Lot 2373. A carved yellow-enamelled brush pot, Daoguang period (1821-1850); 5 15/16 in. (15 cm.) high. Estimate HKD 180,000 - HKD 250,000. Price realised HKD 400,000. © Christie's Images Ltd 2012 

Finely carved in relief with a continuous scene of a dog looking up at a hawk perched on a pine tree growing on the far bank against a hilly backdrop, all under an even pale yellow enamel, with the eyes of the animals picked out in black. The mouth and the foot rim are finely incised with short linear strokes to imitate bamboo. The base is carved with the maker's mark reading Chen Guozhi zuo (made), stand.   

Provenance: J.J. Lally & Co., 2009  

Note: Chen Guozhi was one of the finest of a small group of independent ceramicists, that included Wang Binrong and Li Youcheng, working in Jingdezhen in the early-mid 19th century who signed their important pieces. Compare to a turquoise-glazed relief-decorated porcelain brush pot bearing the mark, Da Qing Daoguang Chen Guozhi zuo, illustrated by J. Ayers, Chinese Ceramics in the Baur Collection, vol. 2, Geneva, 1999, pp. 246-7, no. 340; and a yellow-enamelled brush pot with a scene of landscape and figures bearing Daoguang mark in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, Monochrome Porcelain, Hong Kong, 1999, p. 55, no. 49, which has the finely worked details on the rim to imitate bamboo like the present lot.  

Lot 2296. A Langyao slender baluster vase, Kangxi period (1662-1722); 15 in. (38.3 cm.) high. Estimate HKD 300,000 - HKD 400,000. Price realised HKD 350,000. © Christie's Images Ltd 2012 

Of elongated baluster form rising from a spreading foot to a short waisted neck, the well-potted vase is covered overall in a crackled glaze of strawberry-red thinning gently to a paler tone at the rim, with the interior and base glazed white.   

Note: A langyao vase of this form, but of slightly larger size (17 in.), is illustrated in the Catalogue of the Morgan Collection of Chinese Porcelains, New York 1911, vol. II, pl. CXXXVII, and another of this type is illustrated in, Qing Dynasty Monochrome Porcelains in the National Palace Museum, Taipei, 1981, no. 1, where the shape is described as guanyin zun. See, also, the vase included in the S. Marchant & Son exhibition, Imperial Porcelain of Kangxi, Yongzheng and Qianlong, London, 9 - 25 June 1996, no. 3, previously in the collection of Stephen Junkunc III and sold at Christie's New York, 21 September 1995, lot 228.  

Lot 2305. A fine incised aubergine-glazed dish, Yongzheng six-character mark within double-squares and of the period (1723-1735); Estimate HKD 120,000 - HKD 180,000. Price realised HKD 325,000. © Christie's Images Ltd 2012 

The small dish is finely potted with low rounded sides, incised on the exterior with leafy scrolls bearing pomegranates. The dish is covered inside and out with an iridescent aubergine-purple glaze. The base is covered with a clear glaze, box.   

Provenance: The Feihong Ge Collection
Sold at Christie's Hong Kong, 26 April 2004, lot 1088

Note: Similar aubergine-glazed saucer-dishes with incised pomegranate scrolls include an example in the Museum of East Asian Art, Bath, Inaugural Exhibition - Chinese Ceramics, vol. 1, 1993, no. 203; and another sold at Christie's New York, 16 September 1999, lot 379. The design of the Eight Buddhist Emblems appear to be more common than that of scrolling pomegranates on dishes of this type. See, for example, the dish illustrated by J. Ayers, Chinese Ceramics in the Baur Collection, vol. 2, Geneva, 1999, pl. 318 [A476]; and another from the National Palace Museum, Taipei, included in Catalogue of a Special Exhibition of Qing Monochromes, Taipei, 1981, no. 45.  

Lot 123. An Iznik pottery jug, Ottoman Turkey, circa 1580; 8¼in. (20.9cm.) high. Estimate GBP 6,000 - GBP 8,000. Price realised GBP 16,250. © Christie's Image Ltd 2013

Of baluster form rising from short foot to slightly flaring cylindrical neck, with simple handle, the body decorated in cobalt-blue, green and black, with a design of scrolling vine issuing small sickle-shaped leaves with blue palmette highlights reserved against green ground, around them smallcintamani motifs, the mouth, base of neck and foot with minor black geometric bands, the handle associated.

Lot 126. An Iznik pottery jug, Ottoman Turkey, circa 1560; 8¼in. (20.8cm.) high. Estimate GBP 7,000 - GBP 10,000. Price realised GBP 13,750. © Christie's Image Ltd 2013

Of baluster form rising from short foot to slightly flaring cylindrical neck, with simple handle, the white body decorated in cobalt-blue, green and bole-red within black outlines with alternating single tulips and sprays of roses, the neck with similar but reduced design, the base with stylized ring of imitation marbling, bands of simple scrolls and S-motifs around the mouth and base of neck, old owner's labels on the underside, neck with repaired breaks.

Lot 127. An Iznik pottery dish, Ottoman Turkey, circa 1590; 11¾in. (29.8cm.) diam. Estimate GBP 6,000 - GBP 8,000. Price realised GBP 13,750. © Christie's Image Ltd 2013

With sloping rim on short foot, the white surface decorated in cobalt-blue, green, red and black with a central blue rosette flanked by four cusped cartouches containing floral sprays reserved against blue ground alternated with large red arabesque spandrels, the border with a band of overlapping cusped lappets, the exterior with alternating paired cobalt-blue tulips and small green flowerheads, later owner's labels stuck to the underside, drilled holes for hanging, otherwise intact.

Lot 157. A Kutahya pottery teapot, Ottman Turkey, 18th century; 3 3/8in. (8.4cm.) high. Estimate GBP 3,000 - GBP 5,000. Price realised GBP 13,125. © Christie's Image Ltd 2013

Of rounded form rising from short slightly splayed foot to vertical rim, with simple loop handle and short tubular spout, the white ground painted in two shades of blue, bole-red, green, yellow, manganese and black with bold floral designs centered on two large rosettes, the base of the spout pierced through to allow the tea to pass, the underside with maker's mark and later owner's sticker, spout damaged.

Note: Another Kutahya teapot which had an inscription in naskh on the base was sold in these Rooms, 12 October 1999, lot 385. 

Lot 154. A Kutahya pottery bowl, Ottman Turkey, 18th century; 5in. (12.6cm.) high; 6in. (15.2cm.) diam. Estimate GBP 5,000 - GBP 7,000. Price realised GBP 12,500. © Christie's Image Ltd 2013

Rising from short splayed foot to wide rounded body with slightly everted rim, the white ground painted in cobalt-blue, bole-red, green, manganese and yellow with a lower register of colourful rosettes alternated with red flowerheads issuing leaves, an upper register of blue meandering vine, each register with simple blue borders, underside with maker's mark.

Note: Production of Kutahya ceramics can be dated back to as early as 1608 when 'masters who make cups' in the region were ordered to send supplies of soda to the kilns at Iznik (Arthur Lane, Later Islamic Pottery, London, 1957, p.63). Kutahaya ceramics have a long-standing link with the Armenian community who produced many of the wares such as our hanging ornament (lot 156) with inscriptions in Armenian. The inventive designs and the colourful glazes employed during the 18th century came to typify this playful group of ceramics. These four lots are from a collection the first part of which was sold in these Rooms, 25 April 2013, lots 242- 254. A further 8 items from this collection will be offered at Christie's South Kensington on the 11th of October 2013, lot 866 - 873.

It is very rare to find a Kutahya vessel which combines both the use of blue and white decoration found on the rim and the polychrome floral decoration on the body.  

Nasr Eddin s’est introduit frauduleusement dans une melonnière mais, juste au moment où il s’accroupit pour voler un beau fruit bien mûr, il se fait surprendre par le gardien, lequel lui fonce dessus, gourdin brandi et force insultes à la bouche.

L’homme regarde alors à terre et découvre une bouse de vache.

Lot 185. An impressive gemset and enamelled gold sword (khanda) hilt, Mughal India, late 17th-early 18th century; 9¾in. (24.8cm.) long. Estimate GBP 60,000 - GBP 80,000. Price realised GBP 122,500. © Christie's Image Ltd 2013

Made in parts, the surfaces of the hilt extremely elegantly enamelled with a lively design of animals and floral motifs in a wide range of colours, the underside of the quillon, finial and outside of the handguard with diamond inset floral sprays on red or green enamelled ground, the lower mount with beautifully modelled elephant heads supporting the quillons, some losses to the enamels.

Property of a Royal house.

Note: Visitors arriving at the courts of Indian rulers in the 17th century were unanimously impressed by their material splendor. The lavishness of the interiors that greeted them, highlighted with small accents given by enamelled and jewelled objects, has been commented on time and again. Sir Thomas Roe, who was sent as an embassy to Jahangir in 1615-18 described the Mughal court as 'the treasury of the world' (Susan Strong, Nima Smith and J.C. Harle, A Golden Treasury. Jewellery from the Indian Subcontinent, London, 1989, p.27). This hilt is an example of the type of object that would have created this rich impression, a way of expressing wealth, and by implication status and military prowess.

Jewelled gold khanda hilts are today very rare. It seems that as a weapon they went out of fashion relatively early. Paintings dated to the 18th century rarely depict them. It is therefore perhaps plausible that as they did so the hilts, particularly those fashioned of and decorated with precious materials as ours, were melted down and reused. The invasion by Nadir Shah of India in 1739 saved for posterity a number of jewelled pieces which he either took back to India as booty or, in an overt display, sent with embassies to the rulers of Russia and Turkey. These however are amongst the only substantial groups of royal Mughal decorative arts in gold to have survived - the St. Petersburg items comprising the largest group which survive together. Zebrowski wrote that nothing survives in India itself (Mark Zebrowski, Gold, Silver and Bronze from Mughal India, London, 1997, p.52). Neither the St. Petersburg collection however, nor others published, include jewelled khandas of this type.

Despite the lack of examples known today, khandas were clearly a status symbol fashionable in the 17th century. Contemporaneous paintings depict Emperors and those closest to them leaning upon such swords. A painting by Bichitr in the Late Shah Jahan Album, now in the Arthur M. Sackler Gallery in the Smithsonian Institution, depicts Shah Jahan leaning upon a khanda whilst in conversation with Asaf Khan. That painting is dated to circa 1640 (acc.no.S86.0403; Milo Cleveland Beach and Ebba Koch, King of the World. The Padshahnama, exhibition catalogue, London, 1997, fig.19, p.124). A larger illustration in the same publication, which is an enlargement taken from the Padshahnama painting 'Courtiers attend the weighing of Shah Jahan' (dated to circa 1635) shows the khanda in closer detail - with a gold body elegantly enameled with floral sprays (Beach and Koch, op.cit., fig.7, p.112). In fact, whilst all the previously published khandahilts are decorated in gold or silver inlay (see the note that accompanies the following lot for a brief resume), many of those depicted in contemporaneous sources are clearly enamelled. Another illustration of a khanda clearly decorated in enamels is in the Minto album, painted by Balchand circa 1627-30. The painting depicts Shah Jahan and his sons on a globe, the emperor with an enameled khanda in his hands (Elaine Wright, Muraqqa'. Imperial Mughal Albums from the Chester Beatty Library, exhibition catalogue, Virginia, 2008, no.46a, p.330).  

Lot 186. An elegant gemset and enamelled gold sword (khanda) hilt, Mughal India, 18th century. Main element 4¾in. (12cm.) long. Estimate GBP 30,000 - GBP 50,000. Price realised GBP 62,500. © Christie's Image Ltd 2013

Made in parts, the surfaces of the hilt and mounts elegantly enamelled with floral vine and birds in a variety of colours, the underside of the quillon, finial and exterior of the handguard with diamond inset floral sprays on enamelled ground, the final domed element of hilt and upper mount of the blade now separate but retained, some losses to the enamels.

Note: A quintessentially Indian technique, recorded by Abu'l Fazl and used here, and in the khanda hilt of the preceding lot, is that of kundan or setting of stones. This technique is practiced from the Akbari period until the 19th century when claw settings were introduced via western jewellery. Manuel Keene gives a comprehensive description of how this technique is carried out - 'in the simplest terms, the kundan technique allows a jeweler to build up moulded and cut gold, including stone settings, over any rigid surface, in any configuration and/or pattern density he may desire. This is possible due to a molecular fusion which is accomplished at room temperature under hand pressure on an iron tool, turning small patches of hyper-purified gold foil into a solid mass and conveying an artistic freedom unimaginable in any other setting technique' (Manuel Keene, 'The KundanTechnique: The Indian Jeweller's Unique Artistic Treasure', Rosemary Crill, Susan Strong and Andrew Topsfield (eds.), Arts of Mughal India. Studies in Honour of Robert Skelton, London, 2004, p.192).

An obvious defining feature of both of the khandas offered here, and one for which they are all the more elegant, is the use of enamel, or mina. How and when enamelling was introduced into the Mughal court is unclear. It is said to have reached Mughal India through Goa - 16th century pieces made in Goa confirm that local craftsmen had mastered European techniques (Pedro Moura Carvalho, Gems and Jewels of Mughal India. The Nasser D. Khalili Collection of Islamic Art, London, 2010, p.19). The first known pieces so decorated are an oratory-reliquary and a gold filigree casket, both now in Lisbon and produced in the late 16th century (Museu Nacional de Arte Antiga, Lisbon, inv. nos. 99 and 577). Akbar sent a cultural mission to Goa in 1575 so it is possible that the technique was learnt there. Manuel Keene has suggested that from Goa the enamelling may have spread first to the Deccan (Manuel Keene, Treasury of the World. Jewelled Arts of India in the Age of the Mughals, exhibition catalogue, London, 2001, p.62).

The two khanda hilts offered in this sale, are the only known examples of this form decorated in this rich enameled and gem-set manner. An example of a koftgari hilt of similar form which retains its original blade is in the Furusiyya Art Foundation (Bashir Mohamed, The Arts of the Muslim Knight. The Furusiyya Art Foundation Collection, Milan, 2007, no.66, pp.102-03). That is attributed to the Deccan, early 17th century. Another koftgari khanda, previously in the collection of Sir Ratan Tata, is now in the Prince of Wales Museum of Western India (Kalpana Desai, Jewels on the Crescent. Masterpieces of the Chhatrapti Shivaji Maharaj Vastu Sangrahalaya formerly the Prince of Wales Museum of Western India, Ahmedabad, 2002, no.197, p.198). Two others are in the Clive of India Collection at Powis Castle (Mildred Archer, Christopher Rowell and Robert Skelton, Treasures from India, nos.44-45, pp.52-53).  

Lot 2148. A very rare civil official's rank badge of a golden pheasant, buzi, Kangxi period (1662-1722); 19 3/8 in. (49 cm.) square. Estimate HKD 300,000 - HKD 500,000. Price realised HKD 475,000. © Christie's Image Ltd 2013

Made for a second-rank civil official, the badge is finely worked in satin stitch, depicting a regal golden pheasant rendered in shades of blue, green, yellow, white and coral, shown facing the sun as it alights on a rock emerging from crashing waves. The main decoration is below ruyi-shaped clouds and the sun finely worked in shades of blue, green and coral, the rock formation with remains of peacock-feather filament. The design is all reserved on a dense ground of couched gold threads, within a scroll border, mounted.

Note: Extant examples of Kangxi-period civil rank badges are very rare. The present badge is made even more rare by the fact that it is decorated with a golden pheasant to be worn by a 2nd rank civilian official in the Imperial household. The distinguishing features of the golden pheasant include the way in which the tail feathers are lightly barred, the green body, yellow neck and blue crest. Whilst Kangxi period badges of egrets, peacocks or silver pheasant are known, the present badge appears to be one of only two surviving examples decorated with a golden pheasant, and with its vivid colours and bright gold-couched ground, is unique for remaining in a superb state of preservation. The only other known Kangxi period official's rank badge of a golden pheasant, reserved against a blue gauze ground rather than the gold-couched ground on the present example, was sold at Christie's New York, 16 September 2010, lot 1072.

For another closely related Kangxi-period gold-couched-ground rank badge, see the example decorated with a silver pheasant illustrated by B. Jackson and D. Hughes, Ph.D., Ladder to the Clouds, Berkeley, California, 1999, p. 229, no. 15.010, and later sold at Christie's New York, The Imperial Wardrobe: Fine Chinese Costume and Textiles from the Linda Wrigglesworth Collection, 19 March 2008, lot 28. 

Christie's. Imperial Sale. Important Chinese Ceramics and Works of Art, 29 May 2013, Hong Kong, HKCEC Grand Hall

Lot 2149. A very rare Ming embroidered 'xiezhi' rank badge, buzi, Early Ming dynasty, 15th century; 20 in. (51 cm.) square. Estimate HKD 150,000 - HKD 180,000. Price realised HKD 237,500. © Christie's Image Ltd 2013

The imperial censor's rank badge is finely woven to depict a mythicalXiezhi in cream colour highlighted with green and pale brown, its dragon head with a single horn and mouth agape, amidst ruyi-clouds on a brown ground. The beast is standing on a river bank surrounded with lotus and other flowers.

Provenance: Linda Wrigglesworth, London 

Note: The Xiezhi is a mythical animal believed to be able to detect wrongdoing and point-out the culprits with its horn. As such it was deemed appropriate insignia for the imperial censors.

This simple composition of the Ming censor badge evolved into a more sophisticated and decorative style during the Qing period, which may include the sun, the implements of the Eight Immortals, auspicious objects and a lishui stripe.  

Christie's. Imperial Sale. Important Chinese Ceramics and Works of Art, 29 May 2013, Hong Kong, HKCEC Grand Hall

Lot 730. A rare wucai ‘phoenix’ double-gourd-form wall vase, Wanli six-character mark in underglaze blue within a double rectangle and of the period (1573-1619); 15 ¾ in. (40 cm.) high. Estimate USD 120,000 - USD 180,000. © Christie's Image Ltd 2018

The lower body is decorated with two phoenixes confronted above blue rocks amidst flowering peony within a shaped panel below an upper panel of a bird perched on a rock in the midst of further peonies and birds in flight beneath trailing clouds. The upper body is decorated with two further phoenixes in flight amidst ruyi-shaped clouds between bands ofruyi heads at the lingzhi-scroll-painted waist below and a band of leaf tips pendent from the mouth rim above. The flat back is outlined in underglaze blue and has a deep rectangular opening for hanging purposes below the mark, which is painted in underglaze blue within a double rectangle raised on a lotus stem and capped by a lotus leaf, cloth box.

Note: A very similar wall vase, but with the lotus flower and leaf on the reverse decorated in red and green enamels rather than in underglaze blue, from the Tsui Art Foundation, is illustrated in Joined Colors: Decoration and Meaning in Chinese Porcelain: Ceramics from Collectors in the Min Chiu Society, Hong Kong, Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., 1993, p. 106, no. 34, and was later sold at Sotheby’s London, 12 July 2006, lot 68. Another closely related example, with the pair of phoenixes on the upper bulb facing in opposite directions, from the Mr. and Mrs. Otto Doering Collection, was sold at Christie’s New York, 9 November 1978, lot 130, and is illustrated by Anthony du Boulay, Christie’s Pictorial History of Chinese Ceramics, Oxford, 1984, p. 171, no. 3. Another nearly identical wall vase from The Le Cong Tang Collection was sold at Christie's Hong Kong, 27 November 2017, lot 8008. 

A good wucai double-gourd wall vase, mark and period of Wanli. 30cm., 12in.. Sold for 72,000 GBP at Sotheby’s London, 12 July 2006, lot 68. Photo: Sotheby's

From The Le Cong Tang Collection. A rare wucai ‘phoenix’ double-gourd form wall vase, Wanli six-character mark in underglaze blue within a double rectangle and of the period (1573-1619). 12 1/4 in. (31 cm.) high. Sold for 2,250,000 HKD at Christie's Hong Kong, 27 November 2017, lot 8008. © Christies Images Ltd 2017

Cf. my post: A rare wucai ‘phoenix’ double-gourd form wall vase, Wanli six-character mark and period (1573-1619)

There is another closely related group of wall vases painted with cockerels on the lower bulb. One such example in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum - 38 - Porcelains in Polychrome and Contrasting Colours, p. 33, pl. 30. A second is illustrated in Porcelains from the Tianjin Municipal Museum, Hong Kong, 1993, pl. 120; a third in the Baur Collection, is published by J. Ayers, The Baur Collection, vol. 2, Geneva, 1969, pl. A 201; a further example in the Staatliche Kunstsammlungen Dresden, is illustrated by E. Zimmerman, Chinesisches Porzellan, Leipzig, 1923, pl. 66; and a fifth was sold at Sotheby’s Hong Kong, 5 October 2011, lot 1901.

Christie's. Fine Chinese Ceramics and Works of Art, 22 - 23 March 2018, New York

Lot 602. A copper-red-decorated 'phoenix' mallet-shaped vase, Kangxi six-character mark in underglaze blue and of the period (1662-1722); 5 ¾ in. (14.7 cm.) high. Estimate USD 8,000 - USD 12,000. Price realised USD 32,500. ©Christie's Images Ltd 2018

The vase is decorated in underglaze copper-red with two highly stylized phoenixes, each grasping a ring in its beak and each with a tiny spot of underglaze blue to define the eye. The rim has a metal mount.

Provenance: Bluett & Sons, London.
Bonham's London, 5 November 2007, lot 254. 
The Studio of the Clear Garden.

Note: Vases of this mallet or 'horse hoof' shape with similar decoration in copper red are in the Shanghai Museum, illustrated by Wang Qingzheng (ed.) in Kangxi Porcelain from the Shanghai Museum Collection, Hong Kong, 1998, p. 108, no. 71; in the National Palace Museum, Taipei, illustrated in Sekai toji zehshu, vol. 15, Tokyo, 1983, pl. 141; and in the Palace Museum, Beijing, illustrated in Gu taoci ziliao xuancui, vol. II, Beijing 2005, no. 28, See, also, the example sold at Sotheby's Hong Kong, 8 October 2013, lot 3116 and another sold at Christie's New York, 18 September 2014, lot 795.

Christie's. The Studio of the Clear Garden: Chinese Ceramics and Works of Art, 22 March 2018, New York

Lot 603. A rare celadon-glazed ovoid vase, Kangxi six-character mark in underglaze blue and of the period (1662-1722); 8 1/8 in (20.6 cm.) high. Estimate USD 8,000 - USD 12,000. Price realised USD 32,500. © Christie's Images Ltd 2018

The ovoid body tapers to a wide cylindrical neck and is covered inside and out with a pale sea-green glaze that ends below the rim and pools in a thicker line above the foot, box.

Provenance: Christie's New York, 29 March 2006, lot 519. 
The Studio of the Clear Garden.

Note: A similar but slightly larger vase (21.2 cm. high) in the collection of the National Palace Museum is illustrated in A Special Exhibition of Qing Monochrome Glaze Porcelain, National Palace Museum, Taipei, 1981, p. 127, no. 75 and again in Great National Treasures of China - Special Exhibition in Kaohsiung City Loaned by the National Palace Museum's Seventieth Anniversary, Taipei, 1994, p. 251, no. 18. Another (21.2 cm. high) in the Qing Court Collection, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum - 37 - Monochrome Porcelain, Hong Kong, 1999, p. 139, pl. 127.

Christie's. The Studio of the Clear Garden: Chinese Ceramics and Works of Art, 22 March 2018, New York

Lot 618. A large famille rose'Nine peach' bottle vase, 19th century; 21 in. (53.3 cm.) high. Estimate USD 20,000 - USD 30,000. Price realised USD 112,500. © Christie's Images Ltd 2018

The vase is decorated with the spreading branches of a fruiting peach tree bearing nine large peaches and numerous white and pink blossoms, the graceful leaves painted in blue-green on the top and yellow green on the underside. An apocryphal Qianlong seal mark is on the base.

Provenance: CChristie's New York, 29 March 2006, lot 546.
The Studio of the Clear Garden.

Note: Peaches have traditionally been associated with Daoism and longevity. In mythology, the goddess Xiwangmu, the Queen Mother of the West, owned a vast peach orchard, and it was said that anyone who ate the fruit would become immortal. As such, peaches are considered sacred and auspicious, and when used as a decorative motif, convey wishes for longevity and good fortune. Vessels decorated with luxuriant peach branches were very popular in the Qing dynasty, and might have been commissioned as birthday gifts or as a form of commemoration for an imperial birthday.

Christie's. The Studio of the Clear Garden: Chinese Ceramics and Works of Art, 22 March 2018, New York

Lot 620. A large famille rose faceted vase, signed Wang Dafan (1888-1961), dated yihai year, corresponding to 1935; 17 3/8 in. (44.4 cm.) high. Estimate USD 20,000 - USD 30,000. Price realised USD 47,500. © Christie's Images Ltd 2018

Each side of the faceted high-shouldered body is finely enameled between iron-red decorative borders with a different scene referring to one of the Four Noble Professions: one depicting a scholar holding a scroll of the Spring and Autumn annals seated on the trunk of a tree; one depicting a wood cutter carrying a bundle of branches on his back; one depicting a farmer hoeing in a rice field; and the fourth depicting a fisherman with his catch. Each scene is identified by an inscription which includes the cyclical date, yihai, and is signed Wang Dafan, followed by the iron-red seal of the artist, fitted cloth box.

Provenance: Bonham's Hong Kong, 21 May 2009, lot 1162.
The Studio of the Clear Garden.

Note: Wang Dafan (1888-1961) was one of the eight famous Jingdezhen masters of porcelain painting of the early 20th century. Collectively, this group of celebrated artists was known as the Zhushan Bayou, 'The Eight Friends of Zhushan'. The painting styles of each artist were varied and Wang Dafan was particularly renowned for his work in the famille-rose palette. A native of Yixian, Anhui province, Wang was also known by his alternative name of Wang Kun; his hao or studio names were Xiping Jushi, Yishan Qiaozi, and Xiping Caolu. 
Wang's painting style is quite distinctive, particularly in his meticulous, gongbi, brushwork in the execution of the eyes, hair and facial expressions, which is finely demonstrated on the present vase.

Christie's. The Studio of the Clear Garden: Chinese Ceramics and Works of Art, 22 March 2018, New York

Lot 613. An unusual celadon-glazed incised bowl with loop handles, Qianlong six-character mark in underglaze blue and of the period (1736-1795); 5 3/16 in. (13.1 cm.) diam. Estimate USD 15,000 - USD 20,000. Price realised USD 37,500 © Christie's Images Ltd 2018

The shallow rounded bowl with everted rim is applied on the exterior with a row of eight small loops between incised borders of upright leaves below and ruyi heads above, and is covered overall with a glaze of pale bluish-green color that also covers the countersunk base within a wide, flat ring foot, box.

Provenance: Christie's New York, 29 March 2006, lot 521.
The Studio of the Clear Garden.

Christie's. The Studio of the Clear Garden: Chinese Ceramics and Works of Art, 22 March 2018, New York