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A fine celadon-glazed incised 'bats and waves' bowl, Mark and period of Yongzheng (1723-1735)

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A fine celadon-glazed incised 'bats and waves' bowl, Mark and period of Yongzheng (1723-1735)

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Lot 3645. A fine celadon-glazed incised 'bats and waves' bowl, Mark and period of Yongzheng (1723-1735). Estimate 500,000 — 700,000 HKD. Lot sold 937,500 HKD. Photo Sotheby's.

well potted with rounded sides rising from a slightly tapered foot to a gently flaring rim, the interior centred with an incised medallion enclosing two soaring bats edged by a band of turbulent waves, the exterior similarly picked out with nine bats hovering above tempestuous waves crashing against rocky outcrops, applied overall save for the base with a translucent sea-green glaze thinning at the rim, the base with a six-character underglaze-blue reign mark within a double-circle, wood stand; 11.9 cm, 4 5/8  in.

ProvenanceSotheby's Hong Kong, 14th November 1989, lot 174.

NotesThree bowls of this type were sold in these rooms, the first, 25th November 1981, lot 309, the second, 14th November 1989, lot 174, and the third, 1st June 2012, lot 101; one was sold in our London rooms, 7th December 1993, lot 263; and a further example was sold at Christie’s New York, 6th June 1985, lot 447.

 

Sotheby's, Important Chinese Art, Hong Kong, 05 oct. 2016


A rare pair of ruby-red glazed bowls, Marks and period of Yongzheng (1723-1735)

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A rare pair of ruby-red glazed bowls, Marks and period of Yongzheng (1723-1735)

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Lot 3642. A rare pair of ruby-red glazed bowls, Marks and period of Yongzheng (1723-1735). Estimate 500,000 — 700,000 HKD. Lot sold 625,000 HKD. Photo Sotheby's.

each delicately potted with gently rounded shallow sides rising from a narrow tapered foot, applied on the exterior with a ruby-red glaze of deep crushed raspberry tone subtly suffused with darker specks and textured with a faint 'orange-peel' effect, the interior left white, the base inscribed in underglaze blue with a six-character reign mark within a double-circle; 9.3 cm., 3 5/8  in.

Provenance: Christie's New York, 2nd December 1993, lot 305.

Notes: A closely related pair of bowls is published in The Tsui Museum of Art. Chinese Ceramics IV, Hong Kong, 1995, pl. 25; another pair was sold in our New York rooms, 26th March 1996, lot 189; and a third pair, from the estate of John B. Trevor, was sold at Christie’s New York, 19th September 2007, lot 340. For a slightly smaller cup of this type see one in the Palace Museum, Beijing, illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 303, pl. 132; another sold in these rooms, 12th/13th May 1976, lot 210; and a pair sold at Christie’s New York, 3rd December 1992, lot 313. 

Sotheby's, Important Chinese Art, Hong Kong, 05 oct. 2016

A fine blue and white 'dragon' ogee bowl, Mark and period of Yongzheng (1723-1735)

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A fine blue and white 'dragon' ogee bowl, Mark and period of Yongzheng (1723-1735)

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Lot 3695. A fine blue and white 'dragon' ogee bowl, Mark and period of Yongzheng (1723-1735). Estimate 500,000 — 700,000 HKD. Lot sold 625,000 HKD. Photo Sotheby's.

finely potted with deep rounded sides flaring to an upturned rim, the exterior decorated in intense tones of cobalt blue with two five-clawed dragons pacing through clouds in pursuit of 'flaming pearls', the interior similarly decorated with a medallion enclosing a sinuous dragon, the base with a six-character reign mark within a double-circle; 16.9 cm, 6 5/8  in.

Provenance: Sotheby's Hong Kong, 5th November 1996, lot 811.

NotesCompare a closely related pair of bowls, included in the exhibition Ch’ing Porcelain from the Wah Kwong Collection, Art Gallery, Chinese University of Hong Kong, Hong Kong, 1973, cat. no. 59; one, in the Scheinman Collection, illustrated inBorn of Earth and Fire, The Baltimore Museum of Art, Baltimore, 1992, cat. no. 88, and sold at Christie’s New York, 23rd March 1995, lot 115; and another from the Rolf Heiniger Collection, sold in our London rooms, 9th November 2005, lot 318

Sotheby's, Important Chinese Art, Hong Kong, 05 oct. 2016

A fine white glazed 'mallow' cup, Mark and period of Yongzheng (1723-1735)

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A fine white glazed 'mallow' cup, Mark and period of Yongzheng (1723-1735)

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Lot 3657. A fine white glazed 'mallow' cup, Mark and period of Yongzheng (1723-1735). Estimate 500,000 — 700,000 HKD. Lot sold 625,000 HKD. Photo Sotheby's.

delicately modelled with deep rounded sides rising to a flared six-lobed rim resembling mallow petals, the exterior moulded and gently incised in the form of two registers of petals radiating from around the foot, the base inscribed in underglaze blue with a six-character reign mark within a double-circle, wood stand; 9.1 cm, 3 5/8  in.

NotesCups of this elegant mallow shape, delicately incised on the exterior with gently curving petals, include one illustrated in Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 747; another published in George J. Lee, Selected Far Eastern Art in the Yale University Art Gallery, New Haven, 1970, pl. 340; two pairs of cups sold at Christie’s New York, the first, from the collection of Paul and Helen Bernat, 2nd December 1993, lot 325, and the second, 3rd June 1993, lot 233; and a further pair included in Jan Wirgin, Chinese Ceramics from the Axel and Nora Lundgren Bequest, Stockholm, 1978, pl. 74. See also a slightly smaller cup of this type, but with the reign mark within a double-square, included in the exhibition The Wonders of the Potters Palette, Hong Kong Museum of Art, Hong Kong, 1984, cat. no. 58.

Cups of this form and glaze are also known decorated on the interior with dragons in the anhua technique, such as a pair of slightly smaller cups sold twice in our London rooms, 6th July 1971, lot 198, and 9th June 1987, lot 287. 

Sotheby's, Important Chinese Art, Hong Kong, 05 oct. 2016

A fine celadon-glazed moulded 'floral' bowl, Mark and period of Yongzheng (1723-1735)

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A fine celadon-glazed moulded 'floral' bowl, Mark and period of Yongzheng (1723-1735)

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Lot 3643. A fine celadon-glazed moulded 'floral' bowl, Mark and period of Yongzheng (1723-1735). Estimate 300,000 — 400,000 HKD. Lot sold 562,500 HKD. Photo Sotheby's.

the well-rounded sides rising from a slightly tapering foot, moulded on the exterior in shallow relief with a formal flower scroll with finely incised details and an upright petal border below, covered overall with a pale bluish-green glaze, the white-glazed base inscribed in underglaze blue with a six-character reign mark within a double-circle; 12.8 cm, 5 in.

Notes: A celadon-glazed bowl of this design, but incised with a floret on the interior, from the Eumorfopoulos Collection in the British Museum, London, is illustrated in R.L. Hobson, The George Eumorfopoulos Collection of Chinese, Corean and Persian Pottery and Porcelain, London, 1925-8, vol. 5, pl. XLI, no. E 314; another one in the Roemer-Museum, Hildesheim, Germany, is illustrated in Ulrich Wiesner, Chinesisches Porzellan. Die Ohlmer'sche Sammlung im Roemer-Museum, Hildesheim, Mainz, 1981, pl. 87. Several bowls of this design, but slightly smaller and incised on the interior, have appeared at auction. See for examples a pair from the Sir Joseph Hotung Family Trust, sold at Christie's Hong Kong, 1st June 2011, lot 3530; and one from the Meiyintang Collection, sold in these rooms, 7th April 2011, lot 23. 

Sotheby's, Important Chinese Art, Hong Kong, 05 oct. 2016

A fine small celadon-glazed incised 'lingzhi' dish, Mark and period of Yongzheng (1723-1735)

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A fine small celadon-glazed incised 'lingzhi' dish, Mark and period of Yongzheng (1723-1735)

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Lot 3622. A fine small celadon-glazed incised 'lingzhi' dish, Mark and period of Yongzheng (1723-1735). Estimate 400,000 — 600,000 HKD. Lot sold 500,000 HKD. Photo Sotheby's.

the well-rounded sides rising from a slightly tapering foot, moulded on the exterior in shallow relief with a formal flower scroll with finely incised details and an upright petal border below, covered overall with a pale bluish-green glaze, the white-glazed base inscribed in underglaze blue with a six-character reign mark within a double-circle; 12.8 cm, 5 in.

ProvenanceRoger Keverne, London.

NotesA Yongzheng mark and period dish of this design, from the Malcom McDonald Collection, now in the Gulbenkian Museum of Oriental Art and Archaeology, University of Durham, is illustrated in A Descriptive and Illustrated Catalogue of the Malcom MacDonald Collection of Chinese Ceramics, London, 1972, pl. XXXVIII, no. 115; three were sold in these rooms, 9th November 1982, lot 236A, 19th November 1986, lot 247, and 17th May 1988, lot 72; and a pair was sold at Christie’s Hong Kong, 29th April 1996, lot 726.

Sotheby's, Important Chinese Art, Hong Kong, 05 oct. 2016

A rare copper-green glazed incised 'floral' bowl, Mark and period of Yongzheng (1723-1735)

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A rare copper-green glazed incised 'floral' bowl, Mark and period of Yongzheng (1723-1735)

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Lot 3661. A rare copper-green glazed incised 'floral' bowl, Mark and period of Yongzheng (1723-1735). Estimate 120,000 — 180,000 HKD. Lot sold 237,500 HKD. Photo Sotheby's.

finely potted with deep rounded sides supported on a low foot, incised around the exterior with a dense floral scroll with five circular blooms borne on a single undulating stem wreathed by subsidiary sprigs and feathery leaves, the bowl covered overall save for the base with a green glaze with a slightly iridescent surface, the white base inscribed in underglaze blue with a six-character reign mark within a double-circle; 13.7 cm., 5 3/8  in.

Provenance: Meiyintang Collection.
Sotheby's Hong Kong, 9th October 2012, lot 5.

LiteratureRegina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 2, no. 887.

NotesMonochrome copper-green glazed bowls are well known from the Yongzheng period (AD 1723-35), but the present piece with its flower pattern and its unusual, bold manner of engraving may be unique.

Sotheby's, Important Chinese Art, Hong Kong, 05 oct. 2016

A magnificent emerald and diamond necklace, by Cartier, circa 1937, and matching earrings, once owned by Simón Itturi Patiño

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Lot 214. A magnificent emerald and diamond necklace, by Cartier, circa 1937, once owned by Simón Itturi Patiño. Price Realised  CHF 9,125,000 (USD 9,935,280). Photo Christie's Images Ltd 2013.

Set with twelve octagonal and hexagonal-cut emeralds, weighing a total of approximately 108.74 carats, with twin old European-cut diamond spacers, weighing a total of approximately 59.36 carats, mounted in gold collets with heart-shaped galleries, 1937, modified at a later date to create the pair of earrings en suite (lot 214), 45.0 cm. By Cartier, no. E 6992 A 

Accompanied by Premium Report no. 69531 dated 22 August 2013 from the SSEF Swiss Gemmological Institute stating that the 12 emeralds are of Colombian origin, 8 with indications of minor oil, 4 with no indications of clartiy modification, and an Appendix Letter for an 'Exceptional Emerald Necklace' indicating that 'The described necklace is very impressive in its classic design and contains twelve natural emeralds alternating with colourless diamonds of remarkable size. The emeralds for this necklace have been carefully selected and exhibit an attractive and highly matching green colour combined with a fine purity.' 

LiteratureH. Nadelhoffer, Cartier : Jewelers Extraordinary, Harry N. Abrams Publishers, 1984, New York, p. 241 (illustrated in its original form, suspending the emerald cross of HRH Queen Victoria Eugenia of Spain)

christies-emerald-earrings

Lot 215. An important pair of emerald and diamond earrings, once owned by Simón Itturi Patiño. Price Realised  CHF 1,109,000 (USD 1,207,477). Photo Christie's Images Ltd 2013.

Set with two octagonal-cut emeralds, weighing approximately 10.01 and 9.36 carats, to the old European-cut diamond surmount and trefoil top, mounted in gold collets with heart-shaped galleries, en suite with lot 215, 3.7 cm

Accompanied by report no. 69530 dated 22 August 2013 from the SSEF Swiss Gemmological Institute stating that the emeralds are of Colombian origin, with indications of minor amount of oil 

NoteThis pair of earrings was created from the necklace (lot 214) in its original form, by taking two of the fourteen emeralds and eight diamonds. 

Christie's. Magnificent Jewels, 12 November 2013, Geneva


A Safavid pottery dish, Tabriz, North West Iran, 16th century

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Lot 18. A Safavid pottery dish, Tabriz, North West Iran, 16th century. Estimate GBP 6,000 - GBP 8,000 (USD 7,350 - USD 9,800). Photo Christie's Images Ltd 2016.

With cusped rim on short foot, the exterior with a repeated design of leaves between paired cobalt-blue lines, some chips to glaze and rim; 12½in. (32cm.) diam.

Christie'sSale 12241, Art of the Islamic and Indian Worlds, 20 October 2016, London, King Street

A Safavid soft-paste porcelain bottle, Kirman, South East Iran, 17th century

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Lot 19. A Safavid soft-paste porcelain bottle, Kirman, South East Iran, 17th century. Estimate GBP 7,000 - GBP 10,000 (USD 8,575 - USD 12,250). Photo Christie's Images Ltd 2016.

Both sides similarly decorated, each with central omphalos and raised band down the sides, the foot with one large chip, base with old owner's label with the name 'Ziegler'; 12 1/8in. (30.8cm.) high.

Christie'sSale 12241, Art of the Islamic and Indian Worlds, 20 October 2016, London, King Street

An early Islamic pottery wine flask, Iran, 12th century

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Lot 20. An early Islamic pottery wine flask, Iran, 12th century. Estimate GBP 15,000 - GBP 20,000 (USD 18,375 - USD 24,500). Photo Christie's Images Ltd 2016.

Both sides with the same moulded decoration under a clear glaze, a central band of crosses between them, repaired breaks; 7in. (17.8cm.) high.

Christie's. Sale 12241, Art of the Islamic and Indian Worlds, 20 October 2016, London, King Street

A 22.02 carats H color, VVS2 clarity cushion brilliant-cut diamond ring

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Lot 248. A 22.02 carats H color, VVS2 clarity cushion brilliant-cut diamond ring. Estimate USD 750,000 - USD 950,000. Photo Christie's Images Ltd 2016.

Set with a cushion brilliant-cut diamond, weighing approximately 22.02 carats, to the circular-cut diamond half-hoop, ring size 6, mounted in platinum.

Accompanied by report no. 5172440426 dated 18 July 2016 from the GIA Gemological Institute of America stating that the diamond is H color, VVS2 clarity, with excellent polish and symmetry.

Christie's. Sale 12182, Important Jewels, 18 October 2016, New York, Rockefeller Plaza 

A 15.04 carats, I color, VS1 clarity round brilliant-cut diamond ring

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Lot 129. A 15.04 carats, I color, VS1 clarity round brilliant-cut diamond ring. Estimate USD 350,000 - USD 450,000. Photo Christie's Images Ltd 2016.

Set with a round brilliant-cut diamond, weighing approximately 15.04 carats, flanked on either side by a tapered baguette-cut diamond, ring size 6, mounted in platinum.

Accompanied by report no. 5171524592 dated 17 March 2016 from the GIA Gemological Institute of America stating that the diamond is I color, VS1 clarity, with excellent cut, polish and symmetry

Christie's. Sale 12182, Important Jewels, 18 October 2016, New York, Rockefeller Plaza

A 5.54 carats, VS1 clarity pear brilliant-cut light blue diamond ring

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Lot 241. A 5.54 carats, VS1 clarity pear brilliant-cut light blue diamond ring. Estimate USD 300,000 - USD 500,000. Photo Christie's Images Ltd 2016.

Set with a pear brilliant-cut light blue diamond, weighing approximately 5.54 carats, within a pavé-set circular-cut pink diamond surround, to the circular-cut pink diamond half-hoop, ring size 6, mounted in 18k rose gold

Accompanied by report no. 2141549111 dated 13 April 2012 from the GIA Gemological Institute of America stating that the diamond is light blue, natural color, VS1 clarity

Christie's. Sale 12182, Important Jewels, 18 October 2016, New York, Rockefeller Plaza

A fine blue and white 'dragon' jarlet and cover, Mark and period of Kangxi (1662-1722)

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A fine blue and white 'dragon' jarlet and cover, Mark and period of Kangxi (1662-1722)

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Lot 3693. A fine blue and white 'dragon' jarlet and cover, Mark and period of Kangxi (1662-1722). Estimate 6,000,000 — 8,000,000 HKD. Lot sold 5,480,000 HKD. Photo Sotheby's.

finely potted of squat ovoid form rising to rounded shoulders and a short waisted neck, decorated in bright blue tones with three ferocious three-clawed dragons, each reaching for a 'flaming pearl', the domed cover painted with beribboned coins and lozenges alternating with clouds below a blue bud-shaped finial, the base inscribed with a six-character mark in underglaze blue, wood stand; overall 16.5 cm, 6 1/2 in.

ProvenanceCollection of J. Insley Blair (1870-1939), no. 61, thence by descent.
Christie's Hong Kong, 28th November 2012, lot 2110.

LiteratureThe J. Insley Blair Collection of Chinese Porcelain, New York, 1925, pl. X, cat. no. 61.

Notes: This fine jarlet represents the Kangxi Emperor’s aim to restore standards of quality that had long been lost and to employ ancient techniques in a new way. The extraordinarily fine porcelain body, pristine white surface and restrained design present a marked development in style and quality that paved the way for succeeding Qing emperors.

The gifted painter and calligrapher, Liu Yuan (c.1638-c.1685), was employed by the Emperor during the early Kangxi period, to create porcelain designs, an approach that was highly unusual at the time. Liu Yuan attracted imperial attention with his illustrations for a book Lingyange gongchen tu [Portraits of Meritorious Statesmen for the Hall of Lingyan], which is a reproduction of portraits of the twenty-four legendary Tang dynasty statesmen who helped Li Shimin establish the Tang dynasty. The theme of the book relates the rewards to those who are politically loyal; a theme the Kangxi Emperor encouraged. In recognition of his work, Liu Yuan was summoned to Beijing to serve as a court artist in the 18th year of Kangxi’s reign (1679) and by 1682 was creating designs for Zang Yingxuan, supervisor of the imperial kilns at Jingdezhen. The Qingshi gao [Draft of the History of Qing] records:

"At that time, the imperial kilns were established in Jingdezhen, Jiangxi. Yuan presented hundreds of paper designs for porcelain samples. These designs draw inspirations from both ancient and modern forms and combine with innovative ideas. They are most notable for figural images, landscape, the birds and flowers, which are better than Ming dynasty wares."

Employing Liu Yuan resulted in a new departure for porcelain decoration, introducing a finely pencilled style without heavy decoration for the background. His influence is clearly seen on the present jar, which depicts carefully rendered dragons reaching toward flaming pearls on a pristine white ground. The elongated neck surmounted by a small cover marks a subtle move away from the prescribed forms of the Ming dynasty and exemplify the range and variation that characterises the porcelain of Kangxi’s long reign.

 A closely related jar and cover, but with the reign mark in a double-circle, in the National Palace Museum, Taipei, is published in the Illustrated Catalogue of Ch’ing Dynasty Porcelain in the National Palace Museum. K’ang-hsi Ware and Yung-cheng Ware, vol. 1, Tokyo, 1980, pl. 9; and one in the Baur Collection, included in John Ayers, The Baur Collection, Geneva, vol. 4, Geneva, 1974, pl. A513. See also a pair of jars and covers of this type, in the Frick Collection, New York, accession no. 1965.8.164; a pair included in the Exhibition of Chinese Arts, Messrs. C.T. Loo & Co., New York, 1941, cat. no. 662; a pair, from the Jung Hsing Hsiang Collection, sold in our New York rooms, 6th December 1989, lot 195; and a single jar and cover, sold in these rooms, 26th October 1993, lot 163. A larger version of this jar, together with cover, in the Palace Museum, Beijing, is published in Qingdai yuyao ciqi [Qing imperial porcelains], vol. 1, pt. 1, Beijing, 2005, pl. 45.

Sotheby's, Important Chinese Art, Hong Kong, 05 oct. 2016

 


A pair of blue and white 'Phoenix' dishes, Marks and period of Kangxi (1662-1722)

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A pair of blue and white 'Phoenix' dishes, Marks and period of Kangxi (1662-1722)

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Lot 3694. A pair of blue and white 'Phoenix' dishes, Marks and period of Kangxi (1662-1722). Estimate 200,000 — 300,000 HKD. Lot sold 250,000 HKD. Photo Sotheby's.

each with shallow rounded sides rising from a short foot to an everted rim, finely decorated in shaded tones of cobalt blue, the interior with a medallion enclosing a pair of phoenix with outstretched wings and billowing tail feathers, the mythical creatures interrupted by ruyi-shaped clouds, all within a double-line border repeated at the rim, the exterior similarly rendered with a pair of phoenix divided by ruyi-shaped clouds, the base with a six-character reign mark within a double-circle; 16.4 cm, 6 3/8  in.

ProvenanceSotheby's Paris, 6th December 2007, lot 108..

Notes: A similar dish was sold in these rooms, 30th April 1996, lot 419.

Sotheby's, Important Chinese Art, Hong Kong, 05 oct. 2016

A fine and rare blue and white 'dragon' rectangular moonflask, Qing dynasty, Qianlong period (1736-1795)

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A fine and rare blue and white 'dragon' rectangular moonflask, Qing dynasty, Qianlong period (1736-1795)

Lot 3700. A fine and rare blue and white 'dragon' rectangular moonflask, Qing dynasty, Qianlong period (1736-1795).  Estimate 2,000,000 — 3,000,000 HKD. Lot sold 3,080,000 HKD. Photo Sotheby's.

the rectangular body sweeping up from a short rectangular foot to a slightly broad shoulder and surmounted by a slender tubular neck flanked by a pair of chilong handles, each side exquisitely painted in shaded tones of cobalt blue with a pair of dragons soaring ferociously and flanking a central 'flaming pearl' amidst flaming wisps, the serpentine five-clawed mythical beasts powerfully detailed with windswept manes and bulging alert eyes, all amidst ruyi cloud scrolls extending onto the short flat sides, further detailed with four soaring bats, all above a key-fret border skirting the footrim; 23.7 cm, 9 1/4  in.

Provenance: John Sparks Ltd., London..

Exhibited: Oosterse schatten, 4000 Jaar Aziatische Kunst, Rijksmuseum, Amsterdam, 1954, cat. no. 423..

Notes: In the quest to justify their right to the throne of China as a foreign dynasty, the Manchu emperors of the Qing dynasty often commissioned works of art to reflect their power and beneficence. In both its style of painting and decoration the present flask immediately references great works of art of the past, with the dragon yielding an impressive evocation of imperial grandeur. As emblem of the Emperor’s majestic and benevolent rule, the dragon had a long tradition in China; however probably no other ruler made such calculated propagandistic use of it as the Qianlong Emperor. Dragons adorned every room of the Qing palace and the image of the five-clawed dragon can be considered the ultimate reflection of the Qianlong Emperor’s imperial splendour.

Highly unusual for its rectangular form, this flask is a fine example of the technical expertise achieved during the reign of the Qianlong Emperor. Its angular shape together with the symmetrical design, suggests it may have been inspired by metalware, which were cast and enamelled rather than formed on a potter’s wheel. Although designs of dragons are well-known, no other vessel of this form appears to have been published.

While moonflasks decorated with front-facing dragons are well-known, those painted with side-facing dragons are rare and directly inspired by early-Ming designs. It is particularly rare to find two facing dragons. For a moonflask decorated with one side-facing dragon above crashing waves, see one sold in our London rooms, 6th November 2013, lot 16; another sold in our Paris rooms, 18th December 2008, lot 68; and a third sold at Christie’s New York, 26th March 2003, lot 263. 

For the Ming prototype to the side-facing dragon design, see one attributed to the Yongle period, from the Edward T. Chow and T.Y. Chao Collections, sold in these rooms, 18th November 1986, lot 34, and illustrated in Michel Beurdeley, La Ceramique Chinoise, Fribourg, 1974, col. pl. 56, and in Sekai toji zenshu [Ceramic Art of the World], vol. 11, Tokyo, 1955, pl. 74. Furthermore, the porcelain painters of the 18th century were so enamoured with the appearance of 15th century blue and white that they developed a special painting manner to imitate the accidental imperfections of their models, namely by recreating the so-called ‘heaped and piled’ effect of darker spots of cobalt blue through deliberate uneven dotting as displayed on this vase.

Sotheby's, Important Chinese Art, Hong Kong, 05 oct. 2016

A huanghuali banzhuo side table, Late Ming–Early Qing dynasty

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Lot 3019. A huanghualibanzhuo side table, Late Ming–Early Qing dynasty. Estimate 380,000 — 550,000 HKD. Lot sold 1,000,000 HKD. Photo: Sothebys.

the top of standard mitre, mortise and tenon frame and flush, tongue-and-grooved, single-board floating-panel construction supported by three dovetailed transverse stretchers underneath, two with exposed tenons, the short rails of the frame top with further exposed tenons, the edge of the frame moulding downward and inward and ending in a banded edge, all resting on a recessed waist and beaded-edged straight apron, made of one piece of wood on two sides, mitred, mortised and tennoned into and half-lapped onto the legs, the legs double-lock tennoned to the mitred frame and terminating in well drawn hoof feet, hump-back shaped stretchers mortised and tennoned into the legs below the apron; 86.8 by 97.8 by 48.9 cm, 34 1/8  by 38 1/2  by 19 1/4  in.

NotesThis Ming Design, seen already in wall murals of the Jin and Yuan dynasties (1115-1368) is hailed by furniture historians as an all time classic.

Banzhuo, meaning half table, is called hexian in the south, a term that refers to them becoming an immortal’s table, that is a square table, when combined. In antiquity, they were placed adjacent to a square table to increase the number of people that can be seated round.

This finely crafted piece of choice timer, made during the golden period of Chinese furniture manufacture, is an all time classic.

For a very similar example in the Victoria and Albert Museum collection, see Craig Clunas, Chinese Furniture, Victoria and Albert Museum Far Eastern Series, London, 1988, p. 48. Another example is in the collection of the Central Academy of Arts and Crafts, Beijing, published in Chen Zengbi, Zhongyang Gongyi Meishu Xueyuan Yuancang: Zhenpin Tulu, dier ji, Mingshi Jiaju, (Central Academy of Arts and Crafts: Illustrations of collections, volume 2, Ming Furniture), Top-Notch Publication Co., Hong Kong, 1994, p. 35.

Sotheby's, Ming Furniture – Portable Treasures, Hong Kong, 05 Oct 2016

Olivier Debré (1920 - 1999), Clair de Loire, 1984

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Lot 93. Olivier Debré (1920 - 1999), Clair de Loire, 1984. Huile et feuille d'arbre sur toile. Signée, datée et titrée au dos "O. Debré, Clair de Loire, 84", 100 x 100 cm (39,37 x 39,37 in.). Estimation: 10 000 € / 15 000 €. Photo: Artcurial.

Provenance : Collection Alain Rigaud, France 
Vente, Paris, Etude Mercier & Cie, 15 mars 2014, lot 96 
Acquis au cours de cette vente par l'actuel propriétaire 

Commentaire : Cette œuvre est vendue en collaboration avec Artcurial Lyon-Michel Rambert. 

Post-War & Contemporain 1 chez Artcurial, 75008 Paris (France), le 17 Octobre 2016 à 11h00

Olivier Debré (1920 - 1999), Ocre d'Hiver, 1976

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Lot 94. Olivier Debré (1920 - 1999), Ocre d'Hiver, 1976. Huile sur toile. Signée, datée, titrée et annotée au dos "O. Debré, Ocre d'Hiver, Juin 76, nature", 100 x 100 cm (39,37 x 39,37 in.). Estimation: 10 000 € / 15 000 €. Photo: Artcurial.

Provenance : Galerie Daniel Gervis, Paris 
Vente, Paris, Etude Binoche, 26 novembre 1984 
Collection particulière, Lyon  

Commentaire : Cette œuvre est vendue en collaboration avec Artcurial Lyon-Michel Rambert. 

Post-War & Contemporain 1 chez Artcurial, 75008 Paris (France), le 17 Octobre 2016 à 11h00

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