Lot 385. A small Chinese sancai glazed bowl, Tang Dynasty (618-907). Estimate $800-1,200. Sold for $500. Photo Freeman's

potted with deep rounded sides, covered with splashes of green, white, yellow and brown glaze, the bottom decorated with a four-petal flower symbol. D: 4 in., 10 cm. 

Provenance: Property from the S. Jung collection, Wilmington, Delaware

Freeman's. Asian Arts, Sat, Sep 10 2016 10:00 AM

Lot 386. A Chinese 'Yue' celadon incised 'floral' box and cover, Five dynasties (907–960). Estimate $1,500-2,500. Sold for $2,470. Photo Freeman's

of shallow circular form, all applied a celadon oliver-green glaze, flowers and foliage on the slightly domed cover. D: 5 1/4 in., 13.5 cm. 

Provenance: Property from the S. Jung collection, Wilmington, Delaware

Freeman's. Asian Arts, Sat, Sep 10 2016 10:00 AM

Lot 387. A large Chinese yellow and green glazed 'fish' dish, Liao dynasty (907-1125). Estimate $1,000-2,000. Unsold. Photo Freeman's

the rounded sides resting on a short foot, the interior with green fish on light yellow ground, a circle of small fish around six large fish in the center and four fish close to the border. D: 10 1/2 in., 26.5 cm. 

Provenance: Property from the S. Jung collection, Wilmington, Delaware

Freeman's. Asian Arts, Sat, Sep 10 2016 10:00 AM

Lot 132. A Chinese green glazed jar, Liao dynasty (907-1125). Estimate $2,000-3,000. Sold for $1,500. Photo Freeman's

the slightly compressed globular body surmounted by a short neck, carved on the body with plum blossom branches, covered overall in a translucent mottled olive-green glaze. H: 6 in., 15.3 cm . 

Provenance: Property of a New Jersey lady 
Yamanaka & Co., New York label

Freeman's. Asian Arts, Sat, Sep 10 2016 10:00 AM

Lot 312. A 'Dehua''lychee' box and cover, Qing dynasty, 18th century. Estimate 5,000 — 7,000. Photo: Sotheby's.

Lot 309. Two 'Dehua' rhinoceros horn-form cups, Late Ming Dynasty. Estimate 2,000 — 3,000. Photo: Sotheby's.

Lot 221. Large magnificent ivory tankard, Germany, about 1760. Estimate: € 36000-42000. Photo Hampel

Figure on lid ca. 1900. Vessel, handle and figure on cover in ivory with parcel-true silver mounts. The vessel is carved in the round in bas and high relief showing a battle of Roman legion aries against the barbarians. Seated above the battle scene on a chariot is a Roman Emperor in scale armor with a radiant crown and scepter. A fierce battle is Depicted around him. The domed cover is crowned with a kneeling Roman dressed in scale armor with helmet, shield and sword. The tankard is a work of the 18th century in the tradition of Early Baroque and Renaissance tankards. The figure surmounting the lid is a later addition of the 19th century. Foot diameter. 22 cm 

Hampel. Thursday, September 22, 2016

Lot 252. Large, impressive ivory tankard and cover with silver mounts, Probably Southern France, about 1720. Estimate: € 18000-20000. Photo Hampel.

Ivory carved in high relief. Wrought copper insert, applies interior. Silver feet and cover mounts. Unidentified hallmarks: "L." in transverse rhombus flanked by two oval hallmarks in the shape of pinecones and assay scrape underneath. Two vertical, lancet-shaped silver buckles on Either Side, one engraved: "Sans pain, sans vin; l'amour n'est rien" [Without bread and wine, love is nothing]. These two buckles were probably Applied later, one probably to cover a shrinkage crack in the tankard and the other as its counterpart. Winged putti hold two crowned coat of arms; on the left the monogram "MW" is discernible, the mongram on the right is harder to decipher, Possibly "NI" (?). The figures of a dragon and a wolf below can probably be interpreted as heraldic animals and the tankard Could Possibly therefore be a wedding gift of princely or royal provenance. With minor shrinkage cracks and minor signs of aging. Height: 67 cm.

Hampel. Thursday, September 22, 2016

Lot 846. Augsburg School, second half 15th century, Saint Christopher. Oil on panel, 93 x 84 cm. Estimate: € 100,000 to 200,000. Photo Hampel. 

So painted on the reverse and with remains of reliefs removed. Museum quality, almost square wing of an altar. Large format, full figure depiction of Saint Christopher did is almost taking up the Entire surface of the panel. The saint is striding over a river using a mighty tree trunk as a stick and with Whose assistance he Seems to be jumping to the other side of the riverbank. He is Depicted wearing a brown-beige travel coat, lined in red, with short trousers revealing his bare legs. His upper body is slightly bent to he left and the Christ Child is sitting on his shoulders wearing a blue dress with a red cloak and holding the crossed globe in his left hand while his right hand is raised in a gesture benediction. The child's head is surrounded by a halo and the saint's long-bearded head is turned towards it. The banks on Either side of the river, All which is meandering into the background, are edged with staggered rocks. A monk with a lantern is standing on one of the rocks on the right. 

Notes: This Could Possibly hint at the work having been commissioned by a monastery. It has not yet been resolved who the master of this painting may be but the high quality does not rule out on important name. The circle of Hans Holbein the Elder (ca. 1465-1524) or works by Bernhard Strigel (1460-1528) come to mind, Whose eccentric postures for example in the painting of the Sleeping Guards can therefore be found in the present painting. The painting is in very good overall condition.

Hampel. Paintings XVI - XVIII century. Thursday, September 22, 2016

Lot 847. Jan van Kessel the Elder (1626 Antwerp - 1679),  Allegory of the Night, ca. 1660. Oil on copper laid on panel, 17.4 x 23.1 cm. Signed lower left. Estimate: € 70,000 to 100,000. Photo Hampel

Several different nocturnal animals have gathered on a verdant promontory set against a sky at twilight. At center, slightly to the left, lies a bat protecting her silent hairless young, Which are on top of her wings. On the left-hand edge a cat hisses at another cat did is emerging from behind a tree above her. The cat on the left has already caught a baby bat and does not want to share it. The turmoil around the central bat group is completed by a marten at the lower edge of the painting. The finely Executed composition addresses the nocturnal struggles of the natural world and can be therefore of understood as a vanitas depiction. A model for the work which Paul de Vos' Animals of the Night (Kunstmuseum, Dusseldorf). Here Van Kessel found inspiration for the present work on copper in the motif of a bat lying on its back with its young sitting on its wings, a marten turned to the left and two martens on the right hand edge of the picture.Ertz made this connection with Vos' painting in his monograph on Jan van Kessel. Boiler repeats the spectacular motif of a bat lying on its back with its young in Allegory of Vanitas (The Ashmolean Museum, Oxford), where a bat group is surrounded by various birds, Both dead and alive. This subject, with two additional young bats lying and crawling on the ground, can therefore be found in a painting titled Cartagene (Ertz, no. 50 and no. 116). The painting is, at first glance, very densely detailed and impresses with its fine contouring and care fully thought out composition. Individual elements merge into a convincing whole and tell the story of Nurtia, the creatures of the night. 

Literature: For paintings with similar motifs see Klaus Ertz and Christa Nitze Ertz, the painter Jan van Kessel, Master of the Augsburg school the second half of 15th century. Lingen 2012, cat. nos. 717 and 720.

Note: Accompanied by an expert's report by Dr Klaus Ertz with a photographic certificate of authenticity dated 9 February 2016 and a report by Dr Walther Bernt dated February 1979.

Hampel. Paintings XVI - XVIII century. Thursday, September 22, 2016

Willem van Aelst (1627 Utrecht / Delft - 1683 Amsterdam), Still life of fruit. Oil on canvas. Relined. 47 x 38 cm. Estimate: € 70,000 to 100,000. Photo Hampel.

Depiction of green and slightly red grapes, one peach and a slightly open walnut laid on a marble top, with a vine climbing up behind it against a black background. Apart from its aesthetic effect, the composition can thus be interpreted as symbols of vanitas as what customary at the time: the slightly opened nutshell alongwith the insects, butterfly and fly on the peach skin cause the fruit to decay. 

Provenance: Collection of Mr . & Mrs L. Salavin, Paris . Palais Galleria, sale December 1973 no 1 (illustrated). 

Literature: (eds.) See Erika Gemar-Költzsch, Dutch still life painter in the 17th century, Klaus Ertz and Christa Nitze Ertz, Lingen 1995, vol. 2, pp. 11-29. T. Paul et al, Elegance and refinement, the still-life paintings of Willem van Aelst, exhibition catalog, Houston and Washington in 2012, p. 93. cat. no I (illustrated).

Accompanied by an expert's report by Laurens Bol (Dordrecht Museum, 1983). 

Hampel. Paintings XVI - XVIII century. Thursday, September 22, 2016

Almakarina studio. "Nature Morte" shot for Haute Living magazine. Cartier ring.

Almakarina studio. "Nature Morte" shot for Haute Living Magazine. Chopard ring.

Almakarina studio. "Nature Morte" shot for Haute Living magazine. Piaget rings.

Waves of Ink: Painting in Porcelain. © 2016 JOAN MIRVISS LTD

 NEW YORK, NY.- More than two and a half years in the making, the upcoming exhibition of the ceramic art of Kondo Takahiro has already captured the attention of important collectors and curators nationwide. Nearly forty new works, from captivating tea bowls to towering glistening monoliths, were selected in the course of several trips to the artist’s ancestral home in Kyoto. Reinventing an ancient technique, Kondo has transformed the art of marbleized clay (neriage), to produce painterly waves of black, gray and white marbleized porcelain upon which shimmering beads of metallic glaze splash over the swirling surfaces. An artistic break-through, this series marries his long-standing passion for painting with his mastery of the porcelain medium in sculpture. 

Kondo Takahiro, “Tsunami” Silver Mist Bowl, 2016. Marbleized porcelain, silver mist overglaze, 4 x 4 1/4 x 4 3/4 in. Inv# 9848. Sold. © 2016 JOAN MIRVISS LTD

Kondo Takahiro (b 1958) began his career in ceramics in 1985 after devoting his early years to sport, attaining national success in table tennis. His grandfather and father were masters of blue and white-glazed porcelain (sometsuke) and Takahiro learned much from them. However, he quickly discovered his own style and has continued to evolve, continually challenging himself, incorporating new media while remaining conscious of his sometsuke roots. Water has been his principal theme for many years and he has explored not only its physical forms such as rain, ice, steam, and mist, but also its conceptual aspects as a source of life, purifier, natural resource, and, most currently, as a critical environmental issue in regards to the nuclear disaster in Fukushima. These many manifestations of water culminate in Kondo’s patented silver mist overglaze, comprised of an amalgam of metals and glass frit, which ranges in appearance from a subtle shimmer to a stream of molten drops that are dazzling to behold.  

Kondo Takahiro, “Tsunami” Silver Mist Bowl, 2015. Marbleized porcelain, silver mist overglaze, 4 x 4 5/8 x 4 3/8 in. Inv# 9844. Sold. © 2016 JOAN MIRVISS LTD

Kondo’s recent neriage works reflect his lifelong interest in painting. The application of his unique metallic glaze to monochromatic slabs creates the illusory appearance of “splashed ink” in the form of silver mist overglaze droplets. Although the patterns are abstract, the surfaces are intentionally reminiscent of seascapes in the tradition of Japanese ink painting (suiboku-ga). These surfaces are equally evocative on both his large sculptures and hand-held teabowls. They work in harmony with the pools of “ink” and suspended air bubbles in the cast glass covers of his “objets” and in the joining glass sections of his tall monoliths. For Kondo, whether it is through flowing of ink, drops of silver, or icy glass, his ceramics not only represent the ever-changing state of water as it travels through sky and earth, but also capture the fleeting nature of all things. The artist explains:  

“My work embodies the concept of ‘utsuroi no bigaku’ or the art of impermanence. It is my intent to evoke that beauty found in the ephemeral through the waves and droplets on my surfaces that represent the cycle of nature, purification and rebirth.” 

Kondo Takahiro.

Kondo has received several international awards and been featured in exhibitions on four continents. Joan B Mirviss has represented Kondo Takahiro for over fifteen years and has placed his work in important international collections. Among major museums owning his works are the Metropolitan Museum of Art, NY; Brooklyn Museum, NY; National Museum of Scotland; Paramita Museum, Mie; National Gallery, Victoria, Australia; and São Paolo Museum, Brazil.  

Joan B Mirviss is the leading western dealer in the field of modern and contemporary Japanese ceramics, and from her New York gallery on Madison Avenue, Joan B Mirviss LTD exclusively represents top Japanese clay artists. As a widely published and highly respected specialist in her field for over thirty-five years, Mirviss has advised and built collections for many museums, major private collectors, and corporations.

Kondo Takahiro, “Tsunami” Silver Mist Bowl, 2015, Marbleized porcelain, silver mist overglaze, 3 5/8 x 4 3/8 x 4 1/4 in. Inv# 9845. Sold. © 2016 JOAN MIRVISS LTD

Kondo Takahiro, “Tsunami” Silver Mist Bowl, 2015, Marbleized porcelain, silver mist overglaze, 3 1/2 x 4 5/8 x 4 3/8 in. Inv# 9846. Sold. © 2016 JOAN MIRVISS LTD

Kondo Takahiro, “Tsunami” Silver Mist Bowl, 2015. Marbleized porcelain, silver mist overglaze, 3 1/2 x 4 1/2 x 4 3/4 in. Inv# 9847. $6,250. © 2016 JOAN MIRVISS LTD

Kondo Takahiro, “Tsunami” Silver Mist Bowl, 2015. Marbleized porcelain, silver mist overglaze, 3 3/4 x 4 1/2 x 4 3/8 in. Inv# 9849. Sold. © 2016 JOAN MIRVISS LTD

Kondo Takahiro, “Tsunami” Silver Mist Bowl, 2015. Marbleized porcelain, silver mist overglaze, 4 x 5 x 5 1/8 in. Inv# 9850. Sold. © 2016 JOAN MIRVISS LTD

Kondo Takahiro, “Tsunami” Silver Mist Bowl, 2015. Marbleized porcelain, silver mist overglaze, 3 3/8 x 4 1/2 x 4 5/8 in. Inv# 9851. Sold. © 2016 JOAN MIRVISS LTD

Kondo Takahiro, “Tsunami” Silver Mist Bowl, 2015. Marbleized porcelain, silver mist overglaze, 3 7/8 x 5 in. Inv# 9852. $6,250. 

Kondo Takahiro, “Tsunami” Silver Mist Bowl, 2015. Marbleized porcelain, silver mist overglaze, 3 5/8 x 5 x 4 3/4 in. Inv# 9853. Sold. © 2016 JOAN MIRVISS LTD

Lot 241. A Fine and Massive Famille-Rose Birds and Flowers Vase, Qing Dynasty, Qianlong Six Character Mark and of the Period (1736-1795). Estimate: $1,500,000 - $2,000,000. Photo Gianguan Auctions.

NEW YORK, NY.- Gianguan Auctions captures the best of the autumn Asian art season with a mixed sale that offers multi-million dollar Chinese paintings, Chinese ceramics and carved jades. The top lots are supported by collections of contemporary jewelry and decorative items. The sale is slated for Saturday, September 17. 

A sumptuous Qing Dynasty Famille rose vase headlines the Chinese ceramics. Standing 22 1/2-inches tall, the long necked bottle presents a ground of sacrificial blue against which four tian bai panels are decorated with stylized prunus, peonies, chrysanthemum, phoenix and birds. Overall, the vase feature nine layers of decoration, each painted and fired individually, in a range of emblems and florals. Of the period, the vase is authenticated by a blue reign mark, the Qing Dynasty and Qianlong Six Character mark. Lot 241 is valued at $1,500,000 to $2,000,000. 

Lot 241. A Fine and Massive Famille-Rose Birds and Flowers Vase, Qing Dynasty, Qianlong Six Character Mark and of the Period (1736-1795). Estimate: $1,500,000 - $2,000,000. Photo Gianguan Auctions.

Finely painted in enamels of bright tones with quatrefoil cartouches on ovoid body, with a colorful phoenix or bird perched on branches amidst large flowering prunus, peony and chrysanthemum blossoms issuing from rockworks, the panels surrounded by rich sacrificial blue ground embellished with colorful stylized floral scrolls., interlinked chi dragons. This globular vase is impressive for its rich and sumptuous decoration that successfully fuses a combination of motifs over a large surface with nine layers. Iron red reign mark in recessed base. 

The Song Dynasty work of art entitled “Gong Kai Draws on a Bat for Good Fortune,” by Gong Kai (1222–1307) leads the paintings. A Song military official, Gong Kai went into exile during the Yuan Dynasty and became a scholar/amateur artist. This work depicts a large, unkempt man in loose robes surrounded by small, balding apparitions. All appear frantically animated as they peer upwards towards an unseen bat. The ink-and-color on paper is most likely a protest statement against Mongol rule. The work is signed by the artist. Provenance is provided by eight Emperors Seals, twelve Collectors Seals, and Colophons by Weng Peng and Zheng Fu. Lot 203 valued at $1.3M to $2.8M.

 Lot 203. Gong Kai (1222–1307), "Gong Kai Draws on a Bat for Good Fortune", Southern Song Dynasty (1127-1279). Hanging Scroll,Ink & Color on Paper. Signed Gong Kai. Eight Emperors‘ Seals. Eleven Collectors’ Seals. Colophons by Wen Peng and Zheng Fu. Estimate: $1,380,000 - $2,800,000. Photo Gianguan Auctions. 

At the top of the collection of seals, and Inch-for-inch the most valuable property in the auction, is an imperial spinach-green seal carved with a recumbent mythical ox-head mythical beast. Drama weighs heavy in the scaly body, furled ears and bifurcated mane. Of the Ming Dynasty, the 4-inch square seal is of even tone, weighs 2609 grams and is carved in relief, zhuwen, with the Hongwu Imperial six script seal. It is Lot 199, valued at $1,000,000-$2,000,000. 

Lot 199. An Important Imperial Spinach Green Jade Seal, Ming Dynasty, Hongwu period (1368-1398). Estimate: $1,500,000 - $2,000,000. Photo Gianguan Auctions. 

Of square section with thick sides, surmounted by a finely carved recumbent mythical ox-head beast with scaly body, the elongated head with a protruding snout, furled ears and a long single horn with a bifurcated mane extending to both sides. The center pierced through with an aperture for tassel. The massive stone of even green tone. The seal chop carved in relief, zhuwen, with six seal script characters: Imperial Seal of Hongwu. Dimensions: Height: 4¼ in (10.8 cm) - Width: 4⅛ in (10.5 cm) - Weight: 2609 g.

Adding to the charm of this sale is a single-owner collection of Warring States garment hooks. Acquired over many years by a California collector, the daigous are crafted of gilt bronze inlaid with gold and silver, turquoise, jade and mother of pearl. Their form alludes to dragons, qilin, and tigers. Catalogued individually, the collection begins at Lot 140 and continues through Lot 155. The catalog high estimate for the whole collection is upwards of $30,000. 

Highlights of the paintings, which are interspersed throughout the catalog, include a masterpiece by Zhang Daqian titled “Lotus.” A symbol of purity that emerges from mud to bloom for nearly a week, the Lotus has a revered place in Buddhism and lore. In this rendition of the ancient theme Zhang chose gold flecked paper as the backdrop for a blossom of brilliant red with a blue center. The contrasting windblown leaves and sinuous stems are of dark tonality. Inscribed and signed Zhang Daqian with two artists seals, frontispiece by Song Wenzhi and colophons by Xie Zhilu, Song Wenzhi and Xiao Ping, Lot 169 is expected to command $180,000 to $280,000. (It is one of five figurative paintings and one calligraphy by Zhang Daqian in the sale.) 

 Lot 169. Zhang Daqian (1899 - 1983), "Lotus". Hand Scroll. Ink & Color on Gold Flecked Paper. Dated 1946. Inscribed and signed Daqian, with two artist seals. Frontispiece by Song Wenzhi. Colophons by Xie Zhiliu, Song Wenzhi and Xiao Ping. Dimensions: 53¼× 12⅞ in. 135.3 × 32.7 cm. Estimate: $180,000 - $280,000. Photo Gianguan Auctions.

Meanwhile, “Longevity,” a 1942 work by Qi Baishi, leads a collection of works by the artist. In this depiction of mother and child, the mother, seen from the back, is rendered in bold brush strokes. The child, with top knot of black hair and ruddy cheeks, peers out over her shoulder to see from whence they have come. Clad in a red shirt, the infant holds a branch with two blossoms. Lot 121 is inscribed and signed “Baishi” and has four artist seals. It is valued at $150,000 to $200,000. (Six more Qi Baishi paintings run from $10,000-to $80,000.

Lot 121. Qi Baishi (1864 - 1957), "Longevity". Hanging Scroll. Ink & Color on Paper. Dated 1942. Entitled, inscribed and signed Baishi, with four artist seals. Dimensions: 53⅞ × 13⅜ in. 136.8 × 34 cm. Estimate: $150,000 - $200,000. Photo Gianguan Auctions.

Li Keran’s legendary ability to evoke emotion is on display in “Laughing Monk,” a full frontal depiction of an open-shirted monk caught in a moment of mirth. The work is entitled, inscribed Keran and bears two artist seals. Lot 127 is expected to command $40,000-$50,000.

Lot 127. Li Keran (1907 - 1989), "Laughing Monk". Hanging Scroll. Ink & Color on Paper. Entitled, inscribed and signed Keran, with two artist seals. Dimensions: 27 × 17 in. 68.5 × 45 cm. Estimate: $40,000 - $50,000. Photo Gianguan Auctions. 

In Cui Zifan’s “Autumn Color," the artist employs a powerful a style of brushwork to evoke the colors of fall as stylized butterflies remind us of the ephemeral quality of all life. Lot 210 bears a modest price of $3,000 to $4,000.

Lot 210. Cui Zifan (1915 - 2011), "Autumn Color". Hanging Scroll, Ink & Color on Paper. Dated 1987. Entitled, inscribed and signed Zifan, with two artist seals. Dimensions: 32¼ x 19½ in. 81.8 x 49.5 cm. Estimate: $3,000 - $4,000. Photo Gianguan Auctions.

A pantheon of archetypal Chinese beasts are depicted in a semi-translucent carved jade wine pot. A phoenix-head spout erupts from the ovoid body that is embellished with writhing dragons while a curled bixie handle balances this. An archaic dragon commands the domed cover. In an unusual move, the antics put the reign mark on the cover’s rim. The stone is buff-white with russet inclusions. Lot 192 will fetch $80,000-$120,000.

Lot 192. A Superbly Carved Dragon-Phoenix Jade Wine Pot and Cover, Qing Dynasty, Yongzheng Six Character Mark and of the period (1723-1735). Estimate: $80,000 - $120,000. Photo Gianguan Auctions. 

Of ovoid form with a short spout in the shape of a phoenix head opposite a loop handle formed from a curled bixie with bifurcated tail. The sides delicately carved in shallow relief with wreathing dragons chasing flaming pearl. The domed cover is carved with an archaistic dragon with a reign mark carved on the rim. Supported on a short gently flaring foot. The semi-translucent stone is of slightly buff-white color with some russet inclusion. Height: 6⅛ in (15.6 cm) - Width: 7⅛ in (18.1 cm) - Weight: 750 g.

The catalog cover lot is a carved jade sculpture of a pig nestled inside a coop basket with handle. The obverse of this Ming symbol of wealth and prosperity is an intricate basket-weave pattern adorned with a with Shou character. The sculpture is 7 1/2 wide X 3 inches tall. It weighs nearly six pounds. It carries the Lot 136 will command $30,000-$40,000. 

Lot 136. A Fine Jade Carving of Pig inside Coop Basket, Ming dynasty (1368-1644). Estimate: $30,000-$40,000. Photo Gianguan Auctions.

As a symbol of wealth and prosperity, the rounded rectangular block carved as a recumbent pig inside a weaved basket with intricate basket-weave pattern, with the Shou character, all finely detailed. Height: 3⅜ in (8.6 cm) - Width: 7¼ in (18.4 cm) - Weight: 2820 g.

Bowing to aesthetics, bidders will relish a rare spinach green jade censer with flaring strap handles and cover. Of the Qianlong period, it is carved in narrow bamboo sections that stand as concentric rows of petals. A single ruyi decorates the cover. At 5 1/4-inches tall, Lot 197 is set to go off at $40,000-$50,000.

Lot 197. A Fine and Rare Spinach Green Jade Censer with Cover, Qing Dynasty, Qianlong period. Estimate: $40,000-$50,000. Photo Gianguan Auctions.

Of cylindrical form with flaring strap handles rising above the shoulder and rim, the domed cover with applied ruyi finial. Carved all over with narrow bamboo sections as concentric rows of petals. The stone is of a rich dark green tone. Height: 5⅝ in (14.3 cm) - Width: 7⅜ in (18.7 cm) - Weight: 561 g.

Magnificent examples of Chinese ceramics span dynastic tradition. Of the Song Dynasty, a pear shape, lobed Guanyao vase displays the era’s slightly bluish gray-green glaze suffused with a network of luminous lavender crackle. It bears the mark of Xiuneisi kiln at the Phoenix Mountain on the recessed bottom. Lot 158 carries a pre-sale value of $60,000-$80,000. 

Lot 158. A Highly Important and Rare Lobed Guanyao Vase, Xiuneisi impressed mark, Southern Song Dynasty (1127-1279). Estimate: $60,000-$80,000. Photo Gianguan Auctions.

Of pear shape molded with eight lobes rising from the spreading foot of conforming outline and rising to a flared mouth rim, covered overall with a pale slightly bluish gray-green glaze suffused with a network of luminous lavender crackle, the foot rim left unglazed with a reddish brown. (Xiuneisi kiln, one of the two kilns for Guanyao, Tiger cave located at the Phoenix mountain, Hangzhou). Height: 8½ in (21.6 cm).

Similar in design and workmanship to two masterpieces in China’s Palace Museum in Beijing and Shanghai Museum is a blue and white dragon vase, 15-inches tall. As the symbol of Imperial power, the dragons on the vase compete for flaming pearls. Although a familiar theme, these dragons are rendered with strong expression and stance. Finely potted with two rims at the neck, the artistic measure of the vase is evident in the freehand flourishes of the master painter. Of the Qing Dynasty, with Kangxi Six Character Mark and of the period, Lot 157 is set to sell for $50,000-$60,000. 

Lot 157. A Fine Blue and White Dragon Vase, Qing Dynasty, Kangxi Six Character Mark and of the Period (1662-1722). Estimate: $50,000-$60,000. Photo Gianguan Auctions.

Two raised bands at the bottom of its cylindrical neck below which are two writhing dragons in pursuit of flaming pearls amidst wispy clouds and above surging billows. The dragon motif being symbolic of Imperial power is rendered here with the best characteristics of mythical images in its expression and stance, compare its design and workmanship to two masterpieces respectively collected by China’s Palace Museum in Beijing and Shanghai Museum. Height: 15¾ in (40 cm). 

References: 1. Selected Porcelain of the Flourishing Qing Dynasty from the Collection of Palace Museum, Plate 4/Page 46, published by Forbidden City Publishing House in Beijing, China. 
2. Encyclopedia of Historic Relics, Volume of Porcelain, Plate 853/Page 420, compiled by China’s National Bureau of Cultural Relics Administration and jointly published by Shanghai Cishu and Hong Kong Shangwu Publishing Houses in China. 

Smaller, more manageable ceramics include a pair of translucent Famille-rose bowls decorated with prunus branches and bamboo shoots. Enameled in pink, yellow, brown, green and black on a white ground, the round bowls are of the Qing Dynasty, bearing the Yongzheng Four-Character Double Circles Mark. Lot 146, they are $8,000-$15,000. 

Lot 146. A Pair of Fine Famille-Rose Prunus and Bamboo Bowls, Qing Dynasty, Yongzheng Four-Character Double Circles Mark and of the Period (1723-1735). Estimate: $8,000-$15,000. Photo Gianguan Auctions.

Finely potted with translucent rounded sides. The exterior delicately Enameled in pink, yellow, brown, green and black with flowering prunus branches and bamboo shoots. Diameter: 5⅜ in (13.7 cm). Height: 2⅝ in (6.7 cm).

The technique of producing copper red culminated during the Qing Dynasty, inspiring the archaistic shaped pair of dragon vases that appear at Lot 149. With angular sloping shoulder above rounded base, the pair is decorated with dragons and key frets. They have blue and white reign mark and the Qianlong six character marks. The value is $6,000-$8,000. 

Lot 149. A Pair of Fine Copper-red Archaistic-Dragon Vase, Qing Dynasty, Qianlong Six Character Mark and of the Period (1736-1795). Estimate: $6,000-$8,000. Photo Gianguan Auctions.

Well potted with rounded sides rising from a short foot to an angular sloping shoulder and surmounted by a garlic head rim, decorated with upper and lower band of archaic stylized dragons interspersed with key fret and foliate band. Blue and White reign mark in the recessed base. Height: 6 in (15.2 cm).

Long China’s national treasure as well as personal trophies, jade jewelry at all price points will attract buyers. Lot 1 is a jade leaf pendant valued at $2,000. Lot 25, a jadeite and diamond leaf pendant cum ring will reach $15,000. Lot 21, a jadeite leaf ring, is expected to command $4,000-$5,000. 

Rounding out the sale are collections of cloisonné snuff bottles, Shoushan stone seals, Neolithic earthenware ewers and jars, brush washers and scholars items. For complete details, please visit the online catalog at www.gianguan auctions. Previews begin Friday, September 9, the first day of New York’s autumn Asia week. The auction takes place Saturday, September 17 in the Gianguan Gallery at 39 West 56th St, 3rd floor and online at www.gianguanauctions.com. For more information: 212 867-7288 or email info@gianguanauctions.com

Lot 149. A large gray stone figure of a seated lion, Northern Wei dynasty (386–535). Estimate 60,000 — 80,000 USD. Lot sold 212,500 USD. Photo: Sotheby's.

powerfully modeled, the muscular beast seated on its haunches on a rectangular base with forelegs outstretched and long tail curled up over its back, the head with fierce expression, the mouth open in a roar below glaring eyes, all framed by a curling beard and swept-back mane, tufts of fur carved to the shoulders and chest, the stone of mottled gray-buff color. Height 19 in., 48.3 cm

Provenance: Galerie C.T. Loo & Cie, Paris. 
J.T. Tai, New York.
Sotheby's New York, 3rd June 1985, lot 25.

Literature: Loo Family Photographs, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. 

Notes: This magnificent stone beast belongs to a special group of carvings from the Northern Wei period that stems from the Han dynasty tradition of placing pairs of animals to line the Spirit Road leading to important tombs. While this lavish tradition was abandoned during the Northern Wei, due to both economic and social reasons, large stone sculptures of animals, such as the present piece, began to appear in Buddhist shrines and temples, where they were used as architectural supports. For a discussion on Northern Wei sculptures of animals, see Ann Paludan, The Chinese Spirit Road, New Haven, 1991, pp 52-83, where she notes that some elements of ancestors worship were adopted by Buddhist patrons; hence the construction of many Buddhist shrines dedicated to ancestors.

Compare a pair of slightly larger stone lions, believed to have come from the Longmen cave complex, from the collection of A.W. Bahr, illustrated in Osvald Sirén, Chinese Sculpture from the 5th to the 14th Century, New York, 1970, pls 115A and 115B; and a smaller example sold in these rooms, 19th March 1997, lot 162.

The present sculpture was amongst the Chinese artifacts that showcased the exquisite collection of the Pagoda in Paris that served as the home of Galerie C.T. Loo & Cie., belonging to the collector and dealer C.T. Loo (Ching Tsai Loo 1880-1957) (fig.1). Pagoda Paris remains a landmark in the 8th district of Paris, adjacent to the Parc Monceau. It was purchased by Loo in 1925, who with the help of the prominent architect Fernand Bloch, transformed the building into a Chinese-style pagoda, the exterior painted in deep red. Its interior was lavishly decorated with lacquer panels from Shanxi that paid homage to Loo’s birthplace and heritage. C.T. Loo to this day remains one of the most renowned collectors and dealers of the early 20th century, who was active from the 1910s to the 40s. Loo helped create Chinese art collections for the elite, such as the Morgans and the Rockefellers, but also supplied to top museums and institutions including the Metropolitan Museum of Art, New York, and the Museum of Fine Arts, Boston. The present magnificent stone lion is representative of Loo’s fine and impeccable taste.

Fig. 1 Monique, daughter of C.T. Loo, photographed with the present lot in the Pagoda Paris, 1937 © Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Washington, D.C., FSA A2010.07 26.

Sotheby's. Important Chinese Art, New York, 13 Sep 2016, 10:30 AM

Lot 156. A carved wood head of Guanyin, Song dynasty (960-1279). Estimate 6,000 — 8,000 USD. Lot sold 40,000  USD. Photo: Sotheby's.

well carved, the oval face with a serene expression with arched brows above heavily lidded eyes inset with dark glass, above a straight nose and full lips with traces of red pigment, the hair pulled back from the face in even grooves to reveal the pendulous earlobes, all beneath an elaborate jeweled crown with traces of lacquer, wood stand (2) - Height 12 in., 30.5 cm

Provenance: Collection of Henry Guinness de Laszlo (1901-1967), and thence by descent.

Sotheby's. Important Chinese Art, New York, 13 Sep 2016, 10:30 AM

Lot 157. A painted wood figure of a luohan, Song-Yuan dynasty. Estimate 30,000 — 50,000 USD. Lot sold 37,500   USD. Photo: Sotheby's.

the bald monk carved seated atop a rocky ledge, the left hand resting on the bent left knee, the right leg pendent, dressed in loose-fitting robes with gilt hems and traces of blue, green and red pigment, the wrinkled face with a pensive expression beneath a furrowed brow and framed by pendent earlobes, traces of pigment - Height 22 1/8  in., 56.1 cm

Provenance: The Cleveland Museum of Art, TR 15000/195.

Note: Compare a similar wood figure of a luohan, dated to the Song dynasty, in the Museo Nazionale d'Arte Orientale Giuseppe Tucci in Rome, illustrated in Stefano Vecchia, L'Art d'Asie, Chine, Corée, Japon, Paris, 2010, pl. 57.

Sotheby's. Important Chinese Art, New York, 13 Sep 2016, 10:30 AM

Lot 185. A jade 'feng san wu si zhi bao' seal, 19th -early 20th century. Estimate 20,000 — 30,000 USD. Lot sold 286,000 USD. Photo: Sotheby's.

of square form, surmounted by a superbly articulated pair of addorsed dragons, each powerfully depicted with eyes bulging and nostrils flaring above curling whiskers and jaws bearing sharp fangs, the scales and flowing mane meticulously incised, the two scaly bodies tightly intertwined and crouching on the haunches, pierced through the centre with an aperture, the seal face carved with the characters feng san wu si zhi bao, the stone of a varying grayish-green color with natural veining and dark flecking, with stand (2) - Length 4 7/8  in., 12.5 cm; Width 4 7/8  in., 12.5 cm

Provenance: The Tredegar Collection.
Spink & Son, Ltd., London, 1966.

Note: The characters on the seal face reference the Fengsanwusi Dian (Honoring the Three Selflessnesses Court) which is located within the central and oldest complex at the Yuanmingyuan. The hall sits on an islet, first in a row of three courts, laid on a central north-south axis with the Grand Palace Gate.  It is one of forty single story buildings designated by the Yongzheng emperor as the ‘Nine Continents Clear and Calm’.  The islet also enclosed the emperor’s residential quarter s and those of the ladies of the court.  The Qianlong emperor enjoyed the use of the scenic retreat only a few months of the year. The Jiaqing and Daoguang emperors spent considerably more time there, and by the time the Xianfeng emperor claimed the throne the palace served as the imperial family’s primary residence until its destruction in 1860. TheFengsanwusi Dian, which still stands today, was used by the Qing emperors to host banquets for members of the imperial family on significant occasions such as the first day of the New Year. 

Sotheby's. Important Chinese Art, New York, 13 Sep 2016, 10:30 AM

Lot 186. A rare white jade 'dragon and phoenix' tally (hefu), Qinq dynasty, Qianlong period (1736-1795). Estimate20,000 — 30,000 USD. Lot sold 286,000 USD. Photo: Sotheby's.

formed from two circular discs, each half with a pierced central medallion enclosing two characters readingtongxin (of one heart), one finely carved in low relief to the top with an archaistic phoenix and tiger, the underside with two characters reading hanhe (cherish harmony), interspersed by four archaistic animal masks, set with two small hooked tabs, one of circular form incised with the qian symbol from the Eight Trigrams, the other of square form with a long character, the other disc carved with four characters readingruyue zhiheng (as eternal as the moon), divided by archaistic angular strapwork, the underside with a pair of confronting kui dragons encircling two small slots for the tabs to slide in, the softly polished stone of even color with some inclusions (2) - Diameter 2 1/8  in., 5.4 cm

Notes: Compare a nearly identical Qianlong period white jade tally in the Palace Museum, Beijing, which has the central tongxin characters carved on a solid ground instead of pierced as with the present lot, illustrated in The Complete Collection of Treasures of the Palace Museum. Jadeware (III), Hong Kong, 1995, pl. 27. See another similar white jade tally with different characters, sold in our Paris rooms, 16th December 2010, lot 265.

The present tally, or hefu in Chinese, derives from a special two-piece object that was used as a representation of authority or identification in ancient China. The history of the tally can be traced back to as early as the Spring and Autumn period (770-476 BC), when they were often made of bronze and in the form of tigers – and thus were given the name hufu (tiger tally). They had an important function in the early military system; the right piece was always retained in the central government and strictly controlled by the emperor; and the left piece was carried by the local military officers or commanders. When military action was to be taken, the emperor would send out his right piece to the corresponding local officer, and only when the two pieces of a tiger tally were matched, could troops then be dispatched. 

Sotheby's. Important Chinese Art, New York, 13 Sep 2016, 10:30 AM

Lot 45. Commode par Léonard Boudin (1735-1807), reçu Maître Ebéniste en 1761, Paris, époque Louis XV, vers 1765. Estimation : 170 000 € / 200 000 €. Photo Kohn

Bâti de chêne, vernis Martin, bronzes dorés et marbre brèche d’Alep. Estampillé L. BOUDIN et marque JME. Au dos du marbre, inscription au crayon illisible. H. 87 cm, L. 140 cm, P. 65 cm.

De forme galbée, la commode ouvre par deux tiroirs de longueur à traverse dissimulée. Elle s’orne sur ses trois faces d’un décor or et argent de paysages lacustres sur fond noir en vernis Martin à l’imitation des laques de Chine. Sur la façade, apparaît au centre un imposant galion à trois mâts mouillant dans une baie, ainsi qu’une barque ramenant deux personnages sur la rive. En partie droite, une pagode est animée de marchands remplissant des livres de comptes. 

Les petits côtés s’ornent d’une barque, d’un temple et d’une pagode peuplée de personnages richement habillés. L’ornementation de bronzes dorés se concentre sur les montants à riches chutes feuillagées se prolongeant aux sabots ainsi que le tablier aux acanthes déchiquetées. Les entrées de serrure et boutons présents en façade se confondent dans le paysage. Le pourtour de la structure est souligné d’un filet peint or. Un marbre brèche d’Alep coiffe la commode. 

Notes: Le modèle de la structure fut employéà plusieurs reprises par Boudin comme on peut le constater avec la commode en laque rouge à décor floral conservée au Château de Versailles. 

Boudin ne participa que faiblement au commerce des meubles en laque, employant principalement le vernis européen et rarement le laque d’Extrême-Orient ; peu d’exemples sont répertoriés, on peut citer un secrétaire en vernis Martin à décor de la Chine reproduit dans l’ouvrage de Thibault Wolvesperges, Le meuble français en laque au XVIIIe siècle, p. 239. 

Travaillant pour le marchand ébéniste Pierre Migeon, Boudin fournit des meubles ornés de marqueteries florales et de vernis à la façon de la Chine. Sa manière, alliant finesse et proportions harmonieuses, contribua à son succès. À Partir de 1772, Boudin devient Marchand-Mercier et fit travailler à son tour des ébénistes comme Denizot, Evalde ou Topino. Son estampille doit alors être considérée comme une marque de commerce plutôt que de fabrique. 

Notre commode est donc un rare exemple de la production de Léonard Boudin en sa qualité d’ébéniste employant un décor à la façon de la Chine. 

Dessins et Tableaux Anciens XVIIe - XVIIIe siècles, Sculptures, Objets d'Art, le 15 Septembre 2016 à 18h. KOHN, 75008 PARIS