Emerald and diamond necklace, ca. 1910. Estimate : 50 000 € / 60 000 €. Unsold. Photo Hampel

Necklace length: ca. 41.5 cm. Central pendant length: ca. 3.5 cm. Weight: ca. 69.6 g. Yellow gold and 18 ct white gold. 

Fine, antique necklace with floral features with 13 blossom-shaped pendants studded with old-cut diamonds, altogether ca. 19 ct, and emerald pampels, altogether ca. 60 ct. Pampels partly with blemishes. Closure with figure eight safety clasp.

HAMPEL FINE ART AUCTIONS, MUNICH, ALLEMAGNE. Vente de Luxe, le 25 Septembre 2015

Diamond and natural pearl pendant earrings, ca. 1920. . Estimate : 50 000 € / 70 000 €. Lot sold 60.000 €. Photo Hampel.

Length: ca. 6.5 cm. Weight: ca. 15.5 g. Platinum. Unsigned, probably Bulgari. In original Bulgari case. 

Accompanied by a report from DSEF no. 024485 dated 1 June 2015.  

Elegant, fine pendant earrings with old- and octagon-cut diamonds, altogether ca. 2.2 ct, and two pierced, yellowish, grey-white, drop-shaped saltwater pearls, ca. 10.95-11.20 x 12.00 mm and ca. 10.60-10.75 x 14.50mm, ca. 10 ct and ca. 11 ct, altogether 14.97 g. One pearl shows a minimal crack at the lower drill hole. Clip closures.  

Provenance: According to information of the owner his mother-in-law is wearing these earrings on the pictured photograph at a party at the Hotel de Russie in Rome in 1926.

HAMPEL FINE ART AUCTIONS, MUNICH, ALLEMAGNE. Vente de Luxe, le 25 Septembre 2015

Satyr-shaped paper knife with natural pearl, ca. 1900. . Estimate : 30 000 € / 50 000 €. Lot sold 24.000 €. Photo Hampel.

Length: ca. 25 cm. Weight: 155.1 g. Silver and rose gold. 

Accompanied by a report from SSEF no. 77319 dated October 2014. 

HAMPEL FINE ART AUCTIONS, MUNICH, ALLEMAGNE. Vente de Luxe, le 25 Septembre 2015

1929 Duesenberg J Convertible Coupe, Rumbleseat. Coachwork by Walter M. Murphy Company. Estimate 1 800 000,00 - 2 500 000,00 USD. Photo: Courtesy of Morphy Auctions.

DENVER, PA.- Many classic car experts say the Duesenberg was the finest automobile ever built. A favorite of Hollywood’s early millionaires, its sumptuous Art Deco styling, peerless performance and uncompromising quality from bumper to bumper made the Duesenberg an American motoring legend in its own time, even spawning the expression, “It’s a Duesie!” – a part of the American lexicon to this day.

On Sunday, October 11th, Morphy’s will present at auction one of very few surviving all-original, unrestored 1929 Duesenberg J convertible coupes as the star of its 2015 Premier Automobile Sale. It is entered in the auction with no reserve but is expected to sell for $1,750,000 to $2,250,000.

1929 Duesenberg J Convertible Coupe, Rumbleseat. Coachwork by Walter M. Murphy Company. Estimate 1 800 000,00 - 2 500 000,00 USD. Photo: Courtesy of Morphy Auctions.

A matching-numbers example with only 33,000 miles on its odometer, it even retains the custom-fitted luggage made for its trunk, plus the original owner’s manual and ownership papers. At the heart of the car is a Lycoming-built straight-eight engine producing 265 horsepower at 4,200 r.p.m., a statistic unmatched by any other manufacturer of its era. Its coachwork – truly fit for royalty – was sculpted by the incomparable Walter M. Murphy Company of Pasadena, California. 

“This car has had four owners – all women – who obviously took fantastic care of it,” said Bill Windham, head of Morphy’s Automobile division. “The original owner was Carolyn May Hoopes, who came from a wealthy Pennsylvania steel family. In 1950, following treatment for tuberculosis at a Battle Creek, Michigan sanitarium, Ms. Hoopes gifted the car to her doctor’s wife, a Mrs. Wilson. The second owner drove the Duesenberg for only a short time before selling it in 1952 to Dema Dyer of Climax, Michigan. When the fourth owner, Katherine Hedburn of Chicago, purchased the car in 1961, the odometer had a mere 27,010 miles on it.” While in Mrs. Hedburn’s possession, the pampered car was driven little more than 6,000 miles. 

Over the past 50 years, many collectors have tried to purchase the immaculately preserved Duesenberg, but the late Mrs. Hedburn had no interest in selling it. 

“It’s a well-known car and especially desirable to collectors because it’s so original,” said Windham. “It’s also the only one in existence that has a custom leather soft top, which Carolyn Hoopes instructed the Duesenberg factory to make for her because she didn’t like the canvas top that came with the car. She wanted the ultimate in luxury.” 

Only 481 Duesenberg Model Js were made from1928 through1937, and because each one was custom-built, no two were alike. Very few Duesenbergs ever appear at auction, Windham said, and if one ever does, competition can be stiff. “We’ve had lots of interest from around the world, including from institutions, private collectors and celebrities. Experts who’ve come in to view the car think it might very well set a new record for a Duesenberg at auction. It will be exciting to see where it ends up.” 

The late Paul and Katherine Hedburn owned many other vehicles besides the Duesenberg. Seven are entered in Morphy’s October 11 sale, each with no reserve. Two of the entries are rare Indian motorcycles. Their 1916 Indian V-Twin with sidecar and side curtains is estimated at $40,000-$50,000, as is their mint-condition 1913 Indian V-Twin 61. Two other highly desirable Indians – coming from different collections – are part of the lineup, as well. A beautifully restored 1913 Indian 61 (ex C. Thomas Mullen collection), with an extensive history that includes being the only motorcycle ever to grace the cover of the AACA’s bi-monthly magazine (July/Aug. 2014), could reach $45,000-$75,000; while a 1917 Indian Model 51 T Deluxe bicycle is ready to roll with an $8,000-$12,000 estimate. 

1916 Indian V-Twin Motorcycle & Side Car #88H589. Estimate 40 000,00 - 50 000,00 USD. Photo: Courtesy of Morphy Auctions.

1913 Indian V-Twin 61 Motorcycle. Estimate 40 000,00 - 50 000,00 USD. Photo: Courtesy of Morphy Auctions.

1913 Indian 61 Motorcycle. Estimate 45 000,00 - 75 000,00 USD. Photo: Courtesy of Morphy Auctions.

1917 Indian Model 51 T Deluxe Bicycle. Estimate 8 000,00 - 12 000,00 USD. Photo: Courtesy of Morphy Auctions.

An AACA Award Winner – including the Preservation Award in 2011 – a maroon Packard Model 30 “U” 7-passenger touring car is one of only 1,403 such automobiles the manufacturer issued in 1907. A superlative example of a “Brass Era” car, it comes with photo documentation of its restoration and receipts. Estimate: $150,000-$200,000.  

1907 Packard Model 30 ‘U’ 7-passenger touring car. Estimate $150,000-$200,000. Photo: Courtesy of Morphy Auctions.

From the Paul Andrews collection comes a Pebble Beach winner – a 1939 MG TB with the exclusive Tickford body designed by Salmons and Sons of Newport Pagnell, England. One of only 57 ever made, this classic in green with green top and tan interior is believed to be one of only 30 examples that have survived. Estimate: $110,000-$130,000. 

1939 MG TB Tickford. Estimate: $110,000-$130,000.Photo: Courtesy of Morphy Auctions.

Some might say Morphy’s has received an embarrassment of British motoring riches for this sale, because there’s also a fine 1937 MG SA Tickford Drophead. It, too, hails from the Andrews collection. A product of a laborious two-year restoration and one of very few of its type ever offered on the open market, it could realize $110,000-$125,000. Other superior-quality English roadsters include a 1932 MG C Type Midget, est. $110,000-$130,000; a 1954 Jaguar XK 120 Drophead Coupe, est. $90,000-$110,000; and a 1955 Austin Healy 100M Tribute, est. $90,000-$110,000. 

1937 MG SA Tickford Drophead. Estimate: $110,000-$120,000. Photo: Courtesy of Morphy Auctions.

1932 MG “C” Type Montlhery Midget Recreation. Estimate:  $110,000-$130,000. Photo: Courtesy of Morphy Auctions.

1954 Jaguar XK 120 Drophead Coupe. Estimate:  $90,000-$110,000. Photo: Courtesy of Morphy Auctions.

1955 Austin Healey 100M Tribute. Estimate:  $90,000-$110,000. Photo: Courtesy of Morphy Auctions.

“There are so many exceptional cars in this sale. We raised the bar even higher, and without question, brought together the best selection of antique, luxury and sports cars we’ve had since opening our Automobile division,” said Windham. “There are three beautiful old Mercedes, two Ferraris, and many American classics, around 40 lots in all.” 

Morphy’s Sunday, Oct. 11, 2015 Premier Automobile Auction will begin at 2 p.m. Eastern Time at the company’s gallery located at 2000 N. Reading Road in Denver, PA 17517. All forms of bidding will be available, including absentee, phone and live via the Internet through Morphy Live. For additional information on any car or motorcycle in the sale, to order a hardcover catalog, or to reserve a phone line for bidding on auction day, call 717-335-3435 or email serena@morphyauctions.com. For queries regarding registration for the sale and approval to bid, contact Linda Baker at 717-335-3435. 

Preview all day on Friday, Oct. 9 from 9 a.m. to 7 p.m., or on Sunday, Oct. 11 from 9 a.m. till auction start time at 2 p.m. A cocktail party and preview with entertainment is planned for Saturday, Oct. 10, from 5-8 p.m., and will be open to the public. Those who wish to preview at a different time may make an appointment by calling Bill Windham at 717-335-3435

Early Ceramics from the Yangdetang Collection. Photo Christie's Image Ltd 2015 

A green-glazed pottery figure of a dog, Eastern Han dynasty (25-220). Estimate HK$160,000 – HK$200,000 ($20,745 - $25,932). Photo Christie's Image Ltd 2015

The hollow figure is naturalistically modelled as a recumbent dog with its head tilted upwards, the mouth agape exposing the tongue and fangs, covered with a finely crackled green glaze with a silverish iridescent patina. The underside and interior are unglazed exposing the reddish-brown body. 10 1/4 in. (26 cm.) high, box

Provenance: Yangdetang Collection prior to 1992

Exhibited: Chugoku meito ten: Chugoku toji 2000- nen no seika (Exhibition of Chinese Pottery: Two Thousand Years of Chinese Ceramics), Tokyo, 1992, no. 2

A straw-glazed pottery figure of a dog, Han dynasty (206 BC-AD 220). Estimate HK$160,000 – HK$280,000 ($20,745 - $36,304). Photo Christie's Image Ltd 2015

The hollow figure is modelled as a dog standing foursquare, its head tilted up with ears pricked, the mouth agape exposing the tongue and fangs, wearing a harness with stamped decorations, covered overall with a finely crackled glaze of pale amber tone. 11 3/8 in. (29 cm.) long, box

Provenance: Yangdetang Collection, acquired before 1985

Literature: Tan Dan-jiong, History of Chinese Ceramics, vol. 1, Taipei, 1985, p. 36

Exhibited: National Museum of History, The Exhibition of Chinese Ceramics of Eight Dynasties, Taipei, 1987, Catalogue, p. 18

Two Yue celadon mythical beast-form holders, Western Jin dynasty (265-317). Estimate HK$120,000 – HK$200,000 ($15,559 - $25,932). Photo Christie's Image Ltd 2015

Each is modelled as a recumbent beast mounted by a columnar receptacle on the back, the face resembles a lion with large rounded eyes, a broad snout, sharp fangs and curly mane, the body detailed with carved fur markings, covered overall with a greyish-celadon glaze pooling at the recesses. 5 1/4 in. (13.5 cm.), 5 1/8 in. (13 cm.) long, box

Provenance: Fred Lee Gallery Pte Ltd., Hong Kong, 20 March 1990
Yangdetang Collection

A Yue celadon chicken head spout' ewer, Southern Dynasties (420-589). Estimate HK$150,000 – HK$200,000 ($19,449 - $25,932). Photo Christie's Image Ltd 2015

The ewer is sturdily potted with an ovoid body rising to a waisted neck flaring to a galleried rim, applied to the shoulder with two angular loop handles, a short spout in the form of a chicken-head, and a long arched handle terminating in a dragon head grasping the mouth rim of the ewer, covered allover with a greyish-celadon glaze, stopping at the foot exposing the pale grey body on the base. 12 3/8 in. (31.5 cm.) high, box

Provenance: Fred Lee Gallery Pte Ltd., Hong Kong, 20 March 1990
Yangdetang Collection

A Yue celadon jar, Western Jin dynasty (265-317). Estimate HK$120,000 – HK$180,000 ($15,559 - $23,338). Photo Christie's Image Ltd 2015

The jar is decorated with a band of stamped decoration on the shoulder, and applied with a pair of mask and ring handles alternating with a pair of small loop handles, covered inside and out with a pale sea-green glaze ending in an irregular line towards the foot exposing the buff ware. 10 1/8 in. (25.8 cm.) high, box

Provenance: Yangdetang Collection, acquired before 1992

A Henan black-glazed blue-splashed ewer, Tang dynasty (618-907). Estimate HK$100,000 – HK$150,000 ($12,966 - $19,449). Photo Christie's Image Ltd 2015

The ewer is potted with a globular body rising to a trumpet neck, the mouth and shoulder connected by the handle surmounted by a knob, the other side of the shoulder applied with a short spout, covered with a dark-brown glaze splashed with milky-blue mottling particularly to the upper section, the glaze stopping above the foot, exposing the pale grey body. 7 1/8 in. (18 cm.) high, box

Provenance: Yangdetang Collection, acquired before 1985

Literature: Tan Dan-jiong, History of Chinese Ceramics, vol. 1, Taipei, 1985, p. 94

Exhibited: National Museum of History, The Exhibition of Chinese Ceramics of Eight Dynasties, Taipei, 1987, Catalogue, p. 22
Chugoku meito ten: Chugoku toji 2000- nen no seika (Exhibition of Chinese Pottery: Two Thousand Years of Chinese Ceramics), Tokyo, 1992, no. 50.

A Changsha polychrome-decorated mandarin duck-form holder, Tang dynasty (618-907). Estimate HK$180,000 – HK$240,000 ($23,338 - $31,118). Photo Christie's Image Ltd 2015

The water pot is modelled as a recumbent mandarin duck, the crest and plumage carefully combed, supporting on its back a vase-shaped receptacle, covered overall with a greyish-olive glaze with green and dark-brown splashes. The base is unglazed revealing the greyish-brown body. 6 1/4 in. (15.8 cm.) long, box

Provenance: Yangdetang Collection, acquired before 1987

Exhibited: National Museum of History, The Exhibition of Chinese Ceramics of Eight Dynasties, Taipei, 1987, Catalogue, p. 24

A white-glazed water sprinkler, Tang dynasty (618-907). Estimate HK$50,000 – HK$80,000 ($6,483 - $10,373). Photo Christie's Image Ltd 2015

The vessel is finely potted with a globular body supported on a splayed foot, rising to a long tapering neck and fluted mouth separated by a disc in between, the short spout shaped with a waist before flaring to a cup-shaped mouth. It is covered overall with a finely crackled clear glaze with a slight greyish-green tinge, stopping irregularly above the foot exposing the fine white body. 9 1/2 in. (24.3 cm.) high, box

Provenance: Fred Lee Antique, Hong Kong, 18 March 1992
Yangdetang Collection

A white-glazed stem cup, Tang dynasty (618-907). Estimate HK$30,000 – HK$50,000 ($3,890 - $6,483). Photo Christie's Image Ltd 2015

The cup is elegantly potted with gently flared sides and a stepped base, supported on a short spreading foot with a flattened knob in between, covered inside and out with a finely crackled clear glaze with a pale greenish tinge, with the exception of the underside revealing the fine white body. 2 7/8 in. (7.4 cm.) high, box

Provenance: China Curios Centre, Hong Kong, 1994
Yangdetang Collection

A white-glazed circular inkstone, Tang dynasty (618-907). Estimate HK$80,000 – HK$120,000 ($10,373 - $15,559). Photo Christie's Image Ltd 2015

The central unglazed grinding surface is encircled by a narrow well, all above an openwork apron formed by sixteen short legs attached to a ring, covered with a finely crackled clear glaze with the exception of the grinding surface and underside, revealing the fine white body material. 6 in. (15.4 cm.) diam., box

Provenance: Galaxie Art & Gift Company, Hong Kong, 20 March 1992
Yangdetang Collection 

Note: The result of Oxford Authentication thermoluminescence test no. C101z34 is consistent with the dating of this lot.

A white-glazed 'Dragon and Lion' ewer, Tang-Five Dynasties (618-960). Estimate HK$150,000 – HK$200,000 ($19,449 - $25,932). Photo Christie's Image Ltd 2015

The ewer is potted with an ovoid body rising to a flared neck, the handle moulded in the form of a crouching lion clambering towards the inner mouth rim, the short spout in the form of dragon-head, covered overall with a glossy clear glaze, with the exception of the base revealing the white body. 7 7/8 in. (20 cm.) high, box

Provenance: Yangdetang Collection, acquired before 1987

Exhibited: National Museum of History, The Exhibition of Chinese Ceramics of Eight Dynasties, Taipei, 1987, Catalogue, p. 27
Chugoku meito ten: Chugoku toji 2000- nen no seika (Exhibition of Chinese Pottery: Two Thousand Years of Chinese Ceramics), Tokyo, 1992, no. 16.

A white-glazed lamp stand, Tang dynasty (618-907). Estimate HK$150,000 – HK$200,000 ($19,449 - $25,932). Photo Christie's Image Ltd 2015

The lamp stand is delicately potted with a long fluted body surmounted by a rounded drip pan circling the candle holder, supported on eleven feet above a wider drip pan surmounting a splayed foot, covered overall with a clear crackled glaze with a lime-green tone. The base is unglazed revealing the fine white body. 9 1/8 in. (23.3 cm.) high, box

Provenance: Po Yuen Tong, Hong Kong, 27 August 1995
Yangdetang Collection

A small sancai-glazed washer, Tang dynasty (618-907). Estimate HK$80,000 – HK$120,000 ($10,373 - $15,559). Photo Christie's Image Ltd 2015

The washer with rounded sides and a flat base is splashed with amber, straw and green glazes on the interior, the centre with three sesame-shaped spur marks. The exterior is moulded with a fish-roe ground characterised by concentric rings of small bosses in imitation of metalwork, covered with a rich amber glaze pooling at the recesses. 3 3/8 in. (8.8 cm.) diam., box

Provenance: Galaxie Art & Gift Company, Hong Kong, 10 August 1993
Yangdetang Collection

A sancai-glazed duck-form cup, Tang dynasty (618-907). Estimate HK$180,000 – HK$260,000 ($23,338 - $33,711). Photo Christie's Image Ltd 2015

The vessel is potted as a plump-bodied recumbent duck with its neck arched backwards over the opening between the feather-moulded wings so that the open beak can grasp the rim of the flower-form opening for the wick, the lower body crisply moulded with florettes and granular decoration, splashed on the exterior with straw, amber and green glazes, the base and interior left unglazed exposing the chalky white body. 4 7/8 in. (12.3 cm.) long, box

Provenance: Galaxie Art & Gift Company, Hong Kong, 10 August 1993
Yangdetang Collection

A sancai-glazed circular box and cover, Tang dynasty (618-907). Estimate HK$150,000 – HK$200,000 ($19,449 - $25,932). Photo Christie's Image Ltd 2015

The top of the cover is delicately decorated with florettes in amber and cream glazes on a green ground, the sides of the box and cover splashed with amber and cream glazes. The interior of the box is covered with a thin layer of transparent green glaze, while the base and interior of the cover are unglazed, revealing the buff ware. 3 3/4 in. (9.5 cm.) diam., box

Provenance: Yangdetang Collection, acquired before 1985

Literature: Tan Dan-jiong, History of Chinese Ceramics, vol. 1, Taipei, 1985, p. 93

A sancai-glazed circular box and cover, Tang dynasty (618-907). Estimate HK$150,000 – HK$200,000 ($19,449 - $25,932). Photo Christie's Image Ltd 2015

The box and cover of slightly compressed circular form is raised on a flat base with a bevelled outer edge. It is covered overall with a well-controlled green and amber spotted glaze, falling in an irregular line on the unglazed underside. The interior of the box is covered with a pale green glaze. 3 3/4 in. (9.6 cm.) diam., box

Provenance: Yangdetang Collection, acquired before 1985

Literature: Tan Dan-jiong, History of Chinese Ceramics, vol. 1, Taipei, 1985, p. 93

A sancai-glazed blue-splashed jar, Tang dynasty (618-907). Estimate HK$150,000 – HK$200,000 ($19,449 - $25,932). Photo Christie's Image Ltd 2015

The jar is covered inside and out with a transparent straw glaze applied with splashes of cobalt blue. The glaze stops in an irregular line above the foot, revealing the buff body. 5 in. (12.7 cm.) high, box

Provenance: Yangdetang Collection, acquired before 1985

Literature: Tan Dan-jiong, History of Chinese Ceramics, vol. 1, Taipei, 1985, p 81

Exhibited: National Museum of History, The Exhibition of Chinese Ceramics of Eight Dynasties, Taipei, 1987, Catalogue, p. 21

A sancai-glazed elbow rest, Tang dynasty (618-907). Estimate HK$150,000 – HK$200,000 ($19,449 - $25,932). Photo Christie's Image Ltd 2015

The vessel is modelled as a crouching lion in an alert position about to leap, the face with a fierce expression detailed with rounded eyes, a broad snout and curly mane, supported on an elliptical stand and surmounted by a flat lobed top decorated with a stylised flowerhead in the centre, glazed all over with green, cream and amber. 5 5/8 in. (14.2 cm.) long, box

Provenance: Po Yuen Tong, Hong Kong, 27 August 1995
Yangdetang Collection

A sancai-glazed jar, Tang dynasty (618-907). Estimate HK$200,000 – HK$300,000 ($25,932 - $38,897). Photo Christie's Image Ltd 2015

Provenance: Yangdetang Collection, acquired before 1987

Exhibited: National Museum of History, The Exhibition of Chinese Ceramics of Eight Dynasties, Taipei, 1987, Catalogue, p. 22

A sancai-glazed applique-decorated tripod vessel, Tang dynasty (618-907). Estimate HK$ 240,000 – HK$350,000 ($31,118 - $45,380). Photo Christie's Image Ltd 2015

The vessel is potted with a globular body supported on three animal feet rising to a waisted neck and flared rim, decorated on the exterior with alternating larger and smaller moulded floral motifs, splashed liberally with green, amber and cream glazes, falling towards the mid-body revealing the buff ware. The feet are covered with an amber glaze. 7 3/8 in. (18.8 cm.) wide, box

Provenance: Yangdetang Collection, acquired before 1987

Exhibited: National Museum of History, The Exhibition of Chinese Ceramics of Eight Dynasties, Taipei, 1987, Catalogue, p. 21

A very rare large sancai-glazed tripod dish, Tang dynasty (618-907). Estimate HK$ 1,000,000 – HK$2,000,000 ($129,658 - $259,316). Photo Christie's Image Ltd 2015

The interior of the tray is incised with a central flowerhead encircled by linked ruyi-heads forming a large florette within a border of detached clouds, all reserved on a resist-spotted ground, glazed alternately with green and amber. The three loop feet and exterior are covered with a clear glaze, stopping above the underside revealing the buff ware. 11 1/4 in. (28.7 cm.) diam., box

Provenance: Chu Cheng Tang Ltd., Taipei, 29 May 1985
Yangdetang Collection

Notes: Sancai dishes of this size and rich design are very rare. A similar dish of larger size (38.1 cm.), from the Eumorfopoulos Collection, and now in the Victoria and Albert Museum is illustrated by M. Medley, T'ang Pottery and Porcelain, London, 1981, p. 37, pl. 25. The author proposes that the decoration on dishes of this type would have been inspired by the chased decoration on silver. Compare also to another similarly decorated sancai dish with a slightly different flowerhead design and a wavy pattern on the mouth rim, covered with a green glaze on the exterior, in the Eisei Bunko Collection, Tokyo, illustrated in Sekai Toji Zenshu, Tokyo, 1976, pl. 54.

A moulded sancai-glazed octagonal inkstone, Liao dynasty (907-1125). Estimate HK$100,000 – HK$150,000 ($12,966 - $19,449). Photo Christie's Image Ltd 2015

The inkstone is shaped as a waisted octagon with a recessed base, moulded in the centre with a shallow water receptacle decorated with overlapping petals, surrounded by moulded peony sprays, levelling towards the rim to an unglazed grinding surface. The facetted sides are each moulded with a diamond-shaped cartouche enclosing a peony blossom surrounded by foliate. The inkstone is covered overall with splashes of cream, green and amber glazes, with three spur marks on the foot rim. 8 7/8 in. (22.5 cm.) wide, box

Provenance: Fred Lee Antique, Hong Kong, 1992
Yangdetang Collection

A moulded sancai-glazed octagonal inkstone, Liao dynasty (907-1125). Estimate HK$150,000 – HK$200,000 ($19,449 - $25,932). Photo Christie's Image Ltd 2015

The top is moulded with a bracket-lobed recessed water receptacle moulded with a single spray of peony, levelling to an unglazed grinding surface, surrounded by moulded peony sprays on the well. The facetted sides are decorated with alternating panels of leaping beasts and diaper patterns. The vessel is covered overall with cream, amber and green glazes, the green glaze extending to the countersunk base. 6 1/4 in. (15.8 cm.) wide, box

Provenance: Galaxie Art & Gift Company, Hong Kong, 27 November 1993
Yangdetang Collection

Notes: This current lot and lot 91 function both as an inkstone and a brush washer. Several similar examples, one octagonal and three circular ones, were included in the National Museum of Chinese History Museum exhibition Exhibition on the Collected Treasures of Liao Dynasty from Inner Mongolia, Beijing, 2002, pp. 302-308. Another circular example is illustrated in Zhongguo taoci quanji -17- Liao, Shanghai, 1986, pl. 61.

1961 – Dans le quartier chinois de Cholon, portrait en extérieur d’une fillette souriante, avec une mèche de cheveux sur un oeil, les bras levés en arrière. (Photo by Jack Garofalo/Paris Match via Getty Images)

Cholon- 1961- Une ‘Ville chinoise’ sur le delta du Mékong, ruche où l’activité ne cesse: une maison sur deux est une boutique, tous les commerçants sont chinois et l’on travaille en famille. Un herboriste, souriant debout devant son comptoir, vend des poudres de pierres et des thés qui guérissent. (Photo by Jack Garofalo/Paris Match via Getty Images)

Cholon- 1961- Un costumier, devant un présentoir de coiffes pour le théâtre chinois est assis dans sa boutique, une pipe à la bouche, entouré de ses trois filles. (Photo by Jack Garofalo/Paris Match via Getty Images)

Cholon- 1961- Un savetier, assis dans sa boutique, à côté d’un présentoir mural de sandales apparaît comme un vieux sage, lunettes et barbe pointe à la Confucius. (Photo by Jack Garofalo/Paris Match via Getty Images)

Cholon- 1961- Le fantastique univers de pacotille du marchand de jouets fait partie de la vie quotidienne: un jeune enfant se tient assis parmi un arsenal féérique de dragons de cellophane, de guirlandes et lampions, de masques mêlés aux avions et fusées. Non seulement décor de maison, c’est un prétexte à réjouissances lors de la fête du Têt, nouvel an vietnamien, les fêtes des saisons, du riz, du dragon, de la lune et celle des morts. (Photo by Jack Garofalo/Paris Match via Getty Images)

Cholon- 1961. (Photo by Jack Garofalo/Paris Match via Getty Images)

Cholon- 1961. Un jeune garçon, torse nu, en short, tient une cage à oiseaux suspendue au plafond, tout en observant l’oiseau sur son perchoir; prise de vue à contre-jour. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam. Saigon – 1961 – Dans le quartier chinois de Cholon, une personne portant un chapeau conique, dans la boutique d’un marchand d’images pieuses, confucéennes ou bouddhistes, accrochées au mur. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam. Saigon – 1961 – Dans une rue du quartier chinois de Cholon, une personne vêtu de noir, avec un chapeau conique, des plumes à la mains, porte un balancier sur son épaule, dont le panier avant est rempli de brosses et le panier arrière d’éventails. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam. Saigon – 1961 – Dans le quartier chinois de Cholon, aligné, un groupe d’enfants assis par terre, devant l’autel d’une pagode. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam. Saigon – 1961 – Dans le quartier chinois de Cholon, deux enfants nus, dont un riant, plongé dans une bassine, à côté d’immenses jarres. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam. Saigon – 1961 – Dans le quartier chinois de Cholon, devant une maison, des habitants jouant au boules, sur de la terre battue. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam. Saigon – 1961 – Dans le quartier chinois de Cholon, vue en plongée de maison aux murs et aux toits de feuilles, bordant les rives d’un canal, où flottent des bateaux. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam. Saigon – 1961 – Dans le quartier chinois de Cholon, un homme avec un tissu sur la tête, en compagnie d’une fillette et d’un garçon.(Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam. Saigon – 1961 – Dans le quartier chinois de Cholon, un homme à genoux sur un trottoir, prie mains jointes, tenant un Mâlâ bouddhiste. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam. Saigon – 1961 – Dans le quartier chinois de Cholon, dans une pièce sombre, à genoux devant une sculpture représentant un cheval, une femme accompagnée d’une petite fille, brûle des feuilles de prières.(Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam- Saigon et son faubourg, Cholon- 1961- Une ‘Ville chinoise’ sur le delta du Mékong. Le théâtre chinois est le plus vieux du monde. Issus du peuple chinois, les comédiens jouent avec les mêmes maquillages et costumes que leurs ancêtres. Portrait d’un comédien, portant une manteau de satin noir avec liseré blanc, une moustache synthétique noire et une coiffe avec insigne noire et blanche sur un foulard noir noué sur son crâne. Ses mains sont jointes. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam- Saigon et son faubourg, Cholon- 1961- Portrait d’un comédien, portant une manteau de satin rouge avec un plastron brodé et bordé de fourrure, grimé de blanc, rouge et noir représentant le caractère du personnage et accompagnant les sentiments exprimés.Un foulard noir est noué sur son crâne surmonté d’une coiffe avec pompon et insigne.(Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam- Saigon et son faubourg, Cholon- 1961- Un jeune homme en pagne rouge imprimé se grime, le visage recouvert de peinture blanche, les lèvres et le nez marqués de touches rouges, un foulard noir noué sur ses cheveux, devant un miroir tenu en main.Un second miroir accroché au mur d’une loge dépouillée, portant les traces d’essais de couleurs aux pinceaux renvoie son image. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam- Saigon et son faubourg, Cholon- 1961- Trois jeunes femmes se griment, pinceaux et miroir en main, dans une loge à l’allure dépouillée: une ampoule au plafond pour éclairage, un miroir et les traces d’essais de couleurs aux pinceaux au mur. (Photo by Jack Garofalo/Paris Match via Getty Images)

Vietnam- Saigon et son faubourg, Cholon- 1961- Une jeune fille, vêtue d’un chemisier imprimé bleu, se maquille à l’aide d’une spatule, les sourcils accentués par les traits au pinceau noir, un dégradé de rouge au rose allant des paupières aux joues sur un fond blanc appliquéà son visage. Ses cheveux sont en cours de préparation, maintenus par des papillotes en papier aluminium; prise de vue dans une loge au décor dépouillé: un miroir, deux bougeoirs et un bouddha. (Photo by Jack Garofalo/Paris Match via Getty Images)

Saigon 1961 – Dans une rue du quartier chinois de Cholon, devant un chariot appelé‘tac-à-tac’, dans lequel un homme portant un chapeau est assis, une femme avec un tissu sur la tête, tient des légumes dans ses mains, penchée au-dessus d’un panier. (Photo by Jack Garofalo/Paris Match via Getty Images)

A fine and rare 'Jun-imitation' vase, Seal mark and period of Yongzheng. Estimate 4,000,000 — 6,000,000 HKD (466,877 - 700,315 EUR). Photo Sotheby's

the robustly potted pear-shaped vessel supported on a splayed foot with two rectangular apertures evoking archaic bronze models, the rotund body rising to a wide slightly tapering neck to a galleried rim, covered overall with a mottled deep crushed-raspberry glaze thinning at the rim and fading to a speckled pale blue on the lower body and foot, the interior of the foot glazed with a mushroom-green wash and incised with a six-character seal mark; 27.9 cm., 11 in

Provenance: Christie's New York, 29th March 2006, lot 463.

Notes: Infused with a subtle elegance and technical perfection characteristic of Yongzheng porcelain, vases of this type are rare. Under the emperor’s keen eye, which was steeped in a thorough knowledge of the antiquities in the imperial collection, a profusion of experimental glazes on various forms was developed to capture the beauty of celebrated antiquities with a contemporary aesthetic suited to the emperor’s taste.

A closely related example was sold in these rooms, 30th October 2002, lot 230; and a vase of this type but incised with the characters Xuanhe, in the Baur collection, is illustrated in John Ayers, Chinese Ceramics in the Baur Collection, vol. 2, Geneva, 1999, pl. 263. The mark refers to the Northern Song emperor, Huizong (1082-1135) whose love of art which was reflected in his renowned collection of ceramics and antiquities, and during his reign the quality of ceramic production, including Jun ware and the creation of Ru ware, improved dramatically. His collection of ancient bronzes and jades was published in a catalogue commissioned by the emperor, Xuanhe bo go tulu, which also provided inspiration for ceramicists in later generations. The use of this Jun-type glaze during the Yongzheng period, with its characteristic speckled, copper pigment that has been blown on appears to have been limited to Jun-style flower pots and narcissus bowls, such as a set in the Baur collection, published ibid., pls 261 and 262, or vases inspired by archaic bronze forms, such as a hu-shape vase with raised bow-string lines, in the Qing court collection and still in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 177. 

Wares from the type-site Juntai in Yu County, Henan province, an area formerly known as Junzhou, are remarkable for their thick luscious glaze of intense colouration which can vary from light to deep turquoise blue. In the early 12th century potters began applying splashes of deep purplish-red derived from copper to the glaze before firing, resulting in patches of purple, lavender and deep tones of blue on the primary milky-blue glaze. Such splashes added a flamboyant effect to the piece, often with a strong calligraphic quality which had an immense appeal to the literati and nobility of the time. 

Such was the appreciation of Jun wares that several examples remained in the imperial collections and were appreciated by countless generations, including the Manchu court of the Qing dynasty. The Yongzheng emperor was particularly partial to Song wares and commissioned copies of Jun wares from the Imperial workshop in Jingdezhen. The technical ingenuity and high level of experimentation of the potters working at the imperial kiln is evident in the official list from 1735 as recorded on the Taocheng jishi bei ji [Commemorative Stele on Ceramic Production] inscribed by Tang Ying (1682-1756), the greatest Superintendent of the imperial kilns. This important work records no less than nine varieties of Jun glazes inspired by ancient specimens, of which five were based on Song originals that had been sent from the palace in Beijing to the imperial kilns in Jingdezhen. Tang Ying is known to have gone to considerable lengths to emulate Jun wares of the Song, even sending his secretary, Wu Yaopu, and selected craftsmen to Junzhou in 1729 to work with local potters and thus obtain the recipe for producing Jun glazes.

 The form of this vase is also inspired by Song wares, which were in turn based on archaic bronze hu vase prototypes, and were produced covered in various glazes during the Yongzheng period; see a deep-blue glazed version in the Palace Museum, Beijing, illustrated in Gugong Bowuyuan cang Qingdai yuyao ciqi [Qing porcelains from the Imperial kilns preserved in the. Palace Museum], vol. 1, Beijing, 2005, pl. 122; and a ru-type vase, sold at Christie’s New York, 15th September 2009, lot 396.

Sotheby's. Important Chinese Art, Hong Kong, 07 oct. 2015, 02:30 PM

A fine and rare robin's-egg glazed bottle vase, Seal mark and period of Qianlong. Estimate 4,000,000 — 6,000,000 HKD (466,877 - 700,315 EUR). Photo Sotheby's

supported on a short spreading foot modelled with a raised fillet, elegantly potted with a slender waisted neck rising from a globular body to a slightly everted mouth, covered overall with a thick and unctuous mottled brown, lavender and turquoise glaze, the recessed base incised with a six-character seal mark, wood stand; 24.8 cm., 9 3/4  in.

Notes: Innovated during the Yongzheng period (1723-35) and particularly favoured by the Qianlong Emperor, the ‘robin’s egg’ glaze was created as a reinterpretation of Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. A development attributable to Tang Ying (1682-1756), the glaze was coined lu jun, or ‘furnace Jun’ because it was fired at a lower temperature than that of firing the porcelain. This glaze is mentioned on a stele inscribed by Tang Ying in Jingdezhen as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the imperial court. The mottled turquoise effect on the present vase, achieved with the use of copper and arsenic, is particularly finely streaked and the shade is of a vivid light turquoise blue. While some quantities of vessels covered in this striking glaze were manufactured in the Imperial kilns, only the finest pieces bear a Yongzheng or Qianlong mark.

A closely related example was sold in our Los Angeles rooms, 5th-8th November 1979, lot 1779; and another was sold at Christie’s Hong Kong, 31st October 1994, lot 638.

Vases of this elegant form were produced in a variety of different glazes; a rich lapis blue-glazed example, from the Edward T. Chow collection, was sold in these rooms, 25th November 1980, lot 84; a pale blue-glazed vase, from the collection of the British Rail Pension Fund, was sold in our London rooms, 16th May 1989, lot 48; and a much larger example covered in a teadust glaze, from the collection of William O. Goodman, was sold in our London rooms, 1st June 1994, lot 302.

Sotheby's. Important Chinese Art, Hong Kong, 07 oct. 2015, 02:30 PM

Xu Zhen, "Eternity – Poseidon, pigeons", 2014 (Detail), Courtesy of the artist and MadeIn Company, Photo: Courtesy of the artist.

GRAZ.- Xu Zhen has been seen for some years as one of the most critical and at the same time most virtuosic of the leading figures of a younger generation of Chinese artists. He has already twice participated in group exhibitions at the Kunsthaus Graz: China Welcomes You (2007) and Life? Biomorphic Forms in Sculpture (2008). His solo show –as his first larger exhibition project adapted for the locality in Europe –is the result of an ongoing engagement with artistic output. His artistic strategies are thus a mirror of a rapidly evolving Chinese art scene. They employ an 'art of conforming', veering between a partial use of conceptual art up to Re-enactment, with an ironic critique of the system and a craftsman's precision. The often theatrical, highly provocative sculptures, pictures, Performances and films confront contemporary China with social-political and cultural taboos, and more besides. In Graz, too, the works on show, which can be produced serially in his 'MadeIn Company', comment on a short-lived, globe-spanning consumerist society. They ask where our behaviour will lead in future and create possible systems offering cultural and spiritual reconciliation. 

Xu Zhen, „Arrogance“ Set, 2014, Courtesy of the artist and MadeIn Company, Photo: Thomas Fuesser.

The exhibited works cross boundaries,moving through levels that are not only political and cultural, but institutional, too. Sculptures that are amalgamations and copies are presented as new creations of a global culture, revealing the market and its regulations as the determining receptacleof artistic endeavour. To this Xu Zhen reacts brilliantly with his 'MadeIn Company'. The term 'MadeIn' refers to the commonly found label 'Made in China' and in Chinese (没顶公司) includes the word ‘company’.Thetwo characters ‘没顶’ pronounced ‘mei ding’mean‘without roof’as in ‘no limit’. 

Xu Zhen, "Eternity – The Soldier of Marathon Announcing Victory, A Wounded Galatian", 2014, Courtesy of the artist and MadeIn Company, Photo: Thomas Fuesser.

The significant work' Arrogance ' Set (2015) shows, among other things, a presumably bronze Poseidon, who has been settled on by pigeons reminiscent of Peking ducks. The sculpture Eternity –The Soldier of Marathon Announcing Victory, A Wounded Galatian (2014) unites beyond time and place an ancient Greek sculpture of the dying Athenianwith the injured Galatian, beyond political and stylistic borders to a marble, gleaming sculpture, thus becoming an eternal witness –not only figuratively pointing towards the sky –of a history of mankind marked by conquest. 

Xu Zhen, "Eternity – Sui Dynasty Gold Gilded and Painted Standing Bodhisattva, Venus de Vienne", 2014, Courtesy of the artist and MadeIn Company, Photo: Thomas Fuesser.

The exhibition is presented as a quasi-military positioning of serial objects in Space01 at the Kunsthaus Graz, yet it also contains very funny, cheeky and at the same more muted tones: one sculpture that is part of the Eternity series and thus linking cultures marries in a headstand the eternal beauties of a bodhisattvaof the Chinese Sui dynasty with the Venus de Vienne from the Louvre in Paris. 

Xu Zhen, "MadeIn Curved Vase – Vault-of-Heaven Vase with Magpie Pattern, Qianlong Period, Qing Dynasty", 2014, Courtesy of the artist and MadeIn Company, Photo: Thomas Fuesser.

The four video works Shouting (1998), Rainbow (1998), Physique of Consciousness (2011) and Twenty (2015), which, like the sculptures, are given the status of objects and when reproduced multiply preserve their position in the room, are references to Xu Zhen's provocative and at the same time performative approach, taking as their theme our interaction with the series, but also those with the forgery or fake in both the west and the east. The ShanghART Supermarket (2007/2015) can also be interpreted in the same way -which as an introduction to the exhibition not only abducts the public into a stereotypical China of trade, but also in the context of art makes use of such models as Warhol's serial Campbell's Soup Cans (1962) or Damien Hirst's Installation Pharmacy (1992), thereby mercilessly exaggerating the populist call for consumable, contemporary art by turning the platform of the institution into the marketplace for the goods on offer.

Xu Zhen, "Small Change (Renminbi Tank)", 2011/2014, Courtesy of the artist and MadeIn Company, Photo: Courtesy of the artist.

Corporate is an exhibition about prejudice and norms, about definitions of identity in connection with our cultural capital, about cultural heritage and its reworking under conditions of a conforming, global and above all consumer-based society. There is more on show than just an ironic engagement with images of west and east.  

Xu Zhen, "Sphynxxxxxxxx", 2014, Courtesy of the artist and MadeIn Company, Photo: Courtesy of the artist

As a cunning form of self-marketing and annexation all in one, Corporate is to some extent a triumphant invasion of Europe by what is 'Chinese'. Xu Zhen's production firm 'MadeIn Company', which produces in all genres with the greatest precision and perfection, thus operates in the style of the 'new generation' of Asian artist producers. While Xu Zhen beguiles the public with the persuasive power of stereotypes, he toys with artistic colonialism, tongue-in-cheek.

Xu Zhen, "ShangART Supermarket", 2007/2015, Photo: Thomas Fuesser.

Xu Zhen, "Shouting", 1998 (Video stills), Photo: Courtesy of the artist.

A fine and rare celadon-glazed 'Kui Dragon' jar, Seal mark and period of Qianlong. Estimate 6,000,000 — 8,000,000 HKD (700,315 - 933,753 EUR). Photo Sotheby's.

of baluster form with generous globular sides rising from a waisted foot, boldly carved with archaistic kuidragons and phoenix, their sinuous bodies picked out with raised bosses and terminating in curled tendrils, the short flaring neck rising to a lipped rim encircled by a wan-symbol frieze, the foot bordered with a border of upright lappets, applied overall with a thick glaze of a rich olive-green tone pooling in the recesses to highlight the carving, the base crisply carved with a six-character seal mark within a recessed square; 26 cm., 10 1/4  in.

Provenance: A private Japanese collection.
Christie's Hong Kong, 30th May 2006, lot 1356.

Exhibition: Min Xin no bijutsu [The Art of the Ming and Qing], Osaka Municipal Museum, Osaka, 1982, cat. no. 179.

Notes: Carved with a marvellous matrix composed entirely of sinuous kui dragons, this vase is an attractive example of the rare celadon-glaze wares of this olive-green shade made during the Qianlong reign. It follows in the Longquan celadon style made for the court during the early Ming dynasty and reflects the Qianlong Emperor’s studious and acute interest in antiquity. Two related examples were sold in our New York rooms, 5th May 1979, lot 40, and the other, 6th November 1981, lot 306.

In colour, form and decoration, the present vase has been inspired by imperial early Ming Longquan ware. The most appreciated Ming Longquan celadon wares were characterised by their glossy, rich greenish glaze with a yellowish or milky hue. Their neat shapes were often meticulously carved overall with intricate patterns similar to the official porcelains produced in Jingdezhen. Recent excavations at a kiln site in the Dayao area of Longquan have unearthed shards with reign marks, which verify historical documents which recorded that Longquan kilns were once suppliers for and supervised by the early Ming court (see the catalogue to the exhibition Green: Longquan Celadon of the Ming Dynasty, National Palace Museum, Taipei, 2009, p. 21).

While drawing from Ming celadon traditions, the Qing craftsman has subtly imbued the present vase with a contemporaneity that firmly positions it within the taste of the Qianlong Emperor: the curves of the original guan shape have been extended into a sweeping baluster form and the sumptuous complex design of kui dragons have replaced the striding dragons of Ming prototypes, such as one, from the collection of Bo Ewer, sold in our London rooms, 24th July 1973, lot 56. Compare also a blue and white dragon jar, with related uniform petal lappets encircling the foot, included in the exhibition Xuande Imperial Porcelain Excavated at Jingdezhen, Chang Foundation, Taipei, 1998, cat. no. 3.

Perhaps what is most fascinating about the decoration of the present vase is that from a distance it appears to depict a floral scroll motif commonly found carved on early Ming celadon; it is only upon closer inspection that the kui dragons are seen. The vase is unusual for the Qianlong Emperor, as celadon wares produced during his reign largely continued the heritage of his father, Yongzheng, with a tendency to elaborate on earlier models. Like his predecessor he was enamoured with archaistic designs, but the revivals of his time followed Yongzheng prototypes more typically than reinventing original Song or Ming antiques from scratch. However the design may have been loosely inspired by chilong and lingzhi decorated vessels from the Yongzheng period; see a Yongzheng underglaze blue and red decorated tianqiuping, in the Palace Museum, Beijing, illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum, Beijing, 1989, p. 190, pl. 19; and a copper red Qianlong version, but of double gourd shape, sold in these rooms, 8th April 2010, lot 1867.

For Qianlong celadon-glazed vases of related olive tone, see one carved with stylised lotus scrolls and leafy tendrils, inscribed with a similar Qianlong seal mark and of the period, from the Huaihaitang collection and included in the exhibition Ethereal Elegance. Porcelain Vases of the Imperial Qing, Art Museum, Art Museum, The Chinese University of Hong Kong, Hong Kong, 2007, cat. no. 51; and another, but with a cut-down rim, sold in our London rooms, 7th November 2012, lot 430. The similarities in seal mark, style of decoration and glaze strongly suggest they belong to a group produced at the same time and by the same craftsmen.

Sotheby's. Important Chinese Art, Hong Kong, 07 oct. 2015, 02:30 PM

A Guan-type hu-form vase, Seal mark and period of Qianlong. Estimate 2,200,000 — 3,000,000 HKD (256,782 - 350,157 EUR). Photo Sotheby's.

of archaistic hu form, well potted with a bulbous pear-shaped body elegantly rising from a slightly splayed foot to a waisted neck and flared rim, set with two stylised turtledove-shaped loop handles suspending mock rings interrupted by a subtle thin raised fillet bordering the neck, covered overall save for the unglazed footring with a pale caesius-coloured glaze suffused with a fine matrix of colourless and russet crackles, the base inscribed in underglaze blue with a six-character seal mark, wood stand; 20 cm., 7 7/8  in.

Provenance: A private European collection.
Christie's London, 14th May 2013, lot 249.

Notes: Created in imitation of Southern Song dynasty guan ware made for the court in the capital Hangzhou in Zhejiang province, the present vase is an exceptional example of the emperor's deep appreciation and respect for the past. The elegant form and moulded horizontal rib draws attention to the fine pale glaze and its attractive network of faint russet crackles. Vases of this type were first produced during the Yongzheng reign (1723-35) and are likely to be a product of Tang Ying (1682-1756), the superintendent of the Imperial kilns in Jingdezhen during the Yongzheng and early Qianlong periods, who introduced simplicity of form and absence of decoration as the new stylistic trend.

Two Qianlong mark and period vases of this type were sold in these rooms, the first, 18th May 1988, lot 234, and the second, 29th April 1997, lot 578; another was sold at Christie's Hong Kong, 26th September 1989, lot 696; and a larger example was sold in these rooms, 24th November 1987, lot 138. For the Yongzheng prototype of this vase see one in the Palace Museum, Beijing, illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 249, pl. 78.

Vases of this form are also known covered in various monochrome glazes, such as a tea-dust glazed example, from the Chang Foundation, illustrated in James Spencer, Selected Chinese Ceramics from Han to Qing Dynasties, Taipei, 1990, pl. 156; another sold at Christie's New York, 26th March 2010, lot 1409; and a slightly smaller unmarked vase covered overall with a robin's egg glaze, illustrated in Qingdai ciqi shangjian [Appreciation of Qing dynasty porcelain], Shanghai, 1994, pl. 172. 

Sotheby's. Important Chinese Art, Hong Kong, 07 oct. 2015, 02:30 PM

A fine and rare flambé-glazed vase, hu, Incised seal mark and period of Yongzheng. Estimate 1,800,000 — 2,500,000 HKD (210,094 - 291,798 EUR). Photo Sotheby's.

sturdily potted with a full, rounded body supported on a flared foot and rising to a waisted, slightly flaring neck, the shoulders moulded with handles and fixed rings suspending tassels, with a rich glaze of crushed raspberry tone and occasional streaks of lavender applied to the exterior and draining away from the mouthrim and handles to reveal creamy-mushroom tones, the interior covered in a pale blue glaze with beige undertones, the base washed with a transparent light brown glaze with grey patches and incised with a four-character reign mark - 22.4 cm., 8 7/8  in.

Provenance: Christie’s Hong Kong, 25th October 1993, lot 805.

Notes: While at first glance this vase appears to be a familiar type, finely potted in an elegant archaic bronze-inspired pear-shaped body and covered by a striking glaze in imitation of the celebrated Jun wares, it is unusual for the ringed loop handles from which tassels are suspended. Only one other closely related vase appears to have been published, from the Qing court collection and still in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 181. Yongzheng mark and period vases of this form are also known modelled with tubular handles, such as one sold in these rooms, 15th May 1990, lot 75.

A great connoisseur of antique porcelains and with a discerning aesthetic sense for works of art, the Yongzheng Emperor demanded the highest level of craftsmanship in the production of elegant implements for personal use. Various attempts to recreate the Jun glaze had failed in the early years of his reign with the emperor’s great disappointment, until Nian Xiyao, the supervisor of the Imperial kilns, sought a new recipe amongst the elderly craftsmen in Junzhou, Henan province, where it is believed the Jun glaze originated. According to Palace records, on the 8th year of the Yongzheng reign, corresponding to 1730, the Emperor responded positively for the first time to a group of imitation Jun wares and remarked ‘This group is very good. Tell Nian Xiyao to make a few more’ (translated in The Tsui Museum of Art. Chinese Ceramics IV. Qing Dynasty, Hong Kong, 1991, p. 48). Recent studies on flambé glaze has revealed that this new recipe required the application of a layer of copper blue glaze with traces of lead, over a layer of red glaze, which when fired created the striking streaks so admired by the Qing Emperor. 

Sotheby's. Important Chinese Art, Hong Kong, 07 oct. 2015, 02:30 PM

Burmese Pigeon's Blood Ruby and Diamond Necklace. Estimate 8,800,000 — 10,000,000 HKD (1,031,335 - 1,171,972 EUR). Photo Sotheby's

Highlighted by three oval rubies weighing 10.06, 8.44 and 7.06 carats respectively, surrounded by pear-shaped and brilliant-cut diamonds, connecting strands of oval and cushion-shaped rubies spaced by brilliant-cut diamonds, the clasp highlighted by tassels terminating by pear-shaped rubies, the rubies and diamonds together weighing approximately 81.72 and 38.75 carats respectively, mounted in platinum and 18 karat yellow gold, length approximately 520mm. 

Accompanied by SSEF and GIA reports numbered 80769 and 6172842733, dated 29 June 2015 and 4 August 2014, stating that the rubies are natural, of Burmese (Myanmar) origin, with no indications of heating. The SSEF report states that the 10.06, 8.44 and 7.06 carat rubies are from the reputed mines in the Mogok Valley. The GIA report states that the colour appearance of these stones is described in the trade as "Pigeon's Blood".
The SSEF Appendix Letter further states that 'assembling a matching selection of natural rubies from Burma of this quality and size is rare and exceptional; therefore this ruby necklace can be considered a true treasure of nature.' 
Also accompanied by a GIA Portrait.

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 07 oct. 2015, 02:00 PM

Burmese Pigeon's Blood Ruby and Diamond Ring. Estimate 5,800,000 — 6,800,000 HKD (679,743 - 796,941 EUR ). Photo Sotheby's

Centring on a cushion-shaped ruby weighing 5.15 carats, to surround set with six triangular-shaped diamonds together weighing approximately 7.65 carats, the shoulders embellished by circular-cut diamonds together weighing approximately 1.10 carats, mounted in 18 karat white gold. Ring size: 6

Accompanied by Gübelin and GRS reports numbered 14071133 and GRS2013-068917, dated 6 August 2014 and 28 June 2013 respectively, stating that the 5.15 carat ruby is natural, of Burmese (Myanmar) origin, vivid red (GRS type "pigeon's blood"), with no indications of heating. 

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 07 oct. 2015, 02:00 PM

Pair of Burmese Pigeon's Blood Ruby and Diamond Earclips. Estimate 4,800,000 — 5,500,000 HKD (562,546 - 644,584 EUR ). Photo Sotheby's.

Each centring on an oval ruby weighing 5.02 and 4.01 carats respectively, to a surround set with four marquise- and five pear-shaped diamonds altogether weighing approximately 16.88 carats, mounted in platinum and yellow gold.

Accompanied by GIA and SSEF reports numbered 6172728178 and 80729, dated 9 July 2014 and 29 June 2015 respectively, stating that the rubies are natural, of Burmese origin, with no indications of heating. GIA states that the colour appearance of these stones is described in the trade as "Pigeon’s Blood". Also accompanied by a GIA Portrait Report.
Further accompanied by six GIA reports, stating that the four marquise-shaped and two pear-shaped diamonds ranging from 1.16 to 1.01 carats are D to E colour, VVS1 to VS1 clarity.

Sotheby's. Magnificent Jewels & Jadeite, Hong Kong, 07 oct. 2015, 02:00 PM

Pygoplatys sp.

Glenea cardinalis

Denticollis linearis

Gogotte, sculpture naturelle "Lion bouddhique" Oligocene, (datant de 30 millions d'années), probablement Fontainebleau, France. Estimation : 5 000 € / 8 000 € (50 000 / 70 000 HKD). Photo Artcurial.

Concrétion gréseuse suggérant la forme d'un lion bouddhique - H. : 54 cm

La gogotte est une concrétion gréseuse qui allie fortuitement quartz et calcium. Sa forme onirique, qui paraît empruntée à l'art contemporain, est due en réalitéà l'érosion naturelle du sol au fil des millénaires. Œuvre minéralogique, chaque gogotte revêt une forme unique, quasi mystique, qui ouvre l'imaginaire individuel à des interprétations infinies. 

Réputé pour sa pureté et sa finesse depuis le XVIIe siècle, le sable de Fontainebleau donne à la gogotte son aspect porcelainé. 

Des gogottes sont conservées dans des musées d'histoire naturelle du monde entier. Le National Museum of Natural History de Washington en possède un exemplaire particulièrement exubérant. 

A NATURAL SCULPTED SANDSTONE GOGOTTE, OLIGOCENE (THIRTY MILLION YEARS OLD), PROBALY FONTAINEBLEAU, FRANCE, REPRESENTING A BOUDDHIST LION - H.: 21 ¼ in. 

A gogotte is a sandstone concretion fortuitously composed of quartz and calcium. Its dreamlike form, which could be a contemporary sculpture, is actually due to the natural erosion of the ground through thousands of years. A mineralogical work of art indeed, each gogotte has a unique and otherworldly shape, which open each imagination to infinite interpretations. 

Fontainebleau's sand is famous for its flawlessness and delicacy since the 17th century, and gives to the gogotte its porcelain appearance. 

Gogotte concretions can be found in natural history museums around the world. A particularly well-preserved example is exhibited at the National Museum of Natural History in Washington.  

ARTCURIAL - BRIEST-POULAIN-F.TAJAN, SHEUNG WAN – HONG KONG. From Paris to Hong Kong - Vacation 2 (Vente à Hong Kong), le 06 Octobre 2015 à 18h 

Gogotte en forme de "cyclope", Oligocene, (datant de 30 millions d'années), probablement Fontainebleau, France. Estimation : 2 000 € / 3 000 € (18 000 / 25 000 HKD). Photo Artcurial.

Concrétion gréseuse suggérant la forme d'un cyclope. H. : 40 cm 

La gogotte est une concrétion gréseuse qui allie fortuitement quartz et calcium. Sa forme onirique, qui paraît empruntée à l'art contemporain, est due en réalitéà l'érosion naturelle du sol au fil des millénaires. Œuvre minéralogique, chaque gogotte revêt une forme unique, quasi mystique, qui ouvre l'imaginaire individuel à des interprétations infinies. 

Réputé pour sa pureté et sa finesse depuis le XVIIe siècle, le sable de Fontainebleau donne à la gogotte son aspect porcelainé. 

Des gogottes sont conservées dans des musées d'histoire naturelle du monde entier. Le National Museum of Natural History de Washington en possède un exemplaire particulièrement exubérant.  

A NATURAL SCULPTED SANDSTONE GOGOTTE REPRESENTING A CYCLOPE'S EYE, OLIGOCENE (THIRTY MILLION YEARS OLD), PROBALY FONTAINEBLEAU, FRANCE - H.: 15 ¾ in. 

A gogotte is a sandstone concretion fortuitously composed of quartz and calcium. Its dreamlike form, which could be a contemporary sculpture, is actually due to the natural erosion of the ground through thousands of years. A mineralogical work of art indeed, each gogotte has a unique and otherworldly shape, which open each imagination to infinite interpretations. 

Fontainebleau's sand is famous for its flawlessness and delicacy since the 17th century, and gives to the gogotte its porcelain appearance. 

Gogotte concretions can be found in natural history museums around the world. A particularly well-preserved example is exhibited at the National Museum of Natural History in Washington. 

ARTCURIAL - BRIEST-POULAIN-F.TAJAN, SHEUNG WAN – HONG KONG. From Paris to Hong Kong - Vacation 2 (Vente à Hong Kong), le 06 Octobre 2015 à 18h 

A Henan celadon handled cup, Song-Yuan dynasty (960-1368). Estimate HK$400,000 – HK$600,000 ($51,863 - $77,795). Photo Christie's Image Ltd 2015.

The cup is well potted with rounded sides rising from a flat base with a circular recessed centre, and applied along one edge of the rim with a bracket-shaped flange above a loop ring, covered overall under a crackled greyish-celadon glaze with the exception of the three spur marks on the base. 5 1/2 in. (13.8 cm.) long

Notes: The development of thick-glazed celadon was a major breakthrough in ceramic productions in the late Northern Song dynasty. According to ceramic archaeologist Qin Dashu, the Ru ware at Qingliangsi village, Baofeng county first employed this technique in producing fine bluishgreen celadon wares, exclusively for the Northern Song court. This technique soon proliferated to celadon kilns in central Henan region including kilns in Ruzhou, Yuzhou, and Lushan. The present quzhi cup with its fine crackled semi-opaque glaze was probably produced at Donggou kiln in Ruzhou city. Ruzhou has a long tradition of celadon production. The early products display features of Yaozhou celadon in terms of decoration and glaze type, and is named after the old administrative name of Ruzhou as Linru ware. In the late Northern Song period, potters in Ruzhou created new types of celadon to overcome limitations of Yaozhou-type glaze. The thick, semi-opaque glaze, as represented by the present piece, enriched the visual appeal of celadon and renders a jade-like tactile quality.

The quzhi cup of the present form is modelled after metal wares. Metal forms such as barbed-rim dish, shallow oblong plate with lobed rim, and quzhi cup were popular among major Northern kilns in the Song-Jin period. These products are often of high quality and were most likely commissioned by the wealthy social elites or even the court. Tsai Meifen from the National Palace Museum pointed out that quzhi cups of the present form were official wine vessels in both Song and Jin dynasties and were used by the Southern Song court to entertain delegates from the Jin court. A Ding ware quzhi cup, likely to have been fired on its mouth rim, from the National Palace Museum, Taipei, is illustrated and discussed in Tsai Meifen, Decorated Porcelains of Dingzhou. White Ding Wares from the collection of the National Palace Museum, Taipei, 2014, p. 147. A Jun ware quzhi cup, showing three large spur marks on the underside base, is illustrated in Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), Beijing, 2008, vol. 12, p. 155. Compare also a dark-bodied Longquan version that was fired on a ring foot, illustrated in Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), Beijing, 2008, vol. 9, p. 191.

CHRISTIE'S. THE PAVILION SALE - CHINESE CERAMICS & WORKS OF ART, 6 October 2015, 22nd Floor