Fine Chinese Art Japanese and Buddhist Art - SEPTEMBER, 29TH 2018
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AUCTION
SEPTEMBER, 29TH 2018
Fine Chinese Art
ᷕ⚳喅埻普䍵
Japanese and
Buddhist Art
㙐㖍㛔⍲ἃ㔁喅
AUCTION
Fine Chinese Artġ
FRONT COVER
Lot 114
A ZANABAZAR 18TH CENTURY
ᷕ⚳喅埻普䍵
GILT BRONZE FIGURE OF BUDDHA
Japanese and Buddhist Art
BACK COVER
Lot 167
㙐㖍㛔⍲ἃ㔁喅埻⑩
A FINE AND RARE JAPANESE
LACQUER TRAY SUPPORTED
BY TWO KARAKO
September, 29th 2018 at 2.30pm CET
CATALOG CA0918
VIEWING
www.zacke.at
IN OUR GALLERY
September 24st - 29th
Monday - Friday 10am - 6pm
Saturday, Sept. 29th 10am - 1pm
and by appointment
GALERIE ZACKE
Lot 55
MARIAHILFERSTR ASSE 112
A SUPERB AND VERY LARGE
CELADON AND RUSSET ‘SEVEN
IMMORTALS’ JADE MOUNTAIN,
1070 VIENNA AUSTRIA
17 TH – 18TH CENTURY
Tel +43 1 532 04 52 Fax +20 E-mail office@zacke.at
1
IMPORTANT INFORMATION ABSENTEE BIDDING FORM
(According to the general terms and conditions of business Gallery Zacke Vienna) FOR THE AUCTION FINE CHINESE ART JAPANESE AND BUDDHIST ART CA0918
ON DATE September, 29 th 2018 at 2.30pm CET
NO. TITLE BID IN EURO
Endangered Species / CITES Information
Some items in this catalogue may consist of material such as for example ivory,
rhinoceros horn, tortoise shell, coral or any rare types of tropical wood, and
are therefore subject to the Convention on International Trade in Endangered
Species of Wild Fauna and Flora [CITES]. Such items may only be exported outside
the European Union after an export permit in accordance with CITES has been
granted by the Austrian authorities. Zacke Gallery cannot and does not guarantee
that such export permit may or will be obtained, but will by order of the winning
bidder, once and exclusively after the item in question has been paid in full, apply
to obtain such a permit at a fixed administrative fee of euro 500, - per application.
PLEASE RAISE MY PURCHASE BID BY ONE PLEASE CALL ME IF THERE IS ALREADY A HIGHER WRITTEN BID
BID STEP (APPROX. 10%) IF NECESSARY
TEL
Notice: All bids are to be understood plus buyer`s premium (incl. VAT).
If you like to bid by telephone please write in the column purchase limit „ TEL” .
A bid by telephone shall automatically represent a bid at the starting price for this item. If Galerie Zacke cannot reach the Client during the auction,
Galerie Zacke will bid up to the starting price for him. If no one else bids on the corresponding good, then the Client shall automatically receive the
winning bid at the starting price.
TERMS OF PAYMENT, SHIPPING AND COLLECTION:
NAME EMAIL
With the signature on this form the client declares his consent to aforementioned
commissioning of Galerie Zacke. Bids by telephone shall be governed by the AGB
(terms and conditions) of Galerie Zacke. The AGB of Galerie Zacke are part of the
commissioning of Galerie Zacke by the client. The client agrees with his signature
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he agrees with them.
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MENT
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Further images of all lots at: www.zacke.at THE TERMS CONCERNING THE "SHIPPING AND TRANSPORT INSURANCE"
Galerie Zacke Mariahilferstr. 112, 1070 Vienna For your information:
At its auctions, the Galerie Zacke offers exclusively third-party contributions for sale
Email office@zacke.at on commission. We would like to draw your attention to the fact that, in case of any
Tel +43-1-532 04 52 complaints arising from a purchase, these have to be reported to us within 6 weeks
Fax +43-1-532 04 5220 after the receipt of the item.
2 3
ABSENTEE BIDDING FORM 49 YEARS ZACKE GALLERY
FOR THE AUCTION FINE CHINESE ART JAPANESE AND BUDDHIST ART CA0918
ON DATE September, 29 th 2018 at 2.30pm CET
NO. TITLE BID IN EURO
HOW TO FIND US ON
MARIAHILFERSTRASSE:
BY PUBLIC TRANSPORT:
2-3 minutes from the
U3 station ZIEGLERGASSE
3-5 minutes from the
U3/U6 station WESTBAHNHOF
BY CAR:
Best route: take the Gürtel to the
Westbahnhof and turn onto
Mariahilferstraße; house number
112 is just after the Kaiserstraße.
Access is possible by car, with loading
and unloading all day as well as short
term parking.
Multiple garages directly nearby
ADDRESS:
Mariahilferstr. 112
1070 Vienna
STAIRCASE 1,
2nd FLOOR (ELEVATOR)
Further images of all lots at: www.zacke.at
4 5
Terms of Auction - www.zacke.at
IMPRINT
§ 1) The auction shall be carried out in accordance with the provisions of the rules of procedure of checked prior to the auction. These items are used. Any claims for damages exceeding the liability
GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA (hereinafter referred to as the company) as named above and resulting from other material defects or other defects of the item shall be Publisher
well as in accordance with sections 244-246 of the Gewerbeordnung [Industrial Code] 1994. The excluded. When making the bid, the bidder confirms that it has seen the item prior to the auction
GALERIE ZACKE
auction shall be carried out on commission. The auctioneer shall be entitled to withdraw lots and has made sure that the item corresponds to the description.
1070 WIEN (VIENNA)
exceptionally, to conduct out the auction deviating from the order of the catalogue numbers and to § 11) ) If a customer is not able to participate in an auction personally, the company shall accept
offer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has missed purchase orders. These orders may be placed in writing, via email or fax. In the case of a purchase Mariahilferstraße 112
a bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue order placed by phone or orally, the company shall reserve the right to make the performance AUSTRIA
auctioning off the item. The figures attached to the text shall be the expected last and highest bid dependent on a confirmation from the principal communicated in writing, via email or fax.
in EURO (€) from the respective expert. As a rule, the bid shall be increased by 10% of the last bid. Furthermore, the company shall not be liable for the performance of purchase orders. Purchase Tel (0043-1) 532 04 52 Fax +20
(See list of the bidding increments). orders with equal top bid limits will be considered in the order of their receipt. Bids which are Email: office@zacke.at
§§ 2) The acceptance
2) The acceptanceofofaabid bidshall
shallbebegranted
granted to to
thethe highest
highest bidder
bidder unless
unless a seller’s
a hidden reserve
reserve price
has been only one increment above the starting price shall be exhausted totally. Bids which do not
agreed
has beenupon withwith
agreed the consignor
the consignor.of theSuch
item ainseller’s
question. Such a hidden
reservation (also reserve
referred(also
to ascalled
limit)limit
shallorbe correspond to the increments determined by the company (see bidding increments) in tabular
justminimum
reserve) shall Editor
the pricebelimit
the below
minimum priceparticular
which under whichlots the
shallitem
notwill
be not
soldbeduring
sold during the auction.
the auction. This limit form will be rounded up to the next higher increment. The table of these increments can be sent
This reserve will be disclosed upon request only and may exceed the estimate. The auctioneer will
shall be disclosed upon request and may not exceed the lower estimated price. If a limit (seller’s upon request. Irene M. Zacke
in this case bid on behalf of the seller against all other bidders until the reserve has been reached. If
reserve
a reserve price)
is notisreached
not achieved,
during thethe bid of thethe
auction, highest bidder
auctioneer shall
will knockbe down
accepted subject
the item to highest
to the In the case of lots auctioned“without any limits“, bids below the estimated price shall be
reservations
bidder at theonly.
final In this
bid, butcase, the highest
the sale bidder shallofbe
will be conditional thebound to its of
acceptance highest bidbid
this final for by
a period of 8
the seller. exhausted totally. The written bid (purchase order) must include the item stating the catalogue Expert
(eight) working
In this case days. If bidder
the highest the highest
shall bebidbound
from tothehis/her
highestlast bidder
bid foris anot
termfinally accepted
of 8 days within
starting withthis
the number and the offered top bid limit which is quoted as the amount of the acceptance of the bid Alexander Zacke
day of the
period knockdown.
of time, If the
its binding winning bidder
commitment does
to this bidnot receive
shall a written
expire. In order cancellation
for the finalnotice within of
acceptance without buyer’s commission and without value added tax.
this bid
termtoofbecome
8 days, effective,
the knockdown becomestounconditional and the sale is final. Typically, not more
Susanne Zacke
the it is sufficient send a corresponding notification to the address Ambiguities shall be carried by the bidder. A purchase order which has already been placed may
than 15% of all items in an auction have a hidden reserve. Lukas Zacke
named by the highest bidder within the stated period of 8 working days. only be cancelled if the written withdrawal is received by the company at least 72 hours prior to
§ 3) All items shall be subject to differential taxation. A uniform surcharge of 22% plus the value the beginning of the auction.
added tax applicable to the surcharge to the amount of 20% shall be added to the achieved § 12) The company may refuse to process a purchase order without explanation until offering or Photography
highest bid (final and highest bid). Thus the surcharge shall be 26.4% of the final and highest bid make this dependent on payment of a deposit. In the event of an unsuccessful order, such a Georg Bodenstein
in total. deposit will be reimbursed by the company within 5 working days. Processing of purchase orders
§ 4) In the event of sales abroad, the value added tax will be repaid if the item is sold to a is free of charge. Design (graphics)
country which is not a member country of the European Union (third country), the legal § 13) Every contributor shall in principle be entitled to withdraw the items offered for auction Gregor Zinggl
requirements are met and the proof of exportation is provided. The value added tax shall not be until the start of the auction. Therefore, it is impossible to assume liability or to give warranty for
shown separately on the invoice. the actual offering.
Chinese Translation
§ 5) The auction buyer must pay the purchase price immediately upon acceptance of the bid (final § 14) Items paid must be collected within 30 days of payment. Items which have not been
and highest bid plus 22% surcharge, plus the value added tax applicable to the surcharge to the collected may be delivered without further communication at a starting price from the recent Pin Lin Lai
amount of 20%). However, the company may grant the auction buyer a respite for the payment of auction reduced by 50% after 30 days from the respective auction date. Items which have not
the purchase price in whole or in part in individual cases. If a respite is refused, the acceptance of been collected within 3 (three) working days after the auction or for which the company does not
Printing
the bid may be revoked and the item may be reoffered . In the event of revocation of the receive any proper shipping instructions stating the type of shipping and the address of dispatch
Gröbner Druck
acceptance of the bid, the company shall be entitled to accept the last bid from the underbidder. (independent of a possibly placed purchase order) within 3 (three) working days after the auction
§ 6) In the event of respite in whole or in part, the company shall be entitled to charge default shall be stored at the owner’s risk. Oberwart
interest (12% p.a.) as well as storage charges (2.4% of the final and highest bid per month Furthermore, the company shall be entitled to store items which have been purchased at auction
commenced) after 14 days upon acceptance of the bid. The item purchased at auction shall be and paid but not collected at the buyer’s risk and expense, including the costs for an insurance, Website
handed over exclusively upon full payment of the purchase price including all costs and charges with a forwarding agency. It shall be understood that the provisions concerning the re-auctioning www.zacke.at
accrued since the acceptance of the bid. of unpaid and paid but not collected items must also apply to items not exhibited or stored on the
§ 7) The buyer can take acquired items in possession, as far as possible, immediately or after the premises of the company. The ownership shall be transferred the buyer at the time of handing
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end of the auction. Items which have been fully paid for shall be handed over in our show rooms over the delivery note.
GALERIE ZACKE
in GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA. If a deferred purchase price is not paid § 15) In the case of mixed lots with a starting price of less than EUR 350.00, the company shall
within the set period, the company shall be entitled to auction the item again in order to recoup not warrant for the completeness or correctness of the individual items within a mixed lot. Reproduction forbidden
its claim from the defaulting auction buyer. In this case, the defaulting auction buyer shall be li- § 16) A registration for a bid by telephone for one or several items shall automatically represent Errors excepted
able to the company for the total loss of commission incurred by the company due to the re-auc- a bid at the starting price for these items. If the company cannot reach the bidder by telephone, it
tion as well as for any default interest and storage charges. will bid on behalf of the bidder by phone up to the starting price when the respective auction lot
§ 8) The company shall be entitled to a lien on all items of the buyer irrespective of whether the is called.
buyer bought them within the scope of an auction or in free sale or the company secured § 17) Payments made to the company by mistake (through the payer’s fault) (e.g. due to
ownership of these items otherwise. This lien shall serve to secure all current and future, qualified, miscalculation of the exchange rate by the payer) or payments made to the company for the same
limited and unmatured claims to which the company is entitled and which result from all legal invoice several times shall be compensated in form of a credit note for goods for an indefinite
transactions concluded with the buyer. period of time. The repayment of such payments in cash shall be excluded.
§ 9) The items received for auction will be exhibited and may be viewed prior to the auction. In § 18) In the case of individual auction lots, it may happen that they are delivered several times.
doing so, the company shall give everyone the opportunity to check the nature and the condition In such a case, the auctioneer may accept a second or third etc. bid from the underbidder(s).
of the exhibited items to the extent deemed possible within the scope of the exhibition. Every In this case, the text in the catalogue and not the illustration in the catalogue shall also be
bidder shall be deemed to act on its own behalf unless it provides a written confirmation saying exclusively binding with regard to the warranty (relating to these auction lots).
that it acts as a representative of a well-known principal. The company may refuse bids; this shall § 19) When making a bid, whether personally, in writing or by telephone, the bidder shall
particularly apply if a bidder who is unknown to the company or with whom the company has no acknowledge these terms of auction, the AGB (General Terms and Conditions) as well as the rules
business connections yet does not provide security by the beginning of the auction at the latest. of procedure and the schedule of fees (as amended) of the company.
However, in principle there shall be no claim to accept a bid. If a bid has been refused, the § 20) The place of performance of the contract brought about between the company on the one
previous bid shall remain effective. hand and the seller as well as the buyer on the other hand shall be the place of business of the
§ 10) The company’s experts evaluate and describe the items received for auction and determine company. The legal relationships and contracts existing between the company, the sellers and the
the starting prices unless otherwise stated in the catalogue or expert opinion. The information buyers shall be subject to the Austrian substantive law. The company, the sellers and the buyers
concerning production technique or material, state of preservation, origin, design and age of an shall agree to settle all disputes resulting from, concerning and in connection with this contract
item is based on published or otherwise generally accessible (scientific) findings concluded by the before the territorially competent court of Vienna.
company’s experts with the necessary care and accuracy. The company shall warrant to the buyer § 21) The export of art objects from Austria, when indicated, shall require a permit from the
according to §22 of the AGB (General Terms and Conditions) that properties are correct provided Bundesdenkmalamt [Federal Monuments Office]. In any event, the company shall orally provide
that any possible complaints referring to this are made within four weeks upon their taking into information about art objects for which an export permit will probably not be granted at the be-
possession. Subsequent complaints shall be excluded in principle. The company shall not be liable ginning of the auction.
for any further information in the catalogue and expert opinion as well. This shall also apply to § 22) Zacke reserves the right to assign to the customer all rights and obligations resulting from
illustrations in the catalogue. The purpose of these illustrations is to guide the potential buyer the contractual relationship between Zacke and the contributor by a way of a respective
during the preview. They shall not be authoritative for the condition or the characteristics of the declaration, as well to assign to the contributor all rights and obligations resulting from the
pictured item. The catalogue and the expert opinions shall only mention defects and damage contractual relationship between Zacke and the customer by way of a respective declaration, in
affecting the artistic or commercial value significantly. Complaints concerning the price shall be each case in terms of a complete assignment of contract with the result that the contractual
excluded upon acceptance of the bid. The company reserves the right to amend catalogue relationship – following the submission of the aforementioned declarations by Zacke – shall
information prior to the auction. These amendments shall be made either by a written notice at exclusively be between the contributor and the customer, which is in accordance with the basic
the place of auction or orally by the auctioneer immediately prior to offering of the respective model of the commission agreement. Customers and contributors shall already now give their
item. In this case, the company shall be liable for the amendment only. All items offered may be explicit consent to this contract assignment.
6 7
1
A CLOISONNE ENAMEL ‘LOTUS’ BOWL, MING
DYNASTY, 16TH CENTURY
The bronze bowl with gilt rims and cloisonné enamels in
white, imperial-blue, lemon-yellow, iron-red, turquoise,
purple and emerald-green
China, 16th century
The bowl with deep rounded sides rising from a slightly
splayed foot to an thin rim, the exterior enameled with a 2
continuous lotus scroll, the blooms alternately enameled AN UNUSUAL CLOISONNÉ ENAMEL DOMED ‘LOTUS’ BOWL, MING DYNASTY, 16TH CENTURY
in red, white, blue and yellow, all reserved against an The bronze bowl with gilt rims and cloisonné enamels in white, imperial-blue, lemon-yellow, iron-red,
imperial-blue ground, below a border of ruyi-shaped turquoise and purple
clouds, the foot circled by four wavy borders. The inside China, 16th century
with a wavy pattern on white ground a large iron-red
lotus flower in the center. Standing on a small, flat, circular foot, the semi-spherical vessel unusually designed with a sprawling
mouth, decorated throughout with scrolling designs of lotus and flowers on an imperial-blue ground,
Shape: Bowl below a border of ruyi-shaped clouds, the foot circled by a lappet border. The inside is enameled with
Weight: 187 grams a wavy pattern on a white ground. The base is incised with a single character shou surrounded by
Dimensions: 11,5 cm diameter flying bats.
Condition: Very good original condition with no
restorations whatsoever, small dents to the gilt foot rim, Shape: Domed vessel
the enameling with a few open bubbles, some minor Weight: 154 grams
manufacturing flaws including crazing, one tiny chip, Dimensions: 11,5 cm diameter
minuscule nibbling and old wear, overall as expected for Fair original condition with no restorations whatsoever, small dents to the gilt lip, the enameling with
an authentic Ming cloisonné piece a few open bubbles, some manufacturing flaws including crazing, minor enamel loss and stress lines,
Provenance: Unite Kingdom private collection old wear, overall still as expected for an authentic Ming cloisonné piece, the base possibly a later
addition
Auction result comparison: CHINESE ART FROM Provenance: United Kingdom private collection
CARAMOOR CENTER FOR MUSIC AND THE ARTS.
Sotheby’s, 15 MARCH 2016, NEW YORK, lot 144. (for a Auction result comparison: ASIAN ART. Bonham’s, 11 Sep 2014, LONDON, lot 155. (for another
pair of similar bowls) domed Ming cloisonné vessel)
㖶ẋ㘗㲘啵咖剙䠿炻IJķᶾ䲨 䦨㚱㖶ẋ㘗㲘啵咖剙䠿炻16ᶾ䲨
戭偶㌸䴚䏢䐗炻䠿䶋挷慹 戭偶㌸䴚䏢䐗炻䠿䶋挷慹
ᷕ⚳炻IJķᶾ䲨 ᷕ⚳炻16ᶾ䲨
⑩䚠列⤥炻冯⸜ẋ䚠䫎炻䃉ảỽᾖ⽑ ⑩䚠冯⸜ẋ䚠䫎炻䃉ᾖ墄炻⸽悐⎗傥䁢⼴Ṣ㶣≈
劙⚳䥩Ṣ㓞啷 劙⚳䥩Ṣ㓞啷
EstimateġEUR 400,- EstimateġEUR 300,-
Starting price EUR 200,- Starting price EUR 150,-
8 9
4
A RARE CARVED ARCHAISTIC ‘KUILONG’ TURQUOISE GLASS VASE, Shape: Sprawling cylindric form on a round, slanted, flat base
MID QING DYNASTY Weight: 193,5 grams
The translucent glass body of almost flawless turquoise color, carved in Dimensions: Height 11,2 cm
high relief, with neatly incised details Condition: Excellent condition with only minor wear, two microscopic
China, 18th – 19th century nicks to base
Provenance: Old European private collection
The deep, thin sides carved in relief with an archaistic design of two Literature comparison: Claudia Brown and David Rabiner in Clear as
pair of intertwined kuilong, each forming a stylized long-character, Crystal, Red as Flame, China Institute in America, New York, 1987, page
all between a lappet border below and an incised leave border above, 29. (for an archaistic ruby-red glass bowl, attributed to the glasshouses of
the tapered neck and sprawling mouth rim plain, the glass of intense Guangzhou)
turquoise color.
Auction result comparison: SNUFF BOTTLES FROM THE MARY AND
3 Claudia Brown and David Rabiner in Clear as Crystal, Red as Flame, China GEORGE BLOCH COLLECTION: PART VI. Sotheby’s, 27 MAY 2013, HONG
A CLOISONNÉ ENAMEL ‘LOTUS’ CUPSTAND, MING DYNASTY, 16TH Condition: Very good original condition with no restorations whatsoever, Institute in America, New York, 1987, page 29, note that the thinness KONG, lot 236. (for a glass snuff bottle, made from glass with the exact
CENTURY the bare bronze on the bottom with extensive wear to the coating, small of the body and the “clarity and warmth” of a ruby-red bowl from the same color, attributed to the Beijing glass workshops)
The bronze cup-stand with gilt rims and cloisonné enamels in white, dents to the gilt rims, the enameling with a few open bubbles, some Qianlong period set it apart from Imperial productions, and that it is
imperial-blue, lemon-yellow, iron-red, turquoise, midnight-blue and minor manufacturing flaws including crazing, minuscule nibbling and old more likely to have been made in the glasshouses of Guangzhou. They 㶭ẋ份夳ầ⎌晽” ⢼漵”㜦䞛䵈刚㕁䒞
dark-brown wear, overall as expected for an authentic Ming cloisonné piece also note that the thinness and fragility of the glass from Guangzhou was ⋲德㖶㜦䞛䵈䍣䐫炻䳘兑檀㴖晽
China, 16th century Provenance: Unite Kingdom private collection remarked upon as early as the 18th century. The carving on the present ⑩䚠㤝Ἓ
vase shows strict “clarity” combined with sophisticated craftsmen’s skills 㫸㳚䥩Ṣ侩㓞啷
The interior cast with a domed ring to the center with a flat well and Auction result comparison: FINE CHINESE CERAMICS AND WORKS OF resulting in an overall “warm” appearance. It therefore does not seem
everted rim. Brightly enameled against an intense imperial-blue ground ART. Sotheby’s, 15 MAY 2013, LONDON, lot 262. (for a similar cup stand) absolutely unreasonable to date this vase to the 18th century. EstimateġEUR 400,-
with undulating lotus scrolls, the rim with leafy lingzhi bands on a white Starting price EUR 200,-
ground. The underside with further leafy lingzhi and blossom bands. 㖶ẋ㘗㲘啵咖剙䙷㈀炻16 ᶾ䲨
戭偶㌸䴚䏢䐗炻⢾廒挷慹
Shape: Cup-stand ᷕ⚳炻16ᶾ䲨
Weight: 209 grams ⑩䚠冯⸜ẋ䚠䫎炻㔜橼列⤥炻䃉ảỽᾖ墄
Dimensions: 17 cm diameter 劙⚳䥩Ṣ㓞啷
EstimateġEUR 500,-
Starting price EUR 250,-
10 11
CHINESE GLASS
Lots 21, 5 and 4
12 13
etching techniques. While the designs themselves might
look clumsy to the novice, they are unequivocally at
their earliest stages of development, thus narrowing the
possible dating of this piece to a period from 1696-1715.
The intense sapphire-blue color of the cup, which is a
typical color used in very early works of Imperial Glass
Works of Beijing, only adds further to this assumption.
For a comprehensive discussion on the Imperial
glassworks, see E. Byrne Curtis, ‘Chinese Glass and the
Vatican Records’, Transactions of the Oriental Ceramic
Society, 1992-93, vol. 57, pp. 49-58.
Shape: Sprawling cup, the sides slightly convex, the lip
slanted, the edges rounded
Weight: 140,3 grams
Dimensions: 6,3 x 6,3 x 5,8 cm
Condition: Good condition with old wear, few small
manufacturing flaws, one nick to lip polished, some very
minor nibbling, some tiny air bubbles
Provenance: United Kingdom private collection
Literature comparison: Compare with three clear vessels,
all unmarked and dated to the Kangxi period: a dish
from the collection of Walter and Phyllis Shorenstein;
and a pair of cups in The Corning Museum of Glass,
New York, included in the China Institute of America
Exhibition catalogue Clear as Crystal, Red as Flame, New
York, 1990, pls. 10 and 11. An etched bowl dated to the 6
late 17th century, formerly from the K.R. Malcolm, and A FIVE-COLOR OVERLAY ‘PEONY’ GLASS VASE,
Professor and Mrs. Plesh collections, was sold at Christies, TONGZHI MARK AND OF THE PERIOD
16 November 1998, lot 291, and is illustrated in Elegance The translucent overlay carved in high relief above an
and Radiance, Grandeur in Qing Glass, the Andrew K.F. opaque white ground
Lee Collection, The University of Hong Kong, 2000, p. China, the base with an incised four-character Tongzhi
262, no. 96. seal-mark and of the period (1862-1873)
䅁⸜攻溆搥⮞䞛啵䍣䐫㜗炻1696-1715⸜ The baluster-shaped vase is applied with overlays in
㕡⼊⮞䞛啵䍣䐫㜗炻ℏ⣿䵈㜦刚㕁炻⢾⚵䱦ⶏ溆搥姕妰 transparent sapphire-blue, emerald-green, dusky pink,
ᷕ⚳炻䅁㗪㛇炻1696-1715⸜ lemon-yellow and ruby-red as birds and butterflies in
⑩䚠列⤥ flight above leafy peonies springing from craggy layered
劙⚳䥩Ṣ㓞啷 rocks, all in stark contrast to the white ground. Raised
and flattened round foot rim. Hongmu base. (2)
5 EstimateġEUR 400,-
AN ETCHED AND DIAMOND-ENGRAVED SAPPHIRE-BLUE OVERLAY GLASS CUP, Starting price EUR 200,- Shape: Baluster
KANGXI, 1696-1715 Weight: 1089 grams
The square-shaped sweeping cup is made of sapphire-blue glass, with the inside Dimensions: Height 23 cm
completely covered in a very thin, turquoise-blue overlay, and the outside with an etched Condition: Some open air-bubbles, several tiny nicks, one
and neatly diamond-point engraved design chip to lip
China, Kangxi period, 1696-1715 Provenance: French private collection
The four sides delicately etched and engraved to depict four square reserves, each with Literature comparison: S Marchant & Son, The Hope
precious objects such as a double gourd, a gu vase with a ruyi scepter inside, a fang ding Danby Collection of Chinese Glass, London 1999. (for
bronze, a ding vessel, a large basket and many more, all below an wheel-cut band of an interesting overview about glass vases from the Qing
floral and foliage scrolls. dynasty)
Engraving of this type was introduced to the Imperial workshops by the German Jesuit Auction result comparison: FINE CHINESE CERAMICS
missionary, Kilan Stumpf. In 1696, Emperor Kangxi appointed Stumpf to supervise the AND WORKS OF ART. Sotheby’s, 08 OCTOBER 2013,
establishment of Imperial glass workshops with the help of craftsmen drafted from HONG KONG, lot 3306. (for comparison with a similarly
glass-making centres in Yanshan and Guangzhou. Stumpf was renowned for his glass- incised mark) Important Chinese Ceramics and Works of
making and enameling skills, and contributed to the Chinese glass-making tradition, the Art. Christies, Hong Kong, 26 November 2014, lot 3374.
German technique of wheel-cutting and in particular diamond-point engraving. (for a pair of five-color overly vases from the 19th century)
When studying this superb cup, it becomes evident that this was not only designed to ġ
serve a later purpose as a cup, a washer or even a small brush pot, but in the first place ⎴㱣⸜墥Ḽ刚⣿㕁ȿ刵喍剙ȿ㡺㥴䒞
as training-object for the craftsmen working under the supervision of Kilian Stump Ḽ⼑⣿㕁㴖晽⛐䘥⸽䒞幓ᶲ炻⸽悐⌘㚱ȿ⎴㱣⸜墥ȿ
during the early 1700s. The number of early European glass-making techniques applied ᷕ⚳炻⎴㱣⸜攻ġĩ1862-1874⸜Ī
to this tiny masterpiece is so large, that is seems almost impossible that they all have ⑩䚠列⤥
been executed to perfection: The ingenious shape of the glass body with its slanted 㱽⚳䥩Ṣ㓞啷
lips, rounded edges, sprawling form, convex sides, slightly domed base and a an inside
overlay of less than 1 millimeter (!!) thickness, applied with not the slightest default. EstimateġEUR 500,-
On top of that comes the décor, skillfully created using diamond-point engraving and Starting price EUR 250,-
14 15
7
A QING DYNASTY AMBER CARVING OF BOY WITH BASKET
Amber of bright orange color and of near translucent quality
China, Qing Dynasty (1644-1912)
This amber miniature carving depicts a young boy presenting a
basket. The figurine is a symbol for the three friends of winter as the
basket is made of bamboo and in it we find a plum and a pine branch.
Shape: Figural shape
Dimensions: 4 cm (height), 2,5 cm (length), 1,3 cm (width)
Weight: 5,7 grams
Condition: Excellent condition with fine hand patina
Provenance: Austrian Private collection
㶭ẋ”䓟⁽”晽䏍䍨
役德㖶檀岒慷㶢㨁刚䏍䍨
ᷕ⚳炻㶭ẋ (1644-1912)
⑩䚠㤝Ἓ炻⊭㻧⬴┬
⤏⛘⇑䥩Ṣ㓞啷
EstimateġEUR 200,-
Starting price EUR 100,-
8
A CARVED CORAL ‘DOUBLE GOURD AND BAT’ PENDANT, QING
DYNASTY
The material of elegant light red color with shades of dusky-pink.
Good surface polish and patina. A small drilling at the top for a cord
China, 18th – 19th century
Cleverly carved using the various color shades in the material to depict
a double-gourd surrounded by large wine leaves, its tendrils, and a
bat as symbol of luck sitting on top.
Shape: Natural
Weight: 29,3 grams
Dimensions: Height 4,5 cm
Condition: Excellent with two tiny chips and some natural flaws
Provenance: Unite Kingdom private collection 9
AN IVORY CARVING OF A MYTHICAL BEAST, BIXIE, QING Provenance: French private collection
Auction result comparison: ARTS D’ASIE. Sotheby’s, 11 DECEMBER DYNASTY
2014, PARIS, lot 43. (for a related coral pendant) The Pavilion Sale - Carved and incised elephant ivory with a rich, natural age patina, distinct Literature comparison: Chinese Ivories from the Kwan Collection, Art
Chinese Ceramics & Works of Art. Christies, 6 October 2015, lot 59. natural grain and smooth surface polish Gallery, The Chinese University of Hong Kong, 1990, lot 195. (for an ivory
(for another related coral pendant) China, Qing Dynasty (possibly as early as Kangxi) carving of Liu Hai, showing similar carving style and technique as well as
some resemblance in the detail work and the type of ivory used for the
㶭ẋ”吓單冯圁圈”晽䍲䐂⡄梦 Finely carved in the form of a standing mythical beast, bixie, with its carving, dated 17th-18th century)
℠晭Ṗ䲭炻⃒晭䢐炻⊭㻧列⤥ head proudly facing forwards. The four paws accented with sharp talons,
ᷕ⚳炻18ᶾ䲨军19ᶾ䲨 the facial features well defined with bulging eyes, its mouth open in a Auction result comparison: FINE CHINESE ART, Bonham’s, 6 Nov 2014,
⑩䚠㤝⤥ snarl revealing fangs, below a single horn between pointed ears at the LONDON, lot 293. (for a carved jade showing a bixie with comparable
劙⚳䥩Ṣ㓞啷 forehead, the bifurcated tail curled alongside its haunch, the hair of its large and prominent wings, dated to the 16th /17th century) FINE CHINESE
tail defined with fine incisions, the large scrolled wings precisely carved CERAMICS & WORKS OF ART, Sotheby’s, 08 APRIL 2010, HONG KONG,
EstimateġEUR 300,- with fine details. lot 2059. (for a carved jade also showing a bixie with prominent wings,
Starting price EUR 150,- dated to the Ming dynasty)
Note that the single-horn variation of the Pixiu species is actually called
Tian Lu and said to go out into the world in search of gold and other 㶭㛅尉䈁晽尼尭
forms of wealth and, bringing it home to its Master, the bixie female of 尉䈁䱦ⶍ晽⇞炻寸䘬⣑䃞⊭㻧炻䌐䈡⣑䃞䲳嶗炻堐朊䳘䶣㹹
the Pixiu species, is then said to hold onto it, guarding it within the home ᷕ⚳炻㶭ẋ (ㅱ䁢䅁㗪㛇)
of the Master. It is therefore regarded as symbol of wealth protection. ⑩䚠㤝⤥
㱽⚳䥩Ṣ㓞啷
The large, scrolled wings are a typical feature of the most important Han
Dynasty bixie examples carved of jade. They are rare on later examples, as EstimateġEUR 600,-
they represent a significant challenge even to a master carver. Starting price EUR 300,-
Shape: Natural
Weight: 221 grams
Dimensions: Length 11,5 cm
Condition: Excellent. A few natural age-hairlines
16 1710
A RHINOCEROS HORN ‘HIBISCUS’ LIBATION CUP, MING DYNASTY,
16TH / 17th CENTURY
The horn of rich and dark chestnut tone with a smooth patina
China, Ming dynasty, 16th – 17th century
Crisply carved as a hibiscus flower with the furled petals forming the
cup, the exterior detailed in high relief with flowers and buds entwined
with the stems and star-shaped serrated leaves, all enveloping the sides
and issuing from the openwork foot, the undercut handle consisting of
further buds and stems, on one side with a sinuous chilong interweaving
his body through the stems, the six flower petals on the interior
sharply articulated and punctuated with a small stamen in the center.
Interestingly, the chilong is grasping a lingzhi fungus in its mouth.
The natural shape of the horn used for the making of this fine cup
lends itself particularly well to that of an open flower blossom, and
the carver has transformed the lip end of his material into a complete
hibiscus flower with one stamen in the well. The hibiscus is immediately
recognizable by its stamens which extend far out of the flower. The
carving is detailed and naturalistic, even the interior of the piece is
finished to the highest level with the overlapping petals carved to display
a strong three-dimensional quality. Nature was on the forefront of the
carver’s mind when he rendered this subject matter. Another notable
aspect to the piece is the openwork stand it sits on - shaped as the
stem of the plant from which leaves and buds grow. The handle is also
imaginatively fashioned in the form of a stem reaching up to the top of
the petals.
Shape: Libation cup
Weight: 167,8 grams 㖶ẋ䈨䈃奺晽坕漵俛”吝剙”㜗炻16-17ᶾ䲨
Dimensions: Length 13,7 cm 䈨䈃奺炻⊭㻧㤝⤥
Condition: Good original and unrestored condition with some wear, 䱦㸃䘬ⶍ㱽炻⇣䔓↢⬴㔜䘬吝剙炻⇑䓐㌚崟䘬剙彖㥳ㆸ㔜ᾳ㜗⫸ˤ⽆⸽悐䓇
two very small nicks to chilong’s tail, a microscopic hairline and several 攟䘬匾剥炻⊭墡叿㜗⫸䘬⢾⚵炻悐↮⟹✳䁢㜗䁛ˤ䦨㚱䘬䈨䈃奺岒㕁炻䳘兑
tiny nibbles. One small segment of the openwork stand is missing. It is 䘬檀㴖晽炻㏕惵ᶨ⎒冯匾⸡圵䁢ᶨ橼䘬坕漵炻坕漵◜⎤叿ᶨ㛝曰剅炻⯽䎦㬌
extremely rare to find a Ming cup of this size in such an untouched and ⑩䘬檀屜ᶵˤ
intact condition! 㷦䃞⣑ㆸ䘬忈✳炻Ỹẍ厗渿䳘兑䘬㈨㱽炻㍉吝剙剙䒋㥳䭱ㆸ㜗⫸炻ᶵᾅ㚱
Provenance: United Kingdom private collection. ⍇㛔䘬㧋尴炻㚜冯䈨奺䌐䈡䘬岒⛘炻栗⼿冒䃞䃉忽ˤ
⼊䉨烉䤅⢥㜗⼊
Literature comparison: For examples of rhinoceros horn cups with 慵慷烉167.8
hibiscus, see one in the Chester Beatty Library, Dublin, published in Jan ⯢⮠烉攟13.7⍀䰛
Chapman in The Art of Rhinoceros Horn Carving in China, London, 1999, ⑩䚠列⤥炻㛒䴻ảỽᾖ墄ˤ坕漵⯦悐㚱ℑᾳ朆ⷠ⮷䘬塪䕽炻ᶨ⮷悐↮䘬㴖
pl. 206; another, formerly owned by Tradescant the Elder and presented 晽㛸㕁仢⣙炻⯙㖶ẋ忁ᾳ⣏⮷䘬䈨奺㜗Ἦ婒炻傥⥍┬⬴㔜ᾅ⬀炻⮎⛐朆ⷠ
to the University of Oxford by Elias Ashmole, now in the Ashmolean 暋⼿ˤ
Museum, Oxford, included in Derek Gillman, ‘A Source of Rhinoceros 劙⚳䥩Ṣ㓞啷
Horn Cups in the Late Ming Dynasty’, Orientations, December 1984, 㔯䌣⍫侫烉⎎ᶨẞ吝剙䈨奺㜗炻⎗⍫侫ỵ㕤悥㝷㜿䘬↯㕗䈡Ƹ㭼㚧⚾㚠棐棐
p. 15, fig. 8; and a third, from the collection of Dr. Ip Yee illustrated 啷炻庱㕤Jan Chapman叿ἄ䘬˪ᷕ⚳晽䈨䈃奺喅埻普˫炻ΐ㔎炻1999⸜炻⚾
in Dr. Ip Yee, ‘Chinese Rhinoceros Horn Carvings’, International Asian 䇰206ˤ⎎ᶨẞ℠啷㕤䈃㳍䘬旧Ṩ卓㜿⌂䈑棐炻㚦庱㕤Derek Gillman䘬叿
Antiques Fair, Hong Kong, 1982, p. 36, cat. no. 29; and another from the ἄ˪㘂㖶㗪㛇䘬䈨䈃奺喅埻˫炻Orientations 炻1984⸜12㚰炻⚾嘇8ˤ⎎ᶨẞ
Murray bequest and now in the Victoria and Albert Museum, London, is ⇯㗗叱佑慓䓇䘬䥩Ṣ㓞啷炻⎗⍫侫ṾᾳṢ叿ἄ˪Chinese Rhinoceros Horn
illustrated in Craig Clunas, Chinese Carving, London, 1996, fig. 31, where Carvings˫炻International Asian Antiques Fair↢䇰炻楁㷗炻1982⸜炻䫔36枩炻
two intertwining stems are used to form the base of the vessel. 䶐嘇29ˤ⎎ᶨẞ䎦啷㕤ΐ㔎䘬䵕⣂⇑Ṇ冯刦ỗ䈡⌂䈑棐炻庱㕤Craig Clunas
叿ἄ˪ᷕ⚳晽⇣˫炻ΐ㔎炻1996炻⚾嘇31ˤ
Auction result comparison: A cup where the stalks of a lotus plant were 栆Ụ㉵⑩烉喯㭼˪Edward T. Chow and Franklin Chow䍵啷⑩˫炻楁
made into a ring-base for the vessel, from the collections of Edward 㷗炻2011⸜4㚰8㖍炻䈑⑩䶐嘇2715ˤ⎎⢾怬㚱喯㭼˪ᷕ⚳䒟☐⍲喅埻䍵
T. Chow and Franklin Chow, was sold at Sotheby’s Hong Kong, 8th ⑩˫2013⸜10㚰8㖍炻楁㷗炻㉵⑩3244嘇ˤ
April 2011, lot 2715. FINE CHINESE CERAMICS AND WORKS OF ART.
Sotheby’s, 08 OCTOBER 2013, HONG KONG, lot 3244. (for a similar EstimateġEUR 6.000,-
hibiscus and chilong cup dated to the 16th century) Starting price EUR 3.000,-
18 19CHINESE SCHOLAR DESK OBJECTS
Lots 19, 20, 22, 16 and 18
20 2111
AN IVORY DOUBLE-SIDED ‘IMMORTALS AND
DRAGON BOAT’ TABLE SCREEN, KANGXI
Ivory engraved and carved in low relief. Good patina
China, the screen Kangxi, around 1700, the stand Qing
Dynasty
The rectangular plaque carved with Immortals on a
dragon boat sailing towards a villa enshrouded with mist,
the reverse with a calligraphic inscription and a scene
with birds and flowers, mounted in a partially reticulated
stand with archaistic carving and two Buddhist lions
guarding the screen.
Shape: Table screen
Weight: 405 grams
Dimensions: Height 26,8 cm
Condition: Some age cracks, the stand with minor losses.
Generally in good condition
Provenance: United Kingdom private collection.
Literature: Chinese Ivories from the Kwan Collection.
December 1990. By Simon Kwan, Peter Y. K. Lam and
Yang Boda. (for a comprehensive overview of Chinese
ivories and many interesting examples from the Kangxi
period)
Auction result comparison: CHINESE ART. Sotheby’s, 3 12
DECEMBER 2015, HONG KONG, lot 445. (for a related AN IVORY DOUBLE-SIDED ‘NARRATIVE’ TABLE SCREEN, KANGXI Literature: Chinese Ivories from the Kwan Collection. December 1990.
table screen) Artist signature on the stand. Ivory engraved and carved in low relief. By Simon Kwan, Peter Y. K. Lam and Yang Boda. (for a comprehensive
Good patina overview of Chinese ivories and many interesting examples from the
䅁⸜攻尉䈁晽”漵凇㷉㱛”䠗⯷ China, the screen Kangxi, around 1700, the stand Qing Dynasty Kangxi period)
㶢㴖晽尉䈁炻列⤥㽌炻側悐
ᷕ⚳炻⯷ⷽ䁢䅁⸜攻晽墥炻➢⹏䁢㶭㛅晽墥 The rectangular plaque carved with a narrative scene with two ladies in a Auction result comparison: CHINESE ART. Sotheby’s, 3 DECEMBER 2015,
⑩䚠列⤥ garden studio receiving a letter, the reverse with a calligraphic inscription HONG KONG, lot 445. (for a related table screen)
劙⚳䥩Ṣ㓞啷 and a scene with birds and flowers, mounted in a partially reticulated
stand with archaistic carving and two Buddhist lions guarding the screen. 䅁⸜攻尉䈁晽”䪍⫸䌣䈑”䠗⯷
EstimateġEUR 800,- 尉䈁㶢㴖晽炻側悐晽㚱叔㤂䘬˪Ḽ㖍奨⤻˫娑⎍炻➢⹏⇣㚱晽侭⎵炻刚㽌列
Starting price EUR 400,- Shape: Table screen ⤥
Weight: 438 grams ᷕ⚳炻⯷ⷽ䁢䅁㗪㛇晽墥炻䲬1700⸜炻➢⹏䁢㶭㛅墥
Dimensions: Height 24,6 cm ⑩䚠列⤥炻ṃ姙⸜ẋ忈ㆸ䘬塪䲳炻ᷕ攻㚱ᶨ庫⣏塪䕽
Condition: Some age cracks, one in the center a bit larger, the stand with 劙⚳䥩Ṣ㓞啷
minor losses. Generally in good condition
Provenance: United Kingdom private collection EstimateġEUR 600,-
Starting price EUR 300,-
22 2314
AN IVORY DOUBLE-SIDED ‘ROMANCE OF THE
WESTERN CHAMBER’ SCREEN PLAQUE, KANGXI
Ivory engraved and carved in low relief. Good patina
China, Kangxi, around 1700
The rectangular plaque carved with a scene from the
Xi Xiangji, the reverse with a vase and fan and a short
poetic inscription. The Story of the Western Wing
(traditional Chinese: 大姀; pinyin: X xi ng Jì), also
translated as Romance of the Western Chamber, is one of
the most famous Chinese dramatic works. It was written
by the Yuan dynasty playwright Wang Shifu (䌳⮎䓓) and
set during the Tang dynasty. Known as “China’s most
popular love comedy,” it is the story of a young couple
consummating their love without parental approval, and
has been seen both as a “lover’s bible” and “potentially
lethal,” as readers were in danger of pining away under
its influence.
Shape: Table screen plaque
13 Weight: 149,7 grams
AN IVORY DOUBLE-SIDED ‘PRACTICING Dimensions: Height 19,5 x 11 cm
CALLIGRAPHY’ TABLE SCREEN, KANGXI Condition: Some age cracks, one chip to edge. Generally
Artist signature on the stand. Ivory engraved and carved in very good condition
in low relief. Good patina Provenance: United Kingdom private collection
China, the screen Kangxi, around 1700, the stand Qing
Dynasty Literature: Chinese Ivories from the Kwan Collection.
December 1990. By Simon Kwan, Peter Y. K. Lam and
The rectangular plaque carved with a villa scene, with Yang Boda. (for a comprehensive overview of Chinese
two scholars conversing and practicing calligraphy ivories and many interesting examples from the Kangxi
surrounded by servants, the reverse with a calligraphic period)
inscription and a scene with birds and flowers, mounted
in a partially reticulated stand with archaistic carving and Auction result comparison: CHINESE ART. Sotheby’s, 3
two Buddhist lions guarding the screen. DECEMBER 2015, HONG KONG, lot 445. (for a related
table screen)
Shape: Table screen
Weight: 440 grams 䅁⸜攻尉䈁晽”大姀”䠗⯷
Dimensions: Height 27 cm 尉䈁㶢㴖晽炻刚㽌列⤥
Condition: Some age cracks, the stand with minor losses. ᷕ⚳炻䅁炻䲬1700⸜
Generally in good condition 側朊⇣㚱䘥⯭㖻˪㜕ⶆ㗍㛃˫曺㕿㱥惺崩㡐剙
Provenance: United Kingdom private collection ⑩䚠⬴┬
劙⚳䥩Ṣ㓞啷
Literature: Chinese Ivories from the Kwan Collection.
December 1990. By Simon Kwan, Peter Y. K. Lam and EstimateġEUR 400,-
Yang Boda. (for a comprehensive overview of Chinese Starting price EUR 200,-
ivories and many interesting examples from the Kangxi
period)
Auction result comparison: CHINESE ART. Sotheby’s, 3
DECEMBER 2015, HONG KONG, lot 445. (for a related
table screen)
䅁⸜攻尉䈁晽”㔯Ṣ佺㚠䔓”䠗⯷
尉䈁㶢㴖晽炻➢⹏⇣㚱晽侭⎵炻列⤥㽌
ᷕ⚳炻⯷ⷽ䁢䅁⸜攻墥炻➢⹏䁢㶭㛅墥
⑩䚠列⤥
劙⚳䥩Ṣ㓞啷
EstimateġEUR 800,-
Starting price EUR 400,-
24 2515
AN IMPORTANT CANTON SCHOOL ‘21-LAYER’ MAGIC IVORY BALL
ON A TALL STAND, QING DYNASTY
Carved ivory with detailed openwork, reticulation and incising, partially
inked. This set of carved openwork concentric ivory balls with cloud-and-
dragon decoration consists of one larger set of concentric balls, a supporting
plate, a stand, a smaller set of concentric balls, and a base.
China, Guangdong, mid- to late-Qing dynasty ca. 1840-1900
The larger set of concentric balls is carved with several entwined sinuous
dragons amid clouds on the outside, revealing 20 (in words: twenty) smaller,
nested openwork balls inside, each manually and differently carved, one
inside the other from the largest to the smallest, ingenuously carved from
one single piece of ivory.
The stand shows several scenes including wandering scholars and
attendants in a mountainous landscape, several pavilions, groups of weiqi 16
players. A SMALL ROCK CRYSTAL ‘CHILONG’ BRUSH
The base shows further sinuous dragons in openwork carving. WASHER IN LIBATION CUP SHAPE, 18 TH CENTURY
The smaller set of concentric balls is carved with floral décor on the Transparent rock crystal with natural inclusions, carved in
outside and a smaller set of 7 balls hidden inside. high relief and openwork, with nicely incised detail work
This type of ivory balls was made in the Guangdong region during the mid- China, 18th century
to late-Qing dynasty. The most puzzling thing about this amazing piece of
craftsmanship is probably how these delicate balls were made one inside the This archaistic vessel is carved from rock crystal and
other. This technique fascinated the Chinese as well as the Europeans in th shows an intricately incised geometrical pattern on the
19th century and its earliest nickname was the “demon’s balls.” The process outer body. The two handles are formed by chilong
of making a demon’s ball usually consists of the following six stages: dragons, confronting each other, with their bifurcated
tails circumventing the vessel in high relief.
1. Selection and cutting down of material Rock crystal objects were highly sought after by Qing
2. Using a lathe to turn the cylinder into a sphere Dynasty literati who referred to the material as ‘water
3. Boring holes turned to stone’.
4. Carving inner spheres using a curved cutting tool Shape: Rounded, libation cup shape with figural handles,
5. Decorative carving of outer layer raised oval foot rim
6. Decorative carving of inner layers Dimensions: 4,2 cm (height), 10,5 cm (length)
Condition: Fantastic condition with fine patina, remainder
Steps two to four consist of the intricate cutting necessary to produce of old stains, and two microscopic nibbles to lip, as well
nested balls. These steps require the use of a lathe. Another important trick as some natural flaws to the mineral
is the drilling of evenly spaced perpendicular holes into the outer surface. Provenance: Austrian Private collection
In fact, this is based on an ingenious, secret geometrical concept which is
believed to have been lost at some point history, making it impossible to Auction result comparison: A similar cup, sold in these
ever reproduce these balls again. rooms on June 16th 2018, lot 69.
Shape: Ball on stand, which can be dismantled into 10 parts, which are 18ᶾ䲨㯜㘞”䤅⢥㜗”䫮㲿 17
being held together via original ivory screws 檀㴖晽德㖶㯜㘞炻晽ⶍ䱦䳘 A ROCK CRYSTAL ‘LINGZHI’ BRUSH Auction results comparison: Chinese
Weight: 1119 grams ᷕ⚳炻18ᶾ䲨 WASHER, QING DYNASTY Ceramics, Works of Art and Textiles.
Dimensions: Total height 57 cm ⑩䚠㤝Ἓ炻⊭㻧䳘兑 The crystal of good purity with few Christies, London, 14 May 2010, lot 319.
Condition: Superb, complete and original condition with some losses to ⤏⛘⇑䥩Ṣ㓞啷 natural clouds. Good surface finish both (for a ‘bat’ brush washer of same material,
inner balls, few age cracks and some chipping to exposed areas in- and outside. period and size)
Provenance: French private collection EstimateġEUR 400,- China, 18th – 19th century
Starting price EUR 200,- 㶭ẋ㯜㘞晽”曰剅”䫮㲿
Literature comparison: The National Palace Museum, Taipei, recently The washer vigorously carved to depict 䲼㶐㯜㘞炻ℏ⢾⸛㹹䢐
produced an interesting video, explaining the concept and technique of lingzhi fungi growing from a gnarly stem. ᷕ⚳炻18-19ᶾ䲨
ancient demon balls: http://npm.nchc.org.tw/newest_en.aspx?vid=85 Wooden base. (2) ⑩䚠列⤥炻㚱ṃ姙䢐䕽
劙⚳䥩Ṣ㓞啷
㶭ẋ⺋ⶆ㳦”21Ⰼ”掌晽䈁⣿䎫 Shape: Sculptural vessel
⺋ⶆ㳦(⋿㳦)尉䈁晽炻21Ⰼ櫤ⶍ䎫炻䎫ℏ⣿䎫炻徸Ⰼ掌䨢炻㏕惵䳘兑晽⇣䘬䎫㞙 Dimensions: Length 7,5 cm EstimateġEUR 200,-
⍲⸽⹏炻厗渿℠晭ˤ Weight: 108, 5 grams Starting price EUR 100,-
ᷕ⚳炻⺋㜙炻㶭ẋᷕ㛇军㘂㛇炻䲬1840⸜军1900⸜ Condition: The rim with one chip and
⑩䚠⬴伶 minor nibbling. The small lingzhi with a
㱽⚳䥩Ṣ㓞啷 second chip
Provenance: United Kingdom private
EstimateġEUR 1.000,- collection
Starting price EUR 500,-
26 2718. 19
A SQUARE QINGTIAN SEAL WITH MATCHING BOX, AN INSCRIBED BAMBOO BRUSHPOT WITH A POEM
CARVED BY ZHAO ZHIQIAN, 1852 BY SU SHI, QING DYNASTY, 19TH CENTURY
The stone mottled in hues of honey and mustard. Bamboo with good old patina and well visible natural
Smooth surface polish and good patina. grain
China, dated to “Spring of 1852” (renzi year) and signed China, 19 th century
“Zhao Zhiqian”
The seal: “Buddhist Disciples” The cylindrical exterior of the bitong incised in xingshu,
running script, with a short poem by Su Shi, followed by
Of square shape, the seal face carved in relief with a the cyclical date, 1849, or, less likely, 1909, and ending
four-character seal-script inscription. The top incised in with the inscription Yunxi (暚㹒Ī, which could either be
xingshu, running script, with a nine-character inscription. the name of the place where this brush pot was carved or
The lidded hongmu box standing on four carved feet the name of the carver.
with good patina and grain. (3)
Su Shi (8 January 1037 – 24 August 1101), also known
Zhao Zhiqian (Chinese: 崝ᷳ寎; 1829–1884) was a as Su Dongpo, was a Chinese writer, poet, painter,
renowned Chinese calligrapher, seal carver and painter calligrapher, pharmacologist, gastronome, and a
in the late Qing Dynasty, “the leading scholar-artist of statesman of the Song dynasty. A major personality
his day.” Zhao’s seal carving had profound influence on of the Song era, Su was an important figure in Song
the later masters, such as Wu Changshuo and Qi Baishi. Dynasty politics, aligning himself with Sima Guang and
He is also known under the courtesy name of Yifu (䙲 others, against the New Policy party led by Wang Anshi.
䓓) and his pseudonym (hào) of Lengjun (⅟⏃), which he Su Shi was famed as an essayist, and his prose writings
changed to Huishu (㑅⍼) and Bei’an (ず䚎) respectively lucidly contribute to the understanding of topics such
later in his life. as 11th-century Chinese travel literature or detailed
information on the contemporary Chinese iron industry.
Shape: Square His poetry has a long history of popularity and influence
Dimensions: 3,9 x 3,9 x 3,2 cm The box height 5,2 cm in China, Japan, and other areas in the near vicinity and
Weight: 135,5 grams. The box 102,5 grams is well known in the English-speaking parts of the world
Condition: Some chipping edges. Some wear, as through the translations by Arthur Waley, among others.
expected on an old piece In terms of the arts, Su Shi has some claim to being “the
Provenance: Hungarian private collection; before: pre-eminent personality of the eleventh century.”
Austrian private collection, acquired around 1985 (by
repute) Shape: Natural bamboo cylinder
Weight: 118 grams
Auction results comparison: CHINESE WORKS OF ART Dimensions: Height 12,6 cm, diameter 6,2 cm
AND PAINTINGS. Bonham’s, 19 March 2018, NEW YORK, Condition: Good condition with several natural hairlines
lot 8143. (for a related tianhuang seal, with comparable as visible on the pictures
mottled hues of honey and mustard) China Guardian Provenance: French private collection
2017 Spring Auctions, lot 4361. ( for a related Qingtian
stone seal carved by Zhao Zhiqian) Literature comparison: Literature comparison: Uncanny
Ingenuity and Celestial Feats, The Carvings of the Ming
㶭ẋ嵁ᷳ嫁”ἃ攨⻇⫸”曺䓘䞛㕡⌘⍲味䙺炻1852⸜ and Qing Dynasties. Bamboo, Wood and Fruit Stones.
囄刚曺䓘䞛炻堐朊⸛㹹䢐炻⊭㻧列⤥ˤ The National Palace Museum of Taipei. Chi Jo-hsin. Page
ᷕ⚳炻⌘ᶲ⇣㚱”⢔⫸㗍㖍嵁ᷳ嫁↲䞛”炻㍐㷔䁢1852⸜㗍ˤ 36. (compare with an earlier inscribed bamboo brush pot
⌘烉“ἃ攨⻇⫸”⮷䭮橼 of similar dimensions)
ἃ攨⻇⫸㕡⌘炻⌘ᶲ⇣㚱埴㚠句㫦”⢔⫸㗍㖍嵁ᷳ嫁↲䞛”ˤ
⚃嵛䲭㛐味䙺⊭㻧⬴┬炻䲳䎮⣑䃞ˤ Auction result comparison: IMPORTANT CHINESE
嵁ᷳ嫁(1829-1884)炻⇅⫿䙲䓓ˣ嘇⅟⏃炻⼴㓡⫿㑅⍼ˣ嘇ず WORKS OF ART (PART I). Christies, Hong Kong, 28
⹝炻䁢㶭ẋ䞍⎵㚠䔓⭞ˣ䭮⇣⭞ˤ℞䭮⇣ㆸ⯙ⶐ⣏炻⼙枧役 November 2005, lot 1479. (for a similar brush pot from
ẋ⏛㖴䡑ˣ滲䘥䞛䫱⣏ⷓˤ the 19th century) WATER, PINE AND STONE RETREAT
⼊䉨烉㕡⼊ COLLECTION – PLAYTHINGS. Christies, 02 JUNE 2016,
⯢⮠烉㕡⌘ 3.9 x 3.9 x 3.2 (⍀䰛)炻味䙺檀5.2⍀䰛 HONG KONG lot 47. (for another inscribed bamboo brush
慵慷烉⌘慵135.5炻䙺慵102.5 pot from the 19th century)
⑩䚠列⤥炻℟㚱冯⸜ẋ䚠䫎䘬䢐㎵䡽䡘ˤ
⊰䈁⇑䥩Ṣ㓞啷ˤ⇵䁢⤏⛘⇑䥩Ṣ㓞啷炻㕤1985⸜⍾⼿(䓙 㶭ẋ娑⎍晽䪡䫮䫺
⎵倚ᾉ嬥) 䪡墥䫮䫺炻⊭㻧列⤥炻䲳䎮㶭㘘⣑䃞
栆Ụ㉵⑩烉ᶨẞ栆Ụ䘬囄刚䓘湫䞛⌘炻⍫侫恎㿂㕗˪ᷕ⚳㚠 ᷕ⚳炻19ᶾ䲨
䔓⍲喅埻⑩˫炻2018⸜3㚰19㖍炻䲸䲬炻㉵⑩䶐嘇8143ˤ⎎ᶨ 䫮䫺ᶲ晽叿⣏㔯尒喯度䘬ἄ⑩” ℵ㣲℔㾇㠭剙⋩䳽”.
ẞ嵁ᷳ嫁⇣曺䓘䞛⌘炻⎗夳ᷕ⚳▱⽟2017㗍⬋㉵岋㚫炻㉵ ⑩䚠列⤥
⑩嘇4361ˤ 㱽⚳䥩Ṣ㓞啷
EstimateġEUR 500,- EstimateġEUR 300,-
Starting price EUR 250,- Starting price EUR 150,-
28 2922 23
A CARVED OPENWORK BOXWOOD A FAMILLE VERTE
‘MOUNTAIN’ BRUSHREST, QING ENAMELED PORCELAIN
DYNASTY BRUSHPOT, QING DYNASTY
The wood well carved in high relief Of cylindrical form, painted in
with reticulated areas. Good patina! vivid green, yellow, aubergine
China, 19 th century and blue enamels, as well as in
iron-red, black and gold. The
The gnarled wood carved as a craggy glaze is covering the interior
mountain range dotted with pine and and exterior walls as well as
wutong trees, the foreground with a the circular depression at the
solitary bridge approached by three center of the concave base,
small figures, fitted stand. (2) but not its outer edge
China, 19 th century
20 21 Shape: Natural
A CARVED AGATE ‘LOTUS’ WASHER QING DYNASTY, 18TH CENTURY A ‘REALGAR’ IMITATION GLASS BRUSH POT, QING Weight: 137 grams Delicately and lively painted
Translucent agate of golden-brown and amber tones, with shades of bluish white, DYNASTY Dimensions: Length 20 cm depiction of three playful
and few scattered speckles of dark brown. Outstanding polish The tapered body rising from a flat base, the glass of rich fiery Condition: Excellent condition with Buddhist lions, all fighting
China, 18th century orange-red tone. extensive wear as expected on an old for the possession of a large
China, 18th – very early 19th century piece of boxwood brocade ball, surrounded
The flattened vessel carved in the form of a curved lotus leaf, the rounded Provenance: French private collection by iron-red flames and a
sides rising to a lobed rim gently curving inward, decorated in high relief on the ‘Realgar’ glass is assumed to have been developed at the gilt magic pearl. The upper
exterior with a blooming lotus flower accompanied by its tendril and leaves, Imperial glassworks during the Kangxi period (1662-1722), Literature comparison: Uncanny and lower end of the scene
the translucent stone of attractive variegated tones of golden amber and honey when production was under the directorship of Kilian Stumpf Ingenuity and Celestial Feats, The surrounded by a spiral- and a
suffusing with vermillion-red and dark-brown patches and blueish-white mottling. and his fellow Jesuits, who set up the glassworks for the Carvings of the Ming and Qing triangle-border respectively.
The inside neatly inside with lotus-flower details. Emperor in 1696. Plain realgar glass items such as the present Dynasties. Bamboo, Wood and Fruit
brush pot were made in large numbers throughout the 18th Stones. The National Palace Museum Shape: Cylindric, with rounded
Shape: Lotus leaf century and a large proportion of them were apparently of Taipei. Chi Jo-hsin. Pages 97-112. lip
Weight: 62 grams produced at the court to be distributed as gifts. By the mid- Weight: 634 grams
Dimensions: 8,2 x 4,2 cm Qing period, carved realgar, instead of plain realgar, began to 㶭ẋ湫㣲㛐晽䫮㒙 Dimensions: Height 13,4 cm,
Condition: Absolutely perfect condition take fashion among the glassworks and many fine examples 䱦伶㴖晽炻⊭㻧⬴┬ diameter 11,9 cm
Provenance: United Kingdom private collection were produced with this style of decoration. ᷕ⚳炻IJĺᶾ䲨 Condition: Excellent, with
⑩䚠㤝⤥ some wear as expected on an
Auction result comparison: IMPORTANT CHINESE ART. Sotheby’s, 03 APRIL 2018, Shape: Tapered cylindric form 㱽⚳䥩Ṣ㓞啷 old and authentic piece
HONG KONG, lot 3687. (for an agate ‘lotus’ washer of similar size and style) Weight: 352 grams Provenance: French private
Dimensions: Height 11,3 cm EstimateġEUR 300,- collection
IJĹᶾ䲨㶭ẋ”咖剙”晽䐒䐁䫮㲿 Condition: Perfect condition with only minimal wear, Starting price EUR 150,-
䏍䍨刚⋲德㖶䐒䐁炻堐朊⬴伶䢐 especially to the foot 㶭ẋḼ⼑ᶱ䋭櫍三䎫䒟䫮䫺
ᷕ⚳炻IJĹᶾ䲨 Provenance: United Kingdom private collection Ḽ⼑䒟炻ℏ⢾⛯㚱ᶲ慱
⑩䚠㤝Ἓ ᷕ⚳炻19ᶾ䲨
劙⚳䥩Ṣ㓞啷 Auction result comparison: COLLECTIONS. Sotheby’s, 02 MAY ⑩䚠㤝Ἓ
2017, LONDON, lot 74. (for a similar brush pot) 㱽⚳䥩Ṣ㓞啷
EstimateġEUR 300,-
Starting price EUR 150,- 㶭ẋầ晬湫㕁䫮䫺 EstimateġEUR 400,-
抸⼊ầ晬湫䍣䐫偶 Starting price EUR 200,-
ᷕ⚳炻IJĹᶾ䲨㛓㛇军IJĺᶾ䲨⇅㛇
⑩岒⬴┬
劙⚳䥩Ṣ㓞啷
EstimateġEUR 400,-
Starting price EUR 200,-
30 3124 25
A LIDDED QING DYNASTY FAMILLE VERTE A PAIR OF BLUE AND WHITE ‘DRAGON’ BOWLS, MARKS AND PERIOD OF
BALUSTER JAR ‘EIGHT IMMORTALS’ GUANGXU
Porcelain with iron red, underglaze blue and multi- Material, color, techniques, functions etc.: Painted in intense and vivid cobalt-blue und
colored enamels in Famille Verte palette der the glaze
China, Qing Dynasty (1644-1912, possibly as early as China, Guangxu six-character reign marks and of the period (1875-1908)
Kangxi period ca. 1700)
Description, school, inscriptions, marks, styles: Each with rounded sides rising from a
This masterly hand painted porcelain jar and cover high tapering foot to a slightly flaring rim, the exterior finely painted with two striding
shows iron red outlines and multi colored enamels five-clawed dragons amidst flame scrolls, above stylized sea waves, ocean spray and
throughout, in high relief. Depicted is the group of the petals around the base. The interior with a confronting third dragon within a double-
eight immortals, Baxian, in a picturesque landscape with circle medallion. The inner and outer lips and the foot rim each with a double-circle as
geometrically rendered rocks and trees. The immortals well. (2)
are playing with a kite. Seven of the lucky gods are at
the outer body of the vessel, one is on the lid, next Shape: Bowl
to a young servant. The kite motif is also seen at the Weight: 132,5 grams each
decorative border at the shoulder of the vessel. Dimensions: Diameter 12 cm
Condition: Perfect condition with only minimal traces of old wear
The neck of the jar shows a floral motif as does the Provenance: Dutch private collection
knob of the lid. The underside bears an underglaze blue
double-circle. Auction result comparison: Chinese Ceramics, Works of Art and Textiles. Christies,
London, 11 November 2011, lot 1268. (for a related pair of Guangxu dragon bowls)
Shape: Baluster shape
Dimensions: Height 45 cm ᶨ⮵㶭䵺⸜攻曺剙漵䲳䠿
Weight: 6,4 kilograms 曺剙慱ᶳ⼑炻⸽悐㚱”⣏㶭䵺⸜墥”⫿㧋.
Condition: Overall very good condition, one firing fault ᷕ⚳炻䵺⸜攻(1875-1908⸜)
(not a crack) at the underside, resulting in a thin hairline ⑩䚠㤝⤥
at the lower part of the vessel 匟嗕䥩Ṣ㓞啷
Provenance: Hungarian private collection
EstimateġEUR 500,-
㶭ẋ䱦伶”ℓẁ”䠔⼑仸 Starting price EUR 250,-
昞䒟炻⣂刚䠔⼑
ᷕ⚳炻㶭㛅ĩ1644-1912⸜炻ㅱ䁢䅁⸜攻䲬1700⸜)
⑩䚠列⤥
⊰䈁⇑䥩Ṣ㓞啷
EstimateġEUR 600,-
Starting price EUR 300,-
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