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Jarlet with Cursive Floral Scroll, Vietnam, late 14th century

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Jarlet with Cursive Floral Scroll, Vietnam, late 14th century

Jarlet with Cursive Floral Scroll, Vietnam, late 14th century. Wheel-thrown stoneware with cream slip, underglaze brown painted decoration, and clear glaze. Height: 1 1/2 in. (3.81 cm); Diameter: 2 1/8 in. (5.4 cm). Gift of Ambassador and Mrs. Edward E. Masters (M.84.213.226) © Los Angeles County Museum of Art.


Jarlet in the Form of a Melon with Cursive Floral Sprays, Vietnam, early 15th century

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Jarlet in the Form of a Melon with Cursive Floral Sprays, Vietnam, early 15th century

Jarlet in the Form of a Melon with Cursive Floral Sprays, Vietnam, early 15th century. Wheel-thrown stoneware with cream slip, underglaze blue painted decoration, and clear glaze. Height: 2 3/4 in. (6.99 cm); Diameter: 2 3/4 in. (6.99 cm). Gift of Ambassador and Mrs. Edward E. Masters (M.84.213.227) © Los Angeles County Museum of Art.

Squat Jar with Cursive Floral Scroll, Vietnam, circa 1400 (earliest type)

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Squat Jar with Cursive Floral Scroll, Vietnam, circa 1400 (earliest type)

Squat Jar with Cursive Floral Scroll, Vietnam, circa 1400 (earliest type). Wheel-thrown stoneware with cream slip, underglaze blue painted decoration, and clear glaze. Height: 3 in. (7.62 cm); Diameter: 3 1/4 in. (8.26 cm). Gift of Ambassador and Mrs. Edward E. Masters (M.84.213.242) © Los Angeles County Museum of Art.

Phoenix stoneware ewer, Lê dynasty

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Phoenix stoneware ewer, Lê dynasty, recovered from the Cu Lao Cham shipwreck, National Museum of Vietnamese History, Hanoi

Phoenix stoneware ewer, Lê dynasty, recovered from the Cu Lao Cham shipwreck, National Museum of Vietnamese History, Hanoi.

Exhibit spotlights top 20 award winners in Nikon Small World Photomicrography Competition

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1st Place Photomicrography Competition: Dr. Oscar Ruiz, The University of Texas MD Anderson Cancer Center, Houston, Texas, USA. Four-day-old zebrafish embryo Confocal 10x. 

GREENWICH, CONN.- Starting July 29, the Bruce Museum will showcase the top 20 award-winning photographs of the 42nd annual Nikon Small World Photomicrography Competition. This traveling exhibition, which is on view in Greenwich through October 29, 2017, shows the beauty and complexity of life as seen through the light microscope. The Bruce Museum will supplement the show with the display of historical 20thcentury microscopes used by former Bruce Museum directors Edward Bigelow and Paul Howes. 

The super close-up photographs were judged by independent experts on the basis of originality, informational content, technical proficiency and visual impact.The subject matter is unrestricted and any type of light microscopy technique is acceptable, including phase contrast, polarized light, fluorescence, interference contrast, darkfield, confocal, deconvolution, and mixed techniques. 

The award for first place in the Nikon competition went to Oscar Ruiz, Ph.D. for his microscopic view of the facial development of a four-day-old zebrafish embryoo. Dr. Ruiz uses the zebrafish to study genetic mutations that lead to facial abnormalities such as cleft lip and palate in humans in the lab of Dr. George Eisenhoffer at The University of Texas MD Anderson Cancer Center in Houston, Texas. Dr. Ruiz brings the world face-to-face with his research on facial development and cellular morphogenesis with his winning image. 

The judges were intrigued by Ruiz’s innovative techniques to capture time-lapse images of the developing zebrafish face. Using the time-lapse as a guide, Ruiz is creating an atlas of the development of the zebrafish face. His group is tracking physical landmarks throughout development to create a series of metrics that can be used to accurately describe the cellular movements that occur during the normal development of the face. These metrics can then be used to identify abnormalities in the development of zebrafish harboring specific genetic mutations identified in human patients. He hopes that these findings will help provide insight into the cellular and molecular mechanisms that are altered in patients with facial deformities. 

Until now, these facial abnormalities had not been extensively studied in a live context where you can see what’s happening during development in real-time," said Ruiz. “Using a live-imaging approach means we can better understand and pinpoint exactly how and why these developmental abnormalities occur. The first step is knowing how it happens, then we can figure out how to fix it.” 

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2nd Place Photomicrography Competition: Douglas L. Moore, University of Wisconsin - Stevens Point Museum of Natural History. Stevens Point, Wisconsin, USA. Polished slab of Teepee Canyon agate Stereomicroscopy 90x.

In addition to Dr. Ruiz, Nikon recognized 76 other winners of the 2016 Small World competition, which is comprised of ranked top 20 winning images, 14 Honorable Mentions and 61 Images of Distinction. Scientists, photographers and hobbyists from 70 countries submitted more than 2,000 entries. Judges selected winners that exemplified artistic quality as well as exceptional scientific technique. The Bruce Museum will feature the top 20 winners. 

Veteran competitor Douglas Moore of Stevens Point, Wisconsin, received second place for his exquisite and colorful image of a polished slab of Teepee Canyon Agate. The third place image by Rebecca Nutbrown of Oxford, United Kingdom, depicts a culture of neurons derived from human skin cells.  

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3rd Place Photomicrography CompetitionRebecca Nutbrown, University of Oxford, Nuffield Department of Clinical Neurosciences, Oxford, United KingdomBrain cells from skin cells : Specifically, this is a culture of neurons (stained green) derived from human skin cells, and Schwann cells, a second type of brain cell (stained red), which have started to cover the neuron in the same way these cells interact in the brain. (20x).

“Whether an image provides a rare glimpse into cutting-edge medical research as we saw from our first place winner, or reveals a fun “too-close-for-comfort” look into the proboscis of a butterfly, each evoked a powerful reaction from our judges. Every year we’re looking for that image that makes people lean forward in their seats, sparks their curiosity and leads them to ask new questions,” said Eric Flem, Communications Manager, Nikon Instruments. “Nearly 100 years of microscopy has paved the way for the evolving technology and innovative techniques that continue to raise the bar of this competition.” 

This year’s roster of judges included a combination of distinguished names in the scientific community, science journalism, imaging and video production:

• Eric Clark: Research Coordinator and Applications Developer at the National High Magnetic Field Laboratory at Florida State University. 

• Dr. Joe Hanson: Biologist, science writer, and the creator and host of PBS Digital Studios’ science education show “It’s Okay To Be Smart.” 

• Rachel Link: Producer for National Geographic curating content for the publication’s Short Film Showcase. 

• Dr. Brian J. Mitchell: Associate Professor in Cell and Molecular Biology at Northwestern University Feinberg School of Medicine in Chicago. 

• Dr. Clare Waterman: National Institute of Health (NIH) Distinguished Investigator at the Laboratory of Cell and Tissue Morphodynamics.

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4th Place Photomicrography Competition: Jochen Schroeder, Chiang Mai, Thailand. Butterfly proboscis (6.3x).

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5th Place Photomicrography Competition: Dr. Igor Siwanowicz, Howard Hughes Medical Institute (HHMI), Janelia Research Campus, Ashburn, Virginia, USA. Front foot (tarsus) of a male diving beetle (100x).

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6th Place Photomicrography Competition: Marek Mis Photography, Suwalki, Podlaskie, Poland. Air bubbles formed from melted ascorbic acid (vitamin C) crystals (50x).

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7th Place Photomicrography Competition: Dr. David Maitland, www.davidmaitland.com, Feltwell, Norfolk, United Kingdom. Leaves of Selaginella (lesser club moss) (40x).

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8th Place Photomicrography Competition: Samuel Silberman, Monoson Yahud, Israel. Wildflower stamens (40x).

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9th Place Photomicrography Competition: Vin Kitayama & Sanae Kitayama, Vinsanchi Art Museum Azumino, Azumino, Japan. Espresso coffee crystals.

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10th Place Photomicrography Competition: Rogelio Moreno Gill, Panama, Panama. Frontonia (showing ingested food, cilia, mouth and trichocysts) (200x).

 

A fine emerald-green jadeite archaistic vessel and cover, fangding, late Qing dynasty

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A fine emerald-green jadeite archaistic vessel and cover, fangding, late Qing dynasty

Lot 4275. A fine emerald-green jadeite archaistic vessel and cover, fangding, late Qing dynasty, 7 1/4 in. (18.5 cm.) overall high. Estimate HKD 3,000,000 - HKD 4,000,000Price realised HKD 16,900,000 © Christie's Images Ltd 2012

The rectangular vessel raised on four tall angular scroll feet issuing from taotie masks, each side carved in shallow relief with taotiemotifts, the shorter sides of the rim with openwork handles enclosingruyi motifts and the body with lion-mask and loose-ring handles. The cover is decorated with shallow-relief archaistic scroll and surmounted by an openwork Buddhist lion and cub finial. The translucent stone is of an icy sea-green tone suffused with numerous bright green veins. 

 

ProvenanceThe Ernest and Helen Dane Collection, Brookline, Massachusetts, acquired in the early 20th century

NoteThis magnificent vessel belongs to an exclusive group of jadeite censers that are carved from exceptionally high quality and valuable material. The present censer compares very closely to a jadeite censer from the Baron Fujita Collection sold at Sotheby's Hong Kong, 2 May 2000, lot 797. While there are slight variations in the decorative bands and the absence of ring handles on the Fujita censer, the form and choice of material are very close. For other example of this archaic form using exceptional jadeite material of translucent apple-green tone from the Jingguantang Collection, sold at Christie's Hong Kong, 3 November 1996, lot 602.

Compare also related jadeite examples modelled in a compressed globular form and supported on tripod feet. For example the tripod censer and cover from the Jingguantang Collection, lot 601; two others of equally superb quality from American museum collections, the first from the T. B. Walker Foundation, sold at Sotheby's Hong Kong, 17 November 1988, lot 299, and the second from the Cleveland Museum of Art Collection, sold at Sotheby's Hong Kong, 30 October 1991, lot 381; and another example, sold at Christie's Hong Kong, 31 May 2010, lot 2089.

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A magnificent emerald-green jadeite tripod censer and cover, late Qing dynasty, 8 7/8 (22.2 cm.) across handles. From the Cleveland Museum of Art Collection, sold for HKD 34,260,000 at Christie's Hong Kong, 31 May 2010, lot 2089. © Christie's Images Ltd 2010. 

Jadeite was known during the Ming Dynasty but was not generally accepted as material for carvings until the latter part of the Qianlong reign in the late 18th century. A generic jade material from Burma, jadeite was distinct from nephrite in appearance and texture, with a brilliant spectrum of colours, and as such, jadeite was of historical importance largely for the development of jade as jewellery in China. During the later 19th century, the glass-like translucency of the rarest emerald-green coloured jadeite came to be prized by the ladies of the Qing court, led by the formidable Empress Dowager Cixi herself. From then on, gem-quality jadeite became synonymous with status and sophistication.

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

A fine and rare carved jadeite archaistic wine cup, jue, late Qing dynasty-early 20th century

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Lot 4276. A fine and rare carved jadeite archaistic wine cup, jue, late Qing dynasty-early 20th century, 6 3/8 in. (16.4 cm.) high. Estimate HKD 1,800,000 - HKD 2,200,000Price realised HKD 9,020,000 © Christie's Images Ltd 2012

The vessel has a wide cupped mouth flanked by two posts in the form of a loop hanging ruyi-cloud shaped loose rings. It is set with a double archaistic dragon handle on the wide side and an mythical-beast head handle hanging loose ring on the narrow side. Intricately carved in low relief around the body are two taotie masks linked with stylised dragons. The vessel is raised on three splayed pointed feet. The translucent stone has a pale green tone with bright apple-green inclusions, Japanese wood box.  

ProvenanceA Japanese private collection, acquired in the 1920s 

NoteOriginally a bronze form, the jue is said to have been used during the bronze age for heating alcohol over a fire; with the post-like handles on the rim functioning as supports for lifting the vessel full of warmed liquid away from the heat. Such vessels were often dedicated for temple use as altar vessels and were elaborately cast with archaic designs. 

Although it is not unusual for bronze shapes to be imitated in jade and other materials. Examples of jue vessels in jade and jadeite are rare, with only a few published examples, including a spinach-green receptacle of related form shown in the Minnesota Museum of Art exhibition, Jade as Sculpture, 1975, illustrated in the Catalogue, no. 87. The present lot is exceptional in the high quality of carving with designs that epitomize the elegance of archaism, and the good colour of the jadeite material. 

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

A finely carved jadeite belt hook, late Qing dynasty

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Lot 4322. A finely carved jadeite belt hook, late Qing dynasty, 3 3/4 in. (9.5 cm.) long. Estimate HKD 600,000 - HKD 800,000Price realised HKD 4,220,000 © Christie's Images Ltd 2012

The stone is finely carved with a characteristic curved shaft terminating in a dragon-head hook, opposite a sinuous chilong dragon in high relief. The reverse side is carved with a tab for attachment. The stone is of an exceptionally brilliant emerald green tone, Japanese wood box.  

Note: A gemological certificate from the Hong Kong Jade & Stone Laboratory Limited confirms the present lot is natural green jadeite.  

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall


A jadeite tripod censer and cover, Late Qing dynasty

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Lot 4323. A jadeite tripod censer and cover, Late Qing dynasty, 7 1/2 in. (19.2 cm.) across handles. Estimate HKD 150,000 - HKD 350,000Price realised HKD 1,940,000 © Christie's Images Ltd 2012

The compressed globular body is carved around in low relief withtaotie masks below a band of ruyi heads, surmounted by a neck adorned with keyfret band, supported on three columnar feet issuing from dragon-heads, and flanked by a pair of dragon-head loop handles with loose rings. The circular cover is carved with further taotie masks, topped by a qilin-form finial. The stone has tones ranging from pale celadon to bright apple green with dark specks; stand.  

ProvenanceThe Collection of C.C.E. Ritting, sold at Sotheby's London, 11 February 1938, lot 65
Charles Stanley Nott, 1 April 1938
E.J.C. Vint

Note: A gemological certificate from the Hong Kong Jade & Stone Laboratory Limited confirms the present lot is natural green jadeite.  

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

A finely reticulated jadeite cylindrical 'Cranes' parfumier, Qing dynasty, late 19th-early 20th century

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Lot 4209. A finely reticulated jadeite cylindrical 'Cranes' parfumier, Qing dynasty, late 19th-early 20th century, 9 1/8 in. (23.1 cm.) high. Estimate HKD 400,000 - HKD 600,000Price realised HKD 596,000 © Christie's Images Ltd 2012

Of cylindrical form, the parfumier is deeply carved in relief and openwork with cranes in a rocky mountain landscape, interspersed with pine trees and narrow winding steps, all between ruyi-cloud borders.; stand.  

Provenance: Sold at Christie's Hong Kong, 3 December 2008, lot 2255.  

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

A jadeite magnolia and lingzhi vase, Late Qing dynasty

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Lot 4324. A jadeite magnolia and lingzhi vase, Late Qing dynasty, 6 1/2 in. (16.5 cm.) high. Estimate HKD 250,000 - HKD 350,000Price realised HKD 250,000 © Christie's Images Ltd 2012

The vase is carved in openwork in the form of a blooming magnolia flower growing alongside lingzhi fungus, peach and plum trees bearing flowers and buds, accompanied by a swooping bird. The stone ranges in colour from a greyish white to bright apple green and is fixed to a wood stand.  

Provenance: Sold at Sotheby's Hong Kong, 30 April 1996, lot 666.  

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

A pair of spinach green jade bowls, Late Qing dynasty

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Lot 4315. A pair of spinach green jade bowls, Late Qing dynasty, 7 7/8 in. (19.8 cm.) diam. Estimate HKD 80,000 - HKD 120,000Price realised HKD 81,250 © Christie's Images Ltd 2012

Each bowl is thinly carved with rounded sides rising to an everted rim, raised on a slightly splayed cylindrical foot, the softly polished stone of dark green tone mottled with milky-white streaks and darker inclusions. (2)  

Provenance: Sold at Christie's New York, 2 December 1989, lot 236.  

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

A very rare Ru-type oval jardiniere, Qianlong four-character sealmark and of the period (1736-1795)

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A very rare ru-type oval jardiniere, Qianlong four-character sealmark and of the period (1736-1795)

Lot 4152. A very rare Ru-type oval jardiniere, Qianlong four-character sealmark and of the period (1736-1795), 9 1/8 in. (23.2 cm.) wide. Estimate HKD 600,000 - HKD 800,000Price realised HKD 1,220,000 © Christie's Images Ltd 2012

The jardiniere is of rounded oval form with slightly flared sides, covered inside and out with a waxy blue-grey glaze irregularly crackled, thinning to a darker grey on the inside of the rim. The recessed base with six spur marks is also glazed within the confines of the deeply grooved footrim showing the fine-grained grey ware; stand and box.  

Provenance: Sold at Christie's New York, 2 December 1989, lot 324 .

Note: This rare brush washer was made for the Qianlong emperor in deliberate imitation of Imperial Ru wares produced in Northern Song dynasty. Song Ru wares have captured the imagination of collectors ever since they were first made, but surviving examples from the Northern Song period are very rare. 

Compare a Ru-type washer of this form, but with a four-character Yongzheng seal mark, included in the Min Chiu Society exhibition, Monochrome Ceramics, 1977, Catalogue no. III. An unmarked example is illustrated in the Kempe Collection, Catalogue, no. 202. 

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

A rare Ru-type glazed lingzhi-form vase, Qianlong six-character seal mark and of the period (1736-1795)

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A rare Ru-type glazed lingzhi-form vase, Qianlong six-character seal mark and of the period (1736-1795) 

Lot 4151. A rare Ru-type glazed lingzhi-form vase, Qianlong six-character seal mark and of the period (1736-1795), 4 1/2 in. (11.4 cm.) high. Estimate HKD 800,000 - HKD 1,200,000Price realised HKD 920,000 © Christie's Images Ltd 2012

The vase is naturalistically moulded in the form of a large lingzhishrub, hollowed out to form the opening to the vase, surrounded by eight smaller lingzhi stems issuing from jagged rocks. The vase is covered overall with a lustrous crackled lavender-blue glaze, with the exception of the irregularly shaped foot rim which is covered with a brown wash.  

Provenance: A French private collection.

Note: Ceramic production in China had reached its golden age during the Song dynasty (960-1279), and starting from the early Ming period, the imperial kilns had actively experimented with recreating monochrome wares from the famous Song kilns, including the fabled Ru wares. The development of high quality Song replicas had reached its zenith under the Qianlong Emperor, who himself was a passionate collector of antiquities. Under his guidance the spirit of archaism was often met with creative innovation, as seen in the current example, where an attractive Ru-type glaze was applied onto a naturalistic plant-form vessel. The Palace Museum, Beijing has a washer in the form of peaches, also applied with a rich Ru-type glaze, illustrated in Monochrome Porcelain, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, p. 239, pl. 217. The current example compares closely with an identical vase of slightly larger size, included in the exhibition Qing Mark and Period: Monochrome and Two-Coloured Wares, S Marchant & Son, London, 1992 and illustrated in the Catalogue, p. 48, no. 34. 

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

 

A fine white-glazed moulded archaistic vessel, jue, Jiaqing incised six-character seal mark and of the period (1796-1820)

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A fine white-glazed moulded archaistic vessel, jue, Jiaqing incised six-character seal mark and of the period (1796-1820) 

Lot 4153. A fine white-glazed moulded archaistic vessel, jue, Jiaqing incised six-character seal mark and of the period (1796-1820), 7 1/4 in. (18.5 cm.) high. Estimate HKD 500,000 - HKD 700,000Price realised HKD 596,000 © Christie's Images Ltd 2012

The rounded cup is raised on three high splayed legs. The broad pouring lip is applied with two lifting posts, moulded with a frieze of archaistic geometric scrollwork and key-pattern, all under an even translucent white glaze with a faint bluish tinge; box.  

Note: The form of this rare porcelain vessel is based on that of an archaic bronze form known as a jue, used for heating and pouring wine during Shang dynasty rituals. Such vessels were often dedicated for temple use as altar vessels, but from the Ming dynasty, porcelain jue were preferred over those made of metal. A white porcelain jue dated to the Yongle period excavated in 1982 on the site of the imperial kilns at Jingdezhen, was included in the Exhibition of Imperial Porcelain of the Yongle and Xuande Periods Excavated from the Site of the Ming Imperial Factory at Jingdezhen, and was illustrated in the Catalogue, Hong Kong, 1989, p. 116, where it is noted that the first Ming emperor, Hongwu, ordered white porcelain jue to be used in sacrificial ceremonies. A very similar Qianlong-marked white-glazed jue-form vessel is illustrated in Art & Imitation, The Oriental Ceramic Society of Hong Kong, 2006, p. 214, no. 92, where it is noted that white was the colour used at the Altar of the Moon. 

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

 


A fine rare incised yellow-glazed 'dragon' bowl, Kangxi six-character mark within double-circles and of the period (1662-1722)

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A fine rare incised yellow-glazed 'dragon' bowl, Kangxi six-character mark within double-circles and of the period (1662-1722)

Lot 4145. A fine rare incised yellow-glazed 'dragon' bowl, Kangxi six-character mark within double-circles and of the period (1662-1722), 5 in. (12.5 cm.) diam. Estimate HKD 100,000 - HKD 150,000Price realised HKD 524,000 © Christie's Images Ltd 2012

With deep rounded sides, the interior is finely incised at the centre with a full-face dragon amongst clouds. The exterior is surrounded with four roundels of dragons chasing a 'flaming pearl' divided by stylised clouds, above a band of lotus petals near the base. It is covered overall with a bright yellow glaze.  

NoteBowls decorated in this way with incised decoration beneath a yellow glaze appear to be very rare. A slightly larger example was sold at Christie's London, 15 May 2009, lot 192.  

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

A large celadon-glazed stem bowl, Yongzheng six-character seal mark and of the period (1723-1735)

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A large celadon-glazed stem bowl, Yongzheng six-character seal mark and of the period (1723-1735) 

Lot 4147. A large celadon-glazed stem bowl, Yongzheng six-character seal mark and of the period (1723-1735), 8 1/2 in. (21.6 cm.) diam. Estimate HKD 100,000 - HKD 150,000Price realised HKD 300,000 © Christie's Images Ltd 2012

Formed with rounded flaring sides towards the rim, the exterior of the stem bowl is finely carved with birds perched on branches of flowering tree peony. It is raised on a hollow splayed foot encircled by lappet borders, and covered entirely with a light celadon glaze pooling in the recesses to highlight the carving., box

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

 

A flambé-glazed lobed vase, Incised Daoguang six-character seal mark and of the period (1821-1850)

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A flambé-glazed lobed vase, Incised Daoguang six-character seal mark and of the period (1821-1850) 

Lot 4148. A flambé-glazed lobed vase, Incised Daoguang six-character seal mark and of the period (1821-1850), 7 7/16 in. (18.9 cm). Estimate HKD 350,000 - HKD 450,000Price realised HKD 680,000 © Christie's Images Ltd 2012

The vase is of hexafoil lobed section with conforming neck and everted floral rim, standing on a low flaring foot, all under a deep red glaze with purple and lavender streaks, the interior of the mouth with a light lavender glaze and the base covered in a brown wash, stand, Japanese wood box

ProvenanceA Japanese private collection formed in the 1920s

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

A pair of blue-glazed cong vases, Guangxu six-character marks and of the period (1875-1908)

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A pair of blue-glazed cong vases, Guangxu six-character marks and of the period (1875-1908)

Lot 4154. A pair of blue-glazed cong vases, Guangxu six-character marks and of the period (1875-1908), 11 1/2 in. (29 cm.) high (2). Estimate HKD 200,000 - HKD 300,000Price realised HKD 200,000 © Christie's Images Ltd 2012

Each vase has a rectangular body of archaistic form with characteristic circular foot ring and mouth rim, applied with a pair of moulded elephant-heads with a mock ring-handle. They are covered in a lustrous, dark violet-blue glaze. 

NoteSimilar examples include single vases sold at Christie's London, 14 May 2010, lot 682; and 12 November 2010, lot 1201. 

A blue-glazed cong vases, Guangxu six-character mark and of the period (1875-1908)

A blue-glazed cong vase, Guangxu six-character mark and of the period (1875-1908), 10¼in. (26cm.) high. Sold for GBP 4,375 at Christie's London, 14 May 2010, lot 682. © Christie's Images Ltd 2010

A blue-glazed cong vase, Guangxu underglazed blue six-character mark and of the period (1875-1908)

A blue-glazed cong vase, Guangxu underglazed blue six-character mark and of the period (1875-1908), 11½in. (29.2cm.) high . Sold for GBP 10,625 at Christie's London, 12 November 2010, lot 1201. © Christie's Images Ltd 2010

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall

A Yunnan carved cinnabar lacquer stem bowl, Ming dynasty, 16th century

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Lot 4226.  A Yunnan carved cinnabar lacquer stem bowl, Ming dynasty, 16th century, 5 5/8 in. (14.3 cm.) diam. Estimate HKD 200,000 - HKD 300,000Price realised HKD 225,000 © Christie's Images Ltd 2012

The deep bowl with an everted lip is carved to the exterior with a row of large peony sprays borne on leafy stems between a band of petals and floral pattern, supported on a vertical stem with a splayed foot. The exterior of the stem is decorated with a band of keyfret above plantain leaves. The interior of the bowl and the indented base are coated with brown lacquer, box

Note: The distinctive style of this current stembowl, with its dark reddish-brown colour, deep sharp cuts and unpolished corners, conforms to the style of a group of lacquer typified by scholars on the subject as Yunnan work in Southeast China, generally dated to the mid-Ming dynasty. See, for example, a lacquer dish attributed as Yunnan work by J. Watt and B. Ford in East Asian Lacquer - The Florence and Herbert Irving Collection, New York, 1991, p. 91, pl. 31. 

Christie'sImportant Chinese Ceramics and Works of Art, 30 May 2012, Hong Kong, HKCEC Grand Hall 

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