A famille-verte ‘Peach and Longevity’ dish, Mark and period of Kangxi. Photo Christie's Image Ltd 2014

sturdily potted with shallow rounded sides rising from a tapered foot to a slightly everted rim, brightly enamelled on the interior with a large pale mindaro peach with a brownish-peach tip borne on a branch issuing lanceolate leaves of varying degrees of green, inscribed on the fruit with the gilt-characters wan shou ('Longevity'), the exterior similarly painted with three peach sprays with shou characters in gilt, the countersunk base inscribed in underglaze blue with a six-character reign mark within a double-circle; 29.1 cm., 11 1/2 in. Estimate 500,000 — 700,000 HKD

Provenance: Acquired before 1984.
Sotheby’s Hong Kong, 8th April 2011, lot 3158

Note: Dishes of this design are rare although one in the Palace Museum, Beijing, is illustrated in Kangxi. Yongzheng. Qianlong. Qing Imperial Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 70, pl. 53; another from the Sir Percival David collection, and now in the British Museum, London, is published in Oriental Ceramics. The World's Great Collections, vol. 6, Tokyo, 1982, pl. 218; and a third example was sold in our London rooms, 5th December 1995, lot 306.

Dishes of this type were made for the Kangxi emperor as ten thousand longevities could only be designated for the emperor and empresses of China. Wanshou, which means 'ten thousand longevities', written inside a peach represents the wish, 'May the immortal peach grant you longevity (wanshou wujiang)'.

Sotheby's. Fine Chinese Ceramics and Works of Art. Hong Kong | 08 Apr 2014 -www.sothebys.com

A multi-colored sapphire bead necklace, by Tamzen Z, Ann Ziff. Photo Christie's Image Ltd 2014

Designed as a multi-strand torsade, with multi-colored faceted sapphire beads, joined by a circular-cut yellow sapphire clasp, mounted in gold, in a Tamsen Z purple suede case. By Tamzen Z, Ann Ziff. Estimate $15,000 – $20,000

Christie's. MAGNIFICENT JEWELS, 16 April 2014, New York, Rockefeller Plaza - www.christies.com

A fine and rare pair of doucai 'Chicken cups', Marks and period of Yongzheng. Photo Christie's Image Ltd 2014

modelled after the Chenghua prototype, each finely potted with gently flared sides, painted around the exterior in bright translucent enamels fluently outlined in clear underglaze blue with a cockerel and an aubergine-coloured hen on one side observing each other, surrounded by their four yellow chicks, the reverse with another cockerel accompanied by a yellow hen with her brood of five chicks, one riding on her back and two struggling over a worm, the cockerel parading with his red crowned head lowered and his black tail feathers displayed, all amongst iron-red roses, yellow lilies and green bamboos growing by pierced craggy rocks in cobalt blue washes, the slightly recessed base inscribed in underglaze blue with a six-character reign mark in regular script arranged in two columns enclosed within double squares; 8 cm., 3 1/8 in. Estimate 12,000,000 — 15,000,000 HKD

Provenance: Sotheby's Hong Kong, 27th April 1993, lot 182.

Exhibited: Selected Treasures of Chinese Art, Min Chiu Society Thirtieth Anniversary Exhibition, Hong Kong Museum of Art, Hong Kong, 1990-1, cat. no. 165.

Note: It is rare to find a Yongzheng chicken cup following the shape of the Chenghua original but painted with this free interpretation of the fifteenth century design instead of a precise copy, although one from the Sedgwick Collection, included in the Oriental Ceramic Society exhibition The Arts of the Ch'ing Dynasty, London, 1964, cat. no. 194, was sold in these rooms 14th November 1989, lot 230, and another 15th May 1990, lot 284.
It is interesting to compare this cup with the Chenghua cup from the Edward T. Chow collection sold in these rooms 25th November 1980, lot 31. A second example of a Chenghua 'chicken cup' is being offered this season from the Meiyintang collection, lot 1, formerly in the Mrs. Leopold Dreyfus collection. Although both have a cock, hen and chicks on each side divided by rocks and plants, the Yongzheng cocks are in different positions, with elaborate ruffled tail feathers instead of the three long feathers characteristic of the Chenghua birds, the clump of yellow orchids on one side of the original cup has been changed into bamboo, with a single small lily to one side, and the proportions of the roses and blue rocks on the other side has altered considerably.

The Chenghua cup from the Chow Collection is also illustrated by Cécile et Michel Beurdeley, La céramique chinoise, Fribourg, 1974, col. pls. 71 and 72, together with cups from the same Collection with Kangxi and Yongzheng reign marks, also sold in these rooms, but these Qing cups follow the original very closely in the style of the painting and the position of the birds, with three long tail feathers, as well as in the outline of the cup and the arrangement of the reign marks in a double square.

Sotheby's. Fine Chinese Ceramics and Works of Art. Hong Kong | 08 Apr 2014 -www.sothebys.com

A small doucai'Birds and Rockwork' vase, Mark and period of Yongzheng. Photo Christie's Image Ltd 2014

the ovoid body rising from a recessed circular foot to a square neck, the exterior delicately painted with a continuous scene of birds flying over and perched on rockworks and trees issuing budding flowers, the base inscribed with a six-character mark within double circles; 8.7 cm., 3 3/8 in. Estimate 350,000 — 400,000 HKD

Note: A Yongzheng doucai vase of similar form and decorative style from the Xu Hanqing collection, but with a circular mouth and enamelled with prunus and bamboo, was sold at Christie's New York, 15 September 2011, lot 936.

Sotheby's. Fine Chinese Ceramics and Works of Art. Hong Kong | 08 Apr 2014 -www.sothebys.com

An art deco diamond, enamel and multi-gem bracelet. Photo Christie's Image Ltd 2014

Designed as a band set with cushion-cut sapphires, with cabochon opals, carved turquoise and chalcedony, enhanced with old European and rose-cut diamonds of foliate design, trimmed with variously-cut rubies and spaced by black enamel links, mounted in platinum, circa 1930, 6½ ins. Estimate $15,000 – $20,000

Christie's. MAGNIFICENT JEWELS, 16 April 2014, New York, Rockefeller Plaza - www.christies.com

A rare set of 'Qiangjin' lacquer sutra covers, Ming dynasty, Yongle period. Photo Sotheby's

of rectangular section, each with a recessed horizontal panel set within a raised framed, finely incised and gilt in the qiangjin technique with a central canopied vase issuing a flaming cintamani emblem and leafy scrolls, each wreathing one of the bajixiang, one cover with the Wheel of Law (fa lun), the Parasol (gai), the Twin Fish (yu) and the Vase (guan), the other with Standard of Victory (san), the Conch (luo), the Lotus (hehua) and the Endless Knot (panchang), all framed by florets and petal panels on the sides below and ‘classic' scrolls around the edges, the sides further decorated with lotus and lion masks, the reverse inscribed in Tibetan and Chinese with the title of sixteen sutras from the 5th volume of the Maharatnakuta Sutra; 72.6 by 26.2 cm., 28 5/8 by 10 3/8 in. Estimate 300,000 — 400,000 HKD

Exhibited: 2000 Years of Chinese Lacquer. Oriental Ceramic Society of Hong Kong and the Art Gallery, the Chinese University of Hong Kong, Hong Kong, 1993, cat. no. 79.
Layered Beauty: The Baoyizhai Collection of Chinese Lacquer, Art Museum, Institute of Chinese Studies, the Chinese University of Hong Kong, Hong Kong, 2010, cat. no. 17.

Note: These exquisite sutra covers were made for the 5th volume of the Maharatnakuta Sutra, as may be seen from the title carved in the back of the top cover in both Tibetan and Chinese writings within a panel of lotus petal motif. Peter Lam in Layered Beauty, Hong Kong, 2010, p.54, notes that it is recorded in the Ming shi (Dynastic History of the Ming) that two sets of Bkah-hgyur were bestowed sequentially by the Yongle emperor to the two Buddhist masters from Tibet in 1413 and 1416 respectively. The sutras of both masters, now preserved at the Potala Palace and the Sera Monastery in Lhasa, are divided into 108 volumes bound by sutra covers like the present set, which was possibly made in the same workshop and belongs to one of the 108 volumes.

For a closely comparable example see two sutra covers, similarly attributed to the Yongle period, illustrated in Zhongguo qiqi quanji, Fuzhou, 1995, pl. 29; and two further examples, attributed to circa 1410, are published in James C.Y. Watt and Barbara Brennan Ford, East Asian Lacquer, New York, 1991, pl. 49, from the Florence and Herbert Irving collection and now on loan in the Metropolitan Museum of Art, New York.

An earlier, Song dynasty, lacquer sutra box and cover is published in Ancient Chinese Lacquer, Taipei, 1994, pl. 56, of similar lavish gold decoration painted on a red lacquer ground.

Sotheby's. The Baoyizhai Collection of Chinese Lacquer, Part 1, Hong Kong | 08 Apr 2014 - www.sothebys.com.

A carved cinnabar lacquer 'Prunus' box and cover, Ming dynasty, 15th-16th century. Photo Sotheby's

of circular form with gently rounded sides supported on a slightly recessed base, the fitted domed cover carved in deep relief with a flowering branch of prunus against a ground of finely incised waves, the interior and the base lacquered in black; 4.8 cm., 1 7/8 in. Estimate 60,000 — 80,000 HKD

Note: For a slightly larger 16th century cinnabar lacquer box in the British Museum, carved with birds amidst prunus, see Harry Garner, Chinese Lacquer, London, 1979, pl. 64. Another example decorated with prunus amidst clouds was sold in these rooms, 8th October 2010, lot 1939.

Sotheby's. The Baoyizhai Collection of Chinese Lacquer, Part 1, Hong Kong | 08 Apr 2014 - www.sothebys.com.

A carved red, yellow, green and black lacquer 'Qilin' dish, Incised mark and period of Jiajing. Photo Sotheby's

of circular form with shallow everted sides supported on a ribbed tapered foot, finely carved in varied levels of relief revealing multiple layers of red, yellow, black and green lacquer, the interior with a qilin galloping above cragged rocks, bamboo shoots and a cluster of yellow lingzhi set between a large gnarled pine and a lush plantain, and a among three scattered auspicious items, its dragon head turned sharply to the left and its powerful scaly body issuing flames, all enclosed within a barbed frame reserved on a yellow and green border, the cavetto further decorated with two green and two ochre-yellow dragons striding among ruyi-shaped clouds within barbed panels alternating with ‘flaming pearl’, all reserved on a neatly carved yellow and red floral diaper ground below a thick ribbed rim, the underside with eight flowers, including hibiscus, chrysanthemum, peony and camellia arranged in pairs across the dish, each supporting one of the babao (‘Eight Treasures’) and wreathed in multi-coloured foliage, the base and the interior of the footring lacquered in black and inscribed in the centre with a six-character incised vertical reign mark with traces of gilt; diameter 16.8 cm., 6 5/8 in. Estimate 600,000 — 800,000 HKD

Exhibited: 2000 Years of Chinese Lacquer. Oriental Ceramic Society of Hong Kong and the Art Gallery, the Chinese University of Hong Kong, Hong Kong, 1993, cat. no. 60.
Layered Beauty: The Baoyizhai Collection of Chinese Lacquer, Art Museum, Institute of Chinese Studies, the Chinese University of Hong Kong, Hong Kong, 2010, cat. no. 50.

Note: A dish of identical design from the Qing court collection, preserved in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, p. 173, no. 131 (fig.1). The Palace Museum dish is unmarked, but designated as Jiajing, sharing the same bold decoration of a qilin galloping amidst a garden abundant with Daoist motifs.

The art of polychrome lacquer, ticai, reached its apex of quality in the Jiajing period. Two or more layers of coloured lacquer would be applied at differing levels to a required thickness, with the lacquer artist carving down to the different sections to expose the appropriate colours. The carver of the current dish has utilised three colours - red, yellow and green - and has achieved a sophisticated and dramatic level of colouration. The boldness and three-dimensionality of the scene, combined with the sheer intricacy of the carving of the qilin and the surrounding dragons, contribute to the overall effect. It is undoubtedly one of the finest examples of Jiajing reign-marked polychrome lacquer preserved in a private collection.

Sotheby's. The Baoyizhai Collection of Chinese Lacquer, Part 1, Hong Kong | 08 Apr 2014 - www.sothebys.com.

A carved cinnabar lacquer bowlstand, Ming dynasty, 16th century or earlier. Photo Sotheby's

the hollow globular bowl with rounded sides collared by a circular dish, supported on a hollow flared foot, carved overall with a variety of lush blossoms and attendant buds wreathed in their corresponding foliage, including chrysanthemum, magnolia and camellia around the bowl, peony, chrysanthemum and prunus on the upper side of the dish and a repeat of all six flowers on the underside, all wreathed in lush foliage contained within the ridged rims above further flowers around the foot, the interior lacquered in dark brown; diameter 16.8 cm., 6 5/8 in. Estimate 400,000 — 600,000 HKD

Note: Four carved lacquer bowlstands belonging to this special group of wares, all decorated with a floral motif around the bowl and stand, from the collection of the Tokugawa Art Museum, Nagoya, are illustrated in Karamono. Imported Lacquer – Chinese, Korean and Ryukyuan (Okinawa), Tokyo, 1997, pls. 84-88. See a further bowlstand decorated with two five-clawed dragons on the sides of the bowl and the top of the stand with three dragons, the base bearing a Xuande reign mark, included in the exhibition 2000 Years of Chinese Lacquer, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1993, cat. no. 48, together with two other stands, cat. nos. 46-47, the former carved with a dense floral scroll motif and the latter with flying phoenixes amongst lotus scrolls, however, both stands of a broad petal form as seen here.

The decoration seen on the present bowlstand is reminiscent of a piece, from the Krolik and Plesch collections, sold in our London rooms, 24th February 1970, lot 83; and another bowlstand sold at Christie’s Hong Kong, 29th May 2007, lot 1555, from a Japanese private collection.

Sotheby's. The Baoyizhai Collection of Chinese Lacquer, Part 1, Hong Kong | 08 Apr 2014 - www.sothebys.com.

A large carved red lacquer brush handle with cap, Ming dynasty, 16th century. Photo Sotheby's

the slender tubular handle deftly carved in varied levels of relief with a figural scene of scholars and attendants on rocky shores against a ground of waves and floral diapers, one standing holding a fan, another carrying a qin zither, all below a slender overhanging pine bearing clusters of needles and a storeyed pavilion in the distance, the socket containing the hair collared with pointed lappets enclosing floral diapers, the terminal encircled with wan symbols and picked out with a single character shou repeated on the tip of the cap, the latter similarly carved with a scholar and two attendants standing by a lake beside cragged rocks and pine above a band of wan-diapers; 32.5 cm., 12 3/4 in. Estimate 150,000 — 200,000 HKD

Note: See four finely carved cinnabar lacquer brushes of the Ming dynasty included in the exhibition Karamono. Imported Lacquer – Chinese, Korean and Ryukyuan (Okinawa), Tokyo, 1997, pls. 70-73; one exhibited in 2000 Years of Chinese Lacquer, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1993, cat. no. 52; and two further examples fashioned with figural scenes illustrated in The Complete Collection of Treasures of the Palace Museum. The Four Treasures of the Study – Inksticks and Writing Brushes, Hong Kong, 2005, pl.121.

Two related brushes were included in the exhibition Ming Lacquer, Bluett and Sons, London, 1960, cat. nos. 20-21; another carved with Daoist immortals, was sold at Christie’s Hong Kong, 26th April 2004, lot 1108; and a further piece depicting sages in a mountainous setting, was sold in our London rooms, 13th December 1977, lot 272. Compare also a brush, attributed to the late 16th century, carved with figures, from the collection of Florence and Herbert Irving, and now on loan at the Metropolitan Museum of Art, New York, illustrated in Michael Knight, East Asian Lacquers, Seattle, 1992, pl.30.

Sotheby's. The Baoyizhai Collection of Chinese Lacquer, Part 1, Hong Kong | 08 Apr 2014 - www.sothebys.com.

A Chinese embroidered dragon robe, 19th century. Photo: Bonhams.

Of blue gauze, featuring nine couched gilt thread five-clawed dragons chasing flaming pearls, amongst clouds, bats, flying cranes and further auspicious symbols, above mountains, crashing waves and a lishui hem, with horseshoe cuffs and edging bands in embroidered black gauze and gilt filigree buttons, 132 x 201cm. Sold for £3,000 (€3,623)

Bonhams. BRITISH & EUROPEAN CERAMICS, GLASS & ASIAN ART, Oxford. 2 Apr 2014 - www.bonhams.com

A Chinese embroidered dragon robe, 20th century. Photo: Bonhams.

A later reproduction of an earlier style robe, of blue silk, featuring nine couched gilt thread five-clawed dragons chasing flaming pearls, amongst clouds, bats, flying cranes and further auspicious symbols, above mountains, crashing waves and a lishui hem, with horseshoe cuffs and edging bands in embroidered black silk and gilt buttons, 145 x 205cm. Sold for £5,625 (€6,793)

Provenance: Commander A.P. Barrow-Green Collection, acquired when he was serving in China in the 1930s

Bonhams. BRITISH & EUROPEAN CERAMICS, GLASS & ASIAN ART, Oxford. 2 Apr 2014 - www.bonhams.com

A Chinese amber brush rest, 18th-19th century. Photo: Bonhams.

Carved with the seated figure of Li Peh accompanied by a crane with flowers and pine tree background; on wood stand, 13cm wide (2). Sold for £3,125 (€3,774)

Bonhams. BRITISH & EUROPEAN CERAMICS, GLASS & ASIAN ART, Oxford. 2 Apr 2014 - www.bonhams.com

A Mughal gem-set carved jade Fly Whisk, Northern India, 18th Century. Photo: Bonhams.

of pale green jade, the slender fluted shaft set with a row of single rubies in gold mounts, the upper cup-shaped terminal carved in the form of a flower with curling petals and stylised leaves, the lower terminal in the form of a flower bud; 19.4 cm. length. Estimate£2,000 - 3,000 (€2,400 - 3,600)

Bonhams. ISLAMIC AND INDIAN ART, London, New Bond Street, 8 Apr 2014 - www.bonhams.com

A gem-set rock crystal Covered Bowl and Dish, India, 19th Century. Photo: Bonhams.

of hemispherical form on short circular foot with everted rim, the separate domed lid with bud shaped finial, with shallow circular tray, each decorated with scrolling gold tendrils with flowerheads set with rubies and emeralds and repetitive emerald set leaf motifs, within gold borders ; the covered bowl 6.6 cm. diam.; the dish 11.3 cm. diam.(3). Estimate£4,000 - 6,000 (€4,800 - 7,200)

Bonhams. ISLAMIC AND INDIAN ART, London, New Bond Street, 8 Apr 2014 - www.bonhams.com

A Timurid blue and white pottery dish with cloud band design, Persia, 15th century. Photo Sotheby's

of deep round form with everted, petalled rim with cloud band motifs, the underglaze cobalt blue design featuring a rosette with cloud band designs, foliate band to exterior; 41.5cm. diam. Estimation 30,000 — 40,000 GBP

A similar dish, with a bracketed rim and central peonie flowerhead is in the Victoria and Albert Museum, London, inv. no.562-1905. Whereas the V&A example is attributed to the early sixteenth century, the inclusion of cloud band motifs on the present example more closely follows an aesthetic that can be associated with fifteenth-century Ming export wares (see J.Thompson and S.R. Canby, Hunt for Paradise: Court Arts of Safavid Iran, 1501-1576, New York and Milan, 2003, p.253, no.10.6).

Sotheby's. Arts of the Islamic World, London | 09 avr. 2014 - www.sothebys.com

A Timurid blue and white pottery dish with floral design, Persia, 15th century. Photo Sotheby's

of deep round form with everted rim, decorated in underglaze cobalt blue with central lotus bud emanating scrolling foliate stems, within a border with same design and broken wave decoration to rim, the exterior with stylised foliate design; 38cm. diam. Estimation 30,000 — 40,000 GBP

The peony, a classic Chinese motif, was re-interpreted on Chinese ceramics under the Emperor Yongle (1403-24) and became one of the Persian potters' favourite subjects in the Timurid period. A number of comparable examples are now in museums and known collections such as the Hermitage Museum, St. Petersburg, inv. no. 763H., VG.468., VG.728., and VG.2286., the British Museum, inv. no. 1965 7-29,1., and the Keir Collection, inv. no. C45ii.

Sotheby's. Arts of the Islamic World, London | 09 avr. 2014 - www.sothebys.com

A rare Chinese monochrome blue porcelain ewer with Ottoman gem-set tombak mounts, Ming dynasty, late 16th century, and Turkey, 16th-17th century. Photo Sotheby's

the pear shaped ceramic body with deep blue glaze and arched strap handle, the tombak spout and rim set with turquoise and colourful stones, including orange chalcedony; 21.5cm. height. Estimation 80,000 — 120,000 GBP

This elegant ewer combines a late-Ming ceramic body with gem-set Ottoman tombak mounts creating a refined impression, underlying the cosmopolitan nature of the Ottoman court through its combination of artistic influences. Four comparable ewers are in the Topkapi Palace Museum, Istanbul (see R. Krahl, Chinese Ceramics in the Topkapi Saray Museum, no.1642). The spout with dragonhead terminal on the present example is particularly notable and it is interesting to compare it with another ewer of similar form, with a deep rich blue glaze and related spout terminal in the Topkapi Palace Museum, inv. no. TKS 15/2696.

Although the present example is missing its cover, it may be suggested that this article was also of Ottoman make and would have resembled the jewelled cover on a Ming dynasty ewer also in the Topkapi Sarayi Museum, Istanbul, inv. no. 15/2944 (D. Roxburgh, Ed.; Turks: A journey of a thousand years, 600-1600, London, Royal Academy of Arts, 2005, p.359, no.348).

Over ten thousand Chinese ceramics ranging from the late Song to the Qing period ended up in the Topkapi palace treasury. The present ewer attests to this admiration for Chinese ceramics by the Ottoman court, as well as the special care taken to preserve and restore such artworks through the addition of Ottoman mounts.

Sotheby's. Arts of the Islamic World, London | 09 avr. 2014 - www.sothebys.com

A Mughal gem-set rock crystal cup, India, circa 18th century. Photo Sotheby's

the rock crystal carved in the form of a cup, set with gold floral tendrils highlighted with rubies, emerald and diamonds, in custom velvet box; 11.3cm. height.; 8.5cm. diam. Estimation 30,000 — 50,000 GBP

Provenance: Formerly in a European Noble Collection, acquired between 1946 and 1950

Rock crystal objects inlaid with precious stones and of courtly quality from the Mughal period are extremely rare. The present example stands out in the intricacy of its decoration, achieved on a block of rock crystal, an incredibly hard stone to carve, representing a feat of craftsmanship as well as beauty.

Each gold wire outline appears to have been set in place with a special adhesive within holes minutely drilled at forty-five degree angles. The gemstones would then have been set into the wire, forming a lush and abundant design of floral stems.

A number of comparable examples of rock crystal objects set with colourful gemstones, including dagger hilts, a box and cups of smaller dimensions are in the Al-Sabah Collection (see Keene 2001, pp.30-35).

Sotheby's. Arts of the Islamic World, London | 09 avr. 2014 - www.sothebys.com

Five Mughal jade stem cups, India, circa 18th century. Photo Sotheby's

of carved jade, each set with colourful gemstones, including rubies, emeralds and diamonds set in the kundan technique with floral motifs. Quantité: 5. Each: 5cm. height.; 4.1cm. diam. Estimation 30,000 — 40,000 GBP

Whereas the elegant form of these jade cups, with a deep bowl on a tall lightly splayed foot, derive from Chinese models, their inlaid decoration is characteristic of Mughal taste. The jade is highlighted by the colourful inset gemstones, which were enhanced by their flat cut and a foil backing as was the custom to render them brighter. A stem cup of similar form, set only with rubies around the foot, is in the Guthrie Collection in the Victoria and Albert Museum in London (inv. no. 02546 IS).

Sotheby's. Arts of the Islamic World, London | 09 avr. 2014 - www.sothebys.com