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Principal Auctioneer 首席拍賣官 : Adrien Meyer
ENQUIRIES 查詢 Hong Kong 香港： +852 2760 1766 London 倫敦： +44 (0)20 7627 2707 New York 紐約： +1 212 703 8080
Property from an Important Asian Collection
A RARE LARGE SANCAI-GLAZED BOX AND COVER
TANG DYNASTY (618-907)
4 1/4 in. (10.8 cm.) diam., box
HK$300,000-500,000
PROVENANCE:
US$39,000-64,000
Sold at Sotheby's London, 12 July 2006, lot 26
The Ten-views Lingbi Rock Retreat Collection, North America, no.SO423, prior to 2000
Sold at Poly Hong Kong, Tang Sancai Ceramics From The Tenviews Lingbi Rock Retreat Collection, 14 July 2022, lot 3206
Property from an Important Asian Collection 亞洲重要私人珍藏
A RARE BLUE AND SANCAI-GLAZED POTTERY BASIN
TANG DYNASTY (618-907)
7 7/8 in. (20 cm.) diam., box
HK$600,000-800,000
PROVENANCE:
Collection of Dr. David Goldstein, New York J.J. Lally, New York, no. 3911
US$77,000-100,000
The Ten-Views Lingbi Rock Retreat Collection, North America, no. LL43, prior to 2000
Sold at Poly Hong Kong, Tang Sancai Ceramics From The Tenviews Lingbi Rock Retreat Collection, 14 July 2022, lot 3230
LITERATURE:
J. J. Lally & Co., Early Chinese Ceramics, An American Private Collection, New York, 2005, no. 11
Compare the present basin with another blue and sancai-glazed basin with a very similar design, impressed with a variation of the central medallion, in the Matsuoka Museum of Art, Tokyo, illustrated in the catalogue of the Exhibition of Famous Masterpieces of Chinese Pottery and Porcelain, Tokyo, 1983, no. 13.
唐 三彩加藍寶相花深腹盆
來源:
Dr. David Goldstein舊藏，紐約 藍理捷，紐約，編號 3911 十面靈璧山居舊藏，北美，編號 LL43，於2000 年前入藏 《花舞大唐：北美十面靈璧山居珍藏唐三彩》，保利香港，2022 年 7月 14日，拍品3230 號
出版:
藍理捷，《Early Chinese Ceramics. An American Private Collection》， 紐約，2005 年，編號 11
The Bella and P.P. Chiu Collection, Hong Kong and San Francisco Eskenazi, London, 1995
LITERATURE:
Jessica Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, P.P. Chiu, London, 1988, no. 14, p. 56
商 銅獸面紋出戟觚
來源:
趙氏山海樓舊藏，香港及三藩市 Eskenazi，倫敦，1995 年
出版:
Jessica Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, P.P. Chiu，倫敦，1988 年，編號 14，頁56
TWO SMALL ARCHAIC BRONZE BELLS, YONGZHONG
WESTERN ZHOU DYNASTY, C. 1100-771 BC
Larger: 7 Ω in. (19.1 cm.) high (2)
HK$200,000-400,000
PROVENANCE:
T. Y. King & Sons Ltd., Hong Kong, 1994
US$26,000-51,000
A similar bronze bell was sold at Christie’s New York, The Sze Yuan Tang Archaic Bronzes From The Anthony Hardy Collection, 16 September 2010, lot 829.
Collection of Chen Langtin, by repute Collection of Gu Shoukang, by repute Collection of Xu Naichang (1869-1943), by repute
LITERATURE:
Zou An, Zhou Jin Wencun (Surviving Bronze Inscriptions from the Zhou Dynasty), Taipei, 1916, vol. 5, p. 15, fig. 2
Luo Zhenyu, Zhensongtang jigu yiwen (The Gathering of Ancient Writings at the Zhensongtang Studio), Beijing, 1930, vol. 7, p. 11, fig. 3
Fang Junyi, Zhuiyizhai yiqikuanshi kaoshi (Interpretations of inscriptions from archaic bronzes in the Zhuiyizhai studio), 1935, vol. 18, p. 280, fig. 11
Liu Tizhi, Xiaojiaojinge jinwen taben (Rubbings of Bronze Inscriptions at the Xiaojiaojingge Studio), Beijing, 1935, vol. 5, p. 860, fig. 8
Liu Tizhi, Xiaojiaojinge jinwen taben (Rubbings of Bronze Inscriptions at the Xiaojiaojingge Studio) (Republished version), Beijing, 1935, vol. 7, p. 860, fig. 3
Luo Zhengyu, Sandai jijin wencun (Surviving Writing from the Xia, Shang and Zhou Dynasties), Beijing, 1937, vol. 11, p. 1150, fig. 5
N. Barnard and Cheung Kwong-yue, Zhong Ri Ou Mei Ao Niu Suo
Jian Suo Ta Suo Mo Jinwen Huibian (Rubbings and Hand Copies of Bronze Inscriptions in Chinese, Japanese, European, American and Australasian Collections), 1978, Taipei, vol.7, pp. 589-590, no. 712
Yan Yiping, Jinwen Zongji (Corpus of Bronze Inscriptions), Taipei, 1983, p.3140, no. 5677
Minao Hiyashi, In Shu Jidai Seidoki no Kenkyu (Conspectus of Yin and Zhou Bronzes), vol. I, Tokyo, 1984, p. 300, no. 45
J. Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington, D. C., 1990, p. 610, fig. 95.2
Wang Xiantang, Guoshi Jinshizhi Gao (Manuscript of Archaic Bronze in Chinese History), Qingdao, 2004, vol. 5, p.169, no. 114
This figure of a seated lion is modelled in an extremely rare stance. The majority of Tang ceramic lions are modelled seated squarely on their hind legs with both forelegs straight and head facing forward. The current lion adopts a variant of the latter pose. Its head is turned and a hind leg is raised, but in this case the animal appears to be scratching the side of its head in a naturalistic and rather charming manner.
Another lion in similar pose, although the hind paw has not quite reached the head, in the Seikado Museum, Tokyo is illustrated in Sekai toji zenshu, vol. 11, Tokyo, 1976, p. 87, no. 67. A less elaborate figure of a lion scratching its head, was excavated in 1955 in Xi'an, and is now in the National Museum of History in Beijing illustrated in Zhongguo meishu quanji - Gongyi meishu bian 2 taoci (zhong), Shanghai, 1988, p. 28 and 68, no. 77.
PROVENANCE: Collection of Dr. jur. Roland Sonderhoff (1897–?), Germany, by repute
南宋 建窯小茶盞
來源: 法學博士羅蘭德·桑德霍夫 (1897-?) 舊藏，德國 (傳)
(interior 盌心)
Property of a Lady 女史珍藏
A JUN SKY-BLUE GLAZED BOWL
NORTHERN SONG-JIN DYNASTY (960-1234)
4 1/4 in. (10.8 cm.) diam., box
HK$500,000-800,000
PROVENANCE:
US$64,000-100,000
Sold at Christie's Hong Kong, 3 June 2015, lot 3202
EXHIBITED:
University Museum and Art Gallery, The University of Hong Kong, Alchemy in Blue: Ancient Jun ware from the Yip Collection, Hong Kong, 5 July to 30 November 2008, p.33, cat. no. 9
The bowl is well potted with deep, gently rounded sides rising to a flared rim. It is covered overall with a sky-blue glaze. Compare to a Jun bowl of similar form, sold at Instinct & Knowledge A Life in the Company of Song Ceramics, Bonhams London, 15 May 2025, lot 16.
The result of the C & C Authentication Laboratory thermoluminescence test (report no. 134NH14) is consistent with the dating of the current lot.
Ding persimmon-glazed cup stands of this form are rare. Compare to a closely related example, together with its matching tea bowl, in the Victoria and Albert Museum (accession no. C.603&A-1918), illustrated by John Ayers in Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980, no. 83. Another example was sold at Bonhams New York, Chinese Ceramics and Works of Art including the Francine and Bernard Wald Collection of Fine Snuff Bottles, Part I, 17 March 2025, lot 120.
北宋 定窯柿釉盞托
來源:
香港佳士得，1995 年 5月1日，拍品636 號
此類盞托傳世稀少。比較一例極為相近者，茶盞與盞托一套，現藏於維多利 亞與艾爾伯特博物館（館藏編號 C.603 & A-1918），錄於約翰‧艾爾斯著， 《Far Eastern Ceramics in the Victoria and Albert Museum》，倫敦， 1980 年，圖版83號。另一例拍賣於《中國陶瓷和藝術品，包括Francine 和 Bernard Wald珍藏的精美鼻煙壺，第一部分》，紐約邦瀚斯，2025 年 3月 17日，拍品120 號。
(base 底部)
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A RARE AND IMPRESSIVE LARGE WHITE-GLAZED JAR AND A COVER
SUI DYNASTY (581-618)
13 1/8 in. (33.3 cm.) high
HK$5,500,000-8,000,000
PROVENANCE:
Acquired in Japan in 1988
US$710,000-1,000,000
Large white-glazed jars from the Sui dynasty, as beautifully glazed
and shaped as this piece, are rare. Wares of this type are testament to an important achievement in the history of Chinese ceramics and they belong to some of the earliest high-fired stonewares with a white body and transparent glaze, examples of which are extremely rare.
While the emergence of stonewares can be traced back to earlier dynasties, it was around 6th century that the firing technique made a major step forward. According to the Palace Museum, Beijing, the white wares excavated from the tomb of Li Jingxun of the fourth year of Daye in the Sui dynasty (608), demonstrate a huge improvement in glaze quality compared to the white wares unearthed from the tomb of General Fan Cui of the sixth year of Wuping in the Northern Qi dynasty (575). The firing technique in the Sui dynasty was much more mature so that a whiter colour could be achieved. The present jar, with its white glaze and large body skilfully executed, represents the technical advances made during the Sui period.
Compare a white-glazed jar of closely related form to the present jar, but of smaller size, measuring 19.2 cm in height, and lacking a cover, preserved in the Palace Museum, Beijing, accession no. xin-39093, illustrated in The Complete Collection of Treasures of the Palace Museum . Porcelain of the Jin and Tang Dynasties, Hong Kong, 1996, pl. 58 (fig. 1). Another slightly smaller jar, also of beehive shape, without a cover, was formerly in the collection of Dr. Ip Yee, later sold at Hong Kong Sotheby’s, 19 November 1984, lot 131.
Sold at Sotheby's New York, 3 June 1987, lot 153 Acquired in Japan in 1987
唐 白釉罐
來源: 紐約蘇富比，1987年 6月3日，拍品153號 1987年購於日本
A CIZHOU CARVED ‘PEONY’ PILLOW
NORTHERN SONG-JIN DYNASTY (960-1234)
10 Ω in. (26.5 cm.) across, Japanese wood box
HK$150,000-250,000
PROVENANCE:
Mayuyama & Co. Ltd., Tokyo
EXHIBITED:
US$20,000-32,000
To So no Tochin [Special exhibition of pillows in the Tang and Song dynasties], Kyoto National Museum, Kyoto, 6 October –23 November 1970, no. 50
LITERATURE:
Mayuyama Seventy Years, Vol. 1, Tokyo 1976, p. 207, no. 620
北宋/金 磁州窰白地黑花牡丹紋枕
來源:
繭山龍泉堂，東京
展覽:
《唐．宋の陶枕》，京都國立博物館，京都，1970 年10月6日-11月23日，
編號 50
出版:
繭山龍泉堂，東京，1976 年，頁 207，編號 620
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A JIAN BLACK-GLAZED TEA BOWL
SOUTHERN SONG DYNASTY (1127-1279)
4 3/4 in (12.1 cm.) diam., Japanese wood box
HK$400,000-600,000
US$52,000-77,000
(base 底部)
A RARE YAOZHOU CELADON CUP STAND
NORTHERN SONG-JIN DYNASTY (960-1234)
6 º in. (16 cm.) diam., Japanese wood box
HK$150,000-250,000
view 頂部) Property from a Japanese Private Collection
US$20,000-32,000
(top
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A JIAN-TYPE PAPER-CUT RESISTDECORATED ‘PRUNUS’ TEA BOWL AND A LACQUER STAND
THE BOWL: SOUTHERN SONG DYANSTY (1127-1279); LACQUER STAND: YUAN-EARLY MING DYNASTY
4 √ in. (12.5 cm.) diam., Japanese wood boxes (2)
HK$600,000-800,000
US$77,000-100,000
南宋 建窯系剪紙貼梅花紋盞 連元/明 剔犀如意雲紋盞托
(two views 兩面 )
A MOULDED DING ‘FISH AND LOTUS POND’ BOWL
NORTHERN SONG DYNASTY (960-1127)
7 1/4 in. (18.5 cm.) diam.
HK$400,000-600,000
PROVENANCE:
US$52,000-77,000
Sold at Sotheby’s Los Angeles, 8 June 1981, lot 263
北宋 定窯白釉印花荷塘魚藻紋 盌
來源:
洛杉磯蘇富比，1981年 6月8日，拍品263號
(side view 側面 )
A FINE JUN PURPLE-SPLASHED
SKY-BLUE GLAZED DISH
NORTHERN SONG - JIN DYNASTY (960-1234)
6 7/8 in. (17.5 cm.) diam.
HK$500,000-800,000
PROVENANCE:
US$64,000-100,000
Sold at Sotheby's Hong Kong, 17-18 May 1988, lot 129
The dish is potted with shallow rounded sides rising to an everted lipped rim and is covered overall with a sky-blue glaze decorated with purple splashes. The base has three spur marks. A closely related example is illustrated in The Complete Collection of Treasures of the Palace Museum , Porcelain of the Song Dynasty (I), Hong Kong, 1996, pl. 230. Another example, formerly in the collections of the Siu Kan Fong Lau, Hong Kong, and Eskenazi, London, was sold at Sotheby's Hong Kong, 22 April 2021, lot 16.
A Japanese Private Collection, amassed in the early 20th century
南宋
龍泉青瓷 盌
來源:
日本私人珍藏，於二十世紀初建立
(base 底部)
The Property of a Gentleman 士紳珍藏
A JUN GREEN-GLAZED DISH
NORTHERN SONG-JIN DYNASTY (960-1234)
6 æ in. (17.2 cm.) diam., box
HK$100,000-200,000
PROVENANCE:
Manzo Nakao (1882-1936), by repute Hiroshi Ieshiro, acquired prior to 1978
Uragami Sokyudo, Tokyo
EXHIBITED:
US$13,000-26,000
On loan to the Kyoto National Museum from Hiroshi Ieshiro on 20 July 1978
The current dish is accompanied with a loan certificate from Hiroshi Ieshiro to the Kyoto National Museum on 20 July 1978 (fig. 1). Hiroshi Ieshiro is the son-in-law of the Japanese scholar Manzo Nakao (1882-1936). Reputedly, Manzo Nakao acquired the current dish in the 1920s-30s. After his decease in 1936, the dish was passed onto Hiroshi Ieshiro, who loaned it to the Kyoto National Museum in 1978.
An Old Private Collection, amassed in the early 20th century, Nara, Japan
金 東溝窯青瓷盤
來源:
日本私人舊藏，二十世紀初於日本奈良建立
(base 底部)
A PAIR OF MOULDED YAOZHOU CELADON ‘FISH’ BOWLS
NORTHERN SONG-JIN DYNASTY (960-1234)
4 ½ in. (11.5 cm.) diam. (2)
HK$300,000-500,000
PROVENANCE:
Collection of Walter Hochstadter (1914-2007)
US$39,000-64,000
Sold at Christie's New York, 18 September 2015, lot 2332
北宋/金
耀州窯青瓷印水波游魚紋 盌 一對
來源:
Walter Hochstadter (1914-2007)舊藏
紐約佳士得，2015 年 9月18日，拍品2332號
A RARE LARGE BLUE AND WHITE ‘PEONY’ JAR
YUAN DYNASTY (1279-1368)
14 ¾ in. (37.5 cm.) high
HK$3,000,000-5,000,000
PROVENANCE:
US$390,000-640,000
Offered at Sotheby’s London, 12 July 2006, lot 60
With its powerful form, bold design, the characteristic ‘heaping and piling’ effect, the present jar represents the epitome of blue and white production of the Yuan dynasty. The banded decoration represents typical design elements found on wares of this form, which combines the most characteristic elements of Yuan porcelain design: peony and lotus scrolls, classic scroll and lotus petals enclosing trefoil lappets. The generous use of cobalt on this jar also suggests that this would have been an extremely costly item to produce since cobalt oxide pigment in the Yuan period was a rare imported commodity from the Middle East.
Compare to two similarly decorated ‘peony’ jars of this form, with slight variation on decorative bands, one in the Topkapi Saray Museum collection, illustrated in Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. II, London, 1986, col. pl. 581; one in the Shanghai Museum, illustrated in Art of Yuan Blue-and-white Porcelain, Shanghai, 2012, no. 8 (fig.1); another from the Jingguantang Collection, illustrated in Splendor of Ancient Chinese Art: Selections from the Collections of TT Tsui Galleries of Chinese Art Worldwide, Hong Kong, 1996, pl. 46, and sold at Christie’s London, 6 June 1988, lot 149.
此類大罐的存世量十分稀少，且每件在繪畫的細節上都獨具特色。 比較三件類似的元代青花牡丹紋罐：其一為托普卡比博物館藏，見 《Chinese Ceramics in the Topkapi Saray Museum, Istanbul》， 第 2冊，倫敦，1986 年，彩色圖版581號；一為上海博物館藏品，載於 《幽藍神采：元代青花瓷器特集》，上海，2012 年，圖版8 號（圖一）； 另一為靜觀堂舊藏，出版於《海內外徐展堂中國藝術館藏品選萃》， 香港，1996 年，圖版46 號，後於倫敦佳士得拍賣，1988 年 6月6日， 拍品149 號。
1 Collection of the Shanghai Museum
fig.
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Property of a Gentleman 士紳珍藏
A RARE COPPER-RED DECORATED BRACKET-LOBED CUP STAND
HONGWU PERIOD (1368-1398)
7 7/8 in. (20 cm.) across
HK$2,800,000-4,000,000
PROVENANCE:
US$360,000-510,000
John Stirling Collection, Edinburgh, by repute Eskenazi, Ltd., London
Ten-views Lingbi Rock Retreat Collection, North America, no. EK252
Sold at Poly Beijing, 5 June 2019, lot 5521
A number of Hongwu cup stands of this design have been preserved in important museum and private collections, though few match the intensity of the copper red tone found on the present cup stand.
Cup stands of this type are known with a variety of flower scrolls as decorative motif; for example see one with chrysanthemum scrolls encircling the central ruyi medallion in the Shanghai Museum Collection, illustrated in Mingdai guanyao ciqi, Shanghai, 2007, p. 8, no. 1-2; one with pomegranate flower scroll, sold at Sotheby’s Hong Kong, 8 October 2013, lot 3107.
A Japanese private collection formed prior to World War II Hirano Kotoken, Tokyo, 1978
The commanding form and excellent potting of this meiping, complemented by the handsome and lustrous glaze, distinguish it as an excellent example of its type.
Compare to two very similar Longquan celadon m eiping and covers, one smaller in the collection of National Palace Museum, Taipei, illustrated in Green. Longquan Celadon of the Ming Dynasty, Taipei, 2009, pp. 130-131, no. 64 ; the other illustrated in Selected Treasures of Chinese Art: Min Chiu Society Thirtieth Anniversary Exhibition, Hong Kong, 1990, pp.280-281, no. 125. Compare to another meiping and cover sold at Christie's Hong Kong, 30 November 2023, lot 2867.
Another similar Longquan celadon m eiping and cover carved with bamboo and prunus is in the collection of Palace Museum, Beijing, see collection no.XIN00062697 on the digital archive.
A RARE YELLOW AND GREENGLAZED RECTANGULAR ‘DRAGON’ TILE
ZHENGDE-JIAJING PERIOD (1506-1566)
One of the narrow sides is incised San Shi X (13X) 11 x 7º x 1 Ω in. (28 x 18.4 x 3.8 cm.), Japanese wood box
HK$150,000-250,000 US$20,000-32,000
PROVENANCE:
Imperial Oriental Art, New York, 1990s Sold at Christie's New York, 27 November 1991, lot 337
A virtually identical tile of the same size is in the Percival David Foundation, British Museum, and is illustrated by M. Medley in Illustrated Catalogue of Ming Polychrome Wares, London, 1978, pl. IV, no. 35, where it is dated Ming, c. 1500. Another very similar tile of this size is in the Palace Museum, Beijing, and is illustrated by Geng Baocheng, ed., Gugong Bowuyuan cang gu taoci ciliao xuancui (Selection of Ancient Ceramic Material from the Palace Museum), Beijing, 2005, vol. 1, p. 192, no. 166, where it is dated to the Jiajing period.
參考大維德基金會藏一件尺寸相同、形制幾近一致的瓷磚， 斷代為明代，現藏大英博物館，並載於M.Medley所著 《Illustrated Catalogue of Ming Polychrome Wares》， 倫敦，1978 年，圖版IV，編號 35。另比較一件相似嘉靖例， 現藏北京故宮博物院，見耿寶昌編《故宮博物院藏古陶瓷 資料選萃》，北京，2005 年，卷1，頁192，圖版166 號。
A FAHUA ‘EIGHT IMMORTALS AND SHOULAO’ JAR
MING DYNASTY, 15TH-16TH CENTURY
12 ¾ in. (32.4 cm.) high
HK$150,000-200,000
PROVENANCE:
US$20,000-26,000
Sold at Christie’s London, 7 November 2006, lot 183
Sold at Christie’s London, Rooms as Portraits: Michael S. Smith, Eaton Square, London, 12 September 2018, lot 32
LITERATURE:
Michael S. Smith, Houses, New York, 2008, pp. 135-6 Stuart Marchant, Marchant – One Hundred Years, vol. II (2001-2025), London, 2025, p. 401, no. 1818
This jar is a classic example of the vibrant fahua-decorated vessels made at Jingdezhen in the mid-Ming period. The technique of using raised slip lines to produce cloisons, in which differently coloured, low-firing, glazes could be applied was one that may have originated at the kilns making architectural ceramics in North China.
The Eight Daoist Immortals appear on a small number of late 15th and 16th century fahua vessels, sometimes, as on the present example, accompanied by Shoulao the Star God of Longevity. A similar example with cover decorated with the same subject, from the E.T. Chow Collection, was sold at Christie’s Hong Kong, 1 December 2010, lot 3118; another decorated with scholars between ruyi collars and upright lappets, bequest of Isaac D. Fletcher, 1917, is in The Metropolitan Museum of Art, collection number: 17.120.149.
明十五/十六世紀 琺華八仙祝壽圖罐
來源:
倫敦佳士得，2006 年11月7日，拍品183號
倫敦佳士得，《Rooms as Portraits: Michael S. Smith, Eaton Square, London》，2018 年 9月12日，拍品32號
ZHENGDE SIX-CHARACTER MARKS IN UNDERGLAZE BLUE WITHIN DOUBLE CIRCLES AND OF THE PERIOD (1506-1521)
6 1/16 in. (15.4 cm.) diam., box (2)
HK$800,000-1,200,000
PROVENANCE:
US$110,000-150,000
Sold at Sotheby's London, 14 March 1972, lot 142 Property from an Important Asian Private Collection; sold at Sotheby's London, 10 May 2017, lot 125
The deep, rich yellow glaze of the present pair of dishes is characteristic of imperial yellow wares of the Zhengde reign, achieved through a precise increase in the proportion of iron oxide within the glaze. Such wares were manufactured for the use within imperial court. Related examples of Zhengde-marked yellow-glazed dishes are preserved in major institutions and private collections worldwide, including one in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum , Monochrome Porcelain, Hong Kong, 1999, pl. 41; and another in the British Museum, London, illustrated in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, pl. 8:28.
The present lot is distinctive for their slightly smaller diameter; related examples are more commonly measured approx. 18 to 20 cm. Among the several examples in the National Palace Museum collection, Taipei, one of nearly identical in size to present pair is collection no.: guci 016163N (fig. 1). For further comparison, see a larger yellow-glazed dish, formerly in the Tsai I-Ming, the Leshantang Collection, sold at Sotheby’s Hong Kong, 8 October 2023, lot 138.
此對盤內外壁滿施嬌黃釉，呈色純正，底純白青花書六字楷書款，為正德 朝御窯黃器之典型。正德黃釉承弘治之作，釉質勻淨，色澤較為深濃， 其色澤乃精確配比釉中氧化鐵含量所致。此類黃釉器專供宮廷御用。 近似正德款黃釉盤藏於世界重要公私收藏，可資比對者，見北京故宮博 物院藏一例，載於故宮博物院藏文物珍品全集《顏色釉》，香港，1999 年， 圖版41；大英博物館亦藏一例，載於霍吉淑《Ming Ceramics in the British Museum》，倫敦，2001年，圖版8:28。
fig. 1 Collection of the National Palace Museum, Taipei
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A YELLOW-GROUND BLUE AND WHITE ‘GARDENIA’ DISH
ZHENGDE SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1506-1521)
10 in. (25.2 cm.) diam., Japanese wood box
HK$2,500,000-3,500,000
PROVENANCE:
Mayuyama & Co., Ltd, Tokyo.
LITERATURE:
US$320,000-450,000
Ryoichi Fujioka, Min no Akae, Toji Taikei, vol. 43, Heibonsha, Tokyo, 1972, p. 96, no. 20
Mayuyama, Seventy Years, vol. I, Tokyo, 1976, p. 266, no. 799
Sato Masahiko, Chugoku Toji Shi, Tokyo, 1978, p. 194, no. 237
明正德 黃地青花梔子花果紋盤 雙圈六字楷書款
來源:
繭山龍泉堂，東京
出版:
藤岡了一，《陶磁大系》，卷四十三：明の赤絵，東京，1972 年，頁96，
編號 20
繭山龍泉堂，東京，1976 年，頁 266，編號 799
佐藤雅彦，《中国陶磁史》，東京，1978 年，頁194，編號 237
(another view 另一面)
Dishes of this design were first produced during the Xuande period and reached the peak of their popularity in the Hongzhi period. A Xuande prototype is illustrated in Xuande Imperial Porcelain Excavated at Jingdezhen, Taipei, 1998, p. 89, no. 88.
Several examples with Zhengde marks are in some of the world’s greatest collections, including the collection of the Percival David Foundation, illustrated by M. Medley, Illustrated Catalogue of Ming Polychrome Wares, London, 1978, pl. III, no. 29 and in the Smithsonian Institution, illustrated in Ming Porcelains in the Freer Gallery of Art, Washington, D.C., 1953, p. 35, nos. 31 and 32.
The choice of fruit and botanical motifs on these dishes was not random. The flowers of the boldly painted gardenia decorating the center of the interior were admired for their beauty and fragrance while the fruit of the plant provided a fine yellow dye.
存世的數件正德例見以下頂尖公私收藏：大維德基金會藏一件，見 M. Medley《Illustrated Catalogue of Ming Polychrome Wares》， 倫敦，1978 年，圖版3號，編號 29；一件藏史密森尼學會，並出版於 《Ming Porcelains in the Freer Gallery of Art》，華盛頓，1953 年， 頁 35，圖版31及32號。
A FINELY PAINTED BLUE AND WHITE ‘GRAPES’ CHARGER
YONGLE PERIOD (1403-1425)
14 7/8 in. (37.7 cm.) diam., box
HK$3,000,000-5,000,000
PROVENANCE:
US$390,000-640,000
Sold at Sotheby’s London, 13 December 1988, lot 148
An American private collection, New Jersey
Sold at Christie’s Hong Kong, 31 May 2010, lot 1854
LITERATURE:
S. Marchant & Son, Recent Acquisitions - Important Chinese Porcelain from Private Collections, London, 2012, p. 8-11, pl. 2
S. Marchant & Son，《Recent Acquisitions - Important Chinese Porcelain from Private Collections》，倫敦，2012 年，頁8-11， 圖版 2號
‘Grapes’ is one of the most popular motifs found on large Yongle blue and white dishes of this type. The sides are either rounded or lobed, and the everted rims are straight or barbed. For similar Yongle blue and white dishes with identical motifs, compare to an example in the Shanghai Museum Collection, illustrated in Mingdai gunayao ciqi, Shanghai, 2007, p. 17, no. 1-16 (fig.1); one formerly in the collection of Gustav VI Adolf, now in the Museum of Far Eastern Antiquities, Stockholm, illustrated in Oriental Ceramics, Kodansha Series, vol. 9, Tokyo, 1976, no. 216; one in the Percival David Foundation, British Museum, museum number: PDF.685; one in the Topkapi Palace Museum, Istanbul, illustrated in Chinese Ceramics in the Topkapi Saray Museum Istanbul II – Yuan and Ming Dynasty Porcelains, London, 1986, no. 606 ; and five examples originally housed in the Ardabil Shrine, now in the National Museum of Iran, illustrated in J.A. Pope, Chinese Porcelains from the Ardebil Shrine, London, 1981, nos. 29.50–54.
For similar examples sold at auctions, see one sold at Sotheby’s Hong Kong, The Meiyintang Collection, Part III, 3 April 2012, lot 21; one sold at Christie’s New York, 16 September 2016, lot 1318; one sold Sotheby’s Hong Kong, Ceramics And Jades From The Collection Of Sir Quo-Wei Lee, 2 October 2018, lot 110; one sold at Christie’s New York, 25 March 2022, lot 1045; and one sold at Sotheby’s Hong Kong, Masterpieces of Asian Art from the Okada Museum of Art, 22 November 2025, lot 1065.
葡萄紋為永樂青花大盤上最經典的一種紋飾。盤壁或呈圓弧形或作花口 式，折沿為圓口或菱口。與此紋飾相同的永樂青花大盤見諸於全球公私 珍藏，包括：上海博物館藏一例，載於《明代官窯瓷器》，上海，2007年， 頁17，圖版1-16（圖一）；原瑞典國王古斯塔夫六世·阿道夫舊藏、現藏 於斯德哥爾摩遠東古物博物館者一例，刊於《Oriental Ceramics》， 第9 卷，東京，1976 年，圖版216；大英博物館大維德基金會藏一例，博物 館編號：PDF.685；伊斯坦堡托普卡帕宮博物館藏一例，刊於《Chinese Ceramics in the Topkapi Saray Museum Istanbul II – Yuan and Ming Dynasty Porcelains》，倫敦，1986 年，編號 606；以及現藏於伊 朗國家博物館的五件，見 J. A. Pope 著《Chinese Porcelains from the Ardebil Shrine》，倫敦，1981年，編號 29.50–54。
fig. 1 Collection of the Shanghai Museum 圖一 上海博物館藏品
Property from an Important Asian Collection
A RARE UNDERGLAZE-BLUE GROUND IRON-RED AND YELLOW-ENAMELLED QUATREFOIL ‘DRAGON’ WASHER
LONGQING SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1567-1572)
5 1/8 in. (13 cm.) diam., box
HK$1,200,000-2,800,000
PROVENANCE:
US$160,000-360,000
Acquired from Mr. Yang Yongde, 13 May 1983, Hong Kong
The Tianminlou Collection
Sold at China Guardian, The Tianminlou Collection,11 June 2023, lot 2891
EXHIBITED:
Ancient Chinese Ceramics from the Kau Chi Society of Chinese Art, Art Museum, The Chinese University of Hong Kong, Hong Kong, 19 December 1981 – 18 February 1982, pl. 105
Ancient Chinese Ceramics from the Hong Kong Kau Chi Society of Chinese Art, National Museum of History, Taipei, 20 April – 30 May 1982, pl. 105
An Anthology of Chinese Works of Art – Min Chiu Society Silver Jubilee Exhibition, Hong Kong Museum of Art, Hong Kong, 25 October 1985 – 15 January 1986, p. 364, pl. 159
Tianminlou Collection of Chinese Ceramics, vol. I, Hong Kong Museum of Art, Urban Council, Hong Kong, 1987, p. 120, pl. 73 Exhibition of Famous Chinese Ceramics – 2000 Years of Chinese Ceramic Excellence, Japan, 1992, p. 96, pl. 93
Special Exhibition of Ming and Qing Polychrome Wares from the Tianminlou Foundation, Shanghai, 23-25 April 1994, pp. 10-11, pl. 4 Exhibition of Treasures of Legacy – Min Chiu Society Golden Jubilee Exhibition, Hong Kong, 25 September 2010 – 2 January 2011, p. 296, pl. 153
LITERATURE:
Liu Liang-yu, Appreciation of Chinese Ceramics Through the Ages – 4: Ming Official Wares, Taipei, 1991, p. 237
Geng Baochang, Identification of Ming and Qing Porcelains, Beijing, 1993, p. 139, fig. 255; p. 500, col. pl. 68
Ye Peilan, Polychrome Porcelains, Jinan, 2005, p. 95, pl. 156
The Longqing reign lasted only six years, and official kiln productions from this period are exceedingly rare. Surviving examples suggest that Longqing porcelain continued the technical and stylistic traditions of Jiajing, with blue-and-white and wucai wares dominating production. A closely related example of similar form is in the Baur Collection, illustrated by John Ayers in The Baur Collection Geneva: Chinese Ceramics, vol. I, Geneva, 1999, p. 156, pl. 95.
隆慶一朝僅六年，官窯瓷器燒造數量極為稀少。傳世品中，隆慶瓷器工藝 與裝飾風格多延續嘉靖傳統，以青花、五彩為主，而本品則是在五彩工藝 基礎上燒製而成。造型近似一例，見瑞士鮑氏收藏，錄於約翰·艾爾斯， 《The Baur Collection Geneva: Chinese Ceramics》，卷一，日內瓦， 1999 年，頁156，圖版95。
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A VERY RARE CARVED AND
MOULDED
LONGQUAN CELADON ‘PEACOCK’ MEIPING
MING DYNASTY, 15TH CENTURY
14 º in. (36.2 cm.) high
HK$1,000,000-1,500,000
PROVENANCE:
Mayuyama & Co. Ltd., Tokyo, 1940s-1950s
A Japanese Private Collection
US$130,000-190,000
明十五世紀
龍泉青瓷刻花孔雀花石紋梅瓶
來源:
繭山龍泉堂，東京，1940 -1950 年代 日本私人珍藏
比較一件類似的孔雀牡丹紋梅瓶，然尺寸略小，見Hobson R. L. 所著
《Chinese Ceramics in Private Collections》，1931年，圖版26 號， 後售於倫敦蘇富比，1960 年 7月12日，拍品151號。
Compare to another 'peacock' meiping but of a slightly smaller size, illustrated in Hobson, R.L., Chinese Ceramics in Private Collections, 1931, no. 26 and subsequently sold at Sotheby's London, 12 July 1960, lot 151.
(another view 另一面)
A DEHUA FIGURE OF GUANYIN
LATE MING DYNASTY, 16TH-EARLY 17TH CENTURY, IMPRESSED HE CHAOZONG SQUARE MARK
11 3/8 in. (28.9 cm.) high
HK$800,000-1,000,000
PROVENANCE:
C.T. Loo, Paris, according to label A French private collection
LITERATURE:
US$110,000-130,000
Marchant, Blanc de Chine, London, 2024, p.809, no. 1
Stuart Marchant, Marchant – One Hundred Years, vol. II (20012025), London, 2025, p. 543, no. 2085
Three other closely related figures from the Qing Court collection are illustrated by Wang Yamin and Huang Weiwen in Dehua Wares Collected by the Palace Museum I, Beijing, 2016, nos. 26-28, pp 92101, no. 26 possesses a cowl, necklace and an identical base and was one of three Guanyin figures recorded as being worshipped at the Cining Palace; no. 27 has a necklace and the same base without the cowl and was worshipped in the Zhongcui Palace, built in the Yongle period, and used as a residence by the Ming and Qing emperors; no. 28 has a cowl and an identical base without the necklace and was recorded as being consecrated in the Chengde Summer Palace, with sutras placed within the figure during the Qianlong period, showing the status of this type of figures in the Qing Court.
Compare an almost identical Dehua figure of Guanyin with the same seal mark in the Nelson Atkins Museum of Art, illustrated by Suzanne G. Valenstein in Ming Porcelains: A Retrospective, New York, 1970-1971, no. 69, p. 97.
A similar Guanyin bearing the same seal mark but without the cushion base from the collection of Mr. C. A. Weissing, was included by Marchant in their exhibition of Blanc de Chine, 2006, London, no. 3, pp. 12/13, and was featured on the front cover of Chinese Art Auction Records, London, 2008; another without a cowl and with a He Chaozong double-gourd mark, exhibited at the China Institute Gallery, New York, 2002 is illustrated by John Ayers in Blanc de Chine: Divine Images, no. 34, p. 83, and inside front cover.
晚明
德化白釉觀音坐像 「何朝宗印」篆書印款
來源:
盧芹齋，巴黎（據標籤） 法國私人舊藏
出版:
Marchant，《德化白瓷》，倫敦，2024 年，頁809，圖版1號
Stuart Marchant，《Marchant – One Hundred Years》，第二冊 (2001-2025)，倫敦，2025 年，頁543，圖版 2085
另比較一尊近乎相同的德化觀音像，印有何朝宗篆書方款，藏於美國 納爾遜—阿特金斯藝術博物館，並曾載於，《Ming Porcelains: A Retrospective》，1970–1971年，圖版69，頁97。
此外Mr. C. A. Weissing舊藏一尊類似之觀音像，亦帶有何朝宗印款， 唯無底座，曾於2006 年Marchant《Blanc de Chine》特展中展出，見 頁12–13，圖版3 面；另有一尊無風帽、底鈐何朝宗葫蘆款者，曾於2002 年 在紐約華美協進社展出，見 John Ayers編，《Blanc de Chine: Divine Images》，紐約，頁83，圖版34，封面內頁。
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Property of a Gentleman
A MAGNIFICENT POLYCHROMEENAMELLED MODEL OF A CELESTIAL OFFICIAL
MING DYNASTY (1368-1644)
45 in. (114.4 cm.) high
HK$2,400,000-3,500,000
PROVENANCE:
US$310,000-450,000
J. Pierpont Morgan (1837-1913) Collection, New York
Louise Morgan Collection, Salutation, West Island, Glen Cove, Long Island
Sold at Christie’s New York, 28 March 1996, lot 342
Geronimo Berenguer de Los Reyes, Jr.
Sold at Christie's Hong Kong, 9 July 2020, lot 2833
LITERATURE:
The Chinese Collection at the GBR Museum, Geronimo Berenguer de los Reyes, Jr. Foundation, Manila, 1998, pl. 30
Kerry Nguyen-Long, ‘Ceramics from the Chinese Antique Collection of the GBR Museum’, Arts of Asia, January - February 1998, fig. 12
明 素三彩天官坐像
來源:
J. Pierpont Morgan（1837-1913）舊藏，紐約
Louise Morgan舊藏，長島
紐約佳士得，1996 年 3月28日，拍品342號
Geronimo Berenguer de Los Reyes, Jr.舊藏
香港佳士得，2020 年 7月9日，拍品2833號
出版:
《The Chinese Collection at the GBR Museum》，馬尼拉，1998 年， 圖版30
Kerry Nguyen-Long，「Ceramics from the Chinese Antique Collection of the GBR Museum」，《Arts of Asia》，1998 年1-2月， 圖12
It is highly probable that the current figure belongs to the group of seven figures of Daoist deities from the Morgan family collection, which was sold after Louise C. Morgan’s death on the premises of the family home ‘Salutation’ West Island, Glen Cove, New York, 29 May 1974, as lots 76, 77, 78, 124, 125, 126 and 127. The current lot appears to have been lot 76 within this group.
Three other figures from this group have reappeared on auctions, two of which, from the Estate of Bernice Richard, were sold at Christie’s New York, 2 December 1993, lot 276 and the third sold at Sotheby’s New York, 17 September 2013, lot 49. Compare also to two further figures of similar modelling and dimension to the Morgan group, one from the Helliot Collection, Paris, was sold at Christie’s New York, 23 June 1983, lot 136, and illustrated by Anthony du Boulay in Christie’s Pictorial History of Chinese Ceramics, Oxford, 1984, p. 179, no. 3 (fig. 1); the second, missing its base, from the collection of Carolyn Trippe, Palm Beach, Florida, was sold at Sotheby’s New York, 16 September 2015, lot 467.
Both Buddhist and Daoist sancai-glazed stoneware figures were popularly commissioned during the Ming dynasty. For a similar sancai Daoist figure seated on a multi-tiered pedestal, representing the deity Yuan Shi Tian Zun (The Primal Celestial Excellency), from the Tsui Art Foundation, Hong Kong, see Stephen Little, Taoism and the Arts of China, Chicago, 2000, no. 68 (203 cm. high). Another figure also representing Yuan Shi Tian Zun (123.3 cm. high) with several unglazed areas including the hair, flesh and shoulder medallions, and a Budai figure (119.2 cm. high) similar in style and palette to the Morgan group dated to the 20th year of Chenghua period (1484) by inscription from the British Museum, are illustrated by Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, nos. 19:1 and 19:2. Compare also to a smaller but closely related sancai-glazed figure of the Daoist God of Literature, Wenchang in the Royal Ontario Museum (86 cm. high), illustrated in Henry Trubner, Royal Ontario Museum, The Far Eastern Collection, Toronto, 1968, p. 72, no. 90; and to another figure of Daoist deity (60.3 cm. high) dated to the 17th year of Chenghua period (1481) in the Metropolitan Museum of Art, New York, accession number: 1971.163.
紐約蘇富比曾於 1974 年 5月29日拍賣過一組七尊源自美國Louise C. 摩根 舊藏的素三彩天官塑像，此拍品可能為當時的76 號拍品。除此尊之外，該 七尊有三尊又經拍賣，包括Bernice Richard舊藏兩尊，1993 年 12月2日於 紐約佳士得拍賣，拍品276 號，及紐約蘇富比 2013 年 9月16日拍賣一尊，拍 品 49 號。另比較兩尊造型、尺寸與摩根舊藏七尊相仿的造像，一尊源自巴 黎Helliot 私人珍藏，1983 年 6月23日於紐約佳士得拍賣，拍品136 號，並 著錄於Anthony du Boulay《Christie’s Pictorial History of Chinese Ceramics》，1984 年，179頁，圖三（圖一）；另一尊缺底座，源自佛羅里 達州Carolyn Trippe女士舊藏，2015 年 9月16日於紐約蘇富比拍賣，拍品 467 號。
此像造形碩大，推塑逼真，天官神情嚴肅凜然，莊重靜穆。明代中期始見 同類大型素三彩像，多為佛教及道教人物，供奉於祠堂廟宇內，存世品不 多。風格近似的三彩道教人物塑像可參考香港徐氏基金會藏一尊原始天 尊像（連座 203 公分高），見 Stephen Little 著《Taoism and the Arts of China》，芝加哥，2000，圖版68。大英博物院亦藏一尊風格類似署成化 二十年銘款的布袋羅漢像（119.2公分高），及一尊原始天尊像（123.3 公 分高），後者風格較自然粗獷，髮膚、袖口等處皆刻意不上釉，見 Jessica Harrison-Hall著《Ming Ceramics in the British Museum》，2001年， 圖版19:1及19:2。
亦可比較兩尊尺寸較小但風格類似的道教人物塑像，一為多倫多皇家安大 略博物館藏文昌帝君像（86 公分高），見《Royal Ontario Museum, The Far Eastern Collection》，多倫多，1968 年，圖版90 號；一為紐約大都會 博物館藏（60.3 公分高)，署成化 17年銘款，見典藏編號：1971.163。
fig. 1 Sold at Christie’s New York, 23 June 1983, lot 136 圖一 紐約佳士得，1983 年 6月23日，拍品136 號
A BLUE AND WHITE ‘FISH AND LOTUS POND’ JARDINIÈRE
WANLI PERIOD (1573-1619)
13 ¼ in. (33.5 cm.) wide
HK$150,000-250,000
PROVENANCE:
A Japanese private collection Shogado, Tokyo, 20 March 1980
US$20,000-32,000
Sold at Sotheby’s Hong Kong, 20 May 1981, lot 686
Sold at Sotheby’s Hong Kong, 15 May 1990, lot 29
Sold at Sotheby’s Hong Kong, 30-31 May 2019, lot 413
LITERATURE:
Stuart Marchant, Marchant - One Hundred Years Book Vol. II (2001-2025), 2025, p. 426, no. 1869
明萬曆
青花魚藻紋缸
來源:
日本私人舊藏
日下尚雅堂，1980 年 3月20日
香港蘇富比，1981年 5月20日，拍品686 號
香港蘇富比，1990 年 5月15日，拍品29 號
香港蘇富比，2019 年 5月30 -31日，拍品 413號
出版:
Stuart Marchant，《Marchant–One Hundred Years》， 第二冊(2001-2025)，倫敦，2025 年，頁426，圖版1869
A BLUE AND WHITE ‘SEVEN SAGES OF THE BAMBOO GROVE’ PHOENIX-TAIL VASE
KANGXI PERIOD (1662-1722)
17 ¾ in. (45 cm.) high
HK$400,000-600,000
PROVENANCE:
US$52,000-77,000
Purchased by William James, prior to 1912, no. 260 (2) Collection of The Edward James Foundation Sold at Christie’s London, A Surreal Legacy: Selected Works of Art from The Edward James Foundation, 15 December 2016, lot 118
清康熙 青花加官進爵竹林七賢圖鳳尾尊
來源:
William James於 1912 年前購藏，編號 260 (2)
Edward James 基金會舊藏
倫敦佳士得，《A Surreal Legacy: Selected Works of Art from The Edward James Foundation》，2016 年12月15日，拍品118 號
(detail 細圖 )
Property from a Japanese Private Collection
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A DOUCAI ‘MAGPIE AND PRUNUS’ DISH
KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1662-1722)
6 ¡ in. (16.2 cm.) diam.
HK$200,000-400,000
PROVENANCE: Acquired in Japan in the 1970s 清康熙
US$26,000-51,000
來源: 1970 年代於日本入藏
(base 底部)
A FINE WUCAI ‘DRAGON AND PHOENIX’ BOWL
KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1662-1722)
5 3/16 in. (13.2 cm) diam., box
HK$350,000-550,000
PROVENANCE:
US$45,000-70,000
Sold at Sotheby's London, 10 May 2017, lot 228
Two almost identical bowls are in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, pp. 147-148, nos. 135 & 136. Compare to a similar of bowl with Kangxi marks, sold at Christie’s Hong Kong, 30 November 2023, lot 2818.
Museum of Fine Arts Boston, The Colors of Earth, Kangxi Era Porcelain from the Stamen Collection, Boston, 2002, no. 16
LITERATURE:
Stuart Marchant, Marchant - One Hundred Years Book Vol. II (2001-2025), 2025, p. 413, no. 1850
清康熙 五彩仕女圖盤 雙圈 三行六字楷書款
來源:
H. M. Knight（1971年逝）舊藏 香港蘇富比，1979 年11月28-29日，拍品149 號
Spink & Son Ltd.，倫敦
香港佳士得，1990 年 3月20日，拍品685號
Ed Chan，Galerius Collection，馬里昂，麻薩諸塞州，1999 年
Jeffrey P. Stamen潔蕊堂舊藏，編號 247
紐約蘇富比，《康熙：潔蕊堂珍藏 II》，2019 年 3月19日，拍品350 號
展覽:
阿姆斯特丹國家博物館，《Oosterse Schatten, 4000 Jaar Aziatische Kunst》，阿姆斯特丹，1954 年，圖錄圖版352號（圖一)
出版:
Stuart Marchant，《Marchant – One Hundred Years》， 第二冊(2001-2025)，倫敦，2025 年，頁413，圖版1850 (mark)
1
LEARN MORE
A SUPERB FAMILLE VERTE ‘ROMANCE OF THE THREE KINGDOMS’ VASE
KANGXI PERIOD (1662-1722)
17 1/4 in. (43.8 cm.) high
HK$500,000-800,000
PROVENANCE:
US$64,000-100,000
Property of a Lady; sold at Sotheby’s London, 15 December 1959, lot 38
Bluett & Sons, London, 5 April 1960
Property of the late W. A. Evill, Esq.; sold at Sotheby’s London, 30 November 1965, lot 90
Salomon Stodel, Amsterdam
Littleton & Hennessey, New York, 13 March 2017
LITERATURE:
The Connoisseur, March 1960, advertisement by Bluett & Sons
Stuart Marchant, Marchant - One Hundred Years Book Vol. I (2001-2025), 2025, p. 41, no. 28
This vase depicts a scene from Chapter 55 of Romance of the Three Kingdoms, in which Lady Sun deters the pursuing Wu forces. The expressions and postures of the figures—Liu Bei, Sun Shangxiang, Chen Wu, and Pan Zhang—are rendered with remarkable vividness. With vibrant and crisp enamel colours, the present vase stands as one of the finest examples of Kangxi famille verte wares.
KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1662-1722)
2 5/8 in. (6.5 cm.) high, box
HK$1,500,000-2,500,000
PROVENANCE:
US$200,000-320,000
Sold at Sotheby's Hong Kong, 4 November 1997, lot 1434
Property of a Distinguished Collector; sold at Sotheby's Hong Kong, 3 April 2019, lot 3601
The reverse has an inscription which may be translated to 'The subtle perfume of orchids pervades the great hall; as music plays on the lofty terraces'.
‘Month’ cups were produced in sets of twelve during the Kangxi reign (1662-1722). Each cup is decorated with a different floral design representing the twelve months of the lunar calendar, complemented by a Tang-dynasty couplet with relevance to the flower depicted, ending with the seal reading shang (appreciation). Such intricate combination of painting, poem and seal on a porcelain surface makes these cups highly coveted items among generations of connoisseurs. These cups are also prized for their remarkable workmanship, as each is so thinly potted that the cobalt blue decorations on the exterior can be seen through the eggshell thin porcelain from the interior of the vessel.
Extant sets of all twelve cups are extremely rare and mostly held in major museum collections including the Palace Museum, Beijing, collection no. gu 00146739; and The Metropolitan Museum of Art, acc. no. 50.145.267–.278. Yet a complete blue and white set from a private collection was sold at Christie’s Hong Kong, 28 November 2018, lot 2908.
The 'orchid' month cup is particularly rare, and the present lot may be the only one to have appeared at auction. Wucai month cups decorated with other floral designs have also been offered, including an 'apricot blossom' month cup, formerly in the Au Bak Ling collection, sold at Christie's Hong Kong, 30 October 2025, lot 922; and an 'osmanthus' month cup, formerly in the collection of Thomas R. Vaughn, sold at Christie's New York, 19 September 2025, lot 1027.
各式花神盃中，以蘭花盃最為罕見，本拍品或為拍賣市場中僅見之例。其他 花種之五彩花神盃，亦可見於市場，如區百齡舊藏之杏花盃，於香港佳士 得2025 年 10月30日拍賣，拍品922號；又如 Thomas R. Vaughn舊藏之桂 花盃，於紐約佳士得2025 年 9月19日拍賣，拍品1027 號。
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(two views 兩面 )
Property from an Important Asian Collection
A PEACHBLOOM-GLAZED WATER POT, TAIBAI ZUN
KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1662-1722)
4 7/8 in. (12.5 cm.) wide, wood stand, box
HK$1,200,000-2,800,000
PROVENANCE:
US$160,000-360,000
Sold at Sotheby's Hong Kong, 5 November 1996, lot 840
Sold at Sotheby's Hong Kong, 2 May 2005, lot 671
Sold at Christie's Hong Kong, 2 December 2015, lot 3196
This vessel form is known as Taibai zun, named after the Tang dynasty poet Li Bai (also known as Li Taibai, 701–762), whose wine jar it resembles. It belongs to the 'Eight Great Numbers' (Badama), a group of eight classical vessel shapes specifically devised for the emperor's writing table, for which the peachbloom glaze was exclusively reserved. Peachbloom glaze is produced at the Kangxi imperial kilns, renowned for its exceptional technical difficulty and extremely low firing success rate. Surviving examples are exceedingly rare.
Similar peachbloom-glazed water pots are found in various museums worldwide, including the Percival David Foundation of Chinese Art, illustrated in Earth, Fire and Water: Chinese Ceramic Technology, London, 1996, p. 34, no. 24 and a full set of the eight vessels at the Metropolitan Museum of Art, illustrated by S.G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 237. Also compare to a Taibai zun of the same size, sold at Christie’s Hong Kong, 30 November 2023, lot 2811.
近似豇豆紅釉太白尊見於博物館，包括大英博物館大維德基金會，錄於 《Earth, Fire and Water: Chinese Ceramic Technology》，倫敦， 1996 年，頁 34，圖版24，以及紐約大都會藝術博物館藏全套八件， 錄於 S.G. Valenstein，《A Handbook of Chinese Ceramics》，紐約， 1989 年，頁 237，圖版236。另比較一例尺寸相同之太白尊，拍賣於香港 佳士得，2023 年 11月30日，拍品2811號。
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A BLUE AND WHITE ‘PEONY’ MONTH CUP
KANGXI SIX-CHARACTER MARK WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1662-1722)
2 ½ in. (6.4 cm.) diam.
HK$400,000-600,000
PROVENANCE:
US$52,000-77,000
Acquired in Whampoa, Guangdong, circa 1890 -1920s, thence by descent within the family
Sold at Christie’s New York,19 March 2009, lot 576 (one of ten)
The poem can be translated as:
At dawn, its beauty is adorned with dew from a golden palm; in the evening, its fragrance drifts far on the spring breeze from the palatial halls.
KANGXI SIX-CHARACTER MARK WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1662-1722)
2 ½ in. (6.5 cm.) diam.
HK$400,000-600,000
PROVENANCE:
Property from the Estate of Pearl D. Morrison
US$52,000-77,000
Sold at Sotheby’s New York, 26 November 1991, lot 329
The poem may be translated as:
Unlike the myriad blossoms that flower and wither; the rose blossom alone is perennially red.
清康熙
來源:
Pearl D. Morrison舊藏
紐約蘇富比，1991年11月26日，拍品329 號
詩文：
「不隨千種盡，獨放一年紅」
印：
「賞」
(mark)
(two views 兩面 )
A CLAIR-DE-LUNE GLAZED GARLIC-MOUTH VASE
YONGZHENG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1723-1735) 11Ω in. (29.2 cm.) high
HK$500,000-700,000
US$64,000-89,000
(mark)
A CELADON-GROUND FAMILLE ROSE ‘BAJIXIANG ’ CANDLESTICK
QIANLONG SIX-CHARACTER SEAL MARK IN IRON RED AND OF THE PERIOD (1736-1795)
11 ½ in. (29.2 cm.) high
HK$120,000-180,000
US$16,000-23,000
(mark)
A RARE LARGE GE-TYPE GLAZED HU-FORM VASE
QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)
22¡ in. (56.8 cm.) high
HK$1,500,000-2,500,000
PROVENANCE:
US$200,000-320,000
A Japanese Private collection, amassed in the early 20th century
This imposing shape is in imitation of a Han Dynasty bronze hu vase, and archaic bronze vases of this type were undoubtedly available in the Imperial collections in the 18th century. The rich colour and texture of the ge-type glaze also works exceptionally well in accentuating the theme of archaism when used on a large vase inspired by an archaic bronze, but only very few examples appear to be known. See the vase from the E. T. Chow collection offered at Sotheby’s Hong Kong, 8 October 2009, lot 1627 and published in the catalogue of the exhibition One Man’s Taste, Treasures from the Lakeside Pavilion, at the Galleries of the Baur Collection, Geneva, 1988-9, no. C17 and another similar one sold at Sotheby’s Hong Kong, 23 October 2005, lot 306.
Although a much smaller (24.8 cm.) teadust vase of similar form with a Yongzheng mark is included in the Illustrated catalogue of Ch’ing Dynasty Porcelain in the National Palace Museum, Tokyo, 1980, pl. 152, it is very unusual to find a hu of this large size with any monochrome glaze, or with these moulded horizontal bands, although a number of large Qianlong period blue and white decorated hu are known without the concentric bands, as well as smaller ringed blue and white examples. Apart from the ge-type glaze, hu-shaped vases are very rarely found covered in other Songinspired glazes but there are some glazes such as ru-type examples. Compare the present lot to a Qianlong period ru-type glazed hu vase of same size and shape in the Brooklyn Museum, no. 32.1244 and to an another ru-type glazed Yongzheng period vase of same shape and size but without mask handles sold at Christie’s Paris, 13 December 2017, lot 70.
See also another very similar example of very slightly smaller proportion sold at Christie’s Hong Kong, 30 October 2025, lot 1062.
A LARGE MOULDED AND INCISED CELADON-GLAZED ‘PEONY’ BOWL
YONGZHENG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1723-1735)
11 ¿ in. (28.2 cm.) diam.
HK$300,000-500,000
US$39,000-64,000
(mark)
A LARGE MING-STYLE BLUE AND WHITE ‘MELON’ DISH
YONGZHENG PERIOD (1723-1735)
18 in. (45.7 cm.) diam.
HK$500,000-800,000
PROVENANCE:
US$64,000-100,000
A Japanese Private Collection, amassed in the 20th century, Nagoya, Japan
清雍正 青花瓜瓞綿綿紋折沿大盤
來源:
日本私人珍藏，二十世紀初期入藏於日本名古屋
From the Private Collection of Stuart and Bruce Marchant, London 倫敦 Stuart 及Bruce Marchant 私人珍藏
A PAIR OF FINE AND RARE DOUCAI ‘LOTUS’ DISHES
YONGZHENG SIX-CHARACTER MARKS IN UNDERGLAZE BLUE WITHIN DOUBLE CIRCLES AND OF THE PERIOD (1723-1735)
4 3/8 in. (11.1 cm.) diam. (2)
HK$600,000-800,000
PROVENANCE:
An English private collection
US$77,000-100,000
Purchased by Richard Marchant from the above in the 1960s, and thence by descent
The present pair of dishes exemplifies the refinement of Yongzheng porcelain. The porcelain body is white and fine, the glaze luminous, the painting delicate, and the enamels vibrant and colourful. Other Yongzheng-marked dishes with this pattern are rare. Compare a pair of larger Yongzheng-marked doucai dishes decorated with a lotus scroll, sold at Sotheby’s Hong Kong, The Three Emperors: Imperial Porcelain of the Kangxi, Yongzheng and Qianlong reigns from the Yidetang Collection, 12 October 2021, lot 8, in which the petals are rendered predominantly in iron red, unlike the present pair, where three distinct colours are used.
清雍正 鬥彩纏枝蓮紋盤一對 雙圈六字楷書款
來源:
英國私人舊藏
Richard Marchant 於 1960 年代購自上述藏家，後於家族中流傳至今 此對盤胎質潔白細膩，釉面瑩潤光亮，繪畫工致，釉彩發色清麗淡雅，在在 體現雍正官窯過人之處。 飾有相同紋飾的雍正鬥彩盤相當罕見。可比較香 港蘇富比 2021年 10月12日《The Three Emperors: Imperial Porcelain of the Kangxi, Yongzheng and Qianlong reigns from the Yidetang Collection》藝德堂專場拍品8 號一對較大之雍正鬥彩纏枝蓮紋盤，其蓮 瓣主要以礬紅繪就，而本對盤則運用三種不同釉彩，別具一格。
(back view 背面)
Property of a Distinguished Hong Kong Collector
顯赫香港私人珍藏
A BLUE AND WHITE ALBARELLO JAR AND COVER
QING DYNASTY, 18TH CENTURY
11 ¼ in. (28.5 cm.) high
HK$220,000-350,000
PROVENANCE:
US$29,000-45,000
Sold at Christie’s Hong Kong, 2 May 1994, lot 666
LITERATURE:
Our Encounter with Ceramics, Zhejiang, 2018, p.81, no. 71
The albarello jar is a distinctive vessel form that was introduced in Chinese porcelain during the Yongle and Xuande reigns, most likely adapted from Islamic ceramic prototypes. The form was produced in underglaze blue, and celadon examples were also produced by the Longquan kilns during the early Ming dynasty. The form persisted throughout the Qing dynasty, when it was made in underglaze blue, such as the present example; underglaze blue and copper-red; doucai; and different monochrome glazes.
Oriental Ceramic Society Exhibition, The Chinese Scholars Desk, 17th to 18th Century, Oxford, 1979, no. 15
LITERATURE:
The Chinese Scholar's Desk, 17th to 18th Century, Oxford, 1979, p. 5, no. 15
Our Encounter with Ceramics, Zhejiang, 2018, p. 11, no. 11
The present water pot is covered with a pale bluish glaze rather than a creamy-white glaze as typically seen on water pots of this type. For Kangxi-marked white-glazed water pots, compare one from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, Monochrome Porcelain, Hong Kong, 1999, p. 122, no. 111. Another is illustrated by J. Ayers, Chinese Ceramics: The Koger Collection, London, 1985, p. 167, pl. 139, where the glaze is described as 'moon-white' and the medallions are of ‘a dragon biting another creature, and a bat’. Two further examples include one in the Chinese University of Hong Kong Museum, illustrated in their 1995 exhibition Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Cat., no. 3; and one in the Hong Kong Museum of Art, illustrated in The Wonders of the Potter's Palette, 1985, pl. 28. Another was sold at Christie’s New York, Sacred and Imperial: The James and Marilynn Alsdorf Collection Part I, 24 September 2020, lot 814.
清 天藍釉太白尊
來源:
E.T. Hall 舊藏，編號 81 倫敦佳士得，2014 年 5月13日，拍品 407 號
展覽:
東方陶瓷協會，《The Chinese Scholar 's Desk, 17th to 18th Century》， 牛津，1979 年，頁5，編號 15
出版:
《The Chinese Scholar 's Desk, 17th to 18th Century》，牛津，1979 年，
QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)
7 5/8 in. (19.4 cm.) high, box
HK$200,000-400,000
PROVENANCE:
US$26,000-51,000
Sold at Christie’s New York, 17 March 2017, lot 1241
清乾隆 仿官釉荸薺瓶
六字篆書款
來源:
紐約佳士得，2017年 3月17日，拍品1241號 (mark)
A WHITE-GLAZED ANHUA-DECORATED ‘DRAGON’ STEM BOWL
QIANLONG SIX-CHARACTER INCISED MARK WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1736-1795)
5 9/16 in. (14.2 cm.) diam.
HK$150,000-250,000
PROVENANCE:
US$20,000-32,000
Collection of Samuel C. David (1871-1940), St Louis Sold at Sotheby’s New York, 16 March 2016, lot 320
清乾隆 白釉暗花雙龍趕珠紋高足盌
來源:
Samuel C. David（1871-1940）舊藏，聖路易斯 紐約蘇富比，2016 年 3月16日，拍品320 號 (mark)
A LARGE CELADON-GLAZED SQUARE JARDINIÈRE
QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)
11 æ in. (30 cm.) square, wood stand
HK$300,000-500,000
US$39,000-64,000
A MOULDED CELADON-GLAZED ‘RUYI ’ BOWL
QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)
6 √ in. (17.5 cm.) diam., Japanese wood box
HK$150,000-250,000
US$20,000-32,000
清乾隆 粉青釉模印如意紋 盌 六字篆書款
(mark)
Property from a Japanese Private Collection
A RARE LARGE BLUE AND WHITE ‘LOTUS’ HEXAGONAL VASE, HU
QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)
18 in. (45.6 cm.) high
HK$1,500,000-2,500,000
PROVENANCE:
US$200,000-320,000
A Kansai Collection, amassed in the early 1920s
The form and design of the current vase are inspired by prototypes from the Yongzheng period, such as a Yongzheng-marked yellowground hexagonal vase decorated with underglaze-blue lotus scrolls, sold at Christie’s Hong Kong, 27 November 2019, lot 2909. A Qianlong vase of this pattern and form was included in the National Palace Museum, Taiwan, Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty, Taipei, 1986, cat. no. 68. Another was sold at Sotheby’s Hong Kong, 8 October 2008, lot 2567.
A FINE AND RARE BLUE AND WHITE ‘POMEGRANATE’ ARROW VASE
QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)
7 5/8 in. (19.4 cm.) high, box
HK$1,200,000-1,800,000
PROVENANCE:
US$160,000-230,000
Sold at Christie's Hong Kong, 30 May 2006, lot 1408
Property of a Hong Kong Collector; sold at Sotheby's Hong Kong, 8 October 2010, lot 2780
Property of a Gentleman; sold at Sotheby’s Hong Kong, 3 October 2017, lot 3686
The form and decoration of the present vase derive from Xuande prototypes of the Ming dynasty, a design that continued to be produced during both Yongzheng and Qianlong reign. For the Ming prototype of this design bearing a Xuande mark, illustrated in the Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglaze Red (I), Hong Kong, 2000, p. 98, no. 92.
A Qianlong-marked blue and white vase of almost identical decoration and size is in the collection of the National Palace Museum, Taipei, collection no. guci 010952N (fig. 1). Compare also to another nearly identical example, formerly in the collection of Yidetang, sold at Christie’s Hong Kong, 29 November 2024, lot 1362 (fig. 2).
fig. 1 Collection of the National Palace Museum, Taipei 圖一
fig. 2 Sold at Christie’s Hong Kong, 29 November 2024, lot 1362 圖二 香港佳士得，2024 年11月29日，拍品1362號
A FINE YANGCAI ‘BROCADE’ YELLOWGROUND ‘MEDALLION’ BOWL
DAOGUANG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1821-1850)
7 ¼ in. (18.5 cm.) diam.
HK$250,000-350,000
PROVENANCE:
A North Yorkshire private collection, UK
LITERATURE:
US$32,000-45,000
Stuart Marchant, Marchant - One Hundred Years Book Vol. II (2001-2025), London, 2025, p. 258, no. 1527
Yangcai ‘medallion’ bowls were first produced during the Qianlong reign, with production continuing into subsequent reigns and reaching the heigh of popularity during the Daoguang period. Ground colours range from blue, pink, ruby, to yellow, while the medallion decorations vary from ‘floral’, ‘landscape’, ‘objects of antiquity’, to 'three rams' and ‘cowherd and weavermaid’.
The grounds of most Daoguang 'medallion' bowls feature a sgraffito design, where patterns are incised through the enamelled ground before firing. The present bowl is distinguished from the majority by its painted design on the enamelled ground, rather than the typical carved decoration, as well as by the unusual motif of the lingzhi and lotus spray between the medallions, establishing it as an exceptionally rare example.
清道光 黃地錦上添花開光洋彩花卉紋
來源:
英國北約克郡私人舊藏 出版:
Stuart Marchant，《Marchant–One Hundred Years》， 第二冊(2001-2025)，倫敦，2025 年，頁 258，圖版1527
A MAGNIFICENT AND EXCEEDINGLY RARE PAIR OF GILT-BRONZE LUOHAN FIGURES
EARLY MING DYNASTY, 15TH CENTURY
31 7/8 in. (79 cm.) and 30 7/8 in. (78.5 cm.) high (2)
HK$15,000,000-20,000,000
PROVENANCE:
US$2,000,000-2,600,000
Sold at Christie’s Hong Kong, 1-2 October 1991, lot 1668
明初 鎏金銅羅漢像一對
來源:
香港佳士得，1991年10月1-2日，拍品1668 號
(inscriptions 銘文 )
The current pair of gilt-bronze luohan figures is masterfully cast and of notably large size in the form of an older and a younger monk. The older monk wears a Chinese- style robe with a right-hand opening, and is inscribed on the underside of left-side hem with the characters ‘zuo san (left three)’. The younger monk wears an Indianstyle robe exposing his right chest and right arm, and is inscribed on the underside of the right-side hem with the characters ‘you er (right two)’. Both are depicted sitting cross-legged, with the hem of the robes hanging over the pedestals. The inscribed characters probably indicate their positions when displayed in the temple, however no manufacture dates are inscribed. Two other known examples, very possibly from the same set as the current pair, are recorded: one was sold in Christie’s New York, 22 March 2024, lot 1148 (fig. 1), wearing Chinese style robe and inscribed with the characters ‘zuo liu (left six)’; the other is in the Tsz Shan Temple, wearing Indian-style robe and inscribed with the character ‘you jiu (right nine)’, and previously sold at Christie’s Hong Kong, 30 November 2016, lot 3233 (fig. 2).
Although the origin of luohan can be traced to the arhats in Indian scriptures, arhats were not objects of devotion in ancient India. The cult of luohan and its artistic representation is therefore indigenous to China, a by-product of Buddhism’s long history of Sinicization. Xuanzang’s translation of Nandimitravadana in 654, a scripture dedicated to the Sixteen Arhats (Luohan), provided the theological foundation for the cult of luohan as well as the basis for their artistic representations, which took shape in the late Tang/Five-Dynasties periods. Although there are depictions of monks in Tang cave sculptures, the earliest depiction of the Sixteen Luohan as prescribed in Nandimitravadana is found in the Yanxia Cave in Hangzhou (fig. 3), dated to 953 in the Wuyue Kingdom period. Apart from the Sixteen Luohan in the scripture, two more figures were added: Nandimitra, the author of Nandimitravadana, and another unnamed figure, possibly Xuanzang. This set could also be considered the earliest depiction of the ‘Eighteen Luohan’, a composition not rooted in any Buddhist scriptures but gained popularity from Song period onwards. A small
fig. 1 Sold at Christie’s New York, 22 March 2024, lot 1148
圖一 紐約佳士得，2024 年 3月22日，拍品1148 號
fig. 2 Sold at Christie’s Hong Kong, 30 November 2016, lot 3233
圖二 香港佳士得，2016 年11月30日，拍品3233 號
gilt-bronze figure of luohan excavated at the base of Huiguang Pagoda in Ruian in 1966 is one of the earliest examples of bronze luohan in this period.
The worship of luohan reached its zenith in the Song period, when stories of miraculous events associated with luohan were widespread and propagated by the literati class. From the imperial family to laymen, all were participating in the worship, and Su Shi was the most famous amongst them. His grandfather on his mother’s side, Cheng Wenying, was said to have received generous help from sixteen monks, who he believed to be the Sixteen Luohan in disguise, when he suffered crippling adversity at one point in his life. Thereafter, he organised four large-scale ceremonies of luohan worship every year to commemorate them. When Su Shi was demoted and banished to Hainan Island, he remembered his grandfather’s story, and visited a local luohan temple to pay his respects. He offered his calligraphy to the temple and also composed four poems in praise of luohan. Later, he acquired a painting
of the Eighteen Luohan by Zhang Xuan of Five Dynasties, and sent it as a gift to his brother Su Che. There are a wide range of subjects for which people offer their prayers to luohan in the Song Dynasty: prayers concerning the weather (rain); health, longevity; success in examination and officialdom; and prayers for the dead – almost every aspect of one’s life was touched by the worship of luohan.
The translation of Nandimitravadana heralded the start of luohan image making, but the scripture did not provide any description of their appearances or characteristics, resulting in very free and diverse styles full of creativity. The starting point for the luohan imagery is normally a senior, virtuous monk with either an Indian or a Chinese appearance. There are two distinctive types: those following painter Guan Xiu, also called ‘Chanyue Style’ (Chanyue is Guan Xiu’s sobriquet), are painted with caricatured, archaic, Indian-inspired appearances; those following painter Li Gonglin, also called ‘Longmian Style’ (Li Gonglin resides in Mt. Longmian), are more naturalistic and depicted
fig. 3 Stone Arhat, circa 953, Wuyue Kingdom, Five Dynasties and Ten Kingdoms. Yanxia Cave, Hangzhou 圖三 吳越廣順三年（953）羅漢石像杭州煙霞洞
圖四 開封相國寺 北宋鑄銅羅漢像
in a lifelike setting. These two styles and their variations, incorporating the descriptions given in Su Shi’s poems, became the basis for luohan imagery from Northern Song onwards, and is one of the most important genres in Chinese Buddhist art. The most celebrated Song sculptures of luohan are the Eighteen Luohan found in Chongqing Temple in Shaanxi dated to 1079, and the 27 figures of luohan in the Lingyan Temple in Shandong dated to 1066. Their lifelike features and distinctive characters are the hallmarks of the naturalistic style of Song sculptures. Very few Song Dynasty bronze examples of luohan remain, the most notable being the four examples in the Xiangguo Temple in Kaifeng (fig.4). They were allegedly part of a set of Five Hundred Luohan , all destroyed in 1927 apart from these four, which also show a naturalistic and unadorned style.
In the Yuan and Ming periods, Tibetan Buddhism became the adopted religion for the Imperial families. Although luohan worship exists within Tibetan Buddhism, it did not appear until after 15th century, when the Kashmiri scholar Sakya Rishi translated the text Offerings to the Sixteen Arhats. This text differs from Nandimitravadana in its accounts of the Sixteen Arhats : 1. The order of the arhats is different; 2. Two of the arhats’ names are different, namely: Nakula (Chinese) versus Bakula (Tibetan); Subinda (Chinese) versus Abhedya (Tibetan). Furthermore, in the Offerings, the appearances of the arhats are noted in detail. For example, Bakula is described to be holding a shrew in his hands; Rahula is described to be holding a crown etc. A few gilt bronze examples in the formal court style dated to the early Ming period follow closely the descriptions in Tibetan texts: two sold by Christie’s Hong Kong, one on 24 October, 1993, lot 543 (fig. 5); the other on 30 October,
fig. 5 Sold at Christie’s Hong Kong, 24 October 1993, lot 543
圖五 香港佳士得，1993 年10月24日，拍品543號
1994, lot 390 (fig. 6); and one in the Victoria & Albert Museum, all identifiable from the attributes they hold in their hands and most likely came from the same set. There are no known examples of Sixteen Luohan sculptures dated to the Yuan period, but we can surmise from paintings of Luohan figures dated to the Song and Yuan periods that Yuan Luohan iconography follows earlier Chinese examples and is not influenced by Tibetan traditions.
The dating of the current pair of luohan figures and their related group has varied widely in the past, from Song, Yuan to the Ming dynasties, since they do not hold attributes like the 15th century figures mentioned above and their style of modelling is more naturalistic and dynamic than the formal court style, leading to speculation of an earlier dating. However, the current scholarship is inclined to date them in the
fig. 6 Sold at Christie’s Hong Kong, 30 October 1994, lot 390
圖六 香港佳士得，1994 年10月30日，拍品390 號
early 15th century, since there are many stylistic similarities between them and other early Ming imperial Buddhist sculptures, especially in the treatment to the robes, the facial features and the musculature of the torso. These figures show the stylistic transition from the more naturalistic Song style towards the formal and refined Court style in the 14th and 15th century. These would have been a significant commission for a large Imperial temple complex. It is interesting to note that both monks wearing Chinese-style robes are marked ‘left’, and monks wearing Indian-style robes are marked ‘right’, indicating that they were displayed in groups according to their clothing style.
Compare another pair of large gilt bronze luohan figures cast with legs pendent in the Cleveland Museun of Art (acc. no. 4.2023), sold in Christie’s Hong Kong, 30 March 2022, lot 2891.
A SMALL GILT-BRONZE FIGURE OF ELEVEN-HEADED AVALOKITESVARA TANG DYNASTY (618-907)
5Ω in. (14 cm.) high, wood stand, Japanese wood box
HK$200,000-400,000
PROVENANCE: Acquired in Japan on 14 May 1997
唐 鎏金銅十一面觀音立像
來源: 1997年 5月14日購於日本
1163
US$26,000-51,000
A GILT-BRONZE STANDING FIGURE OF BUDDHA SAKYAMUNI
QIANLONG PERIOD (1736-1795)
16 7/16 in. (41.7 cm.) high, box
HK$300,000-500,000
US$39,000-64,000
PROVENANCE: A Taiwanese private collection, amassed in the 1970s
清乾隆 鎏金銅釋迦牟尼佛立像
來源:
台灣私人珍藏，建立於 1970 年代
Property of a Gentleman 士紳珍藏
A WHITE MARBLE FIGURE OF A STANDING MAITREYA
BASE: SUI DYNASTY, DATED BY INSCRIPTION TO KAIHUANG SEVENTH YEAR (587)
22 ¾ in. (57.8 cm.) high
HK$250,000-350,000 US$32,000-45,000
PROVENANCE:
Offered at Sotheby’s London, 10 July 1979, lot 28
Sold at Sotheby’s New York, 5 June 1985, lot 103
Sold at Christie’s Paris, 12 December 2018, lot 173
The inscription on the base is dated to the 7th year of Kaihuang reign of the Sui Dynasty, corresponding to 587, and records the names of the commissioners, who dedicated the figure in hope of the emperor’s longevity and their parents’ well-being. A separate inscription on the circular part of the base lists the names of five ordained monks; one of them, Huixian, is recorded in Xu Gaoseng Zhuan (Continued Biographies of Eminent Monks), vol. 25, to have passed away in 665 at the age of 75.
TANG DYNASTY, DATED BY INSCRIPTION TO XIANQING THIRD YEAR (658)
33 3/4 in. (86 cm.) high overall
HK$1,200,000-1,800,000
PROVENANCE:
Shiyushanfang, Taipei, 1995
US$160,000-230,000
The stone Buddha is seated in dhyanasana on a lotus base raised on a separate pedestal. The figure exhibits a full, harmonious countenance with benevolent expression, the chest is robust and taut, the hair is rendered in undulating wave patterns, showcasing classical features characteristic of High Tang Buddhist sculpture.
A twenty-six-character dedicatory inscription carved beneath the lotus base reads: “On the tenth day of the third month of the third year of Xianqing (658), Buddhist disciple and monk Zhigan reverently commissioned this stone figure in pious memory of their deceased parents.” The Xianqing reign (656-661) was the second era of Emperor Gaozong of Tang. His reign, along with the subsequent reign of Empress Wu saw a major flourishing of Buddhist art, highlighted by the creation of massive, sophisticated and realistic sculptures, particularly in the Longmen Grottoes. The commissioner of the present statue, Zhigan was one of the most respected monks of the period. According to the Qingding sikuquanshu (Incense, juan 6, Monk Zhigan’s chamber was filled with an exotic fragrance that did not dissipate after even an extended period.
A VERY LARGE AND FINELY EMBROIDERED THANGKA OF AMITAYUS
QING DYNASTY, 18TH CENTURY
The embroidery: 58 ¼ in. (148 cm.) x 31 in. (78.8 cm)
With brocade borders: 98 in. (249 cm.) x 52 ¾ in. (133.8 cm.)
HK$800,000-1,200,000
PROVENANCE:
US$110,000-150,000
Sold at Christie’s New York, 25 September 2020, lot 1537
The finely embroidered textile depicts a crowned red Amitayus wearing loose, floral-patterned robes, seated in dhyanasa on a lotus throne with hands held in adhyana mudra holding the Elixir of Life, beneath a striped and floral-patterned parasol with multi-colored tassels, all against a blue-embroidered sky with dense clouds. In front of him is an altar with the dharma wheel and other various offerings. The whole is set within brocade borders.
Amitayus, known as the 'Buddha of Infinite Life,' is one of the most popular deities in the Tibetan Buddhist pantheon. Amitayus is depicted here in his typical iconography, as a bodhisattva in a seated full-lotus posture with hands in meditation supporting a vase containing the Elixir of Immortality.
This thangka is exceptional in both its massive size and the quality of its embroidery. The embroidery emphasizes the contours of the design and subtly creates the illusion of three-dimensional forms, which is particularly evident in the shading of the clouds and contours of Amitayus’ body. This exemplifies the high standard of eighteenthcentury embroidery. For an example of another finely-embroidered eighteenth-century embroidered thangka, see a thangka of Avalokiteshvara sold at Christie’s New York, 20 March 2014, lot 1631, where the stylisation of the clouds compares closely to the present thangka
The standing Guanyin is gracefully depicted with a serene, full-faced expression and a gentle smile, conveying an aura of compassion. Her hair is dressed in a high topknot secured by a lotus-form hairpin. She wears layered tianyi robes that fall in elegant, fluid folds, inlaid with silver-wire cloud scrolls, the borders of the long robe decorated with silver-inlaid lotus scrolls, and the chest partially exposed. Her right hand is raised in the vitarka mudra, while her left hand rests lightly on her right wrist.
Ming dynasty bronze figures of Guanyin of this size are exceedingly rare. Compare to a slightly larger silver-inlaid bronze figure of a standing Guanyin, 16th-17th century, sold at Bonhams Hong Kong, 27 May 2021, lot 27.
Sold at Christie's New York, 24 March 2004, lot 99
Sir Joseph Hotung (1930-2021)
Sold at Sotheby's London, The Personal Collection of the late Sir Joseph Hotung, Part 2: Day, 9 December 2022, lot 165
LITERATURE:
Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, cat. no. 151
Property of an Asian Collector 亞洲私人珍藏
AN ARCHAIC JADE ‘MASK’ PENDANT
WESTERN HAN DYNASTY (206 BC-AD 8)
1 5/8 in. (4.2 cm.) long, box
HK$300,000-500,000
PROVENANCE:
US$39,000-64,000
Lantien Shanfang Collection, acquired in Taipei in 1995 Chang Wei-Hwa, Taipei
Sold at Christie’s Hong Kong, The Chang Wei-Hwa Collection of Archaic Jades- Qin and Han Dynasties, 29 November 2022, lot 2732 (part)
西漢 玉獸面
來源:
藍田山房舊藏，1995 年購於台北
雲中居，台北
香港佳士得，《雲中玉筵–重要亞洲私人古玉收藏：秦漢篇》，
2022 年11月29日，拍品2732號（其一）
西周 玉龍形飾
來源:
盧芹齋，巴黎，1974 年10月
紐約佳士得，2004 年 3月24日，拍品99 號
何東爵士舊藏（1930 -2021）
倫敦蘇富比，河東The Personal Collection of the late Sir Joseph Hotung, Part 2: Day，2022 年12月9日，拍品165號
出版:
《中国の工芸：出光美術館藏品図錄》，東京，1989 年，圖版151號
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Property of an Asian Collector
亞洲私人珍藏
AN ARCHAIC JADE ‘DRAGON’ FINIAL
EARLY WESTERN HAN DYNASTY, 3RD CENTURY BC
3 1/8 in. (8 cm.) long, box
HK$400,000-600,000
PROVENANCE:
US$52,000-77,000
Lantien Shanfang Collection, acquired in Taipei in 1995 Chang Wei-Hwa, Taipei
Sold at Christie’s Hong Kong, The Chang Wei-Hwa Collection of Archaic Jades- Qin and Han Dynasties, 29 November 2022, lot 2732 (part)
Compare to a very similar jade dragon finial (fig. 1)., also with the attachment lost, discovered from Tomb no. 2 in Luopowan, Guangxi, illustrated in Zhongguo meishu quanji, vol. 9, Jade, Beijing, 1986, pl. 178.
AN EXCEPTIONALLY RARE ARCHAIC JADE CARVING OF A TIGER
LATE EASTERN HAN DYNASTY
3 3/4 in. (9.5 cm.) long, box
HK$3,500,000-5,500,000
PROVENANCE:
Acquired in Hong Kong, 1997
US$450,000-700,000
The recumbent tiger is finely carved with its head turned back over its shoulder, its head adorned with two flattened horns and its mouth to reveal teeth, and wings are tucked against its powerfully muscled body.
Tiger is one of the Four Celestial Emblems, also known as guardians of the cardinal directions. As the White Tiger of the West, it embodies martial prowess and protective power. During the Han dynasty, the tiger's form frequently merged with that of the winged beast known as bixie- apotropaic creatures originally placed in tombs to ward off evil. Such hybrid figures, combining lion and tiger elements, came to symbolise both auspiciousness and invincibility. The present carving, though more closely resembles a tiger, incorporates both horns and wings, which are attributed to bixie, further uniting the directional authority of the White Tiger with the protective functions of the bixie in on potent representation.
The present jade tiger is exceptionally rare, with no identical examples published. Compare to a late Western to Eastern Han jade bixie in the National Palace Museum, Taipei, collection no. guyu 004086N (fig. 1), which shares similar bulging eyes, flattened forehead, and bared-teeth expression. A jade winged horse from Han dynasty in the Palace Museum, Beijing, collection no. gu 00087093 (fig. 2), offers close comparison in the muscular rendering and wing treatment. A gilt-bronze tiger-form weight of the Han dynasty from the National Palace Museum, Taipei, collection no. zengtong 000341N, further demonstrates this zoomorphic interpretation across different media, with its facial features particularly akin to those of the present lot.
fig. 1 Collection of the National Palace Museum, Taipei
fig. 2 Collection of the Palace Museum, Beijing
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(two views 兩面 )
The Property of an Important Asian Collector 重要亞洲私人珍藏
A RARE RETICULATED WHITE JADE ‘DRAGON’ PENDANT
LIAO DYNASTY (907-1125)
4 in. (10 cm.) long
HK$150,000-250,000
PROVENANCE: Acquired in Hong Kong in the 1990's
遼 白玉透雕龍形珮
來源:
1990 年代於香港入藏
US$20,000-32,000
The Property of an Important Asian Collector 重要亞洲私人珍藏 1173
A RUSSET JADE FIGURE OF A BOY AND LOTUS
SONG DYNASTY (960-1279)
2 Ω in. (6.4 cm.) high
HK$150,000-250,000
宋 褐玉童子摩睺羅把件
US$20,000-32,000
Property of an Asian Private Collector
A RETICULATED YELLOW JADE ‘BOY WITH CELESTIAL STEMS AND TERRESTRIAL BRANCHES’ PLAQUE
QING DYNASTY (1644-1911)
2 7/8 in. (7.3 cm.) long
HK$300,000-500,000
US$39,000-64,000
The plaque is carved at the top with the mythical Garuda bird, the bottom with a dragon, and the centre with a boy holding a ruyi sceptre standing on swirling clouds. The front is further carved with the Ten Celestial Stems and the eight trigrams of qian (Heaven) and kun (Earth); the reverse bears the Twelve Terrestrial Branches. For a closely related white jade rectangular plaque of comparable form and design, see one in the collection of the National Palace Museum, Taipei, collection no. guwu 001042N (fig. 1).
fig. 1 Collection of the National Palace Museum, Taipei 圖一 國立故宮博物院藏品
A YELLOW JADE ‘THREE FRIENDS OF WINTER’ CARVING
QING DYNASTY, 18TH-19TH CENTURY
The base is incised with a four-character seal mark reading Xingyouhengtang, 'Hall of Constancy'.
3 ⅛ in. (7.9 cm.) long, wood stand
HK$150,000-250,000
PROVENANCE:
US$20,000-32,000
Sold at Christie's London, 11 November 2016, lot 848
The stone is of a yellowish-green tone with some brown inclusions, depicting a scene of 'Three Friends of Winter'.
清十八/十九世紀 黃玉雕歲寒三友圖擺件
底刻「行有恆堂」款。
來源:
倫敦佳士得，2016 年11月11日，拍品848 號 (mark)
(two views 兩面 )
A RARE SPINACH-GREEN JADE 'TWIN FISH' WASHER
QIANLONG INCISED FOUR-CHARACTER MARK IN GILT AND OF THE PERIOD (1736-1795)
4 ¼ in. (10.7 cm.) diam.
HK$150,000-250,000
US$20,000-32,000
清乾隆 碧玉雕年年有餘紋洗
Property of an Asian Private Collector
A RARE WHITE JADE ARCHAISTIC ‘TAOTIE ’ VASE
QIANLONG SIX-CHARACTER INCISED FANGGU MARK AND OF THE PERIOD (1736-1795)
8 3/8 in. (21.2 cm.) high, box
HK$800,000-1,500,000
US$110,000-190,000
The beautiful and unctuous white tone of this jade vase reflects Emperor Qianlong’s preference for superior Khotan ‘mutton-fat’ jade. Its form and decoration derive from the emperor's reverence for antiquity, which inspired the imperial workshops to produce archaistic jades in quantity, drawing creatively from bronze ritual vessels, achieving works that both demonstrate the pinnacle of Qing dynasty jade carving and resonate with the emperor's antiquarian taste. The present vase exemplifies this synthesis of technical mastery and archaistic aesthetic.
The animal-mask handles suspending loose rings are characteristic of archaistic jade vases from Qianlong period. The National Palace Museum, Taipei, preserves several related examples, see a white jade ewer of similar form decorated with bow-string and bearing the same mark, collection no. guwu 003367N (fig. 1), illustrated in Zhongguo yuqi quanji, vol. 6, Qing Dynasty, Hebei, 1992, p. 125. Compare further to a white jade vase and cover with animal-mask handles, also in the collection of National Palace Museum, Taipei, collection no. guwu 006408N.
fig. 1 Collection of the National Palace Museum, Taipei 圖一 國立故宮博物院藏
(mark)
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The Property from an Asian Family collection
THREE JADEITE ‘LANDSCAPE’ PLAQUES WITH GILT-BRONZE TWIN-DRAGON STANDS
Each jadeite plaque is carved and pierced with a landscape with pavilions among trees, the stones of varying emerald-green and brilliant apple-green tones, all supported on two gilt-bronze dragon-form stands above a separate bronze stand cast with waves.
Each plaque: 2 in. (5.1 cm.) long
Bronze stand: 12 5/8 in. (32 cm.) long
HK$300,000-500,000
PROVENANCE:
US$39,000-64,000
Property from an important private collection sold for the benefit of an American university Sold at Sotheby’s Hong Kong, 29 November 1979, lot 433 (featured on the front cover of auction catalogue)
A gemmological certificate from the Hong Kong Jade & Stone Laboratory Limited confirms the present lot is natural green jadeite.
AN IMPORTANT AND EXTREMELY RARE TIANHUANG SEAL MADE FOR AN QI
EARLY QING DYNASTY, 17TH-18TH CENTURY
1 1/8 in. (2.9 cm.) long, 23.6g
HK$1,800,000-2,600,000
PROVENANCE:
US$230,000-330,000
Sold at Christie’s Hong Kong, Leisurely Delights of a Transient Life, 30 May 2018, lot 2948
The rectangular seal is surmounted by a flat finial carved with two confronting chi dragons, each with a single horn and bifurcated tail. The seal is carved with six characters in seal script, An Yizhou jia zhencang ‘Seal of the family of An Yizhou’.
The inscription on the current seal indicates it was used as the personal seal of An Qi (1683-1745?), who was perhaps the most prominent art collector throughout the entire Qing dynasty. An Qi, also known as An Yizhou by his pseudonym, was a native Korean who followed his father to Beijing in his early years, serving as a tributary diplomat. He became a trusted aide of the powerful statesman Mingju at the Kangxicourt, and was granted the right to conduct salt business in Tianjin and Yangzhou, through which he amassed enormous amount of wealth, allowing him to form one of the most extensive and formidable art collections in Chinese history.
His collection of paintings and calligraphy encompasses some of the most well-known masterpieces such as A Letter to Boyuan by Wang Xun. After An Qi’s demise, his family fortune diminished considerably, with a majority of his art collection acquired by the Qianlong Emperor, many items from which are illustrated in Shiqu Baoji (Catalogue of the Qing Imperial Collection).
The current seal impression can be found on a long list of masterpieces of Chinese painting and calligraphy, including Pingfu tie by Lu Ji, Western Jin dynasty, Ode to an Expedition by Suo Jing, Western Jin dynasty, both in the Palace Museum, Beijing; Chu Suiliang's copy of Wang Xizhi's Preface to the Orchid Pavilion, Tang dynasty; Yan Zhenqing’s Couplets from the Bamboo Mountain Study of the Pan Family, Tang dynasty; Zhan Ziqian’s Spring Outing, Sui dynasty; Dong Yuan’s Landscape of the Xiao Xiang Rivers, Five Dynasties; Huaisu’s Scroll of Bitter Bamboo Shoots, Tang dynasty, and Gao Xian’s Scroll of Thousand-Character Classic in Cursive Script, Tang dynasty, both in the Shanghai Museum; Gu Kaizhi’s Admonitions of the Instructress to the Court Ladies, Eastern Jin dynasty at the British Museum; Han Gan’s Night-Shining White, Tang dynasty, at The Metropolitan Museum of Art, New York; Huang Tingjian’s Poem on the Hall of Pines and Wind, A Letter on Floral Fragrances, and Epistle to Seventh Brother Yunfu, Northern Song dynasty, all in the National Palace Museum, Taipei; and Lady Guoguo's Spring Outing at the Liaoning Provincial Museum.
The base is inscribed with a two-character mark, jiwan, and the handle bears a single-character mark, yu, on its underside.
清早期 宜興朱泥茶壺
底款：繼玩
把款：玉
(marks)
1182
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A SMALL LINGBI SCHOLAR'S ROCK
QING DYNASTY (1644-1911)
8 º in. (21 cm.) high, wood stand, Japanese wood box
HK$150,000-200,000
PROVENANCE:
US$20,000-26,000
Yamanouchi Yodo (1827 - 1872), the 15th Feudal Lord of the Tosa Domain, according to the inscription on the Japanese wood box accompanying this lot
LITERATURE:
Kuboso Memorial Museum of Arts, Izumi, 40th Anniversary Exhibition Special Exhibition - The Beauty of Jades - Stone Artworks to Capture People's Hearts, 2022, catalogue no. 162
清 靈璧石擺件
來源:
山內容堂（1827-1872），十五代土佐藩主（據日本木盒之題字）
出版:
《開館40周年記念特別展：玉石の美：人びとを魅了した石の工芸》，
和泉，2022 年，圖號 162
A YIXING TEAPOT AND COVER
LATE MING DYNASTY – EARLY QING DYNASTY
5 7/8 in. (15 cm.) across
HK$800,000-1,200,000
PROVENANCE:
US$110,000-150,000
A Taiwanese private collection, amassed in the 1970s
The base is inscribed with one line of a poem, reading Longya xianzhan yizhi chun (the bud of Longjing tea leaf claims the first branch of spring), followed by, the signature Da Bin.
Compare to three Yixing teapots bearing signature of Da Bin: a tripod form tea pot, which was discovered from the tomb of Ming dynasty scholar of Hanlin Academy, Hua Shiyi, now in the collection of Xishan Cultural Management Committee, Jiangsu; a large Yixing tea pot, inscribed on the exterior with two lines of a poem followed by the signature Da Bin, from the Kam Ku Hin collection, sold at Christie’s Hong Kong, On the Studio Desk, 27 November 2019, lot 2860;a flattened Yixing circular teapot, from the Hall of Refined Elegance collection, sold at Bonhams Hong Kong, Ko Fook Chuen's Lifelong Passion: Exquisite Chinese Art from the Hall of Refined Elegance, 29 May 2024, lot 44.
Sold at Christie's Hong Kong, 30 November 2016, lot 3352
Each square columnar seal is surmounted by a recumbent qilin, and carved on the seal face with a five-character inscription taken from Zhang Heng’s Guitian fu, ‘Return to the Field’.
The lively and detailed carving style of the qilin finials closely resembles the mythical beast finial of the Kangxi 'Yuanjianzhai' seal sold at Sotheby's Hong Kong, 6 April 2016, lot 3102; the treatment of the facial features, mane, and tail are remarkably similar. The unctuous texture and beige-white tone of the present seals may also be compared to a Yongzheng white Shoushan square seal in the Palace Museum, Beijing, illustrated in Ming Qing dihou baoxi, Hong Kong, 1996, p. 196, no. 182 (fig. 1). The reference seal's finial— a recumbent elephant—shares the same style as the present pair, notably in the recumbent position, the tail swept to one side, and the satiny polish of the stone.
The seal is incised on one side with the signature Shuru, and the seal face is carved with four characters reading Wu shi Renzhi, ‘Wu Renzhi’.
2 ½ in. (6.5 cm.) high, 135.3 g, original fitted brocade box
HK$500,000-700,000
PROVENANCE:
US$64,000-89,000
Sold at Christie’s Hong Kong, Leisurely Delights of a Transient Life, 30 May 2018, lot 2967
According to the label on the original fitted box, the low relief carving on the current seal, known as boyi technique, was executed by the master Lin Qingqing. The signature on the side, Shuru, refers to Zhao Shuru (1874-1945), an esteemed seal carver from the Zhejiang area, active during the Republic period. The seal face indicates that the owner of this seal was Wu Renzhi (1878-1958), also known as Wu Shi, a politician who once served as the secretary to Dr. Sun Yat Sen.
Offered at Sotheby’s New York, 3 June 1987, lot 26 (one of a pair) Collection of Mr. Wang Jui Chin (1954-1998), Elegant HouseChinese Curios, Hong Kong, inventory no. 000081 as on 28 Feb 1996.
George Walter Vincent Smith (1832-1923), Springfield, Massachusetts, acquired prior to 1910 Collection of the Springfield Museum Sold at Christie’s New York, 23-24 September 2021, lot 925
清十八世紀
掐絲琺琅三聯葫蘆式大瓶
來源:
George Walter Vincent Smith (1832-1923)，斯普林菲爾德， 麻薩諸塞州，入藏於 1910 年以前 斯普林菲爾德博物館舊藏 紐約佳士得，2021年 9月23-24日，拍品925號
A Japanese Private Collection
日本私人珍藏
A CARVED AMBER LOTUS LEAF-FORM WASHER
QING DYNASTY (1644-1911)
4 √ in. (12.4 cm.) wide, wood stand, metal spoon, Japanese wood box
HK$100,000-150,000
PROVENANCE: A Japanese Private Collection
US$13,000-19,000
清 琥珀雕荷葉形洗
來源: 日本私人珍藏
(back view 背面 )
Property of a Gentleman 士紳珍藏
A CARVED TIANHUANG ‘BAMBOO’ SEAL
QING DYNASTY (1644-1911)
1 1/2 in. (3.7 cm.) high, 45g
HK$220,000-400,000
US$29,000-51,000
The seal face is carved with a four-character inscription in relief reading fanglan jiumu, 'fragrant orchids in abundance'.
Property of a Gentleman 士紳珍藏
A CARVED TIANHUANG ‘CHILONG ’ SEAL
QING DYNASTY (1644-1911)
1 1/2 in. (3.7 cm.) wide, 22g
HK$200,000-400,000
PROVENANCE:
US$26,000-51,000
Property from a Hong Kong Private Collection; sold at Christie’s Hong Kong, 31 May 2017, lot 3041
清 田黃竹節式印（45克）
(seal face 印面)
清 田黃隨形螭龍鈕印（22克）
來源:
香港私人珍藏；香港佳士得，2017年 5月31日，拍品3041號
(seal impression 印文 ) (two views 兩面 )
A GROUP OF TEN SOAPSTONE SEALS
QING DYNASTY (1644-1911)
The tallest: 3 ⅜ in. (8.7 cm.) high, fitted wood stand, wood box (10)
HK$150,000-250,000
US$20,000-32,000
Eight of the seal faces are carved with poetic inscriptions; one is uncarved, and one is carved with an abstract pattern.
清 壽山石印章及印料共十方
印文：
人行香徑雪生衣
竹外詩書畫章
歡笑盡娛
靜玩古今聊自娛
晴窗花氣薰
臣本布衣
春水綠如苔
得心應手
HIGH VALUE LOT PRE-REGISTRATION
IF YOU ARE INTERESTED IN ANY HIGH VALUE LOT (I.E., ALL LOTS OF OUR 20TH AND 21ST CENTURY EVENING SALES AND IN RESPECT OF OTHER CATEGORIES OF LOTS, A LOT THE LOW ESTIMATE OF WHICH IS HK$8,000,000 OR ABOVE), YOU ARE INVITED TO COMPLETE THE HIGH VALUE LOT PRE-REGISTRATION. PLEASE NOTE THE POINTS BELOW IN ORDER TO ASSIST YOU WITH THE PRE-REGISTRATION AND PAYMENT PROCESS.
� After you have successfully registered as a bidder with Christie’s, you should complete the High Value Lot pre-registration before the date of sale through the Bid Department or on the date of sale in the High Value Lot pre-registration area.
� Unless otherwise agreed by us, you will be permitted to bid for High Value Lots only if Christie’s has confirmed your payment of deposit and your completion of the High Value Lot pre-registration before the sale.
� Upon the pre-registration, you should pay a deposit equivalent to the higher of HK$1,600,000, and 20% or more of the aggregate of the low estimate of all lots you intend to bid for. You will need to pay such deposit by way of wire transfer or credit card(s) acceptable to Christie’s for the prospective purchase(s). Please note that Christie’s does not
accept payment from third parties. This also applies to agents.
� If you are not successful in any bid and do not owe Christie’s or Christie’s group of companies any debt, the deposit will be refunded to you by way of wire transfer or such other methods as determined by Christie’s. Please make sure that you provide your bank details in the pre-registration form. If you require payment other than in Hong Kong dollars, we shall charge you for any currency costs incurred and shall not be liable for any exchange rate loss. The exchange rate as provided to us by the bank on the date of exchange is final and binding on you. While we will arrange to refund the deposit to you within seven days after the date of sale, we do not guarantee when you will receive the payment as the time for banks to process a fund transfer or refund varies.
� Upon successful pre-registration, you will be given a numbered High Value Lot paddle for identification purpose. The auctioneer will usually only accept bids made with the High Value Lot paddle or by its registered bidder.This applies to saleroom, telephone and absentee bids.
� Christie’s has the right to change the High Value Lot pre-registration procedures and requirements from time to time without notice.
ENQUIRIES
For further details, please contact our Client Services Department at + 852 2760 1766 or email infoasia@ christies.com.
These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so. You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold
Unless we own a lot ( symbol), Christie’s acts as agent for the seller.
A BEFORE THE SALE
1 DESCRIPTION OF LOTS
(a) Certain words used in the catalogue description have special meanings. You can find details of these on the page headed “Important Notices and Explanation of Cataloguing Practice” which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called “Symbols Used in this Catalogue”.
(b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot, including about its nature or condition, artist, period, materials, approximate dimensions or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.
2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS
We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.
3 CONDITION
(a) The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition Lots are sold “as is” in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller.
(b) Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason they are not an alternative to examining a lot in person or taking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.
4 VIEWING LOTS PRE-AUCTION
(a) If you are planning to bid on a lot, you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition. We recommend you get your own advice from a restorer or other professional adviser.
(b) Pre-auction viewings are open to the public free of charge. Our specialists may be available to answer questions at pre-auction viewings or by appointment.
5 ESTIMATES
Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes. Estimates may be shown in different currencies from that of the saleroom for guidance only. The rate of exchange used in our printed catalogues is fixed at the latest practical date prior to the printing of the catalogue and may have changed by the time of our sale.
6 WITHDRAWAL
Christie’s may, at its option, withdraw any lot at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the international jewellery trade but may make the gemstone less strong and/or require special care over time.
(b) It will not be apparent to us whether a diamond is naturally or synthetically formed unless it has been tested by a gemmological laboratory. Where the diamond has been tested, a gemmological report will be available.
(c) All types of gemstones may have been improved by some method. You may request a gemmological report for any item
which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report.
(d) Certain weights in the catalogue description are provided for guidance purposes only as they have been estimated through measurement and, as such, should not be relied upon as exact.
(e) We do not obtain a gemmological report for every gemstone sold in our auctions. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports will be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report. We do not guarantee nor are we responsible for any report or certificate from a gemmological laboratory that may accompany a lot
(f) For jewellery sales, estimates are based on the information in any gemmological report or, if no report is available, assume that the gemstones may have been treated or enhanced.
8 WATCHES & CLOCKS
(a) Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch or clock is authentic. Any presentation box that accompanies the lot may not be the original “fitted box”. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys.
(b) As collectors’ watches and clocks often have very fine and complex mechanisms, you are responsible for any general service, change of battery or further repair work that may be necessary. We do not give a warranty that any watch or clock is in good working order or whether it can be accepted for service or serviced by its manufacturer. Certificates are not available unless described in the catalogue.
(c) Most watches have been opened to find out the type and quality of movement. For that reason, watches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use. Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(g).
B REGISTERING TO BID
1 NEW BIDDERS
(a) If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following:
(i) for individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement);
(ii) for corporate clients: Your Certificate of Incorporation or equivalent document(s) showing your name and registered address, photo ID copy of the authorized bidder, letter of authorization duly signed by legal representative and, where applicable, chopped with company stamp and together with documentary proof of directors and beneficial owners; (iii) for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements.
(b) We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Client Services Department on +852 2760 1766.
2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above, a financial reference or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms in the last two years or if you want to spend more than on previous occasions, please contact our Bids Department on +852 2978 9910 or email to bidsasia@christies.com.
3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS
If in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. Christie’s may, at its option, specify the type of photo identification it will accept, for the purposes of bidder identification and registration procedures.
4 BIDDING ON BEHALF OF ANOTHER PERSON
(a) As authorised bidder: If you are bidding on behalf of another person who will pay Christie’s directly, that person will need to complete the registration requirements above before you can bid, and supply a signed letter authorising you to bid for them.
(b) As agent for a principal: If you register in your own name but are acting as agent for someone else (the “ultimate buyer(s)”) who will put you in funds before you pay us, you accept personal liability to pay the purchase price and all other sums due. We will require you to disclose the identity of the ultimate buyer(s) and may require you to provide documents to verify their identity in accordance with paragraph E3(b).
5 BIDDING IN PERSON
If you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction. For help, please contact the Client Services Department on +852 2760 1766.
6 BIDDING SERVICES
The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.
(a) Phone Bids
Your request for this service must be made no later than 24 hours prior to the auction and may also be made on the Christie’s WeChat Mini Program. We will accept bids by telephone for lots only if our staff are available to take the bids. Telephone bids cannot be accepted for lots estimated below HK$30,000. If you need to bid in a language other than in English, you must arrange this well before the auction. We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale.
(b) Internet Bids on Christie’s LIVE™
For certain auctions we will accept bids over the Internet. To learn more, please visit https://www.christies.com/auctions/ christies-live-on-mobile. You should register at least 24 hours in advance of the sale in order to bid online with Christie’s LIVETM As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVETM terms of use which are available on www.christies.com/LiveBidding/OnlineTermsOfUse.aspx
(c) Written Bids
You can find a Written Bid Form at any Christie’s office or by choosing the sale and viewing the lots online at www. christies.com or on the Christie’s WeChat Mini Program. We must receive your completed Written Bid at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot, we will sell the lot to the bidder whose written bid we received first.
C CONDUCTING THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without a reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate, unless the lot is subject to a third party guarantee and the irrevocable bid exceeds the printed low estimate. In that case, the reserve will be set at the amount of the irrevocable bid. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦
3 AUCTIONEER’S DISCRETION
The auctioneer can at their sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any way they may decide, or change the order of the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more lots;
(e) reopen or continue the bidding even after the hammer has fallen; and
(f) in the case of error or dispute related to bidding and whether during or after the auction, continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If you believe that the auctioneer has accepted the successful bid in error, you must provide a written notice detailing your claim within 3 business days of the date of the auction. The auctioneer will consider such claim in good faith. If the auctioneer, in the exercise of their discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot, or reoffer and resell a lot, they will notify the successful bidder no later than by the end of the 7th calendar
day following the date of the auction. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way prejudice Christie's ability to cancel the sale of a lot under any other applicable provision of these Conditions of Sale, including the rights of cancellation set forth in sections B(3), E(2)(i), F(4) and J(1).
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through Christie’s LIVE™ (as shown above in Section B6); and (c) written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at their sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve. If lots are offered without reserve, the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot. If no bid is made at that level, the auctioneer may decide to go backwards at their sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at their sole option where the bidding should start and the bid increments. The usual bid increments are shown for guidance only at https://www. christies.com/en/help/buying-guide-important-information/ financial-information
7 CURRENCY CONVERTER
The saleroom video screens, Christie’s LIVE™ and Christie’s website may show bids in some other major currencies from that of the saleroom. Any conversion is for guidance only and we cannot be bound by any rate of exchange used by Christie’s. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use their discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by post and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges
9 LOCAL BIDDING LAWS
You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site.
D THE BUYER'S PREMIUM, TAXES
1 THE BUYER'S PREMIUM
In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold.
On all lots we charge 27% of the hammer price up to and including HK$10,000,000, 22% on that part of the hammer price over HK$10,000,000 and up to and including HK$60,000,000, and 15% of that part of the hammer price above HK$60,000,000.
Exception for wine: the buyer’s premium for wine is 25% of the hammer price
2 TAXES
The successful bidder is responsible for any applicable tax including any VAT, sales or compensating use tax or equivalent tax wherever such taxes may arise on the hammer price and the buyer’s premium It is the buyer’s responsibility to ascertain and pay all taxes due. In all circumstances Hong Kong law takes precedence. Christie’s recommends you obtain your own independent tax advice. For lots Christie’s ships to the United States, a state sales or use tax may be due on the hammer price, buyer’s premium and/or any other charges related to the lot, regardless of the nationality or citizenship of the purchaser. Christie’s will collect sales tax where legally required. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped. Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot. For shipments to those states for which Christie’s is not required to collect sales tax, a successful bidder may be required to remit use tax to that state’s taxing authorities. Christie's recommends you obtain your own independent tax advice with further questions.
E WARRANTIES
1 SELLER’S WARRANTIES
For each lot, the seller gives a warranty that the seller:
(a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot, or the right to do so in law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall
not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.
2 OUR AUTHENTICITY WARRANTY
We warrant, subject to the terms below, that the lots in our sales are authentic (our “authenticity warranty”). If, within 5 years of the date of the auction, you give notice to us that your lot is not authentic, subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The terms of the authenticity warranty are as follows:
(a) It will be honoured for claims notified within a period of 5 years from the date of the auction. After such time, we will not be obligated to honour the authenticity warranty
(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the “Heading”). It does not apply to any information other than in the Heading even if shown in UPPERCASE type
(c) The authenticity warranty does not apply to any Heading or part of a Heading which is qualified. Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed “Important Notices and Explanation of Cataloguing Practice”. For example, use of the term “ATTRIBUTED TO…..” in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding.
(d) The authenticity warranty applies to the Heading as amended by any saleroom notice
(e) The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the sale or drew attention to any conflict of opinion.
(f) The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot
(g) The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest or restriction by anyone else. The benefit of this authenticity warranty may not be transferred to anyone else.
(h) In order to claim under the authenticity warranty you must:
(i) give us written notice of your claim within 5 years of the date of the auction. We may require full details and supporting evidence of any such claim;
(ii) at Christie’s option, we may require you to provide the written opinions of two recognized experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic. If we have any doubts, we reserve the right to obtain additional opinions at our expense; and
(iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.
(i) Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, in any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses.
(j) Books. Where the lot is a book, we give an additional warranty for 14 days from the date of the sale that if on collation any lot is defective in text or illustration, we will refund your purchase price, subject to the following terms:
(i) This additional warranty does not apply to:
(A) the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration;
(B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals;
(C) books not identified by title;
(D) lots sold without a printed estimate;
(E) books which are described in the catalogue as sold not subject to return; or
(F) defects stated in any condition report or announced at the time of sale.
(ii) To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 14 days of the date of the sale.
(k) South East Asian Modern and Contemporary Art and Chinese Calligraphy and Painting.
In these categories, the authenticity warranty does not apply because current scholarship does not permit the making of definitive statements. Christie’s does, however, agree to cancel a sale in either of these two categories of art where it has been proven the lot is a forgery. Christie’s will refund to the original buyer the purchase price in accordance with the terms
of Christie’s authenticity warranty, provided that the original buyer gives us written notice of the claim within twelve (12) months of the date of the auction. We may require full details and supporting evidence of any such claim. Such evidence must be satisfactory to us that the lot is a forgery in accordance with paragraph E2(h)(ii) above and the lot must be returned to us in accordance with E2h(iii) above. Paragraphs E2(b), (c), (d), (e), (f), (g) and (i) also apply to a claim under these categories.
(l) Chinese, Japanese and Korean artefacts (excluding Chinese, Japanese and Korean calligraphy, paintings, prints, drawings and jewellery).
In these categories, paragraph E2 (b) – (e) above shall be amended so that where no maker or artist is identified, the authenticity warranty is given not only for the Heading but also for information regarding date or period shown in UPPERCASE type in the second line of the catalogue description (the “Subheading”). Accordingly, all references to the Heading in paragraph E2 (b) – (e) above shall be read as references to both the Heading and the Subheading (m) Guarantee in relation to Wines and Spirits
(i) Subject to the obligations accepted by Christie’s under this authenticity warranty, none of the seller, Christie’s, its employees or agents is responsible for the correctness of any statement as to the authorship, origin, date, age, attribution, genuineness or provenance of any lot, for any other error of description or for any fault or defect in any lot. Further, no warranty whatsoever is given by the seller, Christie’s, its employees or agents in respect of any lot and any express or implied condition or warranty is hereby excluded;
(ii) If, (1) within twenty-one days of the date of the auction, Christie’s has received notice in writing from the buyer of any lot that in their view the lot was at the date of the auction short or ullaged or that any statement of opinion in the catalogue was not well founded, (2) within fourteen days of such notice, Christie’s has the lot in its possession in the same condition as at the date of the auction and (3) within a reasonable time thereafter, the buyer satisfies Christie’s that the lot was as notified in writing by the buyer (as above) and that the buyer is able to transfer a good and marketable title to the lot free from any lien or encumbrance, Christie’s will set aside the sale and refund to the buyer any amount paid by the buyer in respect of the lot provided that the buyer shall have no rights under this authenticity warranty if: (i) the defect is mentioned in the catalogue; or (ii) the catalogue description at the date of the auction was in accordance with the then generally accepted opinion of scholars or experts or fairly indicated there to be a conflict of such opinion; or (iii) it can be established that the lot was as notified in writing by the buyer (as above) only by means of a scientific process not generally accepted for use until after the publication of the catalogue or by means of a process which at the date of the auction was unreasonably expensive or impracticable or likely to have caused damage to the lot. (See also notes on ullages and corks);
(iii) The buyer shall not be entitled to claim under this authenticity warranty for more than the amount paid by them for the lot and in particular shall have no claim for any loss, consequential loss or damage whether direct or indirect suffered by them;
(iv) The benefit of this authenticity warranty shall not be assignable and shall rest solely and exclusively in the buyer who shall be the person to whom the original invoice was made out by Christie’s in respect of the lot when sold and who has since the sale retained uninterrupted, unencumbered ownership thereof.
3 YOUR WARRANTIES
(a) You warrant that the funds used for settlement are not connected with any criminal activity, including tax evasion, and you are neither under investigation, nor have you been charged with or convicted of money laundering, terrorist activities or other crimes.
(b) Where you are bidding as agent on behalf of any ultimate buyer(s) who will put you in funds before you pay Christie’s for the lot(s), you warrant that:
(i) you have conducted appropriate customer due diligence on the ultimate buyer(s) and have complied with all applicable anti-money laundering, counter terrorist financing and sanctions laws;
(ii) you will disclose to us the identity of the ultimate buyer(s) (including any officers and beneficial owner(s) of the ultimate buyer(s) and any persons acting on its behalf) and on our request, provide documents to verify their identity;
(iii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes;
(iv) you do not know, and have no reason to suspect, that the ultimate buyer(s) (or its officers, beneficial owners or any person acting on its behalf) are on a sanctions list, are under investigation for, charged with or convicted of, money laundering, terrorist activities or other crimes, or that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion; and
(v) where you are a regulated person who is supervised for anti-money laundering purposes under the laws of the EEA or another jurisdiction with requirements equivalent to the EU 4th Money Laundering Directive, and we do not request documents to verify the ultimate buyer’s identity at the time of registration, you consent to us relying on your due diligence on the ultimate buyer, and will retain
their identification and verification documents for a period of not less than 5 years from the date of the transaction. You will make such documentation available for immediate inspection on our request.
F PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must pay the purchase price being:
(i) the hammer price; and
(ii) the buyer’s premium; and
(iii) any duties, goods, sales, use, compensating or service tax.
Payment is due no later than by the end of the 7th calendar day following the date of the auction (the “due date”).
(b) We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different name. You must pay immediately even if you want to export the lot and you need an export licence.
(c) You must pay for lots bought at Christie’s in Hong Kong in the currency stated on the invoice in one of the following ways:
(i) Christie’s Christie’s is pleased to offer clients the option of viewing invoices, paying and arranging shipping online through MyChristie’s. To log in, or if you have yet to create an online account, please go to: www.christies. com/MyChristies. While this service is available for most lots, payment and shipping must be arranged offline for some items. Please contact Post-Sale Services directly to coordinate.
(ii) Wire transfer
You must make payments to: HSBC Head Office
1 Queen’s Road, Central, Hong Kong Bank code: 004
Account No. 062-305438-001
Account Name: Christie’s Hong Kong Limited SWIFT: HSBCHKHHHKH
(iii) Credit Card
We accept most major credit cards subject to certain conditions. We accept payments in person by credit card up to HK$1,000,000 per auction sale although conditions and restrictions apply. China Union Pay is accepted with no limits on amounts. To make a “cardholder not present” (CNP) payment, we accept payment up to HK$1,000,000 per auction sale. CNP payments cannot be accepted by all salerooms and are subject to certain restrictions. Details of the conditions and restrictions applicable to credit card payments are available from our Post-Sale Services Department, whose details are set out in paragraph (d) below.
(iv) Cash
We do not accept cash in Hong Kong.
(v) Banker’s draft
You must make these payable to Christie’s Hong Kong Limited and there may be conditions.
(vi) Cheque
You must make cheques payable to Christie’s Hong Kong Limited. Cheques must be from accounts in Hong Kong dollar from a Hong Kong bank.
(d) You must quote the sale number, your invoice number and client number when making a payment. All payments sent by post must be sent to: Christie’s, Post-Sale Services Department, 6th Floor, The Henderson, 2 Murray Road, Central, Hong Kong.
(e) For more information please contact our Post-Sale Services Department by phone on +852 2760 1766 or email to postsaleasia@christies.com.
2 TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following:
(a) When you collect the lot; or
(b) At the end of the 30th day following the date of the auction or, if earlier, the date the lot is taken into care by a third party warehouse unless we have agreed otherwise with you in writing.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law):
(i) to charge interest from the due date at a rate of 7% a year above the 3-month HIBOR rate from time to time on the unpaid amount due;
(ii) we can cancel the sale of the lot. If we do this, we may sell the lot again, publically or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale;
(iii) we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue
you for such amounts;
(iv) we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law;
(v) we can take what you owe us from any amounts which we or any company in the Christie’s Group may owe you (including any deposit or other part-payment which you have paid to us);
(vi) we can, at our option, reveal your identity and contact details to the seller;
(vii) we can reject at any future auction any bids made by you or on your behalf or to obtain a deposit from you before accepting any bids;
(viii) to exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and
(ix) we can take any other action we see necessary or appropriate.
(b) If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction.
5 KEEPING YOUR PROPERTY
If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe. However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.
G COLLECTION AND STORAGE
(a) You must collect purchased lots within 7 days from the auction (but note that you may not collect any lot until you have made full and clear payment of all amounts due to us)
(b) If you do not collect a lot within 90 days following the date of the auction we may, at our option:
(i) charge you storage costs at the rates set out at www. christies.com/en/help/buying-guide/storage-fees
(ii) move the lot to or within another Christie’s location or an affiliate or third party warehouse and charge you transport costs and administrative fees for doing so and you will be subject to the third party storage warehouse’s standard terms and to pay for their standard fees and costs.
(iii) sell the lot in any commercially reasonable way we think appropriate.
(c) The Storage conditions which can be found at www.christies. com/en/help/buying-guide/storage-conditions will apply.
(d) Nothing in this paragraph is intended to limit our rights under paragraph F4.
H TRANSPORT AND SHIPPING
1 TRANSPORT AND SHIPPING
We will enclose a transport and shipping form with each invoice sent to you. You must make all transport and shipping arrangements. However, we can arrange to pack, transport and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing before you bid. We may also suggest other handlers, packers, transporters or experts if you ask us to do so.
For more information, please contact Christie’s Post-Sale Services Department on +852 2760 1766 or email to postsaleasia@christies. com. We will take reasonable care when we are handling, packing, transporting and shipping a lot. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act or neglect.
2 EXPORT AND IMPORT
Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into.
We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of any lot you purchase.
(a) You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot. We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s Post-Sale Services Department on +852 2760 1766 or email to postsaleasia@christies.com.
(b) You alone are responsible for any applicable taxes, tariffs or other government-imposed charges relating to the export or import of the lot. If Christie’s exports or imports the lot on your behalf, and if Christie’s pays these applicable taxes, tariffs or other government-imposed charges, you agree to refund that amount to Christie’s.
If you are the successful purchaser of a lot of (i) liquor or cordials, including Irish and Scotch whiskeys, from Germany, Ireland, Italy, Spain or the U.K. or (ii) non-carbonated wine, containing less than 14% alcohol and in bottles smaller than 2 litres, from France, Germany, Spain or the U.K. and you plan to import it into the US, you are solely responsible for and must pay any relevant tariff for the lot at the time of importation. For more information, please contact Christie's Post-Sale service Department on +852 2760 1766/ Email: postsaleasia@christies. com.
(c) Lots made of protected species
Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol in the catalogue.
This material includes, among other things, ivory, tortoiseshell, whalebone, certain species of coral, Brazilian rosewood, crocodile, alligator and ostrich skins. You should check the relevant customs laws and regulations prior to purchasing any lot containing wildlife material if you plan to export the lot from the country in which the lot is sold and import it into another country as a licence may be required. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age and you will need to obtain these at your own cost. Several countries have imposed restrictions on dealing in elephant ivory, ranging from a total ban on importing African elephant ivory in the United States to importing, exporting and selling under strict measures in other countries. Lots made of or including elephant ivory material are marked with the symbol ∝ and are offered with the benefit of being registered as “exempt” in accordance with the UK Ivory Act. Handbags containing endangered or protected species material are marked with the symbol ≈ or ≡ and further information can be found in paragraph H2(h) below.
We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to the export or import of property containing such protected or regulated material.
(d) US import ban on African elephant ivory
The USA prohibits the import of ivory from the African elephant. Any lot containing elephant ivory or other wildlife material that could be easily confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory) can only be imported into the US with results of a rigorous scientific test acceptable to Fish & Wildlife, which confirms that the material is not African elephant ivory. Where we have conducted such rigorous scientific testing on a lot prior to sale, we will make this clear in the lot description. In all other cases, we cannot confirm whether a lot contains African elephant ivory, and you will buy that lot at your own risk and be responsible for any scientific test or other reports required for import into the USA at your own cost. If such scientific test is inconclusive or confirms the material is from the African elephant, we will not be obliged to cancel your purchase and refund the purchase price
(e) Lots of Iranian origin
As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). Some countries prohibit or restrict the purchase and/or import of Iranian-origin property. It is your responsibility to ensure you do not bid on or import a lot in contravention of any sanctions, trade embargoes or other laws that apply to you. For example, the USA prohibits dealings in and import of Iranian-origin “works of conventional craftsmanship” (such as carpets, textiles, decorative objects, and scientific instruments) without an appropriate licence. Christie’s has a general OFAC licence which, subject to compliance with certain conditions, may enable a buyer to import this type of lot into the USA. If you use Christie’s general OFAC licence for this purpose, you agree to comply with the licence conditions and provide Christie’s with all relevant information. You also acknowledge that Christie’s will disclose your personal information and your use of the licence to OFAC.
(f) Gold
Gold of less than 18ct does not qualify in all countries as “gold” and may be refused import into those countries as “gold”.
(g) Watches
Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol ψ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within 1 year of the date of the sale. Please check with the department for details on a particular lot
(h) Handbags
A lot marked with the symbol ≈ includes endangered or protected species material and is subject to CITES regulations. This lot may only be shipped to addresses within Hong Kong SAR or collected from our Hong Kong saleroom. It will not be possible to obtain a CITES export permit to ship these bags to addresses outside Hong Kong SAR post-sale.
A lot with the symbol ≡ is subject to CITES export/import
restrictions and will require export/import permits to ship the bag outside Hong Kong SAR post sale. Buyers are responsible for obtaining and paying for the necessary permits. Please contact the department for further information.
For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots
I OUR LIABILITY TO YOU
(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties
(b) (i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these conditions of sale; and
(ii) We do not give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph.
(c) In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission, breakdown, or delay, unavailability, suspension or termination of any of these services.
(d) We have no responsibility to any person other than a buyer in connection with the purchase of any lot
(e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, other damages, or expenses.
J OTHER TERMS
1 OUR ABILITY TO CANCEL
In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if we reasonably believe that completing the transaction is, or may be, unlawful or that the sale places us or the seller under any liability to anyone else or may damage our reputation.
2 RECORDINGS
We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.
3 COPYRIGHT
We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot
4 ENFORCING THIS AGREEMENT
If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.
5 TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES
You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.
6 TRANSLATIONS
If we have provided a translation of this agreement, we will use the English version in deciding any issues or disputes which arise under this agreement.
7 PERSONAL INFORMATION
We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy notice at www.christies.com. If you are a resident of California you can see a copy of our California Consumer Privacy Act statement at https://www.christies.com/ about-us/contact/ccpa
8 WAIVER
No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.
9 LAW AND DISPUTES
The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by Hong Kong law. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer/bidder shall be deemed to have accepted these Conditions and submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the Hong Kong courts for the resolution of any disputes related thereto, and also accepted that Christie’s also has the right to pursue remedies in any other jurisdiction in order to recover any outstanding sums due from the buyer.
10 REPORTING ON WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www.christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www.christies.com
K GLOSSARY
auctioneer: the individual auctioneer and/or Christie’s. authentic: a genuine example, rather than a copy or forgery of:
(i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer;
(ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture;
(iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or (iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material.
authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in section E2 of this agreement.
buyer’s premium: the charge the buyer pays us along with the hammer price
catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice
Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group.
condition: the physical condition of a lot
due date: has the meaning given to it paragraph F1(a).
estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot Heading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group).
other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of “special”, “incidental” or “consequential” under local law. purchase price: has the meaning given to it in paragraph F1(a). provenance: the ownership history of a lot
qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the section headed Qualified Headings on the page of the catalogue headed “Important Notices and Explanation of Cataloguing Practice”.
reserve: the confidential amount below which we will not sell a lot saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com, which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned.
Subheading: has the meaning given to it in paragraph E2. UPPERCASE type: means having all capital letters.
warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.
SYMBOLS USED IN THIS CATALOGUE
The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed “Conditions of Sale • Buying at Christie’s”
º Christie’s has provided a minimum price guarantee and has a direct financial interest in the lot. See Important Notices in the Conditions of Sale for further information.
º
♦
Christie's has provided a minimum price guarantee and has a direct financial interest in this lot. Christie's has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold. See the Important Notices in the Conditions of Sale for further information.
⇔
A party has provided Christie’s with a bid to cover all or part of Christie’s financial interest in the lot and may benefit financially from such bid. See the Important Notices in the Conditions of Sale for further information.
Christie’s has a financial interest in the lot. See Important Notices in the Conditions of Sale for further information.
A party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot.
• Lot offered without reserve
Lot incorporates material from endangered species which could result in export restrictions. See paragraph H2 of the Conditions of Sale for further information.
≈
Handbag lot incorporates material from endangered species. The lot can only be shipped to addresses within Hong Kong SAR or collected from our Hong Kong saleroom. See paragraph H2 of the Conditions of Sale for further information.
≡ Handbag lot incorporates material from endangered species. International shipping restrictions apply and export / import permits are required in order to ship the bag outside Hong Kong SAR post sale. See paragraph H2 of the Conditions of Sale for further information
∝ Lot incorporates elephant ivory material. See paragraph H2 of the Conditions of Sale for further information.
ψ
The endangered species strap is shown for display purposes only and is not for sale. Upon sale, this watch may be supplied to the buyer with a non CITES strap (not shown). For further information please refer paragraph H2 of the Conditions of Sale.
❖
Accepting payment in certain cryptocurrencies for this lot, conditions apply.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.
IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE
IMPORTANT NOTICES
CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION
Δ Property in which Christie’s has an ownership or financial interest
From time to time, Christie’s may offer a lot in which Christie’s has an ownership interest or a financial interest. Such lot is identified with the symbol Δ in the next to its lot number.
º Minimum price guarantees
On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the lot. This is known as a minimum price guarantee. Where Christie’s holds such financial interest we identify such lots with the symbol º next to the lot number.
º♦ Third party guarantees/Irrevocable bids
Where Christie’s has provided a Minimum Price Guarantee, it is at risk of making a loss, which can be significant if the lot fails to sell. Christie’s therefore sometimes chooses to share that risk with a third party who agrees prior to the auction to place an irrevocable written bid on the lot. If there are no other higher bids, the third party commits to buy the lot at the level of their irrevocable written bid. In doing so, the third party takes on all or part of the risk of the lot not being sold. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º♦ Christie's compensates the third party in exchange for accepting this risk provided that the third party is not the successful bidder. The remuneration to the third party may either be based on a fixed fee or an amount calculated against the final hammer price The third party may also bid for the lot above the irrevocable written bid. Where the third party is the successful bidder, the third party is required to pay the hammer price and the buyer’s premium in full.
Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not they have a financial interest in relation to the lot
⇔ Financial Interest/Irrevocable bids
Where Christie’s has a financial interest in a lot, Christie’s is at risk of making a loss if the lot fails to sell. As such, Christie’s may share that risk with a third party who agrees, prior to the
auction, to place an irrevocable written bid on the lot and may receive compensation from Christie’s. Christie’s requires the bidding party to disclose to anyone they are advising of their financial interest in the lot
¤ Bidding by parties with an interest
When a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot, we will mark the lot with this symbol ¤. This interest can include beneficiaries of an estate that consigned the lot or a joint owner of a lot. Any interested party that successfully bids on a lot must comply with Christie’s Conditions of Sale, including paying the lot’s full buyer’s premium plus applicable taxes.
Post-catalogue notifications
If Christie’s enters into an arrangement or becomes aware of bidding that would have required a catalogue symbol, we will notify you by updating christies.com with the relevant information (time permitting) or otherwise by a pre-sale or pre-lot announcement.
Other Arrangements
Christie’s may enter into other arrangements not involving bids. These include arrangements where Christie’s has advanced money to consignors or prospective purchasers or where Christie’s has shared the risk of a guarantee with a partner without the partner being required to place an irrevocable written bid or otherwise participating in the bidding on the lot. Because such arrangements are unrelated to the bidding process they are not marked with a symbol in the catalogue. Please see http://www.christies.com/financial-interest/ for a more detailed explanation of minimum price guarantees and third party financing arrangements.
EXPLANATION OF CATALOGUING PRACTICE
Terms used in a catalogue or lot description have the meanings ascribed to them below. Please note that all statements in a catalogue or lot description as to authorship, period, reign or dynasty are made subject to the provisions of the Conditions of Sale, including the authenticity warranty. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. Buyers are advised to inspect the property themselves. Written condition reports are usually available on request.
A term and its definition listed under ‘Qualified Headings’ is a qualified statement as to authorship, period, reign or dynasty. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship or of the lot being created in certain period, reign or dynasty of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term.
Discrepancy in the layout of information may appear between the catalogue description in English and its Chinese translation. We will use the English version of the catalogue description in deciding any issue or disputes which arise under the authenticity warranty or the ‘Qualified Headings’.
PICTURES, DRAWINGS, PRINTS, AND MINIATURES, SCULPTURES, INSTALLATION, VIDEO, CALLIGRAPHY AND PAINTED CERAMIC
QUALIFIED HEADINGS
“Attributed to…”: in Christie’s qualified opinion probably a work by the artist in whole or in part.
“Studio of …”/“Workshop of …”: in Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under their supervision.
“Circle of …”: in Christie’s qualified opinion a work of the period of the artist and showing their influence.
“Follower of …”: in Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil.
“Manner of …”: in Christie’s qualified opinion a work executed in the artist’s style but of a later date.
“After …”: in Christie’s qualified opinion a copy (of any date) of a work of the artist.
“Signed …”/“Dated …”/ “Inscribed …”: in Christie’s qualified opinion the work has been signed/dated/inscribed by the artist.
“With signature …”/“With date …”/ “With inscription …”: in Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.
The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.
The date given for Chinese Books and Rubbings is the date (or approximate date when prefixed with ‘circa’) when the impression was printed or published.
CHINESE CLASSICAL PAINTINGS & CHINESE MODERN AND CONTEMPORARY INK PAINTINGS
QUALIFIED HEADINGS
“Attributed to …”: In Christie’s qualified opinion probably a work by the artist or maker in whole or in part.
“With signature …”: In Christie’s qualified opinion the signature appears to be by a hand other than that of the artist.
The date given for Chinese Books and Rubbings is the date (or approximate date when prefixed with ‘circa’) when the impression was printed or published.
JEWELLERY
“Boucheron”: when maker’s name appears in the title, in Christie’s opinion it is by that maker.
“Mounted by Boucheron”: in Christie’s opinion the branded jeweller (e.g. Boucheron) set the stone into the mount using stones originally supplied to the jeweller by their client.
QUALIFIED HEADINGS
“Attributed to”: in Christie’s qualified opinion is probably a work by the jewellery/maker but no warranty is provided that the lot is the work of the named jeweller/maker.
Other information included in the catalogue description
“Signed Boucheron / Signature Boucheron”: in Christie’s qualified opinion has a signature by the jeweller.
“With maker’s mark for Boucheron”: in Christie’s qualified opinion has a mark denoting the maker.
Periods
Art Nouveau 1895-1910
Belle Epoque 1895-1914
Art Deco 1915-1935
Retro 1940s
WATCHES
Authenticity Certificates
As certain manufacturers may not issue certificates of authenticity, Christie’s has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except where specifically noted in the catalogue. Unless Christie’s is satisfied that it should cancel the sale in accordance with the authenticity warranty, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale.
Removal of Watch Batteries
A lot marked with the symbol ⊕ in the catalogue incorporates batteries which may be designated as “dangerous goods” under international laws and regulations governing the transport of goods by air freight. If a buyer requests shipment of the lot to a destination outside of the region in which the saleroom is located, the batteries will be removed and retained prior to shipment. If the lot is collected from the saleroom, the batteries will be made available for collection free of charge.
CHINESE CERAMICS AND WORKS OF ART
In Christie’s opinion a work by the maker or artist
e.g. A YIXING TEAPOT BY CHEN MINGYUAN
KANGXI PERIOD (1662-1722)
When a piece is, in Christie’s opinion, of a certain period, reign or dynasty, its attribution appears in uppercase letters directly below the heading of the description of the lot.
e.g. A BLUE AND WHITE BOWL
QING DYNASTY, 18TH CENTURY
If the date, period or reign mark mentioned in uppercase letters directly below the heading of the description of the lot states that the mark is of the period, then in Christie’s opinion, the piece is of the date, period or reign of the mark.
e.g. A BLUE AND WHITE BOWL
KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1662-1722)
When a piece is, in Christie’s opinion, made no later than a certain period, reign or dynasty, its attribution appears in uppercase letters directly below the heading of the description of the lot and the term “AND EARLIER” appears.
e.g A JADE NECKLACE
LIANGZHU CULTURE AND EARLIER, CIRCA 39002300 BC
If no date, period or reign mark is mentioned in uppercase letters directly below the heading of the description of the lot , in Christie’s opinion it is of uncertain date or late manufacture.
e.g. A BLUE AND WHITE BOWL QUALIFIED HEADINGS
When a piece is, in Christie’s opinion, not of the period to which it would normally be attributed on stylistic grounds, this will be incorporated into the first line or the body of the text of the description.
e.g. A BLUE AND WHITE MING-STYLE BOWL
The Ming-style bowl is decorated with lotus scrolls… In Christie’s qualified opinion, this object could be dated to the Kangxi period but there is a strong element of doubt.
e.g. A BLUE AND WHITE BOWL
POSSIBLY KANGXI PERIOD
In Christie’s opinion, this object is of a certain period, reign or dynasty. However, in Christie’s qualified opinion, this object could belong to a particular culture but there is a strong element of doubt.
e.g. A JADE BLADE NEOLITHIC PERIOD, POSSIBLY DAWENKOU CULTURE HANDBAGS
Condition Reports
The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Condition reports and grades are provided free of charge as a courtesy and convenience to our buyers and are for guidance only. They offer our honest opinion but they may not refer to all faults, restoration, alteration or adaption. They are not an alternative to examining a lot in person or taking your own professional advice. Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty as to condition by Christie’s or by the seller.
Grades in Condition Reports
We provide a general, numeric condition grade to help with overall condition guidance. Please review the specific condition report and extra images for each lot before bidding.
Grade 1: This item exhibits no signs of use or wear and could be considered as new. There are no flaws. Original packaging and protective plastic are likely intact as noted in the lot description.
Grade 2: This item exhibits minor flaws and could be considered nearly brand new. It may never have been used, or may have been used a few times. There are only minor condition notes, which can be found in the specific condition report.
Grade 3: This item exhibits visible signs of use. Any signs of use or wear are minor. This item is in good condition.
Grade 4: This item exhibits normal signs of wear from frequent use. This item either has light overall wear or small areas of heavy wear. The item is considered to be in fair condition.
Grade 5: This item exhibits wears and tear from regular or heavy use. The item is in usable condition but it does have condition notes.
Any reference to condition in a catalogue entry will not amount to a full description of condition, and images may not show the condition of a lot clearly. Colours and shades may look different in print or on screen to how they look in real life. It is your responsibility to ensure that you have received and considered any condition report and grading. We recommend you examine the lot in person or take your own professional advice.
REFERENCE TO “HARDWARE”
Where used in this catalogue the term “hardware” refers to the metallic parts of the bag, such as the buckle hardware, base studs, lock and keys and/or straps, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware” etc. refer to the stone or colour of the hardware and not the actual material used. If the bag incorporates solid metal hardware this will be referenced in the lot description.
WINES
OPTIONS TO BUY PARCELS
A parcel consists of several lots of the same wine of identical lot size, bottle size and description. Bidding will start on the first lot of the parcel and the successful buyer of that lot is entitled to take some or all of the remaining lots in the parcel at the same hammer price. If the buyer of the first lot does not take further lots, the remaining lots of the parcel will be offered in a similar fashion. We recommend that a bid on a parcel lot be placed on the first lot of the parcel. If the bid is superseded, Christie‘s will automatically move your bid to the next identical lot and so on. In all instances, such bids will be handled at the auctioneer’s discretion.
CLASSIFICATIONS
Bordeaux Classifications in the text are for identification purposes only and are based on the official 1855 classification
of the Médoc and other standard sources. All wines are Château-bottled unless stated otherwise.
ULLAGES AND CORKS OF OLD WINES
Wines are described in this catalogue as correctly as can be ascertained at time of going to press, but buyers of old wines must make appropriate allowances for natural variations of ullages, conditions of cases, labels, corks and wine. No returns will be accepted.
ULLAGE
The amount by which the level of wine is short of being full: these levels may vary according to age of the wines and, as far as can be ascertained by inspection prior to the sale, are described in the catalogue. A chart explaining level and ullage descriptions and interpretations, together with a visual presentation, appears in this catalogue. We hope you will find this helpful.
Anti-money laundering regulations require Christie’s and other art businesses to verify the identity of all clients. To register as a new client, you will need to provide the following documents, or if you are an existing client, you will be prompted to provide any outstanding documents the next time you transact.
Private Individuals
• A copy of your passport or other government-issued photo ID.
• Proof of your residential address (such as a bank statement or utility bill) dated within the last three months.
Please upload your documents through your christies.com account: click ‘My Account’ followed by ‘Complete Profile’. For alternative ways to provide your documents, please contact info@christies.com.
Organisations
• Formal documents showing the company’s incorporation, its registered office and business address, and its officers, members and ultimate beneficial owners.
• A passport or other government issued photo ID for each beneficial owner and authorised user.
Please contact info@christies.com to set up your organisation account.
20th Century Evening Sale 9 November 2023, New York
保羅·塞尚 (1839–1906)
水果與姜罐
估價：US$35,000,000 – 55,000,000
成交價：US$38,935,0000
20世紀晚間拍賣
紐約 2023年11月9日
Find your masterpiece 物色心儀精品
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