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Lot 4
Drawing 1485 gouache and charcoal on paper 76 x 57cm Footnote: 'My drawings are usually untitled but have a sequence number for identification. They almost always include charcoal, usually plus one colour. This drawing in retrospect, seems unconsciously, to be a forerunner of the twelve sculptures in the series titled 'Chinese Whispers'. Nigel Hall studied at the West of England College of Art, Bristol from 1960 to 1964 and at the Royal College of Art, London from 1964 to 1967. A Harkness Fellowship took him to the United States from 1967 to 1969. Hall has had many exhibitions around the world and has been widely collected. His first tubular aluminium sculpture was made in 1970. In subsequent years he explored the ways in which tubular construction alters the viewer’s perception of space. This interest in the qualities of spatial construction was balanced by an equally strong preoccupation with the particular sites his sculptures occupy. His recent work has been less minimal in feel, tending towards stronger, more solid forms. A solo exhibition of his work was held at the Royal Academy in 2011.
Lot 363
AN AGATE ‘JUJUBE AND PEANUT’ SNUFF BOTTLE, LATE QING TO EARLY REPUBLICChina, 1820-1920. Carved in high relief with peanuts and jujubes in a bamboo grove, the stone of an attractive variegating caramel and olive tone. The flattened globular body rising from a thick oval foot rim to a short cylindrical neck.Provenance: Leslie Gifford Kilborn, USA, and thence by descent in the same family. Leslie Gifford Kilborn (1895-1972), son of Retta and Omar Kilborn, was born in Sichuan, China. He greatly advanced missionary work in Western China, was the author of multiple texts and served as dean of the College of Medicine of the West China Union University. In 1952, he left China and became a professor of physiology at the University of Hong Kong.Condition: Very good condition with minor wear, minuscule nibbling to mouth, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Red glass cabochon with gilt-bronze collar and spoonWeight: 193.7 gDimensions: Height including stopper 80 mm. Diameter neck 20 mm and mouth 7 mmIn Hidden Meanings in Chinese Art, pages 70 and 76, Terese Tse Bartholomew illustrates a drawing of a snuff bottle which she attributes to Suzhou. She explains that the jujube (zaozi) on this bottle is a pun for ‘early son’ and the peanut (huasheng) is a pun for ‘giving birth.’ The combination of the two suggests the expression, ‘May you soon give birth to a distinguished son’ (zaosheng guizi).Bartholomew further explains, “The peanut plant (Arachis hypogaea) has a massive root system and bears many seedpods, or peanuts. Thus, it symbolizes long life and many sons. The peanut is also called chuangsheng guo, or the fruit of longevity. Along with jujubes and chestnuts, it is among the dried fruit and nuts scattered on the marriage bed to wish the new couple the speedy arrival of sons.”Auction result comparison: Compare with a related but smaller bottle at Christie’s New York in Important Chinese Snuff Bottles from the J&J Collection, Part V on 17 September 2008, lot 28, sold for USD 4,750.清末民初瑪瑙棗生鼻烟壺 中國，1820-1920年。器形直頸，圓肩，壺體呈圓卵形，腹部刻有變形竹節紋和大棗花生。橢圓形底足。 來源：美國Leslie Gifford Kilborn，自此保存在同一家族. Leslie Gifford Kilborn (1895-1972), Retta and Omar Kilborn的兒子，出生於中國四川。他極大地促進了中國西部的傳教工作，是多篇著作的作者，還曾擔任過華西聯合大學醫學院的院長。 1952年，他離開中國，成為香港大學生理學教授。 圖片：Leslie Gifford Kilborn (1895-1972, 左起第三位) 品相：狀況極佳，略有磨損，口邊緣有磕損，瑪瑙有天然裂紋，隨著時間的流逝，其中一些可能發展成細小的裂縫。 壺蓋：紅料，鎏金銅蓋托，小壺匙 重量：193.7 克 尺寸：含蓋總高80 毫米，頸部直徑20 毫米，嘴部直徑7 毫米 拍賣結果比較：一件相近但稍小的鼻烟壺見紐約佳士得 Important Chinese Snuff Bottles from the J&J Collection, Part V 拍場，2008年9月17日 lot 28, 售價USD 4,750.
Lot 390
AN IMPERIAL ENAMELED WHITE GLASS ‘BOYS’ SNUFF BOTTLE, QIANLONG MARK AND PERIODChina, 1760-1780. Masterfully painted in soft enamels of imperial yellow, pink, blue, green, and turquoise on a translucent ivory-white ground with two scenes of boys at play below a ruyi-tassel border at the shoulder and neck, the recessed base with a blue-enameled four-character Qianlong nianzhi mark within a double square and of the period.Provenance: From the collection of Mary Ann Edmondson Bresee (1932-2017), Georgia, USA, avid collector and former member of the International Chinese Snuff Bottle Society. Her grandfather was Walter T. Candler, son of Asa G. Candler, the founder of the Coca-Cola Company. Her bottles were exhibited both at the Cummer Museum of Art and Gardens and the Norton Museum of Art. Collector’s label ‘LH1’ to spoon.Condition: Superb condition with some wear. Flaws in the glass include minuscule bubbles to the foot rim, partially polished off as a part of the manufacturing process. The crisp and fresh enamels with minor pitting and microscopic crackling in some areas.Stopper: Gilt bronze with incised floral decorations, black collar, and neatly carved spoonWeight: 40.7 gDimensions: Height including stopper 58 mm. Diameter neck 17 mm and mouth 6 mmFour boys are playing a game of blind man’s buff to one side and three boys are performing gymnastics to the other, each in a fenced garden. In Chinese art the depiction of young boys at play is considered a sign of good fortune, representing the blessing of having many sons to carry on the family name. The shoulders of the bottle show birds in flight amid bamboo and craggy rockwork as well as blossoming prunus and wutong behind lingbi stones. The flattened globular body rises from a short broad oval foot to a tapering neck.Of the two main Palace painted enamel arts (on glass and on metal), those on glass are the rarer. During the Qianlong reign enameled metal wares, including snuff bottles, ran into the thousands, whereas enameled glass wares were produced only in the low hundreds. A rough estimate of the total number of enameled glass snuff bottles produced during the period comes to about three hundred. This was mainly due to the greater difficulty of producing them successfully, the need for multiple firings to correctly mature different colors and layers of enamel, and the much higher failure rate during production. In the early phase of the art form, from the late Kangxi until the 1750s or early 1760s, technical control of the enamels was still marginal, and all known examples exhibit some degree of pitting or discoloration of the enamels. This continued to be a problem with some colors into the second half of the Qianlong reign. Although far from obtrusive, in the present bottle the blue enamel on some of the boys’ clothing in particular is pitted, but it is otherwise remarkably well fired.The present type of translucent, milky-white glass was frequently used as an alternative to opaque white glass within the Palace workshops and is ideally suited to the equally translucent enamels. One of the key features of Palace enamels on glass is the softness, translucency, and delicacy of much of the palette, which allows for very subtle shading and gradations of color.A distinctive feature of Qianlong painted enamels on glass is the relative thinness of the enamels and the painterly quality of the brushwork. Court artists, highly trained in the tradition of calligraphic brushwork that gave Chinese painting one of its most profound inner languages, were involved in drawing up the designs and sometimes in painting the enamels. Failing that, it was skilled enamellers trained in the same aesthetic and overseen by court artists who produced them from preparatory sketches. Artistically, these early, painterly enamels represent the apogee of glass enameling during the Qing dynasty, and the present bottle well exhibits this exceptional quality.This design is purely Chinese in its conception, without any hint of the Western influence that appears, not unnaturally, in some wares with European subjects that rely to a greater extent on the use of color and chiaroscuro rather than line to create form. The red blossoms drawn without any in the present bottle do not by that quality reflect Western influence, but rather the 'bodiless' style made famous by Yun Shouping (1633–1690), whose works would have been well known to any court artist a mere half century after the painter's death. Here, the blossoms are balanced against the other elements of the design featuring the elegant black lines of the calligrapher's brush, with well-modulated, expressive strokes.Expert’s note: The reign marks on earlier Qianlong enameled glass bottles are usually flush with the foot, in contrast to the raised blue enamel marks of the mid- to late reign as seen on the present bottle. Together with the masterful quality of the painting as well as the use of translucent glass and soft enamels, this allows us to further narrow the likely dating of this bottle to circa 1760-1770.Literature comparison: Compare a bottle in the Palace Museum, Beijing, included in Snuff Bottles, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2003, no. 9. See also another bottle of this type from the J & J Collection, reproduced in Moss, Graham, Tsang, The Art of the Chinese Snuff Bottle. The J & J Collection, no. 187.Auction result comparison: Compare with a related bottle, dated 1736-1760, at Bonhams Hong Kong in Snuff Bottles from the Mary and George Bloch Collection Part I on 28 May 2010, lot 132, sold for HKD 5,248,000, and another, dated 1750-1780, at Christie’s Hong Kong in Important Chinese Snuff Bottles from a Distinguished American Collection on 7 October 2014, lot 18, sold for HKD 4,120,000.乾隆款與年代御制琺琅彩白料嬰戯圖鼻烟壺 中國，1760-1780年。在半透明的象牙白地上，使用黃色、粉紅色、藍色、綠色和青綠色等琺瑯彩精美描繪孩童玩耍場景。頸部飾如意紋。底足内凹凹進，藍色四字“乾隆年制”款。 來源：美國佐治亞州Mary Ann Edmondson Bresee（1932-2017）收藏。她曾是國際中國鼻煙壺協會的會員。 其祖父是Walter T. Candler，可口可樂公司創始人Asa 克Candler的兒子。 她的鼻烟壺在Cummer Museum of Art and Gardens博物館和Norton Museum of Art博物館均有展出。 圖片：Mary Ann Edmondson Bresee (1932-2017) 品相：狀況極佳，有些磨損。 玻璃中有些瑕疵，包括足部邊緣的微小氣泡，在製造過程部分打磨過。 琺瑯局部有輕微裂紋。 壺蓋：鎏金銅雕花卉紋，黑色蓋托，小壺匙 重量：40.7 克 尺寸：含蓋總高58 毫米，頸部直徑17 毫米，嘴部直徑6 毫米 專家注釋：乾隆時期早期款識通常與腳齊平，與本瓶中晚期所繪的藍色琺琅彩款相反。 再加上繪畫的精湛品質，以及使用半透明玻璃和洋彩，使我們可以進一步明確此鼻烟壺的年代，大約為1760-1770。 拍賣結果比較：一件相近1736-1760年間的鼻烟壺見香港邦翰斯Snuff Bottles from the Mary and George Bloch Collection Part I 拍場，2010年5月 28日 lot 132, 售價HKD 5,248,000, ；以及另一件1750-1780年間的鼻烟壺見香港佳士得 Important Chinese Snuff Bottles from a Distinguished American Collection 拍場，2014年10月7日 lot 18, 售價HKD 4,120,000.
Lot 566
A SUPERB ARCHAISTIC DING CENSER BY KANO TESSAI, DATED 1914Japan, Nara, possibly made by the order of a Chinese patron. Masterfully carved from a single section of bamboo and finely polished to highlight the natural beauty of the material. The censer is set on three sturdy cylindrical feet and the artist’s signature is ingeniously incised in seal form where an inscription would be found on the original censer.Inscriptions: To base, signed ‘Tessai sei’.Provenance: Collection of Drs. Edmund and Julie Lewis. Known for their keen scholarship and high aesthetic standards, for the past three decades the couple has focused on collecting lacquer art, painting, and Buddhist sculpture from Japan. Both physicians and internationally recognized as renowned experts in nephrology, they hold positions as tenured professors at Rush Medical College in Chicago and Vanderbilt University in Nashville, Tennessee, respectively. They met professionally and later married in 1997, and have since continued to collect Japanese art together, actively seeking the best they could find from the finest dealers in the field. As they travelled widely, their desire to collect Buddhist art grew, and they have expanded their collection to include important Pan-religious sculpture from Greater Asia.Condition: Excellent condition with minor wear and traces of use. Good, naturally grown patina.Weight: 1,229 gDimensions: Height 13 cm, Diameter 13 cmThe design of the present incense burner is copied faithfully from Chinese Shang and Zhou-dynasty ding censers, which were admired by many scholars of the period. Masterfully carved with two looped handles atop a flat rim and above a finely incised circumferential seal script (tensho) around the body. The natural form of the bamboo clearly emulates the warping of the bronze on the original censer.Kano Tessai (1845–1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example.With a wood tomobako storage box labeled Chikutei (Bamboo ding) and inscribed on the interior with a kaisho transcription of the tensho inscription on the bamboo censer, including a date of Taisho sannen (1914), signature, red seal and the artist’s kakihan. (2)
Lot 663
A RARE PORTRAIT OF ‘BUDDHABHADRA AND MONKEY’, QING DYNASTYChina, 19th century. Ink and watercolors on paper. The monk seated on the ground, his arms crossed and resting on his knees, one hand holding a rosary, a long staff, a stand with a bowl on top, and a gnarled wood table with scholar’s objects behind him, a white-faced monkey standing before him and offering a longevity peach.Inscriptions: Upper left, ‘Ba tuo luo zun zhe’, referring to Buddhabhadra. One seal. Provenance: Collection of Malinda F. Murphy, old collector’s label to base. British private collection, acquired from the above and thence by descent. Malinda F. Murphy (1960-2005) was the youngest daughter of Dr. James S. Murphy and Margaretta ‘Happy’ Rockefeller, who would later marry U.S. Vice President Nelson Rockefeller. There has been extensive speculation in the inner circles of the Rockefeller family about Malinda being Nelson Rockefeller’s daughter. The collection label on the backside is particularly interesting as it bears a printed drawing by Marc Chagall (1887-1985) of a hen laying golden eggs and the dedication ‘Pour [for] Minda’, indicating that the famous artist, who was commissioned by the Rockefellers to create a stained-glass window for the family church in 1960, made this drawing for Malinda Murphy in 1964, when she was four years old. Condition: Good condition with minor creasing, some water stains to the lower edge. Dimensions: Size incl. frame 68.7 x 35 cm Framed behind glass, the old Chinese-style wood frame carved in the form of bamboo segments, but of European origin.Buddhabhadra (359-429) was an Indian Buddhist monk, with the title of sramaṇa. He is most known for his prolific translation efforts of Buddhist texts from Sanskrit into Chinese and was responsible for the first Chinese translation of the Avataṃsaka Sūtra (Flower Ornament Scripture) in the 5th century.清代《跋陀羅尊者與猴子》 中國，十九世紀。紙本設色。尊者坐在地上，雙臂交叉置於膝上，一隻手拿著念珠，長杖放在地上，身前站著一隻端著放著桃子的盤子的猴子。 提詞：左上角題跋陀羅尊者，一枚鈴印。 來源：Malinda F. Murphy收藏，底部可見藏家標籤。 英國的私人收藏，購於上述收藏保存至今。 Malinda F. Murphy（1960-2005年）是James S. Murphy博士和Margaretta’Happy’Rockefeller的最小女兒，Margaretta’Happy’後來嫁給了美國副總統Nelson Rockefeller。 洛克菲勒家族的內普遍猜測Malinda是納爾遜·洛克菲勒的女兒。 背面的收藏標籤特別有趣，因為上面刻有Marc Chagall（1887-1985年）印刷的母雞產下的金蛋和Pour [for] Minda”的字樣，這表明這位由 Rockefellers夫婦於1960年為家庭教堂創建了彩色玻璃窗的畫家於1964年為當時她只有4歲的Malinda F. Murphy繪製了這幅畫。圖片: Marc Chagall 與 Nelson D. Rockefelle在洛克菲勒家族教堂，1960年紐約。 品相：狀況良好，較小壓痕，下邊緣有些水漬。 尺寸：含框 68.7 x 35 厘米 老舊的中式木框架，玻璃，以竹節段的形式雕刻，但來自歐洲。
Lot 70
A SPINACH-GREEN JADE RUYI SCEPTER, MID-QINGChina, 18th century. Carved in the form of a lingzhi fungus, with a bat perched on the head and a chilong clambering up the stem amidst smaller lingzhi shoots. The stone is of a deep spinach-green tone with some darker speckles.Provenance: Roger Keverne, London, 2012. The Lenora and Walter F. Brown Collection, San Antonio, Texas, acquired from the above and thence by descent in the same family. Walter F. Brown (1930-2014) was an independent oil and gas producer. He founded Delray Oil Inc. and W. F. Brown Exploration Ltd. of Canada. The Browns began donating their collection of Asian works of Art to the San Antonio Museum of Art in the 1980s. In 2005, the museum honored the couple for their ongoing commitment by naming their new expansion the ‘Lenora and Walter F. Brown Asian Wing’.Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2012, no. 84.Condition: Excellent condition with minor wear, some minuscule nicks, one crack with an old repair (invisible to the naked eye but inspected under strong blue light). The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 345.8 gDimensions: Length 36.2 cmWith an old Chinese silk stand. (2)As Roger Keverne explains, the present scepter relates closely to one presented by the Qianlong Emperor to Sir George Staunton in 1793, now in the collection of the Victoria and Albert Museum. Sir George Staunton (1737-1801) was Minister Plenipotentiary to the 1792 Macartney Embassy to Beijing. The Staunton ruyi scepter is illustrated in “Encounters: The Meeting of Asia and Europe 1500 -1800” by Jackson and Jaffer, fig. 7.2, page 94. William Alexander accompanied Lord Macartney on the mission and his drawing of the Staunton scepter is illustrated in “Image of China: William Alexander” by Legouix, pl. 44, page 62. It is noted there that the scepter was one of three presented by the Emperor Qianlong. The other two were given to Lord Macartney, one for himself and the second for King George III. The drawing is in the collection of the British Museum, registration number 1865,0520.272. It is therefore possible that the present scepter is the one that was presented by Emperor Qianlong to Lord Macartney, while the third scepter most likely remains in the Imperial household and collections, handed down from George III, who was King of England from 1760-1801.Literature comparison: For other similar examples, see Auspicious Ju-i Scepters of China, no. 17, p. 90, in the collection of the National Palace Museum, Taipei; Kerr, Immortal Images: The Jade Collection of Margaret and Trammell Crow, p. 26; Keverne, Jade, fig. 127, p. 178; Nott, Chinese Jade throughout the Ages: A Review of its Characteristics, Decoration, Folklore and Symbolism, pl. XLVI; and Palace Museum, Compendium of Collections in the Palace Museum: Jade, vol. 8, no. 73, p. 102.Auction result comparison: Compare with a related spinach-green jade ruyi scepter at Christie’s in Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco on 18 March 2009, lot 412, sold for USD 25,000.清代中期碧玉靈芝如意 中國，十八世紀。如意首作鏤雕靈芝形，內雕一蝙蝠，柄作靈芝莖狀，上雕小靈芝數朵與螭龍。如意、靈芝與蝙蝠相伴出現有福壽雙全的寓意。玉石成深綠色的菠菜色，有深色斑點。此如意玉質細膩溫潤，整器以靈芝造型，浮雕與局部鏤雕手法相結合，如意首部琢一大靈芝頭，長柄靈芝枝葉纏繞，多處鏤空，甚為玲瓏，表現出靈芝的肌理質感，更顯古樸自然。 來源：倫敦Roger Keverne, 2012。德克薩斯州聖安東尼奧市Lenora and Walter F. Brown收藏，從上述收藏獲得併自此保存在同一家族中的。Walter F. Brown（1930-2014）是一家獨立的石油和天然氣生產商。 他創立了Delray Oil Inc.和加拿大W. F. Brown Exploration Ltd.。 Brown一家在1980年代開始將其亞洲藝術品收藏捐贈給San Antonio Museum of Art博物館。 2005年，博物館將新展館名字命名為“ Lenora and Walter F. Brown Asian Wing”，以表彰這對夫婦的不懈努力。圖片：Walter F. Brown (1930-2014) 出版：Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2012, no. 84. 品相：狀況極佳，輕微磨損，一些微小的刻痕，一條裂縫舊時已修復（肉眼看不見，但在強烈的藍光下檢查過）。具有天然裂縫的玉石，隨著時間的流逝，其中一些可能會發展成細小的裂縫。 重量：345.8 克 尺寸：長36.2 厘米 配置中國絲質底座。 正如Roger Keverne所説，本如意與乾隆皇帝於1793年贈予Sir George Staunton（現由維多利亞和阿爾伯特博物館收藏）密切相關。Sir George Staunton（1737-1801）是1792年馬卡特尼（Macartney）駐北京大使館的全權代表。Sir George Staunton 的如意可見Jackson和Jaffer 所著的“Encounters: The Meeting of Asia and Europe 1500 -1800”，參見圖7.2頁，第94頁。William Alexander陪同 Macartney勳爵，他曾繪製了Sir George Staunton如意，見Legouix 所著的“Image of China: William Alexander”，圖44，第62頁。在那裡提到，此如意是乾隆皇帝所贈三件如意中的一件，另外兩件分別送給了Macartney勳爵，另一件給了喬治三世國王。該圖在大英博物館收藏，編號1865,0520.272。因此，現在的如意很可能是乾隆皇帝送給馬卡特尼勳爵的，而第三只很可能仍留在皇室和收藏中，由1760-1801年的英格蘭國王喬治三世傳世。 文獻比較: 一件相似如意可見於 Auspicious Ju-i Scepters of China, no. 17, p. 90, 臺北故宮博物院收藏; Kerr, Immortal Images: The Jade Collection of Margaret and Trammell Crow, p. 26; Keverne, Jade, fig. 127, p. 178; Nott, Chinese Jade throughout the Ages: A Review of its Characteristics, Decoration, Folklore and Symbolism, pl. XLVI; 北京故宮博物院: Jade, vol. 8, no. 73, p. 102. 拍賣結果比較：一件相近碧玉如意售于佳士得Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco 拍場，2009年3月18日，拍號412, 售價USD 25,000。
Lot 189
Zhang Zujiän Chinesischer Künstler des 19. Jhd. "Gelehrter beim lesen" Zeichnung - Tuschmalerei, Sichtmaß 36,5 cm x 56,3 cm, seitlich rechts Gedicht und Signaturstempel, verso Künstlerangabe und Übersetzung des Gedichtes, Provenienz: Alte Berliner Privatsammlung. Zhang Zujiän Chinese artist of the 19th century "Scholar when reading" drawing - ink painting, visual size 36.5 cm x 56.3 cm, on the right side poem and signature stamp, on the backside with artist information and translation of the poem, provenance: old Berlin collection
Lot 892
FANFOLD BOOK WITH 18 EROTIC AND 18 BLACK INK PAINTINGS. China. Qing dynasty. 18th/19th c. Ink, pigments and white on paper. The paintings tell the story of a young couple. From a boat, she sells him fish and wakes him up when he fell asleep studying at night. On the third sheet, the two are surprised by an elderly woman. The other leaves show the couple in erotic pleasure in different rooms or in the garden. Sometimes in the company of another lady. The opposite leaves each with an ink drawing of a landscape, or of plants and flowers. 24.7 x 19cm. Leaf each ca. 20.4 x 16.2cm. Cover with printed cotton fabric. Condition B. Insect damage, partly the white blackened. Provenance: Private collection Southern Germany. Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insuranceSpecial Conditions Art & Interior ART & INTERIOR Explanations to the Catalogue Asian Art - Chinese Applied Arts 18th/19th century Erotic Painting China Estimated Shippingcost for this lot: Germany: 18,49 Euro plus 3,51 Euro VAT EU: 33,61 Euro plus 6,39 Euro VAT Worldwide: 63,03 Euro plus 11,97 Euro VAT additional shipping insurance
Lot 841
Chinese 16th/17th Century Watercolour Drawing of fine quality, painted on paper, depicting a noble scholar seated on a Ming folding chair in his garden, attended by a servant girl carrying a basket of flowers on her shoulders; by his side is a large table with scholar's accoutrements, a root-wood brush pot with brushes and scrolls inside, next to a fine porcelain long necked dragon vase, Ming style teapot and cup. Mounted and in a modern frame, overall size 26'' x 27''.
Lot 992
SIX CHINESE COLOR WOODBLOCK PRINTS, 18th CENTURY China, 18th century. Color woodblock prints. The six Chinese color woodblock prints from the 18th century originate from one of two famous drawing manuals: The Mustard Seed Garden or the Ten Bamboo Studio. Depicted in this lot are rocks, lingzhi, bamboo, Buddha hand citrus and other nature motifs. Some show an artist seal and calligraphy. Condition: Overall good condition; creases, small tears, browning mostly around the edges; each sheet with centerfold. Provenance: Austrian private collection. Dimensions: Size approx. 29.5 x 25.5 cm
Lot 833
Chinese 16th/17th Century Watercolour Drawing of fine quality, painted on paper, depicting a noble scholar seated on a Ming folding chair in his garden, attended by a servant girl carrying a basket of flowers on her shoulders; by his side is a large table with scholar's accoutrements, a root-wood brush pot with brushes and scrolls inside, next to a fine porcelain long necked dragon vase, Ming style teapot and cup. Mounted and in a modern frame, overall size 26" x 27".
Lot 48
Henri Michaux 1899 Namur (Belgien) - 1984 Paris I 61. 1965. Tuschpinselzeichnung. Rechts unten sowie links oben monogrammiert. Verso datiert und betitelt sowie mit der Richtungsanweisung und einem Richtungspfeil bezeichnet. Auf Velin von BFK Rives (mit dem Trockenstempel). 75 x 105 cm (29,5 x 41,3 in), Blattgröße. [CH]. • Seit 45 Jahren in schweizerischem Privatbesitz. • Aus Michaux’ bedeutender Werkserie der 'Encre de Chine'-Bilder. • Großformatiges Zeugnis seiner Faszination für asiatische Kalligrafie, insbesondere für chinesische Ideogramme. • Weitere Arbeiten dieser Werkserie befinden sich u. a. im Städel Museum in Frankfurt am Main, in der Londoner Tate, im Guggenheim Museum in New York und im Centre Georges Pompidou in Paris. Die vorliegende Arbeit ist in den Archives Henri Michaux, Paris, verzeichnet. PROVENIENZ: Galerie Le Point Cardinal, Paris. Erker-Galerie, St. Gallen. Privatsammlung Schweiz (1975 vom Vorgenannten erworben). AUSSTELLUNG: Henri Michaux, Erker-Galerie, St. Gallen, 7.7.-7.9.1974. Aufrufzeit: 11.12.2020 - ca. 14.47 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONHenri Michaux 1899 Namur (Belgien) - 1984 Paris I 61. 1965. Brush and India ink drawing. Monogrammed in lower right and upper left. Verso dated and titled as well as inscribed with direction instructions and a direction arrow. On wove paper by BFK Rives (with blindstamp). 75 x 105 cm (29.5 x 41.3 in), size of sheet. [CH]. • In private Swiss ownership for 45 years. • From Michaux's important series of 'Encre de Chine' pictures. • Large format testimony to his fascination for Asian calligraphy, especially for Chinese ideograms. • Further works from this series are at, among others, the Städel Museum in Frankfurt am Main, the London Tate, the Guggenheim Museum in New York and the Center Georges Pompidou in Paris. PROVENANCE: Galerie Le Point Cardinal, Paris. Erker-Galerie, St. Gallen. Private collection Switzerland (acquired from aforementioned in 1975). EXHIBITION: Henri Michaux, Erker-Galerie, St. Gallen, July 7 - September 7, 1974. Called up: December 11, 2020 - ca. 14.47 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).
Lot 6545
Lanzettförmiger Anhänger, Nephrit-Jade, China, um 1920 Pfriemförmiger Anhänger. Oberständig durchbohrt. Geometrische Ritzzeichnung auf Ober- und Unterseite, die wohl auf ein Insekt verweist. Gelbbräunlich gefleckte Nephrit-Jade. Länge 11,6 cm. Im Stil der Sung- bis Ming-Zeit (11. - 15. Jhdt.). Provenienz: Aus süddeutscher Sammlung, erworben vom Vater in den 1920er und 1930er Jahren in China. Zustand: II - A lancet-shaped Chinese pendant, nephrite jade, circa 1920 Lancet-shaped pendant. Pierced at the top. Geometrical incised drawing on upper and lower side, probably referring to an insect. Yellowish-brownish spotted nephrite-jade. Length 11.6 cm. In the style of the Sung to Ming period (11th - 15th century). Provenance: From a South German family collection, acquired by the father in China in the 1920s and 1930s. Condition: II -
Lot 292
Quantity of mixed Tv and film Related items, including seven Whitman the Bionic Woman and Six million dollar man puzzles, appears to all be complete , batman animated series stationary set 1992, Dances with wolves photo sets, the Muppets show 1977 boxed puzzle un checked, two Flintstones items, Xmas cards and lunch bags, dune drawing set and epic illustrated magazine dune special, 1961 comic about the untouchables, book of tin tin in the congo 2005 with dairy and Chinese new year card set, Wallace and Gromit heat changing mug and figure, four bubble bath sets, two 1990 tmnt boxed, the real Ghostbusters slimer 1989 and Alien set, plus a John Lennon solid state am radio boxed, plus other items, (a lot)
Lot 5205
A Selection of Interesting 20th Century Chinese and Japanese Fans, starting with a wood example with simple bands of piercing to the gorge and quite a modern linear textile fabric design to each side of the narrow paper leaf. Finished with a simple cord adorned with a green bead. Together with a folding fan with narrow cotton leaf featuring mountain ranges, the gorge with a drawing of an elder and servant passing a stylised tree. The verso has a gorge design of small birds pecking for food. Both sides have calligraphy; a light wood extensively pierced brisé fan, with the addition of a band of sunflowers. Both sides alike; another wood brisé, with folding action, decoratively pierced and featuring a rural scene with pagodas and stylised trees, the verso with a bunch of grapes, and leaves; a wood fan, painted black, the sticks serpentine and shaped at the shoulder, which is actually where the fan sticks pivot to fold in two, and gilded. The paper leaf is painted with a lady dressed in a blue kimono walking in front of water, habitation behind. The verso, in pastel shades, has the effect of haphazardly applied glitter; a paper cockade fan, the leaf a simple design of clouds, with wood sticks to the centre, the smooth handle with a mechanism for folding the fan closed; a fabric fan with mountain scene, the snowy cap in the tallest peak being worked in silk thread; and a cockade fan on dark wood, the handle smooth, the leaf paper with a design of rolling clouds, the handle in two sections clipping together to hold open. (7). Generally all good used condition.
Lot 37
Michele Ciacciofera Untitled, 2020 Chinese Ink and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born in Nuoro, Sardegna, 1969, moved to Palermo where he grew up and at university graduated in Political Science. Afterwards, he returned to Sardegna for an apprenticeship with the painter and architect Giovanni Antonio Sulas. He has since then lived and worked in Siracusa, Sicily since 1990, and in Paris since 2011 where he now lives and works. Ciacciofera has always been invested in the relationship between human existence and the natural world. Using a variety of artistic approaches, including installation, sculpture, painting, drawing, theatre, video and sound, he freely combines media and methods in his exploration of nature, history, mythology and humanity.
Lot 38
Michele Ciacciofera Untitled, 2020 Chinese Ink and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born in Nuoro, Sardegna, 1969, moved to Palermo where he grew up and at university graduated in Political Science. Afterwards, he returned to Sardegna for an apprenticeship with the painter and architect Giovanni Antonio Sulas. He has since then lived and worked in Siracusa, Sicily since 1990, and in Paris since 2011 where he now lives and works. Ciacciofera has always been invested in the relationship between human existence and the natural world. Using a variety of artistic approaches, including installation, sculpture, painting, drawing, theatre, video and sound, he freely combines media and methods in his exploration of nature, history, mythology and humanity.
Lot 39
Michele Ciacciofera Untitled, 2020 Chinese Ink and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born in Nuoro, Sardegna, 1969, moved to Palermo where he grew up and at university graduated in Political Science. Afterwards, he returned to Sardegna for an apprenticeship with the painter and architect Giovanni Antonio Sulas. He has since then lived and worked in Siracusa, Sicily since 1990, and in Paris since 2011 where he now lives and works. Ciacciofera has always been invested in the relationship between human existence and the natural world. Using a variety of artistic approaches, including installation, sculpture, painting, drawing, theatre, video and sound, he freely combines media and methods in his exploration of nature, history, mythology and humanity.
Lot 40
Michele Ciacciofera Untitled, 2020 Chinese Ink and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born in Nuoro, Sardegna, 1969, moved to Palermo where he grew up and at university graduated in Political Science. Afterwards, he returned to Sardegna for an apprenticeship with the painter and architect Giovanni Antonio Sulas. He has since then lived and worked in Siracusa, Sicily since 1990, and in Paris since 2011 where he now lives and works. Ciacciofera has always been invested in the relationship between human existence and the natural world. Using a variety of artistic approaches, including installation, sculpture, painting, drawing, theatre, video and sound, he freely combines media and methods in his exploration of nature, history, mythology and humanity.
Lot 235
An inside-painted glass snuff bottleDing Erzhong (1865-1935), cyclically dated to the winter of Jihai, corresponding to 1899 and of the periodFinely painted on one side with two cranes standing on rockwork under a gnarled pine tree amongst grass and flower sprays, inscribed 己亥冬月 二仲寫 Jihai dongyue erzhong xie, which may be translated as 'Erzhong painted in the winter month of the year of Jihai', the other side painted with a pagoda amidst wind-swept trees in a mountainous landscape, inscribed 筱舫觀察大人雅鑒 二仲 庾, which may be translated as 'Erzhong, Yu, for the elegant judgment of Xiaofang, the honourable Surveillance Commissioner', with stopper. 6.1cm (2 3/8in) high (2).Footnotes:一八九九年 丁二仲作玻璃內畫山水花鳥鼻煙壺Provenance: an English private collection, and thence by descent來源：英國私人收藏，並由後人保存迄今Compare with a very similar inside-painted glass snuff bottle by Ding Erzhong, cyclically dated to 1899 and decorated with the same scenes, illustrated by H.Moss, V.Graham and K.B.Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection. Inside Painted, vol.4, part 2, pp.312-313, no.555, where the authors describe the bottle as an example demonstrating Ding at his height and the painting as masterpieces of their subjects. This bottle was later sold at Bonhams Hong Kong, 28 May 2010, lot 62.Ding Erzhong is the 'zi' name, or sobriquet of Ding Shangyu, a Qing dynasty scholar official from Tongzhou in Jiangsu province, who was also a calligrapher, seal carver, painter and master of inside-painted snuff bottles. He renewed the art form, drawing on Tang, Song, Yuan and Ming paintings as inspiration for his own works, of which no two bottles are ever the same.For further information on this lot please visit Bonhams.com
Lot 442
A Chinese black-ground trumpeter ewer after Pronk, QianlongL.: 14 cm - H.: 12 cmÊ This rare pattern with its Turkish-looking musicians wearing American Indian headdresses is one of a small group of designs associated with Dutch artist Cornelis Pronk (1691-1754), though no original drawing has been discovered. Two 'Trumpeter' tea services seem to have been made, this one and one with a simpler spearhead border, possibly slightly later.
Lot 593
Album of drawings and watercolours, circa 1905-1921, 22 original drawings and watercolours, mostly signed or initialled, and dated variously 1905-1921, some portraits, topographical views, cartoons, etc., including Wang Zhen Hai, of Shanghai, Three Chinese ladies with porcelain vases, signed in Chinese script in black ink above artist's red ink stamp, sheet size 16 x 20cm (6.25 x 8ins), a watercolour by Alfred Egerton Cooper (1883-1974), titled 'Ready for Chelsea Arts Ball', circa 1920, watercolour full length portrait of a seated young woman wearing a long skirt split to the thigh, cropped top, bead anklet and dangling earrings holding an ostrich feather fan, titled and signed, a pen, ink, and wash female head study by Arthur Waller, a pen & ink drawing of a semi-nude female on a rock titled '"The Fallen Angel'" by J.G. Manley, a pencil drawing of Miss Gladys Cooper by F. Bahr, and a double-page watercolour cartoon of figures engaged in various activities on a beach by Walt Kuhn, some light spotting and marks, sheet size (for all leaves) 16 x 20cm (6.25 x 8ins), marbled endpapers, contemporary inscription on verso of front free endpaper: 'To wish you many happy returns of the day To Nellie from Peter. Shanghai: 22. October 1905', rear hinge split, all edges gilt, page-block becoming loose in original black padded morocco, rubbed, oblong 4toQty: (1)
Lot 511
A collection of books including 'English Wayfaring Life in the Middle Ages', 'Common Objects of the Sea-Shore' (illustrated), 'ABC of Gothic Architecture', 'The Clans and Tartan of Scotland', 'The Elements of Drawing' by Ruskin (1857), 'A Sketch of Chinese Arts and Crafts' by Hilda Arthurs Strong, 'The Book of English Place Names', 'Treen or Small Woodware Throughout the Ages' and 'A Handbook of Celtic Ornament' (9).
Lot 830
HU YAOBANG: (1915-1989) General Secretary of the Communist Party of China 1982-87. An excellent and attractive A.L.S., `Hu Yaobang´ one page, large drawing folio, n.p, 11th May 1983, in Chinese characters. Hu Yaobang states in part `Honourable people… and great and important friends of China, Eternal Glory to… the International Communism Movement!´. Boldly written and signed in black ink and in large characters by the Chinese leader.An attractive and cleanly written document EX
Lot 163
Voyages.- Lowther (Rear Admiral Marcus, 1820-1908) An album of 166 original watercolours and drawings made on voyages between 1842 and 1853, including approximately 50 studies while in China and Hong Kong in the 1840s, including many Chinese sailing vessels, local people, harbour views, landscapes, and studies of temples; with other studies produced while in Malaysia, including Penang and Malacca; Borneo including Brunei; the Philippines; Chile; Argentina; Peru, including the Chincha Islands and Lima by 1851; then Vancouver Island on HMS Portland with 11 studies of the First Nations people; numerous Pacific Ocean islands including 16 studies while on the Marquesas Islands; three from the "Sandwich Islands"; nine from the Pitcairn Islands, including the house and grave of John Adams (the last survivor of the Bounty mutineers of 1790); seven studies while on Easter Island in 1853; and with many others, manuscript title reads 'Admiral Marcus Lowther', 166 drawings, pen and brown inks and watercolours, many with pencil under-drawing, some heightened with white, detailed inscriptions throughout identifying people, locations, with some monogrammed 'ML' and dated, a few with navigational coordinates, various sizes, four folding landscapes, the rest neatly pasted onto album leaves, together with 12 cuttings and photos pasted towards the end, each album leaf approx. 350 x 270 mm. (13 ¾ x 10 ½ in), some stubs throughout the album suggesting leaves are missing, surface dirt and handling creases, a few with minor tears, the folding views with occasional splitting, later green cloth boards, decorative title piece affixed to upper cover reading 'Scraps', rubbed and worn, large 4to, [circa 1842-1853 and later, probably complied late 19th century]Illustrated:[Kowloon Fort, opposite Hong Kong], wood-engraving in the Illustrated London News, 11 April 1857.⁂ A fascinating and charming album covering the extensive voyages of a mid-19th century naval officer, comprehensively documenting both his encounters with remote indigenous communities, and the numerous locations that he travelled through. The long tradition of naval survey and natural history sketches produced by naval officers goes back to Cook's first voyage, and the practice appears to have been particularly prevalent on HMS Portland [for comparative drawings by John Linton Palmer, also on board HMS Portland with Lowther, see the Royal Geographical Society, J.L. Palmer, Album No. 4, F30/4, RGS-IBG Collections]. While on HMS Portland Lowther undertook numerous intimate studies of the people of the Marquesas Islands and Easter Islands, many of whom are adorned with tattoos and seen interacting with the ship's crew. While on Vancouver Island, Lowther drew "from nature" portraits of First Nation peoples, including Chief Cheealthluc "King Freezy", and "King George [...] of the Clallam Hathcad Indians", and the "Chief of Neah Bay, Strait Of Juan De Fuca".Amongst the studies Lowther produced of daily life, there are a number of military events at which he was also present, with drawings of these in the album including: a bird's-eye plan of Maluda Bay, just before Admiral Thomas Cochrane destroyed a pirate fleet manned by 1000 freebooters, 1845; "The Grand Alligator Battle at Malacca", July 1845; the forts used during the Capture of Brunei, 1846; and a study of the sailing ship of the Imam of Muscat leaving Penang. The album also contains several other studies of sailing ships, including HMS Portland.
Lot 467
Two Chinese soapstone figures, modelled as Guanyin and an Immortal, 14.5cm H, a bronze plaster figure group of a pair of wrens by P J Butt, 11cm W, a set of Indian brass gold scales, cased, drawing instruments, cased and loose, Japanese dish embossed with figures and blossom, 8.5cm Dia, plaster figure group of a pair of otters, 5cm H, and a white metal figure of a grouse on a granite base. (qty)
Lot 381
Miscellaneous etchings, prints and pictures; including part of a special edition of the Illustrated London News depicting The Transvaal War 1899-1900, a copy of Life International magazine dd December 8, 1958, a page from The Illustrated London News, April 23, 1910 (611) depicting the Sacred Relics on a White Elephant of paper and bamboo - bones of Buddha on the road to Mandalay; a copy of Le Sourire dd 5 January, 1961, seven fashion sketches and a copy of "La Vie Parisienne" dd May and June 1914, a selection of etchings including The Rialto Bridge, Venice, Execution of a Chinese Criminal, Sketches on the Loire from the drawings of J.M.W. Turner, Sketches in Egypt - Luxor, amongst others, coloured etchings include Les Grandes Manoeuvres en Indo-Chine, Une Soiree Dansante, dans la Grande Sa;;e des Réunions du Petit Journal, Graves Événements dans le Sud-Oranais, three copies of L'Illustre Soleil du Dimanche dd 1898, a copy of Figaro Illustre , etching of a young woman from a drawing by Hans Holbein, in an oval mount, three coloured prints depicting river scenes and a small oil painting of a riverside scene. (af)
Lot 1076
A framed, unmounted and unused fan leaf in a similar style to Georges redon but signed C Léandre. As with Redon, the design leans towards caricature, with a portly and elderly member of the military making advances towards a cabaret dancer, two dwarfs in military uniform to the left, one offering a bouquet to the lady, the other prone on the floor suffering the effects of drink. In the background, two old crones contrasting with the beauty of the cabaret dancer. T/w a large original drawing of a fan, glazed and framed, showing a Chinese lacquer folding fan painted with an exotic bird and flowers (2) Charles Léandre (1862-1964). Good.
Lot 25
Daniel Weatheritt is an Illustrator, Graphic Designer and Graphic Recorder based in Northumberland. His fascination and love of drawing started in Primary School as a member of Northburn First School Wildlife Club where he would fill many sketchbooks with drawings of garden birds and mammals. Daniel loves designing for print, producing hand written type and favours traditional working methods. His favourite drawing technique is mixed media - pen & ink, pencils, watercolours and collage, all employed in the creation of surreal characters, environments and narratives packed with intricate detail and humour. 'Willow' is inspired by Chinese blue and white porcelain, which is packed with intricate repeating patterns, characters and beautiful landscapes. Elephants of all shapes and sizes are travelling to an Elephant gathering, celebrating diversity with a little bit of humour thrown in too.
Lot 308
A LARGE JAPANESE CLOISONNE ENAMEL PLAQUE IN THE STYLE OF ANDO JUBEI (1876-1953) MEIJI PERIOD, 19TH/20TH CENTURY Depicting a full moon on a dove-grey ground appearing from behind clouds, the scene subtly rendered in musen shippo (wireless) enamels, signed and with two red seal marks for Maruyama Okyo (1735-1795), the reverse with a pattern of V-shaped wires, 52cm x 36.6cm. Provenance: from the collection of Reverend Victor Farmer (1898-1977) and thence by descent. This large plaque features the complex technique of musen shippo or wireless cloisonn? enamels. Developed by the artist Namikawa Sosuke and his Shippo Kaisha studio in the late 1870s, the wireless technique allowed artists to create soft pictorial effects such as this diaphanous night scene. Many other artists, including those of Ando Jubei's studio, copied this style of cloisonn? by using a variety of methods. One approach was to temporarily attach the wires and remove them once the enamel powders had been applied before firing. Another method was to hide wires under subsequent layers, and a third was to dissolve the wires with sulfuric acid and fill the gaps with a final layer. In all cases the enamels had to be ground flat several times to create a smooth surface for the next layer to be applied; this would have been a time-consuming and painstaking process. Cloisonn? makers only rarely created grey monochromatic pieces and even fewer featured designs from Edo-period painters. Although this plaque doesn't bear a mark for the cloisonn? maker, it features the signature of the famous painter Maruyama Okyo (1735-1795). Okyo is commonly regarded as one of the greatest artists of 18th century Japan. Coming from a humble farming background, he made his way to Kyoto where he found work painting faces on dolls. Okyo then discovered optical devices featuring pictures with a European perspective, and from there grew his interest for Western paintings. His style developed to offer a unique marriage of Japanese aesthetics, traditional Chinese influence and Western naturalism. Okyo founded the influential Maruyama School of painting, encouraging his students to sketch from life, himself drawing nude figures in varying poses and superimposing clothes afterwards. His art grew enormously popular with the public and the Imperial court from which he would get many important commissions.
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