Lot 160. A superb greenish-white jade octagonal 'marriage' bowl, Qianlong period (1736-1795); 23.5cm (9 1/4 in) wide. Estimate £ 80,000 - 120,000 (€ 93,000 - 140,000). © Bonhams 2001-2019.

Deftly carved around the waisted exterior in shallow relief with archaistic taotie masks on a key-fret ground, the short neck with pendent plantain leaves and triangles on the mouth-rim, four handles in the form of acanthus leaves and auspicious lingzhi fungus suspending loose rings, all standing on four short spreading feet, the translucent stone of greenish white tone with some cloudy-white veins, zitan wood stand.

Provenance: an important English noble family, and thence by descent.

Note: This exceptionally lustrous and superbly carved jade bowl epitomises the highly skilled craftsmanship achieved at the height of the Qing dynasty, during the celebrated reign of the Qianlong emperor. Marriage bowls, sometimes referred to as water basins or brush washers, were popular vessels during the Qing period and were often decorated with auspicious designs that conveyed felicitous wishes upon the owners.

The superb 'marriage' bowl may have been commissioned to mark an Imperial birthday. Lingzhi fungi are associated with longevity as well as with the virtues of a good ruler as classical texts, such as the Shangshu Dazhuan 尚書大傳 and the Baihu Tong Delun 白虎通德論, compiled during the Han dynasty (206 BC - 220 AD) described the growth of lingzhi as a powerful indicator of good government. In addition, the taotie masks carved in shallow relief around the body of the present bowl, ubiquitous designs found on bronze ritual vessels of the Shang and Zhou dynasties (ca. 1600 BC - 314 BC), recall the Qianlong emperor's fascination with antiquity and archaism. Proposing to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance, the emperor instructed the court to collect drawings of antiquities, such as the Xi Qing Gu Jian (Catalogue of Xiqing Antiquities), which provided the Imperial craftsmen with a primary source of inspiration. See Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50.

Jade 'marriage' bowls of octagonal shape and flanked by four ring handles are extremely rare. A pale celadon jade octagonal 'marriage bowl', 18th/19th century, bearing a similar shape as the present bowl but flanked by two handles and carved around the exterior with cranes and pine trees, was sold at Christie's Hong Kong, 6 April 2015, lot 47.

A pale celadon jade octagonal 'marriage bowl', 18th-19th century, from the Yaogushanfang Collection. Sold for 1,840,000 HD at Christie's Hong Kong, 6 April 2015, lot 47.

Lot 197. A very rare Imperial chestnut-ground gauze silk summer 'dragon' robe, jifu, Qianlong period (1736-1795); 239cm (81 1/2in) wide x 139.1cm (54 6/8in) long. Estimate £ 50,000 - 80,000 (€ 58,000 - 93,000). 

The vibrant chestnut ground worked in counted stitch and couched gold threads with nine five-clawed dragons pursuing flaming pearls on the front and back panels, the shoulders and the underflap, all on a ground of multi-coloured trialing clouds interspersed with floral sprays and bats suspending beribboned emblems, all above a finely-drawn border of turbulent waves tossed with further ruyi clouds and craggy rocks issuing peony sprays and gnarled peach-laden branches, with matching blue-ground borders at the collar and cuffs embellished with striding dragons and other related motifs, the extensions of matching pale chestnut gauze, with golden buttons. 

Provenance: Linda Wrigglesworth Ltd., London, 1995
An Australian private collection.

CLOTHED FOR LONG LIFE:
THE POWER OF FLOWERS AT THE COURT OF THE QIANLONG EMPEROR
Linda Wrigglesworth

Brilliantly embroidered on both sides in fine counted stitch with nine resplendent dragons worked in metallic gold thread and interspersed with trailing ruyi clouds and colourful sprigs of blossoming flowers, the present robe is a spectacular testament to the highest standards achieved in silk embroidery by the Imperial Workshops during the 18th century.

Brown-ground jifu robes are among the rarest surviving examples of Imperial garments manufactured during the Qing dynasty, especially when complete with all their original parts including the neck edgings, cuffs, sleeve extensions, brocade ribbon borders and inner edging panels, such as the present robe.

Tailored in a delicate silk gauze, this robe would have been certainly worn during the warmer months of the year and possibly by the Qianlong emperor himself (1735-1795) or a very high-ranking member of the Imperial family of Princely rank, on the occasion of a felicitous event. Ever since the earliest times in China, dragons were regarded as intermediaries between Heaven and Earth and empowered with extraordinary abilities that compared with those of the emperors. In addition, the chestnut-colour, referred to in Chinese as jiang, written in two characters interchangeably meaning either 'dark red' or 'sauce', was referred to in the 'Illustrated catalogue of all the Ceremonial Trappings of the Imperial Court' Huangchao liqi tushi, edited in 1759, as one of the 'Five Imperial Yellows' that could be worn by the emperor's sons and first rank's princes but also the emperors when visiting their mothers or retiring in their private quarters (See note 1). See a Court painting in the collection of the Denmark National Museum in Copenhagen (acc.no.B.5396), Qianlong period, depicting a Prince wearing a related fur-lined brown-ground dragon robe. A further example of a related yellow-brown-ground silk dragon robe, Qianlong, from the Qing Court Collection, is illustrated in The Complete Collection of Treasures of the Palace Museum: Costumes and Accessories of the Qing Court, Hong Kong, 2005, p.61, no.35.

The present robe is particularly unusual for the details embroidered amongst the cloud scrolls, including abundant branches of ripened peaches, marigold issuing from craggy rocks. These subjects suggest that the garment may have been worn by the Qianlong emperor during one of his birthday celebrations. Possibly China's most auspicious fruit, the peach was regarded as a powerful omen of longevity and happiness. The poet Tao Qian (365-427) referred to a peach orchard as a paradisiacal dimension discovered through the crevices of a rock, and the popular novel 'Journey to the West', Xiyou Ji, compiled during the 16th century, mentioned the 'peaches of immortality' which grew in the garden of the Queen Mother of the West, Xi Wangmu, once every three thousand years (See note 2). Combined with bats hovering above the billows, also depicted on the present robe, peaches growing from the cliffs rising from the wave border convey the birthday greeting 'May your blessing be as deep as the Southern Mountains' (See note 3). The wish is reinforced by the inclusion of sprays of marigold rising from the rocks below the profile dragons on the skirt. This exotic late 16th/early 17th century import from Mexico was admired for its bright yellow and orange blossoms that were reminescent of the emperor's restricted colours. The Chinese name for marigold, wanshouju, literally 'chrysanthemum of ten thousand longevities', was often utilised as a pun to wish the emperor a long life (See note 4).

Compare with a similar chestnut gauze robe, Qianlong, which was sold at Christie's Hong Kong, 28 May 2014, lot 3345. See also a related Imperial brown kesi princely 'Dragon' robe, jifu, 18th century, which was sold at Sotheby's Hong Kong, 8 October 2013, lot 3088.

A very rare Imperial chestnut embroidered gauze dragon robe, mangpao, Qianlong period (1736-1795); 56 in. (142.2 cm.) long x 82 in. (208.3 cm.) wide. Sold for 1,600,000 HKD at Christie's Hong Kong, 28 May 2014, lot 3345. Image courtesy Christie's.

A rare Imperial brown kesi princely ‘Dragon’ robe, jifu, Qing dynasty, 18th century; length 139.7 cm., 55 in. width  196.4 cm., 77 1/4  in. Sold for 1,240,000 HKD at Sotheby's Hong Kong, 8 October 2013, lot 3088. Photo: Sotheby's.

Cf. my post: A rare Imperial brown kesi princely ‘Dragon’ robe, jifu, Qing dynasty, 18th century

Bonhams. Fine Chinese Art, London, 16 May 2019 

Lot 26. A blue-glazed altar vessel and cover, Dou, Impressed Jiaqing seal marks and of the period (1796-1820);26cm (10 1/4in) high. Estimate £8,000 - 12,000 (€ 9,300 - 14,000). © Bonhams 2001-2019

The vessel moulded in shallow relief with bands of archaistic motifs including overlapping lappets and 'C' curls, the domed cover surmounted by a double-rope-twist loop handle, both covered inside and out with a lustrous glaze of vibrant indigo-blue tone, covering the impressed seal marks inside the foot and cover. 

Note: Just before the Winter Solstice sacrifice that was scheduled to held in the Temple of Heaven in 1748, the emperor Qianlong issued an Imperial command regarding sacrificial vessels. 'The Altar to Heaven main offering table dou [vessel] is blue porcelain...The handle on the top is like a twisted rope.' This was the first time that blue porcelain vessels were used and it became a precedent for these sacrificial rites for the rest of the Qing dynasty. See For Blessings and Guidance: The Qianlong Emperor's Design for State and Sacrificial Vessels, Hong Kong, 2019, p.75, where a similar blue-glazed dou, Jiaqing seal marks and of the period is illustrated, pp.156-157. 

Compare with a related blue-glazed dou, Jiaqing seal mark and of the period, which was sold at Christie's New York, 22-23 March 2018, lot 785.

A blue-glazed stem bowl and cover, Dou, Jiaqing six character impressed seal marks and of the period (1796-1820); 9 ¾ in. (14.5 cm.) high. Sold for 21,250 USD at Christie's New York, 22-23 March 2018, lot 785. Image courtesy Christie's.

 Bonhams. Fine Chinese Art, London, 16 May 2019 

Lot 27. An aubergine-glazed incised 'dragon' dish, Kangxi six-character mark and of the period (1662-1722); 25cm (9 7/8in) diam. Estimate £ 3,000 - 5,000 (€ 3,500 - 5,800). © Bonhams 2001-2019

Finely potted with shallow rounded sides rising from a slightly tapered foot to an everted rim, deftly incised with two dragons around the cavetto striding in pursuit of a flaming pearl, the reverse similarly incised with two dragons chasing a pearl, applied overall with a brilliant aubergine glaze partly running over the footring, box. 

Provenance: Jorge Welsh Ltd., London (label)
An English private collection.

Note: A closely related example is illustrated in Kangxi Porcelains from the Shanghai Museum Collection, Hong Kong, 1998, pl.224; another is published in Chinese Porcelain: The S.C. Ko Tianminlou Collection, Hong Kong, 1987, vol.1, Hong Kong, 1987, pl.144; and a third dish was included in the exhibition Chinese Ceramics: The Koger Collection, John and Mable Ringling Museum of Art, Sarasota, 1985, no.172, where it is suggested that this vibrant purplish glaze was an innovation of the late Kangxi period.

Lot 28. A mirror-black-glazed bottle vase, Kangxi period (1662-1722); 18.5cm (7 1/4in) high. Estimate £ 4,000 - 6,000 (€ 4,600 - 6,900). © Bonhams 2001-2019

Well potted with a pear-shaped body supported on a straight foot, tapering to a slender trumpet neck rising to an everted rim, covered overall with a lustrous black glaze, wood stand.

Provenance: Sydney L. Moss Ltd., London, 21 March 1968
A distinguished English private collection, and thence by descent.

Lot 29. A rare pair of turquoise-glazed Jardinières, 18th century. Each 15.6cm (6 2/8in) wide. Estimate £ 25,000 - 35,000 (€ 29,000 - 41,000). © Bonhams 2001-2019

Each jardiniere of quatrefoil section moulded as a begonia flower with four lobed sides raising from a short foot encircling a recessed base, the body incised with a continuous band of archaistic interlocking chilong on a leiwen ground, covered overall in an even brilliant turquoise glaze, the bases affixed with Imperial inventory labels reading, respectively, 'Place of Virtue, no.15' and 'Imperial no.1739'.

Provenance: Francis Capel Harrison (1863-1938), King's Lynn, Norfolk, acquired between 1900-1903 (label)
Bonhams London, 10 July 2006, lot 200
A distinguished English private collection.

Exhibited: Ashmolean Museum, Oxford, December 1903 (label).

Note: Francis Capel Harrison served as a long-standing civil servant in India (1884-1911). In his later years he was appointed Head Commissioner of Paper Currency, before returning to London where he became a Member of Parliament and a correspondent for the Economic Journal. Much of his collection, including the present pair of jardinières, was exhibited at the Ashmolean Museum, Oxford in and after 1903 and for about twenty years, prior to 130 pieces being sold by Bluett's in 1925. He acquired objects from Sparks as well as Bluett's. See R.David and D.Jellinek, Provenance, Oxford, 2011, p.223.

The present lot is very rare for its use of the prized turquoise glaze also known as 'peacock blue'. See a related circular jardinière covered with turquoise glaze, Yongzheng seal mark and of the period, illustrated in Catalog of the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain ware from the Ch'ing dynasty in the National Palace Museum, Taipei, 1986, p.86, no.53.

Lot 30. A ge-type crackle-glazed bowl, Qing Dynasty; 25cm (9 7/8in) diam. Estimate £ 2,500 - 3,500 (€ 2,900 - 4,100). © Bonhams 2001-2019

Sturdily potted with deep curving walls rising from a short straight foot, the pale grey-green glaze displaying dark grey and golden-brown crackles.

Provenance: a European private collection.

Lot 31. A large teadust-glazed pear-shaped vase, Impressed Qianlong seal mark and of the period (1736-1795);33cm (13in) high. Estimate £ 40,000 - 60,000 (€ 46,000 - 69,000). © Bonhams 2001-2019

The compressed pear-shaped body rising from a spreading foot and tapering to a tall cylindrical neck, all covered with an evenly-mottled dark yellow-green glaze stopping at the foot, the base with the impressed seal mark.

Provenance: Sotheby's London, 12 and 13 July 2006, lot 161
The Inder Rieden Collection
Bonhams London, 10 November 2011, lot 66.

Note: The present vase is notable for its lustrous and rich tea-dust glaze which was inspired by the patina characterising archaic bronzes. The distinctive glaze type, first occurring during the Tang dynasty (618-907), was revived on Imperial wares of the 18th century during the Yongzheng and Qianlong reign. The finer tea-dust-glazed products of this period were linked to Tang Ying (1682-1756), the illustrious supervisor at Jingdezhen. Entering the Imperial Household Department in Beijing at the age of 16, he had close control of the imperial kilns until 1756. His 'Commemorative Stele on Ceramic Production' Taocheng jishi bei ji (陶成紀事碑記), compiled in 1735, treated 57 types of porcelain wares, including the 'tea-dust' wares, which are mentioned among the 40 types of monochrome glazes as existing in three variants: eel-skin yellow, snake-skin green, and speckled yellow. This type of glaze was achieved through the precipitation of yellow crystals that stood out against the dark green background, producing the resulting chayemo (茶葉末) or 'tea-leaf dust' effect, which gave a rather rich and velvety appearance to the glaze.

Compare with a closely related vase, Qianlong seal mark and of the period, from the Meiyintang Collection, illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol.2, no.936; another example, Qianlong seal mark and of the period, in the Victoria and Albert Museum, London, is illustrated by R.Kerr, Chinese Ceramics: Porcelain of the Qing Dynasty 1644-1911, London, 1986, pl.25. 

Porcelain vase with 'tea dust' green glaze, Qianlong period (1736-1795), Jingdezhen, Height: 33.3 cm. Museum number: 735-1883. © Victoria and Albert Museum, London.

Two teadust-glazed vases, Qianlong seal mark and of the period, of similar shape to the present one, were sold at Sotheby's New York, 20 March 2018, lot 437 and Sotheby's Hong Kong, 3 October 2017, lot 3665; a further example was sold at Christie's New York, 17th March 2017, lot 1245.

From the Collection of Gerson and Judith Leiber. A fine teadust-glazed bottle vase, Qianlong seal mark and period (1736-1795). Height 13 in., 33 cm. Sold for 75,000 USD at Sotheby's New York, 20 March 2018, lot 437. Photo Sotheby's.

A fine teadust-glazed bottle vase, incised seal mark and period of Qianlong (1736-1795), 33.8 cm, 13 3/8  in. Sold for 1,687,500 HKD at Sotheby's Hong Kong, 3 October 2017, lot 3665. Photo: Sotheby's.

 Cf. my post: A fine teadust-glazed bottle vase, incised seal mark and period of Qianlong

A teadust-glazed vase, Qianlong impressed six-character seal mark and of the period (1736-1795); 13 in. (33 cm.) high. Sold for 247,500 USD at Christie's New York, 17th March 2017, lot 1245. Image courtesy Christi'es.

Lot 32. A red-glazed bottle vase, Daoguang seal mark and of the period (1821-1850); 16.5cm (6 1/2in) high. Estimate £ 25,000 - 35,000 (€ 29,000 - 41,000). © Bonhams 2001-2019

Of elegant baluster form, rising from a countersunk base to a tall gently-flaring cylindrical neck, the exterior with a rich raspberry-red glaze thinning at the mouth and pooling to a darker tone around the foot, the base and interior white, box.

Note: Compare with a very similar red-glazed vase, Daoguang seal mark and of the period, illustrated by Ethereal Elegance: Porcelain Vases of the Imperial Qing, The Huaihaitang Collection, Hong Kong, 2011, pp.104-105, no.11.

See also a similar but larger red-glazed vase, Daoguang seal mark and of the period, which was sold at Sotheby's Hong Kong, 5 April 2017, lot 3707.

A fine sacrificial-red glazed bottle vase, Seal mark and period of Daoguang (1821-1850), 29.7 cm, 11 5/8  in. Sold for 400,000 HKD at Sotheby's Hong Kong, 5 April 2017, lot 3707. Photo: Sotheby's.

Cf. my post: A fine sacrificial-red glazed bottle vase, Seal mark and period of Daoguang (1821-1850)

 Bonhams. Fine Chinese Art, London, 16 May 2019

Lot 33. A rare carved biscuit porcelain 'bamboo' tool holder, Signed Chen Guozhi, 19th century; 7.7cm (3 1/8in) high. Estimate £ 1,000 - 2,000 (€ 1,200 - 2,300). © Bonhams 2001-2019

Deftly and naturalistically formed in the shape of a hollowed bamboo tube with nodules and incised grain on the rims, finely carved around the exterior with three goldfish in low relief amidst finely incised water plants, box.

Provenance: an English private collection.

Note: Chen Guozhi 陳國治 (circa 1820-1860) was a native of Qimen, Anhui Province, and was renowned for his ability to carve designs on porcelain with the intricacy and elegance of those found on paintings. He was active during the Daoguang and Xianfeng reigns. The unique quality of Chen's workmanship was described as similar to 'carved porcelain bottles with the technique of a painter...just as they might appear in an album of paintings done by the Song-era Painting Academy... although there are others who try to imitate his work, no one ever manages to match it.' See H.Moss, V.Graham, and K.B.Tsang, A Treasury of Chinese Snuff Bottles. The Mary and George Bloch Collection. Vol.6. Part 3. Arts of the Fire, Hong Kong, 2008, pp.759-762.

Lot 34. A very rare carved biscuit porcelain 'Eight Horses of Muwang' brushpot, bitong, Signed Liang, 19th century; 16cm (6 1/4in) high. Estimate £ 5,000 - 8,000 (€ 5,800 - 9,200). © Bonhams 2001-2019

Of cylindrical form naturalistically modelled imitating bamboo with pin-prick marks on the rim, intricately and deftly carved around the body in various levels of relief with a continuous scene of eight horses and five grooms within a mountainous riverscape with rocky outcrops, pine trees and finely incised waterfalls, wood stand.

Provenance: Kaynes-Klitz collection, no.4 (label)
An English private collection.

Note: Michael J. Kaynes was an official in the Hong Kong government from 1962. He quickly formed a good collection of snuff bottles and Chinese porcelain of the early Republic period. With Hugh Moss, he established the Chinese Snuff Bottle Society in Hong Kong, which published a magazine. A group of his ceramics was selected by Anthony Evans for inclusion in an exhibition of 20th century porcelain in The Hague, Van Keizerrijk tot Volksrepubliek, 1986. 

The elaborate yet delicate landscape carving style, as exemplified by the present brushpot, suggests it was carved by a contemporary of one of the great craftsmen of the time, such as Chen Guozhi 陳國治 (circa 1820-1860). Chen was a native of Qimen, Anhui province, and was renowned for his ability to carve designs on porcelain with the intricacy and elegance of those found on paintings. 

Compare with a related biscuit porcelain relief-carved brushpot of similar style, Daoguang seal mark and of the period, which was sold at Bonhams London, 6 November 2014, lot 192. See also a related ivory brushpot, carved with a similar design, which was sold at Sotheby's Hong Kong, 29-30 November 2018, lot 522, indicating that like the present lot, it probably depicted a design after the same woodblock print.

A very rare biscuit porcelain relief-carved brushpot, bitong, Daoguang seal mark and of the period (1821-1850); 13.3cm (5 1/4in) high. Estimate £ 40,000 - 60,000 (€ 46,000 - 69,000) at Bonhams London, 6 November 2014, lot 192.

Finely and meticulously modelled on the exterior with a small figure of a scholar holding a ruyi sceptre together with an attendant admiring a flock of three sheep, all within a continuous landscape formed of heaped mountains and lofty pine and wutong trees with a few dwellings scattered in the distance and path leading down to a broadly flowing river, an inscription above the river, the creamy biscuit left unglazed and the base slightly recessed, fitted box. 

Provenance: purchased by Sydney L.Moss Ltd. from S.Marchant and Son, London 1964
An English private collection
Bonhams London, sold in these Rooms on 10 July 2006, lot 186.

Note: The poem reads:
'Shi zai zhongxia xie yu Changjiang Zhushan 
ke ci xie wei Chi Shi Cheng Yang Tu' 

時在仲夏寫於昌江珠山
客次書為叱石成羊圖

which may be translated as: 
'Written in mid-summer while a guest at Changjiang Zhushan, 
Inscribed for the painting entitled 'Chi shi cheng yang tu' (Turning the Stones into Goats by Shouting).'

The scene on the present lot refers to a Daoist legend recorded in the Shenxian zhuan or Biography of Immortals, by Ge Hong (284-363), which tells of a young shepherd called Huang Chuping from Danxi, Jinhua, who disappeared whilst herding his sheep. His elder brother Huang Chuqi searched all over for him, to no avail, until forty years later he heard from a Daoist priest about a shepherd on Jinhua Mountain, who was indeed his long-lost brother. When the two brothers met again, Chuping explained that he had followed an Immortal and become Immortal himself. Chuqi then asked about his flock, and Chuping said that they were in front of the cave. Chuping looked but saw only white rocks, until he happened to shout, at which the rocks suddenly became sheep. Chuqi realised that his brother was indeed an Immortal, and the phrase chi shi cheng yang (turning stones into goats by shouting) came to used to describe miraculous events. 

In its carving style and subject matter, the present lot can be closely related to a group of carved porcelain brushpots attributed to the master Chen Guozhi, who worked at Jingdezhen during the early 19th century. Both in their style and attribution, the works of Chen Guozhi and other masters such as Wang Bingrong represent a blurring of the distinctions between artist and craftsman, and the signatures found on a number of such pieces serve to claim a position for the potter closer to that of a recognisable artist then an anonymous craftsman. Indeed it is perhaps possible to discern the hand of Chen Guozhi in the inscription on the present lot: the writing style is very similar to that on a snuff bottle in the James and Julie Li Collection, and which also records the artist sojourning at Zhushan: see H.Moss, V.Graham and K.B.Tsang, The Art of the Chinese Snuff Bottle: The J&J Collection, New York, 1993, pl.251. 

It is extremely unusual to find a brushpot such as the present lot with an Imperial seal; one example with a brownish-yellow glaze, Daoguang seal mark and of the period, gifted by Mr A.K.W.Cheung and now in the Art Museum, Chinese University of Hong Kong, is illustrated by T.Miller and H.Hui, Elegance in Relief: Carved Porcelain from Jingdezhen of the 19th to Early 20th Centuries, Hong Kong, 2006, no.6; and a four-character Daoguang mark can be found on a related brownish-yellow-glazed brushpot imitating bamboo, illustrated in The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, Shanghai, 1999, no.49. See also the brownish-yellow brushpot from the Baur Collection dated to AD 1848 illustrated by T.Miller and H.Hui, Elegance in Relief: Carved Porcelain from Jingdezhen of the 19th to Early 20th Centuries, Hong Kong, 2006, no.3., which shows a similarly exuberant yet detailed treatment of the incised mountains. 

For two other examples from the Daoguang period, combining the Chen Guozhi signature and the Daoguang reign period, see a turquoise-glazed brushpot with the seal mark Da Qing Daoguang Chen Guozhi zhi in the Baur Collection and illustrated by J.Ayers, The Baur Collection, Geneva: Chinese Ceramics, Vol.Four, Painted and Polychrome Porcelains of the Ch'ing Dynasty, Geneva, 1974, no.A.658; and another by T.Miller and H.Hui, Elegance in Relief: Carved Porcelain from Jingdezhen of the 19th to Early 20th Centuries, Hong Kong, 2006, no.2 (from the Collection of the Shanghai Museum, dated to 1847).

A finely carved ivory 'Horses of Mu Wang' brushpot, Qing dynasty, 18th – 19th century; 16.8 cm, 6 5/8  in. Sold for 437,500 HKD at Sotheby's Hong Kong, 29-30 November 2018, lot 522. Photo Sotheby's.

of cylindrical form, the exterior deftly carved in relief with eight horses and five groomsmen in a riverside landscape set with jagged rocks and knotted pine trees, four groomsmen hauling horses by the river while another holds a bucket feeding a horse, the ivory patinated to a warm honey tone, wood stand. Estimate 100,000 — 150,000 HKD.

Provenance: Hugh Moss, London, by repute.
An eminent English collection.

Note: In its outstanding use of three-dimensional modelling, the present brushpot bears testament to Qing-dynasty ivory carvers' aspiration to parallel the naturalistic artisanship developed by renowned bamboo carvers from the Jiading School in the early 18th century.

The scene depicts groomsmen attending to the legendary eight horses of Mu Wang. It is said that Mu Wang travelled around his kingdom in a chariot drawn by eight mighty horses in search of the heavenly paradise. The eight horses were all given a distinctive name and were eventually liberated from their harnesses and let out to graze after many years of faithful service to the king.

A bamboo brushpot depicting the same subject, dated to early Qing dynasty and now preserved in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carving, Hong Kong, 2002, pl. 33, could be a prototype or direct source of inspiration to the present ivory brushpot, as demonstrated by its close composition arrangement and similar treatment to the tree bark with characteristic deep swirling knots and a scaled surface.

The present ivory brushpot is fashioned with a sunken ground where figural and landscape sections are modelled in the round with undercutting, a technique noted by Wang Shixiang in Bamboo Carving in China, New York, 1983, p. 36, as originated from bamboo artisans transferring their skills to the carving of ivory. An ivory brushpot depicting a scene of rural life rendered in this technique, from the Irving collection, is included in Craig Clunas, Chinese Ivories from the Shang to the Qing, London, 1984, pl. 176.

Compare also two ivory examples from the Simon Kwan collection, attributed to the Qianlong – Jiaqing periods and sharing remarkable similarities in their figural modelling, illustrated in Simon Kwan, Chinese Ivories from the Kwan Collection, Hong Kong, 1990, pls 120 and 122.

Lot 5. Giorgio Morandi (1890-1964), Natura morta, signed 'Morandi' (lower left), oil on canvas, 10 1/8 x 16 in. (25.7 x 40.6 cm.) Painted in 1955. Estimate USD 500,000 - USD 700,000. Price realised USD 1,695,000. © Christie's Image Ltd 2019.

Lot 54. Nicolas de Staël (1914-1955), Ciel, signed 'Staël' (lower right); signed again and dated 'Staël 1953' (on the reverse), oil on canvas, 39 ¼ x 28 ¾ in. (100 x 73 cm.) Painted in 1953. Estimate USD 300,000 - USD 500,000. Price realised USD 1,335,000. © Christie's Image Ltd 2019.

Lot 326. Thai Ruby and diamond parure. Estimate 400,000 — 600,000 CHF. Courtesy Sotheby's

Comprising: a necklace with cushion-shaped and oval rubies, highlighted with circular-cut and oval diamonds, length approximately 425mm; a bracelet, length approximately 180mm; and a pair of earrings of cluster design, each set with an oval ruby, pear-, marquise-shaped and oval diamonds, post and clip fittings.

Accompanied by Gübelin report no. 0002012, no. 0002013, and no. 20002014, each stating that the rubies are of Thai origin, with indications of heating.

Lot 271. Sapphire, ruby and diamond necklace, Bulgari, 1950s. Estimate 350,000 — 450,000 CHF. Lot Sold 437,500 CHF. Courtesy Sotheby's

Designed as four graduated rows of cabochon rubies, brilliant-cut and baguette diamonds supporting a fringe of tumbled, faceted and fluted sapphires, length approximately 380mm, unsigned.

Accompanied by a gemmological report and an invoice from Bulgari. Accompanied by a certificate of authenticity from Amanda Triossi.

Lot 320. Diamond and opal demi-parure, 'Pig' from the Animal World collection, Chopard. Estimate 300,000 — 500,000 CHF. Lot sold 350,000 CHF. Courtesy Sotheby's

The detachable pendant designed as a pig pavé-set with brilliant-cut diamonds of pink tint, supporting four briolette diamonds, the eyes highlighted with cabochon tourmalines, on a row of pink opal beads measuring from approximately 14.95 to 7.55mm, decorated with swirl motifs set with brilliant-cut diamonds of pink tint, length approximately 940mm, and a pair of earrings, collapsible post and hinged back fittings, sautoir and pendant signed Chopard, pair of earrings and pendant numbered, accompanied by a pouch, fitted case and box stamped Chopard, and the Animal World book by Chopard.

Please note that the diamonds of pink tint have not been tested for natural colour.

Literature: Cf.: Chopard, Animal World, 2013, for an illustration of the sautoir.

Lot 423. Impressive Burmese ruby and diamond necklace. Estimate 300,000 — 600,000 CHF. Lot sold 350,000 CHF. Courtesy Sotheby's

Set with oval rubies, brilliant-cut and pear-shaped diamonds, supporting a detachable pendant centering on a cushion-shaped ruby weighing 20.43 carats, length approximately 440mm, signed Athenia.

Accompanied by SSEF report no. 105715, stating that the necklace contains rubies of Burmese origin, with indications of heating and a moderate amount of residue in fissures. 

Lot 351. Natural pearl and diamond necklace, 19th century and later. Estimate 200,000 — 300,000 CHF. Lot sold 250,000 CHF. Courtesy Sotheby's

Designed as a graduated line of button shaped pearls suspending a fringe of natural pearl drops measuring from approximately 12.90 x 14.00 x 17.00mm to approximately 9.45 x 9.80 x 12mm, accented with rose diamonds, inner circumference approximately 380mm.

Accompanied by SSEF report no. 106333, stating that the nineteen drop-shaped pearls, were found to be natural, saltwater. 

David Bennett lors de la vente du collier de Hélène Beaumont

Genève, 14 mai 2019 – Ce soir, 25 ans après avoir fait sa première apparition aux enchères, un chef-d’œuvre de haute joaillerie a réalisé un prix historique pour un collier Art Décochez Sotheby’s Genève. Créé en 1930 pour Hélène Beaumont, figure de la haute société américaine et amie de la Duchesse de Windsor, ce magnifique collier en diamants et émeraudes a atteint 3.620.000 CHF / 3.593.900 $ – le double du prix atteint lors de sa première vente aux enchères en 1994 [Le collier avait été adjugé 1.653.500 CHF (1.167.730 $) lors de sa première apparition aux enchères chez Sotheby’s Genève le 18 mai 1994, dans le cadre de la vente des bijoux de Madame Hélène Beaumont (est. 1,3-1,95 millions CHF)] (lot 448, est. 3-4 millions CHF/$).

Lot 448. From the Collection of Hélène Beaumont (1894 - 1988). Magnificent and highly important Colombian emerald and diamond necklace, circa 1935. Estimate 2,985,000 — 3,980,000 CHF. Lot sold 3.620.000 CHF / 3.593.900 $. Courtesy Sotheby's.

Cf. my post: Deux chefs-d'oeuvre emblématiques de deux périodes clés de l'histoire de la joaillerie chez Sotheby's Genève

Suite aux résultats historiques de la collection Bourbon Parme en novembre dernier (enchère record pour une collection de bijoux anciens), la vente d’aujourd’hui a également confirmé l’attrait universel des bijoux provenant de prestigieuses collections. Outre le collier d’Hélène Beaumont, un diadème en diamants créé par Fabergé a atteint 437.500 CHF (434.346 $) (lot 412, est. 200.000 – 300.000 CHF/$). Le bijou avait été offert par sa famille russe à la Duchesse Cecilie de Mecklenburg-Schwerin (1886-1954), à l’occasion de son mariage au prince héritier Guillaume (1882-1951), fils de l’Empereur Guillaume II, à Berlin en 1905.

Lot 412. From the Collection of Her Imperial and Royal Highness Cecilie The German Crown Princess and Crown Princess Of Prussia, Duchess Of Mecklenburg-Schwerin. Diamond tiara, attributed to Fabergé, circa 1903. Estimate 200,000 — 300,000 CHF. Lot sold 437.500 CHF (434.346 $). Courtesy Sotheby's.

Cf. my post: Deux chefs-d'oeuvre emblématiques de deux périodes clés de l'histoire de la joaillerie chez Sotheby's Genève

La vente de Haute Joaillerie d’aujourd’hui, remarquable par le grand nombre de pièces signées qu’elle comprenait (la moitié des lots), s’est conclue sur un montant total de 42.350.800 CHF (42.045.451 $), avec près de 80% des lots vendus et près de 60 % d’entre eux atteignant des prix au-dessus des estimations hautes.

S’exprimant à l’issue de la vente, David Bennett, Président du Département des ventes de Haute Horlogerie de Sotheby’s, a commenté: « La vente de ce soir atteste de l’immuable attrait des bijoux Art Déco dont l’influence n’a cessé de se faire sentir au cours du siècle passé. Le collier d’Hélène Beaumont est le « Chrysler Building » de la joaillerie, instantanément reconnaissable comme un chef-d’œuvre Art Déco et selon moi, le plus beau collier en émeraudes et diamants de cette époque. J’ai eu l’immense privilège de présider à sa vente il y a un quart de siècle et le résultat historique réalisé ce soir est une nouvelle preuve de son intemporelle beauté».

Le Collier d’Hélène Beaumont

Onze émeraudes colombiennes hors-pair, d’un total de plus de 75 carats et parfaitement assorties en taille et en couleur, composent ce collier d’exception. Alliées aux magnifiques diamants et au style Art Déco, elles font de ce collier l’un des plus beaux bijoux du XXème siècle.

Tout laisse à croire que ce collier non signé– ce qui n’était pas inhabituel à l’époque – a été créé par Van Cleef & Arpels, l’un des joailliers favoris d’Hélène Beaumont.

Succès des Bijoux Art Déco

D’autres bijoux Art Déco ont largement dépassé leurs estimations. Une paire de boucles d’oreilles Art Déco, serties d’émeraudes de Colombie taille coussin pesant 17,01 et de 17,71 carats, ont réalisé 980.000 CHF / 972.934 $ (Lot 413, est. 800.000 – 1,4 millions CHF/$). Un bracelet Cartier en corail et diamants de 1933 a doublé son estimation haute et atteint 150.000 CHF / 148.918 $ (Lot 417, est. 53.000 – 60.000 CHF/$).

Lot 413. Property from a Royal Collection. Superb pair of 17.01 and 17.71 carats Colombian emerald and diamond pendent earrings. Estimate  800,000 — 1,400,000 CHF (802,992 - 1,405,236 USD). Lot sold 980.000 CHF / 972.934 $. Courtesy Sotheby's.

Cf.my post: Superb pair of emerald and diamond pendent earrings

Lot 417. Coral and diamond bangle, Cartier, 1933. Estimate  53,000 — 60,000 CHF. Lot sold 150.000 CHF / 148.918 $. Courtesy Sotheby's.

The bangle applied with black lacquer, the terminals highlighted with rectangular motifs set with single-cut diamonds and polished coral, further highlighted with circular-, single-cut, baguette and square-cut diamonds, inner circumference approximately 170mm, signed Cartier, numbered, French assay mark for platinum and maker's mark. 

Autres lots phares de la vente

Un diamant de 36,57 carats taille brillant, D Colour et Type IIa, s’est vendu 5.047.800 CHF / 5.011.405 $ (Lot 443, est. 4,5 – 5,5 millions CHF/$). 

Lot 443. Diamond ring, round brilliant-cut diamond weighing 36.57 carats, D colour, VVS1, excellent polish and symmetry. Estimate 800,000 — 1,200,000 CHF. Lot sold 5,047,800 CHF / 5.011.405 $. Courtesy Sotheby's.

Cf. my post: Deux chefs-d'oeuvre emblématiques de deux périodes clés de l'histoire de la joaillerie chez Sotheby's Genève

Une bague Bulgari ornée d’un magnifique rubis birman de 5,14 carats a suscité l’engouement de la salle et obtenu un prix final de 1.700.000 CHF / 1.687.743 $ (Lot 431, est. 1,25 – 1,35 millions CHF/ $).

 Lot 431. Important 5.14 carats Burmese 'pigeon blood' ruby and diamond ring, Bulgari. Estimate  1,250,000 — 1,350,000 CHF (1,254,675 - 1,355,049 USD). Lot sold 1.700.000 CHF / 1.687.743 $. Courtesy Sotheby's.

Cf. my post: Important ruby and diamond ring, Bulgari

Une paire de boucles d’oreilles en diamants, chacune serti de diamants taille coussin de 33,25 carats et de 33,88 carats a dépassé les estimations et atteint 1.400.000 CHF / 1.389.906 $ (Lot 422, est. 1,15 – 1,5 millions CHF/$).

Lot 422. Spectacular pair of 33.25 and 33.88 carats diamond earrings. Estimate  1,150,000 — 1,500,000 CHF (1,154,301 - 1,505,610 USD). Lot sold 1.400.000 CHF / 1.389.906 $. Courtesy Sotheby's.

Cf. my post: Spectacular pair of diamond earrings

De provenance aristocratique, une bague ornée d’une superbe émeraude colombien pesant 11,55 carats, a trouvé preneur pour 692.000 CHF / 687.011 $ (Lot 442, est. 500.000 – 800.000 CHF/$). 

Lot 442. Fine 11.55 carats Colombian emerald and diamond ring. Estimate  800,000 — 1,400,000 CHF (802,992 - 1,405,236 USD). Lot sold 692.000 CHF / 687.011 $. Courtesy Sotheby's.

Cf. mypost: Fine emerald and diamond ring

Un sublime saphir du Cachemire pesant 8,35 carats a été acquis pour 644.000 CHF / 639.357 $ (Lot 446, est. 450.000 – 650.000 CHF/$). 

Lot 446. 8.35 carats Kashmir Sapphire and diamond ring. Estimate 450,000 – 650,000 CHF. Lot sold 644,000   CHF. Courtesy Sotheby's.

Cf. my post: Deux chefs-d'oeuvre emblématiques de deux périodes clés de l'histoire de la joaillerie chez Sotheby's Genève

Se démarquant par ses émeraudes délicatement sculptées représentant des grappes de raisin, ce magnifique collier en émeraudes et diamants créé par la maison Janesich dans les années 1920 a réalisé 312.500 CHF / 310.247 $ (Lot 430, est. 250.000 – 350.000 CHF / $).

Lot 430. Emerald and diamond necklace, Janesich, circa 1920. Estimate 250,000 – 350,000 CHF. Lot sold 312,500 CHF. Courtesy Sotheby's

Cf. my post: Deux chefs-d'oeuvre emblématiques de deux périodes clés de l'histoire de la joaillerie chez Sotheby's Genève