HGK23840 Pearls Of The Orient –Treasures from Hong Kong Private Collectors

PEARLS OF THE ORIENT

TREASURES FROM HONG KONG

PRIVATE COLLECTORS

Specialists & Liaison

Lu

CHINESE CERAMICS AND WORKS OF ART

Hong Kong

Chi Fan Tsang

International Director

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Marco Almeida

Head of Department & Head of Private Sales

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Liang-Lin Chen

Senior Specialist Head of Sale

Tel: +852 2978 6725

Hong Kong/Shanghai

Sherese Tong

Senior Specialist

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Hong Kong

Audrey Lee Specialist

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Timothy Lai

Associate Specialist

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Joyce Tsoi

Associate Specialist

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Yunhan Sun

Junior Specialist

Head of Online Sale

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Zongxi Lu

Cataloguer

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Beijing

Dai Dai, Senior Specialist

Felix Pei, Senior Specialist

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Taipei

Ruben Lien

Senior Specialist

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Tokyo

Masahiko Kuze

Associate Vice President

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Sale Co-ordinators

Calista Cheung

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Priscilla Chan

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Nicole Wright

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Patrick Tse

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Yvonne Jiang

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Email

For general enquiries about this auction, emails should be addressed to the Sale Co-ordinator(s).

Timothy Lai

Yunhan Sun Audrey Lee Joyce Tsoi

Chi Fan Tsang

Sherese Tong Liang-Lin Chen Marco Almeida

Hong Kong

Hong Kong / Shanghai

Masahiko Kuze

Dai Dai Felix Pei

Ruben Lien

Beijing

Hong Kong

Taipei

Tokyo

Zongxi

PEARLS OF THE ORIENT – TREASURES FROM HONG KONG PRIVATE

COLLECTORS

THURSDAY 30 APRIL 2026  星期四 2026 年 4 月 30 日

AUCTION  拍賣

Thursday, 30 April 2026 2026 年 4月 30日（星期四）

11.15am ( Sale 23840, Lots 901–958) 上午 11 時 15分（拍賣編號 23840，拍賣品編號 901–958）

Location: HONG KONG, 6/F, The Henderson, 2 Murray Road, Central 地點：香港，中環美利道 2號 The Henderson 6 樓 Tel 電話：+ 852 2760 1766

BEIJING, Christie’s Beijing Art Space 北京，佳士得北京藝術空間 Sunday – Monday, 29–30 March

3月 29 至 30日（星期日至一） 10.00am – 5.00pm

VIEWING 預展

HONG KONG, 6/F, The Henderson 香港， The Henderson 6 樓

Thursday – Wednesday, 23–29 April 4月 23日至 29日（星期四至三） 10.30am – 6.00pm

HIGHLIGHTS PREVIEW  精選拍品預展

SHANGHAI, BUND ONE 上海，久事國際藝術中心

Thursday – Friday, 2–3 April

4月 2 至 3日（星期四至五） 10.00am – 5.00pm

AUCTIONEER

拍賣官

Liang-Lin Chen

AUCTION CODE AND NUMBER  拍賣名稱及編號

TAIPEI, Taipei Marriot Hotel 台北，台北萬豪酒店 Saturday – Sunday, 18–19 April 4月 18至 19日（星期六至日） 11.00am – 6.00pm

In sending Written and Telephone bids or making enquiries, this sale should be referred to as HONG KONG-23840. 在遞交書面和電話競投表格或查詢拍賣詳情時，請註明拍賣名稱及編號為 香港-23840。

SPECIAL NOTICE  特別須知

From June 2025, EU regulations 2019/ 880 and 2021/ 1079 introduce new licensing requirements and regulations relating to the import of cultural goods into the EU. We recommend clients check ahead of the sale whether the lot they wish to purchase and its import into the EU could be impacted by the regulations.

自 2025 年 6月起，歐盟法規 2019/ 880及 2021/ 1079 對文物進口至歐盟實施新的許可要求和規定。

我們建議客戶在拍賣前確認其擬購買的拍賣品及其進口至歐盟是否受此等法規的影響。

CONDITIONS OF SALE – BUYING AT CHRISTIE’S  業務規定 – 買家須知

The sale for each lot is subject to the Condition of Sale, Important Notices and Explanation of Cataloguing Practice, which are set out on christies.com. Please note that the symbols and cataloguing for some lots may change before the auction. For the most up to date sale information for a lot, please see the full lot description, which can be accessed through the sale landing page on christies.com. 每件拍賣品的銷售均受 christies.com 上列出的業務規定、重要通知及目錄編列方法之說明的約束。請注意，某些拍賣品的符號和目錄 可能會在拍賣前發生變化。有關拍賣品的最新拍賣信息，請參閱 christies.com 上的拍賣登陸頁面中的完整拍賣品描述。

Principal Auctioneer 首席拍賣官 : Adrien Meyer

Photo Credit: Harry L J Parker

Pearls of the Orient –

Treasures from Hong Kong Private Collectors

Looking back on Hong Kong’s one hundred and eighty‑five years since its beginning as a trading port, one witnesses a transformation both profound and astonishing. From a modest fishing village, the city has blossomed into a bustling financial and cultural metropolis of global significance. Through the tides of time, this city — where East and West intertwine — has nurtured a unique cultural spirit and ecosystem, a cradle for many legends and success stories.

Over the years, Hong Kong has given rise not only to visionary entrepreneurs, but also to outstanding scholars, connoisseurs, and collectors whose quiet devotion has safeguarded our heritage and art masterpieces for generations. This is especially evident in the field of Chinese art. It is our great honour to present, for auction, these extraordinary treasures drawn from these distinguished Hong Kong collections. Their exquisite craftsmanship is truly breathtaking, and stands as a testament to the connoisseurship and dedication of their proud owners.

This year marks our 40th Anniversary in Asia. On behalf of Christie’s, I extend my heartfelt gratitude to all our collectors. Their passion and devotion have preserved countless treasured Chinese works of art, without which this sale would not be possible.

This event is more than an artistic celebration; it is a tribute to the admirable spirit, heritage and the enduring pride of Hong Kong and its people.

Chairman, Asia, Christie’s Kevin Ching

福地藏珍 香港藏家集萃

回望香港開埠一百八十五載，它從昔日數點漁火的樸素村落，蛻變到如今的國際金融大都會。滄海桑田，這地方東西共融 的土壤滋養著一種獨特的文化韻致。人傑地靈，香港這地方也成為了孕育傳奇的搖籃。

從昔日的英國殖民地，到如今回歸祖國，香港不僅商業奇才輩出，也造就了眾多文人雅士與大隱於市的收藏家。這一點， 在中國藝術方面體現得尤為淋漓盡致。我們深感榮幸，能在本次拍賣中，呈現來自這些顯赫收藏的至美珍品。今季拍品的 精湛工藝均巧奪天工，也映照出藏家們深厚的學養、和他們獨到的審美和鑒賞能力。

今年是我們進駐亞洲第四十年，我代表佳士得向各位藏家致以最誠摯的謝意。我感謝他們的熱忱與慧眼，收藏和守護了這 些中華瑰寶，讓《福地藏珍》這塲拍賣盛事得以舉行。

這不僅是一場藝術盛宴，更是香港人的驕傲。

佳士得亞洲區主席 程壽康

Island of Treasures: A Hong Kong Collecting Legacy

For such a relatively small geographical region, it is surprising to encounter so many preeminent collectors of Asian Art in Hong Kong. They range from those who made Hong Kong their home such as JM Hu, KS Lo,SC Ko, Ko See For, TT Tsui, and Robert Chang, to those born in Hong Kong including Au Bak Ling, and the masters of Dawentang, Muwen Tang and Songdetang, to name but a few. Their legacies will no doubt continue to shape the current and future practices in the collecting culture of Chinese art.

As the leading lights of Hong Kong, their unwavering energy in seeking and sharing of knowledge have always been admirable, particularly through the influential Min Chiu Society which was formed in 1960. The late 1980s and 1990s was a consolidatory, landmark period with collectors taking a keen interest in scholarly pursuits and engaged in academic exchanges with knowledgeable scholars from the Beijing Palace Museum, namely Geng Baochang (1922 2025) and Feng Xian Ming (1921-1993); as well as the eminent scholar Ye Zhemin (1924-2018) who was credited with the discovery that led to the identification of Qingliangsi as the kiln site for Song dynasty Ru wares. One can imagine being a fly on the wall at these numerous meetings and dinners, listening to animated discussions and enthusiastic discourses on their many prized treasures.

The last fourty years has seen a massive transformation for the collectors of Hong Kong, particularly against the background of economic changes effected by the ‘boom and bust’ periods of the financial markets. On the whole, Hong Kong collectors have been resilient and weathered through the 1987 Black Monday, the Asian financial crisis of 1997, increased buying competition from the early 2000s, SARS in 2003, the collapse of Lehman Brothers in 2008 and in recent years, COVID. Christie’s Hong Kong is proud to stand alongside these major players.

From a small team formed in 1986, who barely fitted around a mahjong table for lunch, to my transfer from Christie’s London to Hong Kong becoming its 44th member of staff in 1997, and finally to settling in our home at the Henderson with 180 colleagues, we salute our collectors in Hong Kong. Their spirit contributed greatly to an exacting standard in the understanding and perpetuity of Chinese art and culture. We are thankful for all the decades of support and feel very proud to be associated with you in this long collecting journey.

Deputy Chairman, Asia-Pacific, Christie’s Chi Fan Tsang 瑰寶之島：香港收藏傳奇

香港雖彈丸之地，而名流藏家之薈萃，實世所罕見。

從遷居香港之名流如胡惠春、羅桂祥、葛士翹葛師科父子、徐展堂、張宗憲等，到出生香江的區百齡、達文堂、沐文堂、 頌德堂主人等，群星璀璨，不勝枚舉。他們的鑒藏風範，必將昭示今古，啟迪後學，為中國藝術收藏之道立其根柢。

諸多香江收藏家在求知路上孜孜不倦，令人神往。其中敏求精舍自1960 年創立至今，影響深遠。八十年代末至九十年代尤 為承前啟後之盛世，衆藏家沉潛治學，並與諸名宿如耿寶昌、馮先銘、葉喆民等往來唱酬，深度交流。試想若能化身牆上 一隻小蠅，得窺諸君雅集清談，論珍寶之精微，辯古器之源流，當是何等精彩。

近四十載，香江收藏界歷經潮起潮落，劇變叠生。從1987年「黑色星期一」、1997 亞洲金融風暴、2003年沙士疫情、 2008年雷曼兄弟倒閉，乃至近歲全球疫災，變局重重；香港諸藏家處驚不亂，沉毅如昔。佳士得香港與之並肩，深以為榮。

佳士得香港自1986 年草創之初，成員寥寥，僅可聚於麻雀枱畔共食簡饌；迨1997年余自倫敦總部調派而來，成為香港第 44 位同仁；再到今日進駐The Henderson 新址、與180 位同事共同奮進——我們向香港的藏家致以最深的敬意。

諸君之志，奠定了中國藝術收藏的康莊大道。佳士得衷心感謝香港各收藏家數十載之支持，並在收藏之道上相伴為榮。

佳士得亞太區副主席

曾志芬

The Master of the Dawentang Collection is a distinguished connoisseur and a former two term Chairman of the renowned Min Chiu Society in Hong Kong. Over the past several decades, he has devoted himself with remarkable dedication to the advancement of appreciation and scholarship of Chinese art in the region. Under his stewardship, the Society organised its 60th and 65th Anniversary Exhibitions at the Hong Kong Museum of Art. He also served as one of the founding members of the Hong Kong Palace Museum’s Acquisition Committee.

Through years of meticulous discernment and steadfast commitment, the Master has assembled an exceptional and wide ranging collection that embodies the rich legacy of imperial Chinese ceramics. Each work is distinguished by its outstanding quality and provenance. The remarkable pieces presented from the Dawentang Collection stand as a testament to the Master’s unwavering passion for collecting objects of beauty, history, and enduring cultural significance.

達文堂主人曾任香港著名的收藏協會敏求精舍兩屆主席， 為備受尊崇的瓷器鑒賞家。逾數十載，這位資深的收藏家 始終不遺餘力，推動中國文物藝術在香江紮根及發展，成 績卓越。他主持敏求精舍於香港藝術館舉辦的第六十及六 十五周年展覽，並出任香港故宮文化博物館藏品甄選委員 會成員，貢獻良多。

超過大半個世紀，達文堂主人以獨到的眼光與堅定恒心， 成功建立起卓越精雅和完整的明清御窯瓷器收藏。所有藏 品均淵源有緒、來源清晰、品質超卓，充分體現中國御瓷 深厚而豐富的文化傳承。是次拍賣呈獻的達文堂重要珍 品，正深深體現這位資深藏家的高超品味、入藏標準之嚴 格與數十年如一日的蒐藏熱忱。

Property from the Dawentang Collection

達文堂珍藏

A RARE INSCRIBED XING WHITE-GLAZED

‘

YING ’ JAR

LATE TANG DYNASTY, 9TH-10TH CENTURY

6 1/8 in. (15.5 cm.) high

HK$700,000-1,000,000

PROVENANCE:

US$90,000-130,000

A Hong Kong private collection, prior to 1999, by repute Jason's Gallery, Hong Kong, acquired in 2015

EXHIBITED:

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 12

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. I, Hong Kong, 2019, pp. 64-65, no. 1

Xing wares were one of the finest white bodied ceramics from the Tang dynasty; those inscribed with ying marks were particularly desirable, as they were tribute wares for the Tang court. According to Lu Minghua, the character ying refers to the Bai Bao Da Ying Ku (the Imperial Repository of a Hundred Treasures), which served as a treasury for the emperor’s personal use.

Compare with a slightly larger Tang dynasty white glazed ‘ying ’ jar excavated in Hebei province, illustrated in Series of China’s Ancient Porcelain Kiln Sites: Xing Kiln of China, Beijing, 2012, no. 102; and one of the same height, but lacking the inscription, illustrated in The Complete Collection of Treasures of the Palace Museum, Porcelain of the Jin and Tang Dynasties, Hong Kong, 2016, no. 84.

晚唐 邢窯「盈」款白瓷小罐

來源:

香港私人珍藏，入藏於 1999 年以前（傳）

晉升堂（Jason’s Gallery），香港，於2015 年購藏

展覽:

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020 年12月18日2021年 4月28日，圖錄圖版12號

出版:

《瓷緣：達文堂藏瓷》，卷1，香港，2019 年，頁64-65，圖版1號

邢窯為唐代白瓷燒造的中心之一，而帶有「盈」、「大盈」字款的製品更是進 貢唐宮的內用瓷器，其類銀似雪，盛極一時。據陸明華考證，邢窯「盈」字款 瓷器正與「百寶大盈庫」相關，此為儲藏皇帝個人財貨之地，進一步佐證 「盈」款瓷器之珍稀。

參考河北省出土一尺寸較大的唐代邢窯「盈」款蓋罐，見《中國古瓷窯大系： 中國邢窯》，北京，2012 年，圖版102號；另比較一高度一致的唐代邢窯白釉 罐，惟缺刻字，現藏北京故宮博物院，出版於故宮博物院藏文物珍品全集 《晉唐瓷器》，香港，2016 年，圖版84 號。

(inscription 底款 )

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Property from the Dawentang Collection

達文堂珍藏

A JUN SKY-BLUE GLAZED BOWL

JIN DYNASTY (1115-1234)

4 ⅛ in. (10.5 cm.) diam.

HK$500,000-800,000

PROVENANCE:

US$64,000-100,000

Sold at Sotheby’s Hong Kong, 29 April 1997, lot 506

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. I, Hong Kong, 2019, pp.84-87, no.6

Zhongguo Minjian Shoucang Taoci Daxi – Xianggang Aomen Taiwan, Hebei, 2019, p. 88

Regina Krahl, Arts of Asia, Hong Kong, July – August 2020, p. 126, fig. 5

The bowl is well potted with deep, rounded sides rising from a short foot, covered overall with a sky blue glaze that thins to a beige mushroom tone on the mouth rim.

The present vessel is of an unusual shape with short rounded sides resembling an alms bowl. Compare to a similar Jun bowl in the Suzhou Museum, with a glaze of a slightly lighter tone; another formerly in the Sir Percival David Foundation Collection, now housed in the British Museum, illustrated in Percival David Foundation of Chinese Art: A Guide to the Collection, London, 2002, p. 38, no. 12; and one published in Chinese Ceramics from the Meiyintang Collection, Vol. 1, London, 1994, no. 384.

金 鈞窯天藍釉墩式 盌

來源:

香港蘇富比，1997年 4月29日，拍品506 號

出版:

《瓷緣：達文堂藏瓷》，卷1，香港，2019 年，頁84-87，圖版6 號 《中國民間收藏陶瓷大系-香港，澳門，台灣卷》，河北，2019 年，頁88 康蕊君，《Arts of Asia》，香港，2020 年 7-8月，頁126，圖版5號

斂口，弧腹，矮圈足，通體施天藍釉，釉質純淨凝厚，分外雅致。

本拍品器形別致，參考蘇州博物院藏一北宋鈞窯月白釉缽，大小與本品 一致，而釉色較淡；大維德爵士舊藏一例，現藏大英博物館，並收錄於 《Percival David Foundation of Chinese Art: A Guide to the Collection》，倫敦， 2002 年，頁 38，圖版12號；玫茵堂藏一金代天藍釉缽， 見《玫茵堂中國陶瓷》，卷1，倫敦，1994 年，圖版384 號。 (base

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(cover 蓋 )

Property from the Dawentang Collection

達文堂珍藏

903

A VERY RARE YUE CELADON ‘ZHANG QIAN ON A RAFT’ EWER AND COVER

FIVE DYNASTIES-EARLY NORTHERN SONG DYNASTY, 10TH CENTURY

8 in. (20.1 cm.) high

HK$2,500,000-5,000,000

PROVENANCE:

US$320,000-640,000

Sold at Sotheby’s Hong Kong, 5 November 1996, lot 702

EXHIBITED:

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 14

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. I, Hong Kong, 2019, pp. 68-71, no. 2

Zhongguo Minjian Shoucang Taoci Daxi – Xianggang Aomen Taiwan, Hebei, 2019, pp. 44-45

Peter Y.K. Lam, Featuring Fifty Favourite Objects, Arts of Asia, Hong Kong, January February 2020, p. 81

五代/北宋初 越窯青瓷張騫乘槎圖帶蓋執壺

來源:

香港蘇富比，1996 年11月5日，拍品702號

展覽:

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020年12月18日2021年 4月28日，圖錄圖版14 號

出版:

《瓷緣：達文堂藏瓷》，卷1，香港，2019 年，頁68-71，圖版 2號

《中國民間收藏陶瓷大系-香港，澳門台灣卷》，河北，2019年，頁44-45 林業強，《Featuring Fifty Favourite Objects》，《Arts of Asia》，香港， 2020 年1-2月，頁81

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fig. 1 Collection of the Capital Museum, Beijing 圖一 北京首都博物館藏品

The ewer is well proportioned with a globular body supported on a short foot, carved on each side depicting Zhang Qian seated on a raft, his belongings suspended from a gnarled branch above his head, floating down a fast flowing river. The cover is carved with ruyi-form clouds below a lotus bud finial, covered overall with a smooth, clear greyish green glaze.

The story of an immortal sailing on a raft was first recorded in the Jin dynasty classic Bowu Zhi. In the Sui and Tang dynasties, the tale of Zhang Qian’s raft voyage spread widely, reflecting the literati’s ideal of transcending the mundane world. The present ewer stands as a perfect example of such ideals being integrated in porcelain creation.

Compared with ewers of the Tang dynasty, those of the Five Dynasties period exhibit more intricate construction; their spouts are slender and elongated, making them more practical for use. A nearly identical Northern Song ‘Zhang Qian sailing on a raft’ Yue ewer, excavated in Wenzhou in 2005 and housed in the Wenzhou Museum, is illustrated in Focus on the Treasures-Wu’s Culture Heritage Reimagined, Beijing, 2025, pp.6-19. Compare to another Northern Song dynasty Yue ewer, also with Immortals design, but of slightly smaller size, from the Capital Museum, Beijing, see Zhongguo Meishu Quanji: Taoci, Vol.2, Shanghai, 1988, no.126 (fig. 1). Compare also a similar Yue ewer carved with peony scrolls in the Umezawa Gallery, Japan, illustrated in Mayuyama, Seventy Years, Vol. 1, Tokyo, 1976, p.117, no.336; and a Five dynasties Yue ewer in the Palace Museum, Beijing, without a cover, collection number: gu 00142989.

此執壺腹呈球狀，兩面刻張騫乘槎圖。肩飾細長流、曲柄，底承矮圈足，配 寶塔狀壺蓋，蓋面刻如意雲紋，配蓮鈕。通體施勻淨青釉，造型端莊秀雅。 晉《博物志》曾記載仙人乘槎之典故，隋唐時期張騫乘槎之說得到廣泛傳 播，傳達文人士族超然物外的理想情懷。此執壺恰為文學藝術融入瓷器創 作的典型。

與唐代執壺相較，五代執壺構造更為精妙，壺流細長，便於實用。比較一件 近乎一致的北宋越窯青釉張騫乘槎圖執壺，2005 年於浙江溫州出土，現藏 溫州博物館，見《吳地文物再想象》，北京，2025 年，頁6-19。參考一尺寸 較小的北宋越窯帶蓋執壺，壺身刻仙人對飲圖，現藏北京首都博物館，見 《中國美術全集：陶瓷（中）》，上海，1988 年，圖版126 號（圖一）；再比較 日本梅澤紀念館藏一宋代越窯青釉執壺，同飾寶塔蓋，惟壺身刻牡丹紋， 收錄於《龍泉集芳》，卷1，東京，1976 年，頁117，圖版336 號；及北京故宮 博物院藏一五代越窯青釉執壺，無蓋，藏品編號：故00142989。

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Property from the Dawentang Collection

達文堂珍藏 904

A BLUE AND WHITE ‘FISH’ STEM BOWL

HONGZHI PERIOD OR EARLIER, 15TH CENTURY

6 in. (15 cm.) diam.

HK$400,000-600,000

PROVENANCE:

Collection of Alfred and Ivy Clark, no.274

Spink & Son, London Collection of Ove Stenbeck

US$52,000-77,000

Sold at Bonhams London, 11 November 2010, lot 380

EXHIBITED:

Spink & Son, Blue and White Porcelain from the collection of Mrs Alfred Clark, London, 16 – 31 October 1974, cat. no. 31 Den Befriade Penseln: 300 År av Kinesiskt Porslin och Konsthantverk. Collection Stenbeck, Finland, 4 June 3 September 2000

Hong Kong Museum of History, The Radiant Ming 1368-1644 through the Min Chiu Society Collection, Hong Kong, 2015, cat. no. 268

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. I, Hong Kong, 2019, pp. 186-191, no. 28

來源:

克拉克伉儷舊藏，藏品編號 274

Spink & Son，倫敦

Ove Stenbeck舊藏

倫敦邦瀚斯，2010 年11月11日，拍品380 號

展覽:

Spink & Son, 《Blue and White Porcelain from the collection of Mrs Alfred Clark》，倫敦，1974 年10月16-31日，圖錄圖版31號

《Den Befriade Penseln: 300 År av Kinesiskt Porslin och Konsthantverk. Collection Stenbeck》，芬蘭，2000 年 6月4日-9月3日

香港歷史博物館，《日昇月騰︰從敏求精舍藏品看明代》，香港，2015 年， 圖錄圖版 268 號

出版:

《瓷緣：達文堂藏瓷》，卷1，香港，2019 年，頁186-191，圖版 28 號

(foot 圈足)

Property from the Dawentang Collection 達文堂珍藏

A SUPERB INCISED GREEN-ENAMELLED ‘DRAGON’ DISH

ZHENGDE SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1506-1521)

7 in. (17.7 cm.) diam.

HK$1,500,000-2,500,000

PROVENANCE:

US$200,000-320,000

Sold at Sotheby's London, 13 December 1966, lot 73

Spink & Son, London

Sold at Sotheby’s London, 1 July 1969, lot 149 Collection of Hugh Moss

Sold at Sotheby's London, 17 November 1970, lot 76

S. L. Moss, London

Collection of British Rail Pension Fund

Sold at Sotheby's Hong Kong, Important Chinese Porcelain, Enamels and Jade Carvings from the Works of Art Collection of the British Rail Pension Fund, 16 May 1989, lot 27

Sold at Christie's Hong Kong, 28 April 1997, lot 708

EXHIBITED:

The Oriental Ceramic Society of Hong Kong, Divine Power: The Dragon in Chinese Art, Hong Kong, 11 February – 31 October 2012, cat. p. 64

Hong Kong Museum of History, The Radiant Ming 1368-1644 through the Min Chiu Society Collection, Hong Kong, 2015, cat. no. 20

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. I, Hong Kong, 2019, pp. 204-207, no. 32

The dish is decorated to the interior with a five clawed dragon among clouds and flames, the eyes, mouth and scales are incised in the biscuit and covered with a bright emerald green enamel; to the exterior with two striding green dragons reserved against an incised wave ground.

來源:

It is rare to find Zhengde green enamelled dragon dishes in this small size. Compare to a larger one housed in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Miscellaneous Enamelled Porcelains Plain Tricoloured Porcelains, Shanghai, 2009, no.71; one in the British Museum, illustrated by Jessica Harrison Hall, Ming Ceramics in the British Museum, London, 2001, no. 8:34; and one from the Au Bak Ling Collection, sold at Christie’s Hong Kong, 26 September 2024, lot 6. 明正德

倫敦蘇富比，1966 年12月13日，拍品73號

Spink & Son，倫敦

倫敦蘇富比，1969 年 7月1日，拍品149 號

莫士撝舊藏

倫敦蘇富比，1970 年11月17日，拍品76 號

S. L. Moss，倫敦

英國鐵路基金會舊藏

香港蘇富比，《Important Chinese Porcelain, Enamels and Jade Carvings from the Works of Art Collection of the British Rail Pension Fund》，1989 年 5月16日，拍品27 號

香港佳士得，1997年 4月28日，拍品708 號

展覽:

香港東方陶瓷學會，《雲行雨施：中國龍文物大展》，2012 年 2月11日10月31日，圖錄頁64

香港歷史博物館，《日昇月騰︰從敏求精舍藏品看明代》，香港，2015 年， 圖錄圖版 20 號

出版:

《瓷緣：達文堂藏瓷》，卷1，香港，2019 年，頁 204-207，圖版32號 盤侈口，淺弧腹，矮圈足。盤心刻一綠彩五爪龍，盤桓於祥雲火彩之間，外壁 再刻一對綠龍，生動流暢，隙地淺刻波濤紋。

正德例常見直徑大於 18公分，尺寸小如本品者較罕見。參考北京故宮博物院 藏一較大者，見故宮博物院藏文物珍品全集《雜釉彩·素三彩》，上海， 2009 年，圖版 71號；大英博物館藏一例，見 Jessica Harrison-Hall著 《Ming Ceramics in the British Museum》，倫敦，2001年，圖版8:34； 及區百齡藏一例，尺寸與本品相若，拍賣於香港佳士得，2024 年 9月26日， 拍品6 號。

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from the Dawentang Collection 達文堂珍藏

A YELLOW-ENAMELLED DISH

HONGZHI SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1488-1505)

7 in. (17.7 cm.) diam.

HK$1,000,000-2,000,000

PROVENANCE:

Collection of Francis Howard Paget

US$130,000-260,000

Bluett & Sons, London, acquired from the executors of Francis Howard Paget on 1 October 1945, no. 2934

Collection of F. M. Mayer, acquired from the above on 26 September 1946

Sold at Christie's London, 24 June 1974, lot 100

Collection of Edward Wrangham

Sold at Bonhams London, 5 November 2009, lot 119

EXHIBITED:

Hong Kong Museum of History, The Radiant Ming 1368-1644 through the Min Chiu Society Collection, Hong Kong, 2015, cat. no. 17

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. I, Hong Kong, 2019, pp. 196-199, no. 30

The dish is finely potted with rounded sides rising from a short foot, covered overall with a soft yellow glaze.

Compare to a closely related Hongzhi yellow enamelled dish in the National Palace Museum, Taipei, collection number: guci 002885; a larger one in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Monochrome Porcelain, Hong Kong, 1999, p. 44, no. 39; and one formerly in the collection of Ms. Dorothy Bushell, now in the Victoria and Albert Museum, London, accession number: FE.115-1975.

雙圈六字楷書款

來源:

Francis Howard Paget 舊藏

Bluett & Sons，倫敦，於 1945 年10月1日購自上述者之遺囑執行人，

編號 2934

F.M. Mayer 舊藏，於 1946 年 9月26日購自上述者

倫敦佳士得，1974 年 6月24日，拍品100 號

Edward Wrangham舊藏

倫敦邦瀚斯，2009 年11月5日，拍品119 號

展覽:

香港歷史博物館，《日昇月騰︰從敏求精舍藏品看明代》，香港，2015 年， 圖錄圖版17 號

出版:

《瓷緣：達文堂藏瓷》，卷1，香港，2019 年，頁196-199，圖版30 號

盤敞口、淺弧壁，圈足，器內外施嬌黃釉，釉色嬌麗勻淨，為弘治朝黃釉瓷 之典型。

比較台北故宮博物院藏一件相似的弘治黃釉盤，藏品編號：故瓷 002885； 北京故宮博物院藏一件較大例，見故宮博物院藏文物珍品全集《顏色釉》， 香港，1999 年，頁44，圖版39 號；Dorothy Bushell舊藏一件，現藏於維多 利亞與艾伯特博物館，館藏編號：FE.115-1975。

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A RARE BLUE AND WHITE AND QINGBAIGLAZED ‘DRAGON’ BOWL

JIAJING SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1522-1566)

5 ½ in. (14.2 cm.) diam.

HK$800,000-1,000,000

PROVENANCE:

US$110,000-130,000

Sold at Sotheby’s London, 19 July 1928, lot 73

Bluett & Sons, London, no. 4297

Collection of Cecil Mercer Woodbridge, acquired from the above on 13 September 1928

Sold at Sotheby’s London, 8 May 1951, lot 23

Collection of R.H.R. Palmer

Sold at Sotheby's London, 28 May 1968, lot 89

Sold at Sotheby's Hong Kong, 31 October 1995, lot 378

EXHIBITED:

The Oriental Ceramic Society of Hong Kong, Divine Power: The Dragon in Chinese Art, Hong Kong, 11 February – 31 October 2012, cat. p. 69

Hong Kong Museum of History, The Radiant Ming 1368-1644 through the Min Chiu Society Collection, Hong Kong, 2015, cat. no. 44

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. I, Hong Kong, 2019, pp. 208-211, no. 33

The bowl is well painted in soft tones of blue depicting two four clawed dragons pacing through clouds and flames above a border of upright lappets. The interior is of pale celadon tone and incised with scrolling lotus encircling a lotus medallion.

The current bowl is very rare with incised decorations on the interior and covered with a pale celadon glaze, while the exterior is painted with slender dragons typically seen on Jiajing imperial porcelains, but with four claws instead of the usual five claws. This suggests the bowl was made for a high rank nobleman from the princely peerage, possibly a brother or cousin to the emperor. Compare, for example, to a Jiajing period bowl decorated with underglaze blue dragons of similar style to the current bowl, and inscribed on the base with the mark 'Jin Fu shang yong', suggesting it was made for the Princely State of Jin, included in the exhibition Kingly Wares: Porcelain for Ming Princely Households, Jingdezhen, 18 October 2021-28 February 2022.

明嘉靖 外青花內青白釉雲龍紋 盌

來源:

倫敦蘇富比，1928 年 7月19日，拍品73號

Bluett & Sons ，倫敦，編號4297

雙圈六字楷書款

Cecil Mercer Woodbridge舊藏，於 1928 年 9月13日購自上述者

倫敦蘇富比，1951年 5月8日，拍品23號

R. H. R. Palmer 舊藏

倫敦蘇富比，1968 年 5月28日，拍品89 號

香港蘇富比，1995 年10月31日，拍品378 號

展覽:

香港東方陶瓷學會，《雲行雨施：中國龍文物大展》，2012 年 2月11日10月31日，圖錄頁69

香港歷史博物館，《日昇月騰︰從敏求精舍藏品看明代》，香港，2015 年， 圖錄圖版44 號

出版:

《瓷緣：達文堂藏瓷》，卷1，香港，2019 年，頁 208-211，圖版33號 盌侈口，深壁，圈足，通體青花紋飾，外壁繪兩條四爪游龍，騰行於祥雲之 間，近足處繪蓮瓣紋。盌內呈淡青色，刻纏枝蓮紋一圈，盌心刻一折枝蓮花， 其格調清新溫潤，與外壁青花相得益彰，此種設計暫未見它例，或為孤例。 盌上龍紋嬝娜柔美，風格與嘉靖御瓷龍紋一致，惟飾四爪，有可能是為藩王 府、皇帝宗族弟兄專門燒製。類似龍紋可參考一件書「晉府上用」款的嘉靖 龍紋盌，展覽於《王者之器：明代藩王用瓷特展》，景德鎮，2021年10月18日2022 年 2月28日。

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Property from the Dawentang Collection

達文堂珍藏

A RARE GREEN AND AUBERGINEENAMELLED JAR AND COVER JIAJING PERIOD (1522-1566)

6 ⅛ in. (15.6 cm.) high

HK$500,000-700,000

PROVENANCE:

Collection of Edward T. Chow

US$64,000-89,000

Sold at Sotheby's Hong Kong, The Edward T. Chow Collection Part One: Ming & Qing Porcelain, 25 November 1980, lot 43

Offered at Sotheby's Hong Kong, 4 November 1997, lot 1421

EXHIBITED:

Hong Kong Museum of History, The Radiant Ming 1368-1644 through the Min Chiu Society Collection, Hong Kong, 2015, cat. no. 128

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. I, Hong Kong, 2019, pp. 224-227, no. 38

Regina Krahl, Arts of Asia, Hong Kong, July – August 2020, p. 127, fig. 6

明嘉靖 瓜皮綠釉紫頂蓋罐

來源:

仇焱之舊藏

香港蘇富比，《The Edward T. Chow Collection Part One: Ming & Qing Porcelain》，1980 年11月25日，拍品 43號

拍賣於香港蘇富比，1997年11月4日，拍品1421號

展覽:

香港歷史博物館，《日昇月騰︰從敏求精舍藏品看明代》，香港，2015 年， 圖錄圖版128 號

出版:

《瓷緣：達文堂藏瓷》，卷1，香港，2019 年，頁 224-227，圖版38 號

康蕊君，《Arts of Asia》，香港，2020 年 7-8月，頁127，圖版6 號

此類裝飾手法十分罕見，瓜皮綠與茄皮紫釉相映成趣、搭配精妙，市場上暫 未見同類傳世之器，本蓋罐或為孤品。罐上釉彩與嘉靖御瓷釉色相似，如北 京故宮博物院藏一件嘉靖款刻鳳紋綠釉渣斗，見《明代嘉靖隆慶萬曆御窯 瓷器（上）》，北京，2018 年，圖162號。

Property from the Dawentang Collection

達文堂珍藏

A FINE AND SUPERB YELLOW-ENAMELLED DISH

JIAJING SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1522-1566)

6 ¾ in. (17 cm.) diam.

HK$400,000-600,000

PROVENANCE:

US$52,000-77,000

Sold at Christie’s Hong Kong, 4 November 1996, lot 724

EXHIBITED:

Hong Kong Museum of Art, The Grandeur of Chinese Art Treasures: Min Chiu Society Golden Jubilee Exhibition, Hong Kong, 25 September 2010 – 2 January 2011, cat. no. 151 Hong Kong Museum of History, The Radiant Ming 1368-1644 through the Min Chiu Society Collection, Hong Kong, 2015, cat. no. 112

LITERATURE:

Peter Y.K. Lam, Hong Kong Choices: Ming and Qing Imperial Porcelain from Three Prominent Collections, Arts of Asia, Hong Kong, July August 2017, p. 59, fig. 7

Chinese Ceramics from the Dawentang Collection, Vol. I, Hong Kong, 2019, pp. 220-223, no. 37

明嘉靖 黃釉盤 雙圈六字楷書款

來源:

香港佳士得，1996 年 11月4日，拍品724 號

展覽:

香港藝術館，《博古存珍：敏求精舍金禧紀念展》，香港，2010年9月25日2011年1月2日，圖錄圖版151號

香港歷史博物館，《日昇月騰︰從敏求精舍藏品看明代》，香港，2015 年， 圖錄圖版112號

出版:

林業強，《Hong Kong Choices: Ming and Qing Imperial Porcelain from Three Prominent Collections》，《Arts of Asia》，香港，2017年 7-8月，頁59，圖7 《瓷緣：達文堂藏瓷》，卷1，香港，2019 年，頁 220 -223，圖版37 號

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Property from the Dawentang Collection

達文堂珍藏

A RARE BLUE AND WHITE ‘BOYS AT PLAY’ SQUARE VASE

YONGZHENG SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1723-1735)

5 ⅛ in. (13 cm.) high

HK$600,000-800,000

PROVENANCE:

US$77,000-100,000

Sold at Sotheby’s Hong Kong, 2 November 1998, lot 392

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 370-373, no. 57

Small Yongzheng ‘boys’ square vases are rare. Compare a slightly smaller one from the collection of Miss Dorothy Bushell, now in the Victoria and Albert Museum, accession number: FE.118-1975; a similar one from the John Gardner Coolidge Collection, lent by Mrs. John Gardner Coolidge since 1946 to the Museum of Fine Arts, Boston, accession number: 46.802; and one sold at Christie’s Hong Kong, The Au Bak Ling Collection, Volume II, 30 October 2025, lot 953.

清雍正 青花開光嬰戲圖方瓶 六字楷書款

來源:

香港蘇富比，1998 年11月2日，拍品392號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁 370 -373，圖版57 號 此雍正青花小方瓶略少見，比較三件相似例：一件尺寸略小，為Dorothy Bushell舊藏，現藏維多利亞與艾伯特博物館，館藏編號：FE.118-1975； 一件為 John Gardner Coolidge 珍藏，現借展於波士頓美術館，館藏編號： 46.802；香港佳士得拍賣一例，《區百齡珍藏第二部分》，2025年10月30日， 拍品953號。

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(four views 四面 )

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Property from the Dawentang Collection

達文堂珍藏

A FINE AND EXQUISITE PAIR OF BLUE AND

WHITE ‘DOUBLE-VAJRA’

DISHES

YONGZHENG SIX-CHARACTER MARKS IN UNDERGLAZE BLUE WITHIN DOUBLE CIRCLES AND OF THE PERIOD (1723-1735)

One: 4 ¼ in. (10.8 cm.) diam. The other: 4 ⅜ in. (11 cm.) diam. (2)

HK$800,000-1,500,000

PROVENANCE:

US$110,000-190,000

Sold at Christie’s Hong Kong, 1 June 2011, lot 3919

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 366-369, nos. 55-56

Zhongguo Minjian Shoucang Taoci Daxi – Xianggang Aomen Taiwan, Hebei, 2019, pp. 256-257

The decoration on these dishes is based on Ming dynasty Chenghua prototypes. Compare with a Chenghua dish with the double vajra on the interior from the British Museum, illustrated by J. Harrison Hall, Ming Ceramics in the British Museum, London, 2001, pl. 6:10.

Dishes of this design are normally of large size (larger than 15 cm. diam.), such as a Yongzheng example in the Nanjing Museum (17.6 cm. diam.), illustrated in Treasures in the Royalty – The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 173; and one illustrated by Liu Liangyou (25.8 cm. diam.), recorded in Ch’ing Official And Popular Wares- A Survey of Chinese Ceramics, Vol. 5, Taipei, 1991, p. 92. The present pair, of delicate small size, is considerably rarer and exceptionally well painted.

清雍正 青花結帶寶杵梵文小盤一對 雙圈六字楷書款

來源:

香港佳士得，2011年 6月1日，拍品3919 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁 366-369，圖版55-56 號 《中國民間收藏陶瓷大系-香港，澳門，台灣卷》，河北，2019 年， 頁 256-257

盤敞口，淺腹，外壁繪梵文，內底繪金剛寶杵紋，間以飄帶點綴。此器原型 最早見於明宣德至成化朝，參考一成化青花例，現藏大英博物館， 見 J. Harrison-Hall著《Ming Ceramics in the British Museum》， 倫敦，2001年，圖版6:10。

此類寶杵梵文盤尺寸通常較大（大於 15 公分），見南京博物院藏一雍正例 （17.6 公分），載於《中國清代官窯瓷器》，上海，2003 年，頁173；劉良佑著 錄一雍正例（25.8公分），見《中國歷代陶瓷鑒賞》，冊5，台北，1991年， 頁92。此對小盤繪功精細，發色濃鬱，呈現寶石藍光澤，十分精巧可愛。

from the Dawentang Collection

A RARE PAIR OF DOUCAI ‘ FIGURES IN LANDSCAPE’ DISHES

YONGZHENG SIX-CHARACTER MARKS IN THREE LINES IN UNDERGLAZE BLUE WITHIN DOUBLE CIRCLES AND OF THE PERIOD (1723-1735)

One: 6 ⅛ in. (15.6 cm.) diam.

The other: 6 in. (15.4 cm.) diam.

HK$1,500,000-3,000,000

PROVENANCE:

C.T. Loo, Paris

US$200,000-380,000

Bluett & Sons, London, purchased from the above in Paris in November 1951, no.2062

Collection of H. M. Knight, purchased from the above on 21 March 1952

Sold at Sotheby’s London, 12 May 1970, lot 93

Collection of Paul and Helen Bernat

Sold at Sotheby’s Hong Kong, The Paul and Helen Bernat

Collection of Important Qing Imperial Porcelain and Works of Art, 15 November 1988, lot 13

Sold at Sotheby’s Hong Kong, 30 October 2000, lot 155

EXHIBITED:

Rijksmuseum Amsterdam, Oosterse Schatten, 4000 Jaar Aziatische Kunst, Amsterdam, 1954, cat. no. 384

The Capital Museum, Treasures of Hong Kong: The 20th Anniversary of Hong Kong’s Handover, Beijing, 2017, cat. no. 163 Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 117

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 416-421, nos. 70-71

Each dish is exquisitely painted in vibrant tones, one depicts a hermit on a mule followed by his attendant crossing a bridge beside a riverside landscape, the other with a fisherman fishing from a rocky shore. The exterior is decorated with long arched stalks of bamboo and lingzhi growing from rockwork.

While a number of Yongzheng doucai dishes with a central medallion scene survive, exceedingly few examples are decorated with figures in landscape. Compare to a Yongzheng doucai ‘immortals’ dish from the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, no. 219. Compare also to a Yongzheng dish painted with an immortal and his attendant, the exterior further decorated with arched bamboos and lingzhi, housed in the Tsinghua University Art Museum, Beijing.

清雍正

來源:

盧芹齋，巴黎

Bluett & Sons，倫敦，於巴黎1951年11月購自上述者，編號 2062

H.M. Knight 舊藏，1952 年 3月21日購自上述者

倫敦蘇富比，1970 年 5月12日，拍品93號

Paul及Helen Bernat伉儷舊藏

香港蘇富比，《The Paul and Helen Bernat Collection of Important Qing Imperial Porcelain and Works of Art》，1988 年11月15日，

拍品13號

香港蘇富比，2000 年10月30日，拍品155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384 號

首都博物館，《香江雅集：香港回歸祖國20周年特展》，北京，2017年，

圖錄圖版163號

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020年12月18日2021年 4月28日，圖錄圖版117 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁416- 421，圖版 70 -71號 兩盤通體鬥彩紋飾，均以精工細繪，色澤清麗明快。一盤繪隱士騎騾，其侍 從相隨，行於江畔橋上；另一繪漁父垂釣於岩岸，山巒連綿，意境清幽。盤外 壁飾以修長彎垂的竹枝，間以靈芝，寧靜悠遠，與盤心相呼應。

杜甫《絕句》云，「兩個黃鸝鳴翠柳，一行白鷺上青天。窗含西嶺千秋雪，門 泊東吳萬里船」。此對鬥彩盤與詩句對應，正體現春夏之際，山景壯麗，水光 瀲灧，萬物生機勃勃，詩人閑適安逸之情躍然畫上。通過對此對雍正盤之觀 摩，後人可遙想當年杜甫閑居草堂之舒暢心緒。

存世的雍正朝山水圖盤雖多，然盤心多繪桃樹、五蝠、山石花卉等類，人物者 較罕見。比較清宮舊藏一件鬥彩人物圖盤，見故宮博物院藏文物珍品大系 《五彩·鬥彩》，香港，1999 年，圖版219 號；另比較一雍正鬥彩人物仙鶴盤， 其外壁同繪竹枝與靈芝，風格與本品相似，現藏清華大學藝術博物館。

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Property from the Dawentang Collection

達文堂珍藏

A FINE AND VERY RARE COPPER-RED GLAZED AND GREEN-ENAMELLED LANGYAO ‘CHI DRAGON’ BOTTLE VASE

KANGXI PERIOD (1662-1722)

7 ¼ in. (18.4 cm.) high, wood stand

HK$1,500,000-2,500,000

PROVENANCE:

Collection of Edward T. Chow

Collection of Man Chung Wang

US$200,000-320,000

Sold at Christie’s New York, 19 September 2007, lot 386

EXHIBITED:

Hong Kong Museum of Art, The Grandeur of Chinese Art Treasures: Min Chiu Society Golden Jubilee Exhibition, Hong Kong, 25 September 2010 – 2 January 2011, cat. no. 165

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 104

LITERATURE:

H.D. Ling and E.T. Chow, Collection of Chinese Ceramics from the Hall of Leisurely Pastime, Vol. II, Hong Kong, 1950, no. 115 Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 362-365, no. 54

清康熙 郎窯紅釉綠彩暗刻瑞獸螭龍紋長頸瓶

來源:

仇焱之舊藏

王孟鐘舊藏

紐約佳士得，2007年 9月19日，拍品386 號

展覽:

香港藝術館，《博古存珍：敏求精舍金禧紀念展》，香港，2010年9月25日2011年1月2日，圖錄圖版165號

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020 年12月18日2021年 4月28日，圖錄圖版104 號

出版:

H.D. Ling 及仇焱之 , 《翫齋珍藏歷代名瓷影譜》下冊，香港，1950 年， 編號 115 《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁 362-365，圖版54 號

(base 底部 )

(another view 另一面 )

The body and tall neck are covered with a rich vibrant strawberry crackled glaze, the unique greenish band on the mouth rim is delicately incised with a pacing chi- dragon and a mythical beast and painted in black enamel.

Langyao wares from the Kangxi period are usually covered with a high fired copper red glaze or copper green glaze. The current vase, with a combination of copper red glaze and a band of low fired green enamel on the mouth, further adorned with dragons in black enamels, is almost unseen on other examples and might possibly be unique, making it extremely rare. It is all the more remarkable for its small size, which is ideal for scholarly desk display and appreciation.

Compare to two larger Langyao red glazed bottle vases, but without incised decorations, one sold at Christie’s Hong Kong, The Au Bak Ling Collection, Volume II, 30 October 2025, lot 923; and one sold at Christie’s New York, The Collection of Robert Hatfield Ellsworth Part III, 19 March 2015, lot 449.

Vibrant red glazes had always been treasured by the Qing emperors. Emperor Qianlong, for example, highly admired copper red glazed vases and composed poems to express his affection. One such poem is published in Qinggaozong Yuzhi Shiwen Quanji – Yuzhishi Siji, Vol. 21, 1976, Taipei, p. 585.

此件長頸瓶發色濃麗，呈現寶石般色澤，口沿與足部呈現典型燈草邊白痕， 過渡自然。口沿處施極為難得的淡青綠彩，刻螭龍及瑞獸，並填黑彩。

傳世康熙郎窯器主要分高溫銅紅釉及銅綠釉兩種，如本瓶口沿施低溫綠彩 並加黑彩瑞獸、螭龍紋者，則幾乎沒有二例，極為罕見，有可能為孤例。

郎窯紅長頸瓶通常尺寸較大，本瓶僅 18公分高，尤其精巧可愛，適於文房清供 把玩。比較兩件較大例，一為區百齡舊藏，售於香港佳士得，《區百齡珍藏第 二部分》，2025 年10月30日，拍品923號；一為安思遠舊藏，售於紐約佳士得， 《錦瑟華年 - 安思遠私人珍藏第三部分》，2015年 3月19日，拍品449號。

寶石紅釉一直深受清帝喜愛，乾隆皇帝更是對紅釉讚賞不已，曾賦詩詠嘆 「世上硃砂非所擬，西方寶石致難同。插花應使花羞色，比畫翻嗤畫是空」。 此詩載於《清高宗御製詩文全集 - 御製詩四集》，卷21，1976年，台北，頁585。

A RARE CARVED WHITE-GLAZED ‘CLOUD’ WATER POT

KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE IN THREE LINES AND OF THE PERIOD (1662-1722)

2 ⅞ in. (7.2 cm.) high

HK$1,200,000-1,800,000

PROVENANCE:

Alice Boney, New York

US$160,000-230,000

Bluett & Sons, London, purchased from the above on 9 February 1962

Collection of E. T. Hall, purchased from the above on 13 June 1962, no. 125

Sold at Sotheby’s Hong Kong, 2 May 2000, lot 516

EXHIBITED:

Oriental Ceramic Society, The Arts of the Ch’ing Dynasty, London, 1964, cat. no. 305

Oriental Ceramic Society, The Chinese Scholars Desk, 17th to 18th century, Ashmolean Museum, Oxford, 1979, cat. no. 14

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 103

LITERATURE:

Sotheby’s Thirty Years in Hong Kong, Hong Kong, 2003, no. 130 Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 354-357, no. 52

Peter Y.K. Lam, Imperial Kangxi Porcelain from the Dawentang Collection, Arts of Asia, Spring 2021, p. 36, fig. 7

The gently incurving sides are finely carved to depict billowing clouds of ruyi form rising in columns, covered overall with a pale even white glaze of lustrous tone.

Water pots of this type are more commonly found covered with a celadon glaze. White glazed examples like the current lot are far rarer. A similar Kangxi white glazed water pot is found in the Shanghai Museum, recorded in Zhongguo Taoci Quanji, vol. 14, Shanghai, 2000, no. 127. Compare also to a white glazed water pot from the collection of Mr. Quincy Chuang, illustrated in An Anthology of Chinese Ceramics, Hong Kong, 1980, p. 164, no. 121. For celadon glazed examples, see one in the Palace Museum, Beijing, illustrated in Qing Porcelain of Kangxi, Yongzheng and Qianlong Periods from the Palace Museum Collection, Hong Kong, 1989, no. 130; and one formerly in the collection of Diana D. Ashcroft, sold at Christie’s Hong Kong, 31 May 2017, lot 3013. A pair of this shape but decorated with doucai decorations was formerly in the Greenwald Collection, sold at Christie’s Hong Kong, 1 December 2010, lot 2816.

清康熙 白釉雕如意雲紋馬蹄式水丞 三行六字楷書款

來源:

Alice Boney，紐約

Bluett & Sons，倫敦，於 1962 年 2月9日購自上述者

E. T. Hall舊藏，於 1962 年 6月13日購自上述者，編號 125 香港蘇富比，2000 年 5月2日，拍品516 號

展覽:

倫敦東方陶瓷學會，《The Arts of the Ch’ing Dynasty》，倫敦，1964 年， 圖錄圖版305號

倫敦東方陶瓷學會，《The Chinese Scholars Desk, 17th to 18th century》， 阿什莫林博物館，牛津，1979 年，圖錄圖版14 號

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020 年12月18日2021年 4月28日，圖錄圖版103號

出版:

《香港蘇富比三十周年》，香港，2003 年，圖版130 號 《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁 354-357，圖版52號

林業強，《Imperial Kangxi Porcelain from the Dawentang Collection》， 《Arts of Asia》，2021年春，頁 36，圖版 7 號

水丞馬蹄式，斂口，斜腹漸豐，外壁刻如意雲紋，翻捲舒展自如，氣韻靈動。 外施白釉，清麗可人，底青花書「大清康熙年製」楷書款。

此類康熙馬蹄式水丞多施冬青釉，白釉者較為珍稀。上海博物館藏一白釉例， 見《中國陶瓷全集》，卷14，上海，2000 年，圖版127 號；莊貴侖先生典藏一 例，見《中國陶瓷雅集》，香港，1980 年，頁164，圖版121號；青釉者，比較北 京故宮博物院藏一件，出版於《故宮珍藏康雍乾瓷器圖錄》，香港，1989年， 圖版130 號；及Diana D. Ashcroft舊藏一件，拍賣於香港佳士得，2017年 5月 31日，拍品3013號。葛沃得舊藏鬥彩馬蹄式雲紋水丞一對，於香港佳士得拍 賣，2010 年 12月1日，拍品2816 號。

(mark)

(two views 兩面)

(interior 內壁)

Property from the Dawentang Collection

達文堂珍藏

A RARE AND EXCEPTIONAL BLUE AND WHITE ‘CROSSING THE MAGPIE BRIDGE’ BOWL

KANGXI-YONGZHENG PERIOD (1662-1735)

The base with an apocryphal Chenghua six character mark in underglaze blue. 6 ¼ in. (16 cm.) diam.

HK$500,000-800,000

PROVENANCE:

Collection of Dr. & Mrs. Rudorff

S. Marchant & Son, London

EXHIBITED:

US$64,000-100,000

S. Marchant & Son, Exhibition of Chinese Blue and White- Wan Li to K’ang Hsi, London, 1980, cat. no. 75

S. Marchant & Son, Exhibition of Chinese Ceramics Tang to Qing, London, 2014, cat. no. 30

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 330-335, no. 46

Regina Krahl, Arts of Asia, Hong Kong, July – August 2020, p. 126, fig. 4

Peter Y.K. Lam, Imperial Kangxi Porcelain from the Dawentang Collection, Arts of Asia, Spring 2021, p. 41, fig. 18

The current bowl delicately depicts a dreamy imagery of magpies, constellations and the moon, implicitly referring to the mythical tale of the Cowherd and Weaver Girl crossing the Magpie Bridge during the Qixi Festival.

Such motifs were often seen on porcelains from the Kangxi and Yongzheng periods, and became a beloved theme favoured by the Qing emperors. According to Qing court archive, on the 9th day of 12th month of the Qianlong 8th year (1743), Emperor Qianlong mandated the exclusive use of the ‘Crossing the Magpie Bridge’ motif on blue and white porcelain wares made for use during the Qixi Festival.

清康熙/雍正 青花鵲橋仙渡圖

盌

底書「大明成化年製」款。

來源:

Rudorff 伉儷舊藏

S. Marchant & Son，倫敦

展覽:

S. Marchant & Son, 《Exhibition of Chinese Blue and White - Wan Li to K’ang Hsi》，倫敦，1980，圖錄圖版 75號

S. Marchant & Son, 《Exhibition of Chinese Ceramics Tang to Qing》，倫敦，2014，圖錄圖版30 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁 330 -335，圖版46 號

康蕊君，《Arts of Asia》，香港，2020 年 7-8月，頁126，圖版4 號 林業強，《Imperial Kangxi Porcelain from the Dawentang Collection》，《Arts of Asia》，2021年春，頁41，圖版18 號

此盌妙繪喜鵲、彎月與群星，暗喻七夕鵲橋，牛郎織女相會之千古佳話。此 種紋飾在康熙、雍正兩朝瓷器上均有繪製，並成為深受清帝喜愛的題材，據 《清檔》記載，「乾隆八年十二月九日，太監胡世傑交御用青花白地膳盌一 件，傳旨交唐英燒造……各按時令……花樣俱要青花白地……七夕用鵲橋 仙渡……」，知乾隆朝規定此圖樣專為七夕時節用。

(base 底部 )

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Property from the Dawentang Collection 達文堂珍藏

A SUPERB PAIR OF FAMILLE ROSE PINKENAMELLED ‘PEONY’ BOWLS

YONGZHENG PERIOD (1723-1735)

4 ⅛ in. (10.5 cm.) diam. (2)

HK$1,200,000-2,500,000 US$160,000-320,000

PROVENANCE:

Collection of H. M. Knight

Sold at Sotheby's London, 12 May 1970, lot 114 Collection of E.T. Hall, nos. 377 and 378

Sold at Christie's London, The E.T. Hall Collection of Chinese Monochrome Porcelains, 7 June 2004, lot 140

Sold at Christie’s Hong Kong, 29 May 2013, lot 2108

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 404-407, nos. 65-66

Each bowl is finely potted with deep rounded sides rising from a straight foot. The exterior is covered with a vibrant ruby red enamel, the interior is finely decorated with a blooming peony spray.

Compare to a similar bowl from the Meiyintang Collection, however, decorated with fruits to the interior, illustrated by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, no. 957, later sold at Guardian Beijing, 27 June 2022, lot 2815; compare also a pair of ruby red ground cups painted with three flower buds to the interior, from the J. M. Hu Collection, illustrated in Qing Imperial Monochromes – The Zande Lou Collection, Hong Kong, 2005, no. 16; and a tea bowl decorated with prunus to the interior, sold at Christie’s Hong Kong, 31 May 2017, lot 3015.

清雍正 外胭脂紅釉內粉彩牡丹紋 盌 一對

來源:

H. M. Knight 舊藏

倫敦蘇富比，1970 年 5月12日，拍品114 號

E. T. Hall 舊藏，藏品編號 377、378 倫敦佳士得，《The E.T. Hall Collection of Chinese Monochrome Porcelains》，2004 年 6月7日，拍品140 號 香港佳士得，2013 年 5月29日，拍品2108 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁404- 407，圖版65-66 號 盌敞口，弧腹漸收，下承圈足，外壁施胭脂紅釉，盌內素白，惟盌心繪一朵折 枝牡丹。造型玲瓏秀美，胎薄體輕。

比較玫茵堂舊藏一對胭脂紅釉茶盌，然盌心繪瑞果紋，見康蕊君著《玫茵堂 藏中國陶瓷》，第二冊，倫敦，1994 年，圖版957 號，售於北京嘉德，2022 年 6月27日，拍品2815 號；另參考一對雍正胭脂紅茶圓，內粉彩繪三朵花苞， 為胡惠春珍藏，並載於《暫得樓清代官窯單色釉瓷器》，香港，2005 年， 圖版16 號；以及香港佳士得售一胭脂紅茶圓，內繪梅花，見 2017年 5月31日， 拍品3015 號。

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Property from the Dawentang Collection

達文堂珍藏

A FINE AND SUPERB CELADON-GLAZED DRUM-SHAPED JAR

QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

6 ⅜ in. (16.1 cm.) high

HK$500,000-800,000

PROVENANCE:

Collection of T. Y. Chao

US$64,000-100,000

Offered at Sotheby's Hong Kong, The T. Y. Chao Private and Family Trust Collections of Important Chinese Ceramics and Jade Carvings: Part I, 18 November 1986, lot 87

Offered at Sotheby's Hong Kong, 1 November 1999, lot 421

EXHIBITED:

Chinese University of Hong Kong, Ch’ing Porcelain from the Wah Kwong Collection, Hong Kong, November 1973 - February 1974, cat. no. 18

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 536-539, no. 106

The jar is applied with two lion mask handles and a band of bosses around the shoulder and above the foot, covered overall with an even soft green glaze. This type of vessel is named as huanang (flower holder) in the Qing court archives. On the 26th day of the 5th month of the Yongzheng 6th year, "a celadon glazed huanang " was presented to the emperor, serving as the prototype for the present piece. Later, on the 13th day of the 10th month of the Qianlong 2nd year, "a drum shaped double handled huanang " was presented to Qianlong, indicating that this form was frequently produced during the Qianlong period.

Compare this rare jar with two related examples, one was included in An Exhibition of Important Chinese Ceramics from the Robert Chang Collection, London, 1993, cat. no. 67; one from the National Palace Museum, Taipei, collection number: zhongci 001162.

清乾隆 粉青釉鋪首耳鼓型罐

來源:

趙從衍舊藏

拍賣於香港蘇富比，《The T. Y. Chao Private and Family Trust Collections of Important Chinese Ceramics and Jade Carvings:

Part I》，1986 年11月18日，拍品87 號

拍賣於香港蘇富比，1999 年11月1日，拍品 421號

展覽:

香港中文大學，《華光草堂珍藏清代瓷器》，香港，1973 年11月-1974 年 2月，圖錄圖版18 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁536-539，圖版106 號 器作仿鼓式，折邊向內，鼓腹，雙獸首耳，上下各模印乳丁紋一圈，通體施 粉青釉，清潤淡雅。此類器型在清宮檔案中名為「花囊」。雍正六年五月二 十六日，太監劉希文等交來「仿冬青窑花囊一件」，或為本品之原型。乾隆 二年十月十三日，太監毛團等交來「雙耳鼓釘花囊」，知乾隆時期此器時 有燒造。

比較兩件乾隆相似例，一件為張宗憲先生珍藏，出版於《雲海閣》，倫敦， 1993 年，圖版67 號；一件藏台北故宮博物院，藏品編號：中瓷 001162。

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Property from the Dawentang Collection

達文堂珍藏

A FINE AND EXCEPTIONALLY RARE GETYPE GLAZED DOUBLE-GOURD VASE

YONGZHENG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1723-1735)

9 ½ in. (24.4 cm.) high

HK$4,000,000-6,000,000

PROVENANCE:

Collection of Edward T. Chow (1910-1980)

US$520,000-770,000

Sold at Sotheby’s Hong Kong, The Edward T. Chow Collection: Part One, 25 November 1980, lot 90 Collection of Robert Chang (1927-2024)

Sold at Sotheby’s Hong Kong, 25 April 2004, lot 262

EXHIBITED:

An Exhibition of Important Chinese Ceramics from the Robert Chang Collection, London, 1993, cat. no. 60

The Oriental Ceramic Society of Hong Kong, Art & Imitation in China, Hong Kong, 14 October – 17 December 2006, cat. no. 78

Hong Kong Museum of Art, The Grandeur of Chinese Art Treasures: Min Chiu Society Golden Jubilee Exhibition, Hong Kong, 25 September 2010 – 2 January 2011, cat. no. 179

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 128

LITERATURE:

Peter Y.K. Lam, Hong Kong Choices: Ming and Qing Imperial Porcelain from Three Prominent Collections, Arts of Asia, Hong Kong, 2017, p. 68, fig. 29

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 450-453, no. 80

清雍正 仿哥釉綬帶耳雙喜寶珠葫蘆尊 六字篆書款

來源:

仇焱之（1910 -1980）舊藏

香港蘇富比，《The Edward T. Chow Collection: Part One》，1980 年 11月25日，拍品90 號

張宗憲（1927-2024）舊藏

香港蘇富比，2004 年 4月25日，拍品262號

展覽:

《雲海閣》，倫敦，1993 年，圖錄圖版60 號

香港東方陶瓷學會，《馳騁古今：中國藝術的仿摹與創新》，香港， 2006 年10月14日-12月17日，圖錄圖版 78 號

香港藝術館，《博古存珍：敏求精舍金禧紀念展》，香港，2010年9月25日2011年1月2日，圖錄圖版179 號

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020 年12月18日2021年 4月28日，圖錄圖版128 號

出版:

林業強，《Hong Kong Choices: Ming and Qing Imperial Porcelain from Three Prominent Collections》，《Arts of Asia》，香港，2017年， 頁68，圖版 29 號 《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁450 - 453，圖版80 號

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fig. 1 Collection of the Shanghai Museum 圖一 上海博物館藏品

fig. 2 Collection of the Nanjing Museum 圖二 南京博物院藏品

The elaborately potted vase is covered with an even crackled ge type glaze, the collared neck terminates in a bulbous mouth with a pair of ribbon like handles. Vases of this double gourd form are also referred as shuangxi baozhuping, ‘double happiness precious pearl vase’ in Qing court archives.

According to an inventory list included in the palace archives, in the 12th month of 30th year of Guangxu reign (1904), ‘two ge type shuangxi baozhuping with Yongzheng marks are stored in the Dongshun Shanfang’, very likely referring to ge type double gourd vase as the present one.

This form of double gourd vases with handles first appeared during the Yongzheng period and can be found in a number of different glazes. Compare with a nearly identical vase also from E.T. Chow Collection, sold at Sotheby’s Hong Kong, 19 May 1981, lot 498. A closely related example is a Yongzheng celadon glaze vase of same form in the Shanghai Museum (fig. 1); another example in blue and white and copper red decorated is in the Nanjing museum, illustrated in Treasures in the Royalty – The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 128 (fig. 2); and a Yongzheng Ru type one from the Palace Museum, Beijing, illustrated in Selection of Ru Ware – the Palace Museum’s Collection and Archaeological Excavation, Beijing, 2015, no. 99 (fig. 3).

fig. 3 Collection of the Palace Museum, Beijing 圖三 北京故宮博物院藏品

蒜頭形口，束頸，頸凸起一道弦紋，溜肩，圓腹，圈足，瓶口與肩飾對稱綬 帶耳，形似如意。通體施仿哥窯灰青釉，開金絲鐵線紋片，造型清麗脫俗， 雅致可愛。

此種葫蘆尊在清宮又稱作「雙喜寶珠瓶」。據光緒三十年十二月《梨花伴月 收存不在印檔瓷器清冊》載，「素尚齋東順山房存雍正年款……哥窯雙喜 寶珠瓶二件……」，本仿哥釉葫蘆瓶極可能為清檔所記錄之種類。

此類造型創燒於雍正朝，乾隆、道光均有燒製，另有青花釉裏紅、豆青釉 等品種，然屬仿哥釉者最少見。比較一件與本品近乎一致的雍正葫蘆尊， 同為仇焱之舊藏，拍賣於香港蘇富比，1981年 5月19日，拍品 498 號；一件 雍正豆青釉例，現藏上海博物館（圖一）；南京博物院藏一青花釉裏紅例， 錄於《中國清代官窯瓷器》，上海，2003 年，圖版128號（圖二）；北京故宮 博物院藏一仿汝釉例，其仿宋品味與本品極其相似，見《汝瓷雅集-故宮 博物院珍藏及出土汝窯瓷器薈萃》，北京，2015 年， 圖版99 號，可相比較 （圖三）。

Property from the Dawentang Collection

達文堂珍藏

A FINE AND RARE LEMON YELLOWENAMELLED WINE CUP

YONGZHENG SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE SQUARE AND OF THE PERIOD (1723-1735)

2 ½ in. (6.2 cm.) diam.

HK$800,000-1,500,000

PROVENANCE:

US$110,000-190,000

Sold at Sotheby’s Hong Kong, 14 November 1989, lot 162

Sold at Sotheby’s Hong Kong, 4 November 1997, lot 1525

EXHIBITED:

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 125 (one of two)

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 466-469, no. 84

The wine cup is covered on the exterior with a vibrant lemon yellow enamel, the interior and base left white. The cup is rare for its size and double square mark. Compare to a nearly identical cup bearing a double square Yongzheng mark, from the collection of Dr. Ip Yee, was included in An Anthology of Chinese Ceramics, Hong Kong, 1980, no. 128.

清雍正 檸檬黃釉酒圓 雙方框六字楷書款

來源:

香港蘇富比，1989 年11月14日，拍品162號

香港蘇富比，1997年11月4日，拍品1525號

展覽:

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020 年12月18日2021年 4月28日，圖錄圖版125號（兩件其一）

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁466- 469，圖版84 號

此檸檬黃釉小盃胎骨輕薄，形制秀雅可人，適於把玩，其色澤尤為瑩潤出彩。 比較一件相似例，底同書雙方框六字楷書款，為葉義先生收藏，曾在香港藝 術舘敏求精舍展出，並載於《中國陶瓷雅集》，香港，1980 年，圖版128號。

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from the Dawentang Collection

A FINE AND RARE RU-TYPE GLAZED OCTAGONAL VASE

QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

8 ⅜ in. (21.2 cm.) high

HK$3,000,000-5,000,000

PROVENANCE:

US$390,000-640,000

Sold at Sotheby’s Hong Kong, 8 April 2010, lot 1922

EXHIBITED:

The Capital Museum, Treasures of Hong Kong: The 20th Anniversary of Hong Kong’s Handover, Beijing, 2017, cat. no. 30 Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 130

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 524-527, no. 103

The beauty of Song dynasty glazes was greatly admired by the emperors of the Qing dynasty. The crackled celadon glaze seen on the present vase is an interpretation of the Ru ware, one of the most sought after wares of the Song dynasty. According to Qing court archives, on the 1st day of the 9th month of Qianlong 16th year (1751), “seven Ru octagonal vases were presented to the Emperor, who then ordered nanmu stands to match them.”.

One example of the Southern Song dynasty guan vase of very similar form as the current lot, is in the National Palace Museum, Taipei, collection number: guci 017701.

Compare to a Qianlong vase of very similar form and glaze from the National Palace Museum, Taipei, illustrated in Catalog of the Special Exhibition of K’ang-Hsi, Yung-Cheng and Ch’ien-Lung Porcelain Ware from the Ch’ing Dynasty in the National Palace Museum, Taipei, 1986, cat. no. 102; one from the Avery Brundage Collection, now in the Asian Art Museum, San Francisco, collection number: B60P2321; a pair from J. M. Hu Collection, now in the Shanghai Museum, illustrated in Qing Imperial Monochromes – the Zande Lou Collection, Hong Kong, 2005, no. 29.

清乾隆

仿汝釉八方弦紋盤口瓶

來源:

香港蘇富比，2010 年 4月8日，拍品1922號

展覽:

首都博物館，《香江雅集：香港回歸祖國20周年特展》，北京，2017年， 圖錄圖版30 號

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020年12月18日2021年 4月28日，圖錄圖版130 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁524-527，圖版103號

瓶呈八方，圓盤口，長直頸，間飾弦紋，腹部豐盈，瓶身見八組凸棱，通體罩 仿汝青釉，呈天青色，澄瑩如脂玉，開片細密自然，透古樸意，乃乾隆仿燒宋 瓷的鼎峰之作。

據《清檔》記載，乾隆十六年九月一日，「員外郎白世秀、太監胡世傑交…… 汝釉八方瓶七件……傳旨……俱配楠木座」，而乾隆十七年又再燒造，可推 知乾隆帝對此器的鍾愛。本品成色極佳，造型規整秀麗，應為清檔所載之一。

本瓶制式之原型，可參考台北故宮博物院藏一南宋官窯八方弦紋盤口瓶， 藏品編號：故瓷 017701。乾隆帝摹古而不泥古，本品在宋式的基礎上拓寬凸 棱，並增加橫向弦紋，更富立體感，莊重渾厚，呈現「圓中帶方，方中寓圓」的 視覺效果。

比較一乾隆例，其紋飾造型十分相似，惟通體罩粉青釉，現藏台北故宮博物 院，並收錄於《清康雍乾名瓷特展》，台北，1986 年，圖版102號；另見一例， 釉色較本品偏暗，為 Avery Brundage 珍藏，現藏舊金山亞洲藝術博物館，館 藏編號：B60P2321；胡惠春藏一對，現藏上海博物館，載於《暫得樓清代官 窯單色釉瓷器》，香港，2005 年，圖版29 號。

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達文堂珍藏

A FINE LEMON YELLOW-ENAMELLED TEA BOWL

YONGZHENG SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1723-1735)

3 ½ in. (9 cm.) diam.

HK$800,000-1,500,000

PROVENANCE:

Collection of Jingguantang (T. T. Tsui)

US$110,000-190,000

Sold at Christie’s Hong Kong, The Jingguantang Collection: Magnificent Chinese Works of Art, 3 November 1996, lot 558

EXHIBITED:

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 125 (one of two)

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 474-477, no. 87

The ‘lemon yellow’ enamel is an enamel of pastel tone mixed with white to achieve opaqueness, which was almost exclusively used for small cups and bowls during the Yongzheng and Qianlong periods. Compare to a slightly smaller pair of lemon yellow enamelled tea bowls, from the Au Bak Ling collection, sold at Christie’s Hong Kong, 26 September 2024, lot 13; and a pair from the Leshantang collection, sold at Sotheby’s Hong Kong, 9 April 2024, lot 105.

清雍正 檸檬黃釉茶圓 雙圈六字楷書款

來源:

靜觀堂（徐展堂）舊藏

香港佳士得，《靜觀堂》，1996 年11月3日，拍品558 號

展覽:

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020 年12月18日2021年 4月28日，圖錄圖版125號（兩件其一）

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁474- 477，圖版87 號

檸檬黃釉，又稱洋黃，為雍正一朝創燒，傳世者少，多見於小盃、茶圓等器 物。比較一對雍正款檸檬黃釉茶圓，尺寸略小，為區百齡先生舊藏，拍賣於 香港佳士得，2024 年 9月26日，拍品13號；另比較樂山堂藏一對，拍賣於 香港蘇富比，2024 年 4月9日，拍品105 號。

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Property from the Dawentang Collection

達文堂珍藏

A PAIR OF YELLOW-ENAMELLED WINE CUPS

YONGZHENG SIX-CHARACTER MARKS IN UNDERGLAZE BLUE WITHIN DOUBLE CIRCLES AND OF THE PERIOD (1723-1735)

2 ⅝ in. (6.6 cm.) diam. (2)

HK$800,000-1,500,000

PROVENANCE:

US$110,000-190,000

Sold at Sotheby’s Hong Kong, 27 April 1999, lot 420

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 470-473, nos. 85-86 Zhongguo Minjian Shoucang Taoci Daxi – Xianggang Aomen Taiwan, Hebei, 2019, pp. 272-273

Each cup is delicately potted with rounded sides rising from a straight foot, covered to the exterior with even yellow enamel, the interior and base left white. Compare a similar pair formerly in the Sir Percival David Collection, now in the British Museum, accession number: PDF, A.567; compare also a larger pair of Yongzheng lemon yellow enamelled tea bowls, from the Wang Xing Lou collection, sold at Christie’s Hong Kong, 30 May 2024, lot 2702.

清雍正 黃釉酒盃一對 雙圈六字楷書款

來源:

香港蘇富比，1999 年 4月27日，拍品 420 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019年，頁470-473，圖版85-86號 《中國民間收藏陶瓷大系-香港，澳門，台灣卷》，河北，2019 年， 頁 272-273

盃撇口，口以下漸收，形態俊雅，外施黃釉，釉色勻潤純正。比較一對略 小的雍正黃釉盃，為大維德爵士舊藏，現藏大英博物館，館藏編號：PDF, A.567；另參考一對較大例，施檸檬黃釉，為望星樓舊藏，拍賣於香港佳士 得，2024 年 5月30日，拍品2702號。

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Property from the Dawentang Collection 達文堂珍藏

A FINE CORAL-RED ENAMELLED DISH

YONGZHENG SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1723-1735)

8 ⅛ in. (20.8 cm.) diam.

HK$400,000-600,000

PROVENANCE:

US$52,000-77,000

Sold at Sotheby’s Hong Kong, 29 October 1991, lot 77

Offered at Sotheby’s Hong Kong, 1 November 1999, lot 344

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 442-445, no. 78

清雍正 珊瑚紅釉盤 雙圈六字楷書款

來源:

香港蘇富比，1991年10月29日，拍品77 號

拍賣於香港蘇富比，1999 年11月1日，拍品344 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁442- 445，圖版 78 號

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Property from the Dawentang Collection

達文堂珍藏

A SUPERB AND EXCEPTIONALLY RARE COPPER-RED-DECORATED AND BLUE AND WHITE ‘DRAGON’ MOONFLASK

QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

12 ⅝ in. (32 cm.) high

HK$3,500,000-5,000,000

PROVENANCE:

US$450,000-640,000

Sold at Sotheby’s London, 12 June 1990, lot 305

Sold at Sotheby’s Hong Kong, 8 October 2006, lot 1063

EXHIBITED:

The Oriental Ceramic Society of Hong Kong, Divine Power: The Dragon in Chinese Art, Hong Kong, 11 February – 31 October 2012, cat. p. 109

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 135

LITERATURE:

Tina Yee wan Pang, A Passion for Collecting: The Oriental Ceramic Society of Hong Kong, Orientations, vol. 43, January February 2012, p. 50

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 486-489, no. 91

清乾隆 青花釉裏紅海水雲龍抱珠紋抱月瓶

來源:

倫敦蘇富比，1990 年 6月12日，拍品305號

香港蘇富比，2006 年10月8日，拍品1063號

展覽:

香港東方陶瓷學會，《雲行雨施：中國龍文物大展》，2012 年 2月11日10月31日，圖錄頁109

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020年12月18日2021年 4月28日，圖錄圖版135號

出版:

彭綺雲著，《A Passion for Collecting: The Oriental Ceramic Society of Hong Kong》，《Orientations》，冊 43，2012 年1-2月，頁50 《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁486- 489，圖版91號 (mark)

fig. 1 Collection of the Palace Museum, Beijing 圖一 北京故宮博物院藏品

Each side of the vase is decorated in vibrant copper red tones with a dragon leaping in pursuit of a copper red flaming pearl amidst blue clouds and above a band of wind tossed waves, and a pair of arched handles painted with classic scroll flanks the cylindrical neck.

This type of moonflask is also known as ‘ma gua ping’. According to Qing court archives, on the 8th day of the 4th month of the Qianlong 7th year (1742), ‘court official Hai Wang received an order to make a few ma gua ping with copper red dragons and underglaze blue clouds over a white ground, to be passed on to Tang Ying in Jiangxi’. The present moonflask may be one of those recorded flasks.

Compare to a very similar Qianlong moonflask from the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglazed Red (III) , Hong Kong, 2000, no. 213 (fig. 1); a larger one was exhibited in the Hong Kong Museum of Art, illustrated in The Wonders of the Potter's Palette, Hong Kong Museum of Art, 1994, no. 66; one from the collection of Gerald Reitlinger, illustrated by Soame Jenyns, Later Chinese Porcelain, London, 1971, P. XCIV, fig. 1.

Compare to a larger flask of the same form and design, sold at Christie’s Hong Kong, 3 November 1996, lot 776; and one sold at Sotheby’s Hong Kong, 7 April 2009, lot 1605.

瓶直頸，肩、頸處對稱飾綬帶耳，扁圓腹，一五爪蒼龍飛騰於風雲駭浪之 間，戲逐火珠。龍姿雄健威嚴，神儀橫貫，雙目炯炯如炬，栩栩如生。

此瓶圓如滿月，在清宮檔案中，亦被稱為「馬褂瓶」，是乾隆帝青睞的器形。

据《清檔》，乾隆七年四月八日，「內大臣海望奉旨…青雲白地釉裏紅龍馬褂 瓶畫樣交江西唐英…照樣燒造幾件」，本品或為檔案中所載之器。

參考一件近乎一致例，為清宮舊藏，現藏北京故宮博物院，見故宮博物院藏 文物珍品全集《青花釉裏紅（下）》，香港，2000 年，圖版213號（圖一）； 一件略大例曾展於香港藝術館，並載於《清瓷薈錦-香港藝術館藏清代 陶瓷》，香港，1994 年，圖版66 號；一件為Gerald Reitlinger典藏，見 Soames Jenyns所編著《Later Chinese Porcelain》，倫敦，1971年， 圖版 XCIV，圖1。

香港佳士得曾拍賣一形制、紋飾一致例，為英國鐵路基金會舊藏，拍賣於 1996年11月3日，拍品776號；香港蘇富比拍賣一例，拍賣於2009年 4月7日， 拍品1605 號，可資比對。

Property from the Dawentang Collection 達文堂珍藏

A GUAN-TYPE GLAZED DOUBLE-HANDLED MOONFLASK

YONGZHENG PERIOD (1723-1735)

12 ¼ in. (31.3 cm.) high

HK$1,500,000-3,000,000

PROVENANCE:

Collection of Mrs. Alfred Clark (1891-1976)

US$200,000-380,000

Sold at Sotheby’s London, 25 March 1975, lot 107 Collection of Sakamoto Gorō (Su Lin An)

Sold at Sotheby’s Hong Kong, Important Chinese Ceramics and Jades from the Su Lin An Collection, 31 October 1995, lot 326

Sold at Sotheby’s Hong Kong, 10 April 2006, lot 1620

EXHIBITED:

Musee de I’Orangerie, Arts de la Chine Ancienne, Paris, 1937, cat. no. 495

Exhibition of Chinese Art for Chinese Medical Relief, London, 1938 Oriental Ceramic Society, Jun and Kuan Wares, London, 1952, cat. no. 38

The Oriental Ceramic Society of Hong Kong, Art & Imitation in China, Hong Kong, 14 October – 17 December 2006, cat. no. 77 Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 129

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 454-457, no. 81

Treasures from Japan, Masterpieces of Chinese Ceramics from Yamanaka & Co., Ltd. and other Japanese Collections, Beijing, 2020, pp. 202-203, no. 79

Regina Krahl, Arts of Asia, Hong Kong, July-August 2020, p.127, fig. 7

Of globular form with characteristic flattened sides, the body is covered with an even guan-type bluish-grey glaze, suffused with a sparse brown crackle around the neck and on one side. The cylindrical neck is flanked by a pair of arched handles.

Yongzheng moonflasks appear in various glazes imitating Song dynasty wares. Both Nian Xiyao and Tang Ying, commissioned by the Yongzheng Emperor, developed new monochrome colours, including archaistic crackled glazes. Compare to a similar guan-type moonflask from the Huaihaitang Collection, illustrated in Ethereal Elegance –Porcelain Vases of the Imperial Qing, Hong Kong, 2007, no.31; a ge-type ‘eight trigrams’ moonflask from the National Palace Museum, Taipei, collection number: zhongci 0034964; and a larger Ru-type example was sold at Sotheby’s Hong Kong, 7 May 2025, lot 3620.

清雍正

仿官釉雙耳抱月瓶

來源:

克拉克夫人（1891-1976）舊藏

倫敦蘇富比，1975 年 3月25日，拍品107 號

坂本五郎（蘇林庵）舊藏

香港蘇富比，《Important Chinese Ceramics and Jades from the Su Lin An Collection》，1995 年10月31日，拍品326 號

香港蘇富比，2006 年 4月10日，拍品1620 號

展覽:

橘園美術館，《Arts de la Chine Ancienne》，巴黎，1937年，圖錄圖版 495號

《Exhibition of Chinese Art for Chinese Medical Relief》, 倫敦，1938 年 東方陶瓷學會，《Jun and Kuan Wares》，倫敦，1952 年，圖錄圖版38 號 香港東方陶瓷學會，《馳騁古今：中國藝術的仿摹與創新》，香港，2006年 10月14日-12月17日，圖錄圖版 77 號 香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020年12月18日2021年 4月28日，圖錄圖版129 號 出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁454- 457，圖版81號 《東瀛遺珠：山中商會及日本舊藏名窯瓷器》，北京，2020 年，頁 202203，編號 79 康蕊君，《Arts of Asia》，香港，2020 年 7-8月，頁127，圖版 7 號 此瓶扁圓腹，頸部對稱飾一對如意耳，線條流暢，通體施仿官灰青釉，頸部 及一面開片，釉光瑩潤清澈，色澤似玉。

清雍正年間，仿宋紋片瓷的燒造始攀上新的高峰。年希堯與唐英二人奉聖諭 督導御窰，形形色色的單色釉彩相繼出現，而仿古紋片釉亦應運而生。比較 一件雍正仿官釉扁瓶，為懷海堂珍藏，圖見《機暇清賞：懷海堂藏清代御窰 瓷缾》，香港，2007年，圖版31號；台北故宮博物院藏一雍正仿哥釉八卦紋 抱月瓶，頸部有一道凸弦紋，與本品相類，藏品編號：中瓷 003964；及一件 仿汝釉如意耳扁壺，拍賣於香港蘇富比，2025 年 5月7日，拍品3620 號。

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Property from the Dawentang Collection

達文堂珍藏

A FINE LARGE RU-TYPE GLAZED CARVED ‘CHI DRAGON’ CHARGER

YONGZHENG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1723-1735)

20 in. (50.8 cm.) diam.

HK$1,800,000-3,000,000

PROVENANCE:

US$230,000-380,000

Sold at Sotheby’s Hong Kong, 4 May 1994, lot 105

EXHIBITED:

The Oriental Ceramic Society of Hong Kong, Divine Power: The Dragon in Chinese Art, Hong Kong, 11 February – 31 October 2012, cat. p. 98

The Capital Museum, Treasures of Hong Kong: The 20th Anniversary of Hong Kong’s Handover, Beijing, 2017, cat. no. 26 Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 127

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 446-449, no. 79

The centre is finely carved with a medallion enclosing a chi dragon leaping among puffs of cloud. The exterior is carved with a border of upright overlapping petals, covered overall with an elegant pale celadon glaze to imitate the Ru ware.

A Yongzheng dish of the same pattern from the T. Y. Chao collection is illustrated in Ming and Ch’ing Porcelain from the Collection of the T Y Chao Family Foundation, Hong Kong, 1978, no. 46, later sold at Sotheby’s Hong Kong, 19 May 1987, lot 286. Another example in the Shanghai Museum, previously from the collection of J. M. Hu, is illustrated in Qing Imperial Monochromes – the Zande Lou Collection, Hong Kong, 2005, no. 7; a further example formerly in the Tsui Museum of Art, is recorded in Chinese Ceramics - Qing Dynasty, IV, Hong Kong, 1995, no. 20.

The dish is likely modelled after the Longquan prototype. Compare to a similarly decorated Yuan dynasty Longquan ‘dragon’ dish from the Palace Museum, Beijing, collection number: gu 00143222.

清雍正 仿汝釉刻螭龍紋大盤 六字篆書款

來源:

香港蘇富比，1994 年 5月4日，拍品105號

展覽:

香港東方陶瓷學會，《雲行雨施：中國龍文物大展》，2012 年 2月11日10月31日，圖錄頁98

首都博物館，《香江雅集：香港回歸祖國20周年特展》，北京，2017年， 圖錄圖版 26 號

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020年12月18日2021年 4月28日，圖錄圖版127 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁446- 449，圖版 79 號

盤心刻一螭龍，騰躍於祥雲之間，盤外刻仰蓮瓣紋一周，通體施天青色釉， 尺寸磅礴，紋飾俊秀典雅，為仿汝之佳作。

比較三件十分類似的清雍正仿汝大盤，一件為趙從衍舊藏，出版於《Ming and Ch’ing Porcelain from the Collection of the T Y Chao Family Foundation》，香港，1978 年，圖版46 號，拍賣於香港蘇富比，1987年 5月 19日，拍品286 號；一件現藏上海博物館，為胡惠春捐贈，見《暫得樓清代 官窯單色釉瓷器》，香港，2005 年，圖版 7 號；及徐氏博物館舊藏一件，載於 《陶瓷 IV·清代》，香港，1995 年，圖版20 號。

北京故宮博物院藏一元代龍泉窯龍紋青釉大盤，其盤心同飾雲龍紋，外壁 刻蓮紋，應為本品之原型，藏品編號：故00143222。

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Property from the Dawentang Collection

達文堂珍藏

A FINE DOUCAI ‘CHRYSANTHEMUM MEDALLION’ BOWL

YONGZHENG SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE SQUARE AND OF THE PERIOD (1723-1735)

4 ⅝ in. (11.8 cm.) diam.

HK$500,000-800,000

PROVENANCE:

US$64,000-100,000

Sold at Sotheby’s Hong Kong, 1 November 1999, lot 365

EXHIBITED:

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 118

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 434-437, no. 76

Zhongguo Minjian Shoucang Taoci Daxi – Xianggang Aomen Taiwan, Hebei, 2019, p. 266

The current bowl is very rare bearing a double square mark. A very similar pair of bowls is illustrated in Chinese Porcelain, The S.C. Ko. Tianminlou Collection, Hong Kong, 1987, pl.100; and a larger example in the Palace Museum, Beijing, is recorded in The Complete Collection of Treasures of the Palace Museum, Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, p. 250, pl. 229.

清雍正

來源:

香港蘇富比，1999 年11月1日，拍品365號

展覽:

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020年12月18日2021年 4月28日，圖錄圖版118 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁434- 437，圖版 76 號

《中國民間收藏陶瓷大系-香港，澳門，台灣卷》，河北，2019 年，頁 266 本拍品底書雙方框款，非常珍稀。比較一對近乎一致的例子，圖見《天民樓 藏瓷》，香港，1987年，圖版100 號；另一尺寸較大者藏於北京故宮博物院， 載於故宮博物院藏文物珍品全集《五彩·鬥彩》，香港，1999 年，頁 250， 圖版229 號。

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Property from the Dawentang Collection

達文堂珍藏

A RARE DOUCAI ‘CHRYSANTHEMUM MEDALLION’ GLOBULAR JAR

YONGZHENG SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1723-1735)

4 in. (10.2 cm.) high

HK$600,000-800,000

PROVENANCE:

US$77,000-100,000

Sold at Christie's Hong Kong, 2 May 1994, lot 692

Sold at Christie's Hong Kong, 3 November 1998, lot 957

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 430-433, no. 75

Zhongguo Minjian Shoucang Taoci Daxi – Xianggang Aomen Taiwan, Hebei, 2019, p.264

The design of the current jar is inspired by its Chenghua prototype, such as the Chenghua-marked doucai jar with medallions of chrysanthemums and butterflies from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, no. 166.

Compare also to a Yongzheng example in the Palace Museum, Beijing, illustrated in Dayun Painted Porcelain of the Qing Dynasty, Vol. 1, Beijing, 2024, no. 2, which is also featured on the cover.

清雍正 鬥彩團菊紋小罐 雙圈六字楷書款

來源:

香港佳士得，1994 年 5月2日，拍品692號

香港佳士得，1998 年11月3日，拍品957 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁430 - 433，圖版 75號 《中國民間收藏陶瓷大系-香港，澳門，台灣卷》，河北，2019 年，頁 264 此款紋飾源自成化鬥彩器，參考清宮舊藏一件成化款鬥彩團花菊蝶紋 罐，其蓋為雍正朝後配，見故宮博物院藏文物珍品全集《五彩．鬥彩》，香 港，1999 年，圖版166 號。參考北京故宮博物院藏一件雍正款相似例，見 《清代大運彩瓷（上）》，北京，2024 年，圖版2號，並為封面。

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Property from the Dawentang Collection

達文堂珍藏

A RARE PAIR OF SMALL FALANGCAI RUBYRED GROUND ‘CHRYSANTHEMUM’ DISHES

YONGZHENG BLUE ENAMEL FOUR-CHARACTER MARKS IN DOUBLE SQUARES AND OF THE PERIOD (1723-1735)

3 ½ in. (9 cm.) diam. (2)

HK$2,500,000-5,000,000

PROVENANCE:

US$320,000-640,000

Sold at Sotheby’s Hong Kong, 29 October 1991, lot 247 Offered at Sotheby’s Hong Kong, 9 October 2012, lot 3069

EXHIBITED:

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 115

LITERATURE:

Peter Y.K. Lam, Hong Kong Choices: Ming and Qing Imperial Porcelain from Three Prominent Collections, Arts of Asia, Hong Kong, 2017, p. 66, fig. 25

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 382-387, nos. 60-61

Regina Krahl, Arts of Asia, Hong Kong, July - August 2020, p. 125, fig. 2

清雍正 琺瑯彩胭脂紅地菊紋小盤一對

來源:

香港蘇富比，1991年10月29日，拍品247 號

拍賣於香港蘇富比，2012 年10月9日，拍品3069 號

展覽:

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020 年12月18日2021年 4月28日，圖錄圖版115號

出版:

林業強，《Hong Kong Choices: Ming and Qing Imperial Porcelain from Three Prominent Collections》，《Arts of Asia》，香港，2017年， 頁66，圖25 《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁 382-387，圖版60 -61號

康蕊君，《Arts of Asia》，香港，2020 年 7-8月，頁125，圖版 2號

This pair of delightful dishes are decorated with sprays of chrysanthemum against a rich ruby-red ground. The petals are vividly detailed in white and pale yellow at the centre, while the leaves are picked out in turquoise and lime green.

The ruby-red enamel was originally developed in Europe, but Chinese craftsmen made significant improvements through reducing the proportion of colloidal gold and the amount of tin, which symbolised a breakthrough development. According to the Qing court archives, on the 8th day of the 9th month in the Yongzheng 10th year (1732), the Enamel Workshop records: “A total of nine pairs of painted enamel ‘chrysanthemum’ dishes, bowls, tea cups, and wine cups were produced and presented to the emperor”. The present pair of dishes is presumably one of the dishes documented in the records.

A pair of similar ‘chrysanthemum’ dishes can be found in the National Palace Museum, Taipei, illustrated in Porcelain with Painted Enamels of Qing Yongzheng Period (1723-1735), Taipei, 2013, no. 9, collection number: guci 17107, 17108 (fig. 1); and a slightly larger one was sold at Christie’s Hong Kong, The Imperial Sale, 1 June 2011, lot 3649.

A related ruby-red ground Yongzheng-marked dish but enamelled with bamboo from the National Palace Museum, is recorded in Special Exhibition of Ch’ing Dynasty Enamelled Porcelains of the Imperial Ateliers, Taipei, 1992, p. 197, no. 99; and a pair enamelled with prunus is illustrated op.cit., pp. 42-43, no. 11.

此對小盤以胭脂紅釉作地，上以琺瑯彩料繪三組折枝黃菊，襯綠葉，濃淡有 致，生機盎然。整體造型清逸秀雅，寶光燦然。

胭脂紅，別稱金紅、玫瑰紅，由西洋傳入，以微量黃金為呈色劑，低溫燒製而 就。雍正年間取得突破成就，成色最精，與琺瑯彩料交相輝映。據《清檔》記 載，雍正十年九月初八日，「燒造得畫琺琅黃菊花磁碟、盤、盌、茶圓、酒圓共 九對，呈進，訖。」，本對菊紋小盤應為檔案所錄之一。

台北故宮博物院藏一對與本品相似的琺瑯彩胭脂紅地菊花盤，見《金成旭 映—清雍正琺瑯彩瓷》，台北，2013年，圖版9號，藏品編號：故瓷17107，17108 （圖一）；一件略大例，拍賣於香港佳士得，《中國宮廷御製藝術精品》， 2011年 6月1日，拍品3649 號。

器型相似的雍正琺瑯彩胭脂紅者，可參考台北故宮博物院藏一翠竹圖例，發 表於《清宮中琺瑯彩瓷特展》，台北，1992 年，頁197，圖版99 號；及雍正胭 脂紅地白梅圖盤一對，同藏台北故宮博物院，見上書，頁42- 43，圖版11號。

fig. 1 Collection of the National Palace Museum, Taipei

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Property from the Dawentang Collection

達文堂珍藏

AN EXCEEDINGLY FINE AND EXCEPTIONAL PAIR OF BLUE AND WHITE GARLIC-MOUTH ‘SANDUO ’ VASES

QIANLONG SIX-CHARACTER SEAL MARKS IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

11 ⅛ in. (28.2 cm.) high (2)

HK$3,000,000-5,000,000

PROVENANCE:

S. Marchant and Son, London

US$390,000-640,000

Sold at Christie’s Hong Kong, 27 October 2003, lot 635

EXHIBITED:

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 133

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 482-485, nos. 89-90

清乾隆 青花折枝花果三多紋蒜頭瓶一對 六字篆書款

來源:

S. Marchant and Son，倫敦

香港佳士得，2003 年10月27日，拍品635號

展覽:

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020年12月18日2021年 4月28日，圖錄圖版133號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁482- 485，圖版89-90 號 (marks)

fig. 1 Collection of the National Palace Museum, Taipei 圖一 國立故宮博物院藏品

Each vase is elegantly shaped with smoothly sloping shoulders and elongated neck. The globular body is finely decorated with flowering branches, all between a band of upright petals and ruyi key frets to the shoulder. The underglaze blue decoration of the present pair is inspired by the Yongle and Xuande prototypes. According to Qing court archives, on the 25th day of the 6th month of Qianlong 3rd year (1738), a ‘Xuande blue and white garlic-mouth vase’ was delivered to Tang Ying, the superintendent in Jingdezhen, possibly as a commission to make imitation copies. The present pair is possibly one of such vases.

Vases of this shape and design were first seen in the Yongzheng reign. Compare to a Yongzheng example in the National Museum of China, Beijing, which serves as a model for later periods.

Compare to a very similar Qianlong vase from the National Palace Museum, Taipei, illustrated in Blue and White Ware of the Ch’ing Dynasty, vol. 2, Hong Kong, 1968, pl. 5 (fig. 1); one from the Nanjing Museum, recorded in Treasures in the Royalty – The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 211; one from the Wangxinglou Collection, sold at Christie’s Hong Kong, 30 May 2022, lot 2718; and one from the Tianminlou Collection, sold at Sotheby’s Hong Kong, 3 April 2019, lot 14.

此器端正雅致，長頸垂肩，瓶口形似蒜頭，通體青花紋飾，腹部繪折枝花果 紋，發色濃鬱明麗，乃刻意模仿明初永宣風格。據《清檔》記載，乾隆三年 六月二十五日，「七品首領薩木哈、催總白世秀來說太監高玉交……宣窯青 花白地蒜頭瓶一件……傳旨，交與燒造磁器處唐英……」。本品或為唐英奉 旨定燒的仿宣花瓶之一。

此種青花花果紋蒜頭瓶創燒於雍正朝，如中國國家博物館藏一雍正例，尺 寸、紋飾均與本品相若，可作比照，其式對乾隆、嘉慶兩朝影響深遠，北京 故宮博物院現藏一嘉慶款蒜頭瓶，館藏編號：新 00085521。

台北故宮博物院藏一十分相似的乾隆例，著錄於《故宮藏瓷-清青花瓷 （二）》，香港，1968 年，圖版5 號（圖一）；一例藏南京博物院，見《中國清 代官窯瓷器》，上海，2003 年，頁 211；一件為望星樓舊藏，拍賣於香港佳士 得，2022 年 5月30日，拍品2718 號；一件為天民樓舊藏，拍賣於香港蘇富 比，2019 年 4月3日，拍品14 號。

Property from the Dawentang Collection 達文堂珍藏

A MAGNIFICENT IMPERIAL COPPER-REDDECORATED AND BLUE AND WHITE ‘NINE DRAGONS’ MEIPING

QIANLONG PERIOD (1736-1795)

13 ⅝ in. (34.5 cm.) high

HK$6,000,000-10,000,000

PROVENANCE:

US$770,000-1,300,000

Sold at Sotheby’s Hong Kong, 11 April 2008, lot 2923

EXHIBITED:

Hong Kong Museum of Art, The Grandeur of Chinese Art Treasures: Min Chiu Society Golden Jubilee Exhibition, Hong Kong, 25 September 2010 – 2 January 2011, cat. no. 182

The Oriental Ceramic Society of Hong Kong, Divine Power: The Dragon in Chinese Art, Hong Kong, 11 February – 31 October 2012, cat. p. 97

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 134

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 490-495, no. 92

清乾隆 御製青花釉裏紅九龍閙海紋梅瓶

來源:

香港蘇富比，2008 年 4月11日，拍品2923號

展覽:

香港藝術館，《博古存珍：敏求精舍金禧紀念展》，香港，2010年9月25日2011年1月2日，圖錄圖版182號

香港東方陶瓷學會，《雲行雨施：中國龍文物大展》，2012 年 2月11日10月31日，圖錄頁97

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020 年12月18日2021年 4月28日，圖錄圖版134 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁490 - 495，圖版92號

fig. 1 Collection of the National Palace Museum, Taipei 圖一 國立故宮博物院藏品

fig. 2 Collection of the Palace Museum, Beijing 圖二 北京故宮博物院藏品

The vase is of extremely well-potted slender form with broad shoulders rising to a short neck with lipped rim, elegantly decorated in vibrant underglaze copper-red and soft tones of underglaze blue with nine dragons leaping dynamically amidst foaming crests and crashing waves, all beneath a classic border of lappets at the neck and a band of lingzhi fungus at the shoulder. The copper red is particularly well fired, being a bright tone of red, resembling crush raspberries.

The present vase is a deliberate derivation of the early-Ming prototypes, more specifically, it follows the designs on early Ming meiping. See a Xuande blue and white meiping with a lipped mouth and rounded shoulders, depicting a four-clawed dragon grasping lingzhi in mouth and leaping amidst the wave, was excavated in Zhushan and included in Xuande Imperial Porcelain excavated at Jingdezhen, Taipei, 1998, no. 8-1. For a Xuande prototype decorated with nine dragons among crashing waves, see a stem bowl in the National Palace Museum, Taipei, collection number: guci 016656 (fig. 1).

There is a matching record in the Qing court archive, which states that ‘on the 29th day of the 10th month of the Qianlong 3rd year (1738), Emperor Qianlong ordered for a copper-red-decorated dragon meiping be remade, as the copper red was unsatisfactory and required improved firing’. Later, on the 10th day of the 6th month of Qianlong 4th year (1739), a ‘Xuande-imitated blue and white and copper-red-decorated dragon meiping’ was presented to the Emperor.

Similarly decorated vessels from the Qianlong period can be found in important collections. A very similar Qianlong ‘nine dragon’ meiping of this size from the Palace Museum, Beijing, is illustrated in Qing Porcelain of Kangxi, Yongzheng and Qianlong Periods from the Palace Museum Collection, Hong Kong, 1989, p. 327. One from the Qing Court Collection is included in the Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2010, no. 205 (fig. 2); one in the Metropolitan Museum of Art, exhibited in Masters and Masterpieces: Chinese Art from the Florence and Herbert Irving Collection, New York, 30 January 2021 – 5 June 2022, collection number: 1978.529 (fig. 3); and a blue and white one sold at Sotheby’s Hong Kong, 8 April 2023, lot 3723.

fig. 3 Collection of the Metropolitan Museum of Art 圖三 大都會藝術博物館藏品

此梅瓶器型端莊優雅，唇口，短頸，豐肩，弧腹下收。

瓶身妙繪九龍，各具 神采，群龍張牙舞爪，身姿矯健遒勁，盤旋騰躍無一雷同，奔行於風雲駭浪 之間，其氣勢如雷霆萬鈞，盡顯盛世王朝的非凡氣魄。

此瓶沿襲明初青花梅瓶之器形與紋樣，見珠山出土一件明宣德青花四爪龍 紋梅瓶，其身形同為唇口、寬肩，肩部繪蓮紋一周，見《景德鎮出土明宣德 官窯瓷器》，台北，1998 年，圖版8-1。然明初梅瓶留白較多，時至清朝描 繪則更為精妙細緻。另參考一宣德青花九龍紋高足盌，背景同繪波濤海浪 紋，其龍姿與本品神態相似，可作比對，藏台北故宮博物院，藏品編號：故 瓷 016656（圖一）。

乾隆帝對青花釉裏紅情有獨鍾，據《清檔》，乾隆三年十月二十九日，乾隆 皇帝下旨「釉裏紅龍梅瓶，紅龍顏色不好，往好裏燒造」，可見他對釉裏紅 的燒造成果十分留心，要求精益求精；而後，據《清檔》廣木作記載，乾隆 四年六月十日，「首領薩木哈來說太監毛團交……宣窯青雲釉裏紅龍梅瓶 一件……」。此梅瓶釉裏紅發色尤其出彩，鮮明濃麗，與青花交相輝映，正 合乾隆皇帝旨意。

乾隆年間的龍紋梅瓶可見數例傳世。參考一相似的青花釉裏紅例，現藏 北京故宮博物院，並載於《故宮珍藏康雍乾瓷器圖錄》，香港，1989 年， 頁 327；一例尺寸略大，為清宮舊藏，見故宮博物院藏文物珍品全集《青 花釉裏紅（下）》，香港，2010 年，圖版205 號（圖二）；一例藏美國大都會 藝術博物館，並於2021年 1月30日-2022 年 6月5日展覽於《Masters and Masterpieces: Chinese Art from the Florence and Herbert Irving Collection》，藏品編號：1978.529（圖三）；及香港蘇富比拍賣一青花九 龍例，拍賣於2023 年 4月8日，拍品3723號。

from the Dawentang Collection 達文堂珍藏

A PAIR OF FAMILLE ROSE ‘MELON AND BUTTERFLY’ BOWLS

QIANLONG SIX-CHARACTER SEAL MARKS IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

One: 4 ¼ in. (10.8 cm.) diam.

The other: 4 ⅜ in. (11 cm.) diam. (2)

HK$700,000-900,000

PROVENANCE:

One:

US$90,000-110,000

Sold at Christie's Hong Kong, 29 May 2007, lot 1519

Sold at Christie's Hong Kong, 1 December 2009, lot 1927

The other:

Sold at Sotheby's Hong Kong, 25 November 1987, lot 191

Sold at Christie's New York, 25 March 2011, lot 1703

EXHIBITED:

The Capital Museum, Treasures of Hong Kong: The 20th Anniversary of Hong Kong’s Handover, Beijing, 2017, cat. no. 185

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 512-515, nos. 97-98

Each bowl is delicately enamelled with fruiting and flowering melon vine and bamboo which continue over the rim into the interior. The ripe melons burst open to show the red seeds, with a pink butterfly in flight.

Compare to a very similar bowl from the Nanjing Museum, illustrated in Treasures in the Royalty – the Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 218. A pair of bowls previously from Sir Percival David Collection, now in the British Museum and illustrated by Rosemary Scott, Illustrated Catalogue of Qing Enamelled Ware in the Percival David Foundation of Chinese Art, London, 1991, no. 898.

清乾隆 粉彩過枝瓜瓞綿綿紋

來源:

其一：

香港佳士得，2007年 5月29日，拍品1519 號

香港佳士得，2009 年12月1日，拍品1927 號

另一：

香港蘇富比，1987年11月25日，拍品191號

紐約佳士得，2011年 3月25日，拍品1703號

展覽:

首都博物館，《香江雅集：香港回歸祖國20周年特展》，北京，2017年， 圖錄圖版185號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁512-515，圖版97-98 號

盌侈口微撇，弧腹，下承圈足，內外施粉彩過枝瓜果紋。癩瓜自外壁蜿蜒伸 展至盌內，並青綠竹葉，枝葉相屬不間斷，稱「過枝花」。盌內外各繪一隻粉 色蝴蝶，小巧靈動。癩瓜，又稱「錦荔枝」，明代高濂提及，其「生果若荔枝稍 大，色金紅，賞鑒清玩用」。瓜瓞綿綿紋以瓜果、蝴蝶為意象，深受乾隆帝喜 愛，此對盌摒棄繁複平鋪，而以過枝、留白的形式呈現，十分生動別致。

參考南京博物院藏一件相類例，尺寸與本品一致，見《中國清代官窯瓷器》， 上海，2003 年，頁 218；一對為大維德爵士舊藏，現藏大英博物館，並出版 於蘇玫瑰著《Illustrated Catalogue of Qing Enamelled Ware in the Percival David Foundation of Chinese Art》，倫敦，1991年，圖版898號。

(marks)

(two views 兩面 )

Property from the Dawentang Collection

A RARE YANGCAI YELLOW-GROUND IMPERIAL-INSCRIBED WALL VASE

QIANLONG SIX-CHARACTER SEAL MARK IN IRON RED IN A LINE AND OF THE PERIOD (1736-1795)

7 ¼ in. (18.3 cm.) long

HK$1,200,000-2,000,000

PROVENANCE:

清乾隆 洋彩黃地開光御題詩文壁瓶

礬紅六字篆書橫款

US$160,000-260,000

Sold at Christie’s Hong Kong, 1 June 2016, lot 3243

EXHIBITED:

Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 18 December 2020 –28 April 2021, cat. no. 139

LITERATURE:

Chinese Ceramics from the Dawentang Collection, Vol. II, Hong Kong, 2019, pp. 502-505, no. 95 Zhongguo Minjian Shoucang Taoci Daxi – Xianggang Aomen Taiwan, Hebei, 2019, p. 287

The poem inscribed on the present vase was composed by the Qianlong Emperor and published in Qinggaozong Yuzhi Shiwen Quanji – Yuzhishi Chuji , Vol. 11, 1976, Taipei, p. 546.

It may be translated as : Guan and Ru wares are famed antiques; This newly made vase is of even finer quality. It stays by me to stir poetic verse, as I pick blossoms along the road. Hung on a light palanquin, it holds wild flowers perfectly. Kept far from the dust and noise, its delicate fragrance drifts through the curtained gauze.

In the 11th month of the Qianlong 7th year (1742), Tang Ying submitted a memorial to the Emperor, stating: ‘ there are various models of wall vase, I have respectfully inscribed the imperial poems onto the vases; the characters are rendered in four different scripts, matched to the vase forms…… six pairs have been made first and are presented for your inspection…” According to the inscription, the present vase is presumably one of the vases mentioned by Tang Ying, produced in the 7th year of the Qianlong reign . Several inscribed wall vases still remain on the east wall of the front room in the Hall of Three Rarities, and one can well imagine the leisurely times Emperor Qianlong took in admiring them.

Compare to a slightly larger yangcai wall vase with the same poem inscribed on the body, illustrated in Stunning Decorative Porcelains from the Ch’ien-lung Reign, Taipei, 2008, no. 20; one in the Shenyang Imperial Palace Museum, exhibited in the Nan Xun Zhi Yin- Imperial Poems from the Qing Court in the Collection of the Shenyang Imperial Palace Museum in 2025; and one from the British Museum, collection number: PDF A807.

來源:

香港佳士得，2016 年 6月1日，拍品3243號

展覽:

香港藝術館，《聚道傳承-敏求精舍六十周年》，香港，2020 年12月18日2021年 4月28日，圖錄圖版139 號

出版:

《瓷緣：達文堂藏瓷》，卷2，香港，2019 年，頁502-505，圖版95號 《中國民間收藏陶瓷大系-香港，澳門，台灣卷》，河北，2019 年，頁 287 壁瓶開光，內題乾隆御製五言詩，詩文載於《清高宗御製詩文全集-御製詩 初集》，卷11，1976 年，台北，頁546： 詠挂瓶

官汝稱名品，新瓶制更嘉。隨行供嘯詠，沿路擷芳華。掛處輕車稱，簪來野卉 斜。紅塵安得近，香籟度帷紗。

詩末題款「乾隆壬戌御題」，鈐白文「乾」、朱文「隆」兩印。

唐英曾在乾隆七年（1742）十一月上奏《遵旨燒造詩文轎瓶摺》：「……轎瓶 之樣不一，奴才遵將睿藻敬安瓶上。字分四體，與瓶式配合……先成六對，進 呈御覽……」。據題款，本轎瓶或為唐英奏摺中所提「六對」之一，於乾隆七 年（1742）製成。現三希堂前間東墻仍存數件壁瓶，憑此可遙想乾隆帝賞玩 壁瓶的雅趣。

比較一件乾隆七年洋彩轎瓶，其開光詩文與本品相同， 惟字體不同，現藏台 北故宮博物院，見《華麗彩瓷：乾隆洋彩》，台北，2008 年，圖版20 號；一件 粉彩款藏瀋陽故宮博物院，2025 年展覽於《南薰之音—瀋陽故宮博物院藏 清代御製詩文主題文物展》；一件藏大英博物館，展品編號：PDF A807。 此三件乾隆轎瓶詩文一致，然字體各不同，正合唐英所言，可作比對。

(base 底部 )

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THE MUWEN TANG COLLECTION (LOTS 934-952)

沐文堂珍藏（拍品 934-952 號）

For more than three decades, the Master of Muwen Tang has pursued his collecting endeavours with unwavering dedication, amassing over twenty categories of Chinese art objects. Guided by a research-driven approach, he does not confine himself to traditional collecting fields such as painting and ceramics. Instead, he actively explores new horizons in the study and collecting of Chinese art. His collection spans a wide range of lesser-known categories, including Republic porcelain, Chinese portraits, Chinese basketry, early Chinese glasses, and Chinese gold ornaments— each reflecting his distinctive vision.

Over the years, the Master of Muwen Tang has published more than twenty catalogues, covering various categories of Chinese art. These bilingual catalogues provide valuable references for art and cultural enthusiasts around the world. His tireless efforts in promoting the appreciation and study of Chinese culture and art have earned him great respect within the collecting community.

沐文堂主人關氏三十餘年來鍥而不捨，專注收藏多類中國 藝術器物。其收藏理念以專題研究為核心，不拘泥於傳 統領域如書畫、陶瓷等，而是積極開拓中國文物收藏與研 究的新視野。其收藏涵蓋近代瓷、寫真畫、編竹器、古玻 璃、金飾等多項鮮為人知的門類，視野獨具。

過去十餘年間，關氏先後出版二十多冊圖錄，內容涉及十 餘種類別，並以中英文對照呈現，方便中外文物愛好者參 考。關氏致力推廣中國文化與藝術，不遺餘力，其貢獻備 受收藏界尊敬及推崇。

Property from the Muwen Tang Collection

沐文堂珍藏

A SUPERB JUN PURPLE-SPLASHED BLUEGLAZED TRIPOD CENSER

NORTHERN SONG DYNASTY (960-1127)

4 ⅛ in. (10.6 cm.) diam.

HK$500,000-800,000

PROVENANCE:

US$64,000-100,000

Sold at Sotheby's New York, 19 September 2002, lot 79

Sold at Sotheby's New York, Harmony of Form, Serenity of Color: A Private European Collection of Song Ceramics, 23 March 2011, lot 544

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 28

During the Song dynasty, the practice of incense burning transformed from a functional level to a spiritual pursuit for scholars, which spurred the production of censers of great refinement. The present Jun censer stands as one of the finest examples.

Compare with similar examples: a smaller one covered with a moon-white glaze in the Palace Museum, Beijing, illustrated in Jun Ware, Beijing, 2016, pp. 74-75, pl. 29; another in the Palace Museum Collection, Beijing, included in Zhongguo Taoci Quanji, vol. 12, Junyao, Kyoto, 1983, pl. 18; and another illustrated in John Ayers, The Baur Collection Geneva. Chinese Ceramics, Geneva, 1968, vol. 1, pl. A 37.

北宋 鈞窯天藍釉玫瑰紫斑三足爐

來源:

紐約蘇富比，2002 年 9月19日，拍品79 號

紐約蘇富比，《Harmony of Form, Serenity of Color: A Private European Collection of Song Ceramics》，2011年 3月23日，拍品544 號

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版28 號

此三足香爐呈大片玫瑰紫斑，色彩明麗和諧，與天藍釉相得益彰，造型小巧 精緻。有宋一代，焚香已發展為一種精神風尚，與點茶、掛畫、插花並譽為 「四般閒事」，香爐製作因此得到飛躍性的發展。

比較以下數相似例：北京故宮博物院藏一月白釉紫紅斑三足爐，尺寸稍小， 圖見於《鈞窰瓷器》，北京，2016 年，頁 74 -75，圖版29 號；清宮另一舊藏， 載於《中國陶瓷全集12：鈞窯》，京都，1983 年，圖版18 號；另一為日內瓦鮑 氏珍藏，圖載於John Ayers，《The Baur Collection, Geneva. Chinese Ceramics》，卷1，日內瓦，1968 年，編號 A37。

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Property from the Muwen Tang Collection

沐文堂珍藏

A RARE JUN GREEN-GLAZED BOWL

NORTHERN SONG – JIN DYNASTY (960-1234)

4 ½ in. (11.3 cm.) diam.

HK$200,000-400,000

PROVENANCE:

US$26,000-51,000

Collection of Dr. and Mrs. Yip, Hong Kong, acquired before 2008

EXHIBITED:

University of Hong Kong, University Museum and Art Gallery, Alchemy in Blue: Ancient Jun ware from the Yip Collection, Hong Kong, 5 July to 30 November 2008, cat. no. 18

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 43

The bowl with rounded sides is covered overall with a glaze of deep sea-green colour thinning to mushroom to the rim.

Compare a Jun piece of very similar shape, but covered with a blue glaze, housed in the Palace Museum, Beijing, illustrated in Zhongguo Taoci Quanji, Vol. 12, Junyao, Kyoto, 1983, pl. 59. Compare also another Jin dynasty Jun green-glazed bowl formerly in the collection of Dr. Carl Kempe, later sold at Sotheby’s London, 5 November 2008, lot 550, and again at Sotheby’s Hong Kong, 29 April 2022, lot 3699.

北宋/金 鈞窯綠釉墩式 盌

來源:

琳標堂伉儷舊藏，入藏於2008 年前

展覽:

香港大學美術博物館，《紫艷凝青：琳標堂藏古代鈞瓷》，香港，2008 年 7月5日至11月30日，圖錄圖版18 號

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版43號

此盌廣口，直腹，通體施綠釉，釉質清麗溫潤，屬綠鈞佳器。參考北京故宮博 物院藏一件鈞窯藍釉缽，雖所罩釉色不同，然器形相似，可作比較，見《中國 陶瓷全集12：鈞窯》，京都，1983 年，圖版59 號。另對比卡爾肯普博士藏一綠 鈞墩式盌，於2008 年 11月5日拍賣於倫敦蘇富比，拍品550 號，再於2022 年 4月29日拍賣於香港蘇富比，拍品3699 號。

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Property from the Muwen Tang Collection

沐文堂珍藏

A JUN SKY-BLUE GLAZED BOWL

JIN DYNASTY (1115-1234)

5 ¾ in. (14.8 cm.) diam.

HK$300,000-500,000

EXHIBITED:

US$39,000-64,000

Hong Kong Museum of Art, Song Ceramics from the Kwan Collection, 22 July - 11 September 1994, cat. no. 38

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 38

The bowl is potted with rounded sides rising from a straight foot to an incurved rim, covered overall with a sky-blue glaze. The glaze drains to a pale mushroom tone at the mouth rim. Compare to a larger Jin dynasty Jun bowl in the Palace Museum, Beijing, illustrated in Jun Ware, Beijing, 2016, pp. 84-85, no. 34.

金 鈞窯天藍釉 盌

展覽:

香港藝術館，《關氏所藏宋代陶瓷》，香港，1994 年 7月22日-9月11日，

圖錄圖版38 號

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版38 號

盌口沿內斂，深弧壁，圈足，通體施天藍釉，口沿處變薄，呈米黃色，造型清 雅。比較一尺寸稍大的金代鈞窯天藍釉盌，現藏北京故宮博物院，見《鈞窰 瓷器》，北京，2016 年，頁84 -85，圖版34 號。

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A LONGQUAN CELADON-GLAZED 'LOTUS' DISH

SOUTHERN SONG DYNASTY (1127-1279)

6 ½ in. (16.5 cm.) diam.

HK$300,000-500,000

PROVENANCE:

Collection of H.K. Burnet

Sold at Sotheby's London, 2 April 1941, lot 27

US$39,000-64,000

Collection of Francis Brodie & Enid Lodge, no. C. 57

Offered at Sotheby's London, 20 June 2001, lot 67

Sold at Sotheby's London, 9 November 2005, lot 550

EXHIBITED:

Transactions of the Oriental Ceramic Society, Catalogue of the Exhibition of Celadon Wares, London, 20 October - 20 December 1947, cat. no. 43

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 54

南宋 龍泉窯粉青釉蓮瓣盤

來源:

H.K. Burnet 舊藏

倫敦蘇富比，1941年 4月2日，拍品27 號

Francis Brodie & Enid Lodge 伉儷舊藏，編號 C.57

拍賣於倫敦蘇富比，2001年 6月20日，拍品67 號

倫敦蘇富比，2005 年11月9日，拍品550 號

展覽:

東方陶瓷學會，《Catalogue of the Exhibition of Celadon Wares》，

倫敦，1947年10月20日-12月20日，圖錄圖版43號

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版54 號

Property from the Muwen Tang Collection

沐文堂珍藏

A FINE SMALL LONGQUAN CELADON 'MASK' TRIPOD CENSER

SOUTHERN SONG DYNASTY (1127-1279)

3 ⅛ in. (8 cm.) diam.

HK$200,000-400,000

LITERATURE:

US$26,000-51,000

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 52

The present censer is very rare for its small size, making it ideal for scholars to place beside a qin for leisurely appreciation.

The censer has additional moulded taotie masks on the feet, which is rarely found on Longquan wares of this period. For a Southern Song Longquan tripod censer of similar form and decoration but of larger size, see an example sold at Christie’s Hong Kong, Chinese Ceramics from the Yangdetang Collection, 30 November 2016, lot 3132. Compare to another Longquan censer of the same form but without mask decorations, housed in the National Palace Museum, Taipei, illustrated in Songci Tezhan Mulu, Taipei, 1978, no. 13.

南宋 龍泉窯青釉獸面鬲式琴爐

出版:

《沐文堂收藏全集》，冊11

，《宋代陶瓷》，香港，2012 年，圖版52號 此爐玲瓏精巧，宜陳於琴桌之前，靜案琴音繞，晴窗香氣薰，意趣悠長。與 常見的光素例相較，其三足均模印獸面，十分珍稀，參考一件尺寸較大的近 似例，拍賣於香港佳士得，《養德堂珍藏中國古陶瓷》，2016 年 11月30日，拍 品3132號。再比較一南宋龍泉香爐，通體無紋飾，現藏台北故宮博物院，見 《宋瓷特展目錄》，台北，1978 年，圖版13號。

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A RARE YAOZHOU MOON-WHITE GLAZED SHALLOW BOWL

JIN DYNASTY (1115-1234)

7 ½ in. (19.2 cm.) diam.

HK$150,000-300,000

PROVENANCE:

US$20,000-38,000

Sold at Sotheby's New York, 3 June 1992, lot 189

EXHIBITED:

Hong Kong Museum of Art, Song Ceramics from the Kwan Collection, 22 July - 11 September 1994, cat. no. 91

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 148

The bowl is well potted with rounded sides resting on a short foot, covered overall with a clear, soft moon-white glaze. Compare to a Yaozhou moon-white glazed yuhuchun vase sold at Christie's Hong Kong, 2 May 2025, lot 953, with a lustrous glaze very similar to that of the current bowl. Compare also a Jin dynasty Yaozhou moonwhite glazed washer excavated from Shaanxi province, preserved in the Yaozhou Kiln Museum and illustrated in Yaozhou Kiln of China, Beijing, 2014, no. 179; and a Song dynasty example of comparable form preserved in the same museum, illustrated in Zhongguo Taoci Quanji, Vol.10, Yaozhouyao, Kyoto, 1985, no.39.

金 耀州窯月白釉 盌

來源:

紐約蘇富比，1992 年 6月3日，拍品189 號

展覽:

香港藝術館，《關氏所藏宋代陶瓷》，香港，1994 年 7月22日-9月11日， 圖錄圖版91號

出版:

《沐文堂收藏全集》，冊11

，《宋代陶瓷》，香港，2012 年，圖版148 號

盌撇口，深腹，圈足，素身無紋，通體施月白釉，足沿露胎，釉色純淨別致， 清麗脫俗。比較一件金代耀州窯月白釉長頸瓶，其釉色與本品非常相近， 拍賣於香港佳士得，2025 年 5月2日，拍品953號；再比較一件金代月白釉 鋬沿洗，1998 年出土於陝西，現藏耀州窯博物館，見《中國古瓷窯大系：中 國耀州窯》，北京，2014 年，圖版179 號；此外，耀州窯博物館另藏一宋代 青釉盌，其形制相類，見《中國陶瓷全集》，卷10，《耀州窯》，圖版39 號， 可作比較。

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A FINE CARVED QINGBAI ‘BOYS’ BOWL

NORTHERN SONG DYNASTY (960-1127)

8 in. (20.3 cm.) diam.

HK$100,000-200,000

EXHIBITED:

US$13,000-26,000

Hong Kong Museum of Art, Song Ceramics from the Kwan Collection, 22 July - 11 September 1994, cat. no. 101

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 92

北宋 青白釉刻嬰戲紋 盌

展覽:

香港藝術館，《關氏所藏宋代陶瓷》，香港，1994 年 7月22日-9月11日，

圖錄圖版101號

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版92號

(base 底部 )

Property from the Muwen Tang Collection

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A RARE AND EXQUISITE QINGBAI MEIPING

NORTHERN SONG DYNASTY (960-1127)

10 ¼ in. (26 cm.) high

HK$800,000-1,500,000

EXHIBITED:

US$110,000-190,000

Hong Kong Museum of Art, Song Ceramics from the Kwan Collection, 22 July - 11 September 1994, cat. no. 97

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 65

The vase is elegantly potted with an ovoid body flaring to a dishshaped mouth, covered overall with a clear qingbai glaze. Song dynasty qingbai examples are normally decorated with carved floral motifs, undecorated vases of such purity and refinement as the present one are very rare.

Compare with a Northern Song white-glazed meiping of the same shape, preserved in the National Museum of History, Taipei, collection number: 87-005446; and one excavated in Jiangsu Province in 1973, now preserved in Zhenjiang Museum and illustrated in Complete Collection of Ceramic Art Unearthed in China, Vol. 7, Jiangsu Shanghai, Beijing, 2008, no. 119.

北宋 青白釉盤口梅瓶

展覽:

香港藝術館，《關氏所藏宋代陶瓷》，香港，1994 年 7月22日-9月11日， 圖錄圖版97 號

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版65號 瓶盤口、短頸、豐肩，長圓腹，腹下漸收。通體施青白釉，底部無釉。宋代青 白瓷器物一般多以劃花修飾，如此瓶般素淨無瑕的例子甚為罕見。此瓶線 條流暢優美，釉色光潤，可作宋代梅瓶典範。

參考一北宋白釉盤口梅瓶，其形與本品相同，現藏國立歷史博物館，台北， 館藏編號：87- 005446；一例於 1973 年出土於江蘇鎮江，現藏鎮江市博 物館，並出版於《中國出土瓷器全集》，冊7，《江蘇上海》，北京，2008 年， 圖版119 號。

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A FINE AND VERY RARE YAOZHOU CARVED CELADON-GLAZED ‘APSARAS’ BOWL

NORTHERN SONG – JIN DYNASTY (960-1234)

6 ½ in. (16.4 cm.) diam.

HK$500,000-800,000

PROVENANCE:

US$64,000-100,000

Offered at Sotheby's London, Song Ceramics from the Muwen Tang Collection, 12 November 2003, lot 39

EXHIBITED:

Hong Kong Museum of Art, Song Ceramics from the Kwan Collection, 22 July - 11 September 1994, cat. no. 75

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 135

The bowl is potted with flaring sides, the interior carved with two apsaras surrounded by stylised scrolling clouds, covered overall with an olive-green glaze. The motif of apsaras is typically found on Tang dynasty gold and silver vessels as well as jade carvings. Its appearance on ceramics especially on Yaozhou wares are very rare, reasonably so due to the difficulty of carving such complicated patterns on the ceramic body. Compare to a similarly decorated Yaozhou bowl from the Gordon Collection, exhibited by J. J. Lally in The Gordon Collection: Chinese Ceramics and Works of Art, 12 March – 4 April 2009, cat. no. 16.

北宋/金 耀州窯青釉刻飛天紋 盌

來源:

拍賣於倫敦蘇富比，《Song Ceramics from the Muwen Tang Collection》，2003 年11月12日，拍品39 號

展覽:

香港藝術館，《關氏所藏宋代陶瓷》，香港，1994 年 7月22日-9月11日， 圖錄圖版 75號

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版135號

盌侈口，圈足，內外施青釉，盌內刻飛天紋飾，環繞雲紋，呈現飛天在雲霧 間飛舞飄逸之姿。此種紋飾多見於唐代金銀器及玉雕，裝飾於瓷器上則 較為少見，耀州窯更少，可以想象，在瓷胎上雕刻如此複雜紋飾極費力困 難，知本盌之珍稀。比較一尺寸相似的北宋耀州窯青釉盌，同飾飛天，展於 藍理捷《The Gordon Collection: Chinese Ceramics and Works of Art》，2009 年 3月12日- 4月4日，圖錄圖版16 號。

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943

A CARVED DENGFENG WHITE-GLAZED SGRAFFITO MEIPING

NORTHERN SONG – JIN DYNASTY (960-1234)

The base is carved with a character zhuo. 13 ¼ in. (33.5 cm.) high

HK$600,000-800,000

PROVENANCE:

US$77,000-100,000

Collection of Walter Hochstadter (1914-2007)

Sold at Christie's New York, Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco, 19 March 2009, lot 511

J. J. Lally, no. 4517

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 164

Of olive form, the meiping is incised through a white slip with bands of peony and foliate scroll within narrow decorative bands, all against a dense ring-punched ground of ‘pearls’.

Compare to several Dengfeng meiping of comparable sizes, decorated in the same sgraffito technique with foliate patterns, dated to the Song dynasty, 11th-12th century: one carved with two fierce tigers to the body, preserved in the Palace Museum, Beijing, collection number: xin 00142903; one carved with peonies, housed in the Shanghai Museum; and one excavated in Henan province in 1955, decorated with narrow bands as the current lot, now preserved in the Henan Museum.

The result of Oxford Authentication thermoluminescence test no. P108x95 is consistent with the dating of this lot.

北宋/金 登封窯白釉珍珠地劃花梅瓶

瓶底刻字：「卓」

來源:

Walter Hochstadter（1914-2007）舊藏

紐約佳士得，《Fine Chinese Ceramics & Works of Art Including Jades from the Fine Arts Museums of San Francisco》，2009 年 3月 19日，拍品511號

J. J. Lally 藍理捷，藏品編號4517

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版164 號 珍珠地劃花的裝飾手法，乃模仿唐代金銀器的魚子地紋，在器物表面用圓 鏨刀鏨出細密的小圓圈，排列疏密得當，如同珍珠。此梅瓶以雙弦紋綫分 為數個裝飾區域，花葉疏朗，造型典雅。

比較件北宋登封窯白釉珍珠地梅瓶：一件腹身刻雙虎紋，現藏北京故宮博 物院，藏品編號：新 00142903；一件刻牡丹紋，然並無裝飾分隔區域，藏 上海博物館；一件於 1955 年出土於河南，同以雙弦綫分隔，現藏河南博物 院。

此器經牛津熱釋光測年法測試（測試編號 P108x95），證實與本圖錄之斷 代相符。

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A FINE JIZHOU ‘TORTOISE SHELL’-GLAZED TEA BOWL

SOUTHERN SONG DYNASTY (1127-1279)

6 ⅛ in. (15.7 cm.) diam.

HK$150,000-300,000

LITERATURE:

US$20,000-38,000

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 219

The bowl has flared sides and is covered with a dark brown glaze splashed in amber tones reminiscent of tortoise shell, stopping just about the foot. Compare to a very similar example exhibited in the University of Hong Kong, The Multiplicity of Simplicity –Monochrome wares from the Song to the Yuan dynasties, 2012, no.105, later sold at Christie’s Hong Kong, The Songde Tang Collection, 3 December 2021, lot 2835.

南宋 吉州窯玳瑁釉斗笠茶盞

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版219 號 盞敞口、斜腹、圈足，呈斗笠形，內外飾以玳瑁斑釉，紋理精巧自然。比較 一件十分相似吉州窯玳瑁釉例，曾展覽於香港大學美術博物館，《大繁若 簡-宋金元朝的單色釉瓷》，2012 年，圖版105 號，後拍賣於香港佳士得， 《淡掃蛾眉-頌德堂藏中國宋代瓷器》，2021年 12月3日，拍品2835 號。

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A SUPERB RUSSET-GLAZED BLACKSPLASHED BOWL

JIN DYNASTY (1115-1234)

7 ⅝ in. (19.6 cm.) diam.

HK$240,000-350,000

LITERATURE:

US$31,000-45,000

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 175

The finely potted bowl with rounded sides is covered to the interior with a lustrous russet and black glaze decorated with bold splashes. Compare a black-glazed tea bowl decorated with russet splashes, housed in the National Palace Museum, Taipei, collection number: guci 016992; and a conical bowl with similar splashes, excavated from the Dangyangyu kiln site in Henan province, illustrated in Dangyangyu Kiln of China, Beijing, 2011, no. 55.

金 褐釉黑斑 盌

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版175號

口沿內斂，施褐釉，黑斑呈放射狀，大小交錯不一，灑脫自然，光潤耀眼。比 較台北故宮博物院藏一例黑釉褐斑茶盞，藏品編號：故瓷 016992；2004 年 當陽峪窯址出土一件斗笠盌殘器，內壁斑紋同呈放射式，可作比對，見

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Property from the Muwen Tang Collection 沐文堂珍藏

A RARE DANGYANGYU MARBLE-GLAZED VASE, YUHUCHUNPING

JIN DYNASTY (1115-1234)

7 ¼ in. (18.3 cm.) high

HK$600,000-800,000

LITERATURE:

US$77,000-100,000

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 180

The pear-shaped vase is covered with a dramatic combination of dark-brown, creamy-white, and caramel glazes to imitate natural patterns on marble stone.

A similar Jin dynasty marble-glazed yuhuchunping excavated in Changzhi, Shanxi province, featuring the same glaze combination as the present one, is illustrated in Zhongguo Chutu Ciqi Quanji, vol. 5, Shanxi, Beijing, 2008, no. 153. Compare also a similar vase excavated in Shuozhou, Shanxi, now preserved in the Shanxi Museum.

金 當陽峪窯絞釉玉壺春瓶

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版180 號 瓶撇口，束頸，鼓腹，作絞彩紋飾，仿若大理石紋，極富雅韻，為當陽峪窯燒 製之典型。參考山西長治市出土一件絞釉玉壺春瓶，同以深褐、淡白、橘黃 三色相結合，見《中國出土瓷器全集》，卷 5，《山西》，北京，2008 年，圖版 153號；及山西朔州出土一例，腹部裝點白、褐紅化妝土，其高度與本品一 致，現藏山西博物院。

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A RARE CIZHOU BLACK-GLAZED SGRAFFITO VASE, YUHUCHUNPING

JIN DYNASTY (1115-1234)

10 ½ in. (26 cm.) high

HK$500,000-800,000

LITERATURE:

US$64,000-100,000

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 193

A number of related carved Cizhou vases are in important private and museum collections. A similar yuhuchunping is formerly in the Au Bak Ling Collection, sold at Christie’s Hong Kong, 30 October 2025, lot 909. Another example was illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, no. 523. A third example is illustrated by Regina Krahl, Chinese Ceramics From The Meiyintang Collection, Vol.3, London, 2006, no. 1526.

金 磁州窯黑釉剔花玉壺春瓶

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年， 圖版193號

此瓶線條流暢優美，比例協調。比較以下數相似例：區百齡舊藏 一件，拍賣於香港佳士得，《區百齡珍藏：第二部分》，2025 年 10月30日，拍品909 號。日本東京出光美術館曾著錄一件，見 《出光美術館藏品圖錄- 中国陶磁》，東京，1987，圖版523號。 一件為玫茵堂收藏，圖見於康蕊君著《玫茵堂中國陶瓷》，卷3， 倫敦，2006 年，圖版1526 號。

Property from the Muwen Tang Collection

沐文堂珍藏

A DING CARVED WHITE-GLAZED ‘DAYLILY’ FOLIATE-RIM BOWL

NORTHERN SONG DYNASTY (960-1127)

8 ⅛ in. (20.5 cm.) diam.

HK$400,000-600,000

PROVENANCE:

US$52,000-77,000

Offered at Sotheby's London, Song Ceramics from the Muwen Tang Collection, 12 November 2003, lot 7

EXHIBITED:

Hong Kong Museum of Art, Song Ceramics from the Kwan Collection, 22 July - 11 September 1994, cat. no. 12

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 7

The bowl is fluidly carved to the interior with daylily blossoms and leaves on meandering stems, covered overall with an ivory-toned glaze.

Compare to several lobed Ding bowls similarly carved with peony sprays in the National Palace Museum, all dating to the Northern Song dynasty in the 11th to 12th centuries, illustrated in Decorated Porcelains of Dingzhou: White Ding wares from the collection of the National Palace Museum, Taipei, 2014, cat. nos. II-29-31.

北宋 定窯白釉刻萱草紋花口盌

來源:

拍賣於倫敦蘇富比，《Song Ceramics from the Muwen Tang Collection》，2003 年11月12日，拍品7 號

展覽:

香港藝術館，《關氏所藏宋代陶瓷》，香港，1994 年 7月22日-9月11日， 圖錄圖版12號

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版 7 號

此盌呈六瓣形，內壁刻折枝萱草紋，形態寫意自然，刻線簡練流麗，技藝嫺 熟。台北故宮博物院藏數件定年北宋十一至十二世紀的定窯劃牡丹紋花式 盌，可資比對，著錄於《定州花瓷：院藏定窯系白瓷特展》，台北，2014 年， 圖錄 II-29-31。

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Property from the Muwen Tang Collection

沐文堂珍藏 949

A RARE LINRU CARVED CELADON-GLAZED INCENSE BURNER

NORTHERN SONG DYNASTY (960-1127)

7 ⅛ in. (18.1 cm.) high

HK$400,000-800,000

LITERATURE:

US$52,000-100,000

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no.120

The censer is well potted with wide flaring mouth surmounting a cylindrical body raised on a high pagoda-like base. The body is carved with leaf-form motifs and covered with a soft celadon glaze.

In the Northern Song painting Tingqin Tu in the Palace Museum, Beijing, the main figure sits next to an incense stand xiangji, on which a small censer, similar to the present example, is seen burning incense. According to some scholars, this figure is probably the Northern Song Emperor Huizong himself, indicating that this type of incense burner was very popular during the Northern Song dynasty.

A similar Cizhou brown-glazed example of smaller size, from the Ronald W. Longsdorf Collection, was exhibited by J. J. Lally in Song Dynasty Ceramics: The Ronald W. Longsdorf Collection, 15 March –13 April 2013, cat. no. 54. Compare also a qingbai censer of similar form, sold at Christie’s Hong Kong, The Songde Tang Collection, 3 December 2021, lot 2809.

北宋 臨汝窯青釉劃花行爐

出版: 《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版120 號 此行爐口作平沿狀，深腹，束腰，器足作寶塔高臺狀。腹身刻曲邊長葉紋， 足刻蓮瓣紋。通體施青釉，溫潤沉靜。

行爐外形穩重端莊，器型可追溯至南北朝及唐代佛教中的鵲尾爐，因其外形 可固定平放或手持行走，故而得名。時至宋代，除去手柄後演變成現今所見 之外形，在宋代各大窯廠皆有生產。傳宋徽宗趙佶所作之《聽琴圖》，主人 身旁置一香几，案上見一行爐，熏香裊裊，其形制與本品相似，可作比較，此 畫現藏北京故宮博物院。

比較一件尺寸稍小的磁州窯褐釉行爐，展覽於藍理捷《Song Dynasty

Ceramics: The Ronald W. Longsdorf Collection》,2013 年 3月15日4月13日，圖錄圖版54 號。再比較一件北宋青白瓷行爐，拍賣於香港佳士 得，2021年 12月3日，《淡掃蛾眉-頌德堂藏中國宋代瓷器》，拍品2809 號。

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A RARE DING MOULDED WHITE-GLAZED ‘MANDARIN DUCKS AND TWIN FISH IN LOTUS POND’ BOWL

JIN DYNASTY (1115-1234)

6 ½ in. (16.6 cm.) diam.

HK$300,000-500,000

PROVENANCE:

US$39,000-64,000

Offered at Sotheby's London, Song Ceramics from the Muwen Tang Collection, 12 November 2003, lot 23

EXHIBITED:

Hong Kong Museum of Art, Song Ceramics from the Kwan Collection, 22 July - 11 September 1994, cat. no. 30

LITERATURE:

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 24

The bowl is delicately moulded to the interior with mandarin ducks swimming in a pond amidst lotus and weeds, encircling a pair of fish at the centre. The bowl is covered overall in a warm ivory glaze.

‘Mandarin ducks in a lotus pond’ is a prevalent motif on ceramics, textiles and paintings since the Northern Song dynasty. One such example is the ink painting Pair of Mandarin Ducks in a Lotus Pond, attributed to Huichong, now preserved in the National Palace Museum, Taipei.

Compare to a Ding bowl moulded with identical decoration, preserved in the Nanjing Museum and illustrated in Zhongguo Taoci Quanji, Vol. 9, Dingyao, no.88. Another example moulded with mandarin ducks was formerly in the collection of E. T. Chow, later passing to T. Y. Chow, and sold at Sotheby’s Hong Kong, 21 March 2023, lot 16. Compare also to a Jin dynasty ‘mandarin ducks in lotus pond’ dish in the Palace Museum, Beijing, illustrated in Selection of Ding Ware: the Palace Museum’s Collection and Archaeological Excavation, Beijing, 2012, no. 119.

金 定窯印蓮塘鴛鴦雙魚紋 盌

來源:

拍賣於倫敦蘇富比，《Song Ceramics from the Muwen Tang Collection》，2003 年11月12日，拍品23號

展覽:

香港藝術館，《關氏所藏宋代陶瓷》，香港，1994 年 7月22日-9月11日， 圖錄圖版30 號

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版24 號

此盌描繪鴛鴦臥於蓮塘，盌心更模印雙魚，身姿靈動，構圖生機盎然，富有 妙趣。

定窯印花工藝始於北宋晚期而盛於金，以繁麗的裝飾呈現於素色瓷器，而 「鴛鴦臥蓮」乃經典紋飾之一，此種題材最早見於北宋畫家惠崇所作的《秋 浦雙鴛》圖，現藏台北故宮博物院。

比較南京博物院藏一定窯盌，其模印圖案與本品一致，見《中國陶瓷全集》， 冊9，《定窯》，圖版88號。再參考一金代定窯荷塘鴛鴦圖盤，先後經仇焱之、 趙從衍典藏，拍賣於香港蘇富比，2023 年 3月21日，拍品16 號；及北京故宮博 物院藏一金代例，收錄於《定瓷雅集：故宮博物院珍藏及出土定窯瓷器薈萃》， 北京，2012 年，圖版119 號。 (base 底部 )

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Property from the Muwen Tang Collection

沐文堂珍藏

A DING WHITE-GLAZED FOLIATE-RIM ‘LOTUS POD’ DISH

FIVE DYNASTIES-EARLY NORTHERN SONG DYNASTY, 10TH CENTURY

5 ⅝ in. (14.2 cm.) diam.

HK$200,000-400,000

LITERATURE:

US$26,000-51,000

The Muwen Tang Collection Series, vol. 11, Song Ceramics, Hong Kong, 2012, no. 5

The dish is elegantly potted with fluted walls rising from the flat base to six petal lobes, decorated to the centre with a lotus pod with seeds, covered overall with a thin lustrous glaze of pale ivory tone.

Compare to a Northern Song dynasty white-glazed barbed-rim dish excavated in Changsha, Hunan Province, now preserved in the Hunan Museum, illustrated in Complete Collection of Ceramic Art Unearthed in China, Vol. 13, Hubei Hunan, Beijing, 2008, no. 211. Compare also a pair of similar white-glazed moulded 'lotus pod' dishes from Dorothy Goldman, sold at Christie's New York, 22 March 2024, lot 808.

五代/北宋早期 定窯白釉堆花蓮蓬紋菱花式盤

出版:

《沐文堂收藏全集》，冊11，《宋代陶瓷》，香港，2012 年，圖版5號

盤呈六瓣花口，寬平底，高圈足，中央堆花蓮蓬紋。通體施白釉，釉面呈淡 牙色，清麗雅致。

有宋一代，瓣形器皿殊為盛行。參考湖南長沙1964 年出土一件北宋定窯白 釉花口盤，圈足略矮，現藏湖南博物館，見《中國出土瓷器全集》，卷13， 《湖北湖南》，北京，2008 年，圖版211號。再比較高曼舊藏一對相似的白 釉印蓮蓬紋小盤，拍賣於紐約佳士得，2024 年 3月22日，拍品808 號。

Property from the Muwen Tang Collection

沐文堂珍藏

A SANCAI-GLAZED MANDARIN DUCK-FORM

EWER

LIAO DYNASTY (907-1125)

9 ⅝ in. (24.5 cm.) wide

出版:

(interior 內壁 )

Property of a Distinguished Hong Kong Collector

A VERY RARE GILT-DECORATED YELLOWENAMELLED ‘LOTUS’ STEM BOWL

JIAJING SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1522-1566)

5 15/16 in. (15 cm.) diam.

HK$400,000-800,000

LITERATURE:

US$52,000-100,000

Our Encounter with Ceramics, Zhejiang, 2018, p. 5, no. 3

The application of thin, lace-like gilding on a porcelain surface is sometimes known as the kinrande technique, a Japanese term which originally means textile with gold brocade. Kinrande porcelains were popular during the Jiajing period, featuring gilt decorations applied on green, white, iron-red, dark-blue or yellow grounds. Yellow-ground examples are among the most rare, with the present stem bowl being possibly the only example of this shape.

There appears to be only one other Jiajing-marked gilt-decorated yellow-enamelled example recorded, which is a bowl decorated with lotus scroll on the exterior and a medallion with a peacock on the interior, sold at Christie’s Hong Kong, 30 May 2006, lot 1417. Other kinrande porcelains with differently coloured grounds are also recorded, including several in the British Museum – among them two Jiajing-marked white-ground kinrande bowls in the Percival David Foundation, illustrated in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, figs. 9:62–63; two green-ground kinrande bowls inscribed with Changming fugui, ‘Long life, wealth, and honour’ on the base, ibid., figs. 9:65–66; a shallow underglazeblue and green-ground kinrande bowl, fig. 9:64; an underglaze-blue and iron-red-ground kinrande bowl, fig. 9:67; and a red-ground kinrande stem bowl, fig. 9:68. Compare also an iron-red-ground kinrande stem bowl sold at Sotheby’s Hong Kong, Masterpieces of Chinese Ceramics from the Ise Collection, 9 September 2025, lot 5074.

明嘉靖 黃地描金纏枝蓮紋高足盌 雙圈六字楷書款

出版:

《瓷緣》，浙江，2018 年，頁5，圖版3號

本高足盌通體黃釉，外壁描金纏枝蓮紋，把繪海水朵雲紋，盌心繪團蓮紋。 嘉靖一朝，流行以金彩加飾瓷器，日本稱之為「金襴手」，有綠地、黃地、白 地、礬紅地、藍地等品種。其中以紅地金彩最為常見，黃地金彩最為罕見。 而黃地高足盌更似僅見此例，彌足珍貴。

曾見一件嘉靖款黃地金彩纏枝花卉紋盌，於2006 年 5月30日香港佳士得 拍賣，拍品1417 號，屬此類黃地金彩器中少見之例。其他色地的金襴手瓷器 亦有傳世，如大英博物館所藏數例：大維德基金會舊藏兩件嘉靖款白地金 彩纏枝蓮紋盌，載於Jessica Harrison-Hall著《Ming Ceramics in the British Museum》，倫敦，2001年，圖 9:62–63；兩件「長命富貴」款綠 地金彩纏枝蓮紋盌，見同書圖 9:65–66；另有一件青花綠地金彩淺盌，圖 9:64、一件青花紅地金彩盌，圖9:67，以及一件紅地金彩高足盌，圖9:68。 可資比較者，尚有伊勢彥信舊藏一件紅地金彩高足盌，曾於2025 年 9月 9日香港蘇富比拍賣，拍品5074 號。

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Property of a Distinguished Hong Kong Collector 顯赫香港私人珍藏

A RARE MOULDED CELADON-GLAZED ‘CHRYSANTHEMUM’ BOWL

YONGZHENG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1723-1735)

10 ¼ in. (26 cm.) diam.

HK$220,000-400,000

PROVENANCE:

US$29,000-51,000

Sold at Christie’s Paris, 19 November 2003, lot 265

LITERATURE:

Our Encounter with Ceramics, Zhejiang, 2018, p. 44, no. 42

The Yongzheng Emperor was renowned for his refined aesthetic sensibility and deep personal involvement in the design and production of imperial porcelain. Among the motifs that resonated with his cultivated taste, the chrysanthemum held particular significance. The Yongzheng Emperor is recorded as having commissioned Nian Xiyao, supervisor of the Imperial kilns at Jingdezhen, to produce chrysanthemum-shaped dishes in twelve colours, with fourty pieces made in each colour. A complete set is illustrated in The Complete Collection of Treasure of the Palace Museum, Monochrome Porcelain, Hong Kong, 1999, pp. 282-283, no. 257.

Other Yongzheng-marked celadon-glazed vessels modelled after chrysanthemums include a deep bowl sold at Sotheby’s Hong Kong, The Meiyintang Collection, Part V - An Important Selection of Imperial Chinese Porcelains, 8 April 2003, lot 5; and another sold at Christie’s Hong Kong 26 April 2004, lot 943.

清雍正 粉青釉模印菊瓣折沿

盌 六字篆書款

來源:

巴黎佳士得，2003 年11月19日，拍品265號

出版:

《瓷緣》，浙江，2018 年，頁44，圖版42號

雍正皇帝素以清雅脫俗的藝術品味著稱，不僅對宮廷工藝品的製作要求極 高，更親自參與御窯瓷器的設計與審定，事無鉅細皆見其匠心。在眾多花 卉中，他尤鍾情於菊花。菊花象徵隱逸高潔、堅貞淡泊，與雍正帝崇尚內 斂含蓄、追求文人意趣的審美理念頗為契合。據清宮造辦處檔案記載，雍 正曾特旨命景德鎮御窯廠督陶官年希堯燒造「十二色釉菊瓣盤」，每色各 製四十件，足見其對此器形與釉色組合之重視。其中一套完整著錄於故宮 博物院藏文物珍品全集《單色釉瓷器》，香港，1999 年，頁 282–283，圖版 257 號。

此盌帶折沿的造型優雅、特殊，其與脛部一圈模印菊瓣紋相輔相承，體現 出雍正官窯之雅趣。其他帶雍正款、以菊瓣為造型的粉青釉瓷可比較兩件 深盌，一件曾於2003 年 4月8日香港蘇富比《玫茵堂藏瓷第五部分：重要中 國御製瓷器選萃專場》拍賣，拍品5 號；另一件則於2004 年 4月26日香港 佳士得拍賣，拍品943號。

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Property of a Distinguished Hong Kong Collector 顯赫香港私人珍藏

A FINE CELADON-GLAZED DOUBLE-GOURD VASE

JIAQING SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1796-1820)

12 ¾ in. (32.5 cm.) high

HK$400,000-600,000

PROVENANCE:

US$52,000-77,000

Sold at Sotheby’s Hong Kong, 29 November 1977, lot 111

The British Rail Pension Fund

Sold at Sotheby’s Hong Kong, Important Chinese Porcelain, Enamels and Jade Carvings from the Works of Art Collection of the British Rail Pension Fund, 16 May 1989, lot 59

Double-gourd vases are also known as dajiping ‘vase of good fortune’, as the double-gourd, or bottle gourd, symbolises fertility and good fortune. Celadon-glazed double-gourd vases in this proportion first appeared during the Yongzheng period, such as the example sold at Christie’s Hong Kong, The Au Bak Ling Collection: The Inaugural Sale, 26 September 2024, lot 17. They gained popularity during the Qianlong reign, when greater quantities were produced. See a pair of Qianlong vases, still retaining their covers, illustrated in The Tsui Museum of Art. Chinese Ceramics IV, Hong Kong, 1995, no. 37; and one sold at Christie’s Hong Kong, 28 May 2014, lot 3308. Jiaqing-marked examples are rarer compared to the Qianlong reign.

清嘉慶 粉青釉葫蘆瓶 六字篆書款

來源:

香港蘇富比，1977年11月29日，拍品111號

英國鐵路局退休基金會舊藏

香港蘇富比，《Important Chinese Porcelain, Enamels and Jade Carvings from the Works of Art Collection of the British Rail Pension Fund》， 1989 年 5月16日，拍品59 號

葫蘆瓶亦稱大吉瓶，因葫蘆象徵多子多福、吉祥如意。此類器形之粉青釉 葫蘆瓶始燒於雍正時期，如區百齡舊藏一件，2024 年 9月26日於香港佳士 得《區百齡珍藏：首拍》拍賣，拍品17 號。至乾隆一朝，此式更趨流行。參見 一對保有原蓋的乾隆粉青釉葫蘆瓶，《徐氏藝術館藏中國陶瓷》，第 4 冊， 香港，1995 年，圖版37 號；一例拍賣於香港佳士得，2014 年 5月28日，拍品 3308號。相較於乾隆時期，嘉慶年製之粉青釉葫蘆瓶則較為罕見。

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Property from the Heng Ya Tang - Hall of Harmonious Grace 衡雅堂珍藏

A VERY RARE RUBY-GROUND YANGCAI AND

GILT-DECORATED

‘EIGHT TRIGRAMS’ CONG-FORM VASE

QIANLONG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1736-1795)

8 in. (20 cm.) high

HK$2,000,000-4,000,000 US$260,000-510,000

PROVENANCE:

An English collection

Sold at Bonhams London, 10 July 2006, lot 150

Qianlong vases of cong form with Eight Trigrams motifs are usually covered with monochrome glazes such as sacrificial blue or celadon glazes. Examples decorated with colourful yangcai and gilt enamels like the current one are extremely rare, and undoubtedly made in significantly smaller quantities than their monochrome counterparts. Only one identical example of comparable decoration and size is known, possibly originally a pair to the current vase, sold at Christie’s New York, 28 March 1996, lot 413. Two other Qianlong examples with the same decorative scheme and form but on different colour grounds are published- a pair of turquoise-ground cong vases sold at Sotheby's Hong Kong, 25 April 2004, lot 233; and a yellow-ground example in the Baur Collection, illustrated in John Ayers, Chinese Ceramics in the Baur Collection, Vol. IV, Geneva, 1999, pl. A624.

清乾隆

洋彩描金八卦紋琮式瓶

六字篆書款

來源:

英國私人舊藏

倫敦邦瀚斯，2006 年 7月10日，拍品150 號 乾隆時期八卦紋琮式瓶多施單色釉，如祭藍釉、粉青釉、仿哥釉等，並一般 接近 28公分高。本器玲瓏小巧，高 20 公分，以洋彩加描金裝飾，殊為罕見， 其燒造數量當遠較單色釉例稀少。與本器一致者，暫僅見一例，有可能原 為一對，1996 年 3月28日於紐約佳士得拍賣，拍品 413號。另有兩件乾隆例 採同樣紋飾及器形，惟地色各異，包括一對綠松地琮式瓶，拍賣於香港蘇 富比，2004 年 4月25日，拍品233號；及一件黃地例，現藏瑞士鮑氏珍藏， 著錄於John Ayers，《Chinese Ceramics in the Baur Collection》， 第四冊，日內瓦，1999 年，圖版 A624。

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The Property of a Lady 女史珍藏

957

A VERY RARE OPAQUE JADE ‘MASK’ CONG

LIANGZHU CULTURE, CIRCA 3300-2300 BC

1 ¾ in. (4.5 cm.) high

HK$1,000,000-2,000,000 US$130,000-260,000

PROVENANCE:

Acquired in Hong Kong, 8 August 1989

The current cong is very rare with an attractive aged patina. Compare with an example, similar to the present lot, with only one register of masks and linear designs of Liangzhu jade cong, in the Zhejiang Provincial Institute of Cultural Relics and Archaeology and illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p. 30, no. 39. Compare also to another one-tiered Liangzhu jade cong, formerly in the Yangdetang Collection, sold at Christie’s Hong Kong, 28 November 2018, lot 2701.

良渚文化 約公元前 3300-2300 年 玉獸面紋琮

來源:

1989 年 8月8日購於香港

此玉琮有老包漿，非常難得。可比較一件與本拍品裝飾紋樣相似之良渚文 化單層琮，刊載於《良渚文化玉器》，香港，1989 年，頁 30，圖版編號 39。 亦可參考另一件良渚文化單層琮，為養和堂舊藏，2018 年 11月28日於香港 佳士得拍賣，拍品2701號。

(detail 細部 )

LEARN MORE

頌德堂珍藏

(detail 細部 )

A MAGNIFICENT AND RARE GILT-COPPER AUTOMATIC STRIKING ‘PAVILION’ MUSICAL CLOCK

QIANLONG PERIOD (1736-1795)

29¡ in. (74.5 cm.) high

HK$1,800,000-2,200,000 US$230,000-280,000

PROVENANCE:

Asprey & Garrard, London, 20 June 2001

A closely related clock is in the Beijing Palace Museum, with almost identical moveable parts, illustrated in Qinggong Zhongbiao Zhencang, 'Timepieces in the Collection of the Qing Palace', Forbidden City Press, 1995, p. 55. (fig. 1)

清乾隆 銅鍍金捲簾「天下太平」銅人音樂鐘

來源:

Asprey & Garrard, 倫敦，2001年 6月20日

Property from the Songde Tang Collection

鐘共分上下兩層，鐘身鑲嵌鍍金花葉彩帶裝飾，上層為六角形亭台，內有左 右兩道紅布垂簾，書「天下太平」四字，每逢正點時，右方布簾在樂聲中捲 起，一手持小錘的銅人徐徐走至亭中敲打上方的懸鐘報時，之後左邊捲簾 升起，銅人轉進後台，捲簾落下。同一時間下層玻璃水法啟動，機關中的水 禽，小艇亦開始游走河中，整套機械運轉流程暢順，井然有序，十分難得。

與此自鳴鐘相近的例子，可參考現藏北京故宮博物院的一件銅鎏金捲簾人 音樂鐘（圖一），見《清宮鐘錶珍藏》，香港，1995 年，頁55。

現藏北京故宮博物院的十八世紀自鳴鐘大至可分三大類 :

第一類為康雍時期，北京養心殿造辨處鐘表作所製的國產自鳴鐘。鐘表作 本為歐州進口鐘錶的保存和維修而設，其後因清廷對鐘錶需求日增，開始 自行量產製鐘。其產品外殼多為木材，體形較大，偶帶鑲嵌或黑漆彩繪裝 飾，以中國傳統的樓閣、寶塔等形象作設計，多數與傢俱拼合而成，機芯連 動機械部件亦較簡單。

第二類為經廣東粵海關進口的西洋鐘。廣州是清代民間機械鐘錶製造的重 要中心之一，是中國最早接觸自鳴鐘的地方。清康熙二十三年撤海禁，與西 方的海路貿易蓬勃發展，音樂自鳴鐘等歐洲新奇產品自此流入中國。故宮 博物院收藏的歐洲鐘表十分豐富，多從英國、法國、瑞士進口，其中大部份 乃經廣東入境進貢。此類音樂鐘設計複雜，外觀精妙絕倫，反映出歐洲鐘 錶業體系之成熟發達。

第三類為乾隆中晚期廣州製造的鐘錶，本拍品應屬此類。清廷對此類新潮 玩物興趣遞增，廣州粵海關為滿足宮中需求，開始自行研製鐘錶，但因經 驗尚淺，質量欠佳，成品不精。直到乾隆中期以後，製鐘工藝才得到大幅進 展，體積精巧，視覺衝擊力強，可與西方產品看齊，並進貢朝廷，供乾隆皇 帝使用。

廣州製音樂鐘的外殼多見銅鍍金，再鑲嵌各色玻璃、寶石和廣東馳名的銅 胎畫琺瑯裝飾，外形華麗，其造形常見亭臺、樓閣等傳統元素，以「天下太 平」、「如意吉祥」等寓意太平盛世的題材為主，富麗精美，彰示中國製鐘 技藝進入黃金時代。

fig. 1 Collection of the Palace Museum, Beijing 圖一 北京故宮博物院藏品 (side view 側面 )

(another view 另一面 )

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.

高額拍賣品預先登記

如閣下擬競投高額拍賣品（即佳士得二十及二十一世紀 晚間拍賣之所有拍賣品與其他類別拍賣低估價為港幣 8,000,000 元或以上之拍賣品），必須辦理高額拍賣品預 先登記。為方便閣下辦理預先登記及付款手續，請注意以 下事項：

� 在登記成為佳士得競投人士後，須於拍賣日期前通過投 標部辦理高額拍賣品預先登記，或於拍賣當日往高額拍 賣品預先登記處辦理預先登記。

� 除非另得本公司同意，否則只能於佳士得確認閣下拍賣 前已付清保證金及完成高額拍賣品預先登記後，方可競 投高額拍賣品。

� 辦理預先登記時，閣下須以電匯方式或佳士得接受之信 用卡繳付港幣 1,600,000 元或閣下擬競投全部拍賣品低 估價總額之 20% 或以上（以較高者為準）作為保證金。 請注意佳士得恕不接受第三方代付之款項。此亦適用於 代理人。

� 若閣下未能成功競投任何拍賣品，於佳士得或佳士得公 司集團亦無任何欠款，保證金將以電匯方式或佳士得決 定之其他方式退還閣下。請確保於預先登記表格上提供 閣下之銀行資料詳情。若閣下須以港元以外貨幣付款， 本公司將收取因而產生之貨幣費用，概不承擔有關匯兌 虧損。匯兌當天銀行提供之匯率應為最終匯率，並對閣 下具約束力。雖然本公司將安排於拍賣日期後七日內退 還保證金，惟不同銀行處理匯款或退款所需時間各有差 異，佳士得對閣下何時收到有關款項不作保證。

� 成功辦理預先登記後，閣下將獲發高額拍賣品競投牌， 以資識別。拍賣官一般只接受以高額拍賣品競投牌或其 註冊競投人士作出之競投。此亦適用於拍賣現場、電話 及書面競投。

� 佳士得有權不時變更高額拍賣品預先登記程序及規定而 毋須作出任何通知。

查詢

如欲了解詳情，請致電 + 852 2760 1766 與本公司客戶服 務部聯絡或電郵至 infoasia@christies.com。

CONDITIONS OF SALE • BUYING AT CHRISTIE’S

CONDITIONS OF SALE

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.

www.christies.com 的書面通知（上述通知內容會另行 通知以電話或書面競投的客戶），或拍賣會舉行前或拍 賣某拍賣品前拍賣官宣布的公告。

副標題：如E2段所列出的意思。

大階字體：指包含所有的大寫字母。 保證 ：陳述人或聲明人保證其所陳述或聲明的事實為 正確。

本目錄中使用的各類標識

本部份粗體字體詞語的涵義載於本目錄中題為“業務規定．買方須知”一章的最後一頁。

º 佳士得 已經提供最低出售價保證並對此 拍賣品 持有直接 的經濟利益。請參閱 業務規定 中的重要通知以獲得進一 步資料。

º♦

佳士得 已經提供最低出售價保證並對此 拍賣品 持有直接 經濟利益。 佳士得 的全部或部分利益通過第三方融資。 如果具保證拍賣品被售出，該等第三方通常會獲得經 濟利益。請參閱 業務規定 中的重要通知以獲得進一步 資料。

⇔

第三方已向 佳士得 提供競投，以涵蓋佳士得對此 拍賣品 的所有或部分財務利益，並可能從該競投獲得經濟利 益。請參閱業務規定中的重要通知以獲得進一步資料。

佳士得 對此 拍賣品 持有經濟利益。請參閱 業務規定 中的 重要通知以獲得進一步資料。

¤

對此 拍賣品 有直接或間接利益的一方有可能對該拍賣 品作出競投，其可能知道該拍賣品的底價或其他重要 資訊。

• 此拍賣品不設底價。

此 拍賣品 含有瀕危物種，或會導致出口限制。請參見業 務規定中的第H2段以獲得進一步資料。

≈ 此手袋 拍賣品 含有瀕危物種。 拍賣品 只可運送到香港特 別行政區境內的地址或經親身從我們的香港拍賣場提 取。請參見業務規定中的第H2段以獲得進一步資料。

請注意對拍賣品的標記僅為您提供方便，本公司不承擔任何因標示錯誤或遺漏標記的責任。

≡ 此手袋 拍賣品 含有瀕危物種，受國際運輸限制約束。 拍 賣品在售後需要獲得出口/入口許可以將其運送到香港特 別行政區境外。請參見業務規定中的第H2段以獲得進一 步資料。

∝ 此拍賣品含有象牙材料。請參見業務規定中的第H2段以 獲得進一步資料。

ψ 瀕危物種錶帶只用作展示用途並不作銷售。出售後，此 手錶或會配以不受瀕危野生動植物種國際貿易公約所管 制的錶帶（未有展示）以提供予買家。請參閱業務規定 以獲取進一步資料。請參閱業務規定H2項。

❖ 此拍賣品可根據業務規定以某些加密貨幣支付。

狀況報告評級

我們提供概況性、數字階梯式狀況等級以對物品的總體 性狀況提供指引。另外，請在競投前閱讀每個拍賣品的 狀況報告及附加圖像。

第1級： 該物品未呈現使用或磨損的跡象，可被視為如 新，沒有瑕疵。原裝包裝及保護膠膜可能完整 無缺，請參考拍賣品描述。

第2級： 該物品呈現細微的瑕疵，可被視為幾乎全新。 該物品可能從未被使用過，或可能被使用過幾 次。該物品上僅有在狀況報告中所述的細微的 狀況備註。

第3級： 該物品呈現可察覺的被使用過的痕跡。任何使 用或磨損的跡象都很輕微。狀況良好。

第4級： 該物品呈現頻繁使用後一般的磨損跡象。該物 品存在輕度總體性磨損或小範圍內的重大磨 損。狀況不錯。

第5級： 該物品呈現出因經常或重度使用所造成的損 耗。此物品處於可被使用的狀況，請參照狀況 記錄。

對於拍賣品狀況，由於目錄版面所限未能提供對拍賣品 的全面描述，而所載圖像亦可能無法清楚顯示拍賣品狀 況。拍賣品實物與透過印刷及顯示屏展示的圖像色彩和 色調或會存在色差。閣下有責任確保閣下已收到並已考 慮到任何狀況報告及評級。我們建議閣下親身檢驗拍賣 品或自行就拍賣品尋求專業意見。

有關「配件」

在本目錄中，「配件」所指為皮具之金屬部分，如鍍以 有色金屬（例如金、銀或鈀金）袋扣、底部承托配件、 掛鎖、鑰匙、及/或掛帶。目錄中之「黃金配件」、 「純銀配件」或「鈀金配件」純粹為配件顏色或處理方 法而非實際原料之描述。若任何拍賣品之配件完全以某 種金屬製造，相關條目將附以特別說明。

名酒

購買一系列貨批的選擇權 一組貨批內含多批相同批量、瓶容量及種類的名酒。競 投將會由一系列貨批之中的第一貨批開始，成功競投的 買家有權以相同的落槌價購入系列中部分或全部貨批。

若果第一貨批的買家未有進一步購入，該系列貨批的餘 下貨批將會相似的方式開放競投。佳士得建議對貨批的 出價應在該系列貨批的第一貨批之上。如果出價被取 代，佳士得將會自動把買家的出價置在下一相同貨批， 如此類推。在所有情況下，有關出價均全權由拍賣官處 理。

分類

內容中的波爾多分類標準僅作識別之用，並且根據 Médoc 1855年正式的分類標準及其他標準來源。除註 明外，所有名酒均在莊園內裝瓶。

舊酒的自然耗損及酒塞 在本目錄內列明的名酒均在印刷前盡量確定內容正確， 惟舊酒買家必須對自然程度的耗損、酒箱狀況、標籤、 酒塞及名酒的差異作出包容。恕不接受退貨。

耗損

名酒水位未能達至滿的水位之差距，有關差距會根據名 酒之年期而有所不同，而在銷售前能通過檢驗確定的， 均會在目錄中註明。本目錄以圖表的形式詳細說明水位 與損耗量形容及解釋以方便閣下參考。

Identity Verification

身份驗證

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.

反洗黑錢規例要求佳士得及其他藝術企業核 實所有客戶的身份。新註冊的客戶必須提供以 下文件，而現有客戶則須於下一次交易時按照 系統指示補交尚未提供的文件。

個人客戶

• 護照或其他由政府簽發並附有照片的 身份證明文件副本。

• 最近三個月內發出的住址證明（例如 銀行月結單或水電費帳單）。

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Art Finance 藝術融資部

Your passion is your greatest asset.

將心愛珍藏變成最寶貴的資產

BESPOKE BORROWING FOR ART AND LUXURY COLLECTORS

為藝術傑作及雅逸精品藏家量身定制的貸款服務

DISCOVER NOW 了解更多

PAUL CEZANNE (1839–1906)

Fruits et pot de gingembre

Estimate: US$35,000,000 – 55,000,000

Price realised: US$38,935,0000

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

Christie’s Private Sales allows you to buy and sell, swiftly and confidentially, outside of the auction room. Explore fine art, jewelry, handbags, watches and more, available for immediate purchase.

佳士得私人洽購服務，不受拍賣日程限制，為您帶來靈活、私密的收藏 體驗。歡迎探索可供即時洽購的藝術、珠寶、手袋、名錶等珍品。

EXPLORE WHAT’S AVAILABLE WITH PRIVATE SALES

現即瀏覽私人洽購精品

A MAGNIFICENT AND RARE LARGE RITUAL BRONZE WINE VESSEL AND A COVER, HU MID WESTERN ZHOU DYNASTY, CIRCA 9TH CENTURY BC

21 3⁄4 in. (55.3 cm.) high

西周中期 青銅夔龍紋鋪首銜環耳壺連蓋

Price Upon Request | 價格待詢

Please refer to website for full information. 請瀏覽網頁以了解作品完整資訊。

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