亥年師古齋並寫於金陵；鈴印：我見青山多嫵媚，情貌略似，陳□春印 來源：德國私人收藏，據説在中國直接購於藝術家處，保存至今。根據這位先生在電視節目中敘述，藝術家當著他的面為他的父親做了這幅畫。當時，他的父親生活在中國。相關視頻：https://www.zdf.de/show/bares-fuer-rares/bares-fuer-rares-vom-11-november-2022-100.html (開始於18:30處). 品相：狀況良好，有一些磨損、髒污、水漬，邊緣有用於懸掛所做的小孔。 尺寸：畫面184 x 76 厘米，總 224 x 88.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2019年10月6日，lot 2775 價格：HKD 7,375,000（相當於今日EUR 941,000） 描述：范曾八仙圖 | 設色紙本四聯屏，一九八二年作 專家評論：請注意此為紙本設色四幅畫一組，最大一幅的是143.2 x 95.1 厘米。
'YELLOW HAWK ON AN OLD JUNIPER', AFTER ZHANG SHUNZI AND XUEJIE WENG, MING DYNASTYChina, 1368-1644. Ink and watercolors on very fine silk, with a silk brocade mounting. Depicting an eagle perched on a gnarled branch atop a cliff, the plumage masterfully painted in black and white, the face well detailed with a long beak and glaring eye.Provenance: Dutch trade. Condition: Good condition, commensurate with age. Creasing, some losses, minor touchups, soiling, and browning. The frame with expected age cracks, few nicks, and flaking to the lacquer. Dimensions: Image size 63.2 x 34.8 cm, Size incl. mounting 44.8 x 85.7 cmWith an old lacquered wood frame, possibly of Japanese origin. (2)Literature comparison:Compare a closely related painting by Zhang Shunzi and Xuejie Weng, titled 'Yellow Hawk on an Old Juniper' (Huangyingguhuitu), 147.2 x 96.8 cm, dated to the Yuan dynasty, in the Palace Museum, Beijing. According to the inscription on this painting, the eagle was painted by Xuejie Weng while the juniper was painted by Zhang Shunzi.Zhang Shunzi was a famed 14th-century Chinese painter, calligrapher, and poet of the Yuan dynasty. Zhang was a native of Hangzhou, Zhejiang Province, and specialized in landscape and bamboo paintings, utilizing steady and bold brushstrokes, who further excelled in calligraphy, poetry, and prose. He also served as county chief executive in Fujian province in the Tianli era (1328-1330) of Emperor Wenzong of the Yuan Dynasty. Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 28 June 2016, lot 8244Price: USD 15,000 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: Eagle on pine, Anonymous (Qing dynasty)Expert remark: Compare the related motif and composition. Note the size (134.5 x 77.5 cm).仿雪界翁、張舜諮《鷹檜圖》，明代 中國，1368-1644年，絹本水墨設色。山石間一株古檜，枝乾粗狂，一隻蒼鷹昂首挺立其上，雙目迥然。 來源：荷蘭古玩交易。 品相：品相良好，有摺痕、小缺損、小修補、汙漬和褐變。框架出現裂紋、少許劃痕和漆面剝落。 尺寸：畫面63.2 x 34.8 釐米, 總44.8 x 85.7 釐米 漆木框，可能來自日本。(2) 文獻比較： 比較一件非常相近雪界翁、張舜諮合繪元代《鷹檜圖》，147.2 x 96.8毫米，收藏於北京故宮博物院。據此畫題記，鷹為雪界翁所畫，杜松為張舜諮所畫。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2016年6月28日，lot 8244 價格：USD 15,000（相當於今日EUR 17,000） 描述：無款（清）《松鷹圖》設色絹本立軸 專家評論：比較相近的主題和構圖。請注意尺寸(134.5 x 77.5毫米)
A RARE PAINTED WOOD FIGURE OF A 'BEAUTY', EASTERN ZHOU DYNASTYChina, 4th century BC. Elegantly yet plainly carved, the large oval head strikingly scooped out and painted with almond-shaped eyes below arched brows, centered by a slender nose, flanked by elongated ears, the frowning mouth simply incised. The arms are folded in front of the chest with joined hands. The separately carved feet are inserted into square mortise holes at the base of the long robe, which is painted with a sash and two long tasseled ends.Provenance: Galleria La Balaustra Antichita, Bologna, Italy, 1999. Paolo Bertuzzi, acquired from the above. A copy of a letter from Galleria La Balaustra Antichita, written by Giuliana Zanetti, dated 11 August 1999, describing the present lot as the figure of a monk, found in an underwater tomb, and dating it to the Han dynasty, accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition, commensurate with age. Extensive wear, natural age cracks and splits, signs of weathering and erosion, chips and nicks, rubbing to pigments, losses. Very minor old repairs.Weight: 827.1 g Dimensions: Height 63.5 cm (incl. feet) and 56 cm (excl. feet)Given the perishable nature of wood, such figures are extremely rare, the later pottery statues and vessels being much more common. The practice of burying wood figures began in the Eastern Zhou dynasty and flourished during the Kingdom of Chu (740-330 BC). Several wood statues have been excavated from Chu tombs in Changsha, Hunan.Literature comparison:For a closely related painted wood figure, dated to the Eastern Zhou, circa 3rd Century BC, see J.J. Lally & Co. Oriental Art, Two Thousand Years of Chinese Sculpture, New York, 2008, no. 2. Another closely related figure was included in the exhibition, Early Chinese art: 8th century BC - 9th century AD, Eskenazi, London, 6 June - 8 July 1995, no. 45.Auction result comparison: Type: Closely related Auction: Christie's New York, 21 March 2000, lot 193 Price: USD 68,500 or approx. EUR 115,000 converted and adjusted for inflation at the time of writing Description: A very rare pair of large painted wood figures of attendants, Eastern Zhou dynasty Expert remark: Compare the closely related form of the head and robe as well as the similar manner of painting the sash and tasseled ends. One figure also has the hands joined with the arms folded in front of the chest. Note the related size (57.2 cm) and that the lot comprises two figures.東周彩繪美人木像中國，公元前四世紀。雕琢優雅而樸素，美人像有一個巨大的橢圓形頭，在拱形眉毛下畫著杏仁形的眼，以一個三角形尖端的細長鼻子為中心，耳朵穿孔用來佩戴耳環，小嘴簡單地刻畫。削肩，而細長的手臂帶著為分開裝置的雙手雕刻的方形榫眼。長裙下垂輕微展開。 來源：義大利博洛尼亞Galleria La Balaustra Antichita藝廊，1999年；Paolo Bertuzzi 購於上述藝廊。隨附一份Galleria La Balaustra Antichita藝廊Giuliana Zanetti 1999年8月11日出具的發票，描述此木像為一個和尚，在一個水下墓地發現，為漢代。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。 Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：品相良好，嚴重磨損、自然老化裂紋和裂痕、風化和侵蝕跡象、缺口和刻痕、顏料摩損、缺損，以及極小的舊修補。 重量：827.1 克 尺寸：高 63.5 厘米 (含足)，56 厘米 (不含足)
'PEONY AND BEES', BY FANG ZHAOLIN (1914-2006), DATED 1954China. Ink and watercolors on paper. Finely painted with a blossoming white peony borne on a leafy stem beside a rosebud borne on a thorned stem, all below three buzzing bees.Inscriptions: Lower left, signed 'Zhaolin', dated 'in the Summer of the Year of Jiawu' (corresponding to 1954), and inscribed 'the first flower of the spring breeze'.Provenance: English trade. The back with an old label from Ryman & Co, which was founded in 1893 when Henry J Ryman opened his first store as a book printer on Great Portland Street, London, that is still open today. Condition: Very good condition with minor wear and little soiling.Dimensions: Image size 55.3 x 35.2 cmMatted and framed. (2)Fang Zhaolin (1914-2006) was born in Wuxi, Jiangsu province in east China. She studied Chinese painting with several masters including Qian Songyan, the Lingnan School master, Zhao Shao'ang (1905-1998), and later with one of the most celebrated Chinese artists, Zhang Daqian (1899-1983). In her forties, she completed her university training in Hong Kong and then at Oxford. From the 1950s to the 1970s, Fang lived and traveled in Europe and America where she became knowledgeable about trends in modern Western painting. Her enduring passion was, however, the traditional Chinese style, rooted in national history and culture. The landscapes and the still lifes she painted were always depictions of home. She was fascinated by the simplicity of Han mural paintings and developed a distinctive style of her own in both figure paintings and in her landscapes which, from the 1970s, often combine calligraphic lines and forms to illustrate mountains and rocks instead of using the traditional method of ink strokes. Well into her 80s, Fang Zhaolin continued to rise early and paint for six to eight hours each day. Staying busy, she says, is the secret to long life. “If you are engaged and occupied with your work, you don't bother worrying about small problems. You don't dwell on things or let them bother you.”Expert's note: The present painting is an early work by this artist before she had developed her own distinct style, and clearly shows the influence of Zhao Shao'ang, much like lot no. 200 in this sale. Auction result comparison: Type: Closely related Auction: Christie's Paris, 13 June 2018, lot 41 Price: EUR 5,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writing Description: Fang Zhaolin (1914-2006), Bees and Roses Expert remark: Note the size (47 x 34 cm)方召麐《牡丹圖》，1954年中國，紙本水墨設色。精緻地繪有一朵盛開的白牡丹，它長在多葉的莖上，旁邊是一朵玫瑰花蕾，長在帶刺的莖上，下面是三隻嗡嗡作響的蜜蜂。 款識：管領春風第一花，甲午仲夏之月召麐；鈴印：召麐 來源：英國古玩交易，背面有Ryman & Co標籤。該藝廊成立於1893年，Henry J Ryman 在倫敦大波特蘭街開設了他的第一家印書店，該店至今仍在營業。 品相：狀況極佳，輕微磨損與污漬。 尺寸：畫面55.3 x 35.2 厘米 鏡片。(2) 方召麐(1914-2006)出生於中國江蘇省無錫市，曾跟隨多位國畫大師學習書畫，如嶺南派錢松喦、大師趙少昂以及張大千。四十多歲時，她先後在香港和牛津就讀。五十年代至七十年代，方在歐美遊歷旅居，了解西方現代繪畫潮流。然而，她深愛民族歷史和文化與傳統中國風格。她畫的風景和靜物經常是對家的描繪。她著迷於漢族壁畫的簡潔，並在人物畫和山水畫中形成了自己獨特的風格，從 20 世紀 70 年代開始，她經常結合書法線條和形式來描繪山石，而不是使用傳統的繪畫方法。她的作品保留老師的風格，作品色彩濃烈，用筆豪放。 專家注釋：這件拍品是方召麐早期作品，還未形成自己的風格以及沒有受到趙少昂的影響，很像本此拍賣拍品編號 200。 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2018年6月13日 ，lot 41 價格：EUR 5,000（相當於今日EUR 5,600） 描述：方召麐《蜜蜂與花》設色紙本 專家評論：請注意尺寸(47 x 34釐米)。
'RIVER LANDSCAPE', BY WU HUFAN (1894-1968), DATED 1945China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Finely painted with gnarled pines and blossoming prunus growing from craggy rockwork classically executed in shades of blue and green, above a calm river with two fishing boats below a small waterfall.Inscriptions: Upper left, signed 'Wu Hufan', titled 'The Waterfall', dated 'On an Autumn day in the Year of Yiyou (corresponding to 1945)', and inscribed 'In the style of Tang Yin'. One seal of the artist.Provenance: UK trade. Condition: Very good condition with minor wear and minimal foxing.Dimensions: Image size 40 x 30 cm, Size incl. frame 57.8 x 47.7 cmFramed behind glass. (2)Wu Hufan (1894-1968) was a leading traditional painter, known for his sophisticated landscape works, as well as for being a noted collector and connoisseur. The grandson of calligrapher and painter Wu Dacheng, he was born into a family with generations of scholar-officials and received a classical education. Surrounded by genuine works from the past, he solidified his strong foundation in traditional culture, devoting his entire life to the realm of Chinese art. With both a firm grasp and a rigorous practice of ancient inscriptions, painting, calligraphy, literature and opera, Wu lived the life of a traditional literatus. He spent the early part of his life in the Shanghai region, and, following the establishment of the People's Republic of China in 1949, taught at the Shanghai Institute of Chinese Painting. He went on to become one of the city's most important connoisseurs, writing extensively about the works in his collection.Auction result comparison: Type: Closely related Auction: Bonhams New York, 20 March 2013, lot 3083 Price: USD 15,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: Wu Hufan (1894-1968), Blue-Green Landscape, 1948Expert remark: Compare the closely related execution of the rockwork with similar shades of blue and green. Note the size (87.6 x 43.5 cm).吳湖帆《洞壑奔泉》，1945年中國，紙本水墨設色，掛軸。溝壑之中秋水奔泉。岩上松木林立，湖中兩艘漁船。畫面雅腴靈秀、縝麗清逸，把傳統山水的青綠、水墨、淺絳幾種畫風相互調和，熔水墨烘染與青綠設色於一體。 款識:乙酉秋日學唐六如筆法，以爲略似，倩庵吳湖帆；鈴印：湖帆 來源：英國古玩交易。 品相：品相極好，輕微磨損與起皺。 尺寸：畫面40 x 30 厘米，總57.8 x 47.7 厘米 玻璃裝框。 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2013年3月20日，lot 3083 價格：USD 15,000（相當於今日EUR 18,000） 描述：吳湖帆《青綠山水》，設色紙本立軸，一九四八年作 專家評論：比較非常相近的藍色和綠色繪畫假山。請注意尺寸(87.6 x 43.5 厘米)。
A LARGE PAINTING DEPICTING SHOULAO AND AN ATTENDANT, BY GU JIANLONG (1606-1687), DATED 1679China. Ink and watercolors on paper. Depicting Shoulao holding a lingzhi fungus in his right hand, his face with a cheerful expression, dressed in fine robes with a floral hem, a jade pendant in the form of a ruyi cloud tied to his waist, followed by his attendant carrying his master's cane with attached gourd, the attendant also dressed in fine robes embellished with medallions of scrolling clouds, both standing in a rocky landscape below a gnarled pine tree backed by clouds, with rockwork issuing lingzhi in the foreground.Inscriptions: Upper left, inscribed 'The magical fungus of immortality', 'Painted in the autumn of the Year of Ji Wei (corresponding to 1679) in the manner of Tang Ziwei (also known as Tang Yin, 1470-1523)', 'Painted in the Studying Straw Hall of Deep Willow', and signed 'Yun Chen Gu Jianlong'. Two seals, 'Gu Jianlong Yin' and 'Yun Chen'. Provenance: From the collection of James Kedzie Penfield, and thence by descent in the same family. James Kedzie Penfield (1908-2004), after graduating from Stanford, joined a hand-picked team who traveled to China to work for the American Diplomatic Corps during the 1930s and 1940, where, according to his daughter, he spent the best years of his life. During his stay, he established friendships with local artists, including Zhang Daqian, one of the most famous Chinese painters of the 20th century, and was gifted a painting by him as a farewell present, which was sold at Woolley & Wallis on 1 July 2020, lot 15, for GBP 50,000. In 1954, James Penfield became the High Commissioner for Austria and was sent there to re-establish a neutral and democratic country.Condition: The painting with extensive wear, tears, creasing, losses, touch-ups, soiling, and stains, but overall displaying remarkably well despite obvious signs of age. Mounted and stabilized behind a solid wood frame with glass. The frame with few small nicks and light scratches.Dimensions: Image size 226 x 107 cm, Size incl. fame 239.5 x 119.5 cmGu Jianlong (1606-1687) was born in Suzhou Taichang and served at the Qing court as a painter during the 1660s and 1670s, where he painted portraits of the Emperors Shunzhi and Kangxi as well as of the Imperial family.Literature comparison:Compare a related silk scroll painting by Gu Jianlong, in the British Museum, registration number 1910,0212,0.486. Compare also a related portrait of Ma Shiqi (1650-1714), illustrated in Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art, p. 347-348, no. 255.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 March 2021, lot 852Price: USD 50,000 or approx. EUR 53,000 converted and adjusted for inflation at the time of writingDescription: With signature of Gu Jianlong (1606-after 1687), Shoulao on a White DeerExpert remark: Compare the closely related motif. Note the slightly smaller size (182.5 x 97 cm).顧見龍(1606-1687)款《長壽仙芝》，1679年中國，紙本水墨設色。壽老右手持一株靈芝，面帶喜色，身著細花邊長袍，腰佩如意佩，侍從手持仙杖跟在後面，仙杖上掛著一個葫蘆，同樣身著精美的長袍，上面飾有雲紋理。一側青松高聳，祥雲浮動。面前地上靈芝遍地。 款識：長壽仙芝, 時己未之秋仿唐子畏筆意寫於深柳讀書草堂，雲臣顧見龍製；鈴印：顧見龍印，雲臣 來源：James Kedzie Penfield私人收藏，保存在同一家族至今。James Kedzie Penfield (1908-2004) 從斯坦福大學畢業後，於1930 年至 1940 年間前往中國為美國外交使團工作。據他的女兒說，他在那裡度過了一生中最美好的時光。在中國，他與藝術家建立了友誼，其中包括二十世紀最著名的中國畫家之一張大千，並獲張大千贈送一幅畫作為告別禮物，該畫於 2020 年 7 月 1 日在 Woolley & Wallis 售出，Lot 15，售價 50,000 英鎊。1954 年，James Penfield 成為高級專員，並被派往奧地利重建一個中立和民主的國家。 品相：磨損、撕裂、摺痕和汙漬，儘管有明顯的年代痕跡，但整體狀體極好。帶玻璃的木框。框架有一些小劃痕。 尺寸：畫面226 x 107 釐米, 總 239.5 x 119.5 釐米 顧見龍(1606-1687) 生於蘇州太倉，1660 至 1670 年代在清宮任畫家，曾為順治、康熙及皇室畫像。
AN IMPERIAL GUANGZHOU ENAMEL 'LOTUS AND SHOU' SNUFF BOTTLE, YONGZHENG MARK AND PERIODChina, 1723-1735. Of ovoid form, the short waisted foot and neck each with a flat gilt-copper rim. Finely enameled on a yellow ground with formal scrolling flowers and vines as well as a circular medallion with the character shou (longevity) between a bat and a neatly detailed lotus blossom. The neck and foot enameled with bands of formalized lotus petals and line borders. The concave base with a red-enameled four-character mark Yongzheng nianzhi and of the period.Provenance: Belgian trade. Condition: Fine condition commensurate with age showing expected old wear and some manufacturing irregularities, rubbing to gilt, minor flaking to enamels, minute nicks to the copper alloy foot and lip. One small chip to the shoulder with an associated old repair. While the enamels are generally crisp and quite well preserved, the yellow background is somewhat faded.Stopper: Gilt bronze, possibly matching, good spoon Weight: 124.5 g Dimensions: Height incl. stopper 100 mm. Diameter neck 15 mm and mouth 6 mmAs noted by Hugh Moss, “extant examples of Yongzheng painted enamels on metal are almost as rare as those surviving from the Kangxi reign. [...] Of all surviving marked enamels from the Yongzheng era (there are not many), more than half are southern.” Yellow-ground enamel on copper examples of this form and from the “southern” group, e.g. from Guangzhou, are rare and vary in decoration including designs of dragons, deer in landscape, and bats, lotus and Shou, as seen on the present bottle.The Imperial Enamel Workshop which was first established in Beijing by the Kangxi Emperor utilizing the knowledge of Jesuit priests and enamellers from Guangzhou, was producing enamel works since circa 1715 as attested to by a Jesuit priest, Father de Maille, see H. Garner, The Origins of Famille Rose, TOCS, vol. 37, 1967-1969, London, 1970, page 4. However, the most important Chinese craftsmen came from Guangzhou as shown in a Court memorial dated 1716 noting the Viceroy of Guangdong and Guangxi sent two artisans to Beijing to serve in the Enamel Workshop, see Yang Boda, Tributes from Guangdong to the Ch'ing Court, Hong Kong, 1987, page 63. By the Yongzheng period, technical challenges were gradually overcome and the painting became more refined and controlled.This bottle exhibits the Guangzhou tendency to elaborate on Beijing decorative motifs in a novel manner. Although the subject of formalized flowers on a yellow ground was common to both the Palace workshops in Beijing and on Guangzhou wares for the court, the style was generally different. The standard northern style tended to be simpler and more powerful, while its southern counterpart was more complex and ornate, often using a greater range of filling colors within outlined areas, such as scrolling vines and leaves.The lotus is a symbol of harmony in marriage as well as a Buddhist symbol of purity, because the perfect flower emerges from mud and murky waters. The overlapped lotus petals used as decorative borders in the present lot are derived from the bases of Buddhist sculptures from the sixth century onwards, which are usually surrounded by a series of registers of petals opening up to the Buddha seated above. The bat (fu) forms one of the most popular rebuses in Chinese art as it is a pun on the word for 'blessings'.Literature comparison: Yongzheng reign-marked enamel snuff bottles are extremely rare, with only a small number from the Qing court collection still preserved in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Snuff Bottles, Hong Kong, 2003, nos. 129-133.Auction result comparison: Type: Related Auction: Christie's New York, 19 March 2008, lot 261 Price: USD 73,000 or approx. EUR 96,000 converted and adjusted for inflation at the time of writing Description: A very rare and unusual Guangzhou enamel snuff bottle, Imperial, Guangzhou, Yongzheng four-character mark in brown enamel and of the periodExpert remark: Compare the related motif and form. Note the similar size (height 8.9 cm excl. stopper). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 10 February 2021, lot 3026 Price: HKD 604,800 or approx. EUR 73,300 converted at the time of writing Description: A Canton Enamel 'Millefleurs' Snuff Bottle Mark and Period of YongzhengExpert remark: Compare the quality of the painting, the enameling technique, and the execution of the mark.雍正款與年代御用廣州琺瑯纏枝蓮紋福壽紋鼻煙壺中國，1723-1735年。口略外撇，短頸，卵形，壺身成卵形，圈足；口部和足部邊緣包鍍金銅。淡黃色地，精美琺瑯，肩部蕉葉紋，在蝙蝠與纏枝蓮紋之間團壽紋。 圈足内紅彩“雍正年製”四字款。 來源：比利時古玩交易。 品相：品相良好，有磨損，琺瑯輕微剝落，足部和唇部包銅有微小刻痕。肩部有小磕損和相應的修補。 壺蓋：鎏金銅，可能原配，小勺精緻 重量：124.5 克 尺寸：含壺蓋高100 毫米，頸部直徑15 毫米，壺口直徑6 毫米
'PLUM BLOSSOMS', BY QI BAISHI (1864-1957), DATED 1923China. Ink on paper, with a Japanese silk brocade mounting. Exquisitely painted with a flowering plum tree in the winter, the branches and twigs mostly upright with few hanging down, the blossoms and buds neatly detailed, the thicker branches executed with bold, dynamic brushstrokes.Inscriptions: Lower left, signed 'Baishi weng' (old man Baishi), inscribed 'The winter plum blossoms and the rest of the year, a thousand-year friendship with the rest of the year', and dated 'in the Winter of the Year of Guihai' (corresponding to 1923). The last character (託) indicates that this work was painted by Qi Baishi in order to entrust it to the recipient.Provenance: Kono Shuson, Japan, acquired directly from the artist. A private collection, acquired from the above, and thence by descent. The back with an old Japanese paper label from Kono Shuson, stamped and inscribed 'Dai yonhyaku-ju-roku-go, Sai Hakuseki sensei, Kono Shuson sei' (Number 416, Painting of Winter Plum Blossoms by Master Qi Baishi, compounded by Kono Shuson). Two further paper labels, each inscribed '7541'. Kono Shuson (1890-1987) was a Japanese painter and a pivotal figure in promoting the Nanga (Chinese literati) school of paintings in Japan. With Tomioka Tessai (1836-1924) as a consultant, he founded the Nihon Nanga-in (Japan Literati Painting Academy) and visited China frequently, including his first documented visit in 1923, the year the present work was painted. This is when he probably met Qi Baishi for the very first time, shortly after Qi's initial exhibition in Japan (see lot essay below). He then began to import Qi Baishi's works to Japan, together with the paintings of other contemporary Chinese artists, selling them at the Takashimaya Department Store and other notable places. He always mounted such paintings on Japanese kakejiku scrolls. For a work bearing a similar label from Kono Shuson, see for example Bonhams Hong Kong, 2 March 2022, lot 29, by Zhang Daqian (1899-1983), Scholar under Willow Tree. Condition: Good condition with some wear, soiling, and few minor abrasions.Dimensions: Image size 106.5 x 56 cm, Size incl. mounting 144 x 68 cmQi Baishi painted plum blossoms in several styles, including copies of those painted by Jin Nong (1687-1763), which the present lot shares some affinities with, including the absence of colors. Qi Baishi's later plum paintings are primarily inspired by Wu Changshuo (1844-1927), who preferred bright colors and introduced an epigraphic aesthetic to the art of painting. Here however, Qi depicts the plum tree with its upward trunk and branches in calligraphic strokes of somber ink. The present painting can therefore be said to reflect an earlier style in painting plum blossoms for Qi Baishi, whose earliest works depicting this subject are dated by inscription to the year 1921, two years before the present work was executed. Qi's paintings are, first of all, reflections of things and feelings that he had personally experienced in life. In the case of plum blossoms, his fondness of this subject resulted from nostalgia for his hometown in Hunan, where his dwelling, named 'Studio of Hundred Plums', was surrounded by a plum grove.Qi Baishi (1864-1957) is one of the world's most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Qi Baishi moved to Beijing in 1916 and earned his living there by selling paintings. However, his painting style was not welcome in Beijing at that time. Taking the advice of Chen Shizeng, Qi Baishi began his famous "initiating self-art-reform in senile age", which finally led Qi Baishi to tremendous success. In 1922, Chen Shizeng visited Japan. He brought some works by Qi Baishi for exhibition and sale. This was the first time that Qi Baishi's paintings were shown in Japan, and anywhere outside China. It is probable that Kono Shuson (the first owner of the present work) saw Qi's work at this exhibition and was inspired to make his first trip to China less than a year later in 1923, meeting with the master for the first time. As recalled by Qi Baishi: “After Chen Shizeng returned to Beijing, I was told that all my paintings sold at very nice prices! Each of my paintings sold for at least 100 silver coins, and the landscape paintings were even more expensive, 250 silver coins for one that was only 60 inches long! I never imagined such prices in China! And I was also told that the French planned to exhibit my works and those of Shizeng in the Paris Art Expo. The Japanese were going to film my life and work for a movie! All this was just amazing! Afterwards, many foreigners came to Beijing to purchase my paintings, and I have been better off since then. It was Shizeng who helped me in my career and life - I will remember this forever.” (Baishi Laoren Zishu, Shandong Huabao Publishing House, 2000, pp. 131-133)Auction result comparison: Type: Related Auction: Beijing Council International Auctions, 4 December 2013, lot 984 Price: CNY 632,500 or approx. EUR 110,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, The ink plum blossom (1923)Expert remark: Compare the related manner of painting with mostly upright branches and using only ink. Note that the work was painted in the same year (1923) as the present lot. Auction result comparison: Type: Related Auction: Poly International, Beijing, 17 December 2017, lot 1930 Price: CNY 862,500 or approx. EUR 142,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, Plum blossom (1924) Expert remark: Compare the related manner of painting, also using only ink, but with more hanging branches than the present lot. Note that the work was painted one year later (1924) than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 9 December 2020, lot 48 Price: USD 18,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing Description: Qi Baishi (with signature of, 1863-1957), Plum BlossomsExpert remark: Note the much smaller size (26.5 x 19 cm) of this work and the low estimate of only USD 300-600, which was clearly overruled by the market, with bidding eventually ending at USD 18,750.1923年齊白石款《寒梅圖》
A RARE FAMILLE ROSE AND GRISAILLE 'DON QUIXOTE' DISH, QIANLONG PERIODChina, 1736-1795. The shallow rounded sides rising to a broad flared rim, finely enameled with a central medallion depicting Don Quixote on horseback and his faithful attendant Sancho Panza being watched by two ladies hiding behind a tree. The rim decorated in gilt, iron-red, and gray enamels with floral sprays within scroll bands. Provenance: French trade. Condition: Excellent condition with minor wear to the gilt and manufacturing flaws including pitting and dark spots.Weight: 388.5 g Dimensions: Diameter 23.1 cmLiterature comparison:For a plate with an identical scene and pattern, see D. Howard, J. Ayers, China for the West, New York, 1978, I, pp. 345-6, no. 344. The design originally derives from B. Picart's engraving after a painting by Charles-Antoine Coypel (1694-1752). Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 15 May 2019, lot 143Price: GBP 3,750 or approx. EUR 5,000 converted and adjusted for inflation at the time of writingDescription: A rare Chinese export famille-rose 'Don Quixote' dish, Qing dynasty, Qianlong period, circa 1755-70Expert remark: Compare the closely related decoration, enamels, and size (23.5 cm)乾隆罕見粉彩描金堂吉訶德盤中國，1736-1795年。圓形淺盤，折沿，粉彩開光描畫西班牙小說《唐吉訶德》的經典場景，同時結合中式山水元素。邊沿描金，花卉紋使用鐵紅釉與黑灰色釉。 來源：法國古玩交易。 品相：狀況極佳，描金有輕微磨損和製造缺陷，包括點蝕和黑點。 重量：388.5 克 尺寸：直徑 23.1 厘米 文獻比較： 一件幾乎相同主題的盤子，見D. Howard，J. Ayers，《China for the West》，紐約，1978年，卷I，頁345-6，編號344。該設計最初來自B.Picart根據Charles-Antoine Coypel(1694-1752)的畫作所做的雕刻。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2019年5月15日，lot 143 價格：GBP 3,750（相當於今日 EUR 5,000） 描述：清乾隆約1755至1770年外銷粉彩唐吉訶德圖小盤 專家評論：比較非常相近的裝飾、琺瑯和尺寸 (23.5 厘米)。
'CATS AT PLAY', MING DYNASTY, 1368-1644China, c. 15th-16th century. Ink and watercolors on very fine silk. Exquisitely painted with two cats in a landscape with leafy wild chrysanthemums and grasses, one mischievously grinning as it mounts the other from behind and places one of its paws on the other cat's head, who shows a rather disgruntled expression. Their mostly white fur is superbly rendered, their bushy tails in black and reddish-brown, respectively.Provenance: The personal collection of Robert Rousset. Thence by descent to Jean-Pierre Rousset. Robert Rousset was a former French radio officer in the merchant navy, who became one of the most prominent pioneers of the Chinese art market in Paris. As a child, his father, an insurance agent, would take him to Hôtel Drouot where he started to buy at a very young age. His true passion for Asian art started in the 1920s, when he was sent on a mission to Beijing after the decline of the Qing empire, along with Osvald Siren, the famous Swedish Asian art historian and connoisseur. He then became one of the main contributors of Chinese antiques for the Compagnie de la Chine et des Indes, founded in Paris in the early 20th century by the Blazy brothers. After the 1929 stock market crash, he had the opportunity to acquire the company. With his sister Suzanne in charge of the porcelain, they developed the business and became one of the most important dealers in France, selling pieces to the greatest museums, including the Musee Guimet and the Metropolitan Museum of Art. With no children of his own, Robert took his nephew Jean-Pierre (1936-2021) under his wing and began grooming him to eventually take over the gallery. He loved to wander with Jean-Pierre through the gallery's exhibitions and storerooms, telling stories about each piece while cultivating his protege's eye. Jean-Pierre was also sent by his uncle to train with the great expert in Asian art and Robert's close friend, Michel Beurdeley, whose numerous publications are still commonly referenced today. When Robert passed away, his private collection was divided between Jean-Pierre and his sister, Anne-Marie, whose part was sold with great success after her death in 2019.Condition: Good condition with some wear, soiling, few tiny losses. The old mounting with small chips to edges, wear and traces of use. Dimensions: Image size 32.6 x 25 cm, Size incl. mounting 43.7 x 49.5 cmThe ancient Chinese referred to cats as 'li-nu', which means a wild cat that has been tamed and domesticated. Since antiquity, cats have been employed by people in their familiar roles as pets and mouse catchers, but they sometimes have also served as models for artists, leaping into the world of art for all to see.Throughout much of its history, China has been an agricultural-based country, planting and raising grains and animals. Although the cat does not traditionally figure as one of these animals, The Book of Rites, written at the time of Confucius nearly 3,000 years ago, mentions a sacrificial offering to the cat made by the emperor at the end of every year in gratitude to the cats that protect the fields of grain by catching the hordes of rats and mice. Although the ancient Chinese did not venerate the cat as a deity like the ancient Egyptians, the rat-catching cat protecting grains was the annual recipient of a special ceremony of gratitude and thus enjoyed a status that indeed was higher than other household fowl or domesticated animals.It is commonly said that 'dogs bring wealth' and 'cats bring position'. The character for 'cat' in Chinese is also a homonym for “octogenarian”, so it is an auspicious metaphor blessing for long life and therefore an appropriate subject in painting. Several painters of cats have been mentioned in art historical texts, from the Tang to the Qing dynasties and beyond.Among all the Chinese emperors, Emperor Huizong of Song (1082-1135; reigned 1100-1125) is the most famous cat lover. There are multiple cat paintings that are thought to be original works by Huizong, including one which is considered to be an exceptionally detailed piece, handed down by the Mito branch of the Tokugawa clan.Expert's note: This work exemplifies a popular style of Ming painting developed from techniques established in the Song dynasty by imperial court artist Li Di (active 12th century). The plump contours of the cats' bodies are evoked with diffuse color washes, and their soft-textured fur is then meticulously rendered in painstaking brushwork.Literature comparison: Compare two related Ming-dynasty paintings of cats in the National Palace Museum, Taipei, one with similar wild chrysanthemums painted by the Xuande Emperor, image number K2A000421N000000000PAA, and the other by Shang Xi (fl. ca. 1430-1440), image number K2A002125N000000000PAA.Auction result comparison: Type: Related Auction: Christie's London, 6 November 2018, lot 160 Price: GBP 25,000 or approx. EUR 34,000 converted and adjusted for inflation at the time of writing Description: Anonymous, Ming (1368-1644), Cats and Butterflies Expert remark: Compare the closely related subject, style, and technique. Note the larger size (60.4 x 96.5 cm).明代《貓戲圖》中國，約十五至十六世紀，絹本水墨設色。精美繪有兩隻貓在花草叢中戲耍，一隻惡作劇地咧嘴笑著從後面騎上另一隻貓，一隻爪子放在另一隻貓的頭上，另一隻貓的表情頗為不悅。工筆細細描畫，濃密的尾巴分別是黑色和紅棕色。 來源：Robert Rousset私人收藏，直到Jean-Pierre Rousset繼承。 品相：狀況良好，有一些磨損、汙漬，微小缺損。木框邊緣有磕損、磨損和使用痕跡。 尺寸：畫面32.6 x 25 釐米，總43.7 x 49.5 釐米
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