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Hat brim (ruby set), Johann Friedrich Dinglinger, Dresden, 1736 (changed before 1817)

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Hat brim (ruby set), Johann Friedrich Dinglinger (1702-1767) (jeweler). Dresden, 1736 (changed before 1817). 6 rubies and spinels, 6 doublets, 96 brilliants, gold, silver, partly gold plated; 11.4 x 5.4 cm. Green Vault, VIII 124© Dresden State Art Collections.

As part of the princely representation, the headgear played a special role as Ranganka. In the court ceremonial was exactly determined who was allowed to wear a hat and before whom he had to draw him. Hat brims consisted of a main button (lower hat button), which was attached directly to the open brim and so was very close to the wearer's face. That's why this button was usually adorned with a very beautiful and large gemstone. The unusual bridge, which Dinglinger himself called "completely new and finished in a special way," connected the lower hat button with the upper hat button, which was fixed to the headboard of the hat. The gemstone trim of the top button slightly surmounted as a crowning the felt of the royal hat and was especially visible in the movement of the head. The stones for this hat brim all came from the stock at that time. Dinglinger must have known her before planning this piece of jewelery and finally planned it purposefully. The hatagraff commissioned and produced in 1736, however, had a different appearance. The stocking with twelve red gemstones was first recorded in the 19th century without further explanation.

Hat brim (ruby set), Johann Friedrich Dinglinger, Dresden, 1736 (changed before 1817)

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Hat brim (ruby set), Johann Friedrich Dinglinger (1702-1767) (jeweler). Dresden, 1736 (changed before 1817). 6 rubies and spinels, 6 doublets, 96 brilliants, gold, silver, partly gold plated; 11.4 x 5.4 cm. Green Vault, VIII 124© Dresden State Art Collections.

As part of the princely representation, the headgear played a special role as Ranganka. In the court ceremonial was exactly determined who was allowed to wear a hat and before whom he had to draw him. Hat brims consisted of a main button (lower hat button), which was attached directly to the open brim and so was very close to the wearer's face. That's why this button was usually adorned with a very beautiful and large gemstone. The unusual bridge, which Dinglinger himself called "completely new and finished in a special way," connected the lower hat button with the upper hat button, which was fixed to the headboard of the hat. The gemstone trim of the top button slightly surmounted as a crowning the felt of the royal hat and was especially visible in the movement of the head. The stones for this hat brim all came from the stock at that time. Dinglinger must have known her before planning this piece of jewelery and finally planned it purposefully. The hatagraff commissioned and produced in 1736, however, had a different appearance. The stocking with twelve red gemstones was first recorded in the 19th century without further explanation.

Ring with castle, maybe Italian, 2nd half of the 16th century

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Ring with castle, maybe Italian, 2nd half of the 16th century. Gold, diamond, enamel. H 2.8 cm, W 2.3 cm. Gren Vault, VIII 102© Dresden State Art Collections.

The rings of that time are characterized by a great variety of forms and themes and are mostly decorated with fine enamel ornaments and gemstones. Among the more rare examples with figurative motifs is this ring with a miniature replica of a castle.

Pendant in the form of a Palatine lion, Germany, around 1580 - 1590

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Pendant in the form of a Palatine lion, Germany, around 1580 - 1590. Gold, two rubies, two diamonds, four pearls, enamel. H 7,0 cm. Green Vault, 1997/1© Dresden State Art Collections.

The pendant with the Palatine Lion is listed for the first time in 1725 in the Preciousness Inventory. In 1924, he was given along with other works of the Green Vault to the family club Haus Wettin Albertinische line, but could be bought back in 1997 from the art trade back. The king of the animals is at the same time a symbol for bravery and power and refers here with the imperial crown crowned by a cross to the heraldic symbols of the palatine house and its electoral dignity.

Pendant with David and Goliath, Germany, late 16th century

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Pendant with David and Goliath, Germany, late 16th century. Gold, enamel, 47 diamonds, 18 rubies. H 9,8 cm, W 6,7 cm. Green Vault, VIII 294© Dresden State Art Collections.

The design of the jewelry pendant with David and Goliath reveals the changes in taste that occurred around 1600. The compact, cast gems with closed outline were gradually replaced by filigree shapes. Typical for the followers of this time is the openwork base plate, on which the jewelry motifs were fastened with the help of long pins. Projecting consoles, often studded with gemstones, became the stage on which to arrange individual figures, scenic representations or even monograms. David's victory over Goliath was also considered a model of the triumph of Christ over Satan. Such treasures, which point beyond their ornamental function, may have been understood as exhortations to virtue.

Followers with the Fides, the personification of the faith, Germany, late 16th century

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Followers with the Fides, the personification of the faith, Germany, late 16th century. Gold, silver, enamel, 37 diamonds, 18 rubies, 1 emerald, 2 pearls. H 9,8 cm, W 6,7 cm. Green Vault, VIII 285© Dresden State Art Collections.

The design of the jewelry pendant with the personification of the faith reveals the change of taste that occurred around 1600. The compact, cast gems with closed outline were gradually replaced by filigree shapes. Typical for the followers of this time is the openwork base plate, on which the jewelry motifs were fastened with the help of long pins. Projecting consoles, often studded with gemstones, became the stage on which to arrange individual figures, scenic representations or even monograms. Faith is here symbolized by a female laurel-crowned figure with a cross and a goblet, at whose feet a unicorn lies. This mythical creature stands for pure love in the Christian interpretation, but was also seen as a symbol of the incarnation of Christ.

Giovanni da Bologna, Antonio Susini, Adriaen de Vries, Sleeping nymph with satyr, Florence, before 1587

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Giovanni da Bologna (1524 / 1529-1608), Sculptor; Antonio Susini (-1624), Bronze caster; Adriaen de Vries (ca. 1550), sculptor, Sleeping nymph with satyr, Florence, before 1587. Bronze, black lacquered wooden base. H total 31.5 cm H without base 20.7 cm, W 34.0 cm; Base 10.8 x 17.7 x 31.8 cm. Green Vault, IX 34© Dresden State Art Collections.

The group, which was interpreted as "Sleeping Venus" in the Baroque, picks up the theme of the little-dressed beauty that is overheard by a man while sleeping. Despite the common pictorial theme, the bronze group does not seem to have been conceived as a unit, as the nymph and faun were cast separately and formally differ significantly from each other: the faun is smaller proportioned, darker patinated and was subsequently bolted on the basis of the female figure. Since the group was created during the lifetime of Giambologna and arrived in 1587 as a gift from the Grand Duke of Tuscany, Francesco I de'Medici, to Christian I, it can be assumed that it was chiseled by the master himself. Giambologna orients herself to the figure of the nymph at the famous antiquity "Sleeping Ariadne" (Vatican City, Vatican Museums), which he might have met during his stay in Rome. Hardly overlooked are similarities to paintings of the "Sleeping Venus" by Giorgione and Titian. The Faun, on the other hand, seems originally to have been a movement study by Adriaen de Vries, a pupil of Giambologna. The figure evidently met with the applause of the master and was added to the "Sleeping Nymph" by Antonio Susini in an infusion.

Giovanni da Bologna, Mercury, Florence, before 1587

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Giovanni da Bologna (1524 / 1529-1608), sculptor, Mercury, Florence, before 1587. Bronze, wood post with ebony veneer and brass inlays. H 61.8 cm; H with base 72.7 cm. Green Vault, IX 94© Dresden State Art Collections.

The Dresdner Merkur arrived in early 1587 as a diplomatic gift of the Grand Duke of Tuscany, Francesco I de 'Medici, in the collection of Christians I. The Elector arrived in the year before the government could understand this attention as a sign of great appreciation, because the flying Mercury counted to the gifts that Florence sent only to selected recipients. As an embodiment of the princely virtue of resisting an uncertain fate and as a symbol of industria (skill) and felicitas (happiness), he was thus able in many ways to refer to the "good government" of Schenker and Beschenktem. Artistically, the Grand Ducal gift was of extraordinary rank. Flying Mercury is one of Giambologna's best-known compositions and can be considered a prime example of the virtuoso overcoming of the artistic and material boundaries of sculpture. In spite of the heavy materiality of the bronze, the figure, balanced on just one point, the ball of the foot, gives the impression of a feathery lightness that almost makes one forget the daring of this artistic solution.

Jumping unicorn, Hans Reisinger, Augsburg, before 1589

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Jumping unicorn, Hans Reisinger, founder, Augsburg, before 1589. Brass, wooden base. H with base 47.1 cm, H base 10.4 cm, W 42.6 cm, D 18.0 cm. Green Vault, IX 51© Dresden State Art Collections.

Since Babylonian antiquity, the mythical unicorn wanders through the imagination of mankind. His horn supposedly had mysterious powers and made any poison ineffective. Later legends report that it could only be captured by a virgin, or that it could only find peace in the womb of a maiden. In 1589 Elector Christian I of Saxony acquired this statuette from the Augsburg-based foundry and well-builder Hans Reisinger; the modeller of the animated mythical creature is unknown.

Resting deer, Hans Reisinger, Augsburg, before 1589

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Resting deer, Hans Reisinger, bronze caster, Augsburg, before 1589. Bronze (high brass content). H. 24.5 cm, W 25.6 cm, D.15.2 cm. Green Vault, IX 58© Dresden State Art Collections.

The resting deer made of bronze was acquired by Christian I of Saxony in 1589 together with a jumping unicorn (see Green Vault, Inv. No. IX 51) by the Augsburg foundry Hans Reisinger. Similar to the unicorn, the deer also played a significant role in early modern rule iconography. Provided with attributes such as pride, speed, power and shyness, it was considered the most important animal of the High Hunt, its magnificent antlers were a coveted trophy. Products of the deer were considered as a defense against snakes and poisoning, should relieve pain and help against internal suffering. Medicines from the genitals of the deer were said to have an aphrodisiac effect. In the Kunstkammer, according to the inventory of 1640, a groomed deer was which provided a companion book by the court apothecary Wechinger, listing all the products made from the deer and their areas of application. The bronze figure will be presented in the permanent exhibition "Welttsicht und Wissen um 1600" in the room "Networking the World".

Adriaen de Vries, Nymph (from bronze group faun and nymph), around 1580-1590

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Adriaen de Vries (about 1550-), sculptor, Nymph (from bronze group faun and nymph), around 1580-1590. Bronze, wooden post. H 34.6 cm. Green Vault, IX 20© Dresden State Art Collections.

The exciting relationship between the two characters is produced in many ways by the attitude of the body, but also by gestures and visual references. The obscene gesture of the satyr, who, as he moves forward with his upper body, turns to the nymph sitting on a draped rock, replies with reference to her reflection in the mirror - in her right hand the beautiful woman with the elaborately raised hair once held a mirror. The twists of the two characters call for the pair to circle, since only the panoramic view reveals all references of the expansive scene: the smoothly turned to the left body of the dancing fauns, his unique character and the surprised-looking face of the just looking nymph with the slightly open mouth. To this day, the interpretation of the group remains which at the beginning of the 17th century was called "Venus and Adonis", unclear. Recently it was interpreted as a virtue-vicious representation. Adriaen de Vries, a disciple of Giambologna, may have been inspired by the Hellenistic marble sculpture of the "tail-haunting Faun", whose composition he developed independently. The twisted figure, also called "figura serpentinata", was regarded as the ideal of Mannerist sculpture at the time of the group's creation. Mastering this trick perfectly, Adriaen de Vries created with his Faun a sculpture that perfectly complies with the artistic demand for omniscience. The graceful group arrived, along with two other versions,

Adriaen de Vries, Herding satyr, around 1581/1585

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Adriaen de Vries (about 1550-), sculptor, Herding satyr. Model around 1581/1585. Bronze, wood, painted; Saxon and Bohemian gemstones. H 23,8 cm; Base 16.5 x 12.3 cm. Green Vault, IX 14© Dresden State Art Collections.

In the early years of his career (between 1581 and 1585) Adriaen de Vries worked in the workshop of Giambologna (see, among others, Inv. No. IX 94, IX 34). In this time, the sneaking satyr could have arisen. In 1586/87, a Satyr infusion was combined with Giambologna's group "Nymph and Satyr" (see Inv. No. IX 34). The satyr was a virtuoso movement study of the still young de Vries, who has processed motivic role models from the northern Italian bronze art. When the small bronze came to Dresden is unknown. Only in 1726 does it appear in the sculpture inventory.

A 'famille-rose''Ladies of the Han palace' lantern-shaped vase, Jiaqing iron-red seal mark and period (1796-1820)

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A 'famille-rose''ladies of the han palace' lantern-shaped vase, Jiaqing iron-red seal mark and period

A 'famille-rose''Ladies of the Han palace' lantern-shaped vase, Jiaqing iron-red seal mark and period (1796-1820)

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Lot 222. A 'famille-rose''Ladies of the Han palace' lantern-shaped vase, Jiaqing iron-red seal mark and period (1796-1820); height 12 1/2 in., 31.2 cm. Est. 250,000—350,000 USD. Lot sold 902,500 USD  to an Asian Trade. Photo Sotheby's.

the tall oviform body painted with a central section featuring ladies in a pavilion garden, the lush setting providing the backdrop for a figure dancing to instrumental music performed by attending ladies, all adorned in elaborate garments picked out in green, aubergine, green and yellow enamel, the scene bordered by ruyi-head lappets at the shoulder and tapering foot, the former rising to a waisted neck decorated with stylized lotus scrolls and gilt wan symbols, the latter with smaller lotus scrolls, all reserved on a deep ruby ground, the short straight foot painted with ruby-colored chrysanthemum against a blue scroll-work pattern, the base and interior glazed turquoise.

ProvenanceChristie's Hong Kong, 30th April - 2nd May 1995, lot 672

NoteIn its shape and decoration the present vase belongs to a group of wares produced at the imperial kilns at Jingdezhen during the early years of Jiaqing's reign. Wares of this period continued to be influenced by Qianlong designs and were possibly produced by the same potters who made wares for the Qianlong emperor and his household. This fine and meticulously painted scene of ladies is reminiscent of scroll painting, with the ruby-ground around the mouth and foot serving as mounting for the painting. 

The scene depicts ladies of the Han Palace, a subject that rose in popularity in later Chinese art when the Han dynasty became a subject of nostalgia. Elegant and beautifully-dressed women occupy a romanticized world, engaged in exemplary behavior such as modesty and encouraging the transmission of culture as seen on this vase where they play music and dance. This theme also reflects the antiquarian interest characteristic of the Qing period. 

A closely related vase was sold in our Hong Kong rooms, 2nd November 1998, lot 411; another example was sold at Christie's Hong Kong, 20th March 1990, lot 672, and again, 26th April 1998, lot 511; and its companion piece was also sold at Christie's Hong Kong, 29th September 1992, lot 601. Compare Qianlong vases of similar form and decorative scheme; such as one decorated with the Eight Immortals between a turquoise ground neck and foot, in the Palace Museum, Beijing, illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 350, pl. 31; and a green-ground example depicting children at play, in the Nanjing Museum, Nanjing published in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 320.

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 16 Sep 2009

A large green and aubergine yellow-ground biscuit charger, Kangxi mark and period (1662-1722)

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A large green and aubergine yellow-ground biscuit charger, Kangxi mark and period (1662-1722)

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Lot 200. A large green and aubergine yellow-ground biscuit charger, Kangxi mark and period (1662-1722); diameter 16 in., 40.6 cm. Est. 70,000—90,000 USD. Lot sold 158,500 USD. Photo: Sotheby's.

boldly decorated and incised on the interior well with a plunging aubergine dragon and a leaping green dragon, each in mutual pursuit of a 'flaming pearl', encircled by floral sprigs on the cavetto, including prunus, peony and chrysanthemum, all below six striding dragons interspersed with 'flaming pearls' on the everted rim, the exterior with four striding dragons below cranes and clouds, all reserved on a rich yellow ground.

Provenance: Collection of Gertrude Morgenroth. 
Thence by descent to the present owner.

ExhibitedAkron Art Institute, Akron, Ohio (before 1981).
Miami University Art Museum, Oxford, Ohio (1981-2008).

NoteKangxi mark and period chargers of this design are included in several museum and private collections, including the National Palace Museum, Taipei; the Palace Museum, Beijing; and the Victoria and Albert Museum, London. A charger of the same size, originally from the collection of Captain C. Oswald Liddell, was sold in our Hong Kong rooms, 18th May 1988, lot 301.

Sotheby's. Fine Chinese Ceramics & Works of Art. 16 Sep 09. New York. 

An underglaze-blue and copper-red 'sanduo' stemcup, Yongzheng mark and period (1723-1735)

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An underglaze-blue and copper-red 'sanduo' stemcup, Yongzheng mark and period (1723-1735)

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Lot 211. An underglaze-blue and copper-red 'sanduo' stemcup, Yongzheng mark and period (1723-1735); height 4 5/8 in., 11.7 cm diameter 6 1/2 in., 16.5 cm. Estimate 30,000 — 40,000 USD. Lot sold 128,500 USD. Photo: Sotheby's.

the gently rounded sides of the bowl flaring to a slightly everted rim, supported on a tall splayed foot, painted around the exterior in copper-red of a rich ruby tone with three detached fruiting sprays including a peach, pomegranate and persimmon, each borne on a branch surrounded by gently curling leaves in rich underglaze blue, together forming the auspicious sanduo ('Three Abundances'), the six-character mark inscribed in underglaze-blue within the foot.

NoteCompare a stemcup of the same type and bearing a Yongzheng mark and of the period in the collection of the Shanghai Museum, illustrated in Wang Qingzheng, Underglaze Blue and Red, Hong Kong and Shanghai, 1987, pls. 123 and 188.

Sotheby's. Fine Chinese Ceramics & Works of Art. 16 Sep 09. New York. 

 


An octagonal 'ru'-type vase, Qianlong seal mark and period (1736-1795)

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An octagonal 'ru'-type vase, Qianlong seal mark and period (1736-1795)

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Lot 215. An octagonal 'ru'-type vase, Qianlong seal mark and period (1736-1795); height 13 in., 33 cm. Estimate 70,000 — 90,000 USD. Lot sold 110,500 USD. Photo: Sotheby's.

of chamfered square section, the slightly tapered upright body supported on a narrow splayed foot, with angled shoulders sloping up to the waisted neck, covered overall in a slightly mottled thick glaze of attractive lavender-gray tone, continuing over the base, the neatly finished footrim dressed with a dark brown slip, the base inscribed in underglaze-blue with a six-character seal mark.

ProvenanceProperty of a Private Asian Collection.
Sotheby's Hong Kong, 23rd October 2005, lot 321.

NoteA closely related vase was sold in our Hong Kong rooms, 2nd May 2005, lot 693; another, 19th May 1982, lot 274; and a third example was sold at Christie's Hong Kong, 1st October 1991, lot 810. Compare also a Daoguang vase, with reign mark and of the period, of this form but covered in a guan-type glaze in the Simon Kwan collection, included in the exhibition Imperial Porcelain of Late Qing from the Kwan Collection, The Chinese University of Hong Kong, Hong Kong, 1983, cat. no. 85; and another in the National Palace Museum, Taipei, included in the Special Exhibition of Ch'ing Dynasty Monochrome-Glaze Porcelain, National Palace Museum, Taipei, 1981, cat. no. 98.

Sotheby's. Fine Chinese Ceramics & Works of Art. 16 Sep 09. New York. 

A rare 'famille-rose' tazza, Qianlong seal mark and period (1736-1795)

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A rare 'famille-rose' tazza, Qianlong seal mark and period (1736-1795)

A rare 'famille-rose' tazza, Qianlong seal mark and period (1736-1795)

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Lot 286. A rare 'famille-rose' tazza, Qianlong seal mark and period (1736-1795); diameter 6 3/4 in., 17.1 cm height 3 3/8 in., 8.6 cm. Estimate 15,000 — 20,000 USD. Lot sold 110,500 USD. Photo: Sotheby's.

the wide dish decorated to the interior with a central iron-red shou medallion encircled by a dense composite floral scroll comprising four large blooms interspersed with smaller flowers and curling leafy stems, picked out in two shades of green with yellow, white and pink enamels, the cavetto left plain save for the iron-red wufu ('five bats') descending upon the flowers, the underside decorated with radiating iron-red ruyi-head lappets, all supported on a splayed foot with a border of pendent green and yellow plantain leaves suspending beaded tassels, the six-character seal mark in underglaze-blue to the interior of the foot.

ProvenanceThe Edward T. Chow Collection.
Sotheby's Hong Kong, 25th November 1980, lot 172.

NoteA similar tazza in the Qing Court Collection, Palace Museum, Beijing, is illustrated in Xu Huping, The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 294. Another was sold at Christie's Hong Kong, 20 March 1990, lot 660.

Sotheby's. Fine Chinese Ceramics & Works of Art. 16 Sep 09. New York.

A pair of 'famille-rose' green-enamel ground vases, Jiaqing seal marks and period (1796-1820)

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A pair of 'famille-rose' green-enamel ground vases, Jiaqing seal marks and period (1796-1820)

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Lot 233. A pair of 'famille-rose' green-enamel ground vases, Jiaqing seal marks and period (1796-1820); height 8 1/4 in., 21 cm. Estimate 20,000 — 30,000 USD. Lot sold 92,500 USD. Photo: Sotheby's.

each of ovoid shape flaring from a tapered foot, painted around the exterior with a central band of lotus-head scrolls alternating with iron-red shuangxi ('Double Happiness') characters, below a register of iron-red descending bats alternating with pomegranate, peach and finger citron bouquets, picked out in pink, blue and white enamel, against a lime-green ground, the shoulder with a border of ruyi-head lappets, the slightly waisted neck with upright plantain lappets below an iron-red and gilt lipped rim, the interior and countersunk base glazed turquoise, seal mark in iron-red, wood stands, boxes (6).

ProvenanceCollection of Takashi Hara (Japanese Prime Minister, 1918-1921).

Sotheby's. Fine Chinese Ceramics & Works of Art. 16 Sep 09. New York.

A 'ge'-type vase, Qianlong seal mark and period (1736-1795)

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A 'ge'-type vase, Qianlong seal mark and period (1736-1795)

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Lot 217. A 'ge'-type vase, Qianlong seal mark and period (1736-1795); height 8 1/2 in., 21.5 cm. Estimate 60,000 — 80,000 USD. Lot sold 80,500 USD. Photo: Sotheby's.

of broad-shouldered baluster form, the tall waisted neck set with a pair of ruyi handles, covered overall with a bluish-gray glaze suffused with a broad matrix of gray and gold crackles.

ProvenanceSotheby's London, 12th July 2006, lot 134.

NoteQianlong vases of this form are rare although a very similar piece is illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, pp. 218-219, pl. 877, where the author notes that the light gray glaze with distinct dark-stained crackle found on the vase is generally considered to imitate 'Ge' ware of the Song dynasty although the identity of the ware is not yet resolved. Compare a similar vase sold in our London rooms, 10th June 1986, lot 291, and again in our Hong Kong rooms, 20th May 1987, lot 519.

Sotheby's. Fine Chinese Ceramics & Works of Art. 16 Sep 09. New York.

A large molded celadon-glazed bowl, Qianlong seal mark and period (1736-1795)

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A large molded celadon-glazed bowl, Qianlong seal mark and period (1736-1795)

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Lot 218. A large molded celadon-glazed bowl, Qianlong seal mark and period (1736-1795); diameter 13¼ in., 33.7 cm. Estimate 35,000 — 45,000 USD. Lot sold 80,500 USD. Photo: Sotheby's.

of deep U-shape rising to a flared lip, delicately molded to the exterior with large peony sprays accompanied by an assortment of flowers and fruits, including pomegranate, prunus, finger citron, peach, and pinks, the sea-green glaze applied throughout thinning to a white color at the rim, supported on a slightly tapered foot.

NoteCeladon-glazed bowls of this molded decoration are rare although a very similar example, from the collection of the Tsui Museum of Art, Hong Kong, and illustrated in the museum's catalogue The Tsui Art Museum, Hong Kong, 1991, cat. no. 127, was sold at Christie's Hong Kong, 3rd November 1996, lot 570. Compare another closely related bowl, also with a Qianlong reign mark and of the period, sold in our Hong Kong rooms, 27th April 1993, lot 86; and a third piece sold in these rooms, 23rd October 1976, lot 278.

Sotheby's. Fine Chinese Ceramics & Works of Art. 16 Sep 09. New York.

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