Lot 288. A small ‘Jizhou’ ‘papercut’ bowl, Southern Song dynasty (1127–1279). Estimate 1,000 — 1,500 GBP. Photo: Sotheby's. 

the interior decorated in papercut resist with three lozenge-shaped floral cartouches in dark brown, all reserved against a ground of streaked brown glaze, the exterior covered in a dark brown glaze mottled with lighter flecks - 10.7 cm, 4¼ in.

Lot 289. A 'Cizhou' white-glazed bowl, Song dynasty (960–1279). Estimate 3,000 — 5,000 GBP. Photo: Sotheby's. 

the deep rounded sides rising from a short straight foot to an incurved rim with pie-crust edge, covered overall in a white glaze; 14 cm, 5 1/2  in. 

Provenance: Eskenazi, London, ref no. C3185.

Lot 290. A ''Longquan' celadon carved meiping, Early Northern Song dynasty, Estimate 6,000 — 8,000 GBP. Photo: Sotheby's. 

the tapering ovoid body rising to a waisted neck and everted rim, freely carved to the exterior with an undulating floral scroll between lappet bands, covered overall in a translucent olive-green glaze stopping just above the foot revealing the grey buff body: 15.7 cm, 6 1/8  in.

Provenance: Collection of Sir Michael and Lady Cynthia Postan, no. 101.
Bluett and Sons Ltd., London.
Blitz Oriental Art, Amsterdam.

Bibliography: Bluett and Sons Ltd., The Postan Collection of Early Chinese Ceramics, London, 1972, cat. no. 13.

Sotheby's. Important Chinese Art, Londres, 09 nov. 2016, 11:30 AM

Lot 293. A 'Longquan' celadon lotus bowl, Song dynasty (960–1279). Estimate 3,000 — 4,000 GBP. Photo: Sotheby's. 

the rounded sides rising from a short straight foot, the exterior carved with lotus petals, covered with an even olive-green glaze; 16.5 cm, 6 3/4  in..

Sotheby's. Important Chinese Art, Londres, 09 nov. 2016, 11:30 AM

Lot 295. A Qingbai foliate bowl, Song dynasty (960–1279). Estimate 2,500 — 3,500 GBP. Photo: Sotheby's. 

of mallow form, the gently curving sides rising from a short straight foot to a flared rim carved with six notches, the interior carved and combed with stylised foliage, covered in a pale-blue translucent glaze; 15.2 cm, 6 in.

Sotheby's. Important Chinese Art, Londres, 09 nov. 2016, 11:30 AM

Lot 296. A pair of small Qingbai foliate dishes, Song dynasty (960–1279). Estimate 6,000 — 8,000 GBP. Photo: Sotheby's. 

each of chrysanthemum form, the curved sides rising to a flared rim, covered overall in an even pale-blue translucent glaze. Quantité: 2 - 10.8 cm, 4 1/4  in.

Sotheby's. Important Chinese Art, Londres, 09 nov. 2016, 11:30 AM

Hat-top ornament, from Nanjing, c. 1420-21, gold, decorated with gemstones. Excavated from the tomb of Zhu Zhanji, Prince Zhuang of Liang, and of Lady Wei at Zhongxiang, Hubei province. © Hubei Provincial Museum 湖北省博物馆

Hat-top ornament, Ming dynasty, 7.5-high, bottom diameter 4.8cm. Lotus chassis is made of gold jewels and sapphire toppings composed of 10 existing gem. Top seat "tethered wire insert" a nearly 200-carat Marquise colorless sapphires, is the greatest archaeological discovery of sapphire. © Hubei Provincial Museum 湖北省博物馆

Yellow gold hat-top ornament with sapphire, Ming dynasty, 4.8-high, bottom diameter 5.2cm Crowns made of gold and jewels cover lotus pedestal yellow sapphire toppings composition of the deposit gems 7. © Hubei Provincial Museum 湖北省博物馆

White jade hollow cloud dragon hat-top ornament, Ming dynasty. Through 3.9, bottom diameter 5.1cm. © Hubei Provincial Museum 湖北省博物馆

Jin Leisi hat-top ornament, Ming dynasty. High 3.4, bottom diameter 5cm. Golden lotus-shaped base cover using the top-down "process filaments" hollow into five, a total of 18 inlaid with precious stones. © Hubei Provincial Museum 湖北省博物馆

Gold and gem-encrusted hairpins. Nanjing or Beijing, c. 1403-51. Excavated from the tomb of Zhu Zhanji, Prince Zhuang of Liang, and of Lady Wei at Zhongxiang, Hubei province. © Hubei Provincial Museum 湖北省博物馆

Gold and gem-encrusted hairpins. Nanjing or Beijing, c. 1403-51. Excavated from the tomb of Zhu Zhanji, Prince Zhuang of Liang, and of Lady Wei at Zhongxiang, Hubei province. © Hubei Provincial Museum 湖北省博物馆

Gold hairpin with the flame design. Excavated from the tomb of Lady Wei at Zhongxiang, Hubei province. The pin itself is 12.3 centimeters (4.8 inches) long and the weight of the artifact is 115.4 grams (about 4 ounces). Photo © Chinese Cultural Relics.

A pair of gold bracelets found in the tomb of Lady Wei at Zhongxiang, Hubei province. Both of them are about 7 centimeters (2.8 inches) in diameter. The bracelets have flower designs and the gemstones are a mix of sapphires, rubies and turquoise. Photo © Chinese Cultural Relics.

Gold hairpin is decorated with a mix of sapphires and rubies found in the tomb of Lady Wei at Zhongxiang, Hubei province. The hairpin is 14.2 centimeters (5.6 inches) in width and its weight is 148.7 grams (more than 5 ounces). Photo © Chinese Cultural Relics.

A fragrance box with gold chain found in the tomb of Lady Wei at Zhongxiang, Hubei province. It is decorated with lotus petal decorations and seven characters written in Sanskrit. The remaining gems include four sapphires, five rubies and one turquoise. Photo © Chinese Cultural Relics.

A gold hairpin in the shape of a chrysanthemum (flowering plant) found in the tomb of Lady Wei at Zhongxiang, Hubei province. It has a large ruby at center and a mix of smaller sapphires and rubies on its petals. The diameter at the largest point is 11.7 centimeters (4.6 inches). The total weight of the artifact is 218.2 grams (more than 7.5 ounces). Photo © Chinese Cultural Relics.

Two gold hairpins with branches and tendril patterns found in the tomb of Lady Wei at Zhongxiang, Hubei province. The hairpin at left has three sapphires, three rubies, one crystal and one turquoise. The one at right has two sapphires, four rubies and one cat’s eye stone. Photo © Chinese Cultural Relics.

A gold hairpin with a seven petal lotus design found in the tomb of Lady Wei at Zhongxiang, Hubei province. A large ruby gemstone is still preserved at center. Photo © Chinese Cultural Relics.

Lot 98. A 30.05 carats, I colour, VS1 clarity oval-cut diamond ring. Estimate CHF 900,000 - CHF 1,200,000 (USD 913,455 - USD 1,217,940). Photo Christie's Images Ltd 2016.

Set with an oval-cut diamond, weighing approximately 30.05 carats, to the diamond-set gallery and shoulders, ring size 6 ¾, mounted in platinum

Accompanied by report no. 6173711620 dated 5 July 2016 from the GIA Gemological Institute of America stating that the diamond is I colour, VS1 clarity.

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

Lot 207. A 10.16 carats D colour, Internally Flawless clarity heart-shaped Type IIa diamond ring, by Graff. Estimate CHF 700,000 - CHF 1,100,000 (USD 710,465 - USD 1,116,445). Photo Christie's Images Ltd 2016.

Set with a heart-shaped diamond, weighing approximately 10.16 carats, between tapered baguette-cut diamond shoulders, ring size 4, mounted in platinum, in blue leather Graff case. Signed Graff

Accompanied by report no. 15326657 dated 26 September 2016 from the GIA Gemological Institute of America stating that the diamond is D colour, Internally Flawless clarity; also with a working diagram indicating that the clarity of the diamond is improvable to Flawless, and a Diamond Type Classification letter stating that the diamond has been determined to be Type IIa..

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

Lot 148. A 53.53 carats, VVS1 clarity light brown rectangular cut-cornered diamond ring. Estimate CHF 650,000 - CHF 750,000 (USD 659,718 - USD 761,213). Photo Christie's Images Ltd 2016.

Set with a light brown rectangular cut-cornered diamond, weighing approximately 53.53 carats, ring size 7, mounted in platinum.

Accompanied by report no. 5171632175 dated 19 May 2016 from the GIA Gemological Institute of America stating that the diamond is Y to Z range, Light Brown colour, VVS1 clarity.

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

Lot 67. A 18.01 carats VVS1 clarity fancy pink-brown rectangular cut-cornered diamond ring. Estimate CHF 600,000 - CHF 800,000 (USD 608,970 - USD 811,960). Photo Christie's Images Ltd 2016.

Set with a fancy pink-brown rectangular cut-cornered diamond, weighing approximately 18.01 carats, between tapered baguette-cut diamond shoulders, ring size 6 ½.

Accompanied by report no. 2145585813 dated 27 May 2016 from the GIA Gemological Institute of America stating that the diamond is Fancy Pink-Brown colour, VVS1 clarity.

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

Lot 215. A 14.18 carats G colour, VS1 clarity pear-shaped diamond ring by Cartier. Estimate CHF 600,000 - CHF 800,000 (USD 608,970 - USD 811,960). Photo Christie's Images Ltd 2016.

Set with a pear-shaped diamond, weighing approximately 14.18 carats, between tapered baguette-cut diamond shoulders, ring size 6, mounted in gold. Signed Cartier HSS, no. 103.

Accompanied by report no. 1172055109 dated 27 February 2015 from the GIA Gemological Institute of America stating that the 14.18 carat diamond is G colour, VS1 clarity.

Christie's. Geneva Magnificent Jewels, 15 November 2016, Geneva

Lot 166. A ge-type bowl, Qianlong seal mark and period (1736-1795). Estimate 10,000 — 15,000 GBP. Photo: Sotheby's.

the gently curved sides divided into six facets, rising from a short tapered foot to a foliate rim, applied overall with a greyish-blue glaze suffused with a network of attractive black and faint russet crackle, the glaze stopping neatly above the footring revealing the brown body, inscribed to the base with a four-character seal mark; 12.1 cm, 4 3/4  in.

Provenance: Collection of Garfield McNamara, California.
Christie’s Hong Kong, 1st June 2011, lot 3712.

Sotheby's, Important Chinese Art, Londres, 09 nov. 2016, 11:30 AM

Lot 182. A rare Ru-type vase, Qianlong seal mark and period (1736-1795). Estimate 100,000 — 150,000 GBP. Photo: Sotheby's.

of lobed octagonal section, the compressed ovoid body rising from a slightly spreading foot to a ribbed neck and flared rim, covered in a pale blue crackled glaze, the countersunk base inscribed with a seal mark in underglaze blue; 21.4 cm, 8 1/2  in.

Provenance: Collection of Garfield McNamara, California.
Christie’s Hong Kong, 1st June 2011, lot 3712.

Notes: Deceptively simple in form and design, this elegant vase exemplifies the technical perfection achieved by craftsmen working at the imperial kilns in Jingdezhen. Monochrome vessels required the highest level of skill and precision in every stage of their production, from the purity of the clay and precision of the potting to the evenness of the glaze and control of the firing. The slightest irregularity would result in the rejection and destruction of the piece, thus pushing the craftsmen to the limits of the abilities.

The highly tactile and subtle glaze of this piece has been created in imitation of Ru ware, one of the ‘five great wares’ of the Song period along with Ding, ge, guan and Jun. The Qianlong Emperor contributed greatly to the fame of the ware by composing a large number of poems on Ru and having them engraved on pieces from the imperial storerooms. At least twenty extant Ru pieces bear his inscriptions, although he did not always correctly identify them. The Qianlong Emperor inherited this fascination with Ru ware from his father, the Yongzheng Emperor, who first sent a number of pieces of Ru ware from the palace in Beijing to the porcelain kilns in south China to have them copied, or else to hold them up as standards of quality and stimulants for inspiration. The Qianlong Emperor continued in this tradition, and commissioned during his reign a growing number of elegant monochrome wares inspired by Song originals.

A vase of this form and similar subtle glaze in the National Palace Museum, Taipei, was included in the Museum’s Special Exhibition of K’ang-hsi, Yung-cheng and Ch’ien lung Porcelain Ware from the Ch’ing Dynasty, Taipei, 1986, cat. no. 102; one in the Asian Art Museum of San Francisco, is illustrated in He Li, Chinese Ceramics, London, 1996, pl. 524; a pair from the J.M. Hu collection, now in the Shanghai Museum, Shanghai, is published in Selected Ceramics from the J.M. Hu Collection, Shanghai 1989, pl. 72; and another vase, in the Huaihaitang collection, was included in the exhibition Ethereal Elegance, Art Museum, The Chinese University of Hong Kong, Hong Kong, 2008, cat. no. 27.

Vases of this type were also sold at auction: one from the collection of Herschel V. Johnson, was sold twice in these rooms, 21st February 1967, lot 66, and 20th February 1978, lot 200; three were sold in our Hong Kong rooms, the first, 25th November 1981, lot 329, the second, 16th May 1989, lot 177, and again, 11th April 2008, lot 2987, and the third, 8th April 2010, lot 1922; and another vase, from the collections of W.W. Winkworth and E.T. Hall, was sold at Christie’s London, 7th June 2004, lot 148.

A rare Ru-type vase, Qianlong seal mark and period (1736-1795). Sold 2,300,000 HKD at Sotheby's Hong Kong, 8th April 2010, lot 1922.  Photo: Sotheby's.

the slightly compressed bulbous body rising from an octagonal foot to a columnar neck and an everted trumpet mouth, the body accented with eight sets of triple vertical ribs extending above the foot and merging into a single rib at the octagonal-facetted neck, the body and neck further divide by four horizontal rings, all beneath a pale watchet-blue glaze suffused with a fine network of golden crackles, the glaze thinning along the ribs exposing the white body, the underside inscribed with an underglaze blue with a six-character reign mark; 21.3 cm., 8 3/8 in.

Note: This type of raised ring vessel evolved from excavated Song Guan ware from the Laohudong Guan ware kilnsite of the Southern Song in Hangzhou.  Similar vases can be found in the Huaihaitang Collection, illustrated in Ethereal Elegance, Art Museum at the Chinese University of Hong Kong, Hong Kong, 2008, cat. no. 27 and a pair from the Mr. and Mrs. J.M. Hu Collection in the Shanghai Museum illustrated in Imperial Monochromes: The Zande Lou Collection, Shanghai Museum, Shanghai, 2005, cat. no. 29. 

Sotheby's, Important Chinese Art, Londres, 09 nov. 2016, 11:30 AM

Lot 181. A celadon-glazed double-gourd vase, Qianlong seal mark and period (1736-1795). Estimate 50,000 — 70,000 GBP. Photo: Sotheby's.

elegantly potted with a globular lower bulb rising to a waisted neck and a smaller upper bulb tapering to a narrow mouth, covered overall with a pale sea-green glaze draining to a white rim, the base with a seal mark in underglaze blue; 31.8 cm, 12 1/2  in.

Notes: This vase is remarkable for its luminous celadon glaze, the purity of which accentuates the graceful curves of its profile. A pair of vases of this type in the Metropolitan Museum of Art, New York, is illustrated in Suzanne G. Valenstein, The Herzman Collection of Chinese Ceramics, New York, 1992, pl. 98; one, from the Zande Lou collection, was included in the exhibition Qing Imperial Monochromes. The Zande Lou Collection, Art Museum, The Chinese University of Hong Kong, Hong Kong, 2005, cat. no. 42; a third, from the collection of Frederick J. and Antoinette H. Van Slyke, was sold in our New York rooms in 1989, and twice in our Hong Kong rooms, 27th April 1993, lot 80, and 8th April 2011, lot 3020; and a pair was sold in our New York rooms, 11th May 1978, lot 208. See also a slightly smaller vase of this type, in the Meiyintang collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, pl. 864.

A fine celadon-glazed double-gourd vase, Qianlong seal mark and period (1736-1795). Sold 3,140,000 HKD at Sotheby's Hong Kong, 8th April 2011, lot 3020. Photo: Sotheby's.

robustly potted with a compressed globular lower bulb, surmounted by a slightly smaller upper bulb gently rising to a narrow mouth, the exterior covered evenly in a lustrous glaze of a soft celadon tone, the recessed celadon-glazed base inscribed in underglaze blue with a six-character reign mark; 32.3 cm., 12 3/4 in.

Provenance:: Collection of Frederick J. & Antoinette H. Van Slyke.
Sotheby's New York, 31st May 1989, lot 167.
S. Marchant & Son Ltd., London, 1992.
Sotheby's Hong Kong, 27th April 1993, lot 80.

Notes: A closely related vase with cover in the Nanjing Museum, Nanjing, was included in the exhibition Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1995, cat. no. 69, and is illustrated in Zhongguo qingdai guanyao ciqi, Shanghai, 2003, p. 341; and another is published in Chinese Porcelain. The S.C. Ko Tianminlou Collection, vol. 1, Hong Kong, 1987, pl. 160. See also a vase in the Metropolitan Museum of Art, New York, illustrated in Suzanne G. Valenstein, The Hertzman Collection of Chinese Ceramics, New York, 1992, pl. 98; and a smaller example published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 1, Hong Kong, 1987, pl. 160.

Compare also a vase from the Jingguantang collection, included in the Min Chiu Society exhibition Splendour of the Qing Dynasty, Hong Kong Museum of Art, Hong Kong, 1995, cat. no. 212, and illustrated in The Tsui Museum of Art, vol. IV, Hong Kong, 1995, pl. 37, together with its pair, sold at Christie's Hong Kong, 3rd November 1996, lot 571. A slightly larger example was sold in our London rooms, 12th July 2006, lot 142; and another was sold in these rooms, 29th April 1997, lot 581. 

Vases of this form are also known with their matching covers, such as a vase in the Nanjing Museum, Nanjing, included in the exhibition Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1995, cat. no. 69; another published in Chinese Porcelain. The S.C. Ko Tianminlou Collection, vol. 1, Hong Kong, 1987, pl. 160; and a third from the Jingguantang collection, included in the Min Chiu Society exhibition Splendour of the Qing Dynasty, Hong Kong Museum of Art, Hong Kong, 1995, cat. no. 212, and sold at Christie’s Hong Kong, 28th October 2002, lot 723.

Sotheby's. Important Chinese Art, Londres, 09 nov. 2016, 11:30 AM

Lot 180. A pair of café-au-lait glazed ogee-form bowls, Qianlong seal marks and period (1736-1795). Estimate 10,000 — 15,000 GBP. Photo: Sotheby's.

each with deep rounded sides with a constricted waist, supported on a straight foot, covered to the exterior with a café-au-lait glaze, the interior and base glazed white, inscribed to the base with a seal mark. Quantité: 2 - 15.6 cm, 6 1/8  in.

Provenance: Collection of Christina Loke Balsara.
Christie's Hong Kong, 19th January 1988, lot 272.

Exhibition: On loan to the Oriental Museum, Durham University, 1962 - 1987

Bibliography: Laszlo Legeza, 'The Grace of Eighteenth Century Chingtechen Monochromes', Arts of Asia, vol. 9, no. 6, 1979, pp 97-98, no. 14.

Sotheby's, Important Chinese Art, Londres, 09 nov. 2016, 11:30 AM

Lot 165. A tea-dust glazed double-gourd vase, Qianlong seal mark and period (1736-1795). Estimate 8,000 — 12,000 GBP. Photo: Sotheby's.

Lot 80. An imperial and very rare yellow-ground famille rose 'nine dragons' hat stand, Daoguang six-character seal mark in gilt and of the period (1821-1850). Estimate GBP 200,000 - GBP 300,000 (USD 246,600 - USD 369,900). Photo Christie's Images Ltd 2016.

The finely enamelled hat stand is decorated to the top with reticulated roundels enclosing pink stylised bats, set against a lemon-yellow ground with nine five-clawed dragons amidst clouds and flames. The mid-section is shaped as an archaistic vase with a lotus-form mouth supporting the top section, with the exterior enamelled with bats and lotus sprays. The lower bell-form section has further lotus scrolls, with four blue archaistic dragon-form supports, all raised on a foliate gilt-decorated base with ruyi-form feet. 10 ¾ in. (27.3 cm.) high

Christie's. Fine Chinese Ceramics and Works of Art, 8 November 2016, London, King Street

Lot 83. A rare imperial inscribed famille rose octagonal vase, Jiaqing iron-red six-character seal mark and of the period (1796-1820). Estimate GBP 200,000 - GBP 300,000 (USD 246,600 - USD 369,900). Photo Christie's Images Ltd 2016. 

The vase is of octagonal cylindrical form, slightly tapering towards the base, with the straight sides rising to an angular shoulder and an everted gilt rim. The sides are decorated with gilt-edged rectangular panels alternating between poetic inscriptions and seasonal flowers including, peony, lotus, chrysanthemum and prunus, all reserved on a pink ground filled with Indian lotus and floral strolls. The neck has bats suspending gilt Shou characters, interspersed by eternal knots and lotus on the shoulder, below dot and trefoil borders in blue and green enamels respectively, all supported on a ring foot decorated with a blue-enamelled keyfret band. The interior and base are covered with turquoise enamel. 11 ¾ in. (29.7 cm.) high 

Christie's. Fine Chinese Ceramics and Works of Art, 8 November 2016, London, King Street

Lot 88. Fu Baoshi (1904-1965), Admiring the waterfall. Hanging scroll, ink and colour on paper. Inscribed and dated August 1964, signed with one seal of the artist. 23 7/8 x 38 in. (58 x 96.5 cm.). Estimate GBP 200,000 - GBP 300,000 (USD 246,600 - USD 369,900). Photo Christie's Images Ltd 2016.

Christie's. Fine Chinese Ceramics and Works of Art, 8 November 2016, London, King Street