Important Chinese Art

IMPORTANT
CHINESE ART
NEW YORK | 17 MARCH 2021
NEW YORK IMPORTANT CHINESE ART 17 MARCH 2021 N10644

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ART
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LOT 137
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CHINESE WORKS OF ART
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LOT 123 Senior Director, Asia Senior Director, Europe North America,
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Contents
3
AUCTION INFORMATION
5
SPECIALISTS AND AUCTION ENQUIRIES
8
IMPORTANT CHINESE ART:
LOTS 101-284
216
HOW TO BID
217
CONDITIONS OF SALE
218
TERMS OF GUARANTEE
ADDITIONAL TERMS AND CONDITIONS
FOR LIVE ONLINE BIDDING
219
BUYING AT AUCTION
221
SELLING AT AUCTION
SOTHEBY’S SERVICES
INFORMATION ON SALES AND USE TAX
222
IMPORTANT NOTICES
GLOSSARY OF TERMS
223
INTERNATIONAL DEPARTMENTS
THIS PAGE
LOT 148
PROPERTY FROM A BOSTON
PRIVATE COLLECTION
LOTS 1 0 1-1 1 5
波士頓私人珍藏拍品編號 101-115

101 102
A SUPERB RUSSET-SPLASHED BLACK-GLAZED A ‘JIZHOU’ ‘PAPERCUT’ BOWL
BOWL SOUTHERN SONG DYNASTY
NORTHERN SONG / JIN DYNASTY
robustly potted with the deep, gently rounded sides rising
of conical form, superbly potted with the deep sides raised from a tapered foot to a slightly indented rim, the interior
on a short foot, covered overall with a lustrous black glaze resist-decorated with two rows of papercut plum blossom
accentuated with freely splashed russet streaks powerfully florets reserved in a rich dark brown glaze against a
radiating from the interior center towards the rim, the glaze variegated buff ground, the exterior covered with a black
stopping neatly above the finely pared foot to reveal the buff- glaze falling short of the foot to expose the unglazed buff-
colored stoneware body colored stoneware body dressed in a thin layer of brick-red
Diameter 5¼ in., 13.5 cm wash
Diameter 5 in., 12.7 cm
$ 8,000-12,000 PROVENANCE
The Chinese Porcelain Company, New York, 2010.
北宋 / 金黑釉醬花飛斑紋笠式盞 The present lot belongs to a group of Jizhou papercut-
decorated bowls which share the same characteristic of
dressing the unglazed biscuit foot with a dark red wash,
possibly to imitate the dark body of the highly praised
Jian wares of the same period. See a closely related
example from this group in the National Museum of
Asian Art Collection, Washington, D.C. (accession no.
RLS1997.48.1266); and another bowl, similarly decorated,
but of a conical form, sold at Christie’s New York, 20th
September 2002, lot 289.
$ 4,000-6,000 102
南宋吉州窰剪紙貼花梅花紋盌
來源
The Chinese Porcelain Company，紐約，2010年
103
A RUSSET-SPLASHED BLACK-GLAZED BOWL
JIN / Y UAN DYNASTY
robustly potted with the deep, widely flaring sides rising
from a short splayed foot to a galleried rim, covered overall
with a lustrous russet-streaked black glaze decorated to the
interior with three boldly executed russet splashes, the glaze
falling short of the foot to reveal the buff-colored stoneware
body
Diameter 6⅞ in., 17.5 cm
$ 3,000-5,000
金 / 元黑釉醬斑盌
103
10 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM A BOSTON PRIVATE COLLECTION 11

104 106
A R ARE BLACK-GLAZED FOLIATE-RIMMED A RUSSET-PAINTED BLACK-GLAZED VASE
JAR NORTHERN SONG / JIN DYNASTY
of ovoid form, the well rounded sides rising from a tapered
finely potted with the slightly compressed globular body foot to a short neck set with a flange below the lipped rim,
rising from a splayed foot to a six-lobed mouth with a furled freely painted around the body with russet brushstrokes
rim, covered overall with an even lustrous black glaze falling forming stylized abstract foliate motifs, all against a glossy
short above the foot to reveal the buff-colored stoneware black glaze stopping above the foot to reveal the buff-
body colored stoneware body
Diameter 4 in., 10.1 cm Height 9⅜ in., 23.9 cm
Black-glazed jars of this type appear to be rare, however, a
closely related example of slightly larger size from the Falk $ 6,000-8,000
Collection sold twice at Christie’s New York, first on 15th
October 2001, lot 77, and again on 18th March 2008, lot 528.
北宋 / 金黑釉鐵鏽花紋小口瓶
$ 3,000-5,000
北宋 / 金黑釉花口罐
105
A RUSSET-PAINTED BLACK-GLAZED JAR
104
sturdily potted with the tapering sides rising from a
countersunk base to broad shoulders below a short neck,
covered overall with a lustrous black glaze accentuated
around the exterior with vertical russet streaks, the mouth
rim and foot ring left unglazed revealing the buff-colored
stoneware body
Width 5¼ in., 13.4 cm
$ 2,000-3,000
北宋 / 金黑釉醬斑罐
105

107
A RUSSET-SPLASHED BLACK-GLAZED BOWL
Y UAN DYNASTY
well potted with the deep, gently rounded sides rising from
a short splayed foot to an inverted rim, covered overall with
a lustrous russet-mottled black glaze, accentuated to the
interior with three freely irregular splashes of metallic russet,
the glaze falling short above the foot to reveal the buff-
colored stoneware body
Diameter 5⅜ in., 13.8 cm
$ 3,000-5,000
元黑釉鐵鏽花紋盌
108
AN IRON-BROWN-DECOR ATED TEADUST-
GLAZED VASE
JIN DYNASTY
the slightly compressed globular body rising from a recessed
base to a short neck set with a flange below the lipped rim,
freely painted around the shoulder in iron-oxide with two
abstract designs of flower sprays, reserved on a speckled
teadust-brown glaze save for the foot ring to reveal the buff-
107
colored stoneware body
Height 7¾ in., 19.7 cm
$ 6,000-8,000
金茶葉末釉鐵鏽花紋小口瓶
109
A R ARE CELADON-GLAZED ‘BUTTERFLY’ BOX PROVENANCE
AND COVER J.J. Lally & Co., New York, 2011.
TANG DYNASTY / FIVE DYNASTIES A closely related pale celadon-glazed box and cover of a
slightly smaller size, identified as Xing ware, in the collection
of compressed circular form, the narrow straight sides
of the Palace Museum, Beijing, is published in The Complete
tapering towards a flat base, the domed cover molded to the
Collection of Treasures of the Palace Museum. Porcelain of
top with a butterfly in flight, the auspicious insect highlighted
the Jin and Tang Dynasties, Hong Kong, 1996, pl. 92.
with dark brown spots at the head and wings, covered with a
translucent glaze of a pale celadon color suffused with a fine
network of crackles (2) $ 5,000-7,000
唐 / 五代青釉點褐彩瑞蝶紋小蓋盒
來源
藍理捷，紐約，2011年
108

110
A R ARE SM ALL MOLDED ‘YAOZHOU’
CELADON-GLAZED BOWL
delicately potted with the conical sides rising from a short
foot to a slightly everted rim, the interior center crisply
molded with three stalks of lotus leaves issuing from swirling
waves, surrounded by three lobed cartouches around the
cavetto enclosing lotus, peony and mandarin duck, all
separated by formalized floral sprays, the exterior carved
with a frieze of overlapping petals, covered overall with a
lustrous translucent olive-green glaze pooling to a darker
tone at the recesses save for the foot ring left unglazed
revealing the gray stoneware body
PROVENANCE
J.J. Lally & Co., New York.
$ 7,000-9,000
北宋 / 金耀州窰青釉印花鴛鴦花卉紋小笠
式盌
來源
藍理捷，紐約
110
111
A MOLDED ‘YAOZHOU’ CELADON-GLAZED
‘FLOR AL’ BOWL
well potted with the conical sides rising from a short foot
to a slightly everted rim, the interior with two large peony
blooms borne on densely scrolling foliage, covered overall
with an olive-green glaze pooling to a darker green at the
recesses, save for the foot ring left unglazed revealing the
gray stoneware body
PROVENANCE
J.J. Lally & Co., New York.
$ 7,000-9,000 112
A R ARE MOLDED QINGBAI BOWL PROVENANCE
北宋 / 金耀州窰青釉印花牡丹紋笠式盌 SOUTHERN SONG / Y UAN DYNASTY Eskenazi Ltd., London, 2006.
delicately potted, the thin, deeply rounded sides rising from Compare two closely related examples sold in our London
來源 rooms, 12th December 1978, lot 373; and 10th July 1979,
a short foot to a gently flared rim, superbly decorated to the
藍理捷，紐約 interior with a formalized central flowerhead, surrounded lot 117.
by elaborate meandering leafy foliate scrolls below a band
of keyfret, covered overall with a translucent lustrous pale $ 6,000-8,000
blue-tinged glaze pooling at the recesses to an attractive
sea-green tone, save for the mouth rim revealing the fine
porcelain body burnt to a light orange 南宋 / 元青白釉印花卷草紋盌
Diameter 6⅝ in., 16.8 cm
來源
埃斯卡納齊，倫敦，2006年
111

114
A ‘LONGQUAN’ CELADON-GLAZED ‘LOTUS’
BOWL AND COVER
SOUTHERN SONG DYNASTY
the deep upright sides rising from a slightly tapered foot, the
exterior with a broad band of overlapping petals with raised
central ridges, the gently domed cover similarly decorated,
both covered with a soft sage-green glaze suffused with a
delicate network of fine crackles (2)
Diameter 3⅛ in., 7.8 cm
PROVENANCE
J.J. Lally & Co., New York, 2018.
$ 6,000-8,000
南宋龍泉窰青釉蓮瓣蓋盌
來源
115
A ‘LONGQUAN’ CELADON-GLAZED ‘TRIGR AM’ 114
CENSER
SOUTHERN SONG / Y UAN DYNASTY
of archaistic lian form, well potted with the deep sides rising
from a tapered circular foot on the base to an inverted
mouth rim, all supported on three cabriole legs, decorated
around the body in relief with the ‘Eight Trigrams’ between
two raised fillets, covered overall with an attractive lustrous
sea-green glaze, save for the interior center and the foot ring
left unglazed revealing the stoneware body burnt russet-
orange
$ 8,000-12,000
南宋 / 元龍泉窰青釉八卦紋奩式爐
113
A ‘JUN’ SKY-BLUE-GLAZED DISH
NORTHERN SONG DYNASTY
well potted with the wide shallow sides raised on a short
foot, covered overall with an attractive milky sky-blue glaze
draining to a mushroom tone at the rim, the neatly pared
foot ring left unglazed covered in brown dressing
PROVENANCE
$ 6,000-8,000 115
北宋鈞窰天藍釉盤
來源

PROPERTY FROM THE
AOYAMA STUDIO COLLECTION
LOTS 1 1 6 -1 2 2
青山居珍藏拍品編號 116-122
20 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 21

116
A ‘JIAN’ RUSSET-STREAKED ‘NOGIME Considered by the Song Emperor Huizong (r. 1101-25) to
TENMOKU’ BOWL be one of the most desirable tea wares, Jian bowls with
hare’s fur streaks were held in great esteem not only in
China but also in Japan. The dark and dynamically speckled
potted with deep sides rising from a short straight foot to interiors create an attractive contrast with the fine white
a thin concave groove below the rim, covered with a glossy foam of whisked tea. Bowls produced by the Jian kilns of
black glaze streaked with russet ‘hare’s fur’ running from the Fujian province were most likely already brought to Japan
rim and pooling within the groove, the glaze stopping neatly in the Kamakura period (1185-1333), when Japanese monks
above the foot revealing the dark brown body, the rim bound discovered the art of ritual tea preparation at Buddhist
with metal, Japanese wood box (3) temples in southern China.
Diameter 4⅞ in., 12.6 cm See similar bowls of this type, including one preserved
in the National Palace Museum, Taipei (accession no.
PROVENANCE
故-瓷-008624); and three other examples now in The
Hirano Kotoken, Tokyo. Metropolitan Museum of Art, New York (accession nos
29.100.230, 29.100.227, 17.179.2), the first, recently
included in the Museum’s exhibition Kyoto: Capital of Artistic
Imagination, New York, 2020, the second illustrated in
Denise Patry Leidy, How to Read Chinese Ceramics, New
York, 2015, pl. 15.
⊖ $ 60,000-80,000
南宋建窰兔毫釉天目茶盞
來源
平野古陶軒，東京
22 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM THE AOYAMA STUDIO COLLECTION 23

117 118
A ‘JIAN’ BLACK-DOTTED GR AY-GLAZED BOWL PROVENANCE
A ‘JIZHOU’ ‘LEAF’ BOWL PROVENANCE
SOUTHERN SONG DYNASTY Sen Shu Tey, Tokyo.
SOUTHERN SONG DYNASTY Private Collection.
potted on a low foot, the steep rounded sides slightly
⊖ $ 10,000-20,000 the rounded sides covered with a black glaze thinning to
constricted just below the rim, covered with a russet-tinged ⊖ $ 30,000-50,000
russet at the rim, the interior imprinted by a finely articulated
gray glaze mottled with faint black dots, the glaze stopping
broad leaf, its furled edges, veining, and stem captured in
above the foot to reveal the dark grayish-brown body, the
南宋建窰灰被天目茶盞 white and russet tones, the foot left unglazed revealing the
南宋吉州窰黑釉木葉天目盞
rim bound with metal, Japanese wood box (3)
pale buff body
Diameter 4¾ in., 12.2 cm
來源 Diameter 4⅛ in., 10.6 cm
來源
千秋庭，東京私人收藏

119
A SUPERB AND R ARE RUSSET-SPLASHED Reminiscent of the mottles on partridge feathers, the
BLACK-GLAZED ‘PARTRIDGE FEATHER’ BOWL lively russet-brown markings decorating black-glazed tea
bowls such as the present piece must have captivated the
SONG DYNASTY
imagination of Song dynasty (960-1279) literati. The present
the deep conical sides rising from a short foot to an everted bowl is a particularly sophisticated example of its type for
rim, the interior covered with a rich black glaze liberally its asymmetrical yet balanced distribution of brown flecks,
splashed with short russet ‘partridge feather’ mottles, the which imbue the vessel with a sense of spontaneity as well as
exterior covered in a persimmon-colored glaze stopping harmony. Such abstract patterns of russet splashes on dark-
neatly along the top of the foot to reveal the pale buff glazed wares were created by many kilns in northern China
stoneware body from around the eleventh century. The irregular markings on
Diameter 4¾ in., 12 cm these bowls were achieved by either splashing or applying
with a brush an iron-rich slip, glaze or pigment.
PROVENANCE
Two bowls of similar proportions, from the Scheinman
Private Collection. Collection, now in the Arthur M. Sackler Museum, Harvard
University Art Museums, Cambridge, MA, were included
in the Museum’s exhibition Hare’s Fur, Tortoiseshell, and
Partridge Feathers: Chinese Brown- and Black-Glazed
Ceramics, 400-1400, Cambridge, 1995, cat. nos 38a and b.
See also a bowl formerly in the collection of Lord Cunliffe,
included in the exhibition Principal Wares of the Song Period
from a Private Collection, Eskenazi, London, 2015, cat. no.
23; and another bowl included in the exhibition Ancient
Chinese Black Wares from the Collection of Mr and Mrs
Yeung Wing Tak, Art Museum, The Chinese University of
Hong Kong, Hong Kong, 1999, later sold in our Hong Kong
rooms, 9th October 2020, lot 2.
⊖ $ 120,000-150,000
宋鷓鴣斑斗笠盞
來源
私人收藏

120 122
A R ARE BLACK-DOTTED ‘JIAN’ BOWL A R ARE ‘DING’ BLACK-GLAZED BOWL of higher value, as is stated in the Ming dynasty (1368-1644)
SOUTHERN SONG DYNASTY NORTHERN SONG DYNASTY collectors’ handbook Gegu Yaolun (Guide to the Study of
Antiquities) of 1388.
the rounded sides supported on a short foot, covered in a
with rounded sides, all under a glossy ink-black glaze Although a number of wide conical bowls are extant, black-
mottled, pale gray glaze dappled with evenly spaced black
thinning to russet at the rim, save for the footring and a fine glazed Ding bowls of this form, with rounded sides, are very
dots, the glaze stopping short of the foot to reveal the dark
join between the vessel and the base, revealing the fine white rare. Compare two examples of conical form, one now in
gray body
clay The Metropolitan Museum of Art, New York (accession no.
Diameter 4¼ in., 11 cm 1991.253.19); and another in The British Museum, London
PROVENANCE (accession no. PDF.300), illustrated in Regina Krahl and
PROVENANCE
Private Collection. Jessica Harrison-Hall, Chinese Ceramics: Highlights of the Sir
Private Collection. Percival David Collection, London, 2009, p. 12, fig. 3.
Smooth and glossy, the present bowl is a fine example of
⊖ $ 30,000-50,000
the technical developments achieved by potters working at ⊖ $ 60,000-80,000
the Ding kilns in Quyang county, west Hebei province, during
南宋建窰黑斑天目茶盞 the Song dynasty (960-1279). Black-glazed bowls of this
type were associated with the lavish black lacquer wares 北宋定窰黑釉茶盞
來源 celebrated at the time. While their white ceramics might
私人收藏 now be more commonly known, since they were produced 來源
in much larger quantities, the dark-glazed Ding wares were 私人收藏
121
A GR AY-GLAZED ‘JIAN’ BOWL
120 with steep sides rising from a short foot to an indented
groove beneath the rim, covered overall with a gray glaze
with fine streaks descending from the rim, the glaze gently
pooling in the recesses to a pale moss-green color and
stopping short of the foot to reveal the gray stoneware body
PROVENANCE
Private Collection.
⊖ $ 10,000-20,000
南宋建窰灰被天目茶盞
來源
私人收藏
121

123
PROPERTY OF A PRIVATE COLLECTOR vessel, however, is unusually elegant in the fine texturing
of the negative space, which distinguishes it from typical
A SUPERB BLACK-GLAZED ‘CIZHOU’
sgraffiato wares in which the ground framing the principal
SGR AFFIATO ‘PEONY’ ‘TULU’ VASE design is carved to a ubiquitous white. Here, the space
NORTHERN SONG / JIN DYNASTY between the floral scrolls is filled with fine hatching in
different directions to contrast the bold peony blossoms and
the bulbous ovoid body rising from a flat foot and
leaves. The fluid lines of carved decoration, together with
countersunk base to a short constricted neck and lipped rim,
the color scheme, are reminiscent of calligraphy and thus
freely carved through the top layer of black slip to the ivory-
vessels such as the present piece would have been highly
white layer beneath with four large peony blooms borne on
prized by literati.
a meandering scroll with trefoil leaves against a combed
ground, all between wavy overlapping petal-lappets around The vase is also notable for its well-proportioned form, with
the shoulder and the foot, applied overall with a transparent small mouth, broad shoulder and wide base, which is known
glaze stopping neatly around the unglazed foot as ‘tuluping’ or ‘truncated meiping’. This form, which was
Height 9¼ in., 23 cm produced at many northern kilns, is closely related to the
taller meiping, a quintessential Song shape, but enjoyed
Some of the most attractive Cizhou wares are those made by a much shorter period of production. It was produced for
various kilns in northern China with designs reserved in black only about a hundred years during the eleventh and twelfth
against a white ground. The complicated technique used centuries, leaving behind a relatively small number of extant
to create the striking decoration in contrasting colors seen examples.
on the present piece is known by the Italian term sgraffiato,
Similar vases, but lacking the linear patterns in the
literally ‘scratched’. It first appeared around the late
background, are held in important public collections
eleventh century, and was created through the application
worldwide. See one with a different neck and an additional
of contrasting layers of slip or glaze. On the present bottle, a
decorative band encircling the shoulder, in the Osaka City
layer of black slip was applied over white slip, which was later
Museum of Fine Arts, included in the exhibition Charm of
carefully incised to create decorative patterns by revealing
Black & White Ware: Transition of Cizhou Type Wares, Osaka
the pristine white layer beneath, and then finally covered
City Museum of Fine Arts, Osaka, 2002, cat. no. 50; and
by a layer of clear glaze. This labor-intensive and time-
another in the Baur Collection, Geneva, with a simpler peony
consuming technique adds a sense of opulence and luxury to
design, illustrated in Mary Tregear, Song Ceramics, London,
the stoneware.
1982, p. 17, fig. 6.
What makes this vase exceptional are the linear ground
patterns on its surface. Large peony scrolls are a popular
motif on vases decorated with the sgraffiato technique. This ⊖ $ 200,000-300,000
北宋 / 金磁州窰黑釉劃牡丹紋小口瓶

124
PROPERTY OF A PRIVATE COLLECTOR potters had begun to add painted decoration on dark-glazed
vessels, both in the form of representational designs and
A BLACK-GLAZED RUSSET-PAINTED JAR
more abstract markings. Painted with simple spots or
JIN DYNASTY / Y UAN DYNASTY strokes that favor elegance over extravagance, these wares
of compressed baluster shape, covered overall with possess a minimalistic beauty that aligned very closely with
brownish-black glaze and boldly painted with russet streaks, the aesthetics of the time.
the footring unglazed revealing the light gray body Compare a taller, more olive-shape vase with a similar
Height 7 in., 17.5 cm pattern, included in the exhibition Chinese Ceramics from
the Prehistoric Period through Ch’ien Lung, Los Angeles
PROVENANCE County Museum, Los Angeles, 1952, cat. no. 207; a jar with
Christie’s New York, 21st September 2004, lot 206. slightly irregular markings, now in the Asian Art Museum,
San Francisco (accession no. B70P15), illustrated in He Li,
It is uncommon to find black-glazed vessels boldly decorated Chinese Ceramics, London, 1996, pl. 311; a baluster vase
with large and evenly arranged brown splashes as can be painted with markings more similar to the present piece sold
seen on the present piece. Dark wares of similar form were in our London rooms, 9th June 2004, lot 163; and a wide-
more often found with painted decoration of birds or plants; mouthed jar more with splashes of various sizes sold in our
those featuring purely abstract brushwork such as this Hong Kong rooms, 11th July 2020, lot 120.
are rare. The russet brushstrokes on this jar not only have
a strong calligraphic quality that would have appealed to
the literati of the time, but also have an abstract element ⊖ $ 150,000-200,000
that gives this vessel a strikingly contemporary feel. With a
smooth and dark surface which reflects light almost like a
金 / 元黑釉鐵鏽花紋罐
mirror, this glossy black jar is exceptionally impressive.
Kilns in Northern China, especially those in Henan, Hebei, 來源
and Shandong provinces, were particularly active in
紐約佳士得2004年9月21日，編號206
producing black wares. Since around the twelfth century,

125 127
PROPERTY OF A PRIVATE COLLECTOR PROPERTY OF A PRIVATE COLLECTOR
A BLACK-GLAZED ‘RIBBED’ A R ARE BLACK-GLAZED ‘OIL SPOT’

H ANDLED JAR VASE
NORTHERN SONG / JIN DYNASTY JIN DYNASTY
of ovoid form rising to a short neck with lipped the pear-shaped body covered overall in a black
rim, the body with a series of evenly-spaced glaze suffused with iridescent ‘oil spots’, the
raised vertical lines of white slip, a pair of ridged glaze stopping at the foot revealing the pale
and tapering strap handles on the shoulder, buff body, the mouth rim dressed in white slip,
covered overall in a black glaze and thinning to the base inscribed with a wen character
cream at the raised ribs and stopping well short Height 9 in., 23 cm
of the foot, exposing the buff-colored body
Height 6¼ in., 15.8 cm PROVENANCE
Sotheby’s Hong Kong, 29th-30th November
PROVENANCE
2018, lot 383.
Private Collection.
‘Oil spot’ glazes were a specialty of the Linfen,
Huairen, and Jiexiu kilns of Shanxi province,
⊖ $ 20,000-30,000
which mostly used them on small bowls,
possibly inspired by the rare ‘oil spot’ tea bowls
北宋 / 金黑釉棱線紋雙繫罐 of the Jian kilns of Fujian. ‘Oil spot’ vases are
very rare. The markings were probably formed
來源 by applying an iron-saturated slip on the body
under the glaze, a new technique developed to
私人收藏
cater to the subtle, refined tastes of the time.
With a lustrous black glaze suffused with an
intricate pattern of iridescent silver spots of
varying sizes, the pattern of oil-spot wares was
126 associated with starry nights or melting snow
as described in contemporaneous literature.
125 PROPERTY OF A PRIVATE COLLECTOR
A vessel of this form was most likely used for
A BLACK-GLAZED ‘RIBBED’ serving wine.
H ANDLED JAR Compare two larger vases of this type, but
NORTHERN SONG / JIN DYNASTY covered with finer rust-brown spots, one
preserved in the National Palace Museum,
the globular body rising from a short foot Taipei (accession no. 購-瓷-000158); and
to an upright neck with lipped rim, the body another in the Minneapolis Institute of Art,
with a series of evenly-spaced raised vertical Minneapolis (accession no. 99.69.2). Oil-spot
ribs of white slip, a pair of ridged handles on markings closely related to those on the current
the shoulder, covered overall in a black glaze vase are more often found on bowls, see, for
stopping well short of the foot revealing a example, a bowl now in the Palace Museum,
brown slip underneath, the interior and base Beijing (accession no. 2365-106080).
similarly dressed, the broad buff-colored knife-
pared footring exposing the body
Height 8½ in., 21.7 cm ⊖ $ 80,000-100,000
PROVENANCE
金黑釉油滴玉壺春瓶
Robert H. Ellsworth, New York.
LITERATURE
來源
Hang Tian, Selection of Chinese Ceramics from
香港蘇富比2018年11月29至30日，
the Robert H. Ellsworth Collection, Beijing, 2015, 編號383
pl. 40.
⊖ $ 20,000-30,000
北宋 / 金黑釉棱線紋雙繫罐
來源
安思遠，紐約
出版
126
杭天，《安思遠舊藏古陶瓷選粹》，
北京，2015年，圖版40

128
PROPERTY OF A PRIVATE COLLECTOR was used for storing wine. Usually consumed at a warm
temperature, alcohol would have been transferred to a ewer
A BLACK-GLAZED ‘RIBBED’ ‘TULU’ VASE
or smaller bottle for pouring into the cup.
White-ribbed dark wares were mostly produced in the
the domed body rising to a narrow waisted neck and lipped twelfth and thirteenth centuries, at numerous kilns in Henan,
rim, applied to a narrow and waisted neck to a lipped rim, the Hebei, and Shandong provinces. Robert D. Mowry discusses
body applied with a row of white vertical ribs, covered overall this type of ware in detail in the catalogue to the exhibition
with a lustrous black glaze stopping neatly at the foot, the Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese
countersunk base unglazed revealing the grayish stoneware Brown-and Black-Glazed Ceramics, 400-1400, Harvard
body University Art Museum, Cambridge, 1996. He suggests that
Height 8⅝ in., 22 cm ribs of white slip were first decoratively used during the
Tang dynasty (618-907), on ceramics imitating lacquer or
The present vase is one of the finest examples of black
silver, mainly to segment the interiors of open-form vessels
wares with ribbed decoration. The seemingly easy, yet
(p. 176). In the tenth and eleventh centuries they were
highly effective method of decorating a black jar with parallel
sparingly added to the exteriors of vessels, before emerging
white lines was adopted by many northern kilns during the
as an important decorative scheme in their own right by the
Song dynasty (960-1279). Qualities, shapes and details
twelfth century. Although the kilns were mainly located in
of the execution, however, vary considerably. Extant dark
north China, the still very limited evidence from the various
vessels with bright lines are mostly adorned in a relatively
sites does not yet permit conclusive attribution of individual
spontaneous manner. It is extremely rare to find an example
pieces to any particular kiln group.
with a finish as refined as that on present piece. The fine and
straight white ribs, running in parallel all the way from the Compare examples of similar design and form, but with a
top to the bottom, point to the skillful control craftsmen were taller, waisted neck, including one now in the Asia Society,
able to exert over the medium at the time. New York (accession no. 1979.143), included in the Harvard
exhibition, ibid., cat. no. 62; another sold at Christie’s New
However popular vessels of this design were, they usually
York, 13th September 2018, lot 810; and a smaller vessel
came in the form of wide-mouthed jars with or without
sold at Christie’s Hong Kong, 30th November 2016, lot 3386.
handles; pieces of the present form are extremely rare. This
impressive shape, with small mouth, broad shoulders and
wide base, is known as tuluping, or truncated meiping, and ⊖ $ 200,000-300,000
北宋 / 金黑釉棱線紋小口瓶

THE SHAPE OF THE SUBLIME
A LUMINOUS WHITE MOON JAR FROM THE JOSEON DYNASTY
Moon jars (Korean: dalhangari) are named for their However, the cobalt used in the design had to be imported
spherical form and white color which evoke the shape through China and the geopolitical circumstances of the late
and tonality of the full moon. The unique hue of each jar 16th through 17th century—notably two Japanese invasions
depends on the natural properties of the clay used in its of Korea (1592 and 1598), two Manchu invasions of Korea
production, and the effect of the thin glaze on its surface (1627 and 1636), and a long and tumultuous dynastic
which varies from transparent to slightly milky in tone. transition in China—made it nearly impossible for Korean
From their inception, these vessels have been admired for potters to obtain cobalt during that period. By the end of the
their minimalist aesthetic, in which the plentiful proportions 17th century, the use of cobalt and other luxury products
coexist harmoniously with the restrained surface treatment, was formally banned through sumptuary laws designed to
qualities that equate to contemporaneous neo-Confucian preserve the state’s financial resources in the midst of a
values extolling the moral fullness that accompanies a life socioeconomic crisis. As a result, Joseon ceramicists of the
dedicated to pursuing purity, modesty, and essential truths. 17th century relied on indigenous materials and inspiration,
Along with other white porcelaneous wares, moon jars were and began crafting monochrome white wares, including
first produced in the official kilns near the capital city of dishes, bowls, vases, and moon jars.
Hanyang (present-day Seoul) during the Joseon dynasty Excavations of the pottery shards from the official kiln sites
(1392-1910). These kilns were established in the late reveal that moon jars were first made in the early 1600s,
1460s to supply vessels to the royal court for use in daily and their popularity grew throughout the 17th and 18th
life and state rituals. The production of these vessels was centuries, when private kilns began imitating the newly iconic
highly regulated, with government-appointed supervisors form. Moon jars were produced by forming two roughly
overseeing the selection of raw materials and the fabrication hemispherical bowls on a wheel, joining them together at
of the ceramics. One of the earliest, and most important, the rims, dipping the resulting jar in a transparent or white-
official wares produced in white kaolin clay at these kilns tinged translucent glaze, and firing it at a high temperature.
were the blue and white ‘dragon’ jars, which were inspired The craftsmen took care to make the two halves compatible,
by Chinese blue and white ‘dragon’ vessels given by the but to avoid making them identical. Subtle irregularities
Xuande Emperor (r. 1425-1435) to King Sejong (r. 1418- between the upper and lower body, the contours of the
1450). Characterized by a baluster shape surmounted by a sides, and the tonality and texture of the surface, were
short neck, these ‘dragon’ jars were important implements retained in the finished product to reveal the process and
in royal Joseon ceremonies in the 15th and 16th century. materials unique to each jar. In other words, the potter had

Fig. 1 A moon jar, Joseon dynasty, 18th century. © Detroit Institute of Arts Fig. 2 A moon jar, Joseon dynasty, 18th century. © Cleveland Museum of Art Fig. 3 Moon jar, 1650–1750. Korea; Joseon dynasty (1392–1910). Porcelain with clear
glaze. Asian Art Museum of San Francisco, The Avery Brundage Collection, B60P110+.
圖一朝鮮王朝十八世紀白釉滿月花罐 © 底特律美術館圖二朝鮮王朝十八世紀白釉滿月花罐 © 克利夫蘭藝術博物館 Photograph © Asian Art Museum of San Francisco.
圖三朝鮮王朝 1650-1750 年白釉滿月花罐舊金山亞洲藝術博物館艾弗里•布倫戴

奇收藏 B60P110+ 圖片 © 舊金山亞洲藝術博物館
to restrain himself from overly refining the jar, lest his extra of expensive, non-native, unnecessary cobalt ornamentation, white complexion, a wide shoulder set just above the center and an unevenly applied white glaze in the Leeum Samsung
effort strip out the qualities of the clay and human touch that and indeed any decoration whatsoever, demonstrates giving the impression of levity, and very fine lines winding Museum of Art, Seoul (National Treasure No. 309). For
give the vessel its vitality. societal prioritization of frugality over excess, pragmatism around the body from being worked on the wheel. The very examples attributed to circa the early 18th century, see
The sensibility of 17th and 18th century moon jars are highly over whimsy, purity over corruption, and the indigenous subtle asymmetry in the jar’s profile is almost imperceptible one with similar proportions to the present jar, except with
emblematic of the political, intellectual, and cultural context over the foreign; values promoted by the Silhak (‘practical at first glance, but nonetheless imbues the vessel with an a distinct lean to one side, formerly in the Avery Brundage
in which they were produced. During that period, Korea learning’) school of Korean neo-Confucian thought which essential spirit. Collection and now in the Asian Art Museum of San
turned inward from its neighbors due to the aforementioned became influential from the late 17th century. That the Joseon dynasty moon jars of the 18th century have been Francisco (fig. 3) (accession no. B60P110+), published in
tensions, giving rise to distinctly Korean art forms, such as moon jar could be used as a humble storage container preserved in numerous museum collections. Compare a National Museum of Korea, ed., Korean Art from the United
the moon jar, which were independent of creative practices further enhanced its appeal to craftsmen and consumers similarly proportioned moon jar of the same size in the States, Seoul, 2012, pl. 8; one of wider build with a lower,
in neighboring China and Japan. At the same time, neo- who adhered to Silhak principals. At a metaphysical level, collection of the Detroit Institute of Arts, Detroit (fig. 1) slightly flattened shoulder exhibited in Special Exhibition of
Confucianism was the official state doctrine and underpinned the transformation of a piece of earth, worked by human (accession no. 1982.4), published in Haely (Haeyoon) Ewha Womens University Museum’s 80th Anniversary: White
all aspects of society. The ideology advocated achieving hands, into a form echoing a celestial body, which preserves Chang, ‘Korea’s Moon Jars – Transported, Transfigured, and Porcelain in the Joseon Dynasty, Ewha Womens University
societal and cosmological harmony through the correct the natural idiosyncrasies of its fundamental material Reinterpreted,’ Bulletin of the Detroit Institute of Arts, vol. Museum, Seoul, 2015, cat. no. 019; and a third, which
performance of rites, the fulfilment of social hierarchies and creator, gives moon jars their universal visual appeal, 92, no. 1/4, pp. 36-38, 40, fig. 1; a closely related example features a more conical lower body and generously rounded
and responsibilities, dedication to moral cultivation, and and allows them to embody the neo-Confucian pursuit of in the collection of the Cleveland Museum of Art, Cleveland shoulder, formerly in the collection of Charles B. Hoyt and
the observation of nature, particularly with respect to harmoniously integrating the three realms of the universe: (fig. 2), illustrated on the Museum’s website (accession no. now in the Museum of Fine Arts, Boston (accession no.
understanding the forces that influence the universe and earth, man, and the cosmos. 1983.28); a jar with heavier proportions, formerly owned by 50.1040), illustrated in the catalogue The Charles B. Hoyt
the mind (li 理 (fundamental principal), and qi 氣 (essential For these reasons, moon jars of the 17th and 18th century the influential 20th century British potters Bernard Leach Collection Memorial Exhibition, Museum of Fine Arts, Boston,
energy)). The austerity, purposefulness, and discipline are considered a quintessential expression of mid- to late (1887-1979) and Dame Lucie Rie (1902-1995), and now in 1952, cat. no. 678.
required to achieve these ideals are reflected in the chaste Joseon culture. The present moon jar is a particularly fine the collection of the British Museum, London (accession no.
aesthetic of the moon jar. Moreover, the artisan’s eschewal example attributed to the 18th century. It has a luminous 1999,0302.1); and one with nearly symmetrical proportions

129
A LUMINOUS WHITE MOON JAR
KOREA, JOSEON DYNASTY, 18TH CENTURY
of generous proportions, set over a low slightly tapered foot,
the globular sides gently sweeping upward and reaching
their widest point just above the center of the body then
rounding into a softly sloping shoulder mirroring the arc of
the lower body, surmounted by a short subtly flared neck
only slightly wider than the foot, the white body covered
overall in a translucent glaze with a very faint glacier-blue
tinge, the base unglazed
Height 13½ in., 34.3 cm.
PROVENANCE
Japanese Private Collection, acquired in the 1950s.
$ 400,000-600,000
朝鮮王朝十八世紀白釉滿月花罐

來源
日本私人收藏，得於1950年代

IMPERIAL PORCELAIN WITH
AN EXOTIC TOUCH
R EG I N A K R A H L
御瓷中的異域風情
康蕊君
The Yongle court (1403 – 1424) brought a very distinctive new 大明永樂一朝，江西景德鎮御窰開創新穎
style to the porcelain kilns of Jingdezhen in Jiangxi, a style 瓷風，所成珍瓷特征鮮明獨特，成就卓
immediately recognizable, never surpassed, and defining
絕，直至十八世紀仍屬製瓷典範。本盌無
the craft still in the eighteenth century. In every respect, this
delicate bowl is a quintessential Yongle product, made for the 論從器形、紋飾等各方面，皆屬永樂之經
court, showing the striking combination of superb material 典、宮廷御製之上乘，一抹異域之風，極
and painting with a slightly exotic design that characterizes 具特色，尤為稀珍。
imperial porcelain of this period.
Yongle was the period when the Ming (1368-1644) came into 永樂一朝，大明之盛世。永樂帝雄心壯
its own. The Emperor was ambitious, reaching out to foreign 志，遠交外邦，振興藝事。永樂朝不僅朝
countries, determined to use the country’s assets not only for 廷任命專員督燒景德鎮以及龍泉官瓷，同
his own delectation but also to showcase China’s superiority
abroad. He had court officials take over not only the produc-
時還包括佛教造像及漆器等製作，甚至可
tion of porcelains at Jingdezhen and of celadons at Longquan, 能連紡織、印刷及其它工藝成作亦均接
but also of Buddhist bronze sculptures, carved lacquerware, 管。各門藝術自元代起已珍品層出，永樂
probably textile weaving, book printing and other crafts. In all 宮廷接管後則更臻新高。
these media, fine products had been created since the Yuan
dynasty (1279 – 1368) or longer; patronage and pilotage by
景德鎮御器廠何時設立，確切日期現時尚
the Yongle court lifted them to completely new levels.
未有定論，但洪武年間，朝廷曾委派官員
The exact date of the official establishment of an Imperial
前往景德鎮監督瓷器燒製。文獻記載永樂
Porcelain Factory in Jingdezhen is a matter of debate, but
in the Hongwu period (1368 – 1398) already, the court had 年間宮廷命景德鎮製瓷，一批共三十萬件
commissioned porcelains and sent officials to Jingdezhen to 成品。自宣德朝起，朝廷委派宦官自京城
supervise the firing. For the Yongle reign, there are records of 遠赴景德鎮監造，有些宦官對製瓷無甚了
a successfully completed imperial order of 300,000 pieces. 解，亦時有舞弊情況出現，但其中也不乏
While from the Xuande reign (1426 – 1435) onwards, eunuchs
表現傑出者。永樂年間，更曾有設立廟龕
were often sent to the Jingdezhen kilns from far-away Beijing
to control an industry they did not understand – positions
紀念督陶官之事蹟（林業強，《達文堂藏
prone to abuse – the earlier supervisors were officials di- 瓷》，香港，2019年，頁16-31（中文），
rected from one local post to another, and some seem to have 頁35-59（英文）。
been well suited to the task; in the Yongle period, one of them
even got a shrine erected in his memory (see Peter Y.K. Lam, 永樂年間瓷器品質上乘，無疑得益於朝廷
Dawentang cang ci/Chinese Ceramics from the Dawentang
的直接參與。朝廷命藝匠大批製瓷，聘畫
Collection, Hong Kong, 2019, pp. 16-31, Chinese, and 35-59,
English). 師專職繪畫紋飾，並委派專員監督，御瓷
製作更為專業精良。洪武年間，青花瓷成
品差強人意，即便是製得佳品，但其中奧

The excellence of Yongle porcelain was unquestionably 秘卻不求甚解。至永樂後瓷匠改變作法，
boosted through this direct imperial involvement. The court 精研製瓷技術以求更佳成果。景德鎮窰址
patronized the production through large orders, employed
曾發現一瓷盤，上面花卉紋飾以不同鈷料
specialists to do the designs, and selected supervisors to
oversee the whole organization. The manufacture of imperial
繪成，各料配以編號，青花成色各具特
wares was now approached with a new professionalism. After 色；雖然該盤出土自宣德地層，然而以此
the often disappointing appearance of blue-and-white por- 時期及以後鈷料燒製之穩定程度即可推測
celain in the Hongwu period, the potters did active research 得知，此類實驗自永樂年起便已開始。今
rather than relying on trial and error to achieve a satisfac- 以出土資料所見，許多永樂年間被視為品
tory outcome. The waste heaps of the Jingdezhen kilns have
brought to light a sample dish painted with flower sprays in
質不及標準而廢棄掩埋者，當中竟也不乏
different cobalt solutions, identified by different numbers, 有鈷藍發色鮮亮明豔之品。
that indeed yielded very different results; although that dish
was discovered in the Xuande stratum, such pointed experi- 除材質精進外，朝廷也同時監管瓷樣設
ments were undoubtedly undertaken since the Yongle period, 計，故此時期瓷品器形及紋飾種類繁多，
as the cobalt recipe used from that period onwards was of
異常豐富。細觀本品，器如蓮子，故名「
reliable quality. Even the many pieces rejected by Yongle
quality control, discarded, broken and buried, which have now
蓮子盌」。此器形源起中原，盌帶尖底，
been recovered from the kiln sites, are overwhelmingly of a 似雞心之狀，故亦稱「雞心盌」。此類盌
beautiful bright blue. 式僅見於明初，且應未作外銷。器形相近
Besides this improvement of the materials, the imperial 而尺寸較小之例亦稱「蓮子盌」，然紋飾
organization of the designs resulted in much greater variety 相異，其器身常繪以細長蓮瓣，而本品紋
and refinement of shapes and decorative motifs. The shape of 飾則以蓮瓣頂端覆繪三葉紋，別具一格。
our bowl, called a ‘lotus bowl’ because it is shaped like a lotus
bud, would seem to be purely Chinese in origin. It is elegantly
此類三葉紋飾似受金屬器影響，其紋飾呈
tapering to a pointed bottom, that is clearly visible not only in
the center inside but also on the underside, where the ring- 現出早期呼羅珊銅器及其他金屬器風格；
shaped foot provides a support. This shape, which in China is 可比較倫敦維多利亞與阿爾伯特博物館收
known as jixin, ‘chicken heart’ shape, is only known from the 藏一銅錯銀盌例以及其它收藏之盤例，圖
early Ming and does not seem to have been exported. Smaller 載於Assadullah Souren Melikian-Chirvani，
bowls of this form are ‘lotus bowls’ also in decoration, being
《Islamic Metalwork from the Iranian World.
painted with slender lotus petals, which on the present piece
have been alienated by being capped with small trefoil motifs, 8th – 18th Centuries》，倫敦，1982年，
that give them a very different appeal. 圖版26B、26a（圖一）、 27b、27c或36
These trefoil, or fleur-de-lys motifs, here also used topping 。以上數例與本品相近之處不僅在於其基
lambrequin borders around the center and on either side of 本設計形式，而更在於一個常見於呼羅珊
the rim, seem to have been inspired by metalwork. Related 金屬器上的細節紋飾，此一紋飾亦可見於
borders are characteristic of somewhat earlier Khorasan 本盌盌心：即為一類相互交疊穿插的類貫
vessels of bronze, brass and other metals; they appear, for
套式紋樣。

bowl and other Yongle porcelains is most likely due to the fact 卉每朵七瓣（同類盌例亦見繪八瓣者，如
that exact copying was never the intention. 台北國立故宮博物院收藏一例），且描繪
This bowl shows a distinct Middle Eastern touch even in its 花朵正面盛開，既無花苞，亦無果實，葉
floral designs, which seem formalized rather than fitting in
紋則以纏枝為主，偶見三瓣葉。此類花
with the rules of depiction Chinese artists usually observed.
In the composite flower scrolls so characteristic of the Yongle 飾，包括盌心的數叢點花紋飾，屬於中東
period, the species generally are clearly identifiable since 對於花卉抽象制式化描繪的常見裝飾風
every bloom, or pair of blooms, is distinctive and shown with 格。然而本盌外壁所繪四束不同的折枝花
matching buds, fruits and leaves. The small blossoms of the 卉，則似乎更接近寫實，但仍頗為抽象。
flower scroll inside the present bowl are here depicted as
其繪畫筆觸雖極為細膩，但因其鈷料典型
distinctly seven-petalled, but on companion bowls, like one
in the National Palace Museum, Taipei, they can have eight
的結晶斑效果，則尤顯濃烈。
petals. They are not shown in various stages, but only fully
opened and in frontal view, without buds or fruits, and their 永樂年間，宮廷不僅管控御窰燒製，亦控
foliage represents a combination of undulating grass-like 制其分配。元代瓷器商路遠傳近東、中東
stems and occasional trefoil leaves. Just like the small dotted 及東非，但永樂瓷非經普通貿易通道可
flower-heads around the center, this seem like an idealistic
得。永樂瓷器由宮廷嚴密管控，次品毀而
representation of flowers, as it is common in the Middle East.
Only the four flowering sprigs on the outside, which are all
埋之，以防仿製，如此作法之下瓷器自然
different, are clearly intended to represent seasonal flowers, 更為珍稀，外界需求更殷。永樂瓷器中尺
but even they have been stylized. The delicacy of the frilly 寸較大者多外銷海外，而精緻小巧如本品
brushwork may have been dictated by the tendency of the 者則大多上奉宮廷，兩岸故宮皆有收藏，
Fig. 1. Bronze silver-inlay dish with engraved decoration, blue to ‘heap and pile’.
Khorasan, Iran. © Victoria and Albert Museum, London. 流傳海外之器則少之又少。
圖一呼羅珊銅錯銀盤 © 維多利亞與阿爾伯特博物館倫敦
example, on the inside of a bowl in the Victoria and Albert Mu- 如本盌內口沿處所繪的近類紋飾亦可見於
seum, London, and on dishes and trays in various collections, 呼羅珊金屬器，如見兩件小銅盾例，載
illustrated in Assadullah Souren Melikian-Chirvani, Islamic
於前述出處，圖版57及 57a，作者形容（
Metalwork from the Iranian World. 8th – 18th Centuries,
London, 1982, pls 26B, 26a (fig. 1) , 27b, 27c, or 36. It is not 頁129）為「蓮苞，側瓣連接組成尖頂拱
only the basic form of the design, but particularly one detail 形，下為三珠成金字塔形」。再觀本品紋
in the representation that appears regularly on the Khorasan 飾，亦可見花瓣連成拱形及金字塔形的成
metal vessels and is repeated inside our bowl: the careful 組圓珠，唯無花苞而已。
enlacement of loops to pass alternately under and over each
other, when crossing.
永樂年間，大明朝廷與呼羅珊的互通往來
A border not unlike that seen here on the inside rim can also
至少有六次。明代陳誠奉永樂帝命，於
be found on Khorasan metalwork, e.g. on two brass bucklers
illustrated ibid., pls 57 and 57a, described by the author (p.
1414、1417及1420年沿陸路出使中亞及伊
129), as “lotus-buds, their lateral petals joining together to 朗西部，效鄭和下西洋通使外邦。陳誠三
form pointed arches over pyramids of three pierced beads”. 次出使途中，曾到訪過各大重要呼羅珊城
While the petal arches and beads are also seen here, the 市，包括赫拉特等金屬器製作重地。而其
buds themselves have been lost. 三次出使緣由，皆為回應中亞及伊朗外使
Direct Chinese exchanges with Khorasan happened at least 訪華之故。多個訪華使團中亦包括赫拉
six times during the Yongle reign.
特，其並曾向明廷獻贈供禮。
The Chinese official Chen Cheng (1365-1457), who acted as
imperial envoy for the Yongle Emperor to undertake diplomatic
目前尚不清楚當時明廷主要負責紋樣設計
voyages overland – like Zheng He (1371-1433) did by sea –
travelled to Central Asia and Western Iran in 1414, 1417 and 1420,
部門具體如何運作，但相信其中藝匠定必
each time visiting important Khorasan cities such as Herat, one 從各處尋覓靈感，亦應包括外邦供物，以
of the centers of metalwork production. All three voyages were 求創新大量新穎青花紋飾。時穆斯林文化
undertaken in direct response to prior embassies received from 禁止描繪世上生物，雖然執行不嚴，但亦
envoys of various Central Asian and Iranian regions, also includ- 促使中東藝匠極為擅長設計制式化的抽象
ing Herat, which had submitted tribute gifts to the court.
紋飾。本盌及其他永樂瓷器紋飾雖具異
We do not know how the design office worked, but a whole
風，然不見其直接原型，相信是因為藝匠
new repertory of motifs had to be developed for blue-and-
white and it is likely that designers charged with inventing
創作時並無完全仿製之意。
large numbers of patterns sought inspiration wherever they
could find it, including from foreign goods. A prohibition to 本盌帶有明顯中東風格，其抽象花卉紋飾
depict living beings in Muslim societies, however loosely 有別於傳統中國繪畫之道。花卉組合紋飾
enforced, made Middle Eastern artists extremely inventive in 乃永樂時期特征，每種花卉多可辨認，並
coming up with formal, non-representational motifs. That no
與相配花苞、果實及枝葉同繪，綻放花朵
exact prototypes can be identified for the exotic motifs on our
或成一對，或僅畫一朵。本盌內壁所繪花

Fig. 2 Blue and white ‘Eight Treasures’ bowl, Ming Dynasty, Yongle Period. The collection of National Palace Fig. 3 Blue and white ‘lotus-seed’ bowl, Ming Dynasty, Yongle Period. © The Trustees of the British Museum.
Museum. ©National Palace Museum, Taipei.
圖三明永樂青花蓮子盌 © 大英博物館受託人
圖二明永樂青花八寶蓮子盌國立故宮博物院藏品 © 國立故宮博物院台北
In the Yongle reign, the imperial court controlled not only the 目前存世同類盌僅有數例，兩例藏於台 now in the Victoria & Albert Museum, London, illustrated in 編號158；白蘭士敦曾將其所藏永樂及宣
design and production of the wares from the imperial kilns, 北國立故宮博物院，其一載於《明瓷名 John Ayers, Far Eastern Ceramics in the Victoria and Albert 德例同錄於白蘭士敦，《明初官窰考》，
but also their distribution. Yongle porcelain was not available Museum, London, 1980, pl. 46; and another sold at Christie’s
品圖錄•洪武窰永樂窰宣德窰》，東北京，1938年，圖版5及6，其中之宣德例
through the usual trading channels, which had brought Yuan Hong Kong, 29th May 2007, lot 1452.
porcelains to the lands of the Near and Middle East and to 京，1977年，圖版21；其二曾展於《明代後轉入里埃斯科收藏。永宣兩朝盌例紋飾
The National Palace Museum also owns a version of Xuande
East Africa. They were made and distributed under strict 初年瓷器特展》，國立故宮博物院，台非常相近，但明顯永樂畫工更勝一籌。
mark and period, included in the exhibition Mingdai Xuande
court supervision, with seconds being destroyed and buried 北，1982年，編號24（圖二）；另一例藏 guanyao jinghua tezhan tulu/Catalogue of the Special
so that they could not be copied, which clearly increased 於阿德比爾寺，現存德黑蘭伊朗國家博物 Exhibition of Selected Hsüan-te Imperial Porcelains of the 此外亦可參考四件繪相類風格紋飾的永樂
value and demand. While pieces of larger size were much Ming Dynasty, National Palace Museum, Taipei, 1998, no. 158; 盌例，尺寸較小：其中兩例為饅頭心盌，
館，圖載於三杉隆敏，《中近東の中国
exported, fine porcelains in small sizes such as this bowl were and
磁器》，香港，1981年，卷3，編號A.53 另外兩例為蓮子盌器形，四例皆藏於北京
mostly sent to the court and can be found in the palace col-
；再比一例，出自 George Eumorfopoulos Brankston illustrated his Yongle bowl together with a Xuande 故宮博物院，圖載於《明代洪武永樂御窰
lections of Beijing and Taipei, and are rarely found abroad.
version also in his and later the Riesco Collection, in A. D. 瓷器》，北京，2015年，圖版64至67。
Only very few companion bowls appear to be recorded: two in 及Walter Sedgwick夫人收藏，售於倫敦
Brankston, Early Ming Wares of Chingtechen, Beijing, 1938,
the National Palace Museum, Taipei, one illustrated in Ming ci 蘇富比1940年5月29日，編號220，現 pls 5 and 6. The design of both versions is remarkably similar,
mingpin tulu. Hongwu yao Yongle yao Xuande Yao [Illustrated 存於倫敦大英博物館，參考霍吉淑，類如本盌盌心所繪花首內扣三葉式紋樣
but the Yongle version shows the stronger painting.
catalogue of important pieces of Ming porcelain, Hongwu 《Ming Ceramics in the British Museum》，者，Melikian-Chirvani（出處同上，頁96）
In the Yongle period, four related designs are known from
ware, Yongle ware, Xuande ware], Tokyo, 1977, pl. 21; the 形容其為「抽象式蓮苞」。同類風格紋飾
倫敦，2001年，編號3: 28（圖三）；另 smaller bowls: two of shallow mantouxin shape with quatre-
other included in the exhibition Mingdai chunian ciqi tezhan 亦可見於紐約大都會藝術博物館收藏的
有一例，出自白蘭士敦及W. Roberts夫人 foil and lambrequin motifs and only a narrow floral border on
mulu/Catalogue of a Special Exhibition of Early Ming Period
收藏，現存於倫敦維多利亞與阿爾伯特 the inside, and two of lotus-bud shape, with formal designs 一件具有大馬士革風格的明初鐵頭盔之
Porcelain, National Palace Museum, Taipei, 1982, no. 24 (fig.
only and no floral motifs at all; examples of all four designs 上，其所飾花首之間另輔以雜寶紋，參
2); one from the Ardabil Shrine, now in the National Museum 博物館，圖載於John Ayers，《Far Eastern
are in the Palace Museum, Beijing, illustrated in Mingdai 考柯律格及霍吉淑編，《Ming. Fifty Years
of Iran, Tehran, illustrated in Takatoshi Misugi, Chinese Ceramics in the Victoria and Albert Museum》 Hongwu Yongle yuyao ciqi/Imperial Porcelains from the
Porcelain Collections in the Near East. Topkapi and Ardebil, that Changed China》，大英博物館，倫
，倫敦，1980年，圖版46；香港佳士得亦 Reigns of the Hongwu and Yongle in the Ming Dynasty, Beijing,
Hong Kong, 1981, vol. 3, no. A.53; one, from the collections 敦，2014年，頁151。
of George Eumorfopoulos and Mrs. Walter Sedgwick, sold in
曾售一例於2007年5月29日，編號1452。 2015, pls 64-67.
our London rooms, 29th May 1940, lot 220, and now in the A lambrequin design topped by trefoil motifs, “ultimately a
British Museum, in Jessica Harrison-Hall, Ming Ceramics in 台北國立故宮博物院亦收藏一宣德例，署 stylization of lotus-buds” according to Melikian-Chirvani (op.
the British Museum, London, 2001, no. 3: 28 (fig. 3); one 款，曾展於《明代宣德官窰精華特展圖 cit., p. 96), appears, together with precious emblems, also
from the collection of A.D. Brankston and Mrs W. Roberts, 錄》，國立故宮博物院，台北，1998年， on the damascene decoration of an early Ming iron helmet in
the Metropolitan Museum of Art, New York, see Craig Clunas
and Jessica Harrison-Hall, eds, Ming. Fifty Years that Changed
China, The British Museum, London, 2014, p. 151.

130
AN EXCEPTIONAL AND R ARE BLUE AND 明永樂青花花卉紋蓮子盌
WHITE ‘FLOR AL’ BOWL
MING DYNASTY, YONGLE PERIOD 來源
美國私人收藏，購於康州
delicately potted in the shape of a lotus bud (lianzi) or
chicken heart (jixin), with deep rounded sides and a pointed
base resting on a short, narrow foot, finely painted in rich
tones of cobalt blue accented with characteristic ‘heaping
and piling’, the interior decorated with a central medallion
enclosing a formalized quatrefoil motif encircled by a
narrow band of alternating stylized florets formed of dots
and leaves, and further wreathed by elaborate interlocking
strapwork forming heart-shaped petals enclosing trefoils, the
cavetto with eight dianthus blossoms borne on undulating
leafy foliate scrolls, all below a row of pendent trefoils and a
band of zigzag lines and clusters of circles around the rim,
the exterior painted with four blossoms of lotus, peony,
chrysanthemum, and pomegranate flower, alternating with
four emblems of zabao (miscellaneous treasures) including
the ingot, double horns, coral branch, and yinyang castanets,
between interlinked pendent trefoils and upright slender
petals surmounted by trefoils, all bordered by a band of lotus
scrolls around the rim and classic scrolls encircling the foot
Diameter 6¼ in., 16 cm
PROVENANCE
American Private Collection, acquired in Connecticut.
$ 300,000-500,000

131
PROPERTY FROM A CANADIAN PRIVATE COLLECTION
A FINELY PAINTED BLUE AND WHITE LOBED

‘FRUIT AND FLOWER’ BOWL
XUANDE M ARK AND PERIOD
of conical form, well potted with the flaring sides rising from
a slightly tapered foot to a six-lobed rim, finely painted in
deep cobalt blue accentuated with characteristic ‘heaping
and piling’, the interior centered with a medallion enclosing
a flowering and fruiting peach branch, surrounded by three
sprigs of lotus flowers alternating with sprays of tree peony,
chrysanthemum, and herbaceous peony, all beneath a row of
small floral sprigs at the rim, the exterior with six fruit sprays
comprising peach, cherry, loquat, pomegranate, grape,
and lychee, alternating with six small floral sprays below
including camellia, chrysanthemum, lotus, rose, and peony,
the foot encircled with a band of classic scroll, the base
inscribed with a six-character reign mark, the cavetto with a
later incised character reading yi (righteousness)
PROVENANCE
Collection of a Canadian diplomat, acquired in Southeast
Asia between the 1950s and 1970s.
Canadian Private Collection.
⊖ $ 200,000-300,000
明宣德青花折枝花果紋葵口碗
《大明宣德年製》款
來源
加拿大外交官收藏，1950年代至1970年代之間得於
東南亞
加拿大私人收藏

Fruit and flower sprays symbolizing prosperity were popular
designs of the early Ming dynasty (1368-1644). Bowls of
this lobed form appear to be specific to the Xuande reign
(1426-1435) and became part of the classic repertoire of the
official kilns. The shape is derived from conical bowls with
six delicate rim lobes glazed in monochrome white, which
had been produced at Jingdezhen during the Song dynasty
(960-1279). Tailored to the imperial taste, products of the
Xuande workshops were exquisitely finished and inscribed
with the imperial reign mark. Bowls of this design continued
to be admired throughout the Ming and Qing dynasties, as
evidenced by later copies.
Closely related examples are well represented in museum
collections around the world, for instance, two bowls
preserved in the National Palace Museum, Taipei, included
in the Museum’s exhibitions Ming Xuande ciqi tezhan
mulu/Catalogue of a Special Exhibition of Hsuan-te Period
Porcelain, Taipei, 1980, cat. no. 36, and Mingdai Xuande
guanyao jinghua tezhan tulu/Catalogue of the Special
Exhibition of Selected Hsüan-te Imperial Porcelains of the
Ming Dynasty, Taipei, 1998, cat. no. 62; and one from the
Qing Court Collection, now in the Palace Museum, Beijing,
illustrated in Geng Baochang, ed., Gugong Bowuyuan cang
Ming chu qinghua ci/Early Ming blue-and-white porcelain in
the Palace Museum, vol. 2, Beijing, 2002, pl. 146, where the
author notes that this design was frequently copied in the
Kangxi (1662-1722) and Yongzheng (1723-1735) periods, and
where a Xuande-marked copy attributed to the Kangxi reign
is illustrated, pl. 179.
Compare also a bowl in the Asian Art Museum, San
Francisco, (accession no. B60P2101) is illustrated in He
Li, Chinese Ceramics, A New Comprehensive Survey, New
York, 1996, fig. 403; and a pair in the National Museum of
Asian Art, Washington, D.C., (accession nos F1952.16a-c
and F1952.17a-b), illustrated in Thomas Lawton and Thomas
W. Lentz, Beyond the Legacy: Anniversary Acquisitions for
the Freer Gallery of Art and the Arthur M. Sackler Gallery,
Washington, D.C., 1998, vol. 1, p. 253, fig. 2.
Bowls of this type in private collections include one sold
in our London rooms, 24th March 1964, lot 98, now in the
collection of Asia Society, New York, and illustrated in Denise
Patry Leidy, Treasures of Asian Art: The Asia Society’s Mr.
and Mrs. John D. Rockefeller 3rd Collection, New York, 1994,
pl. 176; one formerly in the collections of President Herbert
Hoover, and Ira and Nancy Koger, sold in our these rooms,
27th November 1990, lot 6; and another one illustrated
in Regina Krahl, Chinese Ceramics from the Meiyintang
Collection, vol. 2, London, 1994-2010, no. 671, formerly in the
collections of K.L. Dawes, John F. Woodthorpe and Frederick
M. Mayer, and sold in our Hong Kong rooms, 5th October
2011, lot 12; and most recently a bowl from an important
American collection sold in these rooms, 15th March 2017,
lot 7.

132 133
Closely related dishes include one in the A R ARE YELLOW-GLAZED BLUE AND 明十五世紀黃釉青花嬰戲圖高
PROPERTY FROM A NORTH AMERICAN PRIVATE 明正德白地暗刻海水素胎綠彩雲
COLLECTION British Museum, London, published in Jessica WHITE ‘BOYS AT PLAY’ STEMBOWL 足盌
Harrison-Hall, Ming Ceramics in the British
龍紋盤 MING DYNASTY, 15TH CENTURY
A GREEN-ENAMELED ‘DR AGON’
Museum, London, 2001, pls 8: 33-35; one in the 《大明正德年製》款
DISH elegantly potted, the tall cylindrical stem
Shanghai Museum, illustrated in Lu Minghua,
ZHENGDE M ARK AND PERIOD Shanghai Bowuguan zangpin yanjiu daxi/ 來源 rising from a slightly spreading foot to a deep
Studies of the Shanghai Museum Collections: rounded bowl flaring at the rim, painted to
with shallow rounded sides supported on Elsie Caroline Borden Hohlweg (1910年生) the exterior in cobalt tones with a lively scene
a short slightly tapered foot, the interior A Series of Monographs. Mingdai guanyao ciqi
收藏，此後家族傳承 of boys at play within a fenced garden, some
decorated with a central medallion enclosing [Ming imperial porcelain], Shanghai, 2007,
pl. 1-44. See also a dish of this type, from the playing ball games, others burning incense or
a five-clawed dragon writhing among stylized walking birds, all above a lappet band, the stem
clouds, the head, scaly body and limbs finely collections of R.H.R. Palmer and Edward T.
Chow, included in the Oriental Ceramic Society with stylized clouds floating above crested
incised, reserved on the biscuit and covered waves, the interior with a central medallion of
with green enamel, the claws and spikes picked exhibition Polychrome Porcelain of the Ming
and Manchu Dynasties, London, 1950, cat. no. three boys under a pine tree within a triple-line
out in green enamel over the glaze, all within border, the interior rim encircled by a floral
a green circle repeated at the rim, the exterior 77, sold in our London rooms, 27th November
1962, lot 18, and in our Hong Kong rooms, 25th diaper band, the rim bound in metal
similarly decorated with two five-clawed Diameter 5¾ in., 14.5 cm
dragons striding above crested waves and November 1980, lot 37; a second dish from the
rocks, the base with a six-character mark in Edward T. Chow Collection sold in our Hong
underglaze blue within a double circle Kong rooms, 19th May 1981, lot 447. $ 10,000-15,000
$ 30,000-50,000
PROVENANCE
Collection of Elsie Caroline Borden Hohlweg (b.
1910), and thence by descent.

135
PROPERTY FROM THE ESTATE OF ALEXIS GREGORY, SOLD TO
BENEFIT THE ALEXIS GREGORY FOUNDATION 清康熙黃釉蓋罐一對
A PAIR OF YELLOW-GLAZED JARS AND
《大清康熙年製》款
COVERS
K ANGXI M ARKS AND PERIOD
each heavily potted with an ovoid body surmounted by a
short neck with a lipped rim, the exterior of the jars and
covers covered overall with a translucent egg-yolk yellow
glaze, the base inscribed with a six-character mark in
underglaze blue, the cover with a lotus bud finial, wood
stands (6)
Height 10⅝ in., 27 cm
Compare a closely related single jar and cover from the Sir
Percival David Collection and now in the British Museum,
London, included in Rosemary Scott, Illustrated Catalogue
of Ming and Ch’ing Monochrome in the Percival David
Foundation of Chinese Art, London, 1989, p. 34, no. A527.
Another example from the National Palace Museum, Taipei,
is illustrated in Catalogue of a Special Exhibition of Ch’ing
Dynasty Monochrome Porcelains in the National Palace
Museum, National Palace Museum, Taipei, 1992, cat. no.
21. A third example from the E.T. Hall Collection was sold at
Christie’s London, 7th June 2004, lot 279.
$ 20,000-30,000
134
A LARGE YELLOW-GLAZED BOWL of the same scale include one in the Shanghai Museum
K ANGXI M ARK AND PERIOD published in Kangxi Porcelain Wares from the Shanghai
Museum Collection, Hong Kong, 1998, cat. no. 238; one sold
the finely potted deep rounded sides rising from a slightly in our London rooms, 14th March 1972, lot 150; an example
tapered foot to a wide everted rim, applied overall with from the Earl Morse Collection sold in these rooms, 24th
a vitreous translucent pale yellow glaze, gradating to a March 1998, lot 661; a third one sold in these rooms, 27th
richer egg-yolk tone towards the bottom, the glaze pooling November 1990, lot 30; and another sold at Christie’s New
naturally along the foot, the base white-glazed with a six- York, 20th-21st March 2014, lot 2178.
character mark in underglaze blue within a double circle A bowl of the same type in the slightly smaller size from the
Diameter 14⅝ in., 37.2 cm Baur Collection, Geneva, is illustrated in John Ayers, Chinese
Ceramics in the Baur Collection, Geneva, 1999, vol. 2, pl.
PROVENANCE
189, where it is attributed to the late 17th century. Another
Christie’s New York, 29th March 2006, lot 515. related example from the Meiyintang Collection sold in our
Large yellow-glazed bowls with imperial marks originated Hong Kong rooms, 8th April 2013, lot 2.
during the Jiajing period (r. 1521-1567) and enjoyed a
renaissance under the Kangxi Emperor (r. 1662-1722). Bowls $ 20,000-30,000
of this type are believed to date from the early Kangxi period.
Large Kangxi mark and period bowls of this type were
produced in two sizes: one with a diameter between
清康熙黃釉大盌
12¼ and 12½ in. (31.1 - 31.8 cm), the other version with 《大清康熙年製》款
a diameter between 14 and 15 in. (35.6 - 38.1 cm). The
present bowl belongs to the latter group. Other examples 來源

136
A FINE PEACHBLOOM-GLAZED ‘BEEHIVE’ ‘Peachbloom’ waterpots of this characteristic form are
WATERPOT known as taibai zun, after the Tang dynasty (618-907) poet
Li Taibai (701-762). A notorious drinker, he is often depicted
K ANGXI M ARK AND PERIOD
leaning against a wine jar of this form, as seen in a porcelain
finely potted in the classic domed ‘taibai zun’ form, the sculpture of the same period in the Palace Museum, Beijing,
slightly tapered sides rising to rounded shoulders and short illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain
waisted neck below a lipped mouth rim, the exterior evenly from the Palace Museum Collection, Hong Kong, 1989, pl.
applied overall save for the rim and base with a rose-pink 89. While this form is commonly described as a waterpot, its
glaze variegated in dark and light tones and mottled with intended use is difficult to identify, as noted by Regina Krahl
raspberry-tinged flecks, the body incised with three stylized in ‘Peachbloom’, Chinese Porcelain from the 15th to the 18th
archaistic dragon roundels, the recessed base with a six- Century, Eskenazi, London, 2006, p. 10. It is imagined that
character mark in underglaze blue vessels of this type were filled with water to allow a painter
Diameter 5 in., 12.7 cm to dip their brush and then shape it on the neck. However,
Chinese painters typically dip their brush directly into the
PROVENANCE ink, previously prepared by grinding an ink cake with a few
Collection of the T.B. Walker Foundation. drops of water.
Sotheby’s New York, 29th November 1988, lot 225. Similar waterpots include one in the Palace Museum,
Beijing, illustrated in op. cit., pl. 125; another in the Shanghai
Museum, published in Wang Qingzheng, ed., Kangxi
Porcelain Wares from the Shanghai Museum Collection,
Hong Kong, 1998, pl. 206; a third from the Sir Percival David
Collection and now in the British Museum, London, included
in Illustrated Catalogue of Ming and Qing Monochrome
Wares, London, 1989, no. 580 and on the cover; and a
further example from the collections of Edward T. Chow and
the British Rail Pension Fund, sold twice in our Hong Kong
rooms, 25th November 1980, lot 66, and again 16th May
1989, lot 61.
$ 100,000-150,000
清康熙豇豆紅釉團龍紋太白尊
來源
T.B. Walker 基金會收藏
紐約蘇富比1988年11月29日，編號225

137
A FINE AND R ARE COR AL-GROUND FAMILLE-
VERTE ‘PEONY’ BOWL
YONGZHENG Y UZHI M ARK AND PERIOD
the deep rounded sides supported on a short foot rising to
a slightly flared rim, the exterior decorated in a famille-verte
palette with three large peony blooms, one with green and
pale aubergine petals, the other two with yellow and blue
petals, interspersed with three smaller blooms picked out
in blue, yellow and coral-red, all borne on meandering leafy
stems issuing floral buds on a rich coral-red ground, the base
with a four-character yuzhi reign mark in underglaze blue
within a double square
Diameter 4½ in., 11.4 cm
PROVENANCE
Japanese Private Collection (by repute).
⊖ $ 500,000-700,000
清雍正珊瑚紅地五彩牡丹紋盌
《雍正御製》款
來源
日本私人收藏 (傳)

From the Kangxi period, dark-colored grounds adorned with 康熙以降，造辦處御製琺瑯彩瓷多見濃色
vibrant polychrome floral designs were favored for their 地上繪明豔嬌蕊，華貴耀眼。此件珊瑚紅
dramatic demonstration of the newly developed falangcai
地五彩牡丹紋盌製於雍正早期景德鎮御窰
enamels at the Palace Workshops in Beijing. The form and
colors of this bowl are typical of the porcelain produced 廠，器形及色調均沿續康熙朝宮造琺瑯彩
in the early Yongzheng period at the imperial kilns in 瓷風格，「雍正御製」款識，意指此為專
Jingdezhen and continue in the style pioneered by craftsmen 屬帝王自身使用之器。
of the Kangxi period in imitation of those produced at
Beijing. Such bowls were made for the use of the Yongzheng
同類紋飾器形者甚稀，參考兩件近似瓷
Emperor, as indicated by the Yongzheng yuzhi mark.
盌，其一藏於台北國立故宮博物院，展出
Bowls of this form and decoration are rare; see two closely
於《金成旭映：清雍正琺瑯彩瓷》，2013
related examples, in the National Palace Museum, Taipei,
included in the Museum’s exhibition Porcelain with Painted 年，編號20，此款配色及紋飾，可見於較
Enamels of Qing Yongzheng period (1723-1735), 2013, cat. 為淺腹器形盌器，如編號18、19。鴻禧美
no. 020. The color scheme and design of this piece is related 術館亦藏二件淺腹花卉紋盌，錄於《中
to Yongzheng yuzhi marked bowls of shallower form, see 國歷代陶瓷選集》，台北，1990年，圖版
two of shallower form with related design and color scheme,
142。Alfred Beit 爵士珍藏一例，器形稍
ibid., cat. nos 18 and 19. Two additional shallow bowls, in the
Chang Foundation, are published in Selected Ceramics from 大，直壁，書「雍正年製」款，2013年11
Han to Qing Dynasties, Taipei, 1990, pl. 142. Compare also a 月6日售於倫敦蘇富比，編號75。
slightly larger bowl with straight sides, but with a Yongzheng
nianzhi mark, from the collection of Sir Alfred Beit, sold in 此類口沿微撇之盌，多飾珊瑚紅地「九
our London rooms, 6th November 2013, lot 75. 秋同慶」，見一盌刊於 Hugh Moss，《御
The form of this bowl, with its slightly flared rim, is more 製》，香港，1976年，圖版5，書中訂為
often found decorated with a myriad of flowering blooms and 景德鎮1722至1728年間燒造之器。香港蘇
leaves on a coral ground; see one illustrated in Hugh Moss,
富比於2010年4月8日亦售出一例，可作參
By Imperial Command. An Introduction to Ch’ing Imperial
Painted Enamels, Hong Kong, 1976, pl. 5, where he attributes
考，編號1803。
it to the Jingdezhen imperial kilns between 1722 and 1728;
and another sold in our Hong Kong rooms, 8th April 2010, 有別於「年製」款，書「御製」年款瓷珍
lot 1803. 罕，應為內宮用器。景德鎮御窰燒製白釉
Reign marks with the wording yuzhi [made for the imperial 無款素盌，直送紫禁城造辦處加彩複燒，
use of…] following the reign name, rather than nianzhi [made 器底多書「御製」藍料或紅料款。至於青
in the years of…] are rare and suggest a closer relationship 花年款，理應於景德鎮燒造前書寫，又
to the imperial court. Wares enameled in the imperial 因書青花「御製」、「年製」字之盌例並
workshops in the Forbidden City of Beijing rather than by the
imperial kilns at Jingdezhen in Jiangxi bear such yuzhi marks,
見，備受學者討論，一說其紋飾乃宮中處
but in overglaze blue or pink enamel, since the plain white 加繪，然其紋飾風格與藍料及紅料款例相
porcelains came from Jingdezhen fully glazed and fired. The 異，見 Hugh Moss，前述出處，頁82，筆
significance of the underglaze-blue yuzhi mark, which would 者論及此類釉彩謹遵傳統五彩瓷，認為宮
have been added at Jingdezhen, has been much discussed, 造洋彩瓷尚未臻備之際，造辦處瓷作匠師
particularly since identical bowls are also known with
以康熙瓷為範，傚仿內宮御瓷。
underglaze-blue nianzhi marks. It has been suggested that
such bowls were enameled in the Palace at Beijing, with only
the mark inscribed at Jingdezhen before firing. However,
it is likely that they were decorated in Jingdezhen as the
style of enameling differs from that decorated with blue
and pink enamels. Hugh Moss, op. cit., p. 82, suggests that
such bowls bearing the famille-verte palette were probably
produced in Jingdezhen following porcelains painted in the
Palace Workshops in Beijing. Until the craftsmen in Beijing
became acquainted with the developments in famille-rose
of the Palace Workshops they continued to work in the
dominant style of the Kangxi period.

138
PROPERTY FROM A NORTH AMERICAN PRIVATE A similar example in the collection of the 清康熙郎窰紅釉觀音尊
COLLECTION National Palace Museum, Taipei, is illustrated
A COPPER-RED-GLAZED ‘LANGYAO’ in Catalogue of a Special Exhibition of Ch’ing 來源
Dynasty Monochrome Porcelains in the National
VASE Elsie Caroline Borden Hohlweg (1910年生)
Palace Museum, Taipei, 1981, pl. 1; and another
QING DYNASTY, K ANGXI PERIOD in the Palace Museum, Beijing, is illustrated in 收藏，此後家族傳承
the slender baluster body rising from a The Complete Collection of Treasures of the
spreading foot to a waisted neck and everted Palace Museum: Monochrome Porcelain, Hong
mouth, covered in a deep copper-red glaze Kong, vol. 37, 1999, pl. 15. Both are described
draining to white at the rim, suffused with a as Guanyin zun and attributed to the Kangxi
network of fine craquelure throughout, the period. Another related example previously
interior and underside of the base covered with in the E.T. Hall Collection, sold at Christie’s
a crackled celadon-tinged clear glaze London, 7th June 2004, lot 150.
Height 14¼ in., 36 cm
$ 5,000-7,000
PROVENANCE
Collection of Elsie Caroline Borden Hohlweg (b.
1910), and thence by descent.
139
PROPERTY FROM A DISTINGUISHED NORTH form and with a six-character mark, but lacking 清康熙五彩鯉躍龍門圖洗
AMERICAN PRIVATE COLLECTION the double circle, from the Shanghai Museum
Collection is published in Kangxi Porcelain
A R ARE FAMILLE-VERTE ‘CARP’
Wares from the Shanghai Museum Collection,
WASHER 來源
Hong Kong, 1998, pl. 15.
K ANGXI M ARK AND PERIOD 私人收藏，購於1980年代之前，此後家
The design on the present washer is extremely
of circular form with shallow tapered sides rare. The carp is rendered in an exceptionally 族傳承
resting on a bi-disc shaped foot, the interior naturalistic manner amid vivid turbulent waves.
vividly painted carp amid turbulent waves and This imagery of the leaping carp refers to the
columnar rocks, all enclosed within circular proverb of the carp leaping over the Dragon
bands, the base with a six-character mark in Gate and turning into a dragon, an allusion to
underglaze blue within a double circle the student passing the imperial examinations
Diameter 5⅞ in., 14.9 cm to become a government official. A closely
related example of the same form and a similar
PROVENANCE design sold at Christie’s Hong Kong, 28th
Private Collection, acquired before the 1980s, November 2005, lot 1374; and a famille-verte
and thence by descent. example sold at Christie’s Hong Kong, 30th
May 2006, lot 1426.
Boldly potted with a clean and simple tapered
form, this rare famille-verte washer represents Two more Kangxi mark and period washers of
the unique imperial taste and high quality of similar size, but in lobed form, include one in
porcelain production of the Kangxi reign (1662- the Shanghai Museum, published in op. cit., pl.
1722). Indeed, washers of this form are believed 217; and one sold at Christie’s London, 16th
to date to the early part of that reign period. November 1999, lot 217.
A related blue and white washer of the same
⊖ $ 60,000-80,000

PROPERTY FROM THE STUDIO OF
SERENDIPITOUS ENCOUNTERS
LOTS 14 0 -14 7
林教授緣木得魚齋珍藏中國藝術拍品編號 140-147
Besides being an accomplished scholar in physics, Professor 除了在物理領域多有建樹，林教授還對中

Chia-Shi Lin (1930-2020) had a discerning eye for Chinese art 國藝術，特別是書畫及瓷器，獨具慧眼。
across the categories of ceramics, painting and calligraphy.
自小在台中地區長大，他先是取得了台大
Born and brought up in the Taichung area of Taiwan, Prof. Lin
attended the National Taiwan University in Taipei, where he
物理系學士學位，接著赴美國深造，歸台
graduated with a bachelor’s degree in physics. After further 後在位於新竹的國立清華大學任教。離開
training in the US, he began teaching at National Tsinghua 教職後，他成為聯合國國際公務員被委派
University in Hsinchu. There he oversaw the installation of the 常駐奧地利維也納工作。
first research nuclear reactor in Taiwan and assumed the role
as a professor of nuclear physics. After leaving the academia, 在聯合國任職期間，林教授利用經常出差
he worked as an international civil servant for the United
日本、香港、倫敦和台灣等地工作之餘搜
Nations in Vienna, Austria.
尋中國藝術品。就是在這些地方發生的偶
While he traveled around the world working for the U.N., 遇讓林教授給自己的收藏起名「緣木得魚
including to Japan, Hong Kong, London, and Taiwan, he never
齋」。此批藝術精品，可說是林教授畢生
ceased searching for great works of art from unexpected
places. It was this process of unexpected discoveries that
對中國藝術熱愛的結晶，正如同教授一生
inspired the name of his collection – the Collection of 中許多偶然的機緣，從未知中求得緣分。
Serendipitous Encounters. This collection is the result of Prof.
Lin’s lifelong dedication to Chinese art, and as much to his Chia-Shi Lin (1930-2020) examining
unique approach to acquiring each piece. lot 146 in this sale, early 1980s.
林教授 (1930-2020) 在鑑賞本場拍賣編
號146拍品，1980年代初
THIS PAGE
LOT 146
71
141
A FAMILLE-VERTE BALUSTER VASE
QING DYNASTY, K ANGXI PERIOD
of baluster form, the body rising from a flared foot and
surmounted by a trumpet neck, painted around the sides
with a continuous scene of officials resting in pavilions
admiring ladies riding horses in the garden, a canopy of
scrolling clouds above, all below a band of auspicious
emblems enclosed in cartouches reserved on a diapered
ground around the shoulder, the neck with leafy blossoms,
the base with a lingzhi mark in underglaze blue within a
double circle
Height 18½ in., 47 cm
PROVENANCE
Collection of R.H.R. Palmer (1898-1970).
Sotheby’s London, 28th May 1968, lot 125.
Donald J. Wineman, New York.
Ralph M. Chait Galleries, New York, October 1999.
Collection of Chia-Shi Lin (1930-2020), and thence by
descent.
EXHIBITED
Enamelled Polychrome Porcelain of the Manchu Dynasty,
Oriental Ceramic Society, London, 1951, cat. no. 43.
$ 40,000-60,000
清康熙五彩人物故事圖瓶
來源
R.H.R. Palmer (1898-1970) 收藏
倫敦蘇富比1968年5月28日，編號125
140
Donald J. Wineman，紐約
A CARVED ‘DING’ ‘DR AGON’ DISH 北宋定窰白釉刻龍紋葵口盤 Ralph M. Chait Galleries，紐約，1999年10月
NORTHERN SONG DYNASTY 林教授 (1930-2020) 緣木得魚齋珍藏，此後家族傳承
來源
finely potted with flared sides rising from a flat base to a six- 香港蘇富比1993年12月26日，編號19
lobed rim, the interior swiftly incised with a sinuous chilong 展覽
林教授 (1930-2020) 緣木得魚齋珍藏，此後家族傳承
amongst foliate scrolls, applied overall with a creamy ivory 《Enamelled Polychrome Porcelain of the Manchu
glaze, the lobed rim bound in copper Dynasty》，東方陶瓷學會，倫敦，1951年，編號43
PROVENANCE
Sotheby’s Hong Kong, 26th December 1993, lot 19.
descent.
$ 6,000-8,000
72 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM THE STUDIO OF SERENDIPITOUS ENCOUNTERS 73

142 144
A BLUE AND WHITE ‘LANDSCAPE’ CENSER A FAMILLE-VERTE ‘FIGUR AL’ BOWL
QING DYNASTY, K ANGXI PERIOD QING DYNASTY, K ANGXI PERIOD
of bombé form supported on a slightly splayed foot, the the deep rounded body rising from a slightly tapered foot to an
rounded sides sweeping to a gently flared rim, finely painted everted rim, brightly enameled around the exterior with a couple
around the exterior with a continuous riverbank landscape conversing indoors, an attendant by the lady’s side, the fenced
with pavilions, rockwork, and trees, several figures strolling garden with plantain trees, bamboo and rocks, the base with an
through the idyllic environs, all beneath a keyfret band and a apocryphal Chenghua mark in underglaze blue within a double circle
row of small dots encircling the everted neck, the base with Diameter 6 in., 15.2 cm
an apocryphal six-character Chenghua mark
Diameter 8⅛ in., 20.5 cm PROVENANCE
Bluett & Sons Ltd., London.
PROVENANCE Ralph M. Chait Galleries, New York, 26th September 2000.
Sotheby’s London, 30th March 1982, lot 162. Collection of Chia-Shi Lin (1930-2020), and thence by descent.
descent. LITERATURE
Chinese Art. Celebrating Our 90th Anniversary, Ralph M. Chait
Galleries Inc., New York, 2000, fig. 9.
$ 6,000-8,000
142 144
$ 4,000-6,000
清康熙青花山水人物圖爐
《大明成化年製》仿款
清康熙五彩人物故事圖盌
來源《大明成化年製》仿款
林教授 (1930-2020) 緣木得魚齋珍藏，此後家族傳承來源
Bluett & Sons Ltd.，倫敦
Ralph M. Chait Galleries，紐約，2000年9月26日
143 林教授（1930-2020）緣木得魚齋珍藏，此後家族傳承
AN UNDERGLAZE-BLUE, COPPER-RED, AND 出版

CELADON-GLAZED JAR 《Chinese Art. Celebrating Our 90th Anniversary》，Ralph M.
QING DYNASTY, K ANGXI PERIOD Chait Galleries Inc.，紐約，2000年，圖9
of baluster form, sturdily potted, rising from a spreading
foot with recessed base to a broad shoulder and short
slightly tapered neck, finely painted around the sides with 145
a continuous scene of a scholar resting under a pine tree
facing a young attendant and a deer, the details delineated in A BLUE AND WHITE ‘LADIES’ VASE
underglaze blue, underglaze red, and white slip, all against a QING DYNASTY, K ANGXI PERIOD
celadon ground, wood cover, wood stand (3)
Height 10⅜ in., 26.5 cm the elegantly potted globular body rising from a flared foot to
a tall trumpet neck interrupted by a raised collar and a short
PROVENANCE compressed bulb, the body finely painted with two registers
of petals, each enclosing alternating images of elegant ladies,
Christie’s London, 11th December 1978, lot 55.
blooming plants or a landscape, with stylized floral sprays above,
Bluett & Sons Ltd., London, 19th September 1980.
the neck similarly decorated with a single row of petal lappets,
the bulb painted with leafy blossoms, the base with an orchid
descent.
plant in underglaze blue within a double circle
Height 15¾ in., 40 cm
$ 6,000-8,000
PROVENANCE
Collection of Anton Exner (1882-1952) (by repute).
清康熙豆青地青花釉裏紅松下高士圖罐
Galerie Zacke, Vienna, 1984.
Collection of Chia-Shi Lin (1930-2020), and thence by descent.
來源
倫敦佳士得1978年12月11日，編號55 EXHIBITED
Bluett & Sons Ltd.，倫敦，1980年9月19日 Asien-Museum, Bad Wildungen, Hesse, Germany.
$ 4,000-6,000
143
清康熙青花開光仕女花卉圖瓶
來源
Anton Exner (1882-1952) 收藏（傳）
Galerie Zacke，維也納，1984年 145
展覽
Asien-Museum，巴特維爾東根，黑森，德國
146
A FINE AND R ARE DOUCAI ‘IMMORTALS’ DISH Only a small number of doucai dishes of this rare design
QING DYNASTY, K ANGXI / YONGZHENG are known, including one in the Palace Museum, Beijing,
illustrated in Porcelains in Polychrome and Contrasting
PERIOD
Colours. The Complete Collection of Treasures of the Palace
delicately painted with a central medallion depicting Museum, Hong Kong, 1999, pl. 219; and a pair included in
Shoulao seated atop a rock reading a scroll, a pine tree the exhibition Ch’ing Polychrome Porcelain, Hong Kong
stretching overhead and an attendant preparing incense in Oriental Ceramics Society, Hong Kong, 1977, cat. no. 63.
the foreground, the cavetto encircled by the ‘Eight Buddhist Two further pairs are known, the first from the collection of
Emblems’ entwined in a foliate scroll, the exterior with a Alfred E. Hippisley (1848-1939), sold at Anderson Galleries,
continuous frieze depicting the ‘Eight Daoist Immortals’ in a New York, 30th-31st January 1925, lot 190 and today in
riverscape, the base centered with an iron-red roundel of a the Metropolitan Museum of Art, New York (accession no.
crane bearing a peach bough in its beak 25.35.4), illustrated in Oriental Ceramics. The World’s Great
Diameter 6 in., 15.3 cm Collections, vol. 11, Tokyo, 1982, pl. 143; the second was
formerly in the Paul and Helen Bernat Collection, sold twice
PROVENANCE in our Hong Kong rooms, first on 15th November 1988,
Collection of Commander F. Warrington-Strong. lot 12 and again on 13th November 1990, lot 330. A single
Sotheby’s London, 23rd May 1972, lot 173. dish, formerly in the collection of Dr. Nat Yuen, is now in the
Sotheby’s London, 8th-9th July 1974, lot 434. collection of the University of Queensland (accession no.
Bluett & Sons Ltd., London, 11th August 1975. 2005.20); another from the collection of Sir Harry Garner
Collection of Frederick Knight. was included in the exhibition Arts of the Ch’ing Dynasty, The
Bluett & Sons Ltd., London, 13th October 1982. Oriental Ceramics Society, London, 1964, cat. no 197, and
Collection of Chia-Shi Lin (1930-2020), and thence by subsequently sold at Christie’s Hong Kong, 28th November
descent. 2005, lot 1335.
EXHIBITED $ 60,000-80,000
Museum of East Asian Art, Cologne, 1978-81 (on loan).
清康熙 / 雍正鬥彩壽老觀卷圖盤
來源
F. Warrington-Strong 指揮官收藏
倫敦蘇富比1974年7月8至9日，編號434
Bluett & Sons Ltd.，倫敦，1975年8月11日
Frederick Knight 收藏
Bluett & Sons Ltd.，倫敦，1982年10月13日
展覽
東亞藝術博物館，科隆，1978至1981年（借展）

147
A MING-STYLE BLUE AND WHITE BOTTLE Elegantly decorated with early Ming-inspired motifs, the
VASE craftsman of this vase has also imitated the mottled ‘heaping
and piling’ effect of the celebrated 15th century blue and
QIANLONG SEAL M ARK AND PERIOD
white wares through a deliberate application of darker and
the globular body rising from a short spreading foot to a tall denser spots of cobalt on the design. A related example in
elegant waisted neck, finely painted in rich ‘heaped and piled’ the Nanjing Museum is illustrated in Treasures of the Royalty:
cobalt-blue tones with a composite flower scroll band, all The Official Kiln Porcelain of the Chinese Qing Dynasty,
between lotus lappet and ‘classic’ scroll bands at the base Shanghai, 2003, pl. 233; one in the Shanghai Museum is
and a ruyi band at the shoulder, the neck with stiff leaf and published in Zhongguo taoci quanji [Complete series on
keyfret bands below a wave band at the rim, the base with a Chinese ceramics], vol. 15, Shanghai, 2000, pl. 2; and four
six-character seal mark in underglaze blue such vases are illustrated in Regina Krahl, Chinese Ceramics
Height 14⅝ in., 37 cm in the Topkapi Saray Museum, vol. III, London, 1996, pl. 2564,
one with an elaborate 19th century Ottoman gilt-metal cover.
PROVENANCE
Similar vases were also sold in our Hong Kong rooms, 13th
Hugh Moss Ltd., London, 8th October 1975. March 1973, lot 273, and 29th April 1997, lot 632; and in
Collection of Chia-Shi Lin (1930-2020), and thence by these rooms, 15th September 1999, lot 94.
descent.
$ 60,000-80,000
清乾隆青花纏枝蓮紋賞瓶
《大清乾隆年製》款
來源
Hugh Moss Ltd.，倫敦，1975年10月8日

148
AN EXTREMELY R ARE AND LARGE BLUE AND
WHITE ‘BAJIXIANG’ DISH
robustly potted with shallow curved sides supported on
a tapered foot rising to a flat rim, vividly painted in the
center with a stylized lotus enclosed by flying bats and
florets, the cavetto decorated with beribboned ‘Eight
Buddhist Emblems’ above lotus blossom scrolls, all within
a continuous band of cresting waves at the rim, the reverse
with further bats swooping above turbulent waves crashing
against rocks, the countersunk base with a six-character seal
mark in underglaze blue
Diameter 17¼ in., 43.9 cm.
PROVENANCE
Sotheby’s Hong Kong, 29th April 1992, lot 139.
Sotheby’s Hong Kong, 8th April 2011, lot 3131.
EXHIBITED
Min Chiu Society (according to label).
⊖ $ 250,000-350,000
清乾隆青花纏枝蓮八吉祥紋大盤
來源
香港蘇富比1992年4月29日，編號139
展覽
敏求精舍 (標籤)

The present dish is impressive for its large size and carefully
composed design, and no other example of this type appears
to have been published. For the prototype of this dish, see a
slightly larger example with a similar composition on a yellow
ground, with a Yongzheng reign mark and of the period, sold
in these rooms, 20th November 1985, lot 156.
The bajixiang (‘Eight Buddhist Emblems’) originated in
India and came into China with the introduction of Tibetan
Buddhism in the Yuan dynasty (1279-1368), and were
immediately incorporated into the decorative arts. During
the early 17th century, these Buddhist symbols became
integrated with Daoist symbols and came to convey
longevity. The combination of the bajixiang resting on lotus
flowers and the interlocking scrolls derives from the blue and
white palace bowls and stemcups of the Chenghua period
(r. 1465-1487); for example, see a stemcup included in the
exhibition A Legacy of Chenghua. Imperial Porcelain of the
Chenghua Reign Excavated from Zhushan, Jingdezhen, Tsui
Museum of Art, Hong Kong, 1993, cat. no. C52.

149
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION In the Qianlong period, tianqiuping could be decorated
in underglaze blue patterns with or without the addition
A LARGE DARK-BLUE-GLAZED VASE,
of polychrome overglaze enamels, fully painted in the
TIANQIUPING famille-rose palette, or monochrome-glazed with Guan-
QIANLONG SEAL M ARK AND PERIOD type, Ge-type, ‘clair-de-lune’, or cobalt-blue glaze. The
present vase is evenly covered with thick dark cobalt-blue
the robustly potted globular body rising to a tall broad
glaze. Compare a taller example in the collection of the
cylindrical neck, covered overall with a dark-blue glaze
Nanjing Museum, included in the exhibition Qing Imperial
thinning slightly at the rim and stopping neatly above the
Porcelain of Kangxi Yongzheng and Qianlong Reigns,
foot, the interior and base glazed white, the base with a six-
Nanjing Museum and Art Gallery of the Chinese University
character seal mark in underglaze blue
of Hong Kong, 1995, cat. no. 66. Another related example
Height 20 in., 50.8 cm
in the National Palace Museum, Taipei (accession no. 中-
PROVENANCE 瓷-001180-N000000000), is published in their online
collection database.
Christie’s New York, 18th September 1997, lot 377.
Christie’s New York, 18th September 2003, lot 352. See also an example sold in these rooms, 19th November
1982, lot 261; and three further examples of slightly taller
The present vase is impressive for its magnificent size
size, one sold in our Hong Kong rooms, 22nd May 1985, lot
and eye-catching dark-blue glaze. The term tianqiuping,
232; one sold at Christie’s London, 21st April 1984, lot 318;
sometimes translated as ‘celestial sphere vase’, derives
and one sold at Christie’s Hong Kong, 30th May 2006, lot
from the vase’s form, which is characterized by a generously
1368.
proportioned globular body surmounted by a tall cylindrical
neck. Tianqiuping gained prominence during the Qianlong
$ 150,000-250,000
period (1735-1796) of the Qing dynasty (1644-1911). They
were produced in different sizes, with heights ranging from
approximately 50 cm to 60 cm. The taller versions often 清乾隆藍釉天球瓶
exhibit a slightly elongated neck and sloping shoulder, which
lifts the focal point of the body and gives an impression
of relative lightness. The present vase, by contrast, is
來源
a handsome example of the shorter, bolder body type,
featuring a broad neck and lower center of gravity which 紐約佳士得1997年9月18日，編號377
enhance the vase’s sense of volume and commanding 紐約佳士得2003年9月18日，編號352
presence.

150 151
PROPERTY FROM A CANADIAN PRIVATE COLLECTION Brilliantly painted, the distinctive mottled ‘heaped and piled’ PROPERTY FROM A CANADIAN PRIVATE COLLECTION
effect of classic Ming dynasty blue and white wares has been
A LARGE BLUE AND WHITE MING-STYLE TWO UNDERGLAZE-BLUE AND COPPER-RED
successfully simulated through the deliberate application
‘EIGHT BUDDHIST EMBLEMS’ BOWL of darker and thicker spots of cobalt on the present bowl. ‘IMMORTALS’ DISHES
QIANLONG SEAL M ARK AND PERIOD Echoing the Qianlong Emperor’s penchant for classicism and QING DYNASTY, 18TH / 19TH CENTURY
innovation, the bowl is elegantly decorated with the bajixiang
the deep rounded sides resting on a straight foot, finely each with shallow rounded sides, the short gently tapered
and lotus, revisiting and reinterpreting early Ming designs
painted in ‘heaped and piled’ cobalt blue tones, with a band foot rising to an everted rim, the exterior painted with the
like the Xuande bowl illustrated in The Complete Collection
of beribboned ‘Eight Buddhist Emblems’ above a stylized ‘Eight Daoist Immortals’ in underglaze blue against a swirling
of Treasures of the Palace Museum: Blue and White Porcelain
lotus scroll and upright ruyi lappets, all between double-line ground of stylized copper-red waves, the interior centering
with Underglazed Red (I), vol. 34, Hong Kong, 2000, pl. 147.
borders at the rim and a wave border encircling the foot, the a medallion enclosing Shoulao and a deer against a further
interior rim painted with a further border of crashing waves, A similar bowl is illustrated in Porcelain of the National Palace wave ground, cloud scrolls and a partially obscured sun
the center with a beribboned double-vajra medallion, the Museum: Blue and White Ware of the Ch’ing Dynasty, vol. II, above, the recessed bases glazed white with hallmarks in
base with a six-character seal mark in underglaze blue Hong Kong, 1968, pls 25a-e. See one sold at Christie’s New underglaze blue within double squares, one reading Qingyi
Diameter 10¼ in., 26 cm York, 4th June 1987, lot 281, and again in these rooms, 23rd tangzhi and the other Yanghe tangzhi (2)
September 2004, lot 309. Further examples have sold in our Diameter 6½ in., 16.3 cm
PROVENANCE Hong Kong rooms, 26th November 1980, lot 304, and 20th
Bluett & Sons Ltd., London. November 1985, lot 98. See also one sold at Christie’s New PROVENANCE
Canadian Private Collection, acquired from the above York, 22nd March 2019, lot 1826. Weisbrod & Dy, Toronto.
between the 1960s and 1980s, and thence by descent. Canadian Private Collection, acquired from the above
between 1960s and 1980s, and thence by descent.
$ 15,000-20,000
For dishes of this type with the Yanghe tang mark, see one
attributed to the 18th century and sold at Christie’s Hong Kong,
清乾隆青花纏枝蓮八吉祥紋大盌 27th November 2007, lot 1692 (part lot). Another pair attributed
151
《大清乾隆年製》款 to the Qianlong period sold in our Hong Kong rooms, 8th October
2014, lot 3128. A bowl with this pattern, attributed to the 19th
century, sold at Christie’s London, 11th November 2011, lot 1265.
來源
Bluett & Sons Ltd.，倫敦 For pieces bearing the Qingyi tang marks and decorated in a
similar manner, see a bowl and cover sold at Christie’s New
加拿大私人收藏，1960年代至1980年代購於上述處， York, 22nd March 2012, lot 2018. Compare also a wine ewer
此後家族傳承 and warmer sold in these rooms, 15th March 2017, lot 521.
$ 10,000-15,000
清十八 / 十九世紀青花釉裏紅八仙過海紋

盤兩件
《養和堂製》《慶宜堂製》款
來源
Weisbrod & Dy，多倫多
加拿大私人收藏，1960年代至1980年代購於上述處，
此後家族傳承
152
PROPERTY OF A CALIFORNIA PRIVATE COLLECTOR
A COPPER-RED-GLAZED BOWL
YONGZHENG M ARK AND PERIOD
the rounded sides rising from a short foot to a flared rim, the
interior and exterior covered in a deep copper-red glaze, the
base with a mark in underglaze blue within a double circle
PROVENANCE
Koninklijke Kunstzaal Kleykamp, The Hague (by repute).
European Private Collection, reputedly acquired from the
above between the 1920s and 1930s.
$ 4,000-6,000
清雍正紅釉盌
《大清雍正年製》款
來源
152
Koninklijke Kunstzaal Kleykamp, 海牙（傳）
歐洲私人收藏，據傳於1920年代至1930年代之間得於
上述處
153 155
PROPERTY FROM A MASSACHUSETTS PRIVATE COLLECTION A FINE DOUCAI OGEE-FORM ‘EIGHT DAOIST
A FINE DOUCAI ‘SHOU’ DISH EMBLEMS’ DISH
YONGZHENG M ARK AND PERIOD QIANLONG SEAL M ARK AND PERIOD
well potted with the shallow rounded sides raised on a brightly painted on the interior with a central floret encircled
slightly tapered foot, painted to the interior with a central by a border of interlocking lime-green foliate scrolls
medallion enclosing a shou character roundel surrounded alternately suspending stylized peaches and lotus flowers,
by eight further shou characters and interlocking ruyi the cavetto with the ‘Eight Daoist Emblems’ intertwined with
strapwork, the exterior similarly decorated with stylized shou fluttering ribbons, the underside with a composite flower
characters between a band of C-scrolls and interlocking ruyi scroll and a band of ruyi at the foot, the base with a six-
scrolls, the base with a six-character mark in underglaze blue character seal mark in underglaze blue
Diameter 8⅜ in., 21.2 cm Diameter 7⅞ in., 20.1 cm
PROVENANCE
PROVENANCE
Collection of William Henry (1872-1961) and Katherine Hong Kong Private Collection.
Bunnell (1880-1966) Gorrill, acquired in China in the
1930s-1940s, and thence by descent. ⊖ $ 12,000-15,000
For other doucai dishes of this type from the Yongzheng
period, see one sold three times at auctions, first at 清乾隆鬥彩暗八仙紋折腰盤
Christie’s New York, 1st December 1987, lot 276, then in
our Hong Kong rooms, 17th May 1988, lot 215, and later at
Christie’s Hong Kong, 2nd November 2004, lot 1111; and a
smaller pair of saucer dishes sold in our Hong Kong rooms, 來源
1st November 1986, lot 302. 香港私人收藏
$ 20,000-30,000 155
153
156
清雍正鬥彩壽字貫套紋盤
PROPERTY FROM A CANADIAN PRIVATE COLLECTION
A DOUCAI OGEE-FORM ‘EIGHT DAOIST
來源 EMBLEMS’ DISH
William Henry (1872-1961) 及 Katherine Bunnell (1880- JIAQING SEAL M ARK AND PERIOD
1966) Gorrill 伉儷收藏，1930年代至1940年代得於中 the flaring sides resting on a straight foot, the cavetto
國，此後家族傳承 evenly spaced with ‘Eight Daoist Emblems’ each decorated
with ribbons and a floral bough between underglaze-blue
double-line borders, the well with a lobed medallion of
green-enameled interlocking stems issuing peaches and
lotus blossoms toward a central flowerhead, the reverse
richly enameled with scrolling foliate vines bearing buds and
blossoms, a band of upright ruyi heads encircling the foot,
the base with a six-character seal mark in underglaze blue
154 Diameter 8 in., 20.3 cm
A DOUCAI ‘POMEGR ANATE’ DISH PROVENANCE

QING DYNASTY, EARLY 18TH CENTURY Bluett & Sons Ltd., London.
with rounded sides supported on a slightly tapering foot, Canadian Private Collection, acquired from the above
the center of the interior with a pomegranate shrub growing between the 1960s and 1980s, and thence by descent.
from rockwork and bearing three ripe red fruits, the cavetto
with fruiting sprigs of grape, plum and pomegranate all $ 8,000-12,000
between double-line borders above and below, the underside
with fruiting plum branches, the base with an apocryphal
Chenghua six-character mark in underglaze blue within a 清嘉慶鬥彩暗八仙紋折腰盤
double circle 《大清嘉慶年製》款
Diameter 6¼ in., 15.9 cm
來源
PROVENANCE
Christie’s New York, 14th July 1980, lot 842.
加拿大私人收藏，1960年代至1980年代購於上述處，
此後家族傳承
$ 5,000-7,000
156
154
清十八世紀初鬥彩花果紋盤
《大明成化年製》仿款
來源

158
A CELADON-GLAZED DRUM-SH APED VASE
the ovoid body rising to a slightly incurved mouth rim,
elegantly molded with two taotie mask handles suspending
mock rings between broad raised bands around the base
and rim studded with bosses, covered overall with an even
pale celadon glaze and thinning to white on the raised
elements and rim, the base with a six-character seal mark in
underglaze blue
Height 6½ in., 16.5 cm
PROVENANCE
Hong Kong Private Collection.
⊖ $ 12,000-15,000
清乾隆粉青釉鋪首耳鼓式罐
來源
香港私人收藏
158
157
A FINE PAIR OF YELLOW-GLAZED OGEE- 清乾隆檸檬黃釉折腰小盤一對
FORM DISHES 《大清乾隆年製》款
QIANLONG SEAL M ARKS AND PERIOD
來源
each finely potted with deeply curved sides rising from a
tapering foot, the exterior covered in a bright yellow glaze, 歐洲私人收藏 (傳)
the interior glazed white, the base with a six-character seal
159
mark in underglaze blue (2)
Diameter 4½ in., 11.4 cm 159
PROVENANCE PROPERTY OF A GENTLEMAN The present lot belongs to a small group of Qianlong
European Private Collection (by repute). sacrificial-blue bowls notable for their superior quality.
A FINE AND SUPERB PAIR OF BLUE-GLAZED
Compare several other examples from this group, such as
Several closely related pairs of yellow-glazed ogee-form BOWLS a closely related pair of the same size and shape from the
dishes with Qianlong seal marks were sold in our Hong Kong QIANLONG SEAL M ARKS AND PERIOD Zingone Collection, sold at Christie’s Hong Kong, 31st May
rooms, including one sold 16th November 1973, lot 242; 2011, lot 3536; another pair sold in our Hong Kong rooms,
another pair sold 29th November 1976, lot 548; one from each delicately potted with the deep rounded sides rising
14th November 1989, lot 167; and two further bowls sold
the Edward T. Chow Collection, sold 25th November 1980, from a short, tapered foot to a slightly flared rim, the exterior
separately in these rooms, 4th December 1985, lot 265 and
lot 99; and a pair sold 3rd April 2019, lot 3661. A further covered in a deep sacrificial-blue glaze thinning towards the
1st June 1988, lot 160.
pair, from the Lorant J. Goldschlager Collection, was sold rims, the interior and base reserved in white, the base with a
at Christie’s London, 4th June 1973, lot 172. These dishes six-character seal mark in underglaze blue, wood stands (4)
were likely based on a Yongzheng period prototype; a six- Diameter 4¼ in., 10.8 cm $ 20,000-30,000
character Yongzheng marked yellow-glazed ogee-form dish
was sold in our Hong Kong rooms, 11th May 1983, lot 135. 清乾隆霽藍釉盌一對
$ 60,000-80,000

160
A FINE AND R ARE RUBY-PINK ENAMELED Dishes of this wonderful ruby color are exceedingly rare.
DISH A closely related example with a square reign mark, in the
Metropolitan Museum of Art, New York, is published in
YONGZHENG M ARK AND PERIOD
Suzanne G. Valenstein, A Handbook of Chinese Ceramics,
delicately potted with shallow rounded sides, rising from a New York, 1989, pl. 256. Another similar dish of larger
slightly recessed base and a tapering foot to an everted rim, size (20 cm diam.) is illustrated in Qingdai yuyao Ciqi
brightly glazed on the exterior and interior with an intense [Qing porcelains from the imperial kilns preserved at the
crimson-pink enamel, the base left in white with a six- Palace Museum], vol. 1, part 2, Beijing, 2005, pl. 196. A
character mark in underglaze blue within a double circle third published example (15 cm diam.) with a white-glazed
Diameter 4⅜ in., 11 cm. interior, is illustrated in The Complete Collection of Treasures
of the Palace Museum Monochrome Porcelain, Hong Kong,
PROVENANCE 1999, pl. 32.
Acquired from a Japanese Collection, California, circa 2012. A similar pair from the E.T. Hall Collection was sold in our
Hong Kong rooms 2nd May 2000, lot 547, and again 10th
April 2006, lot 1625. A larger dish with a white-glazed interior
from the Meiyintang Collection was sold in our Hong Kong
rooms, 7th April 2011, lot 28.
⊖ $ 100,000-150,000
清雍正胭脂紅釉小盤
來源
約2012年於加州得於一日本收藏

162
PROPERTY FROM A NEW MEXICO PRIVATE COLLECTION in the history of imperial porcelain production in China, Tang
Ying (1682-1756). Following the footsteps of his legendary
A LARGE LIME-GREEN-GROUND FAMILLE-
predecessor, De Shun diligently fulfilled his duties, as well
ROSE ‘BAJIXIANG’ TRIPOD CENSER as the emperor’s expectations during his seven years of
DAOGUANG M ARK AND PERIOD service between 1832 and 1839. He successfully supervised
the first production of the renowned Shendetang marked
the globular body brightly enameled with the ‘Eight Buddhist
wares, which subsequently set new standards for late Qing
Emblems’ amidst meandering lotus scrolls extending
porcelains. A small number of related censers bearing the
onto the cabriole legs, the shoulder with a band of ruyi
same inscription of De Shun have been recorded, including
heads, flanked by a pair of pierced, upright curved handles
an iron-red censer of the same form, in the collection of the
decorated with lotus blossoms and bats, the waisted neck
Museum of Guangxi Zhuang Autonomous Region, Nanning,
similarly decorated with lotus scrolls, all below a galleried
published in Guangxi bowuguan gutaoci jingcui / Gems of
rim with a pink and blue keyfret border interrupted by two
Ancient Ceramics in Guangxi Museum, Beijing, 2002, pl. 170.
horizontal cartouches on either side enclosing the six-
character mark and three characters reading Shanyuanan
(Shanyuan temple) in iron red, the underside with an $ 10,000-15,000
inscription translating to ‘respectively donated by De Shun,
Supervisor of the Jiujiang Custom’, the interior enameled
turquoise
清道光綠地粉彩纏枝蓮八吉祥紋朝冠耳三
Height 16⅝ in., 42.2 cm 足爐
PROVENANCE
《大清道光年製》《善緣庵》《九江關監督
Collection of an American missionary, acquired in China. 德順敬獻》款
American Private Collection, received as a gift from the
above by 1947, and thence by descent. 來源
美國傳教士收藏，得於中國
De Shun was one of the superintendents of the imperial
kilns in Jingdezhen during the Daoguang period. The same 美國私人收藏，獲贈於上述處，於1947年已入藏，
position was once held by one of the most important figures 此後家族傳承
161
PROPERTY FROM A CANADIAN PRIVATE COLLECTION PROVENANCE
A FAMILLE-ROSE ‘BAJIXIANG’ ALTAR VASE Offered at Sotheby’s New York, 19th-20th March 2013,
lot 219.
(GU)
⊖ $ 10,000-15,000
of archaistic gu form, finely modeled with a trumpet neck
above a central bulb and a bell-shaped foot, the neck
decorated with four of the ‘Eight Buddhist Emblems’ 清乾隆粉彩纏枝蓮八吉祥紋花觚
interspersed with leafy lotus scrolls between a band of 《大清乾隆年製》款
pendent ruyi heads above and border of stylized plantain
leaves below, all above a keyfret band enclosing an iron-red 來源
six-character seal mark within a rectangular cartouche,
上拍於紐約蘇富比2013年3月19至20日，編號219
the central bulb enameled with further lotus blooms borne
on scrolling foliage, all supported on the high foot similarly
decorated with the four remaining ‘Buddhist Emblems’, the
interior of the neck and foot enameled turquoise

163
PROPERTY FROM A CANADIAN PRIVATE COLLECTION was sold at Christie’s Hong Kong, 29th May 2013, lot 2028.
Another closely related Daoguang vase of the same form
A VERY R ARE GREEN-ENAMELED ‘DR AGON’
and design, but painted in black enamel, in the collection of
BOTTLE VASE the Seikadō Bunko Art Museum, Tokyo, was included in the
DAOGUANG SEAL M ARK AND PERIOD exhibition Seikadō zō Shinchō tōji. Keitokuchin kanyō no bi
[Qing dynasty porcelain collected in the Seikado. Beauty of
finely potted with the slightly compressed globular body
Jingdezhen imperial kilns], Tokyo, 2006, cat. no. 75.
rising from a short, straight foot to a tall cylindrical neck
flaring at the rim, decorated around the exterior with five From the Kangxi period (1662-1722) onwards, green-
scaly dragons each in different postures among cloud wisps enameled dragons chasing ‘Flaming Pearls’, painted with
in pursuit of a ‘Flaming Pearl’, the interior of the mouth and underglaze-blue outlines and black details, can be found
base enameled in turquoise, the latter centered with an iron- on covered jars; a Daoguang mark and period example is
red six-character seal mark reserved in a white square preserved in the National Palace Museum, Taipei (accession
Height 11 in., 27.9 cm no. 故-瓷-008825). Another jar of this type and period,
exhibited in the Roemer Museum, Hildesheim, Germany, in
PROVENANCE 1899, sold in these rooms, 21st March 2018, lot 549; and a
Collection of Dr. P. Franklin, acquired between the late 1940s pair of such jars sold in the same rooms, 18th September
and 1950s (by repute). 2007, lot 283. For a Kangxi precedent of this design see a
jar in the Palace Museum, Beijing, illustrated in Wang Liying,
This elegantly shaped vase with its green-enameled dragon
ed., Gugong Bowuyuan cang wenwu zhenpin quanji. Wucai,
motif represents a particularly rare example of Daoguang
doucai / The Complete Collection of Treasures of the Palace
period (1821-1850) imperial porcelain bearing this motif.
Museum. Porcelains in Polychrome and Contrasting Colours,
The pattern was first created during the Chenghua period
(1465-1487) and remained popular throughout the Ming
(1368-1644) and Qing (1644-1911) dynasties. Ming dynasty
ceramicists typically incised the dragons on the reserved ⊖ $ 100,000-150,000
biscuit clay before enameling the animals in green; Qing
ceramicists, on the other hand, painted the enameled
dragons on top of a layer of transparent glaze. Among the
清道光綠彩五龍戲珠紋長頸瓶
various types of ‘green dragon’ wares produced over the 《大清道光年製》款
centuries, such as jars, bowls and dishes, there is only one
other vase known to exist, which also bears a Daoguang 來源
seal mark and is of the period. That vase, formerly in the P. Franklin 醫生收藏，得於1940年代末至1950年代之
Yiqingge Collection, is identical to the present example, and
間 (傳)

165
A R ARE FAMILLE-ROSE SHELL-SH APED INK
PALETTE
JIAQING SEAL M ARK AND PERIOD
well modeled as a flattened conch shell with stepped layers
depicting the spiraled cone shape, the exterior textured
with raised dots under a pale turquoise-green enamel, the
opening of the shell formed as the sunken well painted in
shades of iron red, the rim gilt, the white-glazed base with
a recessed square enclosing a six-character seal mark in
underglaze blue
Width 3⅜ in., 8.7 cm
PROVENANCE
Sotheby’s Hong Kong, 25th April 2004, lot 59 (one of a pair).
Bonhams Hong Kong, 24th November 2012, lot 536.
Compare a closely related famille-rose ink palette of this rare
form, first sold at Christie’s Hong Kong, 30th April 2001, lot
757, and later in our Hong Kong rooms, 8th April 2001, lot
3089. See also a Qianlong example sold in our Hong Kong
rooms, 27th and 28th October 1992, lot 148.
⊖ $ 10,000-15,000
清嘉慶粉彩寶螺形筆掭
《大清嘉慶年製》款 165
來源
香港蘇富比2004年4月25日，編號59（一對之一）
香港邦瀚斯2012年11月24日，編號536
164
A PINK-GROUND FAMILLE-ROSE SGR AFFIATO 166
‘MEDALLION’ BOWL
A PAIR OF TURQUOISE GROUND FAMILLE-
DAOGUANG SEAL M ARK AND PERIOD
ROSE ‘SHOU’ CUPS
well potted with the deep rounded sides rising from a TONGZHI M ARKS AND PERIOD
slightly tapered foot to a lipped rim, the exterior with four
circular panels enclosing flowering plants divided by stylized each brightly enameled around the exterior with four gilt
polychrome lotus sprays, all reserved against a pastel-pink shou characters and bats divided by leafy lotus strapwork,
ground densely incised with scrolling vines, the interior all reserved on a rich turquoise ground and between a ruyi
painted in underglaze blue with a central medallion enclosing band at the rim and a lotus-lappet band above the foot, the
a rabbit in a landscape, surrounded by four detached flower interior and base glazed white, each base inscribed with a
sprays around the cavetto, the base with a six-character seal four-character mark in iron red (2)
mark in underglaze blue Diameter 3¼ in., 8.2 cm
Diameter 5⅞ in., 15 cm
⊖ $ 5,000-6,000
⊖ $ 5,000-7,000
清同治粉彩松石綠地福壽紋盃一對 166
清道光粉地軋道粉彩開光花卉圖盌《同治年製》款

《大清道光年製》款

167 168
AN IMPERIAL GREEN JADE BOOK PROPERTY FROM A CANADIAN PRIVATE PROVENANCE face, posture, and shawl rising from the
COLLECTION shoulders. Compare also a white jade figure
COVER Collection of Potter Palmer II (1875-1943) (by
A R ARE PALE GREEN JADE FIGURE repute). of a bodhisattva seated on an integral throne,
QING DYNASTY, QIANLONG PERIOD
Sotheby’s Chicago, 1990s. which incorporates the above features, coiled
OF A BODHISATTVA
of rectangular form, deftly incised to one side hair, and a similar diadem and necklace to the
QING DYNASTY, 18TH / 19TH Jade was a popular material for Buddhist present lot, which sold twice in our rooms, first
with a pair of ferocious five-clawed dragons
contesting a ‘Flaming Pearl’ amidst cloud CENTURY figures during the Qing dynasty (1644-1911). in London, 14th July 1975, lot 237, and later as
scrolls, the carved lines traced in gilt, the softly A large piece, such as the present lot, might part of the Concordia House Collection in these
well carved seated in dhyanasana with hands in have been worshipped by an affluent family at
polished stone of a deep sea-green tone with rooms, 19th March 2007, lot 73. A related pale
dhyana mudra, the deity dressed in loose robes a home altar. Devotional images of this type
some natural inclusions celadon jade figure of Buddha attributed to the
falling into voluminous folds over the crossed feature oversized heads with peaceful visages
Length 11¼ in., 28.6 cm; Width 5 in., 12.7 cm 19th century sold in our London rooms, 16th
legs with billowing scarves forming loops above to bring attention to the enlightened state of the May 2012, lot 200; and a greyish green jade
For closely related Qianlong period jade book the shoulders, the chest adorned with a lavish subject, in order to guide the spiritual practice bodhisattva with less elaborate drapery, sold in
covers of the same design, see one from a bejeweled necklace, the serene face bearing a of the supplicant. these rooms, 26th February 1982, lot 376.
partial spinach-green jade book, dated to the benevolent expression with eyes in a downward
gaze, framed by large ears with pendulous A Kangxi period white jade figure of a
gengxu year, corresponding to 1790, sold in
lobes and a tall foliate crown enclosing seated bodhisattva from the Heber Bishop Collection, ⊖ $ 60,000-80,000
these rooms, 23rd March 2011, lot 705; and
Buddhist figures, the softly polished stone a now preserved in the Metropolitan Museum
another from a highly important imperial white
greenish-celadon tone with a streak of russet at of Art, New York (accession no. 02.18.440),
jade book, Xueshitang ji (The Story of the Hall 清十八 / 十九世紀青玉雕菩薩
the back, lapis lazuli lotus base with enhanced is carved with a similar treatment of the
for the Study of Poetry), commissioned by the
Qianlong Emperor in 1773, sold in our Hong coloration (2) 坐像
Kong rooms, 2nd March 2005, lot 523. Height overall 7⅜ in., 18.8 cm
連染色青金石蓮座
$ 4,000-6,000
來源
Potter Palmer II (1875-1943) 收藏 (傳)
清乾隆青玉填金雙龍戲珠紋冊頁芝加哥蘇富比，1990年代

169
PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE
COLLECTION
A R ARE IMPERIAL GILT-BRONZE TEMPLE

BELL, BIANZHONG
K ANGXI M ARK AND PERIOD, DATED TO THE
54TH YEAR, CORRESPONDING TO 1715
the large bell finely cast, suspended from a double-headed
dragon handle, each beast powerfully rendered with eyes
bulging and nostrils flaring above long curling whiskers, the
mouth open to reveal its tongue thrust between sharp fangs,
with two long studded horns extending back over its head
along a combed mane with finely incised details, the two
scaly bodies intertwined and crouching in ambush, the large
barrel-shaped body of the bell with four panels of alternating
bosses and trigrams, divided by two rectangular panels,
one inscribed with the characters Kangxi wushisi nian zhi
(made in the fifty-fourth year of Kangxi), and the other with
huangzhong, denoting its musical pitch
Height 11 ¾ in., 30 cm
PROVENANCE
P.C. Lu & Sons, Ltd., Hong Kong, 11th July 1987.
$ 200,000-300,000
清康熙五十四年（1715年）銅鎏金蒲牢鈕
八卦紋「黃鐘」編鐘
《康熙五十四年製》款
字：
黃鐘
來源
魯氏父子有限公司，香港，1987年7月11日

Bianzhong were produced for the court during the Qing 2010, lot 2105. Other bells from the 1715 sets include: one
dynasty as an essential component of Confucian ritual of the taicu (3rd) tone sold in the same rooms, 19th March
ceremonies at the imperial altars, formal banquets and 2007, lot 25; one of the guxi (5th) tone sold in our New York
processions. The music produced by these instruments rooms, 20th March 2012, lot 2012; one of the ruibin (7th)
was believed to facilitate communication between humans tone, sold at Christie’s Hong Kong, 1st December 2009, lot
and deities. Gilt-bronze bells of this type were assembled 1942 (part lot); another of the wushe (11th) tone sold in our
in sets of sixteen and produced twelve musical tones, with Hong Kong rooms, 26th April 1999, lot 520; and two of the
four tones repeated in a higher or lower octave. These yingzhong (12th) tone, the first sold Christie’s Hong Kong,
sets were further divided into yin or yang, indicated by 1st December 2009, lot 1942 (part lot) and the second in our
a solid horizontal line or broken line under the panel of Hong Kong rooms, 8th April 2010, lot 1858.
inscriptions to represent a minor or major key respectively. Imperial gilt-bronze bianzhong were also produced with
The present bell generates the most important and first a design of dragons in high relief. Two examples of the
tone, huangzhong, from the set. The huangzhong tone was huangzhong tone are known; the first, in the Palace Museum,
considered the founding principle of music, and was the note Beijing, is illustrated in Zhongguo meishu quanji gongyi
played at the beginning and end of each ritual. Cast in equal meishu bian [Complete Series on Chinese Art], vol. 10,
size but varying in thickness, these bells were attached to tall Beijing, 1987, pl. 176; the second, formerly in the collection of
wooden frames in two rows of eight as depicted by Giuseppe Robert de Semallé (1849-1936), was sold at the Hôtel Drouot
Castiglione (1688-1766) in his painting Imperial Banquet by Tessier & Sarrou, 16th December 2019, lot 23.
in Wanshu Garden (ca. 1755), included in the exhibition
The dragons surmounting this bell are known as pulao, which
Splendors of China’s Forbidden City. The Glorious Reign of
according to ancient Chinese legend is one of the nine sons
Emperor Qianlong, The Field Museum, Chicago, cat. no. 101.
of the dragon. The myth alleges that Pulao resided close to
At least four sets of bells of this design appear to have been the shore while his arch enemy, the whale, lived in the ocean.
created during the Kangxi Emperor’s reign for the Temple Whenever the whale would come to attack, Pulao would
of Agriculture in Beijing: two sets of which are dated to the sound a roar. The structure of a bell is thus associated with
52nd year of the Kangxi reign (1713) and the second two sets this legend; the clash of the bell, Pulao, with the striker, the
from the 54th year (1715). Along with the present lot, only whale, would result in the dragon producing its loud ringing
one other bell of the huangzhong tone from the latter set is roar.
known, and was sold in our Hong Kong rooms, 7th October
105
PROPERTY FROM THE ESTATE OF
ALLEN O. BATTLE, PH.D
LOTS 1 7 0 -1 8 4
Allen O. Battle 醫生收藏拍品編號 170-184
170
A R ARE PARTIALLY COLD-GILT BRONZE class - father tantras (yang), Supreme yoga class - mother
FIGURE OF MULTI-ARMED M ANJUSHRI tantra (yin), yoga class, Caryayoga - action-ritual class, and
Kriyayoga - devotion class. It is recorded that 787 images
QIANLONG M ARK AND PERIOD
were enshrined in the Fanhualou and 732 images in the
seated atop a lotus pedestal, the principal right hand held in Baoxianglou. Today, only the Fanhualou retains its collection
karana mudra, with the left holding a ghanta, two additional of images.
pairs of arms fanning out around the body, the hands A similar representation of Manjushri was originally held in
bearing attributes including a sword, vajra, and ghanta the Baoxianglou and is illustrated in Walter Eugene Clark
wearing a dhoti with chased ‘brocade’ borders, a fluttering (ed.), Two Lamaistic Pantheons, New York, reprinted 1965,
scarf and ornate jewelry, the three faces each framed pl. 53, no. 2A 25. Another similar figure placed in Fanhualou
by a three-leafed crown encircling a multi-tiered topknot is published in Fanhualou cangbao - Foxiang / Statues in the
surmounted by a flaming jewel, the deity’s skin cold-gilded, Sanctuary of Buddhist Essence), vol. 1, Beijing, 2013, pl. 169.
the hair and facial features detailed in pigments, the front of Related figures have sold at Christie’s New York, 22nd March
the lotus pedestal cast with a horizontal reign mark Da Qing 2007, lot 215, and 15th September 2011, lot 1376; in our
Qianlong Nian Jing Zao, incised below with Wenshu pusa London rooms, 4th November 2009, lot 215; and in these
(Manjushri bodhisattva); the back of the pedestal incised rooms, 17th-18th March 2015, lot 376, and 16th March 2016,
with Wushang yangti genben (Supreme yoga father tantra lot 371.
class)
Baron Alexander von Staël-Holstein (1876-1937) was
born in Estonia, and studied Sanskrit and Indian literature
PROVENANCE at the University of Tartu and then in Germany. He was
employed by the diplomatic service between 1903–04, held
Collection of Baron Alexander von Staël-Holstein (1876-
professorial positions at the University of St. Petersburg and
1937).
the National University of Beijing where he settled following
Mathias Komor, New York, 29th November 1950.
the Bolshevik Revolution in Russia. During his time in Beijing,
Collection of Dr. Allen O. Battle, Ph.D (1927-2020).
Staël-Holstein established and became director of the
The Qianlong Emperor was a devout Buddhist and a keen Institute for Research in Sino-Indian Relations in connection
follower of Tibetan Lamaist teachings. He had bronze figures with Harvard University. He amassed a substantial collection
of the Tibetan Buddhist Pantheon made in the imperial of several hundred lamaistic statues and paintings.
workshops to be enshrined in eight Buddhist halls. These
halls were built in a style called liupinlou (six category halls), $ 60,000-80,000
because the figures enshrined in them were divided into six
categories. Four of these halls were built in the Forbidden
City, for example, the Baoxianglou and the Fanhualou; three 清乾隆銅局部鎏金文殊菩薩坐像
were in Chengde; and one, the Fanxianglou, was in the 《大清乾隆年敬造》《文殊菩薩》
Summer Palace, then known as the Changchun Garden.
《無上陽體根本》款
The style of figures enshrined in these halls were based
on the style of the Ming dynasty favored by the Yongle
來源
Emperor and derived from Nepalese and Mongolian models,
highlighted with cold-gilding. Patricia Ann Berger, Empire of Alexander von Staël-Holstein 男爵 (1876-1937) 收藏
Emptiness: Buddhist Art and Political Authority in Qing China, Mathias Komor，紐約，1950年11月29日
Honolulu, 2003, p. 107, translates the six categories as the Allen O. Battle 醫生 (1927-2020) 收藏
Prajnaparamita (Supreme wisdom) class, Supreme yoga

171 173
A GILT COPPER ALLOY FIGURE OF A A PAINTING OF ZHENWU AND HIS
DAKINI TO VARJR AVAR AHI COURT
QING DYNASTY, 18TH CENTURY LATE MING DYNASTY
the deity in ardhaparyankasana holding a ink and color on silk, depicting Zhenwu and
kartrika in the raised right hand and a kapala his celestial court, the Daoist God seated at
in the left hand, wearing a tiger skin dhoti and the center surrounded by attendants, celestial
a flayed human skin across the back, a scarf marshals and guardians, all observing an
billowing around the shoulders, with bared intertwined tortoise and snake on the ground
fangs and flaming hair, standing on a mountain before them, all against a backdrop of scrolling
shaped separately cast base clouds, with banners, standards and the top
Height 5⅜ in., 13.6 cm of a military encampment emerging behind,
framed
PROVENANCE Height 77¾ in., 197.5 cm; Width 33½ in., 85 cm
Christie’s New York, 27th March 2003, lot 153.
PROVENANCE
Collection of Dr. Allen O. Battle, Ph.D (1927-
2020). Mathias Komor, New York, 23rd December
1948.
$ 5,000-7,000
2020).
清十八世紀銅鎏金金剛瑜伽母像 $ 5,000-7,000
來源
紐約佳士得2003年3月27日，編號153 明末真武大帝圖設色絹本裝框
Allen O. Battle 醫生 (1927-2020) 收藏
來源
Mathias Komor，紐約，1948年12月23日
172
171
A GILT COPPER ALLOY FIGURE OF
SH ADBHUJA M AH AK ALA
QING DYNASTY, 18TH CENTURY
the six-armed deity standing on an elephant-
headed prostrate figure on a lotus base, the
principal arms raised at the chest holding
a kartrika and a kapala, with the secondary
and tertiary hands holding various attributes
including a mala and damaru, wearing a flayed
elephant skin on his back, a tiger skin around
his waist and a garland of skulls around the
belly, the fierce face with bared fangs and
bulging eyes, the head surmounted by flaming
hair and a crown of skulls inset with coral and
turquoise
PROVENANCE
2020).
◉ $ 8,000-10,000
清十八世紀銅鎏金大力王紅瑪哈
嘎啦像
來源
172
108 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM THE ESTATE OF ALLEN O. BATTLE, PH.D 109
174
A WUCAI ‘DR AGON AND PHOENIX’ BOWL
176 The present vase belongs to a group of vessels produced
following the form and decorative motifs of Western Zhou
AN ARCH AISTIC SPINACH-GREEN JADE bronze hu wine containers. Compare a larger celadon jade
the deep rounded sides supported on a narrow foot and rising
to an everted rim, the exterior vibrantly enameled with two
HU-FORM VASE vase and cover inscribed with a Qianlong fanggu mark in the
QING DYNASTY, 18TH / 19TH CENTURY Qing Court Collection, illustrated in The Complete Collection
dragons each chasing a ‘Flaming Pearl’, divided by phoenix
of Treasures of the Palace Museum. Jadeware (III), Hong
amidst leafy floral sprays, the rim with a band of precious
the flattened pear-shaped body rising from a splayed oval Kong, 1995, pl. 147. Further interpretations of Western Zhou
objects, the interior with a roundel enclosing an iron-red
foot to a gently flaring galleried rim, the shoulders set with hu vessels rendered in bronze, porcelain and jade were
dragon surrounded by green flame wisps, the base with a six-
mythical beast-form handles suspending loose rings, the included in the exhibition Through the Prism of the Past:
character seal mark in underglaze blue, wood stand (2)
body deftly carved in high relief with a design of interlacing Antiquarian Trends in Chinese Art of the 16th to 18th Century,
Diameter 5¾ in., 14.8 cm
chilong, framed by incised archaistic scroll bands at the National Palace Museum, Taipei, 2003, cat. nos III-62-64.
foot and neck, the spinach-green stone flecked with darker
PROVENANCE
inclusions, wood stand (2)
Sotheby Parke Bernet, New York, 20th February 1975, lot 281. $ 5,000-7,000
PROVENANCE 清十八 / 十九世紀碧玉雕仿古螭龍紋雙耳
$ 20,000-30,000 Mathias Komor, New York, 10th April 1950.
活環壺
清乾隆五彩龍鳳呈祥紋盌來源
《大清乾隆年製》款 Mathias Komor，紐約，1950年4月10日
來源
蘇富比 Parke Bernet，紐約，1975年2月20日，編號281
174
175
A FINE FAMILLE-ROSE ‘BATS AND EMBLEMS’
BOWL AND COVER
QING DYNASTY, DAOGUANG PERIOD
finely enameled to the exterior with a shaped diaper border
around the rim suspending pendants in the form of bats
and jewels, alternating with suspended parasols dangling
lotus-form emblems, chimes, and tassels, all above upright
ruyi-form lappets encircling the foot, the cover similarly
decorated, both the bowl and cover inscribed with a four-
character Shendetang zhi mark in iron red (2)
PROVENANCE
Nagatani Inc., Chicago, 3rd January 1969.
$ 6,000-8,000
清道光粉彩博古圖蓋盌
《慎德堂製》款
175 來源
Nagatani Inc.，芝加哥，1969年1月3日
177 179
A WHITE JADE ‘PEACH AND BATS’ GROUP A PAIR OF AMBER ‘BUDDHIST LION’ SEALS
QING DYNASTY, QIANLONG PERIOD QING DYNASTY, 18TH CENTURY
finely carved, comprised of a large ripe peach borne on a each of square section with the finial carved as a recumbent
gnarled branch issuing unfurling leaves and a further smaller Buddhist lion, the material a translucent golden honey tone
peach, a bat with wings spread on one side, the white stone (2)
with faint milky white veining, boxwood-inlaid wood stand (2) Height of larger 2 in., 5 cm
Width 2⅜ in., 6.1 cm
PROVENANCE
PROVENANCE Mathias Komor, New York, 7th September 1948.
Yamanaka & Co., New York, 11th December 1960. Collection of Dr. Allen O. Battle, Ph.D (1927-2020).
$ 6,000-8,000
$ 6,000-8,000
清十八世紀琥珀雕瑞獸鈕印料一對
清乾隆白玉雕福壽雙全把件
來源
來源 Mathias Komor，紐約，1948年9月7日
山中商會，紐約，1960年12月11日 Allen O. Battle 醫生 (1927-2020) 收藏
180
178 A PALE GREEN JADE ‘PR AYING M ANTIS’
A PALE GREEN JADE ‘PEACH’ GROUP DOUBLE BOX AND COVER
QING DYNASTY, QIANLONG PERIOD QING DYNASTY
well carved as two peaches issuing from an openwork leafy deftly carved in high relief and openwork, the box in the form
branch, the gnarled branch naturalistically rendered with of two gourds issuing from a gnarled stalk with furled leaves
177 bumpy knots and delicately furling leaves, the softly polished 179
and curling tendrils, the cover detailed with a praying mantis
stone an even pale celadon with fine milky-white striations atop a large leaf, the stone of a pale celadon color, wood
and faint russet veining cleverly worked into the contours of stand (3)
the design Length 6½ in., 16.5 cm
Width 2½ in., 6.5 cm
PROVENANCE
PROVENANCE
R. Bensabott, Chicago, 10th July 1953.
Reeds Antiques, Michigan, June 1965. Collection of Dr. Allen O. Battle, Ph.D (1927-2020).
Midwestern Private Collection.
Sotheby’s New York, 20th March 2012, lot 222.
Collection of Dr. Allen O. Battle, Ph.D (1927-2020). $ 6,000-8,000
$ 4,000-6,000 清青玉雕瓜瓞螳螂蓋盒
來源
清乾隆青玉雕壽桃把件 R. Bensabott，芝加哥，1953年7月10日
來源 Allen O. Battle 醫生 (1927-2020) 收藏
Reeds Antiques，密西根，1965年6月
中西部私人收藏
178 180
182
AN INSCRIBED WHITE JADE
‘GUANYIN’ BOULDER
QING DYNASTY, 18TH / 19TH
CENTURY
skillfully utilizing the natural form of the stone,
the principal surface finely carved with Guanyin
sitting in ‘royal ease’ on a lotus pod, the right
hand resting on the knee and holding a rosary,
large upright lotus petals behind the goddess,
one inscribed with a five-column poem in
kaishu, followed by an inscription reading
Qianlong bingshen yuzan (imperially eulogized
by Qianlong in the bingshen year), accompanied
by two seals qian and long, the well polished
stone an even white color with occasional
natural fissures and some light russet skin to
the underside, wood stand (2)
PROVENANCE
Manheim Galleries, New Orleans, 21st
November 1969.
2020).
The poem inscribed on the present lot, titled

Hetian yuguanyinxiang zan (Laudation of
the Hetian jade Guanyin), was written by the
Qianlong Emperor and is included in Yuzhiwen
erji [Anthology of imperial texts, vol. 2], juan
41, Qinding siku quanshu [By imperial order,
complete works from the Four Treasures
Library].
$ 10,000-15,000
清十八 / 十九世紀白玉雕蓮花觀

音坐像
題識：
普門普度大慈大悲諸佛眾生同一皈依
以大圓覺行六波羅返聞寂照應感隨他
燃智慧燈成妙勝果如是玉像夫何不可
乾隆丙申御贊
印文：
181 乾隆
A PALE GREEN AND RUSSET JADE ‘ELEPH ANT 清十七 / 十八世紀青玉雕太平有象擺件
來源
AND BOY’ GROUP
來源 Manheim Galleries，新奧爾良，1969年11
QING DYNASTY, 17TH / 18TH CENTURY
Mathias Komor，紐約，1947年8月5日月21日
carved as an elephant standing foursquare with its head Allen O. Battle 醫生 (1927-2020) 收藏
turned towards its right, its wrinkled skin, curved tusks and
long tail finely detailed, a boy sitting astride the animal with
the left arm pressing against a large treasure vase (bao ping)
and clasping a lotus stem in the hand, the right elbow resting
on the bent right knee, the head turned to the side, the pale
green stone with pale russet inclusions, wood stand (2)
Height 4⅜ in., 11 cm
PROVENANCE
Mathias Komor, New York, 5th August 1947.
$ 6,000-8,000
183 184
AN ARCH AISITC PALE GREEN JADE A GREEN JADE MOUNTAIN
‘DR AGON’ VASE QING DYNASTY, 19TH CENTURY
of irregular form, carved in high relief to one
of quadrangular zun form, carved in low relief side with Liu Hai perched on a high rocky
with a stylized taotie to the central bulb, set ledge above a pine tree, clasping a string
to one side with a pierced handle entwined of coins in one hand as he peers down at a
with a dragon clambering up over the rim, the three-legged toad emerging from the waters
other side carved in openwork with a chilong in below, framed by layers of rockwork continuing
pursuit of a ‘Flaming Pearl’, wood stand (2) over sides and reverse, incised with a four-
Height 6⅛ in., 15.5 cm character inscription changong zhegui (picking
osmanthus flowers in the Moon Palace), pale
PROVENANCE green stone with opaque white inclusions, wood
Parke-Bernet Galleries, New York, 11th-12th stand (2)
January 1949, lot 281. Height 9 in., 22.7 cm
Parke-Bernet Galleries, New York, 13th
PROVENANCE
November 1970, lot 136.
Collection of Dr. Allen O. Battle, Ph.D (1927- Lizzadro Collection, acquired prior to 1960.
2020). Christie’s New York, 21st March 2013, lot 842.
EXHIBITED 2020).
Canadian International Trade Fair, Toronto,
1948. $ 8,000-12,000
$ 20,000-30,000
清十九世紀青玉雕蟾宮折桂圖
山子
清十九世紀青玉雕仿古饕餮螭
龍紋尊題識：
蟾宮折桂
來源
Parke-Bernet Galleries，紐約，1949年1月11 來源
至12日，編號281 Lizzadro 收藏，得於1960年之前
Parke-Bernet Galleries，紐約，1970年11月紐約佳士得2013年3月21日，編號842
13日，編號136 Allen O. Battle 醫生 (1927-2020) 收藏
展覽
加拿大國際展銷會，多倫多，1948年
185 187
A PALE CELADON JADE ZODIAC FIGURE OF A A R ARE CELADON AND RUSSET JADE The present lot belongs to a small group of similarly
R ABBIT ‘SCHOLAR’ MOUNTAIN reticulated and carved jade mountains attributed to the
QING DYNASTY, 18TH / 19TH CENTURY SONG - Y UAN DYNASTY
Song to Yuan dynasties. Compare a jade mountain in the
National Palace Museum, Taipei, carved with a very similar
seated with the right hand holding a fan and the left hand scholar scene, attributed to the Southern Song - Yuan
skillfully rendered following the natural form of the
holding a branch, dressed in a loosely draped robe, the stone dynasty, exhibited in Dynastic Renaissance Art and Culture
boulder, the sides intricately carved in openwork with
of very pale celadon-white tone, wood stand (2) of the Southern Song Antiquities, National Palace Museum,
a scholar standing in a long flowing robe and donning a
Height 2¼ in., 5.8 cm Taipei, 2010, cat. no. III-45. See also a related jade mountain
dongpojin (Dongpo hat), positioned between a mythical
tortoise emitting vapor and a deer grasping a lingzhi sprig, from the Qing Court Collection, now in the Palace Museum,
$ 3,000-5,000 accompanied by an attendant holding a large leaf, all set Beijing, attributed to the Song dynasty, published in The
within a dense landscape of pierced rockwork, gnarled trees Complete Collection of Treasures of the Palace Museum.
and scrolling clouds, the softly polished stone of an even Jadeware (II), Hong Kong, 1995, pl. 94, together with a Liao/
清十八 / 十九世紀青白玉雕生肖兔擺件 color with russet skin to the top Jin example, pl. 99.
Height 5⅛ in., 13 cm For examples sold at auction, see a jade mountain formerly
in the collection of C. Philip Cardeiro, attributed to the Jin/
Yuan dynasty, sold at Christie’s Hong Kong, 27th May 2014,
186 lot 3246; another attributed to the Liao-Yuan dynasty, sold
A PALE CELADON JADE RUYI-SH APED at Christie’s Hong Kong, 29th November 2016, lot 3440;
and a third from the collection of Baroness Marie-Louise von
‘CHILONG’ WASHER
Callenberg, attributed to the Yuan dynasty, sold at Christie’s
QING DYNASTY, 18TH CENTURY Paris, 18th December 2012, lot 10.
modeled in the form of a ruyi head with lobed sides rising
from a short foot, the interior carved with a bifurcated $ 20,000-30,000
chilong, the exterior delicately carved with leafy floral sprigs,
the stone of pale celadon tone
Length 4⅝ in., 11.8 cm 宋至元青玉鏤雕雲山高士圖山子
$ 5,000-7,000
185 清十八世紀青白玉雕螭龍紋如意式洗
186

188 190
PROPERTY FROM A NORTH AMERICAN PRIVATE COLLECTION A LIANGZHU-STYLE JADE PENDANT
TWO ARCH AIC JADE FISH-FORM PENDANTS NEOLITHIC PERIOD OR LATER
SH ANG - WESTERN ZHOU DYNASTY the curved tapering body finely carved to one side with a
stylized face mask on top of a mythical beast design, the
each of elongated rectangular form depicting a fish in profile,
opaque stone of russet tone with gray and white patches
the head with large incised circular eyes and curved gill,
Length 2¾ in., 7 cm
the body detailed with fins and terminating in a bifurcated
tail, the mouth pierced with a small aperture, the stone of a PROVENANCE
variegated celadon color (2)
Acquired from a private collection, New York, 1995.
Length of larger 3⅜ in., 8.6 cm
PROVENANCE $ 5,000-7,000
Collection of John Story Jenks (1876-1946), and thence by
descent.
新石器時代或更晚良渚風格玉神人獸面
EXHIBITED 紋墜
Chinese Art in the Philadelphia Collections, Philadelphia
Museum of Art, Philadelphia, 1937. 來源
John Story Jenks, an active philanthropist, served for many 1995年得於紐約私人收藏
years on the Board of Trustees of the Philadelphia Museum
of Art, as well as donating many Chinese works of art to its
permanent collection.
191
$ 6,000-8,000 A LIANGZHU-STYLE CRESCENT-SH APED JADE
188 PENDANT
商至西周玉雕魚形珮兩件 NEOLITHIC PERIOD OR LATER
來源 of semi-circular form, one side finely carved and incised in

low relief with a stylized human mask design, the reverse
John Story Jenks (1876-1946) 收藏，此後家族傳承 with four apertures for suspension, the beige stone with 190
attractive gray veins
展覽 Width 2¼ in., 5.7 cm
《Chinese Art in the Philadelphia Collections》，費城藝
術博物館，費城，1937年 PROVENANCE
Acquired from a private collection, New York, March 1993.
$ 5,000-7,000
189
A LIANGZHU-STYLE JADE BLADE 新石器時代或更晚良渚風格玉神人獸面紋
NEOLITHIC - SH ANG DYNASTY 半圓形飾
of elongated oval shape terminating in a point at one end and
at a narrow tang at the other, the broad surface thinning to 來源
gently beveled edges, pierced with a small aperture near the 1993年3月得於紐約私人收藏
center of the body, the stone of a mottled caramel-brown
color
Length 6 in., 15.2 cm
PROVENANCE
Christie’s East, New York, 2nd Feburary 1986.
$ 5,000-7,000
新石器時代至商玉戈
來源
紐約佳士得1986年2月2日
191
189

192
A R ARE ARCH AIC BRONZE RITUAL FOOD 商末戈簋
VESSEL (GUI)
LATE SH ANG DYNASTY 銘文：
戈
well cast with the deep rounded sides rising from a splayed
foot to a flared rim, flanked by a pair of upturned U-shaped
來源
handles, the exterior finely decorated under the rim with
a band of formalized kuilong alternating with whorled 私人收藏
medallions, the foot further encircled by a band of three 倫敦蘇富比1967年5月16日，編號38
taotie masks reserved on a leiwen ground, the interior cast 戴潤齋，紐約
with a single-character inscription reading ge, the surface 亞瑟•M•賽克勒 (1913-1987) 收藏
with malachite encrustation
艾爾斯•賽克勒 (1913-2000) 收藏
Width 14¾ in., 37.5 cm
亞瑟•M•賽克勒基金會收藏
PROVENANCE 紐約佳士得2017年9月14日，編號904
Private Collection.
Sotheby’s London, 16th May 1967, lot 38. 展覽
J.T. Tai, New York. 菲奇堡藝術博物館，麻省，2005年至2015年 (借展)
Collection of Arthur M. Sackler (1913-1987).
Collection of Else Sackler (1913-2000). 出版
Collection of the Arthur M. Sackler Foundation.
羅振玉，《貞松堂集古遺文》，卷9，1930年，頁10
王辰，《續殷文存》，卷下，1935年，頁49
EXHIBITED 劉體智，《小校經閣金文拓本》，卷7，1935年，頁2
Fitchburg Art Museum, Massachusetts, 2005-2015 (on 羅振玉，《三代吉金文存》，卷14，1937年，頁33
loan). 嚴一萍，《金文總集》，台北，1983年，編號6301
LITERATURE
林巳奈夫，《殷周時代青銅器の研究：殷周青銅器綜
Luo Zhenyu, Zhensongtang jigu yiwen [Gathering of ancient
覽》，冊下，東京，1984年，圖版139，小型盂22
writings in the Zhensongtang], vol. 9, 1930, p. 10. 傑西卡•羅森，《Western Zhou Ritual Bronzes from the
Wang Chen, Xuyinwencun [Continuation of the surviving Arthur M. Sackler Collections》，卷IIB，華盛頓，1990
writings from the Yin dynasty], vol. 2, 1935, p. 49. 年，圖版59
Liu Tizhi, Xiaojiaojingge jinwen taben [Rubbings of archaic 中國社會科學院考古研究所編，《殷周金文集成釋
bronze inscriptions in the Xiaojiaojingge], vol. 7, 1935, p. 2.
文》，卷3，香港，2001年，編號3020
Luo Zhenyu, Sandai jijin wencun [Surviving writings from the
Xia, Shang, and Zhou dynasties], vol. 14, 1937, p. 33. 中國社會科學院考古研究所編，《殷周金文集成》，
Yan Yiping, Jinwen Zongji [Corpus of bronze inscriptions], 北京，2007年，編號03020
Taipei, 1983, no. 6301. 汪濤及劉雨，《流散歐美殷周有銘青銅器集錄》，
Minao Hayashi, In Shū Jidai seidōki no kenkyū. In Shū 上海，2007年，圖版69
seidōki souran [Research of bronze ware of Shang and Zhou
吳鎮烽，《商周青銅器銘文暨圖像集成》，卷7，
dynasty], vol. 2, Tokyo, 1984, pl. 139, xiaoxingyu, no. 22.
Jessica Rawson, Western Zhou Ritual Bronzes from the 上海，2012年，編號03514
Arthur M. Sackler Collections, vol. IIB, Washington, D.C.,
1990, pl. 59.
The Institute of Archaeology, Chinese Academy of Social
Sciences, ed., Yinzhou jinwen jicheng shiwen [Interpretations
of the compendium of Yin and Zhou bronze inscriptions], vol.
3, Hong Kong, 2001, no. 3020.
Institute of Archaeology, Chinese Academy of Social
Sciences, ed., Yinzhou jinwen jicheng [Compendium of Yin
and Zhou bronze inscriptions], Beijing, 2007, no. 03020.
Wang Tao and Liu Yu, Liusan oumei yinzhou youming
qingtongqi jilu (A Selection of Early Chinese Bronzes with
Inscriptions from Sotheby’s and Christie’s Sales), Shanghai,
2007, pl. 69.
Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang
jicheng [Compendium of inscriptions and images of bronzes
from the Shang and Zhou dynasties], vol. 7, Shanghai, 2012,
no. 03514.
$ 200,000-300,000

The present bronze vessel is cast with the deep U-shaped Although bronze gui of this type are known from the late
bowl supported on a tall foot and flanked by a pair of Shang to Western Zhou dynasty, the overall form of the
upturned loop handles. This particular form has been present bronze indicates a late Shang dynasty attribution.
identified by archaic bronze inscriptions as gui or yu. See, for Compare a smaller vessel of a very similar form, but with
example, a vessel of this type, cast to the interior with Zhong an unidentified fitting to the interior, attributed to the first
zuo bao gui (precious gui made by Zhong), published in Wu half of the Yinxu period, excavated at Xibeigang in Anyang,
Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng Henan province, included in the exhibition King Wu Ding
[Compendium of inscriptions and images of bronzes from and Lady Hao. Art and Culture of the Late Shang Dynasty,
the Shang and Zhou dynasties], vol. 8, Shanghai, 2012, no. National Palace Museum, Taipei, 2012, cat. no. III-4. Related
04127; and one from the Qing Court Collection, now in the Western Zhou dynasty examples are usually modeled with
Palace Museum, Beijing, inscribed with a fifteen-character a more compressed body and a spreading foot, such as one
inscription identifying it as a yu made by Bo, published in from the Qing Court Collection, now in the Palace Museum,
The Complete Collection of Treasures of the Palace Museum. Beijing, illustrated in the Palace Museum, ed., Gugong
Bronze Ritual Vessels and Musical Instruments, Hong Kong, qingtongqi/ Bronzes in the Palace Museum, Beijing, 1999,
2006, pl. 47. no. 116; and another published in Zhang Shengfu and Zhang
The differentiation between gui and yu of this type can Tunsheng, Shaanxi chutu shangzhou qingtongqi [Bronzes of
sometimes be challenging. A widely established method Shang and Zhou dynasties unearthed in Shaanxi Province],
of classification, which has been accepted by multiple vol. 2, Beijing, 1980, pl. 103.
contemporary scholars, appears to be based on the size of The present gui is cast to the interior with a single character
the vessels. Ma Chengyuan suggested in his book that small ge (dagger-axe), which is the name of an ancient clan mostly
vessels of this form are gui, and medium or large vessels active in the Shaanxi and Henan areas during the Shang
are yu (see Zhongguo qingtongqi/The Chinese Bronzes, to early Western Zhou period. Apart from appearing in
Shanghai, 2010, p. 151). Zhu Fenghan further noted in his bronze inscriptions, the ge name also occurs in oracle bone
book that bronze yu are usually large in size, averaging inscriptions, which indicates the prominent social status
over 40 cm in height and 55 cm in diameter (see Zhongguo of this clan during the Shang dynasty. Jessica Rawson also
qingtongqi zonglun/A Comprehensive Survey of Chinese noted the importance of this pictogram in her book Western
Bronzes, vol. 1, Shanghai, 2009, p. 307). Zhou Ritual Bronzes from the Arthur M. Sackler Collections,
vol. IIB, Washington, D.C., 1990, p. 455. See several other
late Shang dynasty bronze gui with the ge pictogram, some
of which are now preserved in major museums, published in
Wu Zhenfeng, op. cit., vol. 7, nos 03515-03521.

THE XIAOZI X GUI,
COMMEMORATING A SUCCESSFUL
SHANG MILITARY CAMPAIGN
R EG I N A K R A H L A N D H A N G Y I N
銘記千古–記載商代伐夷戰爭的小子□簋
康蕊君及尹航
The Shang period (c. 1600 - 1045 BC) is China’s first historic 商王朝是中國歷史上首個有同時期文字記
dynasty, that is, the first era from which written documents 載的朝代。今所發現的商代文字資料大多
are preserved that corroborate the period’s historicity. Such
來自於包括武丁（在位時間提定為約公元
documentation is known only from the time of the last nine
Shang kings, beginning with Wu Ding (proposed reign dates
前 1250–1192）在內的最後九位商王時期，
c. 1250 – c. 1192 BC), when the capital was at Anyang, Henan. 其載體主要以當時占卜所用的甲骨為主。
Historic documents come mainly in the form of inscribed 除此外，同時期的青銅器上也時常見有銘
oracle bones that were used for divination; but besides oracle 文，其中亦可偶見一些對於當時某個重大
bones, a few bronzes were cast with ancestor dedications, 歷史事件的記載。本簋即屬此類青銅重器
which can also mention historic events. The present gui is
one of these exceedingly rare vessels of historic significance.
之一，其銘文極具歷史及學術價值。
While most Shang inscriptions are very short, often 商代青銅器銘文大多字數較少，有時僅為
mentioning only a name, longer inscriptions appear on a few
一個族徽。至殷墟末期帝乙及帝辛時期
vessels from the last two reigns, known in archaeology as
Period V, those of kings Di Yi and Di Xin, for whom reign dates （在位時間分別提定為約公元前 1105–
of c. 1105 – c. 1087, and c. 1086 – 1046 BC, respectively, 1087 及 1086–1046）
，也就是考古學分期
have been proposed. They continued into the Western Zhou 中的殷墟文化四期，可見一小部分青銅器
(1045 – 771 BC), when they became more frequent. Very few 帶有較長銘文，後至西周時期長銘器則開
of the Shang inscriptions are truly documentary, however, in
始大量出現。目前已知商代青銅器銘文當
recording an incident of historic interest; more typically, they
refer to recurrent activities in the life of the rulers, such as 中大多數是對於王族祭祀、狩獵等常規活
imperial sacrifices or hunts. 動的記載，而鮮有對當時重要歷史事件的
The historic event inscribed on our gui is a well-known 記錄。
military expedition of the Shang against the Renfang, also
known as Yifang, an enemy tribe in the east, which is also 本簋銘文記錄了商末征伐夷方這一重要歷
recorded on three other bronzes: the famous rhinoceros- 史事件。除本器外，目前已知另有三件
shaped zun from the Avery Brundage collection in the 青銅器也對此次商王朝的重大軍事行動有
Asian Art Museum of San Francisco (fig. 1a-b), a you in the
所記載：其一即為著名的梁山七器之一的
Hakutsuru Art Museum, Kobe (fig. 2a-b), and a yan in the
National Museum, Beijing (see Bagley 1987, p. 529, fig. 103.11;
小臣艅犀尊，艾弗里•布倫戴奇收藏，現
p. 403, fig. 71.4; p. 530, fig. 103.12; Wei Xinying, p. 044, fig. 1.1 存舊金山亞洲藝術博物館（圖一 a-b），其
and fig. 2; and Peng Qingyun, ed., Zhongguo wenwu jinghua 二為神戶白鶴美術館收藏的小子卣（圖
da cidian: Qingtong juan [Encyclopaedia of masterpieces of 二 a-b），其三為北京國家博物館收藏的作
Chinese cultural relics: Bronze volume], Shanghai, 1995, no. 冊般甗（參考貝格利，1987 年，頁 529，
0061).
圖 103.11；頁 403，圖 71.4；頁 530，圖
These inscriptions on our gui and its companions have
103.12；韋心瀅，頁 044，圖 1.1 及 2；彭
been much discussed in the scholarly literature, and the
interpretations by different scholars vary slightly, largely 卿雲編，《中國文物精華大辭典：青銅卷》，
due to the fact that characters can be difficult to read. They 上海，1995 年，編號 0061）。
have recently, however, been researched in detail by Wei
Xinying (2015), writing from the Palace Museum, Beijing, who 本簋及另外幾件青銅器之銘文學術界已多
has been able to solve many of the previous uncertainties 有研究討論，不同學者之間說法亦稍有出
by studying these bronze inscriptions in connection with 入，主要由於其銘文頗為難辨所致。近年，
corresponding oracle bone inscriptions, which equally
學者韋心瀅博士（2015 年）通過研究追溯
mention the Renfang campaign.
這批青銅器銘文以及相關記錄有征伐夷方
的甲骨文，梳理並解開了過往的一些學術
疑團。

Fig. 1a Ritual vessel in the shape of a rhinoceros, Shang dynasty Fig. 1b Rubbing of the inscription of a ritual vessel
(approx. 1600–1050 BCE). China; probably Henan province. in the shape of a rhinoceros, Shang dynasty (approx.
Bronze. Asian Art Museum of San Francisco, The Avery 1600–1050 BCE). China; probably Henan province.
Brundage Collection, B60B1+. Photograph © Asian Art Museum Bronze. Asian Art Museum of San Francisco, The
of San Francisco. Avery Brundage Collection, B60B1+. Photograph
© Asian Art Museum of San Francisco.
圖一a 商小臣艅犀尊舊金山亞洲藝術博物館艾弗里•布倫戴
奇收藏 B60B1+ 圖片 © 舊金山亞洲藝術博物館圖一b 商小臣艅犀尊銘文拓片舊金山亞洲藝術博物
館艾弗里•布倫戴奇收藏 B60B1+ 圖片 © 舊金山
亞洲藝術博物館
The 34-character legend on the present gui follows a 本簋銘文共 34 字，屬同類銘之典型格式，

characteristic pattern. It begins with a cyclical date and ends 以干支起首，月份作結，內容包括以貝朋
with a calendar date; it mentions a bestowal of cowries, 作為賞賜（貝朋為商代主要貨幣，受賞人
the main form of currency at the time, which often is
多以貝資鑄器，除此外亦見部分記錄賞賜
given as reason for the casting of a bronze, although some
inscriptions list gifts of jade or horses instead; there is a place 玉器或馬匹之例）；地名「上」，根據韋
name, Shang X, which Wei has identified as a region roughly 氏研究，其應位於今河南洛陽以北的濟源
corresponding to modern Jiyuan county north of Luoyang 附近；命令下達及賞賜執行者「」，
in Henan; it names a donor, Hua, who would have been a 應為當時的貴族或高級官員，奉王命行賞；
royal officer who made the gift on behalf of the king; it gives
獲賞者「小子□」，小子其名頗為難辨，故
the beneficiary of the gift, Xiaozi X, Xiaozi denoting some
official function, while the identifying character thereafter is
先以「□」代之；作器祭者「父丁」，父丁
considered illegible; as well as an ancestor, Father Ding, for 或為小子□之父或父輩；以及對於商王朝
whom the vessel was cast, who might have been the direct 征伐夷方這一重大軍事事件的記錄；全篇
father of the beneficiary or another relative of his father’s 最後以一個族徽結束，表明了小子□之隸
generation; further, it records the historical occasion, when 屬。
this happened, the campaign against the Renfang; and it
ends with a clan sign.
本簋銘文中的夷方實際寫為「尸方」，其中
The character fang in Renfang is a general term for foreign, 之「方」字，外族之統稱，多表敵對關係。
usually hostile tribes. The first character defining the name
of the tribe is more complicated to unravel. The character
「尸」字據學者考證應為「夷」之古字，故
on our bronze is believed to be 尸, a character today 「尸方」即為「夷方」。而部分殷墟甲骨文
pronounced shi, which in early texts, however, was used 中「尸」字時又頗近「人」字，故此學術
instead of 夷, yi, and in oracle bone inscriptions can look very 界亦有稱之為「人方」者。
similar to 人, ren. Thus, the tribe is variously referred to as
Yifang or Renfang. 通過梳理研究大量的相關資料，今可大體
Through the various records available, it has been possible 還原此次發生在商末的重要伐夷戰役。此
to reconstruct the campaign to have been a nine-month long 役應由商代最後一代帝王帝辛率軍親征，
expedition undertaken by Di Xin, who himself embarked on
A rubbing of the current lot’s inscription illustrated in Liu Tizhi, Xiaojiaojingge jinwen taben [Rubbings of archaic bronze inscriptions in the 歷時共九個月，與夷方交戰之地據學者考
Xiaojiaojingge], vol. 8, 1935, p. 40.
the lengthy journey to Renfang territory, which is considered
to have been a region covering parts of modern Shandong, 證可能位於今山東、安徽及江蘇部份地區。
本拍品銘文拓片著錄於劉體智，《小校經閣金文拓本》，卷8，1935年，頁40
Anhui and Jiangsu provinces. Wei has been able to compile 韋氏通過研究整理二十件相關甲骨及青銅
a kind of time-line of the nine months the expedition lasted, 器，排譜出此役之經過始於帝辛十四祀，至
by reconstructing its progress through twenty inscriptions on 十五祀結束。本簋銘文按時間可排至十四祀
oracle bones and bronzes. She has established the campaign
末，如按前述帝辛提定在位時間為準，則可
to have begun in the 14th ritual cycle (roughly equivalent to a
斷為約公元前 1072 年（另可參考

The style of our gui is characteristic of the metropolitan 本簋風格屬商代晚期安陽典型。此風格後
bronze making tradition of Anyang in Henan in the late phase 延續至西周。韋氏（2015 年，頁 046，圖
of the Shang period, a style that continued into the Western 5）曾將本器與其他三件同時期的青銅簋
Zhou. Wei (2015, p. 046, fig. 5) compares the present piece,
作以比較：其一出土自安陽殷墟劉家莊北
to three other gui that can be attributed to Di Xin’s reign: one
excavated from a tomb at Liujiazhuang Locus North, Yinxu, 地，形制與本簋非常相近，唯無垂珥；另
Anyang, which is very similar overall, but lacks the pendant 外兩件紋飾與本器相異，但均作垂珥：其
flanges of the handles; and two with different decoration but 一即為前述賽克勒藏簋，其二同出自劉家
showing these flanges, which are otherwise characteristic of 莊墓。另可參考一簋例，器型紋飾與本品
the early Western Zhou period: the Sackler gui mentioned
相近，但作鉤形垂珥，亦出自賽克勒收
above, and a second gui from the same Liujiazhuang tomb.
A similarly shaped and decorated gui, but with indented 藏，圖載於傑西卡•羅森，《Western Zhou
flanges, also from the Sackler collection, is illustrated in Ritual Bronzes from the Arthur M. Sackler
Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur Collections》，華盛頓，1990 年，編號 42，
M. Sackler Collections, Washington, D.C., 1990, no. 42, where 羅森斷代商末或西周初，並與陝西及河南
it is attributed to the late Shang or early Western Zhou and
出土的三件西周初例作以比較，圖 42.1-
compared to three related excavated pieces of the early
Western Zhou from Shaanxi and Henan, figs. 42.1-3. Gui were
3。簋，古之禮器，用以盛載食物之用，
ritual vessels for offerings of grain, whose wide open shape 其形闊口深腹，宜於作較長銘文。
made them ideally suited for long inscriptions.
Di Xin, the last Shang ruler, who lost the battle of Muye
帝辛，商代最後一位君王，後世多稱其為
against the Zhou and with it the rulership of his dynasty, 紂王，牧野之战敗於周，致商代覆亡。帝
is in historical records treated overwhelmingly negatively. 辛其人，在位期間雖有一些明治之舉，如
Although he is granted with having initiated fairly advanced 重視經濟及社會改革等，但大多史書記載
economic and social policies, he is generally depicted as 其暴虐奢侈，貪酒好色，學者吉德煒更曾
aggressive, cruel, extravagant, given to drinking and women,
and is described by Keightley (Loewe & Shaughnessy
以「墮落」一詞形容帝辛（魯惟一及夏含
Fig. 2a Bronze you, Shang Dynasty. © Hakutsuru Fine Art Museum Fig. 2b A rubbing of the inscription of the bronze You, Shang Dynasty, 夷，1999 年，頁 233）
。據商末甲骨文記
in Hakutsuru Fine Art Museum, illustrated in Luo Zhenyu, Sandai jijin 1999, p. 233) as ‘depraved’. Yet he is also characterized
圖二a 商小子卣 © 白鶴美術館 wencun [Surviving writings from the Xia, Shang, and Zhou dynasties], as courageous, confident, strong and an excellent hunter. 載，狩獵為商帝王的重要官方活動。帝辛
vol. 8, 1937, p. 33. Imperial hunts of tiger, rhinoceros and deer formed an 據傳驍勇善戰，力大過人，尤擅獵。北京
important part of a Shang king’s official activities and are 國家博物館收藏一件作冊般黿，背部插四
圖二b 小子卣銘文拓片著錄於羅振玉，《三代吉金文存》，
recorded on animal bones of Period V. An extraordinary
卷8，1937年，頁33 箭簇，極為少見（見韋心瀅，頁 044，圖
bronze figure of a turtle with four arrowheads in its carapace
is preserved in the National Museum of China, Beijing, 1.2）
。據其銘文可知所記應為商王帝辛獵
which commemorates Di Xin’s feat of hitting a soft-shell 黿於洹。武王征商的這段歷史亦以銘文的
turtle with his arrows and is inscribed to the effect (see Wei 形式記載於周初的一件青銅簋上，名為利
Xinying, p. 044, fig. 1.2). The successful battle of Muye was 簋，現藏於北京國家博物館，見彭卿雲編，
year) of Di Xin’s reign, and to have ended in the 15th, with the 吉德煒於魯惟一及夏含夷，1999 年，頁
commemorated by the Zhou in an inscription on an early
date of the present vessel falling at the end of cycle 14 which, 248，注 26）
。高古青銅器中能夠斷代至如前述出處，編號 0363。
Western Zhou bronze gui, also in the National Museum of
if the dates assumed for king Di Xin’s reign are correct, would 此準確者，實為極罕。 China, see Peng Qingyun, op.cit., no. 0363.
be equivalent to c. 1072 BC (see also Keightley in Loewe & 本簋銘文至少於 1935 年已被學術界所關注
Shaughnessy, 1999, p. 248, note 26). It is extremely rare that The inscription on this Xiaozi X gui has been known and
據貝格利（1987 年，頁 525-530）論述，並研究，其拓本更是被許多重要的青銅器
an archaic ritual bronze vessel can be dated so precisely. studied since 1935, but the vessel itself had not been
包含歷史事件的青銅器銘大多僅為大事記 published until very recently, except in the 1970 Hauswedell
書籍所收錄。然而此器本身在 1970 年見於
While according to Bagley (1987, pp. 525-530), such historic Hauswedell 拍賣之後，直至近時才再次現
時，不一定與製器或其物主有直接的關聯。 auction catalogue.
events mentioned on bronzes are often given only as markers
of time and are not necessarily related to the manufacture 而本簋銘文提及商王賞賜貝朋正是作為征身。今次出現望可為相關學術研究提供最
of the bronze or its owner, in the case of this gui, the gift of 伐夷方的獎賞，銘文中的小子□也直接參 Literature
為直觀的一手資料，從而有助於解決一些
cowries by the king appears to have been a direct reward 與了此次戰事，本器亦是正因此役而鑄。此前關於商末征伐夷方戰爭的待解問題。
Robert W. Bagley (Shang Ritual Bronzes in the Arthur M.
for services rendered during the Renfang campaign, that is, 據韋氏排譜記，此一戰商王朝軍隊兵分兩 Sackler Collections, Washington, D.C., 1987.
the person mentioned on the bronze, Xiaozi X, was directly 參考書籍
路，由白鶴美術館藏卣銘文中記載的小子 David N. Keightley, Sources of Shang History. The Oracle-
involved in the events and the casting of our vessel was a 羅伯特•貝格利，《Shang Ritual Bronzes in the
direct consequence of that historic episode. Wei infers that 率軍前部偵查，以輔王師，又以本簋銘 Bone Inscriptions of Bronze Age China, Berkeley and Los
Arthur M. Sackler Collections》
，華盛頓，1987
during the campaign, the Shang army was split into two 文中的小子□為統領，兵發一路，最終會 Angeles, 1978.
年
branches, which were led, respectively, by Xiaozi X, who is 師，合擊夷方。 David N. Keightley, ed., The Origins of Chinese Civilization, 吉德煒，《商代史料――中國青銅器時代的
named on the present gui, and Xiaozi Y, of the Hakutsuru you, Berkeley and Los Angeles, 1983.
甲骨文》，伯克利及洛杉磯，1978 年
as commanders. 貝格利在討論一件賽克勒收藏的公元前 Michael Loewe & Edward L . Shaughnessy, eds, The 吉德煒編，《中國文明的起源》，伯克利及洛
In connection with another 11th-century BC inscribed bronze 十一世紀青銅簋時（貝格利，1987 年，編 Cambridge History of Ancient China. From the Origins of 杉磯，1983 年
gui in the Sackler collection (Bagley 1987, no. 103) Bagley 號 103）
，曾引用一組以銘文可確切斷代至 Civilisation to 221 B.C., Cambridge, 1999. 魯惟一及夏含夷編，《劍橋中國上古史：從文
reproduces a list, first compiled by Chen Mengjia, of ten
商的十件青銅器及四件甲骨（最初由陳夢 Wei Xinying, ‘War against Yifang in the 15th Year of Dixin’s 明的起源到公元前 221 年》，劍橋，1999 年
bronze vessels and four bones of animals killed in royal
家整理）。此組器物中除了已提到的與征 Reign Recorded on Late Shang Bronzes in Overseas 韋心瀅，〈從流散海外殷末青銅器見帝辛十五
hunts, bearing inscriptions that can securely be attributed to
Collections’, Journal of National Museum of China, vol. 140, 祀征夷方史事〉，《中國國家博物館館刊》，期
the Shang, since they are naming a Shang sacrificial cycle. 伐夷方有關之器外，不見它者在銘文中對
2015, no.3, pp. 043-053.
Besides those already mentioned in connection with the 某個重要歷史事件有直接記載。 140，2015 年，期 3，頁 043 至 053
Renfang campaign, no other bronze he lists bears a direct
reference to a historic event.

193
AN IMPORTANT DOCUMENTARY ARCH AIC 商末或約公元前1072年小子□簋
BRONZE RITUAL FOOD VESSEL (GUI)
LATE SH ANG DYNASTY, PROBABLY C. 1072 BC 銘文：
癸巳賞小子□貝十朋在上隹𢦚令伐夷方
finely cast below the rim with a kuilong band centered by
□□用作文父丁尊彝在十月四
beast masks and interrupted by a pair of loop handles with
pendent tabs, the foot with a further kuilong band, the
interior cast with an inscription translating to ‘On the guisi 來源
day Hua rewarded Xiaozi X ten peng of cowries at ShangX. It 愛新覺羅盛昱 (1850-1899) 收藏
was that he had been ordered to mount a military campaign Dr. Ernst Hauswedell，漢堡，1957年12月9日，編號4
against X of Yifang. He used it to make this sacrificial vessel Dr. Ernst Hauswedell，漢堡，1970年5月23日，編號1
to honour Father Ding. At the fourteenth month, ju’
Sammlung Gottfried Hertel (1925-2019) 收藏
Width 11⅛ in., 28.3 cm
PROVENANCE 出版
Collection of Aisin Gioro Shengyu (1850-1899). 王辰，《續殷文存》，卷上，1935年，頁49
Dr. Ernst Hauswedell, Hamburg, 9th December 1957, lot 4. 劉體智，《小校經閣金文拓本》，卷8，1935年，
Dr. Ernst Hauswedell, Hamburg, 23rd May 1970, lot 1. 頁40
Collection of Sammlung Gottfried Hertel (1925-2019). 羅振玉，《三代吉金文存》，卷8，1937年，頁33
LITERATURE 赤塚忠，《稿本殷金文考釋》，1959年，頁679
Wang Chen, Xuyinwencun [Continuation of the surviving 沈之瑜，〈介紹一片伐人方的卜辭〉，《考古》，
writings from the Yin dynasty], vol. 1, 1935, p. 49. 北京，1974年，期4，頁263（無圖）
Liu Tizhi, Xiaojiaojingge jinwen taben [Rubbings of archaic 晏琬，〈北京、遼寧出土銅器與周初的燕〉，
bronze inscriptions in the Xiaojiaojingge], vol. 8, 1935, p. 40. 《考古》，北京，1975年，期5，頁277，圖4
Luo Zhenyu, Sandai jijin wencun [Surviving writings from the
赤塚忠，《中國古代の宗教と文化 : 殷王朝の祭祀》
Xia, Shang, and Zhou dynasties], vol. 8, 1937, p. 33.
Kiyoshi Akatsuka, Gaoben yinjinwen kaoshi [Manuscripts on
，東京，1977年，復刻版，1990年，頁679
the study of bronze inscriptions of Yin], 1959, p. 679. 嚴一萍，《金文總集》，台北，1983年，編號2654
Shen Zhiyu, ‘Jieshao yipian fa renfang de buci [Introducing 中國社會科學院考古研究所編，《殷周金文集成釋
an oracle bone inscription on the battle of Yifang]’, Kaogu, 文》，卷3，香港，2001年，編號4138-9
Beijing, 1974, no. 4, p. 263 (unillustrated). 王獻唐，《國史金石志稿》，青島，2004年，編號
Yan Wan, ‘Beijing, Liaoning chutu tongqi yu zhouchu de yan
[Bronzes excavated from Beijing and Liaoning and the Yan
1548
state in the early Zhou dynasty]’, Kaogu, Beijing, 1975, no. 5, 中國社會科學院考古研究所編，《殷周金文集成》，
p. 277, fig. 4. 北京，2007年，編號04138
Kiyoshi Akatsuka, Chūgoku kodai no shūkyō to bunka—In 吳鎮烽，《商周青銅器銘文暨圖像集成》，卷11，
Ōchō no saishi [Religion and culture in ancient China—The 上海，2012年，編號05128
rituals of the Yin royal court], Tokyo, 1977, reprint, 1990, p.
嚴志斌編，《商代青銅器銘文分期斷代研究》，上，
679.
Yan Yiping, Jinwen Zongji, [Corpus of Bronze Inscriptions], 北京，2014年，頁0452
Taipei, 1983, no. 2654. 韋心瀅，〈從流散海外殷末青銅器見帝辛十五祀征
The Institute of Archaeology, Chinese Academy of Social 夷方史事〉，《中國國家博物館館刊》，北京，2015
Sciences, ed., Yinzhou jinwen jicheng shiwen [Interpretations 年，期3.圖5-1及6
of the compendium of Yin and Zhou bronze inscriptions], vol.
3, Hong Kong, 2001, no. 4138-9.
Wang Xiantang, Guoshi jinshizhi gao [Manuscript of archaic
bronze in Chinese history], Qingdao, 2004, no. 1548.
The Institute of Archaeology, Chinese Academy of Social
Sciences, Yinzhou jinwen jicheng [Compendium of Yin and
Zhou bronze inscriptions], Beijing, 2007, no. 04138.
Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang
jicheng [Compendium of inscriptions and images of bronzes
from Shang and Zhou dynasties], vol. 11, Shanghai, 2012, no.
05128.
Yan Zhibin, ed., Shangdai qingtongqi mingwen fenqi duandai
yanjiu / The Dating Study of Bronze Inscriptions of the Shang
Dynasty, vol. 1, Beijing, 2014, p. 0452.
Wei Xinying, ‘War against Yifang in the 15th Year of Dixin’s
Reign Recorded on Late Shang Bronzes in Overseas
Collections’, Journal of National Museum of China, Beijing,
2015, no. 3, fig. 5-1 and fig. 6.
$ 600,000-800,000

194
A VERY R ARE ARCH AIC BRONZE RITUAL Two zun of this type in the National Museum of Asian Art,
WINE VESSEL (ZUN) Smithsonian Institution, Washington D.C., are illustrated
in ibid., vol. IIB, pls 85 and 86, the first decorated with two
EARLY WESTERN ZHOU DYNASTY
ram’s heads and illustrated with two further examples, figs
well cast with the bulging central section rising from a 85.1 and 85.2, the second with a plain surface; and two
splayed foot to a trumpet neck with an everted rim, adorned undecorated zun are illustrated in Jung Keng, ‘The Bronzes
simply with three raised plain bands encircling the body, of Shang and Zhou’, Yenching Journal of Chinese Studies,
inscribed to the interior with an eight-character inscription Monograph Series no. 17, 1941, pls 523 and 543, together
reading Xi (possibly) Zhong zuo fu yi bao zun yi, the surface with one with a handle, pl. 532.
with malachite encrustation, Japanese wood boxes (5)
Height 8 in., 20.2 cm $ 80,000-120,000
PROVENANCE
Christie’s Hong Kong, 1st December 2010, lot 3218. 西周初青銅素帶尊
This lot is accompanied by a certification note written by
銘文：
Zoroku Hata III in 1936. The box is inscribed with a note by
Uzan Nagao (1864-1942) in the same year.
奚 (疑似) 仲作父乙寶尊彝
This vessel is particularly unusual for its minimalist design,
來源
lacking surface decoration except for three raised ribs. Zun
of this type are discussed by Jessica Rawson in Western
香港佳士得2010年12月1日，編號3218
Zhou Ritual Bronzes from the Arthur M. Sackler Collections,
Washington D.C., 1990, p. 67, where she notes that plain 附三世藏六丙子年 (1936年) 鑑定書
vessels were recovered in the area of the Xing fief in Yuanshi 日本盒蓋內長尾甲同年題識
county, Hebei province, and are datable to the latter part
of the early Western Zhou period. Richly decorated vessels
were also excavated at this site, suggesting that the two
styles coexisted.

196
AN ARCH AISTIC BRONZE VESSEL AND COVER PROVENANCE
(JIAO) New England Private Collection, acquired between the 1950s
QING DYNASTY and 1980s.
heavily cast with a U-shaped body supported on tall splayed

$ 6,000-8,000
legs rising to a flaring rim terminating in two opposing points,
cast around the exterior with a taotie band divided by three
vertical flanges and a leonine-headed loop handle, the inner 清銅仿古饕餮紋角連蓋
rim inscribed with a character, the cover cast with a phoenix
finial with stylized wings, the green patina covered with 來源
malachite encrustation (2)
新英格蘭私人收藏，得於1950年代至1980年代之間
195
A BRONZE RITUAL FOOD VESSEL (GUI) PROVENANCE
LATE SH ANG / EARLY WESTERN ZHOU Freeman’s, Philadelphia, 1983.
DYNASTY Pennsylvania Private Collection.
the deep rounded body with an everted rim all raised on a

$ 20,000-30,000
tall splayed foot, the band below the rim cast with kuilong
in profile against a leiwen ground and punctuated by three
taotie masks in high relief, the body with a repeating leiwen 商末 / 西周初天黽父癸簋
diamond pattern with each unit centered by a protruding
boss, the foot encircled by a further band of low-relief
銘文：
archaistic ‘dragon’ patterns, the interior cast with three 天黽父癸
characters tian min fu gui, the bronze with a green patina
and a few patches of malachite and russet-toned oxidation 來源
to the interior and exterior surfaces, the pierced wood cover Freeman’s，費城，1983年
surmounted by a grayish jade finial (2)
賓州私人收藏

197 199
AN ARCH AIC BRONZE HORSE A GILT-BRONZE FIGURE OF BUDDH A
H AN DYNASTY NORTHERN WEI DYNASTY, DATED ZHENGSHI
standing foursquare, the neck held high with the head FOURTH YEAR, CORRESPONDING TO 507
directed forward with an alert expression including bulging
modeled standing before a flame-shaped mandorla on a
eyes, flaring nostrils, pricked ears, and the lips pulled back,
splayed lotus base above a four-legged plinth, the plinth
the bound tail lifted energetically, the body hollow-cast, the
chased with a grid pattern with each unit enclosing a
pale green patina with malachite and azurite inclusions
small circle, the figure adorned in long flowing robes, the
Length 9¼ in., 23.5 cm
right hand held against the chest, the left lowered, the
PROVENANCE hair swept up into a topknot framed by a circular halo
with radiating lotus petals on the mandorla, the mandorla
Collection of Arthur M. Sackler (1913-1987).
further decorated with a border of lotus petals and swirling
Christie’s New York, 1st December 1994, lot 46.
flames extending up to the pointed tip, the reverse incised
Chen Chi Collection, Tokyo.
with a seated Buddha in a shrine, all above a dedicatory
Private Collection.
inscription dated to the fourth year of the Zhengshi period,
corresponding to 507
Height 7¼ in., 18.3 cm
$ 10,000-15,000
PROVENANCE
Collection of Win Nathanson, acquired in the 1950s-60s.
漢青銅馬
來源 $ 20,000-30,000
亞瑟•M•賽克勒 (1913-1987) 收藏
紐約佳士得1994年12月1日，編號46 北魏正始四年（507年）銅鎏金佛立像
Chen Chi 收藏，東京
私人收藏銘文：
紐約佳士得2006年9月19日，編號154 正始四年正月廿十日羊伯孫夫妻倦屬造像一佢
197 來源
Win Nathanson 收藏，得於1950年代至1960年代
198
PROPERTY OF A GENTLEMAN
A GILT-BRONZE ‘MYTHICAL BEAST’ WEIGHT

H AN - SIX DYNASTIES
crouching with the muscular body twisting sharply and the
head turned to one side, the face with a menacing expression
with the mouth open, the lips curling back in a snarl, and the
eyes wide, a pair of ridged horns pressing against the neck,
tufts of fur covering the body and sweeping outward from
the elbows, a pair of feathered wings tucked against the
torso, wood stand (2)
Length 2¼ in., 5.7 cm
PROVENANCE
Von Bergen Auction, Scranton, 1958.
Collection of Robert L. Shalkop (1922-2008), and thence by
descent.
$ 15,000-20,000
漢至六朝銅鎏金瑞獸形鎮
來源
Von Bergen Auction，斯克蘭頓，1958年
Robert L. Shalkop (1922-2008) 收藏，此後家族傳承 198

200
PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE Compare a closely related example attributed to the Jin
COLLECTION dynasty, similarly cast in a seated position with one claw
A R ARE BRONZE FIGURE OF A CROUCHING raised grasping a cloud wisp and tail curled upward behind
the back, discovered in Acheng, Heilongjiang province, now
DR AGON
in the Heilongjiang Museum, Harbin, exhibited in Zhongguo
JIN DYNASTY jiyi. Wuqiannian wenming guibao [The Chinese Memory.
cast seated on three powerful legs, its left forepaw raised Treasures of the 5000-year Civilization], Capital Museum,
above cloud vapor, the ferocious head detailed with a long Beijing, 2008, cat. no. 59. A smaller example, with the left
curled horn above large protruding eyes and a long upturned claw raised to support a ‘Flaming Pearl’ from the Junkunc
snout exposing sharp fangs and a curled tongue, the sinewy Collection, was offered in these rooms, 10th September
body with long flowing flames issuing from its shoulders, its 2019, lot 231.
spine trailing to a upturned curving tail
Height 7½ in., 19.2 cm $ 20,000-30,000
PROVENANCE
Alvin Lo & Co., Hong Kong, 28th September 1992. 金銅坐龍
來源
春源齋，香港，1992年9月28日
201
A PAIR OF PARCEL-GILT SILVER FOLIATE- Boxes decorated with phoenix design are rare. Compare
FORM ‘PHOENIX’ BOXES AND COVERS the phoenix design to that on a Tang silver bowl excavated
from Hejia village, Xi’an, Shaanxi province, exhibited
TANG DYNASTY
in HuawudaTangchun. Hejiacun yibao jingcui [Selected
each of generally circular section with the undulating sides Treasures from Hejiacun Tang hoard], Shaanxi History
divided into four bracket foliations, the central panel of each Museum, Xi’an and the School of Archaeology and
box and cover worked in repoussé with a phoenix in motion, Museology at Peking University, 2003, cat. no 40.
the wings and legs outstretched and the long tail sweeping Marvin Sadik was a scholar of American art, who served as
overhead, a leafy fruiting vine twisting along the edges, the the director of the National Portrait Gallery, Smithsonian
bird and vine gilded and set against a ring-punched ground, Institution, Washington, D.C., the Bowdoin College Museum
the sides chased with a continuous band of scrollwork picked of Art, Brunswick, Maine, and the University of Connecticut
out in gilt (4) Museum of Art, Mansfield, Connecticut. Dr. Sadik became
Width 2¾ in., 7 cm director (1969-1981) of the National Portrait Gallery just
one year after the museum opened to the public, and his
PROVENANCE
achievements there included expanding the collection
Collection of Marvin Sadik (1932-2013). to over 2,000 artworks, acquiring important presidential
portraits by Gilbert Stuart, persuading the U.S. Congress to
pass legislation allowing the museum to collect photography,
and mounting pathbreaking exhibitions devoted to African
Americans and other subjects.
$ 15,000-20,000
唐銀局部鎏金鳳紋菱花式蓋盒一對
來源
Marvin Sadik (1932-2013) 收藏

TANG GOLD AND SILVER: CURRENCY OF
INFLUENCE, RECOGNITION AND TRIBUTE
AT THE COURT
R EG I N A K R A H L
權位榮華：唐代金銀器
康蕊君
Gold and silver are eternal symbols of wealth and luxury and 金、銀在曆朝歷代均為榮華富貴的代表，而
were coveted in every period, but perhaps never more so 唐代王族權貴對金銀的推崇則無疑更甚。本
than at the court and among the elites of the Tang dynasty
盌銀製，作局部鎏金，金飾厚重，紋飾瑰麗，
(618-907). This silver bowl, with its rich gilding and the
baroque opulence of its decoration, is an archetypal work of 若見巴洛克繁縟藝風，屬大唐經典，絕冠之作。
the period.
金銀器貴重，除用於大唐宮廷宴會等場合外，
Gold and silver vessels were of course used at court, at 其更重要作用在於作為皇室禮贈，用以賞賜
banquets and in many other ways, but possibly even more 政戰功臣、贈予來訪使節，繼而亦成為外邦
important was their utility as gifts. They were ideally suited
as imperial rewards for meritorious officials and as presents
進獻、朝臣上供的理想佳品。如唐玄宗於公
to foreign envoys and, in turn, as tributes to the Emperor 元 751 年曾賞賜當時尚未叛變的安祿山平亂
from foreign courts and as respectful presentations to the 有功，賜其長安大宅，府邸「裝潢無比富麗，
ruler from the officialdom throughout the Empire. General An 備金銀器等」（薛愛華，《撒馬爾罕的金桃》，
Lushan, for example, who prior to his rebellion had been held 伯克利 / 洛杉磯，1963 年，頁 137）
。
in high regard by the Emperor Xuanzong (r. 713 – 756), was in
751 lavishly rewarded for a successful military campaign with,
貴重金屬雖在中國本土即有礦場開採，然而
among other things, a fine house in the capital “furnished with
the richest objects, such as gold and silver utensils” (Edward
產量供不應求，故亦有進口。金銀器雖製於
H. Schafer, The Golden Peaches of Samarkand, Berkeley/Los 宮廷，然民間多有能工巧匠，出品品質甚至
Angeles, 1963, p. 137). 可與御品相比，在河南、安徽、江蘇、江西、
浙江及廣西等地均有巧手匠人，既出成品上
Precious metals were mined within China, but local deposits
貢朝廷，亦奉御令專嗣製作。首都長安以及
were insufficient to fulfil the demand, thus they were also
imported. Gold and silver utensils were made in imperial 富庶之地如商務港口江蘇揚州等，均有商鋪
workshops, but often to a similar standard also in many 售賣金銀器。唐代金銀器分銷廣泛，風格多
private manufactories in various regions. Gold and silver- 元豐富，然傳世者甚罕，想必是貴重金屬器
smiths are recorded to have been active in Henan, Anhui, 常因材料短缺時而遭熔毀所致。
Jiangsu, Jiangxi, Zhejiang and Guangxi, and not only tributes
to the court but even imperial orders could be fulfilled by local
金銀器於唐代之前早已在中國出現，而中西
artisans. Precious metal shops selling gold and silver vessels
operated of course at the capital, Chang’an (Xi’an in Shaanxi),
亞金屬器數百年來因沿絲路的傳入，則為本
and in affluent towns such as Yangzhou in Jiangsu, one of the 土金銀工藝帶來了更多創新與生命力。薩珊
main trading ports. The wide distribution of manufacturing 王朝（224-651 年）的金銀匠人以所製器壁纖
centers of gold and silver wares in the Tang period gave rise to 薄而聞名，其局部鎏金銀器更尤為出眾，金
a wide spectrum of styles. That Tang precious metal vessels 銀交相輝映，令人驚嘆。可以推測，因此類
are nevertheless very rare today, is undoubtedly due to the
銀器經商路傳入，相應特殊製作工藝風格亦
fact that many were molten down, at times when the metals
were scarce.

Gold and silver working was nothing new in the Tang dynasty, 得以在中國推廣，其紋飾通常雖看似鏨成，
but the craft was revived and invigorated through the influx of 實則是由連續擊打而成的短道組成連貫線條。
wares from Central and Western Asia via the Silk Road in the
centuries before. Sassanian (224 – 651) gold and silversmiths 本品器形華美，紋飾富麗而鎏金厚重，屬大
working in Iran were renowned for their thin-walled beaten
唐銀器經典，珍稀無比，同時亦有諸多獨特
utensils of precious metals, in particular their parcel-gilt silver
wares, which use the juxtaposition of the two metals to strik- 之處。其內作局部鎏金，以突出紋飾效果，而
ing effect. It was probably such wares imported by foreign 外則通體鎏金，尤為罕見。因其外壁鎏金瑰麗，
merchants, which introduced this technique that until then 連及底部與盌足，故可推斷，內壁未施全金
had hardly been employed in China. The way the designs are 乃為故意營造金銀輝映之美，而絕非惜材所
created also follows an Iranian method. The outlines of the
致。
motifs are not, as may seem the case, engraved, but created
through impressions, in the same way as the ring-punched
background, in this case by a continuous series of punches in
本盌作花式，每瓣立體呈現，整體線條優美
form of short linear strokes. 流暢，極具大唐風範。同期陶瓷藝匠亦曾仿
效此類器形。本盌之花形獨見四瓣而非五或
With its exquisite shape, lavish decoration and rich gilding, the 六瓣，此類多被認作為海棠式，而盌足則如
present silver bowl stands firmly in the tradition of the best
蓮葉式，葉尖微曲，異常罕見。
Tang silverwares, yet it is in many ways unique. It is extremely
rare in being fully gilded on the outside, for example, rather
than only to high-light the designs, as on the inside. That
初看之下，盌心及盌壁外側紋飾抽象，難以
leaving part of the silver exposed was a deliberate decora- 辨認是何種花卉，而細看則可見藝匠所留下
tive choice to make use of the attractive gold-silver contrast, 的線索。外側花朵多瓣盛放，或單或雙，部
rather than a matter of economy, is convincingly documented 份花心帶蕊，部份可見種莢。觀察種莢及大
by the fact that the outside was so lavishly gilded that even 塊折葉可知，儘管花卉刻劃寫意，藝匠所描
the underside of the base and foot were included.
繪的應為蓮花無疑。
The shape, carefully beaten in proper flower form with lobed
petal tips as well as a shaped foot, rather than merely as an
indented circular bowl, is a distinctive Tang introduction,
which was of course much copied by contemporary potters.
The present bowl is unusual, however, in being four-petalled
rather than five- or six-lobed, a form often identified as bego-
nia-shaped, and extremely rare in showing a foot conceived
like a lotus leaf with curled-up tips.
The lush floral designs in the center and around the outside at
first glance look so highly stylized that the flowers may seem
unidentifiable, but a closer look reveals that the artisan has
given us distinct clues. On the outside, we see fully opened
flowers with many petals, some single, some double, some
still showing stamens in the center, while on others the pistils
are already transforming into seed pods. These seed pods
together with the large folded leaves leave no doubt that it is
lotus flowers, the artist had in mind, even if the blooms are
depicted with some degree of artistic license.
The flowers cascading down from the rim in between, at the

four indents, are, however, distinctly different. They show
the same detailing as the design in the center of the bowl
and around the inside rim. In the center, we see a wide open
flower flanked by fan-like leaves together with a still closed
flower reminiscent of a peacock tail or that of the Buddhist

Line drawings of the current lot Illustrated in Bo Gyllensvärd, ‘T’ang Gold and Silver’, Bulletin of the Museum of Far Eastern Fig. 1a-c Line drawings of a silver bowl, Tang Dynasty, formerly in the Carl Kempe Collection. Illustrated in Bo Gyllensvärd,
Antiquities, Stockholm, 1957, figs 85d and 96h. ‘T’ang Gold and Silver’, Bulletin of the Museum of Far Eastern Antiquities, Stockholm, 1957, figs 85c and 96a and i.
本拍品紋飾線描圖著錄於喜龍仁，〈 T’ang Gold and Silver〉，《Bulletin of the Museum of Far Eastern Antiquities》，圖一a-c 唐銀盌紋飾線描圖著錄於喜龍仁，〈 T’ang Gold and Silver〉，《Bulletin of the Museum of Far Eastern
斯德哥爾摩，1957年，圖 85d及96h Antiquities》，斯德哥爾摩，1957年，圖 85c及96a及i
kalavinka on some Tang silverwares. Here, the artist also gave 而在每朵蓮花之間可見另一種花卉，由盌口 lotus and pomegranate designs very similar to those on the 1953 年，圖版 115），連蓋，售於倫敦蘇富
a hint for the identification: the center of the open flower is 垂散而下，與盌心及盌內口沿紋飾細節相近。 present bowl, although the pomegranate motifs even include
比 2008 年 5 月 14 日，編號 64，其蓮紋及
here also developing into a fruit, in this case a pomegranate. small fruits (see line drawings in Gyllensvärd 1957, figs 85c
盌心見作一朵大花盛放，花外扇形葉紋圍繞，石榴紋飾與本品非常相近，唯石榴紋並帶小
While the lotus had become a prime decorative motif with the and 96a and i) (fig. 1a-c).
introduction of Buddhism, the pomegranate was at the time 並飾一花苞，宛如孔雀尾羽，亦如佛教迦陵果（見線描圖，喜龍仁，1957 年，圖 85c 及
probably still an exotic fruit associated with Persia, whose 頻伽，後者可見於同期銀器之上。此處藝匠 The Balin bowls are generally thought to date from the late 96a 及 i）（圖一 a-c）。
cultivation especially in north China was not yet secured. 亦留予線索：盌心之花果實初萌，乃為石榴。 8th or early 9th century. Han (1989) attributes them to a
蓮花自佛教傳入中國後成為佛教中常見紋飾 group III and the present bowl a group IV of Tang gold and 一般認為，此組作例製於八世紀晚期或九世
Parcel-gilt silver vessels decorated in a related style, with silver wares, which he settles on either side of an 820/21
題材，而石榴在當時則屬波斯異果，尚未於紀初期。韓偉（1989 年）曾定義上述組例為
stylized flowers with opulent blooms high-lighted in gilding, divide. This, therefore, should be close to the actual dating
but in repoussé and often in combination with animals, birds 中國北方成功種植。 of our bowl. He places in the same group IV a circular bowl in
唐代金銀器之第三組，本盌則屬第四組，斷
or fish in the center, began to appear in the 8th century and the Yamato Bunkakan, Nara, with a continuous floral design 代公元 820/21 年左右，故本品年代應近於此。
have been discovered, for example at the former Daminggong 相近風格飾以華麗抽象花紋並配鎏金、且盌 of related style (illustrated in a line drawing, Han 1989, fig. 韓偉認為第四組並包括一盌例，現藏於奈良
palace site near Xi’an and in hoard finds in the Liaoning/Inner 心以鏨花技術飾鳥獸魚紋的同類局部鎏金銀 147); and a silver-gilt bowl cover and a quatrefoil dish from a 大和文華館，花卉紋飾風格相近（圖見於一
Mongolia region, and are preserved in the Shōsō-in, the store- 器始見於八世紀，曾出土自西安大明宮遺址， hoard at Yangjiagou, Lantian, Shaanxi (Han 1989, figs 153 and 線描圖，韓偉，1989 年，圖 147）；另可比較
house at the Tōdai-ji, Nara, Japan, preserving belongings of 167), which also included a parcel-gilt silver box dated in ac-
以及遼寧、內蒙區域，亦有作例原為日本聖一盌蓋及盤兩作例，出土於陝西藍田縣楊家
Emperor Shōmu (r. 724 – 749) (see Han & Deydier 2001, pls cordance with 866 (the dish also illustrated in Han & Deydier
305, 313, 318-321; and Shōsō-in no hōmotsu, Tokyo, 1989, pl. 武天皇（724–749 年在位）御藏，現存於奈 2001, pl. 397). 溝（韓偉，1989 年，圖 153 及 167）
，及一局
113). A few related motifs without repoussé can also be seen 良東大寺正倉院（參考韓偉及戴克成，2001 年，部鎏金銀盒例，斷代公元 866 年（盤亦載於
among the Hejiacun hoard, the gold and silver treasure of 圖版 305、313、318-321；《正倉院の寶物》, Gyllensvärd (1957, figs 95 s, t and x) also publishes line draw- 韓偉及戴克成，2001 年，圖版 397）。
Prince Bin, cousin of the Xuanzong Emperor, that was buried 東京 , 1989, pl. 113）
。另比數例，紋飾相近， ings of flower scrolls engraved in stone, ranging in date from
near Xi’an, probably as the imperial family fled the An Lushan 780 to 841, showing a similar treatment of the pomegran-
但無鏨花，出土於何家村窖藏。此窖藏或為喜龍仁（1957 年，圖 95 s、t 及 x）並載數幅
rebellion in 755 (e.g. Han & Deydier 2001, pl. 386). ate motif. The gold and silver vessels donated to the Famen
邠王府中之物，因公元 755 年安史之亂所埋 Temple in Fufeng county, Shaanxi, prior to 874, however, are
石刻纏枝花卉紋飾線描圖，斷代公元 780 至
These rich gilded flower designs on a silver ground reached （例見韓偉及戴克成，2001 年，圖版 386）。 already quite different in style, with only a vague echo of these 841 年之間，與本盌石榴紋飾處理手法相近。
their baroque maturity, however, only somewhat later, in the earlier flower designs still noticeable on some vessels (e.g. 而另見一批於公元 874 年之前捐贈予陝西扶
9th century. The famous group of five-lobed silver bowls, 此類銀地鎏金花卉紋飾成熟並盛於九世紀晚 Han and Deydier 2001, pls 649 and 670). 風縣法門寺的金銀器，其風格已經截然不同，
with and without covers, reputedly found in 1930 in Balin in 期。比較一組著名五瓣銀盌例，見無蓋及連雖然在部份作例之上仍可大體辨認，但與早
the Eastern Mongolia/Liaoning region, and today dispersed Close comparisons to the present bowl as a whole are, how-
蓋兩類，據傳 1930 年出土於內蒙古東部近前之花卉紋飾呼應甚微（例見韓偉及戴克成，
over several Western collections, is decorated in a very similar ever, difficult to find. The closest perhaps is a parcel-gilt silver
style with floral designs only, but without ring-matting in the 遼寧的巴林地區，現時散落於數個西方收 bowl of circular shape, now in the Uldry collection, which is 2001 年，圖版 649 及 670）
。
background. A covered bowl from this group, formerly in the 藏，紋飾風格極近，然僅飾花卉，無魚子紋 decorated with a continuous design of related flowers and
Carl Kempe Collection (Gyllensvärd 1953, pl. 115) and sold in 地。其中一例曾屬卡爾坎普收藏（喜龍仁， some butterflies on the outside and striations on the foot 整體而言，與本品相近之作例少之又少，最
our London rooms, 14th May 2008, lot 64, for example, shows evoking a leaf shape, all fully covered in gilding, a repoussé 接近者，或為一件銀局部鎏金盌例，現藏於

Fig. 2. A Large Parcel-Gilt Silver Bowl, Late Tang Dynasty. illustrated in Inaugural Exhibition. Chinese Ceramics and Works of Art, J.J. Lally &
Co, New York, 1986, cat. no. 40.
圖二唐末銀局部鎏金盌著錄於《Inaugural Exhibition. Chinese Ceramics and Works of Art》，藍理捷，紐約，1986年，編號40
fish among flowers in the center, and a similar flower design Uldry 收藏，外壁飾相類花卉及蝴蝶紋飾，盌
on a ring-punched ground on the base (Chinesisches Gold 足亦如葉形，遍飾鎏金，盌心飾花魚紋，底
und Silber: Die Sammlung Pierre Uldry, Museum Rietberg,
部飾相近花卉紋及魚子紋地（《Chinesisches
Zurich, 1994, cat. no. 146, and Inaugural Exhibition. Chinese
Ceramics and Works of Art, J.J. Lally & Co, New York, 1986, cat. Gold und Silber: Die Sammlung Pierre Uldry》
，里
no 40) (fig. 2). Compare also a circular silver bowl in the Met- 特貝格美術館，蘇黎世，1994 年，編號 146
ropolitan Museum of Art, New York, with related flowers and 及《Inaugural Exhibition. Chinese Ceramics and
ducks on the outside and a repoussé deer inside, included in Works of Art》，藍理捷，紐約，1986 年，編
the exhibition Treasures from the Metropolitan Museum of Art,
號 40）（圖二）。另比紐約大都會藝術博物
China Institute, New York, 1979, cat. no. 20; and another in the
Indianapolis Museum of Art, with a gilt center with a formal- 館收藏一銀盌例，外壁飾相近花卉及瑞鴨
ized flower roundel, and gilt floral medallions on the outside, 紋，內飾鹿紋，曾展於《Treasures from the
in the exhibition The Arts of the T’ang Dynasty, Los Angeles Metropolitan Museum of Art》，華美協進社，紐
County Museum, Los Angeles, 1957, cat. no. 335. 約，1979 年，編號 20；另一例收藏於印第安
Literature
納波利斯藝術博物館，盌心飾鎏金抽象團花
紋，外飾鎏金團花，曾展於《 The Arts of the
Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe
Collection, Stockholm, 1953. T’ang Dynasty》，洛杉磯郡藝術博物館，洛杉磯，
1957 年，編號 335。
Bo Gyllensvärd, ‘T’ang Gold and Silver’, Bulletin of the Museum
of Far Eastern Antiquities, Stockholm, 1957.
參考書籍
Han Wei, ed., Hai nei wai Tangdai jinyinqi cuibian [Compilation
喜龍仁，《Chinese Gold and Silver in the Carl
of Tang gold and silver vessels from inland and overseas],
Xi’an, 1989. Kempe Collection》，斯德哥爾摩，1953 年
Han Wei & Christian Deydier, Ancient Chinese Gold, Paris,
喜龍仁，〈T’ang Gold and Silver〉，《Bulletin of
2001. the Museum of Far Eastern Antiquities》
，斯德哥
爾摩，1957 年
韓偉編，《海內外唐代金銀器萃編》，西安，
1989 年
韓偉及戴克成，《Ancient Chinese Gold》，巴黎，
2001 年
148 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4

202
PROPERTY FROM THE JUNKUNC COLLECTION
A SUPERB AND IMPORTANT PARCEL-GILT

SILVER ‘LOTUS AND POMEGR ANATE’ BOWL
TANG DYNASTY
rendered in the shape of an open begonia flower, the widely
flaring sides divided into four lobes and rising to an everted
rim, all raised on a splayed foot of conforming shape, the
interior superbly engraved and gilt with a central medallion
enclosing an open flower issuing a small pomegranate and
flanked by fan-like leaves together with an elaborate stem
resembling a peacock tail, all reserved on a ring-punched
ground and framed within a lappet border, the interior rim
with a finely engraved and gilt band of further blooms on
a ring-punched ground, the exterior entirely chased with
a lush design of of single and double lotus flowers, some
fully in bloom, others transforming into seed pods, with
large fanning leaves, all reserved on a ring-punched ground,
above a band of overlapping lappets, the foot naturalistically
detailed as a furled lotus leaf, the exterior entirely gilt
Width 9½ in., 24.3 cm
PROVENANCE
Fritz Low-Beer & Co., New York, 8th February 1951.
Collection of Stephen Junkunc, III (d. 1978).
LITERATURE
Bo Gyllensvärd, ‘T’ang Gold and Silver’, Bulletin of the
Museum of Far Eastern Antiquities, Stockholm, 1957, no. 29,
pl. 20d and figs 42a, 85d and 96h.
Han Wei, ed., Hai nei wai Tangdai jinyinqi cuibian
[Compilation of Tang gold and silver vessels from inland and
overseas], Xi’an, 1989, fig. 141 (line drawing).
$ 1,000,000-1,500,000
唐銀局部鎏金石榴蓮花紋花式大盌
來源
Fritz Low-Beer & Co.，紐約，1951年2月8日
史蒂芬•瓊肯三世（1978年逝）收藏
出版
喜龍仁，〈T’ang Gold and Silver〉，《Bulletin of
the Museum of Far Eastern Antiquities》，斯德哥爾
摩，1957年，編號29，圖版20d及圖42a、85d及96h
韓偉編，《海內外唐代金銀器萃編》，西安，1989
年，圖141（線描圖）

204
PROPERTY FROM A NEW ENGLAND PRIVATE EXHIBITED Fine Arts, Boston, 1996, p. 111. For another
COLLECTION similar chair, see Nicholas Grindley, Pure Form:
Ming Furniture: Rare Examples from the 16th
A PAIR OF ‘HUANGHUALI’ and 17th Centuries, Grace Wu Bruce, London, Classical Chinese Furniture Vok Collection,
1999, cat. no. 11. Museum für Ostasiatische Kunst Köln, Munich,
CONTININUOUS YOKEBACK
2004, pl. 10.
ARMCH AIRS (NANGUANM AOYI) The restrained lines and minimal decoration
A pair of similar form, from the Richard Fabian
17TH CENTURY serve to heighten the statuesque proportions
Collection, was sold in these rooms, 15th March
and rich luster of the wood. The timber chosen
each with an elegantly arched crestrail flattened 2016, lot 7; another from the collection of Dr.
for its lively whorl patterns show huanghuali
in the center and curving down to join the S.Y. Yip was sold in our Hong Kong rooms,
wood at its best. The continuous yokeback
slightly backward sloping rear posts, secured 7th October 2015, lot 111; and a related pair
armchair is one of the most classic of the
with huangtong strap metal mounts, continuing with different aprons sold in these rooms, 15th
scholarly Ming forms; a similar armchair
through the frame to form the back legs, and March 2017, lot 581; and a single armchair with
with shaped aprons is illustrated in Robert
a matching well-figured wide rectangular a straight front apron sold in these room, 12th
D. Jacobsen and Nicholas Grindley, Classical
slightly bowed splat tenoned to the underside September 2018, lot 259.
Chinese Furniture in the Minneapolis Institute
of the yoke and into the back rail of the seat of Arts, Minneapolis, 1999, pl. 9. In discussing
frame, the serpentine arms pipe-jointed to the form, the authors conjecture that the ◉ $ 60,000-80,000
the shaped front posts, the rectangular seat inspiration for the continuous top and arm rails
frame, with molded edge, enclosing a soft-mat might be found in bent bamboo construction
seat supported underneath by a pair of bowed popular in the Song and Ming dynasties and
十七世紀黃花梨南官帽椅一對
stretchers, the legs joined by a beaded-edge cite an illustration of the Wanli period Kunqu
crescent-form aprons and ascending height opera The Tale of the Jade Hairpin showing a 來源
stretchers with protruding tenons, cushions (4) pair of speckled bamboo tall back chairs with 嘉木堂，倫敦，2001年
Height 47 in., 119.4 cm; Width 23 ½ in., 59.7 continuous crestrails. In addition, pottery
cm; Depth 18 ¼ in., 46.4 cm examples of this form were found in the tomb 展覽
of Pan Yunzheng dated to 1589, op.cit., p. 52. A 《Ming Furniture: Rare Examples from the
PROVENANCE
pair with inlaid decoration is illustrated in Nancy
Grace Wu Bruce, Ltd., London, 2001. 16th and 17th Centuries》，嘉木堂，倫
Berliner, Beyond the Screen: Chinese Furniture
of the 16th and 17th Centuries, Museum of
敦，1999，編號11
203
PROPERTY FROM A NEW ENGLAND PRIVATE PROVENANCE
COLLECTION
M.D. Flacks, London, 2001.
A PAIR OF LARGE ‘HUANGHUALI’
WAISTLESS SQUARE STOOLS ◉ $ 30,000-50,000
(FANGDENG)
17TH / 18TH CENTURY
十七 / 十八世紀黃花梨方凳一對
proportionally constructed with substantial
square-sectioned structural members, the 來源
frame top comprising four stretchers with line M.D. Flacks，倫敦，2001年
moldings on the edges and with gently rounded
corners, the legs similarly finely beaded with
molded edges and joining the top and base
stretchers in pyramid joins, the legs joined by
angular beaded arched stretchers connected
to the frame by pairs of vertical struts and plain
over arched stretchers at the feet, the soft mat
seat supported by diagonal corner stretchers
underneath (2)
Height 19 in., 48.3 cm; Width 21 ½ in., 54.6 cm;
Depth 21 ½ in., 54.6 cm

205 206
A PAIR OF ‘HUANGHUALI’ 十七 / 十八世紀黃花梨雕如意紋 PROPERTY FROM A NEW ENGLAND PRIVATE The present table is notable for its large size, 十七世紀黃花梨有束腰羅鍋棖馬
COLLECTION substantial elements, and beautifully grained
HORSESHOE-BACK ARMCH AIRS 圈椅一對蹄足條桌
A ‘HUANGHUALI’ WAISTED single-panel top. Pleasing in proportions and
(QUANYI)
elegant in form, tables of this type have been
17TH / 18TH CENTURY CORNER-LEG LONG TABLE (ZHUO) 來源
amongst the most admired since the late Ming
17TH CENTURY dynasty as evident in their consistent popularity 嘉木堂，倫敦，2001年
each with an expansive U-form three-segment
crestrail terminating in gracefully outscrolled the top of standard miter, mortise and tenon through subsequent periods. Huanghuali
handgrips above shaped spandrels, the slightly frame and flush, tongue-and-grooved, single tables of this type include a smaller version, 展覽
bowed splat flanked by cusped upper edges lively-grained board floating-panel construction, attributed to 1550-1650, in the Victoria and 《中國古典家具：香港倫敦精選》，
and carved with a central ruyi-form medallion, supported underneath by six transverse Albert Museum, London, illustrated in Craig
嘉木堂，倫敦，2001年，編號7
the soft mat seat supported underneath by stretchers, the molded-edge frame over a Clunas, Chinese Furniture, London, 1988, pl.
two bowed transverse stretchers, set into recessed waist and straight apron, the square- 33; one attributed to the early Qing dynasty,
the rectangular molded edge frame, above a section legs terminating in hoof feet and joined from the Qing Court Collection and still in
vigorously shaped and beaded spandreled by arched stretchers mortised and tenoned into Beijing, illustrated in The Complete Collection
apron carved on the front with delicately the legs below the apron of Treasures of the Palace Museum. Furniture
intertwining foliate motifs, the half-round legs Height 33 in, 83.8 cm; Width 79 in., 200.7 cm; of the Ming and Qing Dynasties (I), Hong Kong,
joined by a footrail and stretchers of ascending Depth 20 in., 50.8 cm 2002, pl. 97; another sold at Bonhams London,
height (2) 11th May 2017, lot 329; a similar table attributed
Height 38 in., 96.5 cm; Width 23⅜in., 59.4 cm; PROVENANCE to the 18th century, sold in these rooms, 15th
Depth 18 in., 45.7 cm Grace Wu Bruce, Ltd., London, 2001. September 2010, lot 340; another attributed
to the 18th/19th century sold in our London
EXHIBITED rooms, 7th November 2018, lot 120; and a
◉ $ 40,000-60,000 related table of similar form and generous
Ming Furniture: Selections from Hong Kong &
dimensions but later in date sold in these
London, Grace Wu Bruce, London, 2001, cat.
rooms, 23rd September 2020, lot 728.
no. 7.
◉ $ 80,000-120,000

207 209
PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE
COLLECTION COLLECTION
A ‘ZITAN’ BRUSHPOT (BITONG) A R ARE RECTANGULAR ‘ZITAN’ BOX AND

QING DYNASTY, 18TH CENTURY COVER
elegantly carved with a cylindrical body and lipped mouth
rim, a rounded raised rib bordering the foot, the base well carved in low relief to the sides and cover with stylized
centered with a plug, the densely grained wood of a dark archaistic motifs of interlocking taotie masks and phoenix,
reddish-brown color with characteristic gold speckles an incised keyfret border encircling the base, the dark brown
Height 6¼ in., 15.9 cm wood covered with characteristic short golden streaks (2)
Length 8⅜ in., 21.2 cm
PROVENANCE
C.L. Ma Antiques, Hong Kong, 11th June 1987. PROVENANCE
P. C. Lu & Sons, Hong Kong, 26th September 1992.
◉ $ 6,000-8,000
◉ $ 15,000-25,000
清十八世紀紫檀筆筒
清十八世紀紫檀雕夔鳳紋長方蓋盒
來源
樂成行，香港，1987年6月11日來源
208
COLLECTION
A LARGE ‘ZITAN’ BRUSHPOT (BITONG)

207
the cylindrical brushpot with thick straight sides, the base
centered with a central plug, the dark brown wood covered
with characteristic short golden streaks
PROVENANCE
C.L. Ma Antiques, Hong Kong, 17th September 1987.
◉ $ 8,000-12,000
清十八世紀紫檀大筆筒
來源
樂成行，香港，1987年9月17日
208

210
A ‘ZITAN’ CORNER-LEG TABLE (TIAOZHUO) The latter half of the Qianlong period is generally considered
QING DYNASTY, 18TH CENTURY the highpoint of finely carved zitan wood furnishings, often
integrating lively foliate motifs, as seen on the present
the rectangular top comprised of five boards of standard piece, reflecting the assimilation of European rococo design,
miter, mortise and tenon construction set within a molded- introduced to the imperial Qing Court by Jesuit missionaries.
edge, beaded frame and supported by four transverse
The generous size of this elegant table suggests a special
stretchers underneath, the recessed waist pierced with a row
commission to be used as a prominent display surface
of pendent lappets joined to a further band of overlapping
in a grand room. Zitan was a rare commodity in the 18th
lappets by lingzhi-formed struts, the beaded-edge apron
century due to its small size and slow pace of growth. For a
with a lively scrolling floral motif terminating in pierced
discussion of zitan and its types, see Tian Jai Qing, ‘Zitan and
foliate spandrels on the corners of the squared-section legs
Zitan Furniture’, Orientations, December 1994, pp 43-49.
terminating in foliate-carved scroll-hoof feet, the wood a
variegated dark brown Given the rarity of the wood, individualization of design is a
Height 36⅝ in., 93 cm; Width 66½ in., 168.9 cm; Depth 23⅜ valued feature of zitan furniture. A related example of a zitan
in., 59.4 cm table featuring lappets on the waisted section is in the Qing
Court Collection and illustrated in The Complete Collection
PROVENANCE of Treasures of the Palace Museum: Furniture of the Ming
Sotheby’s New York, 20th March 2002, lot 320. and Qing Dynasties (II), Hong Kong, 2002, pl. 106, p. 121. A
long table featuring archaistic elements on the waisted area
and the spandrels is illustrated in Tian Jiaqing, Zitan Yuan
(The Essence of Zitan), Beijing, 2007, no. 5, pp 30-33. See
also two examples sold in these rooms, a foliate-carved table
of similar form sold on 15th September 2010, lot 352 and
another with archaistic motifs on 17th September 2013,
lot 259.
◉ $ 80,000-120,000
清十八世紀紫檀雕卷葉紋有束腰條桌
來源

212
PROPERTY FROM A DISTINGUISHED PRIVATE
COLLECTION
211 A ‘HUANGHUALI’ LOW TABLE
PROPERTY FROM A DISTINGUISHED PRIVATE legs secured by plain-shaped aprons and four (K ANGZHUO)
COLLECTION stretchers of staggered height (2) 17TH / 18TH CENTURY
A PAIR OF ‘HUANGHUALI’ Height 37 in., 94 cm; Width 22 in., 55.9 cm;
Depth 17¾ in., 45.1 cm the crisply beaded and molded-edge, mitered
HORSESHOE-BACK ARMCH AIRS frame inset with one broad and one narrow
(QUANYI) PROVENANCE tongue and grooved floating panels, over a
QING DYNASTY, 18TH / 19TH Robert Ellsworth, New York, 1970. narrow recessed-waist continuing in a single
CENTURY section to an elegantly arched and cusped
apron with pierced foliate spandrels joining
each elegantly arched crestrail comprised ◉ $ 30,000-50,000 the square-section cabriole legs terminating
of three scarf-joined members and set on in outscrolled feet, the underside with three
straight back posts continuing through the transverse stretchers
清十八 / 十九世紀黃花梨圈椅
frame forming the back legs, centered by a Height 11¾ in., 29.8 cm;
rectangular S-form splat, the side posts and 一對 Width 37¾ in., 95.9 cm;
recessed front posts curved and below foliate- Depth 26¾ in., 67.9 cm
carved outscrolled handgrips, the hardwood 來源
seat within a mitered frame, the four cylindrical 安思遠，紐約，1970年 PROVENANCE
Robert Ellsworth, New York, 1970.
◉ $ 25,000-35,000 212
十七 / 十八世紀黃花梨有束腰三
彎腿炕桌
來源
安思遠，紐約，1970年
213
PROPERTY FROM A DISTINGUISHED PRIVATE
COLLECTION
A ‘HUANGHUALI’ AND MIXED

H ARDWOOD THREE-DR AWER
COFFER (LIANSANCHU)
LATE QING DYNASTY
of standard miter, mortise and tenon
construction, a single floating panel set within
a molded-edge frame above three paneled
frieze drawers with huangtong lockplates and
bail handles, flanked by pierced foliate corner
spandrels, over a pair of plain bisected panels
and a cusped and shaped apron, the reverse
finished with four plain panels, supported on
square section legs
Height 32¾ in., 83.2 cm; Width 67 in., 170.2 cm;
Depth 23 in., 58.4 cm
PROVENANCE
Sotheby’s New York, 25th February 1983,
lot 296.
◉ $ 20,000-30,000
213
清末黃花梨拼硬木聯三櫥
來源

214 216
PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE PROPERTY OF A GENTLEMAN
COLLECTION
A ‘HUANGHUALI’ DOCUMENT BOX AND
A ‘HUANGHUALI’ BRUSHPOT (BITONG)
COVER
QING DYNASTY
the cylindrical body slightly waisted at the center and
the well-figured rectangular top panel above straight sides
encircled by two raised fillets just below the midpoint, the
ending in a beaded edge, repeated on the lower section,
foot and base each subtly recessed
huangtong ruyi-form mounts to all four top corners,
rectangular metal straps to the sides, hinges, bail handles,
PROVENANCE and circular lockplate with cloud-form hasp, elm wood base
panel
M.D. Flacks, Ltd., New York.
Height 5⅝ in., 14.3 cm; Width 13⅞ in., 35.2 cm;
LITERATURE Depth 8¼ in., 21 cm
M.D. Flacks, Brushpots, New York, 2008, pl. 19.
◉ ⊖ $ 8,000-12,000
◉ $ 8,000-12,000
清十八 / 十九世紀黃花梨蓋盒
清黃花梨筆筒
來源
M.D. Flacks, Ltd.，紐約
217
A ‘HUANGHUALI’ WAISTED CORNER-LEG 216
出版 TABLE (BANZHUO)
M.D. Flacks，《Brushpots》，紐約，2008年，圖版19 LATE QING DYNASTY
214 the top of standard miter, mortise and tenon frame and
flush, tongue-and-grooved, double-board floating-panel
construction supported by three dovetailed transverse
215 stretchers underneath, the short rails of the frame top with
PROPERTY OF A LADY exposed tenons, the beaded molded edge of the frame over
a recessed waist and beaded-edge straight apron, the legs
A MING-STYLE ‘HUANGHUALI’ CORNER-LEG with inner beaded-edge tenoned to the mitered frame and
TABLE (TIAOZHUO) terminating in hoof feet and joined by arched stretchers
LATE QING DYNASTY mortised and tenoned into the legs below the apron
Height 32½ in., 82.6 cm; Width 38¾ in., 98.4 cm; Depth
of standard miter, mortise and tenon construction, the 19⅛ in., 48.6 cm
two-board floating panel top set into a molded edge frame,
supported by four transverse stretchers underneath, above PROVENANCE
a recessed waist carved with double-fillets and stylized Collection of Frederick T. Fuller
bi-discs in low relief and a shaped, beaded-edge apron Collection of Jack Faxon (1936-2020).
carved with archaistic hooks and scrolls, all raised on
square-section beaded-edge legs, ending in hoof feet
Height 32½ in., 82.6 cm; Width 72 in., 182.9 cm; ◉ $ 20,000-30,000
Depth 17¼ in., 45.1 cm
清末黃花梨有束腰羅鍋棖馬蹄足半桌
PROVENANCE
American Private Collection, acquired in China prior to 1949, 來源
and thence by descent.
Frederick T. Fuller 收藏
Jack Faxon (1936-2020) 收藏
◉ $ 30,000-50,000
215
清末黃花梨雕仿古紋有束腰馬蹄足條桌
來源
美國私人收藏，1949年之前得於中國，此後家族傳承
217

218
PROPERTY FROM AN IMPORTANT MIDWESTERN COLLECTION
A PAIR OF ‘HUANGHUALI’ RECESSED-LEG

TABLES (BANZHUO)
each with a top of standard miter, mortise and tenon
construction, with three matching, tongue-and-grooved,
floating panels supported by three dovetailed transverse
stretchers, all with exposed tenons, the edge of the frame
gently molded, the gently splayed round legs double tenoned
into the top and cut to house the plain spandrelled apron,
each pair of legs conjoined on the shorter sides with two
oval-sectioned stretchers (2)
Height 27⅝ in., 70.2 cm; Width 34⅝ in., 87.9 cm;
Depth 24¾ in., 62.9 cm
PROVENANCE
Tsao Hui Min Collection.
Christie’s New York, 21st September 2004, lot 42.
The simple, elegant and highly functional design of the

present pair of tables is derived from standard wood building
construction in use since the Han dynasty. Examples of this
type, known as the ‘standard table’, date to as early as the
Song dynasty. It is also referred to as a ‘character one table
type’ (yi zi zhou shi) as the single horizontal stroke of the
Chinese character for the numeral ‘one’ bears resemblance
to the clean, angular lines of the table. This descriptive term
is taken from the Wanli period edition of the Lu Ban jing jiang
jia jing (The Classic of Lu Ban and the Craftsman’s Mirror).
Pairs of tables are rare and are generally of a more
diminutive size, easily moved and suitable for a variety of
functions. Woodblock print illustrations generally depict
them against walls of reception halls serving as display
surfaces for floral arrangements and works of art. They may
also be placed back-to-back to form a larger surface.
Produced in varying sizes, the present table exemplifies a
type of modest dimensions, readily portable and eminently
useful. A table of the same form and similar dimensions
from the collection of Dr. S.Y. Yip was sold in our Hong
Kong rooms, 7th October 2015, lot 130 and another in these
rooms, 16th March 2016, lot 228.
◉ $ 60,000-80,000
清十七 / 十八世紀黃花梨夾頭榫半桌一對

來源
Tsao Hui Min 收藏

220
A PAIR OF “HUANGHUALI’ SQUARE STOOLS
(FANGDENG)
LATE QING DYNASTY
each with a hardwood seat enclosed in the square mitered
frame, supported on four legs of square section, terminating
in hoof feet and joined by arched stretchers (2)
Height 19 ¾ in., 50.2 cm; Width 15 ¾ in., 40 cm;
Depth 15 ¾ in., 40 cm
PROVENANCE
Collection of Frederick T. Fuller.
Collection of Jack Faxon (1936-2020).
◉ $ 10,000-15,000
清末黃花梨有束腰羅鍋棖方凳一對
來源
Frederick T. Fuller 收藏
Jack Faxon (1936-2020) 收藏
221
PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE
220
COLLECTION
A LARGE ‘JUMU’ RECESSED-LEG PAINTING

TABLE (HUAZHUO)
the top of standard miter, mortise and tenon construction,
enclosing a three-board floating panel supported underneath
by three dovetailed transverse stretchers, the edge of the
219 frame gently molded, the slightly splayed cylindrical legs
double tenoned into the top and cut to house the plain
PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE LITERATURE spandreled apron, each pair of legs joined on the short side
COLLECTION
Grace Wu Bruce, Dreams of Chu Tan Chamber and Romance by two oval-sectioned stretchers, plexiglass sheet (2)
A R ARE ‘HONGMU’ SUGARCANE SQUEEZER with Huanghuali Wood: The Dr. S.Y. Yip Collection of Classic Height 31⅞ in., 81 cm; Width 77¼ in., 196.2 cm;
Chinese Furniture, Hong Kong, 1991, cat. no. 64. Depth 38¼ in., 97.2 cm
QING DYNASTY
modeled as a rectangular bench with a sloping single-panel Compare a similar hongmu sugarcane squeezer in the PROVENANCE
top carved to one end with a channel and spout, supported collection of Wang Shixiang, illustrated in Wang Shixiang, Sotheby’s New York, 17th September 1998, lot 276.
below by a pair of splayed legs at each end conjoined by a Classic Chinese Furniture - Ming and Early Qing Dynasties,
stretcher, the legs at the lower end extending through the Hong Kong, 1986, pl. 173.
◉ $ 40,000-60,000
panel to form an A-frame fitted with an upper stretcher
and capped by a finial carved as a bundle of sugarcane, the ◉ $ 6,000-8,000
separately carved spatula-shaped lever inserts between the 清十八世紀櫸木夾頭榫畫桌
upper stretcher and the panel to press the sugarcane when
in use (2) 清紅木榨床來源
Width 17¾ in., 45.2 cm
來源
PROVENANCE 攻玉山房收藏
Collection of Dr. S.Y. Yip. 紐約佳士得2002年9月20日，編號67
EXHIBITED
展覽
Art Gallery, The Chinese University of Hong Kong, 1991.
香港中文大學文物館，1991年
National Heritage Board, Asian Civilisations Museum, 國家文物局，亞洲文明博物館，新加坡，1996至1999
Singapore, 1996-1999. 年
Institute of Contemporary Arts, London, 1999. 當代藝術學會，倫敦，1999年
出版
221
伍嘉恩，《攻玉山房藏明式黃花梨家具：楮檀室夢
旅》，香港，1991年，編號64

222 224
A MOLDED SANCAI-GLAZED ‘CONCH TANGSHI HUAPU [ILLUSTR ATED
SHELL’ POTTERY CUP POEMS OF THE TANG DYNASTY]
TANG DYNASTY LATE MING DYNASTY
in the form of a conch shell, two sides of the rim including first four volumes, Xinjuan Wuyan
incurved and pierced with small apertures along Tangshi Huapu [Illustrated Five-Character
the edges flanked by two spouts, the exterior Tang Poems], Xinjuan Liuyan Tangshi Huapu
decorated with star-shaped patterns, covered [Illustrated Six-Character Tang Poems],
overall in amber, green and cream-splashed Xinjuan Qiyan Tangshi Huapu [Illustrated
glazes Seven-Character Tang Poems], Xinjuan Mei
Length 3¾ in., 9.5 cm Zu Lan Ju Sipu [Illustrations of Plum Blossom,
Orchid, Bamboo and Chrysanthemum], Jiyazhai
PROVENANCE edition, each volume comprising full-page
Japanese Private Collection. woodcut illustrations accompanied with Tang
dynasty poems, 220 illustrations, remounted
and rebound, folding case (5)
⊖ $ 8,000-10,000
$ 8,000-12,000
唐三彩瑞螺形盃
來源明末《唐詩畫譜》四冊
日本私人收藏
含集雅齋藏板《新鐫五言唐詩畫譜》、
《新鐫六言唐詩畫譜》、《新鐫七言唐詩
畫譜》、《新鐫梅竹蘭菊詩譜》
222
223 重新裱裝 224
A MOLDED SANCAI-GLAZED
POTTERY ‘FISH’ CUP
TANG DYNASTY 225
molded in the form of a fish with a floriform JIEZIY UAN HUAZHUAN [M ANUAL
mouthrim, the exterior body decorated with
OF THE MUSTARD SEED GARDEN]
stylized flowers and scrolls, overall splashed
with straw, amber, and green glazes
QING DYNASTY
Length 4⅞ in., 12.3 cm including all four volumes: Jieziyuan Huazhuan
Chuji [Manual of The Mustard Seed Garden,
PROVENANCE
Volume One], Kangxi period, five juan; Jieziyuan
Japanese Private Collection. Huazhuan Erji [Manual of The Mustard Seed
Garden, Volume Two], Qianlong period, four
⊖ $ 20,000-30,000 juan; Jieziyuan Huazhuan Sanji [Manual of The
Mustard Seed Garden, Volume Three], Qianlong
period, four juan; Jieziyuan Huazhuan Siji
唐三彩魚形盃 [Manual of the Mustand Seed Garden, Volume
Four], Jiaqing period, four juan; full page
來源 illustrations with color, folding cases (21)
日本私人收藏
PROVENANCE
Collection of the Occidental College Library,
Los Angeles.
$ 10,000-15,000
清《芥子園畫傳》一套四集
《芥子園畫傳》初集，清康熙五色套印，
共五卷；
《芥子園畫傳》二集，清乾隆彩色套印，
金閶文淵堂鎸藏翻刻本，共四卷；
《芥子園畫傳》三集，清乾隆彩色套印，
223 金閶文淵堂鎸藏翻刻本，共四卷；
《芥子園畫傳》四集，清嘉慶，金陵抱青
閣珍藏，共四卷 225
來源
西方學院圖書館收藏，洛杉磯

227
A R ARE CARVED ‘DING’ ‘LOTUS’ DISH Compare a bowl with a leafy lotus scroll extending across
NORTHERN SONG DYNASTY the interior supporting a seed pod at the top, illustrated in
Selection of Ding Ware: The Palace Museum’s Collection and
the gently rounded sides rising to a metal-bound rim, the Archaeological Excavation, Beijing, 2012, pl. 163. See also a bowl
center incised with a freely-drawn lotus seed pod and furled with similar motifs, albeit larger and more elaborately carved,
leaves within an incised medallion, the cavetto decorated formerly in the collection of William Cleverley Alexander, sold
with stylized lotus blossoms, Japanese wood box (4) in our London rooms 6th May 1931, lot 48, and recently at
Diameter 8⅞ in., 22.5 cm Christie’s Hong Kong, 29th November 2020, lot 3001.
PROVENANCE
$ 40,000-60,000
Japanese Private Collection.
While the lotus is a common motif on Ding wares, it is very

rare to find wares decorated with the plant depicted in all three
北宋定窰白釉刻蓮紋盤
stages of growth— seed, leaves, and blossom. The present
piece is finely and freely carved, adding to its sense of refined
來源
spontaneity reminiscent of Song dynasty lotus paintings. 日本私人收藏
226
A R ARE SM ALL MOLDED ‘DING’ WHITE- Decorated Porcelains of Ding Zhou. White Ding Wares from
GLAZED ‘M ANDARIN DUCK’ DISH the Collection of the National Palace Museum, National
Palace Museum, Taipei, 2014, cat. no. II-127.
Compare other related Ding wares including a slightly larger
finely potted with the gently rounded sides rising from a dish of the same form, but molded with a playful boy amidst
countersunk base, crisply impressed to the interior with a lotus scrolls, sold in our London rooms, 14th May 2008,
mandarin duck in flight, the elegant bird depicted grasping lot 265; and another from the Linyushanren Collection,
a leafy stem in its beak, all amidst dense meandering lotus decorated with a peacock design, sold at Christie’s Hong
scrolls, surrounded by a classic scroll between keyfret bands Kong, 1st December 2015, lot 2813. See also a lobed dish
around the cavetto, covered overall in an ivory-tinged glaze in the Museum of Oriental Ceramics, Osaka, decorated to
pooling in characteristic tear-drops on the exterior, the rim the interior with two similarly depicted birds amidst lotus
metal-bound scrolls, included in the exhibition White Porcelain of Ding Yao,
Diameter 5⅛ in., 13.1 cm Nezu Museum, Tokyo, 1983, cat. no. 134; and another with a
slightly less intricate design, sold in our London rooms, 25th
PROVENANCE
March 1975, lot 36.
Ralph M. Chait Galleries, New York, 12th April 1969.
Private Collection, and thence by descent.
$ 30,000-50,000
The present dish is notable for the crispness and the
intricacy of the molded design, which testify to the
proficiency of the craftsman and the exceptional quality of
北宋 / 金定窰白釉印花鴛鴦穿蓮紋小盤
Ding wares achieved during this period. See a closely related
dish of slightly larger size in the National Palace Museum, 來源
Taipei, modeled in the same form and decorated with a very Ralph M. Chait Galleries，紐約，1969年4月12日
similar mandarin duck design, included in the exhibition 私人收藏，此後家族傳承

228 230
PROPERTY FROM AN IMPORTANT AMERICAN
PRIVATE COLLECTION
A QINGBAI LOBED EWER AND
COVER
A QINGBAI JAR AND COVER SOUTHERN SONG DYNASTY
well-potted with an eight-lobed body rising
the ovoid body encircled by a single raised filet to a tall cylindrical neck flaring at the rim,
below the tall cylindrical neck, covered in an a strap handle set on one side with a small
icy-blue glaze pooling around the shoulders, the ring at the top corresponding to a ring on the
domed cover surmounted by a lotus bud finial circular concave fitted cover, the slender spout
and similarly decorated, the base unglazed (2) rising from the shoulder opposite the handle,
Height 3⅛ in., 8 cm decorated with low horizontal bands at the base
of the trumpet neck, four incised bands just
PROVENANCE
below the rim, a lightly incised series of lines
J.J. Lally & Co., New York, 1989. around the mid-section of the body, covered
American Private Collection. overall with a transparent pale blue glaze
Andrew Kahane, Ltd., New York. pooling to a darker tone within the recesses, the
base unglazed, Japanese wood box (4)
$ 6,000-8,000 Height 9½ in., 24.1 cm
PROVENANCE
南宋青白釉小蓋罐 Vallin Galleries, Wilton.
來源
⊖ $ 20,000-30,000
美國私人收藏
Andrew Kahane, Ltd.，紐約南宋青白釉瓜棱式執壺連蓋
來源
Vallin Galleries，威爾頓
228
229
A QINGBAI LOBED CUP AND STAND
the cup delicately potted with rounded sides
supported on a splayed foot, rising to a
hexalobed everted rim, the stand molded with
a central raised ring within a six-lobed rim,
resting on a splayed recessed base formed
from six lappets, each pierced with a central
heart-shaped motif, the cup and stand applied
with a transparent blue glaze, the unglazed
base of each revealing a white biscuit burnt
russet-brown in the firing (2)
Height 3⅝ in., 9.2 cm
PROVENANCE
Vallin Galleries, Wilton.
⊖ $ 6,000-8,000
南宋青白釉花式盞及盞托
來源
Vallin Galleries，威爾頓
229

231 233
A CARVED ‘YAOZHOU’ CELADON-GLAZED A PURPLE-SPLASHED ‘JUN’ BOWL
‘LOTUS’ BOWL JIN / Y UAN DYNASTY
the rounded sides rising from a slightly splayed foot to an
the gently rounded sides rising to a lipped rim, the interior incurved rim, covered overall in a rich sky-blue glaze boldly
carved with a lotus blossom viewed in profile within a punctuated with vivid scarlet-purple splashes, the glaze
quatrelobe cartouche, surrounded by scrolling foliage within draining to a pale mushroom tone at the rim and pooling
a narrowly incised border, covered overall in an olive-green above the neatly knife-pared foot, revealing the buff-grayish
glaze, pooling in the recesses body
Diameter 7⅜ in., 18.7 cm Diameter 3⅝ in., 8.3 cm
PROVENANCE PROVENANCE
Vallin Galleries, Wilton. T.Y. King, Hong Kong.

Hong Kong Private Collection.
⊖ $ 8,000-12,000
⊖ $ 12,000-15,000
北宋 / 金耀州窰青釉刻花開光蓮紋盌
金 / 元鈞窰天藍釉紫斑盌
來源
Vallin Galleries，威爾頓來源
金才記，香港
香港私人收藏
231
232
COLLECTION
234
233
A QINGBAI EWER AND WARMING BOWL A QINGBAI MELON-FORM EWER AND COVER
SOUTHERN SONG DYNASTY SOUTHERN SONG DYNASTY
the ewer with a globular body rising from a spreading foot the finely potted lobed body applied to one side with an
to a tall cylindrical neck, the body carved with overlapping arched strap handle and to the other with a curved spout,
lotus petals, set with a curved spout and a loop strap handle, the exterior lightly carved with leaves on the shoulder, the
covered overall in a grayish-green glaze stopping just short concave cover topped with a knot finial, covered overall
of the base; the warming bowl with deep sides rising to an with a soft pale celadon glaze, the base partially unglazed
everted rim, similarly decorated (2) revealing the white body (2)
Diameter of warming bowl 6¾ in., 17 cm Height 6 in., 15.2 cm
PROVENANCE
PROVENANCE
Sotheby’s New York, 1st June 1993, lot 279. Japanese Private Collection.
E&J Frankel, New York.
⊖ $ 25,000-35,000
$ 20,000-30,000
南宋青白釉瓜棱執壺連蓋
南宋青白釉執壺連溫盌
來源
來源日本私人收藏
E&J Frankel，紐約
232
234

235
COLLECTION
A ‘JIZHOU’ ‘TORTOISESHELL’ BOWL

the shallow rounded sides rising to a slightly inverted rim
from a slightly tapering foot, covered overall in a dark
brownish-black glaze irregularly dappled with amber-beige
tones simulating tortoiseshell, the glaze ending unevenly
around the exterior revealing the buff body
Diameter 6⅛ in., 15.5 cm
PROVENANCE
American Private Collection, acquired in London, circa the
mid-1990s.
$ 6,000-8,000
南宋吉州窰玳瑁釉盌
來源
美國私人收藏，得於倫敦，約1990年代中期
236
235 PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE
COLLECTION
A ‘YAOZHOU’ BROWN-GLAZED BOWL

TANG DYNASTY
supported on a straight foot the steep sides rising to a
flared rim, the interior glazed in dark brown over a white slip
outlining a star-shaped reserve, six groups of petal motifs
symmetrically arranged, the exterior body similarly glazed
around the rim revealing the brownish-gray stoneware body
237
Diameter 4⅞ in., 12.5 cm PROPERTY FROM AN IMPORTANT AMERICAN PRIVATE See two closely related Northern Song dynasty cosmetic
COLLECTION boxes with similar persimmon-glazed cups set to the interior,
PROVENANCE the first excavated with the cover missing from the Yaozhou
AN UNUSUAL CELADON AND PERSIMMON-
J.J. Lally & Co., New York, 2009. kiln sites at Huangbaozhen, Shaanxi province in 1981, now in
GLAZED ‘YAOZHOU’ COSMETIC BOX AND
the collection of the Yaozhou Kiln Museum, Tongchuan City,
See a closely related Tang dynasty bowl with similar black- COVER published in Zhang Bai, ed., Zhongguo chutu taoci quanji
glazed design in Tokyo National Museum, Tokyo, published
NORTHERN SONG DYNASTY Shaanxi / Complete Collection of Ceramic Art Unearthed
in Yōshūyō: Chūgoku Nakahara ni hana hiraita mei kama /
in China. Shaanxi, Beijing, 2008, pl. 141, and the second
The Masterpieces of Yaozhou Ware, Tokyo, 1997, pl. 12. of circular section, the box with low curved sides rising from
in Aichi Prefectural Ceramic Museum, Seto, published in
a shallow lower body set over a slightly spreading foot, the
Yōshūyō: Chūgoku Nakahara ni hana hiraita mei kama / The
$ 5,000-7,000 cover with similar curved sides and a gently domed top, the
Masterpieces of Yaozhou Ware, Tokyo, 1997, pl. 52.
top carved with a blossoming peony surrounded by leafy
foliage, the interior set with three persimmon-glazed cups The dating of this lot is consistent with the result of a
唐耀州窰黑釉點花紋盌 separated by three similarly decorated foliage bands, the box thermoluminescence test, Oxford Authentication Ltd.,
covered in a olive-green glaze save for the interior rim and no. P104d36.
來源 foot, revealing the burnt brown clay body from firing (2)
藍理捷，紐約，2009年 Diameter 4¼ in., 10.7 cm $ 10,000-15,000
PROVENANCE
Collection of Dr. and Mrs. Marvin Gordon. 北宋耀州窰青釉刻牡丹紋粉盒
來源
EXHIBITED Marvin Gordon 醫生伉儷收藏
The Collection of Dr. and Mrs. Marvin L. Gordon, Chinese 藍理捷，紐約，2009年
Ceramics and Works of Art, J.J. Lally & Co., New York, 2009.
236 cat. no. 10.
展覽
《The Collection of Dr. and Mrs. Marvin L. Gordon,
Chinese Ceramics and Works of Art》，藍理捷，紐
約，2009年，編號10

238 240
A ‘LONGQUAN’ CELADON-GLAZED ‘LOTUS’ PROPERTY FROM A DISTINGUISHED NORTH AMERICAN PRIVATE
COLLECTION
BOWL
SOUTHERN SONG DYNASTY A ‘LONGQUAN’ CELADON-GLAZED ‘LOTUS’
DISH
with deep rounded sides rising from a tapered foot, the
exterior molded with overlapping lotus petals, covered SOUTHERN SONG DYNASTY
overall with a olive-green glaze except for the footring, pared the shallow rounded sides rising from a slightly tapered foot,
to expose the brownish-gray clay body the exterior carved with upright overlapping petals, covered
Diameter 6½ in., 16.5 cm overall in a rich sage-green glaze stopping irregularly at the
foot, the footring unglazed and burnt slightly orange in the
⊖ $ 8,000-12,000 firing
南宋龍泉青釉蓮瓣盌 PROVENANCE
Private Collection, acquired before the 1980s, and thence by
descent.
239 ⊖ $ 8,000-12,000
PROPERTY FROM AN IMPORTANT AMERICAN COLLECTION
240
238
A ‘LONGQUAN’ CELADON-GLAZED ‘LOTUS’ 南宋龍泉窰青釉蓮瓣盤
BOWL
SOUTHERN SONG DYNASTY 來源
私人收藏，購於1980年代之前，此後家族傳承
finely potted, the deep rounded sides rising from a short
slightly tapered foot, the exterior subtly molded with slender
overlapping lotus petals, covered overall with an unctuous
sea-green glaze save for the unglazed footring, revealing the
gray stoneware body 241
Diameter 8 in., 20.3 cm PROPERTY OF A GENTLEMAN
PROVENANCE A ‘LONGQUAN’ CELADON-GLAZED YI-FORM

Christie’s Hong Kong, 1st-2nd October 1991, lot 724. POURING VESSEL
Y UAN / MING DYNASTY
$ 6,000-8,000 the rounded sides very slightly tapered on one end to the
curved channeled spout, the interior and exterior covered
南宋龍泉窰青釉蓮瓣盌 with a rich sea-green glaze, the countersunk base with an
unglazed ring burnt orange during firing, wood stand (2)
Width 8 in., 20.2 cm
來源
香港佳士得1991年10月1至2日，編號724 PROVENANCE
Yamanaka & Co. Ltd., Kobe, 5th July 1950.
New York Private Collection, acquired from the above, and
thence by descent.
Compare two closely related examples from the National

Palace Museum Collection, exhibited in Green: Longquan
Celadon of the Ming Dynasty, National Palace Museum,
Taipei, 2009, cat. nos 2 and 3. Another example is published
in Sherman E. Lee and Wai-kam Ho, Chinese Art Under the
Mongols: The Yuan Dynasty (1279-1368), Cleveland, 1968,
cat. no. 61. A similar example, formerly in the Edward T.
Chow Collection, was sold in our Hong Kong rooms, 16th
December 1980, lot 301.
$ 6,000-8,000
元 / 明龍泉窰青釉匜
來源
山中商會，神戶，1950年7月5日
紐約私人收藏，購於上述處，此後家族傳承 241
239

242 244
A LARGE CARVED ‘LONGQUAN’ PROPERTY FROM AN IMPORTANT PRIVATE
CELADON-GLAZED OCTAGONAL COLLECTION
DISH A R ARE ‘LONGQUAN’ CELADON-

MING DYNASTY GLAZED ‘DR AGON AND PHOENIX’
sturdily potted with the shallow rounded sides VASE
rising from a short, tapered foot to an everted Y UAN / EARLY MING DYNASTY
rim, the center fluently carved with a large lotus
the pear-shaped body rising from a rounded
spray, surrounded by eight panels of alternating
foot to a waisted neck with a flaring scalloped
lingzhi and flower sprigs, covered overall with
rim, the neck flanked by a pair of ribbed
a lustrous translucent bluish-green glaze,
loop handles issuing from beast masks and
save for the base left unglazed revealing the
suspending fixed rings, one side of the body
stoneware body burnt to a dark orange
molded with a pair of sinuous fish-dragons
Width 13⅞ in., 35.3 cm
diving toward a floating lotus blossom, the
PROVENANCE opposite side similarly molded but with a pair
of phoenix, all between bands of keyfret, a band
Mathias Komor, New York.
of upright plantain leaves encircling the neck,
American Private Collection, acquired from the
covered overall in an olive-green glaze, ormolu
above in the 1970s.
stand (2)
$ 4,000-6,000
Compare two closely related examples, one
from the National Palace Museum collection,
明龍泉窰青釉刻蓮紋八方大盤 exhibited in Green: Longquan Celadon of the
Ming Dynasty, National Palace Museum, Taipei,
242 來源 2009, cat. no. 154; the other in the Capital
Museum Collection, exhibited in Wen wen yu
Mathias Komor，紐約
se zhao ci ou : Longquan yao qing ci yi shu
美國私人收藏，1970年代購於上述處 [Brightly glazed like jade: ceramic arts from the
Longquan kiln], Capital Museum, Beijing, 2012,
pp 98-99.
243 $ 20,000-30,000
PROPERTY FROM AN IMPORTANT PRIVATE
COLLECTION
元 / 明初龍泉窰青釉印花龍鳳紋
AN UNUSUAL MOLDED ‘LONGQUAN’
環耳瓶
CELADON-GLAZED SQUARE-
SECTION ‘IMMORTALS’ VASE
LATE MING DYNASTY
the vertical rectangular walls supported on ruyi-
form cabriole legs resting on an integral square
base, each side carved in high relief with an
immortal astride an animal mount surrounded
by swirling clouds, all between registers of floral
scroll above and below, the wide mouth rim
carved around the top surface with a chevron
band, covered overall in an olive-green glaze
$ 10,000-15,000
明末龍泉窰青釉仙人騎獸圖方尊
243

245
A POLYCHROME CARVED STONE STELE
NORTHERN WEI / NORTHERN QI DYNASTY
carved in high relief with Guanyin standing at the center
of a wide rectangular plinth, the Goddess of Compassion
framed by a tall petal-shaped mandorla and flanked at
either side by a haloed standing attendant, each of the three
figures positioned atop a lotus blossom, Guanyin dressed
in robes, a dhoti, and a lobed diadem with the head bowed
and the pendent left hand and raised right hand each holding
an object, the robed attendants with their heads bowed
and hands clasped at the chest within sleeves, traces of
red, black, and green pigment throughout, the reverse
unadorned, the base drilled and affixed to a wood stand (2)
Height 13⅞ in., 35.2 cm
PROVENANCE
Parke-Bernet Galleries, New York, 11th September 1969, 247
lot 77.
J. T. Tai & Co., New York. A POLYCHROME LIMESTONE HEAD OF A
Sotheby’s New York, 14th September 2011, lot 307. CROWNED BODHISATTVA
An inscribed marble stele dated 551 of the same subject and LIAO DYNASTY
form, and of similar size, from the collection of Sakamoto
Gorō sold in our Hong Kong rooms, 8th October 2013, lot well carved with a serene countenance and a fleshy, round
137. face, crowned with a tall diadem with a repeating ruyi border
framing a central wan character above a blossoming lotus,
flanked by two trios of cintamani, the diadem picked out with
$ 15,000-20,000 applied red and blue pigment, mounted on a modern base
Height 13⅛ in., 33.3 cm
北魏 / 北齊石雕觀音三尊像 PROVENANCE
來源 Collection of Monica Zajac de Dobry (d. 2019).

245
Parke-Bernet Galleries，紐約，1969年9月11日，編號77 Compare a limestone head of Avalokiteshvara, sold in these
戴潤齋，紐約 rooms, 16th September 2015, lot 428, with similar treatment
紐約蘇富比2011年9月14日，編號307 of the facial features, tresses, and crown proportions, and
another with a similar diadem centered by an om character,
sold in our London rooms, 30th October 1987, lot 244.
Stylistically the features and headdress of the present figure
246 relate to the painted clay sculptures of the Liao dynasty in
Lower Huayansi in Datong, Shanxi province, which are dated
PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE in accordance with 1038, see Zhongguo meishu quanji: Wudai
COLLECTION Song diaosu [Complete Series on Chinese Art. Sculpture:
A POLYCHROME STUCCO FRESCO FR AGMENT Five Dynasties and Song Sculpture], Beijing, vol. 5, 1988,
pls 138-41.
Y UAN / MING DYNASTY
the rectangular panel painted with three celestial maidens, $ 15,000-20,000
each adorned in flowing robes with their hair arranged in
elaborate chignons, two also wearing crowns, reserved on a
遼石灰石雕加彩菩薩首像
ground of swirling waves, painted in polychrome pigments
highlighting the gilded ornamentation with gesso relief,
framed
來源
Height 32¾ in., 83.1 cm; Width 20⅝ in., 52.5 cm Monica Zajac de Dobry (2019年逝) 收藏
PROVENANCE
P. C. Lu & Sons, Hong Kong, 21st June 1984.
$ 15,000-25,000
元 / 明灰泥彩繪天女圖壁畫殘部
來源
246

248 250
PROPERTY FROM A DISTINGUISHED AMERICAN PROPERTY FROM A NORTH AMERICAN PRIVATE
PRIVATE COLLECTION COLLECTION
A GILT-BRONZE FIGURE OF A BOY A R ARE BRONZE FIGURE OF

MING DYNASTY YANGUANG MINGMU Y UANJUN
the youth cast seated, with the legs bent in MING DYNASTY, DATED TO THE
front, the right arm raised to hold an ingot, the FOURTH YEAR OF TIANQI PERIOD,
left resting on a recumbent ram to the side, CORRESPONDING TO 1624
wearing a patterned brocade tied at the waist
and simple jewelry, the joyful face surmounted the figure seated in a vajraparyankasana with
by two topknots, wood stand (2) hands in dhyana mudra holding a mirror with
Height 3½ in., 8.9 cm an eye, dressed in a long flowing robe with
ribbons, chest adorned with elaborate jewelry,
PROVENANCE the peaceful face with gently arched brows and
P.C. Lu & Sons, Hong Kong, 1st July 1983. downcast eyes, wearing a bejeweled diadem,
all supported on a double-lotus base with an
inscription on the back now partly missing
$ 4,000-6,000 above the hexagonal base
明銅鎏金童子像 PROVENANCE
來源 Collection of Richard White (1924-2002),

acquired prior to 1973, and later gifted to the
魯氏父子有限公司，香港，1983年7月1日 present owner.
Yanguang Mingmu Yuanjun was one of the

248 popular female Daoist deities in China during
249 the Ming and Qing dynasties. She is also known
as Yanguang Niangniang (Our Lady Who Heals
A GILT-LACQUERED BRONZE Eyesight), and is believed to cure blindness
FIGURE OF SUN SIMIAO and other ailments related to vision. In Daoist
MING DYNASTY paintings or sculptures, she is often seen
accompanying Bixia Yuanjun among other
the Daoist God of Medicine seated with the attendant goddesses.
right hand resting on the knee and the left hand
Compare a pair of late 16th - early 17th century
holding a double gourd in front of the chest,
bronze figures of Yanguang Niangniang and
wearing a loose robe and a studded belt over
Songzi Niangniang formerly in the Mary Griggs
the round belly, the round face with a pointed
Burke Collection, and now in the Yale University
beard and donning an official’s cap, traces of
Art Gallery (accession no. 2015.107.23.2a-b),
red and black lacquer, wood stand in the form
illustrated on the museum’s website.
of a throne (2)
$ 20,000-30,000
PROVENANCE
Acquired in Nashville, Tennessee, in the early
明天啟四年（1624年）銅眼光明
1990s.
目元君坐像
$ 8,000-12,000
銘文：
住持尼僧倉玄倉空門徒□祖□金火楊□造
明銅漆金藥王坐像天啟四年四月造關門高氏李門郭氏
來源來源
1990年代初得於田那西州納什維爾 Richard White (1924-2002) 收藏，得於1973
年之前，後贈予現任藏家
249

251 253
A LARGE GILT-BRONZE HEAD OF PROPERTY FROM A DISTINGUISHED AMERICAN
BIXIA Y UANJUN PRIVATE COLLECTION
MING DYNASTY A LARGE GILT-BRONZE FIGURE OF

cast with a benevolent expression with WEITUO
downcast eyes and a gentle smile, the hair MING DYNASTY
gathered into a chignon framed by an elaborate
the guardian deity standing, with the right
headdress formed from three phoenixes,
hand lowered to the side and the left raised
patches of polychrome pigments visible
with an outstretched palm, the crisply modeled
throughout, wood stand (2)
youthful face gazing forward intently below a
winged helmet adorned with phoenix, wearing
ornate armor secured with cords, sashes and
$ 20,000-30,000 an inlaid belt, further adorned with ferocious
mythical beasts, a celestial scarf encircling the
shoulders, extensively detailed and gilt, later
明銅鎏金碧霞元君首像
stand
PROVENANCE
252 P.C. Lu & Sons, Hong Kong, 1st July 1983.
PROPERTY FROM A CANADIAN PRIVATE
Compare a large gilt-bronze figure of Weituo
COLLECTION
in the collection of the Seattle Art Museum,
A LARGE STONE HEAD OF AN Seattle, illustrated by Hugo Munsterberg,
OFFICIAL Chinese Buddhist Bronzes, Tokyo, 1967,
MING DYNASTY pl. 94; and another in similar posture sold
251
in our London rooms, 17th October 1978,
well carved with a solemn expression, the lot 103. A third, with the arms in anjali
rounded oval face with downcast eyes and mudra sold at Christie’s New York, 23rd
gently curved brows arching down to a sharp March 2011, lot 1632.
nose, with full lips and rounded cheeks, donning
a guan featuring a central tablet set behind $ 30,000-50,000
a ruyi head and flanked by celestial motifs,
mounted on stand (2)
Height 21¼ in., 54 cm
明銅鎏金韋陀立像
PROVENANCE 來源
C.C. Lai Chinese Antique Ltd., Toronto, 16th 魯氏父子有限公司，香港，1983年7月1日
June 2007.
Compare a closely related stone head of an

official, wearing the same official cap and
rendered with similar facial features, attributed
to the Yuan/Ming dynasty, sold at Christie’s
New York, 20th September 2004, lot 138.
See also two related cast iron examples with
similar headdresses, from the Avery Brundage
Collection, attributed to the Ming dynasty,
published in René-Yvon Lefebvre d’Argencé,
Chinese, Korean and Japanese Sculpture in the
Avery Brundage Collection, Asian Art Museum
of San Francisco, San Francisco, 1974, cat. nos
165 and 166.
⊖ $ 20,000-30,000
明石雕文官首像
來源
C.C. Lai Chinese Antique Ltd.，多倫
多，2007年6月16日
252

254 256
COLLECTION
PROPERTY FROM A DISTINGUISHED AMERICAN PRIVATE 十七世纪銅局部鎏金海獸紋鋪首耳熏爐
COLLECTION
A SM ALL ARCH AISTIC BRONZE CENSER A PARCEL-GILT BRONZE CENSER AND COVER 來源
17TH / 18TH CENTURY 17TH CENTURY 魯氏父子有限公司，香港，1983年1月24日
the compressed globular body resting on a short foot, the the rounded rectangular body rising from a spreading foot
neck set with a pair of lion-head handles and a thin band to an everted rim, finely cast in deep and high relief around
enclosing four archaistic birds on a leiwen ground, the foot the exterior with a broad band of mythical sea creatures
encircled by a band of spiral patterns, the base cast with an amid tumultuous foaming waves, set to either end with a gilt
apocryphal six-character Xuande mark, the patina a dark lion-mask handle suspending a loose ring, the base with an
greenish-brown tone apocryphal six-character Xuande mark within a recessed
Diameter 4⅜ in., 11 cm rectangle, the domed cover similarly cast and pierced with
a pair of dragons and phoenixes cast in high relief amidst
$ 4,000-6,000 cloud scrolls, surmounted by a pierced coiled dragon finial,
the stand similarly decorated with a band of lappets cast
along the foot (3)
十七 / 十八世纪銅獅耳小爐 Height 10⅞ in., 27.5 cm
《大明宣德年製》仿款
PROVENANCE
P. C. Lu & Sons, Hong Kong, 24th January 1983.
255 $ 20,000-30,000
PROPERTY FROM A DISTINGUISHED NEW YORK PRIVATE
COLLECTION
A GILT-SPLASHED BRONZE H ANDLED VASE

254
the rounded body rising from a splayed foot to a waisted
neck and everted rim, the neck flanked with two animal-
mask handles, the shoulder and the foot each decorated with
a band of lappets, the surface of the bronze covered in a rich
toffee patina with irregular gold splashes, the base with an
apocryphal four-character Xuande mark within a recessed
rectangle
PROVENANCE
Charlotte Hortsmann and Gerald Godfrey Ltd., Hong Kong.
$ 8,000-12,000
清十八世紀銅灑金雙耳瓶
《宣德年製》仿款
來源
Charlotte Hortsmann and Gerald Godfrey Ltd.，香港
255

258
A LARGE PARCEL-GILT BRONZE ‘DR AGON’ 清十八 / 十九世紀銅局部鎏金開光雙龍戲
CENSER 珠紋鋪首耳大爐
滿文篆款：
the rounded sides cast with two begonia-shaped panels with
two dragons chasing the ‘Flaming Pearl’ in high relief, against 皇帝行寶
a ground of bats soaring amongst clouds, flanked by two
lion-mask handles with loose rings, all between two bands of 詩文：
stylized lotus petal lappets around the mouthrim and foot, 重來瞻御筆懷感動心神
the interior center cast with a double vajra, and the base
丕烈邁前代鴻休啓後人
cast with a seal reading huangdi xingbao in Manchurian, ye
dharma formula in Tibetan, and the poem ‘fahaisi zhanhuang 興文盛禮樂偃武息兵民
kaoyushu jingfo liangzi’ in regular script 法則光華遠千年照佛輪
Width 14¼ in., 36 cm
來源
PROVENANCE
新英格蘭私人收藏，得於1950年代至1980年代之間
New England Private Collection, acquired between the 1950s
and 1980s.
The Tibetan inscription reads:
Of those things that arise from a cause,
The Tathagata has told the cause,
And also what their cessation is:
This is the doctrine of the Great Recluse.
$ 10,000-15,000
257
PROPERTY OF A LADY The present seal is classified as tuji (graphic record). Of the
five levels of Qing dynasty official seals, tuji falls under the
A BRONZE MILITARY OFFICIAL’S SEAL
fourth category according to Daqinghuidian [Regulations
DATED QIANLONG 14TH YEAR, of the great Qing dynasty]. See a closely related bronze
CORRESPONDING TO 1749 military official’s tuji from the same year, in the collection
of the Palace Museum, Beijing, illustrated in The Complete
heavily cast with a square body surmounted by a tapering
Collection of Treasures of the Palace Museum. Ancient Seals,
cylindrical handle, the top carved in Manchurian, the sides
with three inscriptions in Chinese: libuzao (made by the
Ministry of Rites), qianzi erqian wubai shijiu hao (number
2519 of qian), and Qianlong shisinian shiyue ri (tenth month $ 7,000-9,000
of the fourteenth year of Qianlong), the seal face cast in
Manchurian and Chinese seal script with characters reading
xianghuangqi hanjun sanjiala qizuoling tuji (seal of the seven
清乾隆十四年（1749年）鑲黃旗漢軍弎甲
zuoling three jiala of the Bordered Yellow Banner of the Han 喇七佐領圖記
army)
Height 3¾ in., 9.5 cm 《乾隆十四年十月日》《禮部造》《乾字二千五百
十九號》款
印文：
鑲黃旗漢軍弎甲喇七佐領圖記

259
PROPERTY FROM A WEST COAST PRIVATE COLLECTION The present piece relates to a group of covered censers of
various sizes, unified by the overall form of a globular body
A R ARE CLOISONNE ENAMEL ‘TAOTIE’
on cabriole makara legs, two scrolled chilong handles, and a
TRIPOD CENSER AND COVER domed cover surmounted by an openwork finial. The phoenix
QING DYNASTY, QIANLONG PERIOD handles of the present lot are rare amongst this group.
The vessel form is derived from archaic bronze ding of the
the turquoise-ground globular body narrowing at the
Shang and Zhou periods which were ritual food containers.
shoulder to an upright neck and galleried rim, the widest part
However, this model has been transformed into a censer and
of the body set with an elaborate pair of gilt-bronze phoenix-
is fitted with an elaborate cover, handles and makara legs to
form handles, all supported on three gilt-bronze cabriole legs
cater to the extravagant taste of the Qing Court.
attached to the body by makara heads, each leg with two
vertical cloisonné panels of polychrome lotus scroll against A Qianlong period cloisonné enamel censer of related shape
a turquoise ground, the densely patterned body dominated is illustrated in Sir Harry Garner, Chinese and Japanese
by large pendent lappets enclosing royal-blue taotie masks Cloisonne Enamels, London, 1962, pl. 70. Another censer of
suspended at the sides, gilt keyfret and polychrome lotus this form, but with the usual cabriole legs replaced by three
scrolls meandering between the lappets, all below a band long-legged cranes, from the Qing Court Collection and still
of taotie masks at the shoulder, lotus scrolls at the neck, in Beijing, was included in the exhibition China: The Three
and gilt keyfret in relief at the rim, the domed cover with Emperors, The Royal Academy of Arts, London, 2006, cat.
scrolling lotus interspersed with ruyi-form cartouches and no. 304. Compare a related censer with peach sprays sold in
surmounted by a large openwork gilt-bronze finial in the our Hong Kong rooms, 11th April 2008, lot 2807; and another
form of dragons amidst clouds (2) with archaic jades and peony scroll designs was sold in our
Height 19¼ in., 48.9 cm Hong Kong rooms, 30th May 2005, lot 1285.
PROVENANCE
$ 60,000-80,000
Gump’s, San Francisco, 1980s.
清乾隆銅胎掐絲琺瑯仿古紋鳳耳三足大
蓋爐
來源
Gump’s，舊金山，1980年代
192 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4

260
A PAIR OF CLOISONNE ENAMEL JARDINIERES
QING DYNASTY, EARLY 19TH CENTURY
the deep round sides rising from a straight foot on
lipped foot rim, enameled on the exterior with four
medallions enclosing various pictorial scenes of pavilions
in mountainous landscapes, amidst stylized lotus blooms
borne on meandering scrolling stems against blue ground, in
between a band of ruyi heads along the rim and a lappet of
upright petals above the foot, all above a honeycomb floral
diaper band encircling the foot (2)
$ 15,000-25,000
清十九世紀初銅胎掐絲琺瑯開光山水圖花
盆一對
261
PROPERTY FROM A CANADIAN PRIVATE COLLECTION This pair of jardinières was probably made for jade and
hardstone or cloisonné plants such as the pair sold in our
A PAIR OF CH AMPLEVE ENAMEL AND GILT-
London rooms, 14th November 2000, lot 29, which were of
BRONZE JARDINIERES round form with champlevé enamel decorated with shou and
QIANLONG SEAL M ARKS AND PERIOD wufu motifs.
each of hexalobed form, the deep rounded sides rising from Elaborately embellished life-like plants in ornate jardinières
a straight foot divided into conforming lobes and rising to (penjing) were made during Qing dynasty as interior
a flaring rim, the sides richly decorated in repoussé and decorations. Champlevé wares were manufactured in
cloisons with meandering leafy lotus scrolls, the blossoms, Guangzhou during the Qianlong period, as discussed in
leaves, and stems inlaid with polychrome enamels, all Tributes from Guangdong to the Qing Court, Art Gallery,
between a band of enameled upright petal lappets below and the Chinese University of Hong Kong, Hong Kong, 1987,
a ruyi head border above, the base cast with a six-character p. 54, where the authors explain how the ‘flourishment of
seal mark within a double square (2) champlevé enamels in Guangzhou was closely linked to
Width of wider 9 in., 22.8 cm the needs of the imperial household and was stimulated by
the new foreign champlevé techniques’. Penjing plants with
PROVENANCE champlevé jardinières were also documented to have been
Canadian Private Collection, acquired before the mid-1990s, typically made in the Yangzhou area.
and thence by descent. Another related example sold in these rooms, 18th June
1980, lot 9. A similar one sold at Christie’s Hong Kong, 28th
May 2013, lot 2168. Identical cast Qianlong six-character
seal marks within a double square can be found on cloisonné
wares of the period.
$ 20,000-30,000
清乾隆銅鏨胎琺瑯纏枝蓮紋盆景盆一對
來源
加拿大私人收藏，得於1990年代中期之前，此後家
族傳承

263
PROPERTY FROM AN IMPORTANT MIDWESTERN COLLECTION PROVENANCE
A R ARE ORMOLU-MOUNTED CANTON The Chinese Porcelain Company, New York, 1993.
ENAMEL ‘TRIBUTE BEARERS’ VASE
QING DYNASTY, QIANLONG PERIOD $ 6,000-8,000
finely painted with European gentlemen traversing a hilly

landscape bearing gifts including a lion, ivory tusks, a gilt 清乾隆銅胎畫琺瑯進寶圖筒瓶
model of a pagoda, a blue vase, and a platter of jewels, the
figure carrying the jewels riding astride an elephant and the 銅鎏金鑲足及包口
others proceeding on foot accompanied by horn players, the
interior glazed turquoise, ormolu mounts at the mouth and 來源
foot The Chinese Porcelain Company，紐約，1993年
Overall height 10⅛ in., 25.6 cm
262
A CANTON ENAMEL ‘DR AGON’ BOX AND 清十九世紀銅胎畫琺瑯雲龍戲珠紋花式大
COVER 蓋盒
of eight-lobed form supported on a slightly splayed foot, the
domed cover vividly enameled with four five-claw dragons
chasing a ‘flaming pearl’ in the center, the ‘flaming pearl’
surrounded by two pairs of shou and swastika motifs and
four more auspicious emblems, painted with the ‘Eight
Buddhist Emblems’ each on one lobe to the sides, with
more auspicious motifs in between, all amidst layers of
polychrome clouds against blue ground, encircled with
a narrow band of bats along the rim, the box similarly
decorated to the sides, with a lappet of upright petals above
the foot, and a keyfret band encircling the foot, the inside
enameled light yellow, the base enameled white (2)
Diameter 11⅞ in., 32 cm
$ 6,000-8,000

264
PROPERTY OF A LADY Brilliantly carved with an exceptional aesthetic and intrinsic
charm, the present luohan bears the signature of Shangjun,
A SOAPSTONE FIGURE OF A LUOH AN,
one of the best known and most talented soapstone carvers
ATTRIBUTED TO ZHOU BIN of the early Qing period. Zhou Bin, zi Shangjun, was a native
17TH / 18TH CENTURY of Zhangzhou in Fujian province, where large soapstone
quarries are located. Although textual information about him
superbly carved, the deity seated leaning slightly onto the
is scarce, and his exact dates are unknown, he is believed
right hand with the left knee raised supporting the left hand
to have been active in the Kangxi period (1662-1722) and
holding an open book, the face with a serene expression
to have been trained by Yang Yuxuan, another renowned
detailed with downcast eyes above a broad nose and a
soapstone master. Fang Zonggui in Shoushanshi zhi
slightly upturned mouth, framed by a pair of pendulous
[Records of Shoushan Stone], Fuzhou, 1982, pp 77-8, notes
earlobes, the hair, eyes, and eyebrows finely incised and
that Zhou’s works were always prized in artistic circles.
painted in black pigment, dressed in a loose robe open at the
chest and draped in naturalistic folds, the fabric meticulously Four luohan belonging to the same set as the present figure
incised along the hem with meandering lotus scroll and have been previously auctioned, all of which came from the
inset with mother-of-pearl and coral, all above a rockwork same private collection. One depicted in meditation, incised
base finely incised on the top with a brocade pattern, the with an inscription dishiqizunzhe ruding Shangjun (The
underside with a vertical inscription reading dishisizunzhe seventeenth luohan in meditation, Shangjun), was recently
kanshu (The fourteenth luohan reading a book), followed by sold in these rooms, 23rd September 2020, lot 673; the
a two-character signature reading Shangjun, the stone of a second, holding a lingzhi, and inscribed to the underside
creamy white color variegated with some natural inclusions with dishiliuzunzhe zhilingzhi Shangjun (The sixteenth luohan
Height 3¼ in., 8.3 cm holding a lingzhi, Shangjun), was also sold in these rooms,
22nd September 2005, lot 60, and again in our Hong Kong
PROVENANCE rooms, 2nd June 2016, lot 73, from the Water, Pine and
Private Collection, acquired prior to 1993, and thence by Stone Retreat Collection; the third, holding a ruyi scepter,
descent. and inscribed with diqizunzhe zhiyuruyi Shangjun (The
seventh luohan holding a jade ruyi, Shangjun), was sold in
these rooms, 31st March-1st April 2005, lot 202; and the
fourth, identified as the tenth luohan, was sold in the same
rooms, 22nd September 2004, lot 50.
Further surviving examples of small figural sculptures from
series of luohan, usually seated on elaborate cushions or
rockwork base, comprise one included in the exhibition
Arts from the Scholar’s Studio, Fung Ping Shan Museum,
University of Hong Kong, Hong Kong, 1986, cat. no. 44; a
figure holding a lion cub and seated on a stepped platform
incised with lotus sprays, sold in our Hong Kong rooms, 4th
April 2012, lot 136; one in the National Museum of Chinese
History, Beijing, published in Zhongguo wenwu jinghua
daquan, Jinyin yushi juan [Compendium of Chinese art. gold,
silver, jade and stone], Hong Kong, 1994, p. 83, pl. 242; and a
fourth example, included in the exhibition In Scholar’s Taste,
Sydney L. Moss Ltd., London, 1983, cat. no. 123.
◉ $ 100,000-150,000
十七 / 十八世紀壽山石雕第十四尊者看書
像
《第十四尊者看書》《尚均》款
來源
私人收藏，得於1993年之前，此後家族傳承

265
COLLECTION
AN AMBER BANGLE
the band of circular section and unadorned aside from
a small section carved in low relief with a mythical
beast grasping a sprig of lingzhi in its mouth, the resin a
translucent reddish-brown color suffused with brown streaks
and inclusions
PROVENANCE
Sotheby’s Hong Kong, 3rd May 1994, lot 337.
$ 5,000-6,000
清十八世紀琥珀雕瑞獸銜芝紋鐲
來源
265
266
COLLECTION
A MINIATURE MOLDED GOURD ‘DR AGON’

VASE
DAOGUANG M ARK AND PERIOD
the pear-shaped ovoid body rising to a short cylindrical neck,
molded to the exterior with a chilong striding amidst stylized
scrolls, the mouth applied with a tortoiseshell mount, the
base molded with a four-character reign mark within a
square cartouche
Height 2⅜ in., 6 cm
PROVENANCE 267
Christie’s Paris, 7th December 2007, lot 120. PROPERTY FROM THE WILLIAM BOYCE THOMPSON COLLECTION PROVENANCE
A SET OF FIVE LARGE H ARDSTONE-INLAID Collection of Mrs. Leopold Stokowski (1880-1948) and
◉ $ 20,000-30,000 Edward G. Getz (d. 1932).
CINNABAR LACQUER ‘BIRD AND FLOWER’
American Art Association, New York, 24th-25th March 1927,
PANELS AND FIVE CARVED CINNABAR lot 493.
清道光匏製龍紋小瓶 LACQUER ‘FIGUR AL’ PANELS Collection of William Boyce Thompson (1869-1930), and
《道光年製》款 LATE QING DYNASTY thence by descent.
each panel of rectangular shape, five of the panels executed

來源 ◉ $ 30,000-50,000
in carved cinnabar lacquer on one side each depicting figures
巴黎佳士得2007年12月7日，編號120 enjoying leisurely pursuits in a garden setting, the figures
and landscape elements all in high relief against variously
清末剔紅嵌寶花鳥圖掛屏五件及剔紅人物
patterned grounds, the reverse of each panel lacquered
black and featuring a selection of the ‘Hundred Antiques’ in 圖掛屏五件
gilt, the other five panels each decorated on one side with
naturalistic scenes of birds and flowers, inlaid in multi-hued 來源
jade, jadeite, hardstone, and wood appliques all against 利奧波德•斯托科夫斯基夫人 (1880-1948) 及 Edward
a finely patterned carved cinnabar lacquer ground, the G. Getz (1932年逝) 收藏
reverse of each panel lacquered black and inscribed in gilt
美國藝術聯盟，紐約，1927年3月24至25日，編號493
calligraphic verse (10)
Height of largest 42⅞ in., 108.9 cm; Width 29¼ in., 74.3 cm William Boyce Thompson (1869-1930) 收藏，此後家族
傳承
266

268 The present screen is a particularly fine when artisans took pains to individualize each and happy life. The birds on the reverse each
example of Coromandel screens carved element within a composition in order to make carry their own auspicious meanings, and the
PROPERTY OF A GENTLEMAN with ‘birthday’ and ‘hundred birds’ themes. the image as dynamic and immersive for the overall composition can be understood as the
On the principal side, no detail is spared in viewer as possible. ‘hundred birds courting the phoenix’ (bainiao
A TWELVE-PANEL COROM ANDEL
the depiction of the figures, from the fine The primary image on the present screen chaohuang or bainiao chaofeng), or ‘hundred
‘BIRTHDAY’ SCREEN patterning of the embroidery on their robes, to birds paying homage to the king (bainiao
is that of Qunxian zhushou, the auspicious
QING DYNASTY, 17TH / 18TH the subtle total contouring of their faces, and chaowang). Because phoenix only appear
occasion of the birthday of the Daoist God
CENTURY the variations in their gestures and expressions. of Longevity, Shoulao. The theme originated during peaceful reigns, it is closely connected
The same level of care is also lavished on the in plays from the Song dynasty and was a with the ruler, and in this motif it symbolizes the
each side richly carved and infilled with reverse, where each bird and flower comes to relationship between a ruler and his officials.
polychrome lacquers against a black ground, popular subject in Chinese art throughout the
life in its vibrant colors, naturalistic movement, Ming and Qing dynasties. The presence of To the recipient of this screen, this imagery
the principal side dominated by a magnificent and integration with its environment. This would convey a wish for order and harmony,
scene of a Daoist immortals, officials, and the Qunxian zhushou imagery suggests that
level of detail is characteristic of Coromandel the screen was made as a birthday gift, to which create the conditions for a peaceful and
supplicants traversing a celestial landscape screens made in the 17th and 18th century, prosperous life.
to pay tribute to Shoulao seated in a pavilion convey a wish that the recipient enjoy a long
at the center of the composition, the steps
of the pavilion opening onto a balustraded
garden filled with devotees approaching and
bearing gifts of peaches, amidst them a pair of
musicians playing the flute and castanets, an
attendant stoking a censer, and a pair of cranes
strutting, the grounds lined with groupings of
rocks, bamboo, and gnarled trees, to either
side of the compound additional immortals
arriving across a turbulent sea or aloft swirling
clouds, including Xiwangmu approaching on a
canopied chariot, Li Tieguai astride a crane and
brandishing an iron crutch with a double-gourd
fastened to it, Lan Caihe floating on a cloud with
a flower basket in hand and accompanied by a
deer carrying large peaches, and Liu Hai riding a
toad alongside Qin Gao on a carp, among other
figures from the Daoist pantheon, all framed
by a border of stylized dragons set between
‘landscape’ panels above and ‘mythical beast’
panels below and surrounded by a floral border
at the perimeter, the reverse with the ‘Hundred
Birds’ in a resplendent garden filled with flowers
of each season in bloom, in the center a pair of
massive phoenix fanning out their rich plumage
with magpies, cranes, pheasants, songbirds,
and other species perching or flying nearby,
bound by a floral border and surrounded by
further ‘bird and flower’ panels above and
below all within a further floral border, the legs
beneath each panel carved with an integral
trefoil-shaped apron
Each panel: Height 109 in., 277 cm;
Width 19¼ in., 49 cm
⊖ $ 60,000-80,000
清十七 / 十八世紀髹漆加彩群仙

祝壽圖十二扇屏風

269
PROPERTY FROM A DISTINGUISHED NEW YORK lot, gifted by Anthony J. Hardy to the Hong
PRIVATE COLLECTION Kong Maritime Museum (accession no.
A LARGE AND R ARE PAINTING OF A HKMM2018.0001.0001), illustrated in Libby Lai-
Pik Chan and Nina Lai-Na Wan ed., The Dragon
MOTHER AND CHILD
and The Eagle: American Traders in China, A
QING DYNASTY, CIRCA 1870 Century of Trade from 1784 to 1900, vol. I, Hong
oil on canvas, depicting an intimate and sensual Kong, 2018, no. 5.30. The authors suggest that
scene of a beautiful young mother lying on the visual language used within this painting
her side nursing her infant son, her elegant derived from both Chinese and European
facial features framed by her long black hair influences. The child in the foreground signals
swept back and secured by an embellished fertility in the Chinese tradition, and the
hair ornament, her head lightly resting on her authors likened the depiction of a young lady
bejeweled and manicured left hand supported lying in her inner chamber in an erotic position
by a brocade bolster inscribed on the side with to European paintings of an odalisque. The
the first two verses of the first Qing ping diao painting also has details drawn from Chinese
by Li Bai, adorned in a diaphanous apricot- iconography which allude to intimacy, including
yellow robe draped over blue floral-patterned the slippers of the lady and her attendant, and
trousers, the delicate feet bound within a pair of the lady’s thinly clad breast. Interestingly, the
red slippers, a young female attendant seated suggestive footwear and bosom are skillfully
behind, both figures resting atop a mother-of- obscured by a floral bouquet, a teapot, and a
pearl-inlaid bed with an aubergine-ground robe fan, respectively. It is unclear whether these
and chrysanthemum-decorated inscribed fan judiciously placed elements are original to the
hanging in the background, framed in a gilt- composition, but their mere presence suggests
wood frame that other examples of the same subject, such
Height 29½ in., 75 cm; Width 43⅞ in., 111.6 cm as the present lot, would have almost certainly
been understood as representations of
PROVENANCE intimacy, and erotic in nature in the eyes of the
contemporaneous viewer.
Charlotte Hortsmann and Gerald Godfrey, Ltd.,
Hong Kong. While Chinese oil paintings are closely
associated with China Trade and by extension
LITERATURE a Western audience, the poetic inscription at
Anthony Lawrence, The Taipan Traders: A the side of the rectangular bolster may suggest
Portrait of Hong Kong’s days of youth from the otherwise. Taken from the poem Qing ping
finest collection of China Trade paintings, Hong diao [The Quiet, Peaceful Melody] by Tang
Kong, 1992, pp. 88-89 dynasty poet Li Bai, the prose describes the
beauty of Yang Guifei, imperial consort and one
Expertly conceived and stunningly beautiful, of the four great beauties in Chinese history.
the present example demonstrates high This seemingly suggests the refinement of the
levels of technical mastery and competency, sitter is comparable to that of the woman who
representing the zenith of Chinese oil paintings epitomized female elegance in Chinese history.
in the 18th and 19th centuries. The present This literary reference, inscribed with care
painting belongs to a select group of oil and meant to be implicitly understood by the
paintings depicting a nursing scene, and at viewer, suggests that the intended audience is
least three others of similar quality and size perhaps Chinese after all.
are published. According to H. A. Crosby
The popularity of the subject can be seen in
Forbes in an article written for the Museum of
other related paintings of smaller size, including
the American China Trade, ‘Gift of Previously
one illustrated in Patrick Conner, Paintings of
Unpublished China Trade Painting’, Newsletter,
the China Trade: The Sze Yuan Tang Collection
vol. 3, no. 12, March 1974, three examples
of Historic Paintings, Hong Kong, 2013, pl. 150,
were known at the time of publication: one,
and a pair sold at Christie’s Hong Kong, 30th
almost identical to the present example, but
September, 1992, lot 1910.
without the aubergine-ground robe hanging in
the background, formerly in the collection of
Forbes House Museum, Milton Massachusetts, $ 80,000-120,000
now in the Peabody Essex Museum, Salem,
Massachusetts; a second example depicting the
central figure with a blue robe and red trousers, 清約1870年母嬰圖油畫裝框
and the background with a waterfront scene of
Canton (Guangdong), formerly in the collection 來源
of the Independence Seaport Museum, Charlotte Horstmann and Gerald Godfrey Ltd.，
Philadelphia, Pennsylvania, and sold in these 香港
rooms, 15th-16th September, 2015, lot 221;
and a third that, during the time of publication, 出版
was in the possession of Samuel L. Lowe, Jr.
Antiques, Boston, Massachusetts.
Anthony Lawrence，《The Taipan Traders:
A Portrait of Hong Kong’s days of youth
Compare a closely related example, also
depicting the lady wearing an apricot-yellow from the finest collection of China Trade
robe and blue trousers as in the present paintings》，香港，1992年，頁88-89

270 272
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
A LARGE BLUE AND WHITE ‘LANDSCAPE’
AN UNDERGLAZE-BLUE AND COPPER-RED YENYEN VASE
‘FISH’ VASE QING DYNASTY, K ANGXI PERIOD
the baluster body rising from a spreading foot to a tall
the elegantly potted swelling body supported on a tall spreading broad trumpet neck with flaring rim, painted in bold cobalt
foot and rising to a wide waisted neck and flared rim, painted tones with a mountainous riverside landscape with cabins
with three large mandarin fish, the details of the spotted skin, and pavilions surrounded by old trees and soaring birds, a
face, tail and fins in varying shades of cobalt blue and copper scholar on horseback traveling by the river followed by an
red, the base with a double circle in underglaze blue attendant and a third figure crossing the bridge, additional
Height 9 in., 22.8 cm scholars resting near pavilions tucked into the landscape,
the shoulder with a band of bamboo between geometric
PROVENANCE lappet bands, the landscape motif repeated at the neck, the
Ralph M. Chait Galleries, New York. base with an apocryphal six-character Chenghua mark in
underglaze blue within a double circle
$ 10,000-15,000
$ 20,000-30,000
清康熙青花釉裏紅鱖魚圖琵琶尊
來源清康熙青花山水人物圖大鳳尾尊
Ralph M. Chait Galleries，紐約《大明成化年製》仿款
271
PROPERTY FROM A DISTINGUISHED NORTH AMERICAN PRIVATE
COLLECTION
270
AN UNDERGLAZE-BLUE COPPER-RED AND
CELADON-GLAZED QUADR ANGULAR VASE
the tall, rectangular sides broadening toward the flat, square
shoulder and surmounted by a trumpet neck, each side
painted with a mountainous landscape within a double-line
border, the sloping banks and distant peaks carved in low
relief and glazed in pale celadon tones contrasting with the
deep umber hues of the underglaze-red tree trunks and
foliage and the inky cobalt passages of underglaze blue
variously describing the rivers, mountains, ground, leaves,
and pavilions, literati-style signatures reading Yunqiao or
Qiaoyin and seals inscribed at the top of each panel, one
panel with a poetic verse taken from a Tang dynasty poem
by Wang Ji reading Shushu jieqiuse shanshan weiluohui
(every tree is covered by the color of autumn, every
mountain is glorified by the color of sunset), floral sprays in
underglaze blue at the corners of the shoulder, underglaze-
blue and copper-red rockwork and flowers at the neck, the
recessed base with an apocryphal four-character Chenghua
mark in underglaze blue, wood stand (2)
Height 21⅜ in., 54.3 cm
Quadrangular porcelain vases with angled sides and trumpet
necks were among the novel forms developed by potters of the
Kangxi period (r. 1662-1722). Whereas vases of this form were
typically painted in famille-verte enamels, the present example
is distinguished by the use of underglaze blue, copper red, and
celadon glaze, a palette that was normally reserved for round
vases, brushpots, and jardinières. In addition to the shape and
coloration, the use of literati-style inscriptions to mark the
painted sides as if they were hanging scrolls is another trope
characteristic of Kangxi era ceramicists.
$ 15,000-20,000
清康熙釉裏三彩秋山落暉圖方瓶
《成化年製》仿款
271 詩文：
樹樹皆秋色山山惟落暉

273 275
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
A CARVED CELADON-GLAZED ‘TAOTIE’ A FAMILLE-VERTE ‘ROM ANCE OF THE

HU-FORM VASE WESTERN CH AMBER’ BALUSTER JAR AND A
QING DYNASTY, K ANGXI PERIOD COVER
the generously proportioned pear-shaped body supported
on a stepped rounded foot and rising to a broad waisted robustly potted, rising from a spreading foot to a bulbous
neck and galleried rim, the neck set with a pair of protruding upper body and rounded shoulder supporting a broad
beast mask-form handles, each side of the body carved with straight neck, the body painted with a scene from the Yuan
a stylized taotie mask reserved against a leiwen ground, dynasty novel Xixiangji (Romance of the Western Chamber),
the neck carved with a double layer of floriform lappets, all the young scholar Zhang Junrui seated on a stool in front
beneath a seafoam-green glaze, the base glazed white of a bearded official attended by four court ladies, the hall
Height 10⅜ in., 26.3 cm appointed with furniture, antiques, and a painted screen
within finely detailed architecture, all between an iron-red
PROVENANCE
chevron band at the foot and green diaper band around
Sotheby’s London, 12th June 2003, lot 178. the shoulder with reserved shaped cartouches enclosing
beribboned ‘Precious Objects’, the neck with a selection of
$ 10,000-15,000 scholar’s objects, the domed cover with further scholar’s
objects within an iron-red shaped collar and surmounted by
a bud-form finial (2)
清康熙青釉刻仿古饕餮紋獸耳尊 Height 13¾ in., 35 cm
來源 $ 5,000-7,000
清康熙五彩西廂記人物故事圖罐配蓋
273
274
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION 276
A MIRROR-BLACK-GLAZED BOTTLE VASE PROPERTY FROM A CANADIAN PRIVATE COLLECTION
A WUCAI ‘HUNDRED BOYS’ JAR
the pear-shaped body rising to a tall slender neck, covered QING DYNASTY, SHUNZHI PERIOD
evenly with a deep lustrous black glaze, stopping neatly 275
above the unglazed foot ring, the base glazed white the baluster body surmounted by a straight neck and subtly
Height 17⅝ in., 44.8 cm lipped rim, vibrantly painted with a continuous scene of
boys playing in a balustraded garden, the children engaged
PROVENANCE in a variety of activities, including the ‘Four Scholarly
Collection of Mr. and Mrs. Eugene Bernat. Accomplishments’, the shoulder with a ‘cracked ice’ pattern
Bluett & Sons Ltd., London. below a band of further boys and rockwork at the neck
Ralph M. Chait Galleries, New York. Height 12¾ in., 32.3 cm
EXHIBITED PROVENANCE
Exhibition of Chinese Ceramics, Lent by Mr. and Mrs. Eugene Canadian Private Collection, acquired between the 1960s
Bernat, Museum of Fine Arts, Boston, 1947, cat. no. 163. and 1980s, and thence by descent.
Later Chinese Ceramics from the Collection of Mr & Mrs
Eugene Bernat, Bluett & Sons Ltd., London, 1974, cat. no. 56. $ 5,000-7,000
$ 10,000-15,000 清順治五彩百子圖罐
清十八世紀黑釉長頸瓶來源
加拿大私人收藏，購於1960年代至1980年代之間，
來源此後家族傳承
Eugene Bernat 伉儷收藏
Ralph M. Chait Galleries，紐約
展覽
《Exhibition of Chinese Ceramics, Lent by Mr. and Mrs.
Eugene Bernat》，波士頓美術館，波士頓，1947年，
編號163
《Later Chinese Ceramics from the Collection of Mr &
Mrs Eugene Bernat》，Bluett & Sons Ltd.，倫敦，1974
274
年，編號56
276

277 279
PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION PROVENANCE
A LARGE FAMILLE-VERTE ‘ROM ANCE OF THE A PAIR OF LARGE FAMILLE-VERTE ‘FLOWER Mallett Antiques, London.
THREE KINGDOMS’ DISH AND ANIM AL’ SLENDER BALUSTER VASES
QING DYNASTY, K ANGXI PERIOD QING DYNASTY, K ANGXI PERIOD $ 40,000-60,000
richly painted with a scene from the historic drama Sanguo each sturdily potted, the tall sides gently rising to a rounded
yanyi (Romance of the Three Kingdoms), possibly depicting shoulder, subtly waisted neck, and galleried rim, the body 清康熙五彩開光花鳥瑞獸紋大瓶一對
the Han alchemist Zuo Ci brandishing a sword issuing finely painted with three registers of petal-form panels, each
vapor and a crane at the elaborately dressed warlord Cao panel with double-line borders alternately enclosing animals 來源
Cao, who gestures cautiously towards his adversary and a in landscapes, birds and flowers, or flora of various seasons, Mallett Antiques，倫敦
blue-robed scholar who darts behind, a female attendant the neck encircled by a composite floral scroll borne on a
nearby pointing a hanging lantern at the crane and another leafy stem, the mouth rim with a thin band of ‘prunus and
attendant standing at the other side of the bird, the cracked ice’ in polychrome enamels, the base with a double
adjacent halls each with two ladies in elegantly appointed circle in underglaze blue, gilt stands (4)
surroundings oblivious to the commotion, all framed by a Height 22⅛ in., 56.3 cm
band of ‘precious objects’ on a diaper ground, the channeled
base with a beribboned artemisia leaf in underglaze blue
within a double circle
PROVENANCE
Sotheby’s New York, 22nd March 2002, lot 110.
The Chinese Porcelain Company, New York.
$ 20,000-30,000
清康熙五彩三國人物故事圖大盤
277
來源
The Chinese Porcelain Company，紐約
278
AN IRON-RED-GROUND AND FAMILLE-VERTE

‘BIRD AND FLOWER’ YENYEN VASE
the baluster body sweeping to a wide trumpet neck with
a flaring rim, the body brilliantly enameled with a pair of
elegant phoenixes soaring amidst a continuous peony
scroll, the thin looping stems issuing large stylized blooms
and leaves in varying forms, the larger leaves picked out
in emerald-green, all against a vibrant iron-red ground,
the shoulder with a band of keyfret and a ruyi collar, and a
further pendent ruyi-head band at the mouth, the base with a
double circle in underglaze blue
Height 18⅜ in., 46.7 cm
PROVENANCE
Ralph M. Chait Galleries, New York.
$ 4,000-6,000
清康熙五彩穿花鳳紋鳳尾尊
來源
278

280
A BLUE AND WHITE ‘BUDDHIST LIONS’

BOTTLE VASE
the globular body rising to a tall cylindrical neck with a
lipped rim, the body painted in bright cobalt hues with three
Buddhist lions gamboling among beribboned balls, all below
a band of diaper pattern encircling the shoulder, the neck
with a sinuous chilong chasing a ‘Flaming Pearl’ amidst flame
scrolls, a double-line border at the mouth rim, the base with
a double circle in underglaze blue
Height 17¼ in., 43.9 cm
PROVENANCE
Collection of W. P. Foss (by repute).
$ 5,000-7,000
清康熙青花佛獅戲繡球紋長頸瓶
來源
W.P. Foss 收藏（傳）
281
280
A PAIR OF BLUE AND WHITE ‘HUNDRED
ANTIQUES’ BEAKER VASES
each rising from a slightly spreading foot to a columnar
body flaring gently at the rim, painted in rich cobalt blue with
shaped panels enclosing either auspicious and scholarly
objects or bird and flower vignettes, all set against a blue
ground densely patterned with scrolling white lotus in
reserve, a chevron band at the mouthrim and another at the
foot (2)
$ 7,000-9,000
清康熙青花博古花鳥圖大花觚一對
282
PROPERTY FROM A MASSACHUSETTES PRIVATE COLLECTION PROVENANCE
A FAMILLE-ROSE ‘M AGU’ DISH Collection of Augustus the Strong, Elector of Saxony, King of
Poland (1670-1733), Saxony, Dresden, inv. no. N=183 I.
QING DYNASTY, YONGZHENG PERIOD
with curved sides rising from a short straight foot to an
$ 15,000-25,000
everted rim, the interior finely painted with the Daoist
Immortal in flowing robes holding a lingzhi, accompanied
by a boy attendant and a deer with a peach blossom in the 清雍正粉彩麻姑獻壽圖大盤
mouth, overhanging prunus branches above, the rim border
with floral sprays, all enameled in delicate pastel shades, the 來源
rim gilt, the base incised with the Japanese Palace inventory 奧古斯特二世（1670-1733）收藏，薩克森選帝侯，
number N=183-I.
281 波蘭國王，薩克森，德累斯頓，收藏編號N=183 I

283 284
PROPERTY FROM A MASSACHUSETTS PRIVATE COLLECTION 清雍正粉彩西廂記人物故事圖大盤 PROPERTY FROM A MASSACHUSETTS PRIVATE COLLECTION PROVENANCE
A LARGE FAMILLE-ROSE ‘ROM ANCE OF THE A PAIR OF LARGE FAMILLE-VERTE AND Smaller charger:
WESTERN CH AMBER’ CH ARGER 來源 Collection of Edmond Rothschild (1845-1934), Château de
VERTE-IM ARI ‘YANG FAMILY’ CH ARGERS
QING DYNASTY, YONGZHENG PERIOD 倫敦佳士得1976年3月1日，編號66 Ferrières.
QING DYNASTY, K ANGXI PERIOD Cohen & Cohen, London, 2003.
vibrantly enameled with a scene from Romance of the Cohen & Cohen，倫敦，2006年 each dish vibrantly enameled with an animated scene Cohen & Cohen, London, 2017.
Western Chamber (Xixiangji), depicting Zhang Sheng leaving of female warriors on horseback, the animals galloping
Popowich 收藏
Cui Ying Ying to attend examinations at the capital, with a within the stately courtyard of a grand pavilion, a seated
紐約佳士得2017年1月18日，編號305 $ 20,000-30,000
border of figural vignettes and large pink peonies matriarch viewing the scene from above flanked by standing
Diameter 21¼ in., 53.3 cm 紐約佳士得2018年1月18日，編號40 attendants, the broad everted rim in verte-imari with varying
polychrome flowerheads on an iron-red floral meander 清康熙五彩楊家女將人物故事圖大盤一對
PROVENANCE
ground, the underside with a pair of underglaze blue and
Christie’s London, 1st March 1976, lot 66. iron-red floral sprays (2) 來源
Ralph M. Chait Galleries, New York. Diameter of the larger 21¼ in., 54 cm 較小盤：
Cohen & Cohen, London, 2006.
The Popowich Collection.
埃德蒙•羅斯柴爾德 (1845-1934) 收藏，費里耶爾城堡
Christie’s New York, 18th January 2017, lot 305. Cohen & Cohen，倫敦，2003年
Christie’s New York, 18th January 2018, lot 40. Cohen & Cohen，倫敦，2017年
$ 20,000-30,000
END OF SALE

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exceed the low presale estimate stated Under European data protection laws,
○
any third party claims arising after the up to the live auction. You may raise your Platforms. lot’s specific webpage will be updated catalogue or ² in the lot’s specific webpage)
in the catalogue, or as amended by oral a client may object, by request and Guaranteed Property
date of such sale. maximum bid at any time in advance to include the irrevocable bid symbol, you may be required to complete a
or posted notices. We may implement free of charge, to the processing of 6. Sotheby’s reserves the right to The seller of lots with this symbol has
of the live auction. Once the live auction a notice will be added to the Sotheby’s Premium Lot pre-registration application.
such reserve by opening the bidding on their information for certain purposes, Sotheby’s has discretion to waive any refuse or revoke permission to bid via been guaranteed a minimum price from
begins, the auctioneer will open bidding webpage for the auction, or a pre-sale You must arrange for Sotheby’s to receive
behalf of the Consignor and may bid up including direct marketing, and may of the above requirements. Sotheby’s Online Platforms and to remove bidding one auction or a series of auctions. This
at the current leading bid. The system or pre-lot announcement will be made your pre-registration application at least
to the amount of the reserve, by placing access and rectify personal data may require the original purchaser privileges during a sale. guarantee may be provided by Sotheby’s
will continue to bid on your behalf up to indicating that there is an irrevocable bid three working days before the sale. Please
successive or consecutive bids for a lot, relating to them and may obtain of record to obtain at the original or jointly by Sotheby’s and a third party.
your predetermined maximum bid, or 7. The purchase information shown in on the lot. From time to time, Sotheby’s or bear in mind that we are unable to obtain
or bids in response to other bidders. In more information about Sotheby’s purchaser of record’s cost the reports Sotheby’s and any third parties providing
you may continue to bid via the Online the “My Bids” section of the Sotheby’s any affiliated company may provide the financial references over weekends
instances where we have an interest in data protection policies by writing to of two independent and recognized a guarantee jointly with Sotheby’s
Platforms during the live auction at the App and in the “Account Activity” section irrevocable bidder with financing related to or public holidays. Sotheby’s decision
the lot other than our commission, we Sotheby’s, 34-35 New Bond Street, experts in the field, mutually acceptable benefit financially if a guaranteed lot
next increment. Upon the closing of each of “My Account” on Sothebys.com is the irrevocable bid. In addition, from time whether to accept any pre-registration
may bid up to the reserve to protect London W1A 2AA, or 1334 York Avenue, to Sotheby’s and the original purchaser is sold successfully and may incur a
lot, you will receive push notification provided for your convenience only. to time, an irrevocable bidder may have application shall be final. If all lots in the
such interest. In certain instances, the New York, NY 10021, Attn: Compliance, or of record. Sotheby’s shall not be loss if the sale is not successful. A third
(if enabled on your device) indicating Successful bidders will be notified and knowledge of the amount of a guarantee. catalogue are “Premium Lots”, a Special
Consignor may pay us less than the emailing enquiries@sothebys.com. bound by any reports produced by party providing a guarantee jointly with
whether you have won or lost each lot on invoiced after the sale. In the event of If the irrevocable bidder is advising anyone Notice will be included to this effect and
standard commission rate where a lot is the original purchaser of record, and Sotheby’s may provide an irrevocable
Please be aware that Sotheby’s may film which you have placed a bid. any discrepancy between the online with respect to the lot, Sotheby’s requires this symbol will not be used.
“bought-in” to protect its reserve. reserves the right to seek additional bid, or otherwise bid, on the guaranteed
auctions or other activities on Sotheby’s purchase information which may or may the irrevocable bidder to disclose his or
expert advice at its own expense. It is Please note in certain circumstances, property. If this auction has a printed
11. Tax Unless exempted by law, the premises and that such recordings clients who have been outbid may be
not be shown in the My Bids section her financial interest in the lot. If an agent is ⊖ US Import Tariff
specifically understood and agreed catalogue, a PDF catalogue or both and
may be transmitted over the Internet and the invoice sent to you by Sotheby’s advising you or bidding on your behalf with Please note that this lot is subject to an
purchaser will be required to pay the that the rescission of a sale and the reinstated as the leading bidder and the guaranteed property symbol for a
via Sotheby’s website and other online following the sale, the invoice prevails. respect to a lot identified as being subject import tariff. The amount of the import
combined New York State and local sales refund of the original purchase price would receive notification via email or lot is not included in such catalogue or
platforms. Online and telephone bids Terms and conditions for payment and to an irrevocable bid, you should request tariff due is a percentage of the value
tax, any applicable compensating use paid (the successful hammer price, push notification, if enabled on your if there is no printed catalogue or PDF
may be recorded. collection of property remain the same that the agent disclose whether or not he declared upon entry into the United
tax of another state, and if applicable, plus the buyer’s premium and overhead device. catalogue and the guaranteed property
regardless of how the winning bid was or she has a financial interest in the lot. States. The amount of the import tariff is
any federal luxury or other tax, on the premium) is exclusive and in lieu of any symbol for a lot is not included at the time
By placing Advance Bids on the Online submitted. not based on the final hammer price. The
total purchase price. The rate of such
combined tax is 8.875% in New York City
other remedy which might otherwise be
available as a matter of law, or in equity.
Platforms, you accept and agree that
8. Sotheby’s is not responsible for any
the digital catalogue is initially available for
viewing, then Sotheby’s will notify bidders
⊻ Interested Parties buyer should contact Sotheby’s prior
TERMS OF GUARANTEE any such bids are final, that you will not Lots with this symbol indicate that to the sale to determine the amount of
and ranges from 7% to 8.625% elsewhere Sotheby’s and the Consignor shall errors or failures to execute bids placed that there is a guarantee on the lot by
be permitted to retract your bid, and parties with a direct or indirect interest the import tariff. If the buyer instructs
in New York. not be liable for any special, punitive, online, including, without limitation, one or more of the following means: the
As set forth below and in the Conditions that, should your bid be successful, you in the lot may be bidding on the lot, Sotheby’s to arrange shipping of the lot
incidental or consequential damages errors or failures caused by (i) a loss of lot’s specific webpage will be updated to
12. Export and Permits It is the of Sale, for all lots Sotheby’s guarantees irrevocably agree to pay the full purchase including (i) the beneficiary of an estate to a foreign address, the buyer will not
incurred or claimed, including without connection to the internet or to the online include the guaranteed property symbol,
purchaser’s sole responsibility to identify that the authorship, period, culture or price, including buyer’s premium, selling the lot, or (ii) the joint owner be required to pay the import tariff. If the
limitation, loss of profits bidding software by either Sotheby’s or a notice will be added to the Sotheby’s
and obtain any necessary export, origin (collectively, “Authorship”) of overhead premium and other applicable of a lot. If the interested party is the buyer instructs Sotheby’s to arrange
or interest. the client; (ii) a breakdown or problems webpage for the auction, or a pre-sale
import, firearm, endangered species or each lot in this catalogue is as set out charges, and all applicable taxes. You successful bidder, they will be required shipping of the lot to a domestic address,
with the online bidding software; or or pre-lot announcement will be made
other permit for the lot. Any symbols in the initial lot heading immediately may nevertheless lower your maximum to pay the full buyer’s premium and or if the buyer collects the property in
(iii) a breakdown or problems with a indicating that there is a guarantee on
or notices in the sale catalogue reflect following the lot number in the catalogue bid leading up to the live auction by overhead premium. In certain instances, person, or if the buyer arranges their
client’s internet connection, computer the lot.
Sotheby’s reasonable opinion at the description of the lot, as amended ADDITIONAL TERMS AND contacting the Bids Department at +1 interested parties may have knowledge own shipping (whether domestically
or electronic device. Sotheby’s is not
△
time of cataloguing and are for bidders’ by oral or written salesroom notes or CONDITIONS FOR ONLINE 212 606 7414, except that you may not of the reserve. If this auction has a or internationally), the buyer will be
responsible for any failure to execute an Property in which Sotheby’s has
general guidance only; Sotheby’s and announcements. Purchasers should BIDDING lower it to a level lower than the current printed catalogue, a PDF catalogue or required to pay the import tariff. The
online bid or for any errors or omissions an Ownership Interest
the Consignor make no representations refer to the Glossary of Terms, if any, for leading bid. both and the interested party’s possible import tariff is included in the purchase
in connection therewith. Lots with this symbol indicate that
or warranties as to whether any lot is an explanation of the terminology used The following terms and conditions participation in the sale Is not known price and, where applicable, sales tax will
2. Once it commences, a live auction Sotheby’s owns the lot in whole or in part
or is not subject to export or import in the initial lot heading immediately (the “Online Terms”) provide important 9. Online bidding will be recorded. until after such catalogue is finalized or be added to the purchase price as per
is by its nature fast-moving and or has an economic interest in the lot
restrictions or any embargoes. following the lot number and the extent information related to online bidding on if there is no printed catalogue or PDF our Sales and Use Tax section.
bidding may progress very quickly. The 10. In the event of any conflict between equivalent to an ownership interest.
of the Guarantee. Sotheby’s makes no sothebys.com or through the Sotheby’s catalogue and the interested party’s
13. Governing Law and Jurisdiction procedure for placing bids during the live these Online Terms and Sotheby’s
warranties whatsoever, whether express App, or on any other online platform possible participation in the sale Is not
These Conditions of Sale and Terms or implied, with respect to any material in through which bidding may be made
auction is therefore a one-step process; Conditions of Sale and Terms of ⋑ Irrevocable Bids known until after the digital catalogue
2. BEFORE THE AUCTION
of Guarantee, as well as bidders’, the as soon as the “Place Bid” button is Guarantee, Sotheby’s Conditions of Sale Lots with this symbol indicate that a party
the catalogue other than the Authorship available (“Online Platforms”). is initially available for viewing, then
purchaser’s and our respective rights clicked, a bid is submitted. By bidding and Terms of Guarantee will control. has provided Sotheby’s with an irrevocable Bidding in advance of the live auction
appearing in the initial lot heading Sotheby’s will notify bidders that an
and obligations hereunder, shall be These Conditions are in addition to online, you accept and agree that bids bid on the lot that will be executed during For certain sales, you may bid in advance
immediately following the lot number interested party may bid on the lot by
governed by and construed and enforced and subject to the same law and our submitted in this way are final and that the sale at a value that ensures that the lot of the live auction (“Advance Bids”) on
and subject to the exclusions below. For one or more of the following means: the
in accordance with the laws of the State standard terms and conditions of sale, you will not under any circumstances be will sell. The irrevocable bidder, who may sothebys.com or the Sotheby’s App.
the avoidance of doubt, any property BUYING AT AUCTION lot’s specific webpage will be updated to
of New York. By bidding at an auction, including the authenticity guarantee and permitted to amend or retract your bid. bid in excess of the irrevocable bid, may be In order to do so, you must register an
designation related to the seller of the include the interested parties symbol,
whether by agent, order or absentee any other terms and are not intended in If a successful bid is sent to Sotheby’s compensated for providing the irrevocable account with Sotheby’s and provide
property that may appear below the lot The following will help in understanding a notice will be added to the Sotheby’s
bid, telephone, online or other means, any way to replace them. By participating from your computer, electronic or mobile bid by receiving a contingent fee, a fixed requested information. Once you have
number is not deemed a heading for the auction buying process as well webpage for the auction, or a pre-sale
all bidders including the purchaser, shall in this sale via any Online Platform, you device, you irrevocably agree to pay the fee or both. From time to time, a Sotheby’s done so, navigate to your desired lot, and
purposes of the Guarantee. as some of the terms and symbols or pre-lot announcement will be made
be deemed to have consented to the acknowledge that you are bound by full purchase price, including buyer’s shareholder may be an irrevocable bidder. click the “Place Bid” button. You may bid
In the event Sotheby’s in its reasonable commonly used in an auction catalogue. indicating that an interested party may
exclusive jurisdiction of the state courts the Conditions of Sale applicable in the premium, overhead premium and any If the irrevocable bidder is the successful at or above the starting bid displayed
opinion deems that the conditions of All bidders should read the Conditions bid on the lot.
of, and the federal courts sitting in, the relevant sale and by these additional other applicable charges, and applicable bidder, any contingent fee, fixed fee or both on the Online Platforms. Please note
the Guarantee have been satisfied, it of Sale and Terms of Guarantee in this
◉
State of New York. All parties agree, Conditions. taxes. (as applicable) for providing the irrevocable that we reserve the right to amend the
shall refund to the original purchaser of catalogue, as well as the Glossary or Restricted Materials
however, that Sotheby’s shall retain he bid may be netted against the irrevocable starting bid prior to the start of the
1. For certain sales, bidders are welcome 3. The next bidding increment is shown any other notices. By bidding at auction, Lots with this symbol have been
right to bring proceedings in a court record the hammer price and applicable bidder’s obligation to pay the full purchase live auction. You may also input your
to submit bids in advance of the live for your convenience. The auctioneer bidders are bound by the Conditions identified at the time of cataloguing as
other than the state and federal courts buyer’s premium and overhead premium price for the lot and the purchase price maximum bid which, upon confirmation,
auction (“Advance Bids”) through the has discretion to vary Increments for of Sale and Terms of Guarantee, as containing organic material which may
sitting in the State of New York. paid for the lot by the original purchaser reported for the lot shall be net of any such will be executed automatically up to this
Online Platforms. Please note that we bidders in the auction room and on the amended by any oral announcement be subject to restrictions regarding
of record. fees. From time to time, Sotheby’s may predefined maximum value, in response
reserve the right to amend the starting telephone, but bidders using Online or posted notices, which together form

to other bids, including bids placed by Registration Sotheby’s may require Platforms at the next increment above recent exchange rate information and Sales and Use Tax New York sales Property will not be released without Revenue Service, tax and estate planning
Sotheby’s on behalf of the seller, up to such necessary financial references, your maximum bid. Bidders utilizing any should not be relied upon as a precise tax is charged on the hammer price, this confirmation and your shipper must SELLING AT AUCTION professionals, and insurance firms. In the
the amount of the reserve (if applicable). guarantees, deposits and/or such other online platform are subject to the Online invoice amount. Sotheby’s assumes no buyer’s premium, overhead premium bring the same Bill of Lading that was event that a sale is considered, we are
The current leading bid will be visible to security, in its absolute discretion, as Terms as well as the relevant Conditions responsibility for any error or omission and any other applicable charges on any faxed to Sotheby’s when collecting. All If you have property you wish to sell, pleased to provide auction estimates,
all bidders; the value and status of your security for your bid. of Sale. Online bidding may not be in foreign or United States currency property picked up or delivered in New property releases are subject to the Sotheby’s team of specialists and client sales proposals and marketing plans.
maximum bid will be visible only to you. If you are not successful on any lot, available for Premium Lots. amounts shown. York State, regardless of the state or receipt of cleared funds. services representatives will assist you When sales are underway, the group
If the status of your bid changes, you will Sotheby’s will arrange for a refund country in which the purchaser resides through the entire process. Simply works closely with the appropriate
Please see the Conditions of Sale for contact the appropriate specialist
receive notifications via email and push (subject to any right of set off) of the Telephone Bidding In some Results Sale results are available on or does business. Purchasers who wish specialist departments to ensure that
further details. (specialist departments are listed
(if you have enabled push notifications) deposit amount paid by you without circumstances, we offer the ability sothebys.com and on the Sotheby’s App. to use their own shipper who is not a clients’ needs are met promptly and
leading up to the live auction. You interest within 14 working days of the to place bids by telephone live to a considered a “common carrier” by the in the catalogue), General Inquiries efficiently.
Endangered Species Certain property Department or a Sotheby’s regional
may raise your maximum bid at any date of the sale. Any exchange losses Sotheby’s representative on the auction International Auctions If you need New York Department of Taxation and
sold at auction, for example, items office representative for suggestions
time in advance of the live auction. or fees associated with the refund shall floor. Please contact the Bid Department assistance placing bids, obtaining Finance will be charged New York sales Financial Services Sotheby’s offers a
made of or incorporating plant or animal on how best to arrange for evaluation of
Please note in certain circumstances, be borne by you. Registration to bid on prior to the sale to make arrangements condition reports or receiving auction tax on the entire charge regardless of the wide range of financial services including
materials such as coral, crocodile, ivory, your property.
clients who have been outbid may be Premium Lots or to answer any questions you may results for a Sotheby’s sale outside destination of the property. Please refer advances on consignments, as well as
whalebone, tortoiseshell, rhinoceros
reinstated as the leading bidder and will must be done at least 3 business days have. Telephone bids are accepted only the United States, please contact to “Information on Sales and Use Tax loans secured by art collections not
horn, rosewood, etc., irrespective of Property Evaluation There are three
receive notification via email or push prior to the sale. at Sotheby’s discretion and at the caller’s our International Client Services Related to Purchases at Auction”. intended for sale.
age or value, may require a license or general ways evaluation of property can
notifications (if enabled on your device). risk. Calls may also be recorded at Department.
certificate prior to exportation and be conducted:
3. DURING THE AUCTION Sotheby’s discretion. By bidding on the Collection and Delivery Museum Services Tailored to meet
additional licenses or certificates
The Catalogue The catalogue will telephone, prospective buyers consent Post Sale Services (1) In our galleries the unique needs of museums and
4. AFTER THE AUCTION upon importation to another country.
help familiarize you with property being thereto. + 1 212 606 7444 You may bring your property directly to non-profits in the marketplace, Museum
The Auction Auctions are open to the Sotheby’s suggests that buyers check
offered at the designated auction. FAX: + 1 212 606 7043 our galleries where our specialists will Services offers personal, professional
public (subject to any governmental Payment If your bid is successful, on their government wildlife import
Prospective bidders should consult Live Online Bidding In person bidding uspostsaleservices@sothebys.com give you auction estimates and advice. assistance and advice in areas including
health or safety restrictions) without any your invoice will be mailed to you. The requirements prior to placing a bid.
sothebys.com for the most up to date is currently not available for this auction. There is no charge for this service, but we appraisals, deaccessions, acquisitions
admission fee or obligation to bid. The final price is determined by adding the Sotheby’s New York office is open Please note that the ability to obtain
cataloguing of the property in this For the most up-to-date information require that you telephone ahead for an and special events.
auctioneer introduces the objects for buyer’s premium, overhead premium on a limited basis by appointment an export license or certificate does
catalogue. regarding in person bidding, please call appointment.
sale — known as “lots” — in numerical and any other applicable charges to the only. All collections and deliveries for not ensure the ability to obtain an
Sotheby’s or visit Sothebys.com. Bidders (2) By photograph Corporate Art Services Devoted
order as listed in the catalogue. Unless hammer price on a per-lot basis. Sales purchased property will be handled by import license or certificate in another
Estimates Each lot in the catalogue is are encouraged to submit bids online on If your property is not portable, or if you to servicing corporations, Sotheby’s
otherwise noted in the catalogue, on tax, where applicable, will be charged Post Sale Services in coordination with country, and vice versa. It is the
given a low and high estimate, indicating Sothebys.com or through the Sotheby’s are not able to visit our galleries, you may Corporate Art Services Department
the sale page or by an announcement on the entire amount. Payment is due in purchasers after the auction. Unless purchaser’s responsibility to obtain
to a prospective buyer a range in which App. For information about registering bring in or send a clear photograph of can prepare appraisal reports, advise
at the auction, Sotheby’s acts as agent full immediately after the sale. However, otherwise agreed by Sotheby’s, all any export or import licenses and/or
the lot might sell at auction. When to bid on sothebys.com or through the each item. If you have a large collection, a on acquisitions and deaccessions,
on behalf of the seller and does not under certain circumstances, Sotheby’s property must be removed from our certificates as well as any other required
possible, the estimate is based on Sotheby’s App, please see sothebys.com. representative selection of photographs manage all aspects of consignment,
permit the seller to bid on his or her own may, in its sole discretion, offer bidders or our vendor’s premises (as indicated documentation. In the case of denial of
previous auction records of comparable Bidders utilizing any online platform will do. Please be sure to include the assist in developing arts-management
property. It is important for all bidders an extended payment plan. Such a on the invoice) by the purchaser at his any export or import license or of delay
pieces. The estimates are determined are subject to the Online Terms as dimensions, artist’s signature or maker’s strategies and create events catering to a
to know that the auctioneer may open payment plan may provide an economic expense not later than 30 calendar in the obtaining of such licenses, the
several months before a sale and are well as the relevant Conditions of Sale. mark, medium, physical condition and corporation’s needs.
the bidding on any lot by placing a bid on benefit to the bidder. Credit terms should days following the close of the auction. purchaser is still responsible for making
therefore subject to change upon Online bidding may not be available for any other relevant information. Our
behalf of the seller. The auctioneer may be requested at least one business day As a reminder your property cannot on-time payment of the total purchase
further research of the property, or to Premium Lots. specialists will provide a free preliminary
further bid on behalf of the seller, up to before the sale. However, there is no be released until payment has been price for the lot.
reflect market conditions or currency the amount of the reserve, by placing assurance that an extended payment received and cleared.
Although licenses can be obtained
auction estimate subject to a final INFORMATION ON SALES
fluctuations. Estimates should not responsive or consecutive bids for a lot. Employee Bidding Sotheby’s estimate upon first-hand inspection.
plan will be offered. Please contact Post
to export some types of endangered AND USE TAX RELATED TO
be relied upon as a representation or The auctioneer will not place consecutive employees may bid in a Sotheby’s
prediction of actual selling prices. auction only if the employee does not
Sale Services or the specialist in charge Shipping Services Sotheby’s offers
species, other types may not be (3) In your home PURCHASES AT AUCTION
bids on behalf of the seller above the of the sale for information on credit a comprehensive shipping service to
know the reserve and if the employee exported at all, and other types may Evaluations of property can also be made
reserve. arrangements for a particular lot. Please meet all of your requirements. If you To better assist our clients, we have
Provenance In certain circumstances, fully complies with Sotheby’s internal not be resold in the United States. Upon in your home. The fees for such visits
note that Sotheby’s will not accept received a shipping quotation or have prepared the following information on
Sotheby’s may include in the catalogue rules governing employee bidding. request, Sotheby’s is willing to assist the are based on the scope and diversity of
Bidding in Person IIn person bidding is payments for purchased lots from any any questions about the services we Sales and Use Tax related to property
the history of ownership of a work of purchaser in attempting to obtain the property, with travel expenses additional.
currently not available for this auction. party other than the purchaser, unless offer please contact us. purchased at auction.
art if such information contributes to US Economic Sanctions The United appropriate licenses and/or certificates. These fees may be rebated if you consign
For the most up-to-date information otherwise agreed between the purchaser
scholarship or is otherwise well known States maintains economic and trade However, there is no assurance that your property for sale at Sotheby’s.
regarding in person bidding, please and Sotheby’s prior to the sale. Collecting your Property Sotheby’s Why Sotheby’s Collects Sales
and assists in distinguishing the work of sanctions against targeted foreign an export license or certificate can be If there is considerable property in
call Sotheby’s or visit Sothebys.com. New York office is open on a limited basis Tax Virtually all State Sales Tax Laws
art. However, the identity of the seller or countries, groups and organizations. Payment by Cash It is against obtained. Please check with the specialist question, we can arrange for an informal
Bidders are encouraged to submit bids by appointment only. All collections require a corporation to register with
previous owners may not be disclosed There may be restrictions on the import Sotheby’s general policy to accept department or the Shipping Department “walkthrough.”
online on Sothebys.com or through the and deliveries for purchased property the State’s Tax Authorities and collect
for a variety of reasons. into the United States of certain items payments in the form of cash or cash if you are uncertain as to whether a lot is
Sotheby’s App. will be handled by Post Sale Services in Once your property has been evaluated, and remit sales tax if the corporation
For example, such information may be originating in sanctioned countries, equivalents. subject to these export/import license
coordination with purchasers after the Sotheby’s representatives can then help either establishes or maintains physical
excluded to accommodate a seller’s including Cuba, Iran, North Korea and and certificate requirements, or any other
Absentee Bidding In person bidding auction. Unless otherwise agreed by you determine how to proceed should or economic presence within the state.
request for confidentiality or because the Sudan. The purchaser’s inability to Payment by Credit Cards Sotheby’s restrictions on exportation.
is currently not available for this auction. Sotheby’s, all property must be removed you wish to continue with the auction In the states that impose sales tax, Tax
identity of prior owners is unknown given import any item into the US or any accepts payment by credit card for Visa, process. They will provide information
For the most up-to-date information from our or our vendor’s premises (as The Art Loss Register As part of Laws require an auction house, with
the age of the work of art. other country as a result of these MasterCard, and American Express regarding sellers’ commission rates and
regarding in person bidding, please call indicated on the invoice) by the purchaser Sotheby’s efforts to support only the such presence in the state, to register
or other restrictions shall not justify only. Credit card payments may not other charges, auction venue, shipping
Sotheby’s or visit Sothebys.com. Bidders at his expense not later than 30 calendar legitimate art market and to combat the as a sales tax collector, and remit sales
Specialist Advice Prospective bidders cancellation or rescission of the sale exceed $50,000 per sale. Payment by and any further services you may require.
are encouraged to submit bids online on days following the close of the auction. As illegitimate market in stolen property, tax collected to the state. New York sales
may be interested in specific information or any delay in payment. Please check credit card may be made (a) online at
Sothebys.com or through the Sotheby’s a courtesy to purchasers who come to Sotheby’s has retained the Art Loss tax is charged on the hammer price,
not included in the catalogue description with the specialist department if you https://www.sothebys.com/en/invoice-
App. If you do not wish to bid online during Sotheby’s to collect property, Sotheby’s Register to check all uniquely identifiable buyer’s premium, overhead premium
of a lot. For additional information, please are uncertain as to whether a lot is payment.html, (b) through the Sotheby’s
the live auction, you may place your bid will assist in the packing of lots, although items offered for sale in this catalogue and any other applicable charges on any
contact either a Sotheby’s specialist in subject to these import restrictions, or App, (c) by calling in to Post Sale Services SOTHEBY’S SERVICES
ahead of time, either via sothebys.com Sotheby’s may, in the case of fragile that are estimated at more than the property picked up or delivered in New
charge of the sale, or Sotheby’s Client any other restrictions on importation or at +1 212 606 7444, or (d) in person
or the App, or by submitting your bid in articles, choose not to pack or otherwise equivalent of US$1,500 against the Art York, regardless of the state or country
Services Department. You may also exportation. at Sotheby’s premises at the address Sotheby’s also offers a range of other
writing to the Bids Department. Once the handle a purchase. Loss Register’s computerized database in which the purchaser resides or does
request a condition report from the noted in the catalogue. Please note that services to our clients beyond buying
live auction opens, when the lot that you of objects reported as stolen or lost. The business.
specialist in charge. Hammer Price and the Buyer’s Sotheby’s New York office is open on a If you are using your own shipper to and selling at auction. These services are
are interested in comes up for sale, the Art Loss Register is pleased to provide
Premium and the Overhead Premium limited basis by appointment only. collect property from Sotheby’s, please summarized below. Further information
auctioneer will execute the bid on your purchasers with a certificate confirming Where Sotheby’s Collects Sales Tax
Viewing Property will be available for For lots which are sold, the last price for provide a letter of authorization and on any of the services described below
behalf, making every effort to purchase that a search has been made. All inquiries Sotheby’s is currently registered to
viewing by appointment only at our New a lot as announced by the auctioneer is Payment by Check Sotheby’s New kindly instruct your shipper that they can be found at sothebys.com.
the item for as little as possible and never regarding search certificates should be collect sales tax in the following states:
York premises, or such other location as the hammer price. A buyer’s premium York office is open on a limited basis by must provide a Bill of Lading prior to
exceeding your limit. This service is free directed to The Art Loss Register, First Alabama, Arizona, Arkansas, California,
we may indicate from time to time. You and overhead premium will be added to appointment only. During such time, collection. Both documents must be sent Valuations and Appraisals Sotheby’s
and confidential. Floor, 63-66 Hatten Garden, London Colorado, Connecticut, District of
can schedule a viewing as indicated on the hammer price and are payable by the Sotheby’s cannot accept payment by to Post Sale Services prior to collection. Valuations and Appraisals Services offers
EC1N 8LE or by email at artloss@artloss. Columbia, Florida, Georgia, Hawaii,
our website. purchaser as part of the total purchase check (including, but not limited to, advice regarding personal property
Advance Bidding For certain sales, The Bill of Lading must include: the com. The Art Loss Register does not Idaho, Illinois, Indiana, Iowa, Kansas,
price. The buyer’s premium and the personal, certified, banker’s draft or assets to trusts, estates, and private
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Salesroom Notices Salesroom notices overhead premium will be the amounts cashier’s checks). clients in order to help fiduciaries,
if you submit an “Advance Bid” (as address including the street name any catalogued item against which Massachusetts, Michigan, Minnesota,
amend the catalogue description after stated in the Conditions of Sale. executors, advisors, and collectors meet
described above in “BEFORE THE and number, city and state or city and they search, and will not be liable for Missouri, Nebraska, Nevada, New
our catalogue is available. They are Payment by Wire Transfer To pay for a their goals. We provide efficient and
AUCTION”), and your bid is not executed country, the sale and lot number. any direct or consequential losses of Jersey, New Mexico, New York, North
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up to its maximum value before the any nature howsoever arising. This Carolina, Ohio, Oklahoma, Pennsylvania,
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of them. in many salesrooms. It displays the lot provided by Sotheby’s or contact Post within 24 hours of receipt of the Bill of can prepare appraisals to suit a variety of
to be executed automatically on your affect your rights and obligations under Tennessee, Texas, Utah, Vermont,
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dollars and foreign currencies. Exchange that your property can be collected. insurance, charitable contribution
your predetermined maximum bid. You sale. Wyoming. For any property collected or
rates are approximations based on and collateral loan. Our appraisals
may also continue to bid via the Online received by the purchaser in New York
are widely accepted by the Internal

City, such property is subject to sales Sotheby’s can arrange for delivery of Pottery Figure of a Horse, Tang
IMPORTANT NOTICES INTERNATIONAL DEPARTMENTS
tax at the existing New York State and your property through one of our con- Style This inclusion of the word “style”
City rate of 8.875%. tracted vendors or can coordinate pick indicates that, in our opinion, either the
Important Notice to Purchasers
For a full listing of our offices and salerooms worldwide with detailed information on all of Sotheby’s services, visit sothebys.com
up at our offsite location with you or your piece (i) while basically of the period
Sotheby’s Arranged Shipping If the Sotheby’s New York office is open on shipper directly. Please contact Post Sale indicated, has undergone significant
property is delivered into any state in a limited basis by appointment only. Services at +1 212 606 7444 or USPost- restoration or alteration, or (ii) was made
which Sotheby’s is registered, Sotheby’s Auctions conducted during this time will SaleServices @sothebys.com to start as an intentional reproduction of an
is required by law to collect and remit the be processed through Post Sale Services your collection process. earlier style. INTERNATIONAL CHINESE CERAMICS Hong Kong INTERNATIONAL INDIAN, LIAISON OFFICES
appropriate sales tax in effect in the state as per usual business procedure. All AND WORKS OF ART DEPARTMENTS Nicolas Chow HIMALAYAN AND SOUTHEAST Bangkok
Where a ceramic or work of art bears a
where the property is delivered. collections and deliveries for purchased Important Notice Regarding Packing
signature or seal of an artist or studio, if Sam Shum ASIAN DEPARTMENTS Wannida Saetieo
property will be handled by Post Sale As a courtesy to purchasers who come Worldwide Head & Chairman
the heading appears as follows: Amethyst Chau +66 2286 0788
Client Arranged Shipping Property Services in coordination with purchasers to Sotheby’s to pick up property, So- Nicolas Chow New York
collected from Sotheby’s New York after the auction. Invoices will be issued theby’s will assist in packing framed By Ma Shaoxuan This work is, in our Vivian Tong
to the successful party, which will include +852 2822 8123 Works of Art Beijing
premises by a common carrier hired by paintings. Sotheby’s is unable to remove best judgment, by the named artist. Cristine Li
the purchaser for delivery at an address total purchase price, payment options, canvases off stretchers or to roll works Anuradha Ghosh-Mazumdar Ying Wang
and next steps on delivery. Payment is
Attributed to Ma Shaoxuan In our Chairman, Asian Art, Gigi Yu
outside of New York is not subject to on paper. Purchasers are advised to
opinion, probably a work by the artist Allison Rabinowitz +86 10 6408 8771
New York Sales Tax, but if the property is due immediately. contact an independent painting re- Europe and Americas +852 2822 8128
but less certainty as to authorship +1 212 606 7304
delivered into any state in which Sotheby’s storer to pack works in this manner. Henry Howard-Sneyd
is registered, Sotheby’s is required by law Property Collection All collections
is expressed than in the preceding
Shanghai Brussels
category. +44 20 7293 5530 Modern & Contemporary Art Laura Bogaerts
to collect and remit the appropriate sales and deliveries for purchased property Notice Regarding Endangered Rachel Shen
tax in effect in the state where the property will be handled by Post Sale Services in Species Signed Ma Shaoxuan The piece bears Anuradha Ghosh-Mazumdar +32 2 627 71 85
International Specialists +86 10 6408 8933
is delivered. New York State recognizes coordination with purchasers after the ◉ Property containing certain the signature or seal of the artist or Manjari Sihare-Sutin
shippers such as the United States auction. Invoices will be issued to the endangered species will require a CITES studio but with no firm attribution as to Julian King
Taipei +1 212 606 7304 Jakarta
Postal Service, United Parcel Service, successful party, which will include total license upon export from the U.S. and the hand. Carrie Li
FedEx, or the like as “common carriers”. purchase price, payment options, and may require an additional license upon Ching Yi Huang Jasmine Prasetio
+852 2822 8128 London
If a purchaser hires a shipper other than next steps on delivery. During this time, import into another country. There GLOSSARY FOR CHINESE +886 2 2757 6689 +62 21 5797 3603
a common carrier to pick up property, payment for property is still due as per is no guarantee that such licenses FURNITURE Middle East and Islamic Art
Senior Specialist,
Sotheby’s will collect New York sales tax at the Conditions of Sale. Post Sale Services will be granted. In the case of denial With respect to Asian hardwoods, 22 Tokyo Edward Gibbs, Chairman Kuala Lumpur
a rate of 8.875% regardless of the ultimate will be in touch for future collection of any license or of delay in obtaining Europe
terms ‘Huanghuali’, ‘Huali’ ‘Hongmu’
Mizuka Seya Benedict Carter Walter Cheah ‡
destination of the goods. If a purchaser scheduling or shipping arrangements. such licenses, the purchaser remains Dr. Caroline Schulten
‘Zitan’ and others appearing within single Alexandra Roy +60 3 2070 0319
utilizes a freight-forwarder who is responsible for making on-time payment quotes in bold or capital letters in the +33 1 5305 5242 +81 3 3230 2755
registered with the Transportation Security Property Payment All property for the total purchase price. heading are descriptive identifications
Chiara de Nicolais
Administration (“TSA”) to deliver property must be paid in full before collection or +44 20 7293 5112 Los Angeles
based on appearance, and are not Senior Specialist, INTERNATIONAL CHINESE
outside of the United States, no sales tax release from any of our or our vendor’s Important Notice for Ceramics intended to denote a specific species. Hannah Thompson
would be due on this transaction. premises. Payment must be made The catalogue descriptions do not North America PAINTINGS DEPARTMENTS
Indian Art +1 310 786 1876
through Sotheby’s New York Post Sale include a general indication of repair Notwithstanding the above, if within five Angela McAteer
Services by way of our acceptable forms and damage, and this absence of any years of the sale of any lot, the buyer New York Ishrat Kanga
Where Sotheby’s is Not Required +1 212 606 7332
of payment methods mentioned on your gives written notice to Sotheby’s that Classical Chinese Paintings Frances Belsham Mumbai
to Collect Sales Tax Sotheby’s is not comment should not be interpreted as
required to collect sales tax on property invoice. To arrange for payment, please a guarantee of the condition of the lot. the lot sold is a forgery and if within
Molly Huang +44 20 7293 5940 Shanavas Edaparambil
three months after giving such notice, International Research
delivered to states other than those listed contact Post Sale Services at +1 212 606 All lots are sold “AS IS” as set forth in +91 22 6665 3407
7444 or USPostSaleServices@sothebys. the buyer returns the lot in the same Regina Krahl ‡ +1 212 894 1177
above. If the property is delivered to a paragraph 1 of the Conditions of Sale Mumbai
state where Sotheby’s is not required to com. Payment will not be accepted at and prospective purchasers are advised Condition as it was at the time of sale Jungeun Lee
Hong Kong Shivajirao Gaekwar Shanghai
collect sales tax, it is the responsibility of any offsite facility. Dealers and resale that all lots should be viewed personally. to the premises of Sotheby’s and
Isabella Tedeschi Rachel Shen
the purchaser to self-assess any sales or clients should fill out the appropriate Condition reports are available at demonstrates to the satisfaction of Classical Chinese Paintings +91 66 6665 3789
forms where applicable or contact Post Sotheby’s that the lot sold is a forgery, Hwee Lie The ‡ +86 21 6288 7500
use tax and remit it to taxing authorities sothebys.com. Any addditional enquiries Steven Zuo
in that state. Sale Services with any questions. may be directed to the Ceramics Sotheby’s is authorized to and will +44 20 7293 5879 Hong Kong
rescind the sale and refund the purchase Rongde Zhang*
Department at +1 212 606 7332. Rishika Assomull Singapore
Sotheby’s is not required to collect price received by it. For this purpose a Sally Fong
Loss and Liability Unless otherwise New York Doreen Yong
sales tax for property delivered to the ‘forgery’ is defined as a work created with +852 2822 8167
agreed by Sotheby’s, all sold property Angela McAteer Alex Weng
purchaser outside of the United States.
must be removed from any of our intent to deceive. +65 6732 8239
GLOSSARY OF TERMS Hang Yin +852 2822 9013 Singapore
Restoration and Other Services premises or our vendor’s premises by
Regardless of where the property is the buyer at their expense no later than Tiffany Chao Michelle Yaw Taipei
The following are examples of the ter- Chinese Paintings
subsequently transported, if any framing 30 calendar days following the auction. Justin Cheung +65 6732 8239 Wendy Lin
minology used in this catalogue. Please Carmen Ip
or restoration services are performed on Buyers are reminded that Sotheby’s +886 2 2757 6689
note that all statements made in this Louise Lui
the property in New York, it is considered liability for loss or damage to sold C.K. Cheung ‡
catalogue are made subject to the provi- Molly Huang Taipei
to be a delivery of the property to the property shall cease no later than 30 Annie Wong
sions of the Conditions of Sale and Terms Claire Liao Tokyo
purchaser in New York, and Sotheby’s will calendar days after the date of Cindy Qi
of Guarantee printed in this catalogue: +852 2822 8132 Yasuaki Ishizaka
be required to collect the 8.875% New the auction. Mee-Seen Loong ‡ +886 2 2757 6689
York sales tax. +81 3 3230 2755
GLOSSARY FOR CHINESE Cynthia Volk ‡ Taipei
Collection & Shipping All collections
CERAMICS AND WORKS OF ART +1 212 606 7332 INTERNATIONAL JAPANESE
Certain Exemptions Most states that and deliveries for purchased property Shuni Li Toronto
impose sales taxes allow for specified will be handled by Post Sale Services in Pottery Figure of a Horse, Tang ART DEPARTMENT
+886 2 2757 6689 Lucila Portoraro
exemptions to the tax. For example, a coordination with purchasers after the Dynasty This heading, with date or London
registered re-seller such as a registered auction. period included, means that the piece London +1 416 926 1774
Dr. Caroline Schulten * Based in New York
art dealer may purchase without is, in our opinion, of the date or period Mark Hinton
For any in-person collections at any of our Stephen Loakes Consultant ‡
incurring a tax liability, and Sotheby’s indicated with no major alterations Jon Adjetey
vendor’s premises, please alert Post Sale Cherrei Tian
is not required to collect sales tax from or replacements unless otherwise in
Services of your proposed collection date, +44 20 7293 6537
such re-seller. The art dealer, when
ensure that all outstanding invoices have
dicated in the cataloguing. Gordon Lo
re-selling the property, may be required +44 20 7293 6442
been paid for, and that you or your agent With respect to ceramics and sculpture,
to charge sales tax to its client, or the
have the appropriate photo identification if, in our opinion, the piece was made at
client may be required to self-assess
upon arrival. a specific kiln or location, the name of Paris
sales or use tax upon acquiring the
the kiln or location will appear in bold or Christian Bouvet
property.
If you are using your own shipper to capital letters, i.e., DING OVOID VASE,
collect property, please provide a SONG DYNASTY. However, if the heading
Olivier Valmier
Local Tax Advisors As sales tax laws letter of authorization and instruct appears as follows, ‘DING’ OVOID VASE, Joan Yip
vary from state to state, Sotheby’s your shipper to email their bill of lading SONG DYNASTY, this indicates that, in Photography: +33 1 5305 5242
recommends that clients with questions to billsoflading@sothebys.com and our opinion, the piece is of the Ding type
regarding the application of sales or use ensure the correct collection location is or location, and although of the date Elliot Perez
taxes to property purchased at auction specified. specified, not necessarily made at the Jon Lam
seek tax advice from their local tax Ding kiln or location. Mark Babushkin
advisors.
Paul Shima

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IMPORTANT

NEW YORK IMPORTANT CHINESE ART 17 MARCH 2021 N10644

紐約蘇富比接受信用卡支付普通拍品保證金，但不接受信用卡支 Tuesday 16 March

本公司保留調查資金來源的權利。 For the most up-to-date information on

CHINESE WORKS OF ART

FOR PAYMENT, DELIVERY

Nicolas Chow Henry Howard-Sneyd Julian King

Carrie Li Dr. Caroline Schulten Angela McAteer

波士頓私人珍藏 拍品編號 101-115

10 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM A BOSTON PRIVATE COLLECTION 11

12 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM A BOSTON PRIVATE COLLECTION 13

14 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM A BOSTON PRIVATE COLLECTION 15

16 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM A BOSTON PRIVATE COLLECTION 17

18 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM A BOSTON PRIVATE COLLECTION 19

青山居珍藏 拍品編號 116-122

20 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 21

22 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM THE AOYAMA STUDIO COLLECTION 23

24 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM THE AOYAMA STUDIO COLLECTION 25

26 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM THE AOYAMA STUDIO COLLECTION 27

28 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM THE AOYAMA STUDIO COLLECTION 29

30 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 31

32 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 33

A BLACK-GLAZED ‘RIBBED’ A R ARE BLACK-GLAZED ‘OIL SPOT’

34 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 35

36 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 37

38 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 39

圖三 朝鮮王朝 1650-1750 年 白釉滿月花罐 舊金山亞洲藝術博物館 艾弗里•布倫戴

40 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 41

朝鮮王朝 十八世紀 白釉滿月花罐

42 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 43

44 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 45

46 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 47

48 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 49

50 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 51

52 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 53

A FINELY PAINTED BLUE AND WHITE LOBED

54 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 55

56 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 57

58 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 59

60 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 61

62 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 63

64 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 65

66 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 67

68 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 69

林教授緣木得魚齋珍藏中國藝術 拍品編號 140-147

Besides being an accomplished scholar in physics, Professor 除了在物理領域多有建樹，林教授還對中

72 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM THE STUDIO OF SERENDIPITOUS ENCOUNTERS 73

AN UNDERGLAZE-BLUE, COPPER-RED, AND 出版

76 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM THE STUDIO OF SERENDIPITOUS ENCOUNTERS 77

78 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 PROPERTY FROM THE STUDIO OF SERENDIPITOUS ENCOUNTERS 79

80 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 81

82 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 83

84 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 85

清十八 / 十九世紀 青花釉裏紅八仙過海紋

A DOUCAI ‘POMEGR ANATE’ DISH PROVENANCE

88 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 89

90 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 91

92 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 93

94 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 95

96 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 97

清道光 粉地軋道粉彩開光花卉圖盌 《同治年製》款

98 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 99

100 S OT H E BY ’S C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 0 6 4 4 101

A R ARE IMPERIAL GILT-BRONZE TEMPLE

波士頓私人珍藏拍品編號 101-115

青山居珍藏拍品編號 116-122

圖三朝鮮王朝 1650-1750 年白釉滿月花罐舊金山亞洲藝術博物館艾弗里•布倫戴

朝鮮王朝十八世紀白釉滿月花罐

林教授緣木得魚齋珍藏中國藝術拍品編號 140-147

清十八 / 十九世紀青花釉裏紅八仙過海紋

清道光粉地軋道粉彩開光花卉圖盌《同治年製》款

Allen O. Battle 醫生收藏拍品編號 170-184

清十八世紀銅鎏金金剛瑜伽母像 $ 5,000-7,000

清十八 / 十九世紀白玉雕蓮花觀

185 清十八世紀青白玉雕螭龍紋如意式洗

清十七 / 十八世紀黃花梨夾頭榫半桌一對