GRAND VASE BALUSTRE EN PORCELAINE À GLAÇURE BLANCHE
Corée, Dynastie Joseon, XIXe siècle
A LARGE WHITE-GLAZED BALUSTER VASE
Korea, Joseon Dynasty, 19th century
The pear-shaped body rising to a tall tapered neck, moulded with a flange just below the rim, covered overall in a lustrous bluish-white glaze, the base unglazed.
55cm (21 5/8in) high.
Footnotes:
朝鮮王朝 十九世紀 白釉大瓶
Provenance:
A European private collection
來源：
歐洲私人珍藏
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* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.
TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.
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RARE VASE BALUSTRE COUVERT EN CRISTAL DE ROCHE SCULPTÉ
XVIIIe siècle
A RARE ROCK CRYSTAL BALUSTER VASE AND COVER
18th century
The translucent stone expertly carved and well-hollowed, the stone almost flawless, the neck flanked by a pair of bat handles suspending loose rings, the stepped cover surmounted by an oval finial carved with Mughal-style flower-head and further floral scrolls on the side, the vase nestled in a bed of auspicious sprays of lingzhi, peonies, a flywhisk, and a quail clasping a sprig of grain in its mouth, exceptionally well-carved wood stand.
24cm (9 1/2in) high. (3).
Footnotes:
十八世紀 水晶雕靈芝紋蝠耳活環蓋瓶
Provenance:
Collection of Florence and Herbert Irving, New York
The Metropolitan Museum of Art, New York
來源：
歐雲伉儷（Florence and Herbert Irving），紐約
大都會藝術博物館，紐約
Renowned for its inherent transparency and radiant brilliance, rock crystal held immense value both aesthetically and symbolically. Its pristine clarity and luminosity symbolised purity, elegance, and enduring longevity, rendering it a favoured material for objects commissioned by the emperor. According to the early Ming connoisseurship treatise Gegu Yaolun, superior-quality crystal is distinguished by its gleam and flawless transparency, often favoured in simple, unadorned vessels. Carving techniques were primarily employed to mask any imperfections. The text further reveals that the finest crystal was frequently sourced from Japan, with historical records indicating imports from as far as Ceylon. Other crystal articles in the Qing Court Collection, Beijing, are illustrated in The Complete Treasures of the Palace Museum: Small Refined Articles of the Study, Shanghai, 2009, no.92, a mountain-form brush rest; no.266, two mountain-peaked seals; and no.281, a square seal paste box.
The present lot is laden with auspicious symbolism. The combination of quail (anchun 鵪鶉) and millet (mai sui 麥穗) creates the rebus sui sui ping an (岁岁平安), symbolising the wish for 'everlasting peace year after year'. Moreover, the peony also holds deep symbolic significance, often representing wealth, prosperity, and honour. Similarly, lingzhi fungus, or the 'immortality fungus', symbolises longevity, vitality, and immortality. Bats, pronounced as 'fu' in Mandarin Chinese, symbolise good fortune and happiness due to their homophonic association with the word for blessings, also fu. These symbols are recurrent motifs in Chinese art, imbued with cultural depth and significance, reflecting aspirations for a prosperous and harmonious life.
See a related but smaller rock crystal vase and cover decorated with lingzhi, sold in Christie's London, 5 November 2013, lot 55.
This lot is subject to the following lot symbols: *
* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.
TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.
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DEUX STATUETTES DE GUANYIN EN BRONZE DORÉ
Dynastie Ming (1368-1644)
TWO GILT-BRONZE FIGURES OF GUANYIN
Ming Dynasty
Each seated in dhyanasana, their right hands raised and holding the stem of a willow, the left hand holding a vase and a cup, wearing fine robes draped around the shoulders and body and tied at the waist, wearing bejewelled necklaces and bangles, their faces with a serene expression, each with a separate bronze pedestal cast with overlapping rows of lotus petals supported on a hexagonal base cast with crashing waves around a columnar support.
Overall height 40.5cm (16in)
The figures 23.5cm (9 1/4in) high. (6).
Footnotes:
PROPERTY FROM A FRENCH PRIVATE COLLECTION
法國私人珍藏
明 鎏金銅觀音坐像兩尊
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IMPORTANT ET RARE VASE IMPÉRIAL EN BRONZE DORÉ ET ÉMAUX CLOISONNÉS
Marque et époque Qianlong (1736-1795)
A RARE LARGE IMPERIAL GILT-BRONZE AND CLOISONNE ENAMEL VASE
Qianlong four-character mark and of the period
Heavily cast and richly gilt, of tall baluster form with a bulbous central section raised on a spreading pedestal foot and rising to a tall trumpet neck with wide flared rim, set with a pair of gilt-metal scroll handles inlaid with faceted coloured glass stones, the body decorated in vibrant colours with dense lotus scrolls centring on four large lotus blooms, the neck with a pair of confronted stylised dragons on each side below a band of pendant leaves, the foot similarly decorated above a band of lotus lappets, the base with an incised four-character mark within a double square.
42.5cm (16 3/4in) high.
Footnotes:
清乾隆 銅鎏金掐絲琺瑯纏枝蓮紋螭龍耳瓶「乾隆年製」款
Provenance:
Acquired by the great-grandfather of the present owner in France in the late 19th century, and thence by descent
Property of a gentleman
來源：
現藏家曾祖父於19世紀末得自法國，後家族流傳
紳士珍藏
This magnificent and large cloisonné enamel vase reflects the influence of archaistic styles on the material culture under the Qianlong emperor. His interest in antiquity, and in archaic bronzes in particular, is documented in the catalogue of his collection of antiquities titled Xiqing gu jian, Catalogue of Chinese Ritual Bronzes in the Collection of the Qianlong Emperor, an illustrated catalogue of the over 1,500 bronzes in the Imperial collection completed in 1755. Many of the bronzes included in this catalogue provided the inspiration for artists and craftsmen in the imperial workshops who liberally adopted and interpreted the original forms and designs of archaic bronzes and adapted them to contemporaneous aesthetics.
In its form, this vase shows the strong influence of an archaic ritual drinking vessel known as gu, most popular in the Western Zhou period, and it shares the bulbous central part, the high, splayed foot and tall flared neck with the original model. However, while the overall outlines of the archaic prototype were retained, the craftsmen who fashioned this vase liberally interpreted the original archaic shape.
On this vase, the original archaic form has been adapted and slightly modified, with a larger, tapered middle part and a shorter and more widely flaring neck. The design of large lotus blooms and lotus scrolls covering the entire surface of this vase is, however, entirely based on 18th century and earlier decorative schemata, and can be found on textiles, porcelains and lacquerware of this and earlier periods. The use of pink and white, two new enamel colours introduced in the Yongzheng period, lends the design a more sophisticated color gradation and adds a painterly quality. Moreover, the very playful design of the elaborate gilt-metal handles cast and richly gilt in the form of wispy leaves and tendrils, is also firmly rooted in the 18th century and alludes to Western rocaille motifs introduced by Jesuits to the Qianlong court, as are the very unusual coloured glass inlays.
Two important points further distinguish this vase: the large size and the four-character mark incised to the centre of the base. Cloisonné enamel vessels in the collection of the Palace Museum show that there are four different types of marks on vessels made for use at the Imperial court. On some vessels, the Qianlong mark is cast in relief, while on others, the marks are incised on the rims of a vessel. Other vessels bear an incised four- or six-character mark on the base, often within a double square, compare several examples illustrated in Palace Museum (ed.), Compendium of Collections in the Palace Museum. Enamels, 2, Cloisonné in the Qing Dynasty (1644-1911), Beijing, 2011, cat.nos.163, 171, 259 and 280.
The present vase is among a small group of larger marked cloisonné vessels in the Palace Museum collection, compare Palace Museum (ed.), op.cit., cat.no.170, 171, 172 and 259. Its impressive size, intricate design and incised mark are elements found only on imperial cloisonné enamels of the finest quality and suggests that it was commissioned for the court of the Qianlong emperor.
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IMPORTANTE ET TRÈS RARE PAIRE DE GRANDS BRÛLE-PARFUMS EN BRONZE
Marques et époque Qianlong (1736-1795)
A MAGNIFICENT AND VERY RARE PAIR OF IMPERIAL BRONZE 'ARCHAISTIC' TRIPOD CENSERS AND COVERS
Qianlong six-character marks and of the period
Heavily cast, each of compressed globular shape, raised on three stout cabriole legs cast issuing from ferocious beast masks and rising to a recessed neck and galleried rim, the shoulder set with a pair of pierced S-shaped handles, cast around the exterior of the body in a crisp line relief with a with band of dissolved taotie masks on a dense keyfret ground, above a band of pendant cicadas around the base, the neck with a keyfret border beneath archaistic kuilong scroll centering on a six-character horizontal mark within a rectangular cartouche, the domed similarly cast with an openwork design of archaistic scrollwork between a band of archaistic kuilong and cicadas surmounted by a lion finial.
Each 66cm (26in) high and 57cm (22 1/2in) diam. (8, weight 190kg).
Footnotes:
清乾隆 銅仿古夔龍紋獅鈕朝冠耳三足大蓋爐一對 「大清乾隆年造」款
Provenance:
Collected in China between 1894 and 1922, thence in the family by descent.
Property from an important German collection
來源：
於1894至1922年間得自中國，後家族流傳
德國重要私人珍藏
This pair of massive bronze incense burners may have been commissioned as part of a very large five-piece temple or altar garniture (wugong) often displayed in front of an altar. These typically comprised an incense burner placed at the centre, flanked by two candleholders and gu-shaped vase. They could also have been made to be placed at the entrance of ritual halls as well as private residences, where similar sets of two, four or even six are still displayed today (Fig.1). As they bear a Qianlong reign mark it is most likely that they were made for one of the numerous shrines, halls and temples located within one of the Imperial residences. Sacrificial ceremonies were among the most important rituals of the Qing court, with the emperor attending, if not performing, all of the major rites. A universal monarch at the center of the world, the Qianlong Emperor lent his support to a variety of religious institutions including Daoist and Buddhist temples, as well as Manchu shamanic shrines and the buildings of altars that housed the so-called 'State Religion', the worship of Imperial Heaven. All rituals and ritual spaces required ritual paraphernalia of which altar garnitures and censers made in a variety of materials and sizes were an integral part. See, for example, a complete bronze altar garniture in the Xianruo Temple, located in the garden of Cininggong (Palace of Compassion and Tranquility) within the Forbidden City, illustrated in Qingdai gongting shenghuo, Hong Kong, 1985, pl.467. Compare also three bronze garniture sets in the Qin An Temple, illustrated in Yu Zhuoyun, Palaces of the Forbidden City, Hong Kong, 1986, pp.198-199, pl.222.
The Qianlong Emperor believed that the study and appreciation of antiquities allowed scholars 'to experience the artistic freshness and moral strength of the classical period'. He decreed that the court published the imperial collections of antiquities and circulate them among craftsmen. The archaistic style which emerged during the Yongzheng period and flourished under the Qianlong Emperor, dominated the arts of his reign. Craftsmen and artists working for the Imperial court during the Qianlong reign were highly creative adopting and transforming archaic shapes and designs to suit contemporary tastes. This magnificent pair of bronze censers and covers perfectly illustrate their creative approach in reinterpreting ancient forms and designs.
The shape and design of these two censers closely follow the form of an archaic bronze ding made during the Shang and Zhou dynasties. The Xi Qing gujian (Catalogue of Chinese Ritual Bronzes in the collection of the Qianlong Emperor) contains numerous examples of bronze ding and it is quite likely that the shape and even design of the present pair are based on one of the archaic bronze ding in the Imperial collection, such as an example illustrated ibid., vol.2, juan 1:1 (Fig.2).
While censers of this form are relatively common, the large size and impressive weight of the present pair are exceptionally rare. See, for example, a censer of closely related design and form, but of monumental size, measuring 94.5 cm in height, in the collection of the British Museum, London accession no. OA+.7057.a. Compare also the following censers cast with a similar mark and design, in ascending order by size: a vessel of similar size sold in these rooms, 25th February 1983, lot 142; another sold at Christie's New York, 22nd March 2007, lot 201; a third sold in our London rooms, 31st October 1986, lot 243; and a very large one, sold as part of a five-piece garniture in Sotheby's Hong Kong, 11th April 2008, lot 2826.
For further i
TRÈS RARE VASE BOUTEILLE EN PORCELAINE À GLAÇURE DE TYPE 'GUAN'
Marque et époque Yongzheng (1723-1735)
A RARE GUAN-TYPE PEAR-SHAPED VASE
Yongzheng seal mark and of the period
The compressed body resting on a slightly flared foot, tapering to a tall cylindrical neck, covered overall with a bluish-grey glaze suffused with a golden crackle, the foot rim covered with a brownish-black wash, the base with a six-character seal mark in underglaze blue.
22cm (8 5/8in) high.
Footnotes:
清雍正 仿官釉荸薺瓶 「大清雍正年製」款
Provenance:
An Italian private collection
The property of a lady
來源：
意大利私人珍藏
女士珍藏
The simple yet elegant form of this small vase is highlighted by the unctuous, light celadon glaze suffused with a network of light brown cracks which was made in imitation of Guan ware of the Southern Song dynasty during the reign of the Yongzheng emperor of the Qing dynasty.
The Palace Museum in Beijing and the National Palace Museum in Taipei today hold a substantial collection of porcelains covered with a range of celadon or bluish-green covered glazes, including Ru (汝), Guan (官), Ge (哥), Jun (鈞), Ding (定) wares, considered to be the five classic wares by later collectors of Chinese ceramics of the Song dynasty. These glazes were distinguished by their translucent, crackled appearance in a variety of pale bluish or celadon colours that strongly resembled the qualities of jade. They were produced in official kilns built by court officials in about 1145 near the Southern Song capital of Lin'an, present-day Hangzhou and were known as Southern Song Guan ware.
The revival of archaic shapes and designs under the Yongzheng emperor contributed to a renewed interest in the glazes that characterise the five classic wares of the Song dynasty which were accurately recreated in imitation of these.
The shape of this small bottle vase is a reinterpretation of a Song shape and its small size suggests that it may have been made for use in a scholar's studio. The opaque glaze, which on a Song dynasty prototype would have been thick and heavy, is lustrous and comparatively thin, the base applied with a brown slip simulating the original 'iron foot' found on an original Song piece.
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VASE BALUSTRE EN PORCELAINE DE LA FAMILLE ROSE
XVIIIe siècle
A FAMILLE ROSE BALUSTER VASE
18th century
Of slender form, finely painted around the body in vibrant enamels enhanced with gilding with sprays of flowers tied together including peonies and begonias issuing from an ornamental pierced rocks, with a formal band of alternating pink and blue lotus petals around the base, and shoulders encircled by a intricate band of interlocking panels of elaborate outlines incorporating further blooms, the waisted neck similarly decorated with clusters of flowers between bright pink enamel borders.
29.8cm (11 3/4in) high.
Footnotes:
PROPERTY OF A DISTINGUISHED PORTUGUESE LADY
葡萄牙顯赫女士珍藏
十八世紀 粉彩花卉圖瓶
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VASE EN PORCELAINE À GLAÇURE TURQUOISE
Époque Kangxi (1662-1722)
A TURQUOISE-GLAZED AMPHORA-SHAPED VASE
Kangxi period
The slender tapered body surmounted by a cylindrical neck and bulb-shaped mouth, covered overall with a bright turquoise glaze suffused with a dense network of fine crackles, pooling to a dark band around the neck.
23.5cm (9 1/4in) high.
Footnotes:
Please note this Lot is to be sold at No Reserve. 本拍品不設底價
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION
歐洲私人珍藏
清康熙 孔雀綠釉蒜頭瓶
Compare with a turquoise-glazed vase bearing a Kangxi six-character mark and of the period, sold in Bonhams London, 12 May 2016, lot 67.
This lot is subject to the following lot symbols: *
* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.
TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.
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GRAND VASE 'CENT DAIMS' EN PORCELAINE DE LA FAMILLE ROSE
XIXe siècle
A LARGE FAMILLE ROSE 'ONE HUNDRED DEER' VASE
19th Century
With well-rounded sides raised on a straight foot and narrowing to a short neck, the shoulders set with a pair of shaped iron-red and gilt painted chilong handles, vividly painted around the body with a continuous scene of deer picked in white, red and brown enamels, some reclining on grass, some drinking from a stream, some galloping, all set in a mountainous landscape with scattered pine trees, craggy rocks, lingzhi and peaches, the base with an apocryphal Qianlong six-character seal mark.
47cm (18 1/2in) high.
Footnotes:
PROPERTY FROM A EUROPEAN ARISTOCRATIC COLLECTION
歐洲貴族珍藏
十九世紀 粉彩百鹿尊
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GRAND VASE EN PORCELAINE DE LA FAMILLE ROSE, TIANQIUPING
Fin du XIXème siècle/début du XXème siècle
A LARGE FAMILLE ROSE 'IMMORTALS' VASE, TIANQIUPING
Late 19th/early 20th century
Sturdily potted, the large compressed globular body rising to a tall cylindrical neck, painted around the body in bright enamels with immortals and children gathered amidst pine trees, rocks and flowering chrysanthemums, each holding an attribute in their hands, the base with an apocryphal Qianlong six-character seal mark in underglaze blue.
55cm (21 5/8in) high.
Footnotes:
十九世紀末/二十世紀初 粉彩天球瓶
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