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Asian Art Auction DECEMBER 1 - 6, 2018


Asian Art Auction DECEMBER 1 - 6, 2018


bid online at onlineauctions.waddingtons.ca

asian art specialist Austin Yuen ay@waddingtons.ca

all lots can be viewed online at www.waddingtons.ca

416-847-6195

on view

asian art specialist Amelia Zhu az@waddingtons.ca

Friday, November 30 from 12:00 pm to 5:00 pm Saturday, December 1 from 11:00 am to 5:00 pm

front cover Lot 282 A Small Chinese Export Reverse Painted Mirror, 18th Century

front inside

416-847-6185

Sunday, December 2 from 11:00 am to 5:00 pm

Lot 203 Yuyu Yang (Yang Ying-Feng, 1926-1997), Advent of the Phoenix

back inside Lot 218 A Pair of Famille Verte ‘Qilin and Phoenix’ Dishes, Kangxi Period (1664-1722)

back cover Lot 303

Monday, December 3 from 10:00 am to 12:00 pm

A Blue and White Bottle Vase, Transitional Period, 17th Century

preview held at 275 King Street East, 2nd Floor Toronto, Ontario M5A 1K2

This catalogue and its contents © 2018 Waddington McLean & Company Ltd.

This auction is subject to the Conditions of Sale printed in the back of this catalogue.

Photography & design by Waddington’s All Rights reserved.


101

102

103

A Carved Stone Buddhist Fragment, India, 19th Century or Earlier

A Bronze Elephant Cart, India, 19th Century

A Bronze Horse Figure, India, 19th Century

height 13.4 in — 34 cm

height 9.6 in — 24.5 cm

$300—500

$300—500

104

105

106

A Couched Gold on Silk Thangka of a Pagoda, Sino-Tibetan, 19th Century

A Thangka of Vaisravana, SinoTibetan, 18th Century

A Thangka of Bhaisajyaguru, Tibet, 18th Century

image 26.5 x 22.8 in — 67.3 x 57.9 cm

Opaque pigment on textile, 28 x 21.2 in — 71.1 x 53.8 cm

Opaque pigment on textile, 22.2 x 15.6 in — 56.3 x 39.7 cm

$1,800—2,000

$1,200—1,500

with fi!ed wood stand, height 20 in — 50.8 cm $600—800

$1,000—1,200


107

108

109

A Framed Silk Thangka, Sino-Tibetan, 18th/19th Century

A Miniature Silver Figure of Hayagriva, Tibet, 18th Century

A Gilt Bronze Figure of Mahakala as Bhairava Yab-Yum Figure, Nepal, 18th Century

Opaque pigment on silk, image 34.6 x 28 in — 88 x 71 cm

length 1.4 in — 3.6 cm

$4,000—6,000

$1,800—2,000

height 6.7 in — 17 cm $5,000—8,000

110

111

112

A Bronze Vajra-Ghanta, Korea, Goryeo Dynasty, 13th/14th Century

A Gilt Bronze Chakrasamvara, Tibet, 15th Century

A Gilt Bronze Vasudhara, 17th/18th Century

The male deity and female consort cast separately; affixed to wood stand, overall height 7.5 in — 19.1 cm

height 6.8 in — 17.2 cm

The bell implement used for Buddhist rituals, the body cast with the Four Guardian Kings, height 6.5 in — 16.4 cm $3,000—4,000

$7,000—10,000

$5,000—7,000


113

114

115

A Large Gilt Bronze Phurpa/Kila, Mongolia/Tibet, 18th Century / length 15 in — 38.1 cm

A Tibetan Bronze Thokcha of a Khyung/Garuda, 9th-12th Century length 2.1 in — 5.3 cm

A Tibetan Bronze Thokcha Roundel of a Lion, 9th-12th Century length 2.7 in — 6.9 cm

$7,000—10,000

Note: For further discussion on thokchas, see Arts of Asia May-June 1998, p.44-64.

Note: For further discussion on thokchas, see Arts of Asia May-June 1998, p.44-64.

$1,000—1,200

$1,000—1,200

116

117

A Rare Nestorian Christian Bronze Bird Seal, Yuan Dynasty

A Large Gilt and Red Lacquered Wooden Burmese Buddha, Shan Style, 18th/19th Century /

Cruciform in flight pose with head facing to the right, length 2 in — 5.1 cm Note: For further discussion on Nestorian seals, see Arts of Asia JulyAugust 2015, p.48-64. $2,000—2,500

Seated in vajrasana with the right hand in bhumisparshamudra and the le! resting in his lap, a serene and contemplative expression over the face, with downcast eyes beneath arched eyebrows, gently smiling lips and elongated earlobes, with a tightly curled hairdress and a finial, height 38 in — 96.5 cm Provenance: From the Collection of Robert Stephenson.

Note: A similar Shan-style Buddha was sold at Christie’s Amsterdam, O October 18, 2005, Lot 116. $1,000—1,200


118

119

120

A Chinese Archaic Jade Disc Bracelet, Neolithic Period

A Finely Carved Archaic Jade Fi!ing, Shang to Zhou Dynasty

diameter 4.3 in — 10.9 cm

length 2 in — 5.1 cm

A Large Chinese Jade Sword Pommel, Warring States Period, 5th to 3rd Century BC 5-3

Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129)

Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129)

Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

·

· 1939

(1881-1939) 6

000

·

· 1939

diameter 2.6 in — 6.5 cm Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129) Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

(1881-1939) 6

000

·

· 1939

$3,000—5,000

$2,000—3,000 $800—1,200

(1881-1939) 6

000


121

122

123

An Archaic Jade Pig Figure, Han Dynasty

A Rare Solid Gold Horse Pendant Amulet, Ordos Region, Warring States Period, 5th to 3rd Century BC 5-3

A Chinese Archaic Jade Hoof-Form Hair Ornament, Warring States Period, 5th to 3rd Century BC 5-3

length 2 in — 5 cm

length 1.7 in — 4.2 cm

Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129)

Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129)

Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

length 4.6 in — 11.8 cm Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129) Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

·

· 1939

(1881-1939) 6

000

·

· 1939

(1881-1939) 6

000

·

· 1939

Note: Percival David Collection sticker to base $2,000—3,000

$3,000—5,000

$600—800

(1881-1939) 6

000


124

125

126

A Carved Amber Lingzhi Study with Interior Insect

An Archaic Jade Dragon Pendant, Zhou Dynasty

length 1.7 in — 4.2 cm

length 2.4 in — 6.1 cm

A Group of Nine Agate Bi Disc Hair Ring Pendants, Warring States Period, 5th to 3rd Century BC 5-3

Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129)

Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129)

Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

·

· 1939

(1881-1939) 6

·

·

000 1939

largest diameter 1.7 in — 4.4 cm Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129) Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

(1881-1939) 6

000

·

· 1939

$400—600

$800—1,200 $1,000—2,000

(1881-1939) 6

000


127

128

129

A Group of Three Chinese Jade Suit Fragments, Han Dynasty or Earlier

A Group of Three Chinese Jade Fish Form Amulet Pendants, Neolithic Period

A Group of Four Archaic Glass Articles, Han Dynasty and Later

largest length 2.4 in — 6 cm

Including a bead, a horse figure, and two glass ‘huang’ dragon pendants, largest length 5.4 in — 13.8 cm

largest length 1.9 in — 4.8 cm Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129) Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

·

· 1939

(1881-1939) 6

Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129) Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

·

·

000 1939

Provenance: Archaic Jades from the Estate of Harry Geoffrey Beasley (Lots 118-129) Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator. He was known for establishing the Cranmore Ethnographical Museum, which grew to hold more than 6,000 important ethnographic objects during its time. A"er his death in 1939, his collection was moved to the British Museum right as the war began, during which the Cranmore Museum was destroyed by bombing. A"er the war, substantial portions of the Beasley Collection were passed onto the British Museum, the Royal Museum in Edinburgh, Cambridge University Museum of Archaeology & Anthropology, the Pi# Rivers Museum in Oxford, and the Liverpool Museums. The current lots were acquired from H.G Beasley’s widow, who passed away in 1974.

(1881-1939) 6

000

·

· 1939

$400—600

$400—600

$600—800

(1881-1939) 6

000


130

131

132

A Gold, Silver and Turquoise Inlaid Bronze Belthook, Warring States Period, 5th to 3rd Century BC 5 3

A Polychrome Decorated Black Po!ery ‘Cocoon’ Jar, Han Dynasty

A Chinese Po!ery Hu Jar, Han Dynasty

height 10 in — 25.4 cm

With a bulbous body and a flaring neck, with ribbed bands at intervals over the body, glazed with an iridescent green glaze, height 13.5 in — 34.4 cm

The surface inlaid with undulating silver wire and filled in with turquoise and gold pieces, the bronze body encrusted with dark green patina, length 6.9 in — 17.5 cm

$800—1,200

Provenance: From the Collection of Robert Stephenson.

Provenance: From a Private Toronto Collection.

Note: A similar pottery hu jar was sold at Christie’s London, South Kensington, December 13, 2001, Lot 704.

$1,000—1,500

$300—500

133

134

135

A White Glazed Lidded Jar, Tang Dynasty

A Finely Incised Dingyao ‘Lotus’ Dish

A Longquan Celadon Tripod Censer, Ming Dynasty

The ivory-coloured glaze with a faint celadon tinge, remnants of sancai as faint spots, height 10 in — 25.4 cm Provenance: From the Estate of Dr. Peter Greiner, author of Astronomical Instruments End of the Shang or Beginning of the Chou Dynasty, University of Pi!sburgh. : $6,000—8,000

Together with wood box, diameter 4.6 in — 11.6 cm $3,000—4,000

Heavily po!ed with a shallow basin supported on three monster-head feet, the centre of the interior with an unglazed section stamped with a flower design, diameter 13 in — 33 cm $3,000—4,000


136

137

138

A Longquan Celadon Charger, Ming Dynasty

A Longquan Barbed-Rim Dish, Ming Dynasty

Song Chengxiang (Qing Dynasty), Calligraphy ( ) Ink on paper, 39 x 6.7 in — 99 x 17 cm

The centre stamped with a chrysanthemum flower design, the cave!o and outer edge incised with scrolling vines, diameter 13.6 in — 34.5 cm $1,000—2,000

Demonstrating an a!ractive barbed rim and fluted underside, the centre incised with stylized florals, diameter 9.6 in — 24.5 cm $800—1,000

宋承庠(?—1900) 江蘇華亭人,清末官吏。由拔貢考取 小京官,銓工部。光緒四年,舉於 鄉,遷主事。八年,充總理衙門章 京,遷員外郎,轉禦史。

$600—800

139

140

141

Yu Simei, Fan Painting of Calligraphy

A Fan Painting of a Wu Gang

A Group of Four Chinese Fan Paintings

Ink on silk, 9.9 x 10.4 in — 25.2 x 26.4 cm

Ink and colour on silk, 9.6 x 9.5 in — 24.4 x 24.2 cm

$600—800

題識:金齡寫於吳下 $600—800

Ink and colour on paper, framed, width 22 in — 55.9 cm 紫藤扇面,張振(清) 題識: 集之七兄大人雅正,丙辰夏日十三 峰草堂張振。 菊蟹扇面,佚名 題識: 庚子重九日畫呈肇初老伯大人教 正;姪遠岑石湖。 臘梅,佚名 題識:小閣香浮;一九六一年夏,雲間孫 大。 鈐印: 孫大。 雀上枝頭,仲光動(1883-1930) 題識:憶谷仁兄方家正之,乙醜春梅涇小梅 仲光動。 鈐印:小梅,仲光動印

$600—800


142

143

144

Yang Zhian(1957- ), Four Seasons (1957- )

A!ributed to Huang Zhou (1925-1997), Donkey Rider (1925-1997)

Chen Zhengming(1941- ), Two Beauties (1941- )

Ink and colour on paper, scroll mounted, image 35.8 x 13 in — 91 x 33 cm $4,000—6,000

Ink and colour on paper, framed, image 31.9 x 26.8 in — 81 x 68 cm 黃冑(1925-1997) 原姓梁,名淦堂,字映齋,河北蠡縣人,中 國知名當代畫家。師從趙望雲。擅人物及動 物畫。曾為中國美協常務理事,中國畫研究 院副院長,及北京炎黃藝術館館長。 黃冑擅於畫出新疆人物,動物,人民生活, 與風景之美。2011年黃冑(Huang Zhou 黃胄) 榮獲列名世界拍賣收入記錄第13名寶座而成 為世界上最有名的畫家之一。

Ink and colour on paper, framed, image 59.4 x 32.7 in — 151 x 83 cm 陳政明(1941- ) 廣東普寧人,擅長中國畫。現為中國美術 家協會理事,廣東省美術家協會副主席, 一級美術師。作品多次參加全國美展,並 曾應邀赴美國,日本,加拿大,澳大利 亞,新加坡,泰國,馬拉西亞,俄羅斯, 越南及台灣,香港,澳門等地舉辦個人畫 展。為中國美協,中央電視台錄播“中國當 代國畫四十家”之一。

$800—1,000

$1,000—2,000

145

147

148

Wu Fozhi (1900-1977), Peaches (1900-1977) Ink and colour on paper, scroll mounted, image 53.1 x 26.4 in — 135 x 67 cm

Wu Yisheng (1929-2009), White Peacock Pair (1929-2009)

吳佛之(1900-1977)

Ink and colour on paper, 51.8 x 26.4 in — 131.5 x 67 cm

Wu Yisheng (1929-2009), Peacock (1929-2009) “ ” Ink and colour on paper, 27.2 x 18.2 in — 69 x 46.2 cm

浙江浦江人.生前為浙江美術學院教授,中 國美協常務理事.

$2,000—3,000

$800—1,200

Lots 147 - 151 伍彝生 (1929-2009)

$6,000—8,000

1929年生,廣東臺山人。60年創辦彜生畫苑授徒至今,84年以藝術家身份從香港移民多倫多。 對花鳥、山水、人物、素描無一不精,尤其繪寫孔雀獨步藝壇。現為加拿大中文學院大專學部美 術系課程設計主任、安省中國美術會永遠名譽會長、澳洲維多利亞國家畫廊永遠會員。曾在香港 大會堂、藝術中心、雪梨市政廳、坎培拉國立大學、亞勿特市政廳、喔太華市政廳、多倫多中國 美術館及日本、臺灣、中國大陸、新加坡、美國等個展二十余次。94年加拿大國家文明博物館收 藏其國畫孔雀及牡丹花各一幀,95年榮獲加拿大國慶委員會頒發傑出成就獎,97年中華人民共和 國文化部藝術局主辦世界華人書畫展榮獲參展資格作品,孔雀被廣東麥科特集團收藏。傳略收入 大型辭書《中華人物辭海》、《北美華裔藝術家名人錄》。


149

150

151

Wu Yisheng (1929-2009), Eight Horses (1929-2009)

Wu Yisheng (1929-2009), Basket of Catfish (1929-2009)

Wu Yisheng (1929-2009), Peonies (1929-2009)

Ink and colour on paper, 20.5 x 37.8 in — 52 x 96 cm

Ink and colour on paper, 37.4 x 13.6 in — 95 x 34.5 cm

Ink and colour on paper, 23.4 x 42.1 in — 59.5 x 107 cm

$400—600

$400—600

$400—600

152

153

154

Li Yan (1943-), Hen and Chick (1943- ) Ink and colour on paper, mounted on silk, framed, 17.7 x 13.4 in — 45 x 34 cm

Huang Yongyu (1924-), Drinking (1924- ) Ink and colour on paper, image 27.2 x 27 in — 69.1 x 68.6 cm

李燕 (1943- )

黃永玉 (1924- )

A!ributed to Guan Liang (1900-1986), Dongguo Hides the Wolf, Dated 1973 (1900-1986) (1937 ) Ink and colour on paper, 12.9 x 18.7 in — 32.7 x 47.5 cm

1943年生於北京。畫家。清華大學美術學院 教授,中國美術家協會會員,齊白石藝術研 究會副會長,李苦禪紀念館、藝術館副館 長,中央文史館館員,九三學社中央書畫院 副院長,中國周易學會副會長。藝術大師李 苦禪之子。

筆名黃杏檳、黃牛、牛夫子。1924年7月9日 出生在湖南省常德縣(今常德市鼎城區),祖 籍為湖南省的鳳凰縣城。土家族人。現為中央 美術學院教授,曾任版畫系主任。1946年,他 和張梅溪結婚。 中國畫院院士,受過小學和 不完整初級中學教育。因家境貧苦,12歲就外 出謀生,流落到安徽、福建山區小瓷作坊做童 工,後來輾轉到上海、臺灣和香港。14歲開始 發表作品,以後一段時間主攻版畫,其獨具風 格的版畫作品飲譽國內外。16歲開始以繪聲繪 色畫畫及木刻謀生。曾任瓷場小工、小學教 員、中學教員、家眾教育館員、劇團見習美術 隊員、報社編輯、電影編劇及中央美術學院教 授、中國美協副主席,中國文學藝術界聯合會 第十屆榮譽委員。

$600—800

題識:田燕阿基暢遊北京不可無畫,以挖酒耳 圖,黃永玉贈 鈐印:黃,永玉

$8,000—10,000

關良(1900--1986) 字良公。生於廣東番禺, 1917年赴日本學習 油畫,1923年回國,任上海美術專科學校教 授,參加過北伐戰爭,任政治部藝術股 長,30~40年代輾轉於廣州、上海、重慶等 地的藝術院校任教,並於名山大川旅行寫 生,長於中國畫、油畫。曾任浙江美術學院 教授、上海中國畫院畫師。著《關良藝事隨 談》、《關良回憶錄》。出版《關良京戲人 物水墨畫》、《關良油畫集》等。 題識: 東郭先生受教圖,一九七三年春,關 良。 鈐印:關,南亭

$2,000—3,000


155

156

157

A Rectangular White Jade Plaque Mounted on a Stand

A White Jade Carved Belthook

A White Jade Carved Circular Box

A young chilong clambering up an elder chilong’s belly, length 4.8 in — 12.3 cm

The cover carved with a scholar strolling through a garden with an a!endant, diameter 2.1 in — 5.4 cm

One side carved with a scholar playing a Chinese zither while a hermit looks on, the other with stylized calligraphic inscriptions, 3.1 x 2.4 in — 8 x 6 cm

$1,000—1,200

$1,000—1,200

$1,000—1,200

158

159

160

A Reticulated Jade Inlaid Cloisonné Box

A Jade Inlaid Filigree and Enamel Bracelet

A White Jade Carved Ink Stick Stand

1.7 x 3.7 x 3.1 in — 4.2 x 9.5 x 7.8 cm

plaque length 1.7 in — 4.2 cm

The surface carved with two scholars, the sides reticulated with bats, 0.5 x 2.6 x 1.6 in — 1.3 x 6.6 x 4.1 cm

$500—700

$500—700

$600—800


161

162

163

Two Jadeite Carved Plaques

A Silk Embroidered Purse with Jade Bangles

A Jade Carved ‘Elephant’ Table Plaque, 18th/19th Century

The pair of bangles fi!ed as handles, the purse fashioned out of Qing court civil rank badges, overall length 12.6 in — 32 cm

The richly adorned elephant surrounded by Buddhist treasures, the stone with splotches of white mo!ling, mounted on a hardwood stand, height 8 in — 20.2 cm

$500—700

$2,000—3,000

164

165

166

A Spinach Jade Carved Vase, 19th Century

A Fine Double-Sided Jade and Jadeite Inlaid Table Screen, 18th/19th Century

A Pair of Black Jade Elephants

largest length 2.6 in — 6.5 cm $600—800

The rocky landscape populated by pines, plum blossoms, lingzhi mushrooms, and bats, the underside carved with swirling waters, with a carved wood base, overall height 10 in — 25.4 cm $3,000—5,000

One plaque carved with an elephant carrying a vase sprouting the eight Buddhist emblems, the other with a peony blossom, the wood stand inlaid with mother-of-pearl, 7.9 x 8.7 in — 20 x 22.2 cm $3,000—5,000

The black stone with a faint green hue, carved as a pair of standing elephants, height 7.5 in — 19 cm $1,200—1,500


167

168

169

A Fine Peking Glass & Stone Embellished Landscape Covered Box, 18th/19th Century

A Swiss Key-Wind Openface Pocket Watch, Made for the Chinese Market, 19th Century “ ”

A Large Chinese White and Apple Jadeite, 14k Gold and Diamond Pendant

diameter 2.6 in — 6.5 cm

54mm diameter; highly skeletonized and engraved sweep second lever escapement movement; in a silver case with display inner cover Note: A similar pocket watch with same mark was showcased at the ‘Geneva At The Heart of Time - The origin of Swiss Watchmaking Culture’ exhibition in Beijing, 2015.

$800—1,200

14k gold mounting; 42 brilliant cut diamonds; 14k 42 $1,000—2,000

$800—1,200

170

171

172

A Vintage Violet Jadeite Cabochon, 14k Gold and Diamond Cocktail Ring

A Pink Coral 14k Gold and Diamond ‘Fish’ Mounted Necklace

Violet jadeite cabochon; 14k gold ring; 16 brilliant cut diamonds; ring size 7; 14k 16 7

14k

A Fine Pair of Apple Green and Russet Jadeite, 14k White Gold and Diamond Earrings, Circa 1920 1920 Small princess cut diamonds; 14k , length 1.4 in — 3.5 cm

$800—1,200

, length 11 in — 27.9 cm

$2,000—3,000

$1,200—1,800


173

174

175

A White Jade Flowerhead Plaque, 18th/19th Century

A White Jade Carved ‘Mao’ Badge, Circa 1951 1951 The pale stone carved with the head of Chairman Mao, the back signed by the artist Yongmei and dated 1951, diameter 2 in — 5.1 cm

A Green and Russet Jadeite ‘Scholar’s Rock’ Carving

The centre carved with a stylized chrysanthemum radiating out with ruyi heads, the back with a yin-yang for toggle fastening, the stone with even white mo!ling, diameter 3.3 in — 8.3 cm Provenance: Christie’s South Kensington, November 12, 2010, Lot 1316.

印:詠梅

$2,200—2,500

$2,200—2,500

177

178

Two White Jade Bi Discs, 19th Century

A White Jade and Russet Jade Carving of Three Ducks

largest diameter 2.5 in — 6.4 cm

length 1.9 in — 4.8 cm

$600—800

$600—800

overall height 5.5 in — 14 cm $2,000—2,500


179

180

181

A Group of Three Jade Carvings

Two Celadon White Jade Plaques

Two White Jade Carved Figures

Consisting of a circular plaque, a fish, and peaches, largest diameter 2.3 in — 5.8 cm

largest length 2.4 in — 6 cm

Consisting of a hound and a boy, largest length 2.4 in — 6.2 cm

$600—800

$600—800

$600—800

182

183

184

Two Celadon White Jade Carved Items

A White and Russet Jade Lion Carving

A Shoushan Stone Landscape Carving

length 3.9 in — 10 cm

Carved in low profile with pines and rockeries, height 4.3 in — 10.8 cm

Consisting of a snuff bo"le and eggplants, largest length 3.6 in — 9.2 cm $600—800

$2,000—2,500

$1,600—1,800


185

186

187

A Tianhuang Stone Carved Seal, Signed Ju Lühou (1723-1786)

A!ributed to Su Liupeng (Late Qing Dynasty), Longevity Celebration

A"er Wu Guxiang (1848-1903) Fishermen in Autumn (1848-1903)

Three facets and base carved, height 3 in — 7.6 cm, 5.8 oz. — 180 grams

Ink and colour on paper, framed, image 26 x 32.3 in — 66 x 82 cm

Note: See website for full catalogue details

Note: See website for full catalogue details

$2,600—2,800

$2,000—3,000

Ink and colour on paper, scroll mounted, image 12.2 x 13.8 in — 31 x 35 cm Provenance: Pao & Moltke, Toronto.

Note: See website for full catalogue details $600—800

188

189

A"er Wu Qingyun (Late Qing), Autumn Village ( )

Zhu Menlu (1826-1900), Birds and Flowers (1826-1900) Ink and colour on paper, scroll mounted, image 52 x 13 in — 132 x 33 cm

Ink and colour on paper, scroll mounted, image 13 x 17.1 in — 33 x 43.5 cm Provenance: Pao & Moltke, Toronto.

Note: See website for full catalogue details $600—800

Provenance: Pao & Moltke, Toronto.

Note: See website for full catalogue details $600—800


190

191

Jing Yuan, Landscape Long Scroll

A!ributed to Wang Yuanqi 1715), Landscape, Scroll (1642 1715)

Ink on paper, handscroll, image 9 x 116 in — 22.9 x 294.6 cm Literature:

192 1642

A!ributed to Ren Bonian (1840-1896), Two Bird Paintings (1840-1896)

Ink and colour on silk, scroll mounted, image 37.8 x 12.8 in — 96 x 32.5 cm

Ink and colour on silk, framed, image 10.6 x 8.3 in — 27 x 21 cm

Note: See website for full catalogue details

Note: See website for full catalogue details

$8,000—12,000

$1,000—1,500

$6,000—8,000

193

194

Liu Xiling (1859-1920) Birds and Flowers, Finger Paintings (1859-1920)

Sha Fu (1831-1906), Bird (1831-1906) Ink and colour on paper, scroll mounted, 40.2 x 21.9 in — 102 x 55.5 cm

Ink on silk, scroll mounted, image 51 x 15 in — 129.5 x 38.1 cm Note: See website for full catalogue details $4,000—6,000

$3,000—5,000


195 Pu Ru (1896-1963) Autumn Landscape Handscroll (1896-1963) Ink on paper, handscroll, image 3 x 21.5 in — 7.6 x 54.6 cm $13,000—15,000 題識:寒峰帶秋色 日夕片雪行 鈐印:心畬 引首: 謝稚柳:庚申新秋稚柳,寒峰秋色 鈐印:謝稚柳,九九翁 溥心畬 (1896-1963), 原名愛新覺羅·溥儒,初字仲衡,後改字心畬,號西山逸士,又自比陶潛,故號義皇上人。滿清皇族身世,其 父載瀅為奕䜣次子,曾祖父是清宣宗道光皇帝。溥心畬幼年除於恭王府習文,亦在大內接受“ 琴棋書畫詩酒花美學”培育,五歲時拜 見慈禧太後,從容廷對,獲誇“本朝靈氣都鐘於此童”。辛亥革命後,溥心畬隱居北京西山戒臺寺十余年,再遷居頤和園,專事繪 畫。1924年宣統出宮後,溥心畬遂與溥雪齋(號松雪), 溥儀齋(號松鄰), 關松房(號松房), 等創立了近代著名國畫團體松風畫會,自 號“松巢”。松風畫會是京津派的主要成員,迄今已有近90年的歷史。1934-1038年間,與張大千密切交往,兩人常有合畫,並被共 譽為“南張北溥”。1949年,新中國成立不久,溥心畬輾轉赴臺執教於臺灣師範大學。1959年,臺灣歷史博物館特地為他舉辦個展, 展出作品多達三百八十幅。1963年病逝於臺北。 溥心畬創作題材廣泛,例如山水花鳥,遊禽走獸,亭臺樓閣,鬼怪等主題,但其中以山水為最主要繪畫題材和表現對象。其山水作 品分為山水畫仿古作品及展現自我風格的山水小品兩類。此小寬幅長卷,題詩【寒峰帶秋色 日夕片雪行】為其典型早期山水作品。 此圖寬度極小約三公分,長約二十公分,為罕見的小手卷。紙面雖小,但結構連綿,層次分明,純粹水墨的山水畫呈現優秀的筆墨 造詣。遠處的帆影與近處的一行人馬遙相呼應,隱沒在以幹筆皴擦表現出的山石肌理中,渲染出冬日大雪封山的寂靜之感。能在如 此小的畫面中,畫出無盡蒼山,用墨精彩,繁而不亂,便是溥心畬功力所在。更有中央大學藝術系教授,國家文物局全國古代書畫 鑒定小組組長,中國近現代著名畫家謝稚柳題“寒峰秋色”並落款與印章。實為佳作。 溥心畬不但是二十世紀文人畫派的代表人物,過世後更被認為是”中國文人畫的最後一筆”。其在美術史中的地位更是充分反映在拍 賣市場上。據不完全統計,溥心畬作品的每平方尺成交均價約在17萬人民幣,其作品的每期拍賣總成交額多維持在5千萬至1億人民 幣之間。收藏鑒賞溥心畬山水精妙小品,感受其古法融合卻自成一家,細致清雅的氣質,與文人畫的意境與內涵,遠離俗慮,令人 心馳。


196

197

198

A!ributed to Zeng Xi (1861-1930) Calligraphy (1861-1930)

A!ributed to Zheng Xiaoxu (1860 -1938), Running Script

A!ributed to Wang Zhen (1867-1938), Bird and Flower, 1915 (1867-1938) (1915 )

Ink on paper, scroll mounted, image 57.5 x 30.7 in — 146 x 78 cm

Ink and colour on paper, scroll mounted, image 58.9 x 7.5 in — 149.5 x 19 cm

Ink and colour on paper, scroll mounted, image 58.7 x 15.4 in — 149 x 39.1 cm

Note: See website for full catalogue details.

Provenance: Bonhams Australia, October 25, 2017, Lot 94.

Provenance: Bonhams Australia, October 25, 2017, Lot 28.

, 2017 10 94 Note: See website for full catalogue details.

, 2017 10 28 Note: See website for full catalogue details.

$2,000—3,000

$2,000—3,000

199

200

201

A!ributed to Yi Yuanji (Nothern Song) Insects and Flowers ( )

Shi Hu (1942-), Nude Women (1942- ) Ink and colour on paper, framed, image 27 x 26.5 in — 68.6 x 67.3 cm Note: See website for full catalogue details.

Shi Hu (1942-), Figures (1942-), Ink and colour on paper, framed, 22 x 22.5 in — 55.9 x 57.2 cm

$2,000—3,000

$3,000—5,000

$2,000—3,000

Ink and colour on paper, scroll mounted, image 21.7 x 9.4 in — 55 x 24 cm $800—1,200

Note: See website for full catalogue details.


202

203

204

Shi Hu (1942-), Horse Training (1942- ) Ink and colour on paper, framed and ma!ed, 25 x 34 in — 63.5 x 86.4 cm

Yuyu Yang (Yang Ying-Feng, 1926 -1997), Advent of the Phoenix 1991 (1926-1997)

Henry Wo Yue-Kee (1927-), Waterlily (1927- ) Ink and colour on paper, framed, image 19.7 x 13 in — 50 x 33 cm

Note: See website for full catalogue details. $3,000—5,000

Signed, dated 1991, and numbered 13/20, stainless steel; “ ” 91 13/20 , 39.5 x 44 x 31 in — 100.3 x 111.8 x 78.7 cm Note: See website for full catalogue details.

Note: See website for full catalogue details. $2,000—3,000

$10,000—15,000

205

206

207

Jin Weihong (1967- ) Lounging Figures (1967- ) Ink and colour on paper, framed, image 20.5 x 17.7 in — 52 x 45 cm Note: See website for full catalogue details.

Yun Shouping(1633-1690), Water Lily and Egrets (1633-1690)

Earl Lu (1925-2005), Two Paintings of Red Roses (1925-2005) ( ),

Ink and colour on silk, framed, image 27.2 x 15.7 in — 69 x 40 cm

Ink and colour on paper, framed, largest 20.9 x 28.7 in — 53 x 73 cm

Note: See website for full catalogue details.

Provenance: Norma Lu Gallery, Singapore.

$1,000—1,500

: Normal Lu Note: See website for full catalogue details.

$2,000—3,000

$500—700


208

209

210

Tsue Ta Tee (1903-1974), Double Happiness (1903-1974) Ink on paper, framed, image 53.9 x 27.2 in — 137 x 69 cm

Chen Wen Hsi (1906-1992), Herons 1906-1992

Chen Wen Hsi (1906-1992), Sunflowers (1906-1992) Ink and colour on paper, framed, image 36.6 x 17.7 in — 93 x 45 cm

Note: See website for full catalogue details.

Ink on paper, framed, image 26.4 x 26.4 in — 67 x 67 cm Note: See website for full catalogue details.

$1,000—2,000

$1,000—2,000

$800—1,500

211

212

213

Guo Da Wei (1919-2003), Frogs (1919-2003) Ink on paper, framed, image 27.2 x 13.6 in — 69 x 34.5 cm Note: See website for full catalogue details.

Gou Da Wei (1919-2003), Prawns (1919-2003) Ink on paper, framed, image 13.4 x 27.2 in — 34 x 69 cm

Thomas Yeo (1936-), Untitled (1936- ) ( )

$2,000—3,000

Provenance: Norma Lu Gallery, Singapore. : Normal Lu Note: See website for full catalogue details. $2,000—3,000

Note: See website for full catalogue details.

Opaque pigment on paper, framed, image 17.7 x 7.2 in — 45 x 18.2 cm $300—400


214

215

216

Chua Joon Siang (1973- ), Bird (1973- )( )

A Blue and White ‘Lotus’ Vase, Kangxi Period (1662-1722)

A Pair of Blue and White Export Chargers, Kangxi Period (1662-1722)

Ink and colour on paper, framed, image 21.3 x 13.2 in — 54 x 33.5 cm

Dense scrolls of lotus flowers and vines painted in deep underglaze cobalt blue, double circle mark to base, height 11.8 in — 30 cm

Each with a foliate rim and fluted cave!o, the interior painted with flower baskets bordered by radiating panels of floral sprays, the base with stylized character within double circle mark, diameter 13.6 in — 34.5 cm

$100—200

$1,000—1,200

Provenance: Doyle New York, March 14, 2016, Lot 315. 2016

315

3

14

Doyle

$6,000—8,000

217

218

219

A Large Famille Verte Ginger Jar, Kangxi Period (1661-1722)

A Pair of Famille Verte ‘Qilin and Phoenix’ Dishes, Kangxi Period (1664 -1722)

A Famille Verte Porcelain Plaque, 19th Century

Four vertical reserves painted with antiques, birds, insects and flowers, panels separated by bands of dense pa!erns of flowers and medallions, cobalt blue double circle mark to base, height 12.6 in — 32 cm $2,000—3,000

Each brightly enameled with a mythical qilin and phoenix pair amongst rocky terrain and densely clouded skies, the everted rims decorated with four shaped panels against diaper-pa!ern ground, the base with square symbol within a double-circle mark, diameter 8.3 in — 21 cm Note: See website for full catalogue details. $4,000—6,000

Enamel on porcelain, framed, overall 18.8 x 14 in — 47.7 x 35.5 cm $3,000—5,000


220

221

222

A Kangxi-Style Famille Verte Rouleau Vase, 19th Century

A Kangxi-Style Famille Verte Lidded Jar, Late 19th Century

A Powder-Blue Phoenix Tail Vase, 19th Century or Earlier

Painted in green, red, and yellow enamels, depicting a court scene, height 17.7 in — 45 cm

Vividly enameled, the decoration partitioned into sections of blossoming branches and insects, the cover similarly divided into six panels and terminating with a flower bud finial; double circle mark to base, height 13 in — 33 cm

$600—800

height 17.3 in — 44 cm $1,000—2,000

$400—600

223

224

225

A Blue and White ‘Twin Boys’ Ginger Jar, 19th Century

A Copper Red Bo!le Vase, 19th Century

A Langyao-Glazed Compressed Bo!le Vase, 19th Century

Raised on a small foot, the bulbous body rising to an elongated neck, and covered in an even copper red glaze on the exterior, height 13.4 in — 34 cm

The squat bulbous body with truncated neck, covered in a deep red glaze that pales up the neck, height 9.8 in — 25 cm

Painted in underglaze cobalt blue with three panels, each depicting twin boys; together with hardwood carved lid, height 8.5 in — 21.5 cm Note: See website for full catalogue details. $800—1,200

$800—1,200

$600—800


226

227

228

A Langyao-Glazed Bo!le Vase, 19th Century

A Small Flambé Glazed Bo!le Vase, 19th Century

A Famille Rose ‘Balsam Pear’ Rouleau Vase, 19th Century

Heavily po!ed, covered in a deep red glaze, revealing a cream crackled glaze base near the mouth, height 15.2 in — 38.5 cm

Covered in red glaze throughout, with pale streaks of cream and bluish-purple nearing the mouth, height 8.3 in — 21 cm

The cylindrical body rising to a ribbed neck, both body and neck depicting flowering and fruiting balsam pears, height 18 in — 45.7 cm

$400—600

Note: See website for full catalogue details.

$800—1,200

$800—1,200

229

230

231

A Famille Rose Rouleau Vase, Late 19th Century

A Pair of Blue Glazed ‘Cong’ Vases, Late 19th/Early 20th Century

A Small Red Flambé-Glazed Hu Vase, 19th Century

Brightly enameled with various blossoms, Qianlong mark to base, height 17.3 in — 44 cm

The body moulded with bagua pa!erns, each with six-character Yongzheng mark to base, height 9.4 in — 24 cm

$600—800

$600—800

The glaze demonstrating a shade of deep strawberry suffused with faint crackling, height 5.9 in — 15 cm $800—1,000


232

233

234

A Flambé-Glazed Garlic Mouth Vase, 18th/19th Century

A Red-Glazed Garlic Mouth Vase, 18th/19th Century

A Pair of Flambé Glazed Gu Vases, Republic Period

The broad ovoid body rising up a triple bowstring neck to a bulbous garlic headshaped mouth, all covered in a purple glaze streaked with milky blue, height 13.4 in — 34 cm

Heavily po!ed, the deep red glaze suffused with a fine network of crackles, height 14.2 in — 36 cm

Of square gu vase form, each streaked with cream, blue and purple, Yongzheng seal marks to bases, height 9.3 in — 23.5 cm

Note: See website for full catalogue details.

$800—1,200

$300—400

$3,000—4,000

235

236

237

A Flambé Glazed ‘Pomegranate’ Vase, Qianlong Mark, 19th Century

A Small ‘Egg and Spinach’ Glazed Vase, 17th Century or Later

A Pair of Miniature Porcelain Vases with ‘Faux Bois’ Bases, Early 18th Century

The squat lobed form rising to an everted lip, all under a light blue glaze punctuated with streaks of Jun-style purple and black, height 7 in — 17.8 cm

Of garlic-head form, splashed with green, yellow and brown on a cream ground, faintly iridescent all around, four-character Xuande mark to base, height 7.5 in — 19 cm

$1,200—1,500

$1,800—2,000

The square ‘faux bois’ feet supported on four legs, rising to a white porcelain body decorated with flowers in gilt and enamels, the shoulder moulded with squirrels and grapes, height 4.1 in — 10.3 cm $800—1,200


238

239

240

A Blue and White Tulip Vase, Kangxi Mark, 19th/Early 20th Century /

A Pair of Chinese Famille Rose & Powder Blue Glaze Fish Bowl Jardinieres, 18th/19th Century

A Pair of Blue and White Beaker Vases, 19th Century

Of lobed bo!le form with bulbous head and serrated lotus-form mouth, the body and neck painted with mountain and river landscapes, four-character mark to base, height 9.4 in — 24 cm

height 7.5 in — 19 cm $2,000—3,000

Painted with panels of figures in a garden, each with four-character Chenghua marks to base, height 15.5 in — 39.4 cm $1,000—2,000

$800—1,000

241

242

243

A Group of Three Blue and White ‘Double Happiness’ Vases

A Group of Six Snuff Bo"les

A Turquoise Carved Snuff Bo"le

Consisting of jade, agate, and glass, largest length 3.1 in — 8 cm

height 2.2 in — 5.6 cm

Each with double happiness characters against scrolling peonies, two with Chenghua marks to bases, largest height 17 in — 43.2 cm $1,000—1,500

$400—600

$200—300


244

245

246

A Group of Four Hardstone Snuff Bo"les

A Group of Four Snuff Bo"les, 19th/20th Century

A Carved Agate ‘Qilin with Bats’ Snuff Bo"le, 19th Century

Consisting of various coloured hardstones, including one puddingstone, largest height 2.8 in — 7 cm

Consisting of glass and hardstones, largest height 2.7 in — 6.8 cm

, height 2.9 in — 7.3 cm

$600—800

$200—300

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970

1950

$600—800

247

248

249

A Finely Carved and Gilt Shadow Agate Snuff Bo"le, 18th/19th Century

A White and Light Russet Jade Snuff Bo"le, 18th/19th Century

An Inscribed Celadon White Jade Snuff Bo"le, 19th Century

The faceted side demonstrating a golden russet skin; turquoise stopper , height 2.7 in — 6.8 cm

height 2.6 in — 6.5 cm

Tiger’s eye stopper in — 5.9 cm

, height 2.3

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970 $600—800

1950

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970

1950

Note: See website for full catalogue details. $2,000—3,000

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970 $800—1,200

1950


250

251

252

A Pale Celadon Jade ‘Bat and Ruyi’ Snuff Bo"le, 18th/19th Century “ ”

A Fine Famille Rose Moulded Landscape Snuff Bo"le, Qianlong Mark and Period (1736-1795)

A Rare Silver-Imitation Enamel ‘Eighteen Luohans’ Porcelain Snuff Bo"le, Qianlong Mark, 18th/19th Century

height 2.3 in — 5.9 cm

, height 3 in — 7.5 cm

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970

1950

$800—1,200

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970

1950

, height 3 in — 7.6 cm Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970

$2,000—3,000

1950

$1,000—2,000

253

254

255

A Finely Detailed Porcelain Enamel Lotus Moluded Snuff Bo"le, 19th Century

A Carved Rootwood ‘Eight Horses’ Snuff Bo"le, 19th Century

A Rare Enamel and White-Slip Decorated Yixing Stoneware Snuff Bo"le, 19th Century

height 3.1 in — 7.8 cm

length 3.6 in — 9.1 cm Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970 $600—800

1950

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970 $600—800

1950

Each side decorated with a trio of quails, height 2.8 in — 7.2 cm Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970 $600—800

1950


256

257

258

A White-Slip Enamel Decorated Yixing Stoneware Snuff Bo"le, 18th to Early 19th Century

Qian Jingrui (1943-) An Interior Reverse-Painted ‘Winter Landscape’ Snuff Bo"le (1943- ) “ ”

A Red-Overlay ‘Precious Objects’ Peking Glass Snuff Bo"le, 19th Century

height 3 in — 7.7 cm

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s.

Stamped mark to base “ height 2 in — 5 cm

,

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970

1950

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970

1950

height 2.9 in — 7.4 cm

1970

1950

$400—600

Note: See website for full catalogue details.

$300—500

$400—600

259

260

261

A Carved ‘Hair’ Rock Crystal Snuff Bo"le, 19th Century

An Amethyst Carved Snuff Bo"le, 19th Century

A Carnelian and White Agate Carved ‘Gourd’ Snuff Bo"le, Qing Dynasty, 19th Century

Carved with a lady, height 2.7 in — 6.9 cm

height 2.4 in — 6 cm

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s.

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s.

1970 $300—500

1950 1970 $600—800

1950

length 2.7 in — 6.8 cm Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970 $300—500

1950


262

263

264

A Copper Red Blue and White Porcelain Snuff Bo"le, Yongzheng Mark, 19th Century

A Blue and White ‘Eight Horses’ Porcelain Snuff Bo"le, Yongzheng Mark, 19th Century

Pan Chiping (1945-), A Faceted and Speckled Yixing Stoneware Teapot and Cover 1945-

height 3.3 in — 8.4 cm

2.3 x 5.2 in — 5.8 x 13.3 cm

Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s.

Provenance: Acquired from a contemporary Yixing artists exhibition, China’s Best Ltd., Hong Kong, 1989.

, height 3.3 in — 8.5 cm Provenance: Property of a Canadian family of British descent, acquired in the 1950s to 1970s. 1970 $200—300

1950

1970 $300—500

1950

Prominent Hong Kong/Toronto Family Collection of Yixing Stoneware. Several examples acquired directly from the artists, others of family descent. For further information, please inquire. 1989

款識:己巳夏月持平作 鈐印:潘持平 潘持平 (1945- ) 江蘇宜興人,生於1945年,江蘇省工藝 美術名人,中國會會員,宜興紫砂文化 藝術研究專委會常務會員。師從名藝人 徐盤大、陳福淵學藝,代表作品有《四 方段玉壺》、《方舟壺》、《方鐘壺》 等,有論文在香港《中華傳統陶藝及現 代陶藝論壇》、《紫砂春華》等刊物上 發表。 Accompanied by original certificate and box. $8,000—12,000


265

266

267

Xu Xiutang (1937-) & Zhou Dingfang (1965-), An ‘Imitation-Leather’ Yixing Stoneware Teapot and Cover (1965- ) (1937- )

Zhang Shouzhi (1932- ) & Tan Yuewei (1959- ), A Faceted Yixing Stoneware Teapot and Cover (1932- ) (1959- )

An ‘Imitation-Lacquer’ Yixing Stoneware Teapot and Cover, Signed Bao Tingbo

4.9 x 6.3 in — 12.5 x 16 cm

Provenance: Prominent Hong Kong/Toronto Family Collection of Yixing Stoneware. Several examples acquired directly from the artists, others of family descent. For further information, please inquire.

3.7 x 4.3 in — 9.3 x 11 cm Provenance: Acquired directly from the artist at a Yixing exhibition, China’s Best Ltd., Hong Kong, 1989. Prominent Hong Kong/Toronto Family Collection of Yixing Stoneware. Several examples acquired directly from the artists, others of family descent. For further information, please inquire. 1989

款識: 物本無心,何與人事 技藝相感,妙理即成 庚午秀棠題 印:周定芳印章 周定芳(女), 1965年3月生,宜興紫砂工藝 二廠工藝美術師。1984年從師徐秀棠,勤奮 刻苦、悟性強而深得大師之真傳。 徐秀棠,1937年12月出生於宜興蜀山紫砂陶 藝世家,中國工藝美術大師。現任無錫市茶 文化研究會副會長,江南大學客座教授,無 錫工藝職業技術學院客座教授。獲獎作品有 《坐八怪》、《雪舟學畫》等。徐秀堂的作 品多次在國內外展出中獲獎,並被美國大都 會博物館、英國維多利亞博物館及大不列顛 博物館、比利時皇家博物館及國內故宮博物 院、南京博物院、上海博物館等收藏。 1993年顧景舟為主編,徐秀棠、李昌鴻為副 主編由香港三聯書店出版《宜興紫砂珍 賞》;1999年個人專著《中國紫砂》由上海 古籍出版社出版;2000年《徐秀棠紫砂陶 藝集》由上海古籍出版社出版;2000年主 編《宜興紫砂文化叢書》並編著《宜興紫砂 珍品》由浙江攝影出版社出版。

Accompanied by original box . $4,000—6,000

Provenance: Acquired directly from the artist at a special Yixing exhibition, China’s Best Ltd., Hong Kong, 1989. Prominent Hong Kong/Toronto Family Collection of Yixing Stoneware. Several examples acquired directly from the artists, others of family descent. For further information, please inquire. 1989

張守智,1932年生,河北人。擅長工藝美 術。1954年中央美術學院工藝美術系陶瓷專 業畢業,後入研究班學習。1956年任教於中 央工藝美術學院陶瓷美術系,後為副教授、 教授、系副主任。 談躍偉,1959年生於江蘇宜興。研究員級高 級工藝美術師,江蘇省工藝美術大師、江蘇 省工藝美術名人,江蘇省陶瓷協會會員,中 國工藝美術學會會員。

Accompanied by original box. 帶盒 $800—1,200

3.1 x 5.7 in — 8 x 14.4 cm

款識:鲍、庭博,时在甲戌冬月庭博造壶 鈐印: 庭博陶藝 鮑庭博,號白宕人、鶴廬、大鶴、壺隱,紫 砂陶藝家、收藏家,中國國際茶文化研究會 會員,江蘇省陶瓷行業協會會員,江蘇省工 藝美術學會會員,江蘇省民間文藝家協會會 員。《宜興紫砂》編委。《壺客齋·紫砂世 家》網站設計師、負責人。

$300—400


268

269

270

Gu Jingzhou (1915-1996), An Inscribed Yixing Stoneware Teapot and Cover (1915-1996)

A Pair of Inscribed and Faceted Yixing Stoneware Teapots and Covers

An Inscribed Yixing Stoneware Planter Pot and Stand

3 x 3 in — 7.6 x 7.6 cm

overall height 6.5 in — 16.5 cm

Provenance: Prominent Hong Kong/Toronto Family Collection of Yixing Stoneware. Several examples acquired directly from the artists, others of family descent. For further information, please inquire.

Provenance: Prominent Hong Kong/Toronto Family Collection of Yixing Stoneware. Several examples acquired directly from the artists, others of family descent. For further information, please inquire.

款識: 長宜子孫大吉祥,己巳年 飲者壽 樂未央

款識:花雨滿神州 春色遍人間、紅波 刻

5.4 x 5.1 in — 13.7 x 13 cm Provenance: Prominent Hong Kong/Toronto Family Collection of Yixing Stoneware. Several examples acquired directly from the artists, others of family descent. For further information, please inquire.

款識: 自有樂處,癸亥年顧景舟 足吾所好、玩而老焉 顧景舟(1915-1996) 原名景洲。別稱:曼希、瘦萍、武陵逸人、 荊南山樵。自號壺叟、老萍。宜興紫砂名藝 人,中國美術家協會會員,中國工藝美術大 師。18歲拜名師學藝。三十年代後期至上海 制壺仿古。1954年進入宜興蜀山陶業合作 社。1956年被江蘇省政府任命為技術輔 導,帶徒徐漢棠、高海庚、李昌鴻、沈遽 華、束鳳英、吳群祥等人。一生三次參加全 國工藝美術代表大會,在港、澳、臺、東南 亞影響特大,被海內外譽為“壺藝泰鬥”,作 品為海內外各大博物館、文物館收藏。 1915年生於江蘇宜興川埠鄉上袁村,顧景舟 可以說是歷代紫砂陶藝名家中,名號最多的 一位,他本名景洲,後改名為景舟、名號有 曼晞、瘦萍、武陵逸人、荊南山樵及壺叟 等。曾自創堂號為自怡軒。他在壺藝上的成 就極高,技巧精湛,且取材甚廣。可說是近 代陶藝家中最有成就的一位,所享的聲譽可 媲美明代的時大彬,世稱“一代宗師”、“壺 藝泰鬥”

$300—400

長宜子孫大吉祥,壬申年 飲者壽 樂未央 鈐印:周惠君 潔明

$400—600

$300—400


271

272

273

A Large Junyao-Glazed Zisha Scholars Tray, Signed Ge Ming Xiang Zao (1760 -1840), Jiaqing/Daoguang Period (1760-1840) 2.2 x 22.3 x 15 in — 5.6 x 56.6 x 38 cm

An Enamel-Decorated Yixing Stoneware Teapot and Cover, 18th Century

A Fine ‘Imitation-Bamboo’ Yixing Stoneware Teapot and Cover, 19th Century

Provenance: Prominent Hong Kong/Toronto Family Collection of Yixing Stoneware. Several examples acquired directly from the artists, others of family descent. For further information, please inquire.

Note: See website for full catalogue details. $3,000—5,000

6.1 x 7.9 in — 15.5 x 20 cm Provenance: Prominent Hong Kong/Toronto Family Collection of Yixing Stoneware. Several examples acquired directly from the artists, others of family descent. For further information, please inquire.

Note: See website for full catalogue details. $800—1,200

7.1 x 7.5 in — 18 x 19 cm Provenance: Prominent Hong Kong/Toronto Family Collection of Yixing Stoneware. Several examples acquired directly from the artists, others of family descent. For further information, please inquire.

Note: See website for full catalogue details. $800—1,200

274

275

276

Two Yixing Stoneware Items

Zhuang Jia (1931-2006), A Fine Shekwan Figure of a Lady (1931-2006) Well po!ed with the lady fixing a flower to her headdress, her outfit complete with jade bangles and delicately kno!ed sashes, seated on a speckled boulder, impressed seal mark to unglazed underside, height 13.4 in — 34 cm

A Huali and Mixed Hardwood Carved Mirror Stand, 19th/Early 20th Century

Consisting of a small garlic-head vase and a brushwasher, largest height 6.1 in — 15.5 cm $800—1,000

$800—1,000

26.8 x 23.2 x 11.6 in — 68 x 59 x 29.5 cm $2,000—3,000


277

278

279

A Reticulated Zitan Scholar Carving with Stand, Qing Dynasty

A Pair of Hardwood Carved Scroll-End Stands

A Red Taihu Scholar’s Rock

Carved in an organic arrangement, fi!ed on a wood stand, length 5.5 in — 14 cm

1.6 x 13.8 x 8.9 in — 4.1 x 35 x 22.5 cm

$800—1,000

280 A Gilt Wood Frame Mirror, 19th Century Framed with gilt wood temple carvings, overall 39.8 x 29.1 in — 101 x 74 cm $600—800

$500—700

The vermillion red stone weathered with pits and crevasses and mounted in the style of classical Chinese garden rockery; carved hardwood stand, overall height 21 in — 53.3 cm $600—800


281

282

A Pair of Chinese Export Reverse Painted Mirrors, 18th Century

A Small Chinese Export Reverse Painted Mirror, 18th Century

Each of a river landscape, the foreground of one with a man and lady holding picked flowers with a sheep and lamb, the other with another couple admiring a painting album with a dog and a golden pheasant, in their original pierce carved giltwood Chippendale frames, overall 32 x 22.5 in — 81.3 x 57.2 cm Provenance: Purchased from H. Blairman & Sons, London in 1968, thence by descent; original invoice available upon request. & Sons

1968

$20,000—30,000

H. Blairman

Depicting a lady playing a musical instrument, accompanied by a female companion, a male onlooker, and a child holding a flower basket, in a later pierce giltwood frame, overall 16 x 20 in — 40.6 x 50.8 cm Provenance: Purchased from H. Blairman & Sons, London in 1968, thence by descent. 1968

H. Blairman & Sons

$5,000—7,000

Note: The technique of painting on glass was introduced to China with the arrival of Giuseppe Castiglione (1688-1715), the Jesuit missionary. The popularity of European aesthetic and artistic techniques in the Chinese Imperial court was mirrored by the emergence of ‘Chinoiserie’ tastes in West. Glass and mirror paintings became a product of the two trends, where plates were painted with idyllic and exoticized scenes of the Far East using European painting techniques. The operation was arduous; mirror plates were sent from Europe over to Chinese workshops, where they would strip sections of mercury and carefully paint designs on the reverse. Once complete, the plates would be laboriously transported back to the West, further adding to their rarity and value. For similar examples and further discussion, please see Sotheby’s London Magnificent Chinese Mirror Paintings and English Furniture from the Horlick Collection, June 5, 2007. A similar example sold at Bonhams London, November 8, 2018, Lot 279.


283

284

285

A Pair Chinese Turquoise-Glazed Figures with Bronze French Mounts, 19th Century

A Bronze ‘Foreigner’ Candlestick, Ming Dynasty “ ” height 15.4 in — 39 cm

A Silk Embroidered Silver-Ground Robe, 19th Century

overall 11.5 x 12 in — 29.2 x 30.5 cm

$1,800—2,000

$800—1,200

Embroidered with precious objects, mounted against a mat and framed, overall 48.4 x 46.1 in — 123 x 117 cm $2,000—3,000

286

287

288

A Pair of Ivory Carved Vases, Circa 1900 1900

A Rare Polychrome Ivory ‘Gardens’ Panel, Circa 1900 1900

Carved throughout with figures and flora, height 10.2 in — 26 cm Note: See website for full catalogue details.

Carved in high relief from a single piece of ivory, one cartouche depicting a lady and a child picking flowers, the other with two ladies picking from a tree, the base supported by two shishis; wireinlaid wood stand, height 8.1 in — 20.5 cm

A Large Ivory Carved Puzzle Ball, Circa 1940 1940 The exterior carved throughout with lush foliage, the interior containing thirteen or more layers of rotating balls , diameter 4 in — 10.2 cm

$400—600

Note: See website for full catalogue details. $800—1,200

Note: See website for full catalogue details. $800—1,200


289

290

291

Two Ivory Carved Immortals, Circa 1940 1940 Each seated Immortal backed by shrubs and rockeries; mounted to wood stands, height 6.3 in — 16 cm

A Pair of Ivory Carved Guardian Immortals, Circa 1900 1900 Both holding swords and carrying flags, affixed to wood stands, height 16.3 in — 41.5 cm

An Ivory Carved King and Queen Pair, Circa 1940 1940 Both seated and adorned in royal a"ire; wood bases, height 6.5 in — 16.5 cm

Note: See website for full catalogue details.

Note: See website for full catalogue details.

$300—400

$800—1,200

$400—600

292

293

294

A Set of Four Ivory Carved Guardian Lions, Circa 1940 1940 Consisting of a larger pair and a smaller pair; wood stands, largest height 6 in — 15.2 cm

A Gilt Bronze Figure of Sun Simiao, Ming Dynasty

Note: See website for full catalogue details.

An Ivory Carved Seated Guanyin, Circa 1940 1940 The Goddess carved holding a flaming wheel producing a Buddha, seated on a wood stand, height 9.4 in — 24 cm Note: See website for full catalogue details.

$400—600

$800—1,000

Note: See website for full catalogue details.

The patron saint of Chinese medicine; together with custom wood stand, height 12.2 in — 31 cm $4,000—6,000


295

296

297

A Blue and White Double Gourd Vase, Qianlong Period (1736-1795)

Two Chinese Export Wine Cups, Kangxi Period (1662-1722)

A Blue and White Floral Bowl, Yongzheng Period (1723-1735)

Painted with a peony blossom to the centre, height 4.3 in — 11 cm

Both on a raised foot and everted rims, one with fluted sides and painted with treasures and books, the other with flowers, diameter 2.9 in — 7.4 cm

Thinly po!ed, six-character Chenghua mark to base, diameter 3.9 in — 10 cm

Provenance: Chinese Blue and White Porcelain from the Collection of Robert Murray Bell and Ann Walker Bell (Lots 295-304) The Bell family began collecting Chinese porcelain in the 1930s, and continued until Robert Murray’s death in 1998. They were dedicated and enthusiastic collectors, gradually forming one of Toronto’s finest collections of blue and white porcelain. Following Murray’s death, and under Ann’s careful stewardship, the majority of the Bell’s collection was generously donated to the permanent collection at the Gardiner Museum of Ceramic Art in Toronto.

Provenance: Chinese Blue and White Porcelain from the Collection of Robert Murray Bell and Ann Walker Bell (Lots 295-304) The Bell family began collecting Chinese porcelain in the 1930s, and continued until Robert Murray’s death in 1998. They were dedicated and enthusiastic collectors, gradually forming one of Toronto’s finest collections of blue and white porcelain. Following Murray’s death, and under Ann’s careful stewardship, the majority of the Bell’s collection was generously donated to the permanent collection at the Gardiner Museum of Ceramic Art in Toronto.

$500—700 $400—600

Provenance: Chinese Blue and White Porcelain from the Collection of Robert Murray Bell and Ann Walker Bell (Lots 295-304) The Bell family began collecting Chinese porcelain in the 1930s, and continued until Robert Murray’s death in 1998. They were dedicated and enthusiastic collectors, gradually forming one of Toronto’s finest collections of blue and white porcelain. Following Murray’s death, and under Ann’s careful stewardship, the majority of the Bell’s collection was generously donated to the permanent collection at the Gardiner Museum of Ceramic Art in Toronto.

$4,000—6,000


298

299

300

A Blue and White Seal Paste Box, Kangxi Mark and Period (1662-1722)

A Blue and White Peony Dish, Shende Tang Mark, 19th Century

A Blue and White Water Coupe, 18th Century

Six-character Kangxi mark to base, diameter 3.5 in — 9 cm

diameter 7.3 in — 18.6 cm

Painted in underglaze cobalt blue with detailed mountain scenery, height 1.7 in — 4.2 cm

Provenance: Chinese Blue and White Porcelain from the Collection of Robert Murray Bell and Ann Walker Bell (Lots 295-304) The Bell family began collecting Chinese porcelain in the 1930s, and continued until Robert Murray’s death in 1998. They were dedicated and enthusiastic collectors, gradually forming one of Toronto’s finest collections of blue and white porcelain. Following Murray’s death, and under Ann’s careful stewardship, the majority of the Bell’s collection was generously donated to the permanent collection at the Gardiner Museum of Ceramic Art in Toronto.

$400—600

Provenance: Chinese Blue and White Porcelain from the Collection of Robert Murray Bell and Ann Walker Bell (Lots 295-304) The Bell family began collecting Chinese porcelain in the 1930s, and continued until Robert Murray’s death in 1998. They were dedicated and enthusiastic collectors, gradually forming one of Toronto’s finest collections of blue and white porcelain. Following Murray’s death, and under Ann’s careful stewardship, the majority of the Bell’s collection was generously donated to the permanent collection at the Gardiner Museum of Ceramic Art in Toronto.

$1,200—1,500

Provenance: Chinese Blue and White Porcelain from the Collection of Robert Murray Bell and Ann Walker Bell (Lots 295-304) The Bell family began collecting Chinese porcelain in the 1930s, and continued until Robert Murray’s death in 1998. They were dedicated and enthusiastic collectors, gradually forming one of Toronto’s finest collections of blue and white porcelain. Following Murray’s death, and under Ann’s careful stewardship, the majority of the Bell’s collection was generously donated to the permanent collection at the Gardiner Museum of Ceramic Art in Toronto.

$800—1,000


302

303

A Blue and White Seal Paste Box, Yongzheng Period (1723-1735)

A Blue and White Bo"le Vase, Transitional Period, 17th Century

Spurious four-character Xuande mark to base, diameter 2.5 in — 6.4 cm

Depicting a classical mountain landscape inhabited by two conversing scholars, height 6.4 in — 16.2 cm

Provenance: Chinese Blue and White Porcelain from the Collection of Robert Murray Bell and Ann Walker Bell (Lots 295-304)

Provenance: Chinese Blue and White Porcelain from the Collection of Robert Murray Bell and Ann Walker Bell (Lots 295-304)

The Bell family began collecting Chinese porcelain in the 1930s, and continued until Robert Murray’s death in 1998. They were dedicated and enthusiastic collectors, gradually forming one of Toronto’s finest collections of blue and white porcelain. Following Murray’s death, and under Ann’s careful stewardship, the majority of the Bell’s collection was generously donated to the permanent collection at the Gardiner Museum of Ceramic Art in Toronto.

The Bell family began collecting Chinese porcelain in the 1930s, and continued until Robert Murray’s death in 1998. They were dedicated and enthusiastic collectors, gradually forming one of Toronto’s finest collections of blue and white porcelain. Following Murray’s death, and under Ann’s careful stewardship, the majority of the Bell’s collection was generously donated to the permanent collection at the Gardiner Museum of Ceramic Art in Toronto.

$600—800

Note: Spink & Son Ltd. sticker to base $4,000—6,000


304

305

306

A Group of Three Blue and White Wares

A Blue and White Figural Bowl, Ming Dynasty

A Blue and White Lotus Vase, Late Ming/Early Qing Dynasty

Painted with a group of unique figures all around; together with an inscribed Japanese wood box, height 3.5 in — 9 cm

Painted in underglaze cobalt blue with scrolling lotus, height 11.8 in — 30 cm

Consisting of a snuff dish, a cricket feeder, and a paste box, largest diameter 2.4 in — 6 cm Provenance: Chinese Blue and White Porcelain from the Collection of Robert Murray Bell and Ann Walker Bell (Lots 295-304)

$3,000—4,000

$4,000—6,000

The Bell family began collecting Chinese porcelain in the 1930s, and continued until Robert Murray’s death in 1998. They were dedicated and enthusiastic collectors, gradually forming one of Toronto’s finest collections of blue and white porcelain. Following Murray’s death, and under Ann’s careful stewardship, the majority of the Bell’s collection was generously donated to the permanent collection at the Gardiner Museum of Ceramic Art in Toronto.

$700—900

307

308

A Blue and White Punch Bowl, 17th/18th Century

A Peachbloom-Glazed Brush Washer, Kangxi Mark, 19th Century

Underglaze painted in rich sapphire blue with scrolling lotus and vines, fi!ed with a metal rim, diameter 10.5 in — 26.7 cm $1,000—2,000

The compressed body demonstrating a so" strawberry complexion speckled with areas of faint apple green; together with carved zitan stand and jade-inlaid zitan box, 19th century, diameter 4.3 in — 11 cm $4,000—6,000


309

310

311

A Copper Red Glazed Bowl, Qing Dynasty

A Blue and White ‘Dragon’ Dish, Zhengde Mark

A Rare Yellow-Glazed Wine Cup and Saucer, Guangxu Mark & Period (1875 -1908)

height 4 in — 10.2 cm Provenance: From a private New York collection, acquired in the 1960s.

$2,000—3,000

The interior decorated with a draong amongst lotus scrolls, the central medallion encircled by similar dragons and lotus along the cave!o, underglaze four-character Zhengde mark to base, diameter 10.4 in — 26.5 cm Provenance: Sotheby’s Australia, June 21, 2017, Lot 86. 2017 86

6

21

Finely po!ed, each covered in mildly iridescent yellow glaze suffused with fine crackling all around save for the foot rim, both with incised six-character Guangxu mark to base, largest diameter 5.4 in — 13.6 cm Note: J.J. Lally & Co., New York, sticker to base. $3,000—5,000

$6,000—8,000

312

313

314

A Gilt Decorated Coral-Ground Dragon Vase, Hongxian Mark, Republic Period

A Yellow-Ground Famille Rose ‘Boys’ Plate, Circa 1920 1920

A Famille Rose Dish, Jiaqing Mark, Republic Period

The centre painted with boys happily playing in a garden, a symbol of prosperity and progeny, the cave!o painted in yellow ground with bu!erflies and ‘double happiness’ characters, diameter 9.4 in — 24 cm

Finely enameled with insects perched above melons and flowers, accompanied by a calligraphic inscription to the top le", six-character mark in underglaze blue to base, diameter 6.3 in — 16 cm

Rich coral ground gilt painted with two dragons chasing a flaming pearl, the neck decorated with bats, all against lingzhi clouds interspersed with bands of rolling waves, vines and key-fret, with four-character iron red mark to base, height 14.2 in — 36 cm $6,000—8,000

$2,000—3,000

$1,200—1,500


315 A Famille Rose and Grisaille ‘Winter Landscape’ Plaque, Signed He Xuren (1882-1941), Dated 1934 1882-1941) (1934 Enamel on porcelain; carved hardwood frame overall 19.8 x 15.3 in — 50.3 x 38.8 cm Provenance: From the Estate of Ms. Rose Dangoor, Montreal. Sybil Luna Moses Dangoor was the granddaughter of David Sassoon (1792 -1864), the head of the distinguished Sassoon family. The Sassoon family business was one of the most successful international trading operations in the world, establishing its ties with the East in the early 19th century. The family business was extended from Mumbai to Shanghai by the mid 19th century. The current lot was bequeathed by Sybil Dangoor to her daughter Rose, who has lived in Montreal since the 1970s. Please see ‘A Coral-Ground FamilleRose Bowl. Qianlong Seal Mark and Period’, Sotheby’s New York, March 15, 2017, Lot 519, from the same collection.

1970 Sassoon

family

$60,000—80,000

Note: He Xuren (1882-1941) As one of the ‘Eight Friends of Zhushan’, He Xuren is among the best porcelain artists of the Republic period. Borrowing his artist name from a classical poem by Tao Yuanming (365-427AD), Xuren learned his craft first in Jingdezhen, moving to Beijing during the early Republic Period, and eventually opening his own studio in Jiujiang. After the fall of the Qing Dynasty in 1912, the imperial kilns were abandoned, and many master craftsman opened their own workshops to tap into the local market. At the same time, enamel painting on porcelain in the style of classical brush painting flourished in the Chinese visual arts. This trend established the Eight Friends of Zhushan (Pearl Hill) as the quintessential masters of the genre, and included distinguished figures such as Wang Qi and Wang Dafan. They transformed visual styles previously exclusive to paper and silk onto the beauty of porcelain, refining the technique and creating a golden age of porcelain painting. He Xuren is known for his depictions of winter landscapes. Inspired Classical Song Dynasty landscape painting techniques epitomized by artists such as Guo Xi (1020-1090), Xuren is able to demonstrate depth entirely using background, middle ground and foreground. Despite the chaotic nature of massive landscapes entirely covered by white, he is able to manipulate perspective and shading to render each layer of snow unobstructed and vivid. With the addition of accompanying calligraphy and seal marks, the final image would be direct homage to Chinese literati culture, and also acted as a marketable product for domestic trade during a difficult era.


316

317

318

A!ributed to Wang Bu (1898-1968), A Blue and White Eggshell Porcelain Vase (1898-1968)

A Yellow-Ground Famille Rose Bowl, Republic Period

A Famille Rose Blue and White Rouleau Vase, Republic Period

The exterior enameled with double gourd vines and flowers against yellow ground, ‘Jiangxi Porcelain Company’ mark to base, diameter 6.6 in — 16.8 cm

The body painted with enamels depicting the Goddess Magu and a deer, the neck with bands of underglaze blue lotus scrolls and pa!erns, height 10.6 in — 27 cm

Delicately po!ed and painted in underglaze blue with a bird perched on a branch, jeweled tassles to the mouth and key-fret to the base; seal marks to the body and base, height 5.6 in — 14.3 cm Provenance: From the Estate of Ms. Rose Dangoor, Montreal. Sybil Luna Moses Dangoor was the granddaughter of David Sassoon (1792 -1864), the head of the distinguished Sassoon family. The Sassoon family business was one of the most successful international trading operations in the world, establishing its ties with the East in the early 19th century. The family business was extended from Mumbai to Shanghai by the mid 19th century. The current lot was bequeathed by Sybil Dangoor to her daughter Rose, who has lived in Montreal since the 1970s. Please see ‘A Coral-Ground FamilleRose Bowl. Qianlong Seal Mark and Period’, Sotheby’s New York, March 15, 2017, Lot 519, from the same collection.

1970 Sassoon family Note: See website for full catalogue details. $2,000—3,000

$3,000—4,000

$1,500—1,800


319

320

321

A Hexagonal Famille Rose Vase, Guangxu Mark and Period

An ‘Eight Immortals’ Rouleau Vase, Late 19th/Early 20th Century

A Famille Rose Porcelain Panel

Underglaze cobalt blue painted over with shades of pink, yellow, green, white, and gilt enamels, the squat hexagonal form rising up a thin, elongated and ribbed neck to a flared rim, underglaze six-character mark to base, height 8 in — 20.3 cm

Enameled with all eight Immortals present in a garden landscape, height 18 in — 45.7 cm

Finely painted with a quaint collection of antique flower vases to the centre; carved hardwood frame, overall 18 x 23.1 in — 45.7 x 58.8 cm

$800—1,200

$3,000—4,000

322

323

324

A Pair of Imperial Qing-Style Suanzhi Hardwood Carved Display Cabinets

A Jichimu Hardwood Carved Table

A Hardwood Carved and Lacquered Top Long Table

$1,500—2,000

Well carved in the imperial Qing-style, with densely arranged panels of dragons against rolling clouds and waters, the open shelves lined with key-fret and beast-head openwork, 76.4 x 37 x 16.5 in — 194 x 94 x 42 cm $10,000—12,000

34 x 38 x 17.8 in — 86.4 x 96.5 x 45.2 cm $1,000—1,200

33.8 x 47 x 15.6 in — 85.9 x 119.4 x 39.6 cm $1,500—2,000


325

326

327

A Suanzhi Hardwood Carved Low Table, 19th Century

A Pair of Marble-Inlaid ‘Imitation Bamboo’ Tables, 19th Century

A Large Carved Marble Bodhisa!va Figure, 19th/20th Century

Carved with a circular top and four legs terminating in beast-form feet, 15.7 x 21.7 in — 40 x 55 cm

Hardwood carved with segments imitating bamboo, the top inlaid with a square marble panel, 17.5 x 19.7 x 19.7 in — 44.5 x 50 x 50 cm

Together with black square pedestal, height 34.3 in — 87 cm

$600—800

$1,000—1,200

Provenance: Brought from a family estate in Cuba, circa 1940 1940 $3,000—5,000

328

329

330

A Pair of Famille Rose ‘Peaches’ Garden Seats, 19th Century

A Blue Ground Slip-Decorated Garden Seat, 19th Century

A Large Chinese Famille Rose Porcelain Vase

Decorated throughout with birds and flowers, height 18.5 in — 47 cm

height 25.2 in — 64 cm

Brightly enameled with peaches and ‘shou’ characters, the symbols of longevity, height 18.1 in — 46 cm $4,000—6,000

$600—800

$2,000—3,000


331

332

333

A Chinese Two-Tiered Hardwood Stand

A Set of ‘Four Beauties’ Porcelain Panels, Mid-20th Century

A Six Panel Hardstone Inlaid Black Lacquer Floor Screen

32 x 27 x 12 in — 81.3 x 68.6 x 30.5 cm

Depicting beauties in each of the four seasons, overall 37 x 14 in — 94 x 35.6 cm

$400—600

$800—1,200

Depicting twelve beauties in a garden se!ings, top panels with cranes and bo!om panels with antiques, height 72 in — 182.9 cm $3,000—5,000


Buying at Waddington’s All lots will be offered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcement. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ and the consignor (seller) of the lot. Descriptions or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale.

condition of lots

All of the items are to be considered, unless otherwise noted in the description, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age. If you are particular about minor flaws, you should examine the pieces in person or have our staff answer any questions before bidding. Sizes are approximate. It is the sole responsibility of the bidder to inquire as to the condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale. Frames on artwork are not included as part of purchase or condition.

buyers premium

A premium of 20% of the successful bid price of each lot. A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium, except for purchases exported from Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province.

payment

Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). ALL PRICES IN CANADIAN FUNDS

Selling at Waddington’s bidding

The Auctioneer may also execute bids on behalf of the consignor to protect the reserve. The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.

shipping

waddington’s commission rates Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $251 to $2,500 20%

The Auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping, insurance expenses and any necessary export permits that may apply. The Auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable preauction estimates of shipping costs of lots offered in this sale may be obtained from:

Items selling for $250 or less 25%

PakShip

*There is a minimum handling charge of $20 per item

Envoy 416-299-3367 / 416-299-9750 ph@envoy.ca / www.envoypackandship.com

A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

905-470-6874 / 905-470-6875 / 416-293-8225 taurus@pakship.ca / www.pakship.ca

removal of purchases

Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

cites

Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries. Please review your country’s laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained. Please contact the department for further assistance. Failure to obtain necessary import/ export permits will not void any sale. All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington’s. For more information please visit: www.cites.org

*There is a minimum handling charge of $20 per item canadian art department commission rates Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $2,500 or less 20%

insurance

auction advice

For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please feel free to contact us via email or telephone. We are pleased to review emails containing photographs and information on your pieces in order to provide auction estimates for you to consider. For collections with a variety of objects, please contact our Appraisals and Consignments department (consignments@waddingtons. ca). For department-specific inquiries, please contact the specialist and/or department directly. All contact information can be found at www.waddingtons.ca. Our offices are located in Toronto and Vancouver, but our specialists regularly travel to major Canadian cities to meet with prospective consignors. To receive more information on Valuation Days across Canada or to arrange an appointment, please contact our Toronto office (416-504-9100). Please note that property typically arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, setting forth terms and fees for our services.


Conditions of Sale 1. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others. Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly. 2. Each lot sold is subject to a 20% buyers premium as part of the purchase price. 3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax).

6. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale. 7. The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final. 8. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale. 9. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale, after which storage charges may be incurred.

4. The auctioneer reserves the right to withdraw any lot from sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice.

10. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away.

5. The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid. Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized.

11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14

days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer. 12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). 13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the resale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer. 14. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them. 15. The auctioneer acts solely as agent for the consignor and makes no representation as to any attribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada). 16. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.


Waddington’s 275 King Street East, Second Floor Toronto, Ontario M5A 1K2

tel: 416-504-9100 toll free: 1-877-504-5700 www.waddingtons.ca

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Asian Art Online Auction | Dec. 1 - 6, 2018  

Asian Art Online Auction | Dec. 1 - 6, 2018