A Canton enamel bowl and cover, Qianlong seal mark but 19th century. Photo Bonhams.

Decorated all over with dragons in various colours amidst clouds and on a yellow ground, (damages), 7.5cm high. Estimate£300 - 400 (€360 - 480)

Bonhams. ASIAN ART. 26 Mar 2014, Edinburgh - www.bonhams.com

A Canton enamel jardinière, 19th century. Photo Bonhams.

Of rectangular form, each side decorated with a central lotus and two facing archaic stylised dragons, reserved on a turquoise blue ground with floral sprays, the flat rim with key-fret pattern, the body raised on bracket feet, (some damages), 10.7cm high, 34.2cm wide, 21.2cm deep. Estimate£500 - 700 (€600 - 840)

Bonhams. ASIAN ART. 26 Mar 2014, Edinburgh - www.bonhams.com

A Kraak porcelain blue and white bottle vase, Wanli. Photo Bonhams.

Of ribbed pear shape, painted in six vertical panels with precious objects spaced by flowers issuing from rockwork, the neck bearing later Dutch silver hallmarked collar with pierced figural garden scenes, 29cm high. Estimate£800 - 1,200 (€960 - 1,400)

Bonhams. ASIAN ART. 26 Mar 2014, Edinburgh - www.bonhams.com

Impressive and Rare Sapphire and Diamond Necklace. Photo Sotheby's

Suspending a cushion-shaped sapphire weighing 102.61 carats, surrounded by brilliant-cut diamonds, completed by a double-strand necklace set with brilliant-cut diamonds, the diamonds together weighing approximately 60.00 carats, mounted in 18 karat white gold, length approximately 460mm. Estimate– $2,836,680 - $3,868,200 USD

Accompanied by AGL and SSEF reports numbered CS 58713 and 72488, dated 14 January and 5 February 2014, stating that the sapphire is natural, of Sri Lankan (Ceylon) origin, with no indications of heating. SSEF states that the colour of this sapphire may also be called royal blue in the trade; further accompanied by SSEF Appendix, stating that the sapphire “exhibits a highly impressive size and weight 102.614 ct, combined with an attractive blue colour and a fine purity.” AGL report also states that the sapphire ranked ‘exceptional’ in the Total Quality Integration Rating, for its “unusual combination of size, provenance, absence of treatment and quality factors present in this material contributes favorably to its rarity and desirability.”

Island of Azure Gems.
The unique quality that makes sapphires from Sri Lanka stand out is their exceptional clarity and luster, in combination with an excellent saturation of pure blue colour. Such fine specimens of charming blue gemstones were mined and traded as early as 500 BC and were greatly coveted by the Etruscans, Greeks and Romans. Sri Lanka is now generally considered to be the world’s first source of sapphires and many other gems; the abundance of fine sapphires in this part of the world was so remarkable that the Indians called Sri Lanka “Ratnadeepa”, which means “Island of Gems.” Some of the world’s greatest and largest sapphires come from Sri Lanka, including the renowned 422.99-carat Logan Sapphire and 98.60-carat Bismarck sapphire necklace by Cartier, that are both on display in Smithsonian Institution’s National Museum of Natural History.

The finest Sri Lankan sapphires exhibit a medium to bright blue colour, often lighter in tone as compared to Burmese sapphires, yet the colour distribution is surprisingly even despite their relative large sizes and heavy weights, this is due to tiny rutile needles, also known as ‘silk’, which is a common inclusion in sapphires that help to scatter light equally on its facets. Though similar to natural sapphires originating from other countries, inclusions are inevitable in even the finest sapphires in the world; Sri Lankan sapphires are highly prized for their high clarity, which allows maximum light return, resulting in an alluring lustre and lively brilliance that is rarely found in sapphires with intense deep colour. It is also rather common for Sri Lankan sapphires to carry a tint of purple, but the exceptional sapphire in Lot 1766 is displaying the purest of all blues, and appears to be almost inclusion-free under 10x loupe, which is extremely rare among Sri Lankan sapphires.

With over 95% of the sapphires being treated and enhanced nowadays, a natural Sri Lankan sapphire of over 20 carats is of great rarity, if in addition, it displays a pure and even blue colour with brilliant fire, one cannot overemphasize its importance. To be offered is an exemplary Sri Lankan sapphire with a bright saturated azure colour, completely free of heat treatment, this impressive 102.61-carat gemstone is without question a truly magnificent jewel of great beauty and rarity.

Sotheby's. Magnificent Jewels and Jadeite. Hong Kong | 07 avr. 2014 - www.sothebys.com

Very Fine Sapphire and Diamond Bracelet, David Webb. Photo Sotheby's

Composed of twenty cushion-shaped sapphires together weighing 46.44 carats, interspersed with pear-shaped diamonds together weighing approximately 39.55 carats, mounted in platinum and 18 karat white gold, length approximately 165mm, signed David Webb. Estimation 13,000,000 — 15,000,000 HKD

Accompanied by Gübelin and SSEF reports numbered 1002030 / 1 to 20 and 57013, dated 30 March 2010 and 10 September 2010, stating that the sapphires are natural, of Kashmir origin, with no indications of heating.

Sotheby's. Magnificent Jewels and Jadeite. Hong Kong | 07 avr. 2014 - www.sothebys.com

Exceptional Sapphire and Diamond Ring. Photo Sotheby's

Centring on a cushion-shaped sapphire weighing 20.04 carats, surrounded by brilliant-cut diamonds, the triple-split mount set throughout with brilliant-cut diamonds, the diamonds together weighing approximately 11.00 carats, mounted in 18 karat white gold. Ring size: 4½. Estimation 12,000,000 — 17,000,000 HKD

Accompanied by AGL, Gübelin and SSEF reports numbered CS 58712, 13111065 and 72489, dated 14 January 2014, 5 December 2013 and 5 February 2014, stating that the sapphire is natural, of Kashmir origin, with no indications of heating. Gübelin Appendix further states that this sapphire "possesses a richly saturated and homogeneous colour, combined with a high degree of transparency, and a finely proportioned cut. In addition, this remarkable gemstone has been spared thermal treatment. Such a combination of characteristics is rare in natural Kashmir sapphires of this size."

Sotheby's. Magnificent Jewels and Jadeite. Hong Kong | 07 avr. 2014 - www.sothebys.com

Very Rare Pair of Sapphire and Diamond Pendent Earrings. Photo Sotheby's

Each suspending a cushion-shaped sapphire weighing 9.46 and 8.55 carats respectively, surrounded by brilliant-cut diamonds, to a surmount set with marquise-shaped and brilliant-cut diamonds, the diamonds altogether weighing approximately 14.50 carats, mounted in 18 karat white gold. Estimation 8,000,000 — 11,000,000 HKD

Accompanied by AGL, Gübelin and SSEF reports numbered CS 58714 A and B, 13111063, 13111064 and 72490, dated 14 January 2014, 4 December 2013 and 27 January 2014, stating that the sapphires are natural, of Kashmir origin, with no indications of heating. The SSEF Appendix further states that "a matching pair of natural sapphires from Kashmir of this size and quality is rare and exceptional."

The Ephemeral Mines of Kashmir
A remote valley in the Padar region of Kashmir, amidst the Himalayan mountains between Pakistan and China, is home to one of the greatest gemstones in the world: Kashmir sapphires. The colour of this blue stone is so unique and distinct that was best described by the late Dr. Eduard Gübelin: soft and velvety, scintillating yet bland at the same time; it is a clear, deep blue, enhanced by a gentle admixture of kingly purple. The locality’s extreme altitude gave workers a maximum of ten weeks each year to unearth these heavenly treasures during 1881 to 1887. The short lifespan of the mines reaffirms the legendary reputation of sapphires from Kashmir. Not only are they some of the most beautiful and highly valued wonders of nature, but some of the most scarcely mined gemstones. Natural unheated Kashmir sapphires rank amongst the rarest gemstones on earth.

Sotheby's. Magnificent Jewels and Jadeite. Hong Kong | 07 avr. 2014 - www.sothebys.com

A reticulated porcelain snuff bottle, Wang Bingrong, 1820-1870. Photo Bonhams.

Of rounded rectangular form, the lip with a clear glaze, the oval foot rim unglazed, the foot with an inscribed four-character mark in seal script, the body deftly carved with a single five-clawed dragon amid deeply recessed clouds and flames, the body with an even caramel-colored glaze, the dragon's eyes punctuated with black and white enamels. 2 3/8in (6cm) high. Sold for US$ 31,250 (€22,461) 

Property from the Collection of Emmanuel Dimitri Gran (1894-1969)

Bonhams.CHINESE ART FROM THE SCHOLAR'S STUDIO. 17 Mar 2014, New York - www.bonhams.com

An unusual inscribed porcelain snuff bottle, Zhou Honglai, Late Qing Dynasty. Photo Bonhams.

A porcelain snuff bottle with quail, 1860-1880. Photo Bonhams.

Of rounded rectangular form with sloping shoulders, with a rounded concave lip, and an unglazed oval foot rim, the body deftly painted with five quail in overglaze enamels. 2 1/4in (5.6 cm) high. Sold for US$ 5,000 (€3,593)

Bonhams.CHINESE ART FROM THE SCHOLAR'S STUDIO. 17 Mar 2014, New York - www.bonhams.com

A molded porcelain snuff bottle, Qianlong period. Photo Bonhams.

Of double gourd form, the body molded in high relief with a leafy stalk running from the mouth to the foot, with overlapping five petal flowers and a tied patterned cloth at the waist, the porcelain with a clear glaze suffused with a crackle. 2 3/4in (7cm) high. Sold for US$ 2,000 (€1,437)

Bonhams.CHINESE ART FROM THE SCHOLAR'S STUDIO. 17 Mar 2014, New York - www.bonhams.com

A pair of Miyao bronze figures. By Miyao Eisuke, Meiji period (late 19th century). Photo Bonhams.

The two warriors with their weapons at the ready finely cast in bronze with gilt details, the first advancing with his naginata dressed in an elaborate robe and helmet, the second figure posed with an arrow nocked on his bow, a quiver slung around his back, both signed in a rectangular gilt plaque Miyao Ei; each with fitted wood stand; 8in (20.3cm) high; 9in (22.9cm) high. Sold for US$ 37,500 (€27,248)

Published: Laura Bordignon, The Golden Age of Japanese Okimono, Suffolk, 2010, p.259

Bonhams. FINE JAPANESE WORKS OF ART. 19 Mar 2014, New York. www.bonhams.com

A fine silver presentation vase with mixed metal decoration. By the Kobayashi Company, Meiji period (late 19th century). Photo Bonhams.

The tapering ovoid body decorated with a cast and repousse design featuring a pair of phoenix flying over flowering paulowina towards the sun wreathed in clouds, the details picked out in gold, silver and shakudo, a raised sixteen-petal chrysanthem medallion applied to the waisted neck, with a gold-inlaid seal reading Yumin/Aritami, the base stamped Kobayashi-kinsei and jungin; 15 1/4in (39cm) high. Sold for US$ 33,750 (€24,524)

Bonhams. FINE JAPANESE WORKS OF ART. 19 Mar 2014, New York. www.bonhams.com

A Highly Important Jadeite Bead, Ruby and Diamond Necklace, Cartier, circa 1933. Photo Sotheby's

Composed of twenty-seven graduated jadeite beads of highly translucent bright emerald green colour, completed by a clasp set with calibré-cut rubies and baguette diamonds, mounted in platinum and 18 karat yellow gold, length approximately 530mm, unsigned. Beads approximately 19.20 to 15.40mm. Estimation sur demande

Provenance: Formerly in the collection of Barbara Hutton, Louise Van Allen and the Princess Nina Mdivani

LITERATURE: Cf: Stefano Papi & Alexandra Rhodes, 20th Century Jewelry & the Icons of Style, London, 2013, p. 142 - 144
Cf: Stefano Papi & Alexandra Rhodes, Famous Jewelry Collectors', London, 1999, p. 185 - 187

Accompanied by Hong Kong Jade & Stone Laboratory certificate numbered KJ 84088 (1-5), dated 23 January 2014, stating that the jadeites are natural, known in the trade as "A jade". Also accompanied by SSEF certificate numbered 73188, dated 28 February 2014, stating that the jadeites are natural, with no indications of impregnation. Further accompanied by SSEF Appendix stating that jadeite beads "exhibit a perfectly matching colour, combined with an outstanding translucency and excellent lustre...The rarity of this jadeite necklace is based not only on its excellently matching quality and impressive size, but also on its historic provenance and its highly remarkable style and workmanship. It can be thus considered a true and rare treasure of nature."

Formerly in The Collection of Ms Barbara Hutton. An Exceptional Jadeite Bead Necklace of Extreme Importance, 27 beads approximately 15.4 to 19.2 mm with ruby-set clasp by Cartier. Estimate upon request. Photography by Ernest Yiu.

Barbara Hutton wearing the Hutton-Mdivani Necklace, accompanied by her first husband Alexis Mdivani in 1933.

Jadeite Jewellery of Utmost Prominence in the History of Auction:
The Hutton-Mdivani Necklace

For hundreds of years, jadeite has been a symbol of supreme status and extreme wealth. The original definition of the two Chinese characters, Fei Cui, which stands of jadeite in modern days, attests the pre-eminence of this special gemstone. Yi Wuzhi (literally “The Book of Foreign Matters’) explains, “Cui, a bird resembling a swallow, the male and red bird is named Fei, whereas the female green bird is named Cui, its feathers are used as adornments.” Cui was a very rare and precious bird in the old days and were hunted for their exceptional bright-coloured feathers. Jadeites, which come in a wide range of attractive colours, were coined Fei Cui for their beauty and high value.

Metaphysics pronounces jade as a spiritual gemstone, if it is worn close to one’s skin, energy would be transferred to the wearer and a healthy influence would be exerted, and the jadeite itself, attaining positive aura from the wearer, improves in colour and translucency. The intricate beauty of jadeite is best seen in their mere simplicity, the finest jadeites are always polished as a cabochon spared of superfluous embellishments, while jadeite beads are the epitome of all form of jadeite jewellery under this guiding principle. Top-quality jadeites are often referred to as ‘old mine’ jadeites originating from the reputed mines in Hpakan in Burma. Their dense structure, fine crystals, even colour and high translucency deem such specimens to be the best in the world. However, such exceptional jadeite boulders are extremely scarce and relatively small in size, jadeite beads that could be cut and polished from these rough are mostly 5mm to 10mm in diameter. The twenty-seven jadeite beads on this necklace being offered as Lot 1847 was of extremely fine texture, round and succulent in shape and colour, like mouthwatering grapes under warm sunlight, glowing through their thin skins, exuberant and mellow, elating the spirit of whoever set eyes on them. The most astounding fact lies in the size of its beads, even the smallest bead in this suite measures 15.40mm, far exceeding those that made their way into the auction markets, and the largest of all measures an impressive 19.20mm, not to mention that there are twenty-seven of such enormous jadeite beads in total, amassing to unprecedented illustriousness. In general, to fashion a strand of matching jadeite beads, all the beads must be carved from the same boulder, and as many as thrice the desired number of beads are often needed from which to sleeve the most suitable and matching ones. With the immense wastage involved, jadeite bead necklaces rank among the most valuable and sought-after forms of jadeite jewellery. To put together a suite of such colossal and fine jadeite beads as those found on the Hutton Mdivani Necklace was utterly challenging, since a jadeite boulder of supreme quality and gigantic size must be recovered in the first place for to fashion such stunning beads.

Throughout history, jadeites have been highly prized and worn by the rich and famous, many of whom were legendary female figures from the ruling class and notable fashion icons of all times, including Empress Dowager Cixi of China, Madame Chiang Kai-Shek and Madame Wellington Koo, wife of the famous Chinese diplomat V. K. Wellington Koo.

The owner and the wearer of this spectacular jadeite necklace was indeed a figure of utmost importance in the world of jewellery collection in the past century, a famous socialite with a lavish taste for luxurious living, prodigal when acquiring the most exquisite gems, but never imprudent in her tasteful and refined selection: ‘Million Dollar Baby’ Ms Barbara Hutton. Every piece of jewel in her treasury was worthy of special mention, and this one-of-a-kind jadeite bead necklace by Cartier is no exception. The understated opulence of this necklace renders the subtlety of Hutton’s beauty and graceful demeanor, which was in no need of ostentatious parade; her strong presence alone defines timeless elegance.

However, just as other treasures that were forever lost during late Qing and early Republican period, the provenance of this jadeite necklace remains undetermined. The one thing we can be sure of is that these twenty-seven green succulent beads had already appeared in Europe during the early 1930s, it must have taken a considerable time for the jadeite beads to travel across the oceans. It should also be taken into account that Cartier, as a Couture high jewellery maison, takes tremendous time for designing, sourcing the necessary components and eventually executing their art piece. Considering all these facts, the jadeite beads on this necklace can be dated at least to the late Qing dynasty. When compared to a superb jadeite bead necklace remodeled from a Qing imperial court necklace which was sold at Sotheby’s New York in 2010, the Hutton-Mdivani Necklace currently offered are far superior in colour, texture, translucency and size, which indicates an equally, if not more distinguished original ownership.

The jadeite bead necklace made its debut in the auction market in 1988, when it fetched an impressive USD 2 million, which was the highest price ever paid for a piece of jadeite jewellery, causing a great sensation both in the East and the West. Six years later in 1994, the necklace took centre stage at an auction room in Hong Kong and was sold for double its previous hammer price, achieving an astonishing US$4.2 million, setting a new record yet again for jadeite jewelleries worldwide. Since then, this impressive jadeite bead necklace has become one of the most legendary and important piece of jadeite jewellery known to the world.

Sotheby's. Magnificent Jewels and Jadeite. Hong Kong | 07 avr. 2014 - www.sothebys.com

Spectacular diamond necklace, Nirav Modi. Photo Sotheby's

Set with seventeen brilliant-cut diamonds weighing 10.51 carats to 1.27 carats, spaced by brilliant-cut and marquise-shaped diamonds, the diamonds together weighing 85.33 carats, mounted in platinum, length approximately 420mm. Estimation 57,000,000 — 68,000,000 HKD

Accompanied by seventeen GIA reports, stating that the seventeen diamonds weighing 10.51 to 1.27 carats are D colour, Flawless to Internally Flawless clarity, with Excellent Cut, Polish and Symmetry; further accompanied by diamond type classification reports stating that the diamonds are determined to be a Type IIa diamonds. Type IIa diamonds are the most chemically pure type of diamond and often have exceptional optical transparency. Also accompanied by forty GIA reports, stating that the diamonds weighing 0.72 to 0.30 carat are D colour, Internally Flawless clarity, one 0.30 carat marquise-shaped diamond is VVS1 clarity.

Sotheby's. Magnificent Jewels and Jadeite. Hong Kong | 07 avr. 2014 - www.sothebys.com

Qi Baishi（1864 – 1957), An Assemblage of Fruits. Photo Sotheby's

HONG KONG.- Sotheby’s Hong Kong Fine Chinese Paintings Spring Sale 2014 will take place on 7 April at the Hong Kong Convention and Exhibition Centre. Exquisite works by such modern Chinese artists as Zhang Daqian, Wu Changshuo, Qi Baishi, Fu Baoshi, Xu Beihong and Xie Zhiliu will be offered, many of which come from private collections in Europe and North America and are fresh to the market. The sale will feature more than 400 lots in total, estimated in excess of HK$130 million / US$16.7 million*. 

C.K. Cheung, Head of Sotheby's Chinese Paintings Department said: “This Spring, we continued to leverage on our unrivalled global network to assemble some of the most outstanding works from important private collections overseas. Headlining the sale is Zhang Daqian’s Lotus in the Wind from the collection of Museum of Modern Art in New York. The painting exemplifies Zhang’s transition from his freehand style to splashed-ink-and-colour technique and is one of the artist’s most pivotal lotus-themed works from the 1960s. Regarded by the artist as an epitome of this genre, the work was on loan to a number of important exhibitions, including Exhibition of Paintings by Chang Da-Chien at Hirschl & Adler Galleries in 1963 and Chang Dai-Chien: A Retrospective Exhibition at the Center of Asian Art and Culture in 1972.” 

“Another highlight is Roaring Lion, an exceptional work by Gao Qifeng, one of the founders of the Lingnan School of Painting. The work once belonged to the private collection of Zhang Kunyi, student of Gao Qifeng, who brought with her a selection of Gao’s paintings when she left China for the United States during the Second Sino-Japanese War, with Roaring Lion being the most representative of them all. Also worthy of note is Landscape in Afterglow, an outstanding splashed-colour masterpiece by Zhang Daqian from the collection of distinguished Chinese literature scholar Han Nan.” 

AUCTION HIGHLIGHTS  

Zhang Daqian (1899 – 1983) Lotus in the Wind,  signed YUANWENG, dated 1961, inscribed, and with two seals of the artist. Ink on Paper, Hanging Scroll, 179.1 x 96.5 cm. Est. HK$5 – 7 million / US$640,000 – 897,000. Property from the Museum Of Modern Art, New York, Sold to Benefit the Acquisitions Fund. Photo Sotheby's

Lotus in the Wind was a gift from Zhang Daqian to his good friend Dr Kuo Yu-shou, also known as Guo Zijie, who in turn donated the work to the Museum of Modern Art in New York in 1961. Kuo studied in France in his early years before returning to China, where he was offered a key appointment in the Nationalist government, which placed him in a position to form close ties with the art circle. Zhang and Kuo, both Sichuanese, became particularly close when the artist fled to Sichuan during the Second Sino-Japanese War. Following the change of political regime in China, Zhang Daqian left the country to reside abroad while Kuo stationed at a diplomatic post in Europe. From the mid-1950s to 1960s, Zhang travelled extensively in Europe and held exhibitions in a number of countries with the assistance of Kuo as his agent. The two then became very close friends. In 1961, Zhang Daqian painted this work during his sojourn in Japan and presented it as a gift to Kuo Yu-shou when he stayed at Kuo’s residence in Paris later that year. 

Lotus in the Wind is a signature splashed-ink lotus work by Zhang Daqian from the early 1960s, a period when the artist transformed from his freehand style to splashed-ink-and-colour technique. The composition is simple and bold and the brushstrokes are free and unfettered, unveiling a magnanimous breadth of aesthetic vision. The application of ink in balanced shades, executed in a robust and exuberant manner, reveals the delicate beauty of nature. 

This work was exhibited in 1963 at the Hirschl & Adler Galleries, one the earliest solo exhibitions of Zhang Daqian in the United States. In 1972, it was again featured at Chang Dai-Chien: A Retrospective Exhibition at the Centre of Asian Art and Culture in San Francisco. Its appearance in various important exhibitions attests to its significance in the artist’s oeuvre. 

Zhang Daqian (1899 – 1983), Landscape in Afterglow, signed YUAN WENG, dated 1968, and with one seal of the artist. Splashed Ink and Colour on Paper Mounted on Board, Framed, 95.2 x 58.5 cm. Est. HK$5 – 7 million / US$640,000 – 897,000. An Important Splash Landscape By Zhang Daqian From The Collection Of Professor Patrick Hanan. Photo Sotheby's

Developed in Zhang Daqian’s advanced years when he was suffering from deteriorating eyesight, the splashed-ink-and-colour technique is a testimony to the Zhang’s versatility and imagination and unique to works created in the final years of the artist’s artistic career. Executed in 1968 with mesmerizing colour application, Landscape in Afterglow exemplifies the artist’s technique in maturity. Heavy coats of pigments in azurite blue and malachite green are splashed on the scroll repeatedly to create large, compact rock forms, resulting in a composition aglow with a gem-like sparkle. At the top left corner is a slight touch of red, suggesting the glow of a setting sun. In the foreground, a reclusive scholar can be seen on a boat in the waning light amidst green foliage interspersed with red flowers. Landscape in Afterglow is rendered in a semi-abstract style and Zhang used figurative brushwork to highlight the scenery in ink. Its melding of traditional and inventive techniques further reflects the artist’s creativity and his painterly inspiration. 

Qi Baishi（1864 – 1957, An Assemblage of Fruits. Ink and Colour on Paper, signed BAISHI, inscribed, and with four seals of the artist; ink and colour on paper, hanging scroll, set of four, each 68 by 33.5 cm. 26 ¾ by 13 1/8 in. (4) Estimate on request. Photo Sotheby's

Qi Baishi’s four-panel paintings were mostly created in the 1920s and 1930s. Judging by its painting style and inscription, An Assemblage of Fruits was executed in the late 1930s or early 1940s. Featured in the work are four panels, each depicting a particular type of fruit, including lychees, grapes, cherries and loquats. Each panel portrays a basket of fruits and is adorned with the image of a tree branch, replete with leaves and fruits similar to those in the basket. Instead of appearing identical, all these depictions complement each other, demonstrating Qi’s meticulous visual judgment. Alternated between the images of lychees and cherries in seductive red tones on both ends, are the golden-yellow depictions of loquats and the purplish-green portrayals of grapes. The contrasts and vibrant relationship between colour and ink are reinforced with the varying degrees of force and speed by which the artist implements his brushstrokes. 

Gao Qifeng (1889 – 1933), Roaring Lion, signed QIFENG GAO WENG, dated 1927, inscribed, and with two seals of the artist. Annotation by Ye Gongchuo, ink and colour on paper, hanging scroll; 169.7 by 61 cm. 66¾ by 24 in. Est. HK$1.8 – 2.5 million / US$230,000 – 320,000. Photo Sotheby's

In 1926, Gao Qifeng’s painting of a male lion, which epitomises the revolutionary spirit of his times, was selected for the collection of the Sun Yat-Sen Memorial Hall. At the request of his students, Gao repainted the subject in the following year, resulting in this work. Executed in 1927, Roaring Lion is monumental in scale, focusing on a robust lion which occupies more than half of the scroll. Ferocious in appearance, the lion is an awesome sight to behold, its teeth exposed in a growl, its eyes iridescent and its giant paws lifted in a pounce. The creature looks ready to leap down from a boulder, with a striking force too mighty to resist. Every part of the lion, from its menacing look to the tiniest detail of its physique, such as the fur, sharp paws and its intense glare, are delicately portrayed, either with fine brushwork or colour washes, to a life-like effect. 

In 1939, during the Second Sino-Japanese War, Gao’s student Zhang Kunyi left for the United States bringing with her a fine selection of the artist’s work to save them from the Japanese troops. The collection included some of the most representative works from the Lingnan School of Painting and the present work tops them all in artistic significance. 

Xu Beihong, Horse, signed BEIHONG, dated 1948, and inscribed. Signed again in 1950, with a dedication, and a total of three seals of the artist. Titleslip by the artist; ink and colour on paper, framed; 109 by 53.5 cm. 42 7/8 by 20 7/8 in. From a European Private Collection. Est. HK$3.5 – 4.5 million / US$449,000 – 577,000. Photo Sotheby's

Horse was executed in 1948, but it was only two years later that Xu Beihong added the recipient’s name and a greeting atop the painting, when it was intended as a gift for the renowned Czech sinologist Jaroslava Průška. Průška studied in China during the 1930s and devoted the second half of his life to education and sinology research. Extremely knowledgeable in his field, he commanded high respect in the Czechoslovak academic circle. Xu Beihong befriended Průška in March 1949, when the artist travelled to Prague as part of the Chinese delegation to attend the first World Peace Conference where Průška worked as the interpreter. In the following year, Průška visited China as a member of a Czech cultural delegation. As president of the Central Academy of Fine Arts and chairman of the China Artists Association, Xu was the official host to the delegation and this painting was gifted to his erstwhile friend during the exchange.